In total brutal honesty, I can’t find a single thing likeable about this record. It’s very unfortunate, considering the first 30 seconds of the opening track, “Is Love” is kind of catchy. At first, I was hopeful. But fact of the matter is, New Wave is dead for a reason. It’s not one of those genres of music that can come up and then go away for a few years and then come back again and gain close to the same popularity as it once had.  If you’re a band and you can incorporate a New Wave sound into your music, you might be able to come up with something good. Bands like Innerpartysystem do this seamlessly as if they were destined for it. But White Lies have apparently decided on just straight New Wave for their recent endeavor, “Rituals.” The vocal work is dull. It kind of sounds like a guy that takes himself way too seriously doing some older Morrissey songs at karaoke night, even though it’s pretty clear his effort is not to be taken seriously in the least.

As for the music, as I said before, it’s NEW WAVE. There’s nothing really modern or relevant to the sound at all. If this were 1985, I might be singing this record’s praises to the high heavens. But it’s 2011. And New Wave is not relevant right now. What blows my mind though, is this music has potential. If these guys sat down and said to each other, “Okay, we’ve got this great basement material, now how can we make it make sense?” they would probably churn out some tunes that would appeal to a wider audience than just the people stuck in the 80’s and the young hipsters who think they are or actually WANT to be stuck in the 80’s. But one listen to “Ritual” and you’ll be totally aware that the main drive of this project was to create something that’s already been done with a lack-luster mentality. Unless of course, you’re stuck in the 80’s. Then you’ll love it.

Release Date: January 18, 2011
Reviewed by Joseph Novak

The new Decemberists record — The King is dead, out Jan. 18 — is splendid in what the band decided to keep doing and what they’ve seemed to leave behind.

Colin Meloy and crew threw out the conceptual tales of fairies and romps in the forest that made their last album so painful to listen to, while keeping the warm, complex, layered instrumentals that made it almost bearable.

Although Meloy still throws a $5 word in here and there, compared to past works The King is Dead is a remarkably unpretentious return to form for the Decemberists.

The album shows Meloy going back to his roots, weaving his distinctive vocals with canorous guitar, accordion, fiddle and even some guest work on mandolin from R.E.M.’s Peter Buck.

Buck isn’t the only guest artist on the album. Gillian Welch lends her vocals to a large chunk of the tracks, not so much duetting with Meloy as adding some texture to the vocals. Still, it brings a lot, especially to tracks like Down by the Water and sea shanty-inspired Rox in the Box.

It’s still a very warm, vibrant sound, even on more supine tracks like January Hymn. While Meloy sings “On a winters Sunday I go / To clear away the snow / And Green the ground below” the richness of the vocals and backing strings evokes a feeling of sitting in front of a fireplace with a cup of hot chocolate more than bundling up to shovel the walk that he describes.

Although some may feel like the band is pandering after getting such a poor reaction to Hazards of Love, the Decemberists’ latest effort is a nice nod to their earlier work.

Up to this point, it has seemed that every album was building on the previous one, growing more elaborate and complicated, culminating in what many felt was a step too far.

Unlike The Hazards of Love, which at times was an exhausting listen, the quick pace — 10 tracks spanning 40 minutes — and relatively uncomplicated vocals makes The King is Dead reminds one of the Decemberists early albums, for the first time in a while, leaving us wanting more.

Release Date: February 8th, 2011
Reviewed by Jeff Brinn

Motorhead has always been like a festering scab in the world of hard rock, you keep picking at it and it still always seems to shows its ugly face. These English road warriors have been trudging the roads since 1975 and with zero commitment to follow trends and label standards they have succeeded to proudly firmly hold the torch for metal all these years. Un-arguably a staple in this genre, Lemmy and his band of excess driven comrades bring to the table a kind of meat and potatoes blend of metal and groove driven beats always enjoyable and “The World Is Yours” is no let down.

Like acts such as AC/DC, Motorhead keep it simple and to the point never straying from what has made them so historic in the first place. No flashy (what’s hot now) image just hard driving loud rock n roll the way it was meant to be. Tracks like Born To Lose and Devil In My Head traditionally stay in the vein of classic Motorhead while other notable cuts including Rock N Roll Music show the traditional classic influences that still breath deep in the roots of Lemmy. Sure Motorhead never really tries to surprise anyone but if you’re a true Motorhead fan then this is just another notch in the belt in their historic catalog of speed driven classics.

Sure I could sit and dissect this slab of plastic and give my own to sense but hell it’s Motorhead. It’s loud-it’s raw, and it’s in your face.

Release Date: March 1st, 2011
Reviewed by Joseph Novak

Traditional Irish cover song? Check.

Foot-stomping pub song about the working man? Check.

Lilting ballad about missing home, family and friends? Check.

Fired up sports anthem that makes you want to punch a skinhead in the face? Check.

