THE JAM

"in the city"
Year:  1976
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

"in the city" is the debut studio album by british mod band The Jam. It was released in 1976 by Polydor Records (Universal) and featured the hit single and title track "In the City". Weller's guitar style on the album is very much influenced by Pete Townshend and Wilko Johnson. The album includes two cover songs, "Slow Down" and the theme to the 60s television series, "Batman", the latter of which had also been previously covered by The Who, The Kinks and Link Wray. The band was the most well known of the british mod revival happened from 1977 to 1982, and they were inspired in the 60's music but also strongly influenced by punk rock in some aspects as: speed, raw sound, simplicity and conscious lyrics, social issues, working class, etc. In their third album The Jam became closer to classic pop and new wave.

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"this is the modern world"
Year:  1977
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

"this is the modern world" is the second studio album by British band The Jam, released in November 1977. The album was released less than seven months after their debut album, In the City. The front cover photography was by Gered Mankowitz. As its predecesssor this second The Jam album keep quite similarities both, of 60's music and punk rock as their congenres. It's difficult to choose one of them, because both are very similar.

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"all mod cons"
Year:  1978
Label:  Universal
Format:  CD , LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

The Jam continues here with their usual lyrical themes: love, scooters, social issues, working class pride, etc. but strictly musical they started to move to sounds softer, smarter and cleaner than their two first albums. This is also an essential The Jam album no doubt.

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"setting sons"
Year:  1979
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  34 min.
Genre:  rock
Style:        Mod Pop






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"sound affects"
Year:  1980
Label:  Universal
Format:  CD , LP
Tracks:  11
Time:  33 min.
Genre:  rock
Style:        Mod Pop








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"the gift"
Year:  1982
Label:  Universal
Format:  CD, LP
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Mod Pop








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"Tribute"
Year:  1996
Country:  various
Label:  Flavour of Sound
Format:  CD
Bands:  16
Tracks:  16
Time:  40 min.
Genre:  rock
Style:        Mod        Punk





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"Tribute"

Year:  1999

Label:  Ignition

Format:  CD, LP

Bands:  12

Tracks:  12

Time:  36 min.

Genre:  rock

Style:        Indie Rock

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SCARBORO

"here comes the hangover"
Year:  2017
Country:  US
City:  New York
Label:  WTF
Format:  CD
Tracks:  14
Time:  28 min.
Genre:  rock
Style:        Punk        Hardcore

After a demo and EP, this Brooklyn three-piece Scarboro is back with a brand new offering of fourteen hardcore punk tracks. Their full length debut Here Comes The Hangover follows on the heels 2014’s four-song EP, The Safeword Is “Yes” and it is an album not so concerned with capital “P”. Instead, these guys vent more about scene politics, debauchery and douche bags, drinking all-night and vomiting, and sorting out who fucked whom. As grim and juvenile as that subject might sound, it comes across as at least a little refreshing that someone, in this case axe wielding vocalist Shi Heng Shi, can ponder the virtues of malt liquor and black lipstick in the era of autocratic rule and alt-facts. My place isn’t to tell these earnest drinkers that some pencil necked poser puking on their oxblood Doc Martins isn’t song worthy. In fact, in my evolving theory of art and commerce in the Donald Trump is that these types of songs will, before too long, be welcome respite. The New York punk scene has been a hot bed of pissed off creativity since the movement began in the late 1970s. While Here Comes The Hangover harkens back to those classic days of Bowery life and characters, it falls short of placing the band into that pantheon. The record is decent, but it is woefully inconsistent. The most memorable tracks, “One Heart One Mind” and “Downward Spiral” to name a couple, actually feel more LA punk influenced, like early Rancid records really had a bigger influence. The best songs are those exhibiting more developed, fleshed out ideas, like “Archangels” and “Panic At The Cisco” but too often the band spews volume instead of quality. Here Comes The Hangover won’t come off as drab to the true hardcore fan. It’s vibrant, pissed off and undeniably loud but it’s not going to re-write the rules (*NOTE: this review was written by Eric Mertz )

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ED GEIN

"smoked + bad luck"
Year:  2017
Country:  US
City:  Syracuse
Label:  Hex
Format:  CD, LP
Tracks:  16
Time:  30 min.
Lyrical themes:  social issues, politics
Genre:  rock
Style:        Grindcore

It’s always nice to see that cover art isn’t a dying detail in today’s downloading-obsessed times, and this latest from grind/hardcore guys Ed Gein entices with not only an excellent album title, but very cool art as well — showing humans with Mack trucks as heads. This New York-based trio are armed with a political lyrical edge to boot, which helps give an extra push to their tunes. With an equally skilled take on grind, hardcore, punk and sludge, Ed Gein tend to keep their songs short and sadistically violent. (The band’s motto, after all, is "Go fast!”) With all three members singing, the urgency of the frantic music is escalated into realms of AmRep-style noise rock and angry punk; while no one player sticks out as being particularly proficient on his instrument, the three no doubt gel together perfectly. With cool, angular, driving bass lines keeping the rhythm underneath the noise, this never degenerates into something too unhinged; although the listener would be hard-pressed to remember one of these songs when all is said done, it still resembles music. Somehow managing to pay homage to both Unsane and Napalm Death at once. The band's lyrics, primarily written by bassist Aaron Jenkins, are politically charged and features social commentary, on topics including racism, sexism, homophobia, animal liberation, etc. this bass-heavy, extremely cathartic release is highly recommended.

