Raw, fun and DIY are the three terms that come to mind when first listening to Cold Fronts. The Philadelphia quartet gives an indication that they’re playing music they love for the right reasons. Therefore, the following statement describing the band from vocalist Craig Almquist seems quite fitting: “[Cold Fronts is] a group of All-American boys who don’t really fit with todays digital era of dub-step, loops, and MacBooks onstage. Instead, we play loud instruments and make girls go wild.” That last part is probably accurate as well.

If there’s one thing for certain about Cold Fronts, it’s that they have a knack for writing hooks. The garage rock band’s latest release Pretty American, is full of them. The guitar driven “Heart Attack”, courtesy of Almquist and guitarist Shaky Jake, shows their characteristic warm tones which flow all the way through the upbeat track. Complementing this is the organic range and nature of Almquist and the steady drums of Alex Smith. The work of Smith travels through the EP consistently, keeping the beat to a well written and thought out 16 minutes.

“Ready To Go” turns the catchiness up a notch as Almquist sings, “I’m leaving and I’m ready to go,” in reference to nostalgia for Philadelphia whilst living in Brooklyn. Amongst unique riffs, the song also explores relatable topics such as friendships and relationships. Relatable concepts continue in “Strange Architecture,” and although I adore rain and winter and therefore can’t totally relate like most, I particularly like opening line, “Well I say fuck the rain / let’s forget the weather / and let’s get together ‘cause I need a change.” It’s a good thing I like it too, because Cold Fronts’ ability to write catchy tracks means this has been swirling around in that head of mine for a few days.

Pace is slowed down with “Prime Time” to show the dynamic ability of the band, but closer “Catch” brings back the memorable, riff driven Cold Fronts we’re familiar with. Whilst these are two solid tracks, I find them a little weaker and less catchy in comparison to those before them. However, that’s not to say they’re bad in any way.

Despite not being my usual genre of choice, I have been completely won over by Cold Fronts and will certainly keep returning to this new discovery. I guess they do make girls go a little wild.

All too often, I find myself enjoying what I think is a hardcore album, only to be disappointed when things come to a disjointed halt to make way for some tacky electronic segment that doesn’t flow at all. These unexplained segments leave me frustrated and confused. If the synth is blended in nicely then that’s all well and good, but that’s beside the point. If you want some modern hardcore with no strings attached, listen to Hollow Earth.

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As I previously stated, Only Way to be Alone was one of only three albums I listened to in summer 2008. I bought it in Sacramento after seeing them live for the first time and I loved being able to relive the moments from their live shows every time I listened to a song. Each song was a memory, a moment, a story. Over three years later and each song still takes me back to that summer. While the album’s sound is timeless, to me, it is stuck in (a really good) time, and that is one of the things that appeals to me so much about the album. I have never felt this emotionally or nostalgically attached to an album before.

Opening track “Coney Island” is a folky and upbeat tune. The whole song is catchy even though I’ve never referred to a hot dog as a dog. The simultaneous “I hate it here” and “I still love it here” thoughts echo thoughts that most of us probably have about our towns. The standout part of this song is between the choruses, featuring only drums and vocals without sounding empty.

“Looking For Shelter” served as my introduction to Good Old War back in 2008 and because of this song I fell in love with Good Old War. This song sums up everything I love about Good Old War and always reminds me why I like them so much. It’s a very fun song featuring Keith Goodwin’s soft vocals that do not lose their characteristic softness on his higher or lower notes. It’s also a very sweet song, “oh girl, you’re already a picture of my will. You’re my girl. Can we try to be here just for a while?”

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Newly released and hot on the iTunes music charts is Come Back as Rain, Good Old War’s third and most realized release. I believe the direction they have taken on this album is one of confidence and a nostalgic feel for the albums they grew up with.

“Over and Over” immediately shows better production than their previous self-titled effort. Dan Schwartz’s guitar fills the empty spaces in the song, once again making us say, “Wait, that’s only one guy?” If you don’t like tapping your toes, I’d start taping them to the floor before you start listening to this song.

“Calling Me Names” is the standout track on Come Back as Rain. Although I still have not warmed up to the intro, it is very catchy when the music kicks in. The whole song screams of Taylor Swift to me, and that is not a bad thing (hey now). I wish it had a bit more substance, but its somewhat immature lyrics do not stop me from loving it.

“Amazing Eyes” is simple and sports a beautiful vocal melody. There is a sophisticated meaning behind these lyrics but they are delivered through very simple and underwhelming wording. Keith Goodwin’s voice loses its characteristic softness on the higher notes of the song, which is unfortunate and rare. However, around 2:08, the softness comes back beautifully, melting the ice in my heart for those more grating high notes. However, this song is too long for my taste.