Straight ahead rock song with guest vocals by Bruce Springsteen? Ch…wait, what?

With all the regular stuff out of the way, the Dropkick Murphys decided to drop a bit of a surprise on us at the end of their new album, Going Out in Style, namely Springsteen guesting on a straight-ahead rock cover of Peg O’ My Heart.

The Murphys cover the 1913 Alfred Bryan and Fred Fisher song is a different sound than we’re used to hearing from the band. Think more 50s rock meets E-Street band instead of the usual Riverdance soundtrack meets Social Distortion. Perhaps that explains the Springsteen vocals. Whatever the case, it works, and it makes for a pleasant end to an otherwise typical, albeit good, Dropkick Murphys album.

The Murphys work through their usual fare, working through 13 tracks of songs you’ll no doubt hear between puck drops at a hockey game (Hang ‘Em High), banjo- and flute-infused ballads (Cruel, Broken Hymns), covers of traditional Irish songs (Peg O’ My Heart, the Irish Rover) and of course straight-ahead punk tunes with some bagpipes thrown in for good measure (Climbing a Chair to Bed, Sunday Hardcore Matinee).

The 13 tracks on Going Out in Style work together to tell the story of Cornelius, a railroad worker killed by anti-Catholic vigilantes near Duffy’s Cut, Pennsylvania in the early 19th century. The story begins with his wake and works  back through his life.

Starting with Hang ‘Em High, a fist-waving anthem about a ship full of Irish presumably intent on avenging their slain brothers, Going Out in Style kicks off in classic Dropkick Murphys style; lots of bass, heavy guitars and bagpipes with a chorus that makes you want to run into the pit with your first raised high, throw your arm around the biggest skinhead you can find and arm-in-arm, shout the words at the top of your lungs.

We waited together for the cowards to come/
Outgunned and outnumbered, but we wouldn’t run/
No mercy, no quarter, they’ll pay for their sins/
Now lower the cannons, the battle begins

The entire album is a rowdy Celtic punk sing-a-long, ranging from songs that make you want to dance a jig (Memorial Day) to ones that can make you cry into your Guinness like the Hardest Mile (which tells the story of the aforementioned Duffy’s Cut killings.)

Going Out in Style is the Dropkick Murphys doing what they do best, expect to hear any one of these songs fitting seamlessly in their well worn live set list.

Release Date: May 4, 2010
Reviewed by Mirak Habbiyyieh

Mike Patton has finally been able to release Mondo Cane after several years of delays. Mondo Cane features cover versions of 1950s and 1960s Italian pop music, performed by Mike Patton with a 65-piece orchestra.

If you are a into jazz or orchestra type music, then this is right up your alley.  Mondo Cane is sung in Italian, with the exception of one song which is sung in Neapolitan.

I’ll admit it, this is a great album to just having playing while your trying to relax or need some background music for any event.  Either
way, it is a good listen.

Release Date: June 21, 2010
Reviewed by Jeff Brinn

In my early days as a young punk I was exposed to Ozzy as one of my very first concert experiences as well as one of my first ever albums I bought on my own. Long story short I have always kinda had a spot for the Prince Of Darkness. When a new Ozzy release hits the shelves I have always felt the need to check it and with a new guitarist at his side curiosity got the best of me.

On this newest incarnation of Ozzy we find him bringing aboard a new hot shot guitar player to replace the infamous Zakk Wylde. You have to give it to Osbourne for always mixing it up every so often with a new addition of members and it took some balls to send Zakk off packing to a whole new chapter of rock fame. Gone are the over played finger vibrato of Wylde and enter a youthful Kostas Karamitroudis aka Gus G. With a fresh low end riffage sound and the technical talents Ozzy has again managed to find a very hungry and talented sounding guitar player making this newest release memorable to say the least. Songs like opening cut LET IT DIE and other including FEARLESS add a whole new dimension to what was becoming a very predictable metal icon of the past. Gus G. has added a very modern yet traditional addition to the Osbourne camp while respectfully never stomping on Zakk’s patent riffing styles.

Time and time again proving the world of rock n roll doesn’t end at 50, Ozzy has some how again adapted to the world of hard rock like a chameleon. SCREAM has all the fist pumping, chores chanting riffs that have always made Ozzy a permanent staple of the metal world so if hard rock metal is your game this is well worth the listen.

Sure I could sit here and dissect this newest release but hell it’s an Ozzy album, just crank it and loose your self in one of hard rocks iconic leaders.

Release Date: January 5, 2010
Reviewed by Evelyn Miska

Most rock and roll fans will be aware of John Frusciante due to his time in the Red Hot Chili Peppers. What some may not be aware of is his extensive solo career and the fact that The Empyrean is his eighth solo album. The Empyrean isn’t an album that will grab listeners in the same way that some of those hits by the Red Hot Chili Peppers do, but the collection of songs has a lot of strengths in a different sort of way. Frusciante demonstrates his tremendous virtuosity on the guitar all the while making some extremely intriguing music.

