What if Elvis Costello was still churning out upbeat, poppy numbers like his early work? What if you took away some of the crackle and rough edges, and replaced them with pristine production and a lot of "whoa-oh-oh's"? What if, to spice things up, you threw in a dash of socialist rhetoric, a pinch of hand-held percussion, and a sprinkle of saxophone? Wage Life is The National Rifle's second self-release, their first being a 2006 self-titled EP. Wage Life carries a blatant theme of modern hard times with a call to action that we must re-examine the "work mythology." This is paired up with a catchy indie pop that shows a variety of influences, the most obvious being Elvis Costello, Ted Leo, and Joe Jackson. The National Rifle is an interesting mix of styles, as their brand of indie pop is incredibly radio friendly, with easily defined choruses and memorable hooks that could easily be used in commercials - in fact, I can almost swear that I've heard "Gaggers" in one - but the lyrical tone of the revolutionary will keep the band off the airwaves. If you secretly enjoy British pop but wish you could see performances in more … Read more
Whenever I think of Until the End, I think of the time I crammed five finals into a twenty-four-hour period … Read more
I'll admit - I have a bit of a problem with modern blues. For me, blues, real blues ended in … Read more
With an album title that sounds like the most recent Foo Fighters record, a song called "Fix You" (I thought … Read more
Stay Positive, the fourth album finds the Brooklyn by way of Minneapolis The Hold Steady trying to further their scope … Read more
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Boston-based and Boston-proud, Death Before Dishonor has been churning out bruising hardcore since they first hit the scene with True Till Death. Their debut EP hit with very much the same style of breakdown heavy metallic hardcore that they drew their namesake from. Five years later, the band continues to deliver the hits with Count Me In, their debut full-length. Count Me In kicks off with a short intro before moving on to the title-track. "Count Me In" continues the band's formula from previous releases by mixing Hatebreed's ferocity with Madball's groove. "Nowhere to Turn" and "Break Through it All" follow in similar fashion with the guitar duo of Ben Kelly and Dave Cappello laying some slick riffs and killer breakdowns. Vocally, Bryan Harris makes use a forceful yells, not … Read more
John Zorn is well on the way to becoming the most prolific artist in music history. Through recordings from Painkiller, Naked City, Masada, and untold other projects, the man is associated either through composing music for or performing on an average of over ten albums per year. For those unfamiliar, his Masada project was arguably his most well known and … Read more
When I was eleven my mother asked me if the family should remodel our basement, converting it into a living room and bedrooms for both my sister and me. Heading into middle school, a time when children begin to blossom socially, I thought this was a great idea. The freedoms were readily apparent. I began taking interest in the local … Read more
Minimalistic drone/doom is a hit-or-miss kind of genre. When you are relying on only one or two riffs to carry an entire song, the results can be either bone-chilling or yawn-inducing. With their second full-length, Atavist, hailing from Manchester, England, has once again proven it can achieve the former. Atavist's brand of tortured, bowel-loosening doom is not for the faint … Read more
So the inevitable is occurring as Relapse is reissuing this behemoth of an album (although at right around thirty minutes that is a stretch to call it such by today's standards). Recently awarded a spot in the Decibel album hall of fame, 0:12.2: Revolution in Just Listening is a supremely curious album as it is a document of a band … Read more
Tokyo Police Club's A Lesson In Crime put the band in an awkward position. The seven-song EP gained a substantial amount of praise/coverage for it's less than twenty-minute run time, showing a glimpse of energetic indie pop somewhere between a dance party and a rock out that, despite it's length, made it one of the best releases of 2006. In … Read more
Oh, Weezer. Here we are, album six for the band who've spent an entire career trying to figure out who they are. Are they The Pixies-aping geek rockers with a penchant for nerdery and romance? Are they riff-wielding guitar heroes rocking ironic stadiums? Are they misunderstood indie icons? Are they, um, white-boy rap? The band's third self-titled album - referred … Read more
El Chupa Cobras belong to the breed of bands that, aside from having amusing names also have extremely short attention spans and exponentially spastic approach to creating music. This kind of music is never easy to pull of on record. Live, the sheer energy of each member immersing him/herself in the music on stage could be enough to provide for … Read more
I think I've read more hyped up reviews of Verse's third album Aggression than I've actually listened to it. I keep seeing a reoccurring trend in these reviews on how Verse is a breath of fresh air in a rather stagnant scene when it comes to popular hardcore bands. There seems to be an influx of hardcore that would rather … Read more
Connecticut hardcore, no matter how great it is, always seems to get overshadowed by the nearby bustling Massachusetts (particularly Boston) hardcore scene. In fact, oftentimes people just consider them to be one in the same. This is unfortunate because over the years the state of Connecticut has churned out a plethora of stellar bands: Hatebreed, Dead Wrong, Sum of All … Read more
Fugitives from the Laughing House comes twenty years after The Reds released their first single. Despite such a history, the band is not a household name and, with Fugitives from the Laughing House being only the band's second full-length since 1984 (sixth total) it's not that they've been overly prolific. While I am unfamiliar with most of the band's releases, … Read more
So I finally get to see the new band that has been consistently pumping through my stereo, MP3 player, computer, and car since the songs first appeared online; and yes, this is a familiar sound coming from John Reis and his compatriots, but there is something undeniably in The Night Marchers' music which compels repetitive listening of their album, See … Read more
Eat the Low Dogs is a beautifully dark and medicating record that fewer ears will hear than it deserves. It rocks, laments and hollers from the mountainous region of Marion, North Carolina with an enduring gloom that feels archaic and steadfast throughout. The old-timer influences are vast, but U.S. Christmas' old/new merged sound is unified and deliberate: Hawkwind, Neil Young … Read more
Hailing from Germany, the "post-rock" sounding Daturah offer Reverie, as their first full-length (following a self-titled EP which they self-released in 2005 and Graveface released in 2006) since their inception in 2003. This album, at five tracks long still clocks in with just about an hour's worth of music. The band focus more heavily on the ambient aspects of their … Read more
Florida's Fallen from the Sky have been on the upward trend since releasing their debut EP, Tune Out the World, in 2005. They were runner-ups in MTV2's Dew Circuit Breakout and this, their debut full-length, was highly anticipated by many publications. In spite of all the praise the band has remained grounded and true to their roots. The band's debut … Read more
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