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2010 saw the follow up to Good Old War’s highly successful debut album, Only Way to Be Alone, which happened to be one of the only three albums I listened to during the summer of 2008. I will admit, Good Old War is much softer than anything I would deem “my cup of tea”, but their live performances immediately had me in love with Only Way to Be Alone. However, when Good Old War came out, I took a few listens, didn’t really like it, and never listened to it again. It was only when I was listening to my iTunes library in alphabetical order that I accidentally stumbled upon this album again. It really grew on me, just in time for the release of their third album, Come Back As Rain.

The fifteen track album opens with “Good”, a very pleasant, busy, and uplifting intro that is something I would expect as an album closer. Perhaps they could have switched “Good” and the equally pleasant, slightly more somber last track “War” for a better flow. “Good” immediately displays their interesting vocal choices, far beyond the normal “ooh, ahh”, and “doo doo doos” we hear in almost every song these days. This is also seen in “That’s Some Dream”, where the syllabic choice is “lie die die”.

“Here are the Problems” begins with a bang. Tim Arnold creates a perfect drum beat that carries the guitar’s melody, keeping the song upbeat and full although there are many pauses between the instruments.

Next up is “My Own Sinking Ship”, a song I first heard on a YouTube video of a concert that was released long before the album actually came out; it is a song I immediately fell in love with. The trio did not disappoint and managed to improve the song that was already perfect in my eyes. The recorded version of this song is full and the tone is lovely. We also see Tim Arnold’s accordion skills featured prominently. I forgive the less than deep and well presented verse lyrics because of the brilliance of the chorus lyrics: “You are my own sinking ship / ‘cause every day the current shifts”.

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I have been an Eisley fan since I heard “I Wasn’t Prepared” on the radio while I was in the car one day, many years ago. I am not a die-hard fan, but the DuPrees have some of the most undeniably beautiful voices I have ever heard. Interestingly, it was not because of Eisley that I heard about Christie DuPree, who had me thinking, “Wow, she really sounds like the girls from Eisley.” Needless to say, I was feeling foolish, but hooked! One thing that gives a little bit more of my heart to Merriment is that although the narrative and vocal styles are very similar, Merriment’s lyrics are a lot more straight forward and easier to relate to. We see this on Through the Rough with its 18 minutes of vague, but very personal and emotional lyrics sung honestly over gorgeous and simple melodies.  

“I Give Up” is a gorgeous introduction to Merriment’s overall sound. The vocal melody during the verses reminds me of a few songs from The Early November’s The Mother, the Mechanic, and the Path. It’s very easy to relate to the sentiments in this song. We all have been in this situation at one point in time: “You can’t even bring yourself to say / that you don’t need me / though you think about me. / It’s been two years now / you still don’t love me / but some day you might. / Some day, yeah right”. I find it interesting that “I Give Up” is the first track on the EP, for reasons which I will expand upon later.

“Blessed Soul” has gorgeous and flowing vocals, reminding me of Eisley’s “Trolleywood”. This song goes from the somber and slightly bitter “I Give Up” and moves into the optimism characteristic of young love: “If you choose to let me love you / our love, our love would reach the sky. / No bounds, no bonds, no breaks, no trials. / Just you, just me, our love goes free”.

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New Jersey appears to be the capital of pop punk as of late with a plethora of thriving young groups, most noticeably led by the genre “defenders” Man Overboard. Not to be forgotten however, is five piece I Call Fives. After several solid releases and international tours, the polished group are well and truly in the NJ pop-punk clan. Their newest contribution out this month, Someone That’s Not You provides yet another burst of pure fun to an impressive back log of releases.

The 7”’s title track begins with a characteristic guitar riff which leads the way for the majority of the track. Vocalist Jeff Todd introduces his polished and pristine abilities in what creates an up-tempo track, certain to be a hit at this summer’s Warped Tour. Gruff vocals add a welcomed depth to the track after the first chorus, highly contrasting with the work of Todd. Fast paced drumming transfers steadily to “Backup Plan” which sports the catchiest chorus on the release, perfect for sing-a-longs with your bros.

With a change of pace, “Lakeview” offers the softer side of I Call Fives which we know the band is more than competent at due to 2010’s acoustic EP Gives Bad Advice. Despite the purer sound, Todd sings with spite as he announces that he’ll “save revenge for another day.”

The highlight of the EP’s 12 minutes comes via last track “How’s It Gonna Be”. The song is a unique addition to the quintet’s previous material, showcasing their ability as great songwriters and presenting a more mature and passionate effort from what is still a young band.