There is a clear psychedelic influence to the album and it comes through immediately on the slightly tedious opening song, “Before The Beginning.” Clocking in at nine minutes, much of which is a very slow build and purely instrumental, could be a risky beginning to The Empyrean. Some listeners may not be willing to go past this track, but if they do, treats like “God” are in store. While the whole album is quite strong, “God” is one of the standouts. Some might be surprised that Frusciante can hold his own on the vocals and this song displays this well. Former bandmate and bassist from the Red Hot Chili Peppers, Flea, makes a guest appearance which adds a nice bit of funk to the song too.

Picking up a little where “God” leaves off, “Dark/Light” incorporates some gospel style on the backing vocals while, at the same time pulling in some electronic influences as the track progresses. Even though this one is almost nine minutes long, it less esoteric than “Before The Beginning” and not nearly as tedious. “Enough Of Me” is another highly appealing song, and again shows off Frusciante’s vocals and guitar work in a good manner. Like a number of the other tracks, there is a blend of soul and psychedelia that makes things remain intriguing.

Frusciante may best be known by people for his non-solo work, but this album makes it rather clear why he felt that it was best for him to strike out on his own. While his part in the Red Hot Chili Peppers was important and likely influenced his current musical choices, it’s clear that there’s much more to Frusciante’s talent.

Release Date: January 2, 2010
Reviewed by Evelyn Miska

Hailing from Detroit, one might have expected something with some more grit from Crackjaw’s earlier albums. While some of their earlier tracks sounded a bit like generic rock, the band seems to be trying to push things in a heavier direction. However, for as much as they might be aiming to do this, Lean Cuts is still indecisive as to what genre to fall into. There are some tracks that have a heaviness not present in the past, but there are others that just are hovering between genres, neither one nor the other and, as a result, aren’t much to talk about. There are a few songs with a lot of screaming and the like (and a rather juvenile and somewhat bizarre long, drawn-out belch right before the last track), but there’s a lot of melody in the mix as well. The main problem is, Crackjaw doesn’t seem to know what sort of band they want to be and so the album seems disjointed and uncommitted.

Tracks like “Keep Your Heels On” stay on the heavier side of things with a lot of screaming and some pounding guitar and drumlines. However, there are a few moments where things slip a bit and veer more towards the land of pop. “Nightmare on Greed Street” is one that tries to straddle that delicate line and, sadly, ends up sounding dated and lacking the edginess that “Keep Your Heels On” has. “Hit Her High” has a somewhat similar problem and makes it clear that Crackjaw hasn’t quite figured out what realm they want to be in. Is it the land of sugary-pop and dance hooks or is it the dark land of metal and rock?

“Haberdashery Business” brings back some of that intensity, but there are just too many tracks that are trying to incorporate pop and dance and, since they then fall into a no-man’s land of music, are less than interesting. Whether they like it or not, their music is more appealing on the tracks that have some grit and, frankly, dance music does not have grit. “Piano Black” isn’t one of the better tracks despite falling into the lighter area. There is a good sort of instrumental pause in the song and it is more appealing than some of the other tracks.

Crackjaw definitely shows glimpses of potential on Lean Cuts, but their inconsistency is a problem. Depending on what their ultimate goal is, the band may need to take some time and really decide what sort of sound they’re going after and commit to that approach. The wishy-washiness just isn’t working for them.

Release Date: June 29, 2010
Reviewed by Chris Schwegler

Joe Selby’s opening guitar tone and Kevin Jones bass groove fish hook you right in, and then Andy Brewer vocals grab you like the Jaws of Life. “Whatever Haunts You” is a great album starter, gets your head rocking and you even catch yourself playing the air drums. Their first single “Shake Me” is the closest to classic rock you can get, a great blend of rock with a modern edge. Joe Selby’s guitar is not over powering, but at the same time not lost.

Andy Brewers vocals have a Chris Robinson from The Black Crowes feel to them with a southern scratchy edge to them. What surprised me is how well Kevin Jones’ bass comes through on the album, very loud and grooving. Even though Taddy Porter is your classic south rock blend, they deliver catchy hooks and a great chorus, the very thing that we need right now in music. For some reason this simple setup is what makes this album so great.

From top to bottom Taddy Porter makes you just want more and more, like a drug. One song does stick out of the bunch. “Big Enough” might be the track that seals the deal for this album, with a powerful guitar presence and in your face vocals it wouldn’t surprise me if this is their next single and becomes more popular than “Shake Me”.

“Let’s try love, oh baby do you think you are Big Enough”. Stuck in your head yet?

The small band out of Stillwater, Oklahoma, Taddy Porter will make their mark if they haven’t already. Can’t wait to hear what’s next.