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THE METHADONES

"not economically viable"
Year:  2004
Country:  US
City:  Chicago
Label:  Thick
Format:  CD, LP
Tracks:  12
Time:  39 min.
Genre:  rock
Style:        Pop Punk

The third full-length from The Methadones and second from the solidified lineup of Dan Vapid (Screeching Weasel / Riverdales / Sludgeworth), Mike Byrne (ex-Vindictives), Pete Mittler, and Mike Soucy finds the band taking a somewhat different route than the band's past endeavors. "not economically viable", an album loosely based on the movie Falling Down (in which a disgruntled office worker takes revenge on those causing his disposition), takes cues from both classic punk (yes, they still channel the Ramones a good deal) and the mature side of 90s pop, both likely due to Vapid's past projects, and is a little more guitar-driven this time around, with scattered solos thrown about, and devoid of any post-20th century influence whatsoever. Hower, despite the album being overall a strongly solid, forty-minute chunk of pop-punk, there's some noticable filler in the early-to-mid setting, . Nearly every track on the disc is catchy, even if the record ends up suffering from "every-song-sounds-the-same" syndrome as a result. "bored of television," "mess we made" and "million miles" are three of the best examples showing off the band's inherent ability to hook you like sidestage cane antics, but to be honest, it's tough to say how much lasting value the record as a whole has. The first couple spins I found myself relatively enjoying the album, if not drifting off around the aforementioned filler parts. Flash foward several listens later, I still drift off towards the same parts, and the ones I enjoy just seem less overwhelming than they were at first. The themes the album claims to have loosely attached itself too are even then a bit abstract to be noticeable - except for "Suddenly Cool," with its comments towards "climbing the social ladder" - and don't do much, if anything at all, to reward close attention to such. "not economically viable" is a brilliant album and perhaps the band's best effort (*Review by Brian Shultz).

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THE BROKEDOWNS

"life is a breeze"
Year:  2014
Country:  US
City:  Chicago
Label:  Red Scare
Format:  CD, LP
Tracks:  16
Time:  36 min.
Lyrical themes:  politics, parody
Genre:  rock
Style:        Punk  Rock

"To describe The Brokedowns as just another Midwestern pop-punk band would be to sell the Elgin, Illinois four-piece extremely short. Yes, they are from the Midwest, and yes, there are more than enough hooks and sing-along choruses to check all of the pop punk boxes, but there's so much more too, from impassioned shouts to clever, pointed lyrics, and it's all deftly assembled on Life Is A Breeze. The record shows a band that, after a period of evolution, has figured out a sound all its own, and is now making the most of it. If you are familiar with the band's past output, then you are already aware that after starting out with a heavier sound on early records, The Brokedowns infused much more melody, to great effect, on their previous full-length, 2010s Species Bender, and on a number of subsequent split 7-inches. On Life Is A Breeze, the band sticks with that sound and seems quite comfortable doing so. The record kicks off with Joliet, the Maui of the Midwest, which serves as a sort of a tourism jingle for the band's home region. It lays an effective foundation before the record launches into a series of standout tracks. The Gospel of Mustafa, Life Is A Breeze, "murder junkie/CPA" "everything is immoral" are all as good, if not better, than anything on "species bender", and "murder junkie / CPA" specifically hearkens back to that record with its similarity to "loyal looper" (theme from renegade), which is no bad thing. Unfortunately, there's little time to come up for air, as the next handful of tracks, starting with Born on the Bayou Too, are just as strong. In fact, the quality stays high all the way through to the closer, "a child's guide to Black Metal". As a whole, Life Is A Breeze is an extremely satisfying follow-up to Species Bender, taking everything that was great about that record and building on it. The one shame is that, coming so late in the year, Life Is A Breeze is likely to miss out on a spot on many year-end lists. It's certainly an honor lost, though I'm not so sure The Brokedowns care about that sort of thing (*Review writen by Adam Eisenberg)

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WESTERN ADDICTION

"frail bray"

Year:  2022

Label:  Fat Wreck Chords

Format:  CD,LP

Tracks:  11

Time:  30 min.

Genre:  rock

Style:        Punk Rock

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 "tremulous"
 Year:  2017
 Couuntry:  US
 City:  San Francisco
 Label:  Fat Wreck Chords
 Format:  CD, LP
 Tracks:  11
Time:  33 min.
Genre:  rock
 Style:        Punk Rock

Punk? yeah, but also big doses of hard rock, garage rock or simply classic rock'n'roll. Tremulous: to display timidity or nervousness, or shake or quiver slightly. It’s an odd word, one not used commonly in the modern English language - you’re far more likely to come across it in James Joyce’s Ulysses, for example, than in your average hardcore record. But here we are, with Western Addiction’s new full-length, Tremulous, an album embodying the anxiety, dread, worry and anguish omnipresent in modern day America. "The word ‘tremulous’ just felt right,” says frontman Jason Hall. “It sums up the theme of the entire record in one word.” Hall puts a premium on the words associated with Western Addiction; every song tells a story, sometimes with uncomfortable specifics and every title and lyric is meant to resonate with the listener on a different level.

With Tremulous finally out in the world, Hall’s goal for 2017 feels surprisingly attainable while at the same time emotionally exhausting. “I want our band to be understood,” he concludes. “I don’t think we’ve ever found our people. We’re in this netherworld of punk: We’re not poppy, we’re not fun, we’re loud but we’re not a metal band, and the truly crazy hardcore bands would probably think we don’t fit in. I just want to be understood".

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