I Call Fives aren’t exactly reinventing the wheel but if you’re looking for a pop-punk band sticking to the genre, then this one’s for you. With each release, the band develops and progresses, yet stays true to themselves and as a fan, you can’t ask for much more than that.

This 10 minute split shows contrast at its best. The first half gives a burst of hard hitting, intelligently structured pop-punk courtesy of Half Hearted Hero, while the second comes from instrumental post-rock outfit, Deadhorse. An interesting collaboration but a wise decision in order to open the eyes of a whole new audience.

Despite Half Hearted Hero contributing 2 tracks and Deadhorse applying themselves to just the one, the unusual imbalance becomes even more interesting when one notices Deadhorse have over half of the entire release’s 10 minutes to their name – not rare for an instrumental band.

Kicking things off is Half Hearted Hero with “Dorian Grey”. In just over a minute the group from Massachusetts have demonstrated their priority to the punk elements of pop-punk. The quintet has concentrated on the track being short, punchy and fast - contrary to their Running Water EP which featured a stronger focus on catchy hooks and sing alongs. “For The Firing Squad” follows suit with the addition of guest vocals from Nuno Pereira of A Wilhelm Scream. Pereira’s gruff vocals are an effective contrast to vocalist Anthony Savino who sports a vibrant and polished sound. Pereira’s emphasis on the heavier side of the band creates a solid segue for Deadhorse – a band who are far from poppy.

In just over 6 minutes, Deadhorse present an emotive instrumental track which slowly builds from and around a piano based rhythm that carries through the track’s entirety. Along with steady drums, delicate guitar work complements the driving piano which creates a weaving sense. The melodic rise and fall structures the song as if the song was telling a story.

Differences and contribution amounts aside, you’ll find one certain trend between the two bands: excellence.

Too often I tend to find myself blending female vocalists together—surely, the supreme voices of people like Florence Welch, Adele Adkins, and Hayley Williams are exceptionally different from one another; but it often seems that the listener can end up drowning in vocal vociferations and unforgiving crescendos. To their credit, this unbridled talent is what makes these female vocalists so popular, but finding a female artist who airs away from this is becoming increasingly more rare. On her forthcoming EP, Erin Passmore presents her sultry, honey-like voice with grace and finesse, while maintaining an elegance and modesty that separates her from most contemporary female vocalists.

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When it comes to modern day blue collar punk rock, Banquets are steadily rising to lead the pack.  The four piece appear to take influence from fellow New Jersey locals, the more experienced The Gaslight Anthem, and are putting their own spin on the genre and its distinct city influenced culture.

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How annoying are incredibly overrated records? There is nothing worse than hearing an album which you know for sure is nothing special and then jumping online to see an avalanche of hype, right? Wrong. Spare a thought for those bands missing out. While overrated records are certainly annoying, nothing frustrates me more than falling in love with a record that gets not nearly enough attention and praise as it should. Introducing Top Button, Bottom Shelf by Banquets.

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Ghost Robot Ninja Bear is Oscar Albis Rodriguez and friends - in the live spectrum that is. Recorded, Rodriguez can be dubbed a one man band. The Singles EP is a little sample of the variety and depth he is capable of.

This four track release begins with a hard hitting guitar riff setting the trend for many to come, both intricate and catchy, which follow in the next 12 and a half minutes. At times, Rodriguez is joined on stage for such captivating hooks by Rachel Rubino (Bridge and Tunnel), among others. However, when listening at home or in your car, the only assistance had was that of several producers including, Ali Hassan (engineer for Bouncing Souls and The Loved Ones). “One Pedal To Another” introduces Rodriguez’s gruff, yet polished vocals, applying to the genre overlap of indie/punk rock.

“Blood The Tango” shows a punchier side of Ghost Robot Ninja Bear that will certainly leave one foot tapping and humming the melodic yet slightly post-hardcore influenced track. “Staring At The Clocks” gives a pop-punk element to the EP, displaying Rodriguez’s flowing diversity in what is the strongest track on the EP.

Leaving a grungy impression in contrast to the previous track, “Carousel” reminds the listener as the release nears finish that no two songs sound the same, especially when surprising growls are used half way through the track.

The Singles EP is refreshing in the sense that it’s comforting to hear a release that differs from song to song, avoiding staleness, the trap that many bands in the genre subconsciously fall into while creating, even on an EP. Creativity is not lost.

