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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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.

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.

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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Picking favourites, whether it’s picking your preferred pet, sibling or Spicegirl (how good was Sporty Spice?), it’s something we all do but deep down tend to feel a bit remorseful about. When it comes to split releases I usually sway towards one side with a wave of guilt. This split is no different, but thankfully Balance and Composure and Tigers Jaw have weighed in almost equally, so I don’t feel too bad this time around.

The pair from Pennsylvania have each showcased their take on (excuse me as I dive into dangerous genre classifying waters) modern DIY emo/indie rock, with their own personal influences. Despite their differences each band employs clear passion via quite a dark and almost eerie feeling.

The Doylestown five piece Balance and Composure lunge into the octet with a section of chilling rhythm to serve as an introduction for vocalist Jonathon Simmons on the track “Kaleidoscope”. Simmons, one of three guitarists, sings with such grit and aggression, yet his ability to transfer to soothing, smooth tones is done in such an unbroken manner. There is an incredible amount of words in the English language but none suitable enough to describe the track we know as “Burden”. The five minute foot stomping track explores phenomenal chilling lows and forceful louds, although I never realised the track was so long until now, over a year since its release.

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Maybe you’ve noticed, maybe you haven’t… Positivexposure was, for the most part, in hibernation in 2011. But taking a break from sharing music doesn’t mean taking a break from discovering and taking it in! If you’ve been following Hailey’s reviews this year, this list will not surprise you, but you may discover some albums you missed this year.

#10 England Keep My Bones // Frank Turner
I have much respect for Frank Turner, who is an excellent song writer and an intelligent person. England Keep My Bones would have to be my favourite release of his. Turner is sincere and honest, as always, which is a quality I respect in people and music. “If Ever I Stray” is my favourite Turner song at the current moment; very relatable, catchy and blends acoustic and full band moments superbly.

• My pick: “If Ever I Stray”.

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Many hailed The Story So Far’s debut full length as pop-punk record of the year, ahead of genre heavyweights New Found Glory and The Wonder Years. For anyone, let alone a band who only recently graduated high school, this call would have been quite the compliment. A big call it may be, but with just one listen praises like this can rightfully and understandably be thrown around.

Under Soil and Dirt opens with “States and Mind”, a 50 second predominately instrumental piece which instantly showcases the progress since previous releases. The track flows into “Roam”, a highly addictive three minutes with an infectious chorus. “Quicksand” was our first introduction to Under Soil and Dirt which the band released prior to the album. It was a perfect indication of what was to come: pure pop-punk, nothing cheesy, no overload of gang vocals or trendy break downs. The Story So Far is everything you love about classic pop-punk with a modern spin.

The musicianship, which can be noted on “Swords and Pens” along with the outstanding “High Regard”, is clearly improved on this record. The latter features a crucial hook from guitarist Kellen Geyer and an initial drawcard to the band for me: honesty and aggression. Parker Cannon blatantly says with a sting, “F*** an apology I’m not sorry for anything/ I’ve been holding back my apathy for far too long/ You don’t deserve what you haven’t earned/ And your place in my heart has just grown so small.” I don’t know about you, but when I come across someone honest and straightforward I do my best to keep them close, so this is an attribute of the band that I certainly value. The Story So Far is honest. I’m going to keep them close and keep returning to these 11 tracks. Because of this, “High Regard”is one of my personal favourites. Entrenched in one of the most powerful choruses of the record is, “I’d like to think that you’re worth my time/ But you embody everything that I hate.” Angry enough for you?

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Plenty has taken place in the Man Overboard camp as of late. In the fourteen months since debut full length Real Talk was released, the New Jersey outfit experienced line-up changes, signed a deal with major record label Rise Records, and toured with some of the most recognisable bands in the genre (New Found Glory, The Wonder Years, Fireworks) at home and abroad. Despite these undoubtedly influential developments, Man Overboard’s latest self-titled release thankfully hasn’t steered the band’s sound off track to any kind of unfamiliar territory.

Lyrically, the twelve track record is considerably more mature, but like previous material the subject matter is still based on relationships and girls. In combination with this, Man Overboard haven’t lost their ability to write memorable songs. The catchy tracks are as captivating as ever to ensure sing-a-longs become second nature. Opening track “Rare” sports a distinctive pop-punk drum beat which is a clear indication that Man Overboard hasn’t greatly changed and therefore gives peace of mind to their hoards of fans. Both “Rare” and “Something’s Weird” are hard-hitting and reminiscent of older Blink-182 and New Found Glory whose chief lyricist Steve Klein produced the record.

The duel vocal duties of Nik Bruzzese and Zac Eiesenstein still work superbly. In tracks such as “Voted Most Likely” and “Picture Perfect,” the call-and-response style used is typical of 2010’s Real Talk. Lyrics used in the first the two tracks, “I try to understand / how you could be so normal / and I could be so awkward” present themes that most teens would easily relate to (or so Tumblr tells me). Opening with gang vocals, the first two lines of “Dead End Dreams” detail the catchy, girl-focused subject that Man Overboard consistently master – in just six seconds in this case. 

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Beetlejuice! Beetlejuice! Beetlejuice!, the most recent EP from Atlanta’s Campaign simply conveys what I like to call, ‘the lot’. The five piece reach out and sample the best elements of several genres and thoughtfully place them together for a fun, passion-filled EP that finishes all too soon. 

Opener “Old Haunts” gives us an excellent taste of Campaign’s ultimate melodic punk/hardcore based combination. Vocally we’re given a scoop of raspy tones to accompany the sound that Campaign master so well. An inclusive shot of gang vocals and some woah-ohs along with a stint of cheery hand claps add a little pop-punk to the mix. Not joining in with the claps is near impossible and fighting the urge to shout, ‘Old records / cheap wine!’ proves difficult.

“Old Thrills” is rawer, louder and more fast paced, really complimenting the vocal side of Campaign. In just under 2 minutes the fist pumping, foot stomping steady drum beat is well cemented in the mind.

This heavier song is book ended by second upbeat song on the EP, “Old Blues”. Its chorus is able to get a bit of grooving going on, especially with the return of some woah-ohs and claps in its chorus which can be dubbed as the crucial seasoning for a catchy upbeat Campaign tune. The duel in your face vocals in this track, as well as in EP closer “Old Mess” can be likened to those of Alexisonfire and the general melodic hardcore/punk sound to current leader of the genre, Make Do and Mend, as well as the influential Hot Water Music, who undoubtedly had a great impact on Campaign.

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Occasionally a new band bursts onto the scene and each inch of you is ridiculously confident that this band will take part in something called world domination. Since the very beginning, even those who don’t necessarily get excited over fresh bands have been hyping on about Melbourne’s Dream On, Dreamer, and rightly so.

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