It’s a common misconception that stability and reliability are the safest and most rewarding qualities that we should strive for in our lives. The promise of an inviting bed and a hot meal at the end of the day are comforting ideals, things all people deserve. But to really feel something, to endure the surprise and adrenaline of the unexpected keeps us on our toes. In this way, Larry and His Flask bring refreshing flavor with their music. Where the industry is lacking individuality, unique musical texture, and something to proudly blast on the car radio, Larry more than picks up the slack.

All That We Know could easily be described a frenzied, fast-paced, multi-faceted balancing act of genres sewn together with precise musicianship that is “finger-pickin’ good.” Moving from roots in classic country to bluegrass infused with vocals not unlike Sublime’s Bradley Nowell providing pure melodic hooks, Larry and His Flask have accomplished what many more weathered acts would probably fail at: creating a record that transitions fluidly from one song to the next without becoming sloppy and disconnected in the process.

“Land of the F(R)Ee” opens up like something Johnny and the Devil would have battled to down in Georgia, with banjos and head-spinning picking parts supporting the lyrics “I see the blood-red dust on his soul. His tired boots are as black as coal,” but by the time “Manifest Destiny” begins with trumpets blaring, we’ve come full circle back into a place of rhythm, Mardi Gras, and more banjo-picking to boot (but still managing to round out the track with rag time style piano cued up to an old Dudley Do-Right film).

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Sick of The Dangerous Summer and their high school drama? Listen to The American Scene. They’re frequently compared, but unlike their peers, The American Scene haven’t incorporated all of that alcohol induced, internet fuelled garbage; Instead they have focused on their comforting blend of indie rock/ pop punk. This is what we call “music” - the important stuff which believe it or not matters, despite the evil threats of appearance and avoidable drama many bands class as a higher priority.

The American Scene doesn’t need an association like that to be as confident and solid as their group is though. The settled quintet from Berkeley, CA are poised and self-assured in what they do, and rightly so. The music The American Scene gives to us is significantly more forward-thinking than their peers.

The band’s debut on Pure Noise Records, By Way Of Introduction, deals with the idea of distance, both physical and emotional. The album kicks off with the title track which serves as a promising introduction to a record that flows with optimism. Seamlessly rolling into “Did You Hear About Your Friends In California?” The American Scene present punchy, catchy riffs whilst keeping a soothing element courtesy of vocalist Matthew Vincent.

Vincent’s vocals are reminiscent of the respected Kenny Vasoli (The Starting Line, Person L) and indeed, AJ Perdomo (The Dangerous Summer) in tracks such as “Home” and “Marty McFly, Nostradamus, and I” which contributes an uncontrollable foot tapping and sing along combination to a record that is incredibly polished for such a young band. Like many songs on the album the track is easily relatable, recalling stories experienced when growing up such as, “Well, I remember being good at looking to the future/ But, I’m always burying my heart in places apart/ From where I lay my head.”

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Hot Lights opens with a jarring and somehow symphonic bang. It is complete with an entire strings section and horns, a deep, grimy back beat, and a sky-scraping voice anxiously vociferating lyrics to its listener. The new EP starts off with “Because I Know”, a song that lets the audience know what Viper Creek Club is all about.

Though the group is heavily influenced by hip-hop, it seems much less apparent on their forthcoming 6-song EP than it has in their previous albums, Letters and Viperlust. Rather than resonating earthy beats and gritty rhymes, Hot Lights takes inspiration from electro-indie superstars like Phantogram and Justice, while vocals by Seattleite Mat Wisner echo a post-scene masters like Taking Back Sunday and more currently, 3OH!3.

Based around a city’s party scene most of the tracks on Hot Lights are upbeat and dancy; however, it closes on a rather somber note with “In The Living Room.” This song is the one that speaks to me most, perhaps because it gives listeners a taste of Wisner’s true artistic abilities; as opposed to featuring more repeating, thumping beats and overarching clichés, this song reveals Viper Creek Club’s atrophied love life and ambivalence toward what the future holds. Ending the EP on this note is perhaps one of the best choices Viper Creek Club made during production of this project. It shows us that the duo has much more talent than shirts-off-slam-drunk-party boys, and that in fact there is a deeper meaning to the music they make; perhaps more importantly, there is a greater artistic ability.

Overall, Viper Creek Club’s electro-pop, funky-disco-dance-your-ass-off sound is cohesive throughout the album, with the voice samples exceptionally well (“Count It Out”), and purposely ambiguous yet simple lyrics like “This is what is good/ Your skin on mine in the living room” will abide with listeners and keep them looking out for Viper Creek Club. Hot Lights drops February 14th. Buy it and dance, dance some more, mellow out in the end and then start it again.