"With no lights on and no body or soul, you've made a joke of every fucking body you know"

Produced by the incomparable Speedo (John Reis) of Rocket From The Crypt fame, This is The Computers continues the blaring sonic assault established on You Can't Hide From... by The Computers. Speedo also happens to contribute baritone guitar parts and keyboards to many of the tracks on this album, which was recorded live to tape.

Musically, The Computers play high energy, balls to the wall rock and roll and care very little about what anyone may think, which the band acknowledges in the song "Yeah Yeah Yeah" with the lyrics, "We want to make something we care about and need to create something that matters to us. Be fucking rebels or fucking revolutionaries. We are going to rock any way we see fit." Songs like "Music Is Dead" and the previously mentioned "Yeah Yeah Yeah" touch upon the band's feelings and ethics on music with such unbridled passion that you can't help but to scream and shout along with vocalist Screaming Al Kershaw, while songs like "Rhythm Revue" will leave you breathless from dancing your ass off. 

If you like raw, ferocious music with a classic rock and roll swagger, you might want to do yourself a favor and put on your dancing shoes because these four boys from Exeter know what they're doing.

Verdict: 5/5

Sounds like: Rocket From the Crypt and The Bronx had a lovechild that was raised on classic rock and roll

Favorite Tracks: "Hot Damnocles," "Rhythm Revue," "Yeah Yeah Yeah," "Music is Dead"

"And now she's shaking and drying her tears on her sleeve, where her heart used to be."

Freeze the Atlantic, which contains ex-members of Hundred Reasons and Reuben, recently dropped their debut EP, Colour by Numbers. As a fan of Reuben, I looked forward to some fairly impressive music. What I heard, however, was music and vocals that felt like something I would have listened to in high school.

Still, there are moments that make this a promising preview of things to come. The last half of "Waking Up" is very Reuben-esque, which can never be a bad thing, and flips the song around completely. Jon Pearce and Guy Davis are a strong rhythm section and stand out clearly in the mix, while vocalist Chris Knott, who at times gives off a Patrick Stump feel, really shines on "Broken Bones (acoustic)." The guitar work, however, isn't anything above average, which is a shame due to the fact that Andy Gilmour can do so much more for this band.

Overall, this is a decent debut and I look forward to hearing more from Freeze the Atlantic. Hopefully, it will live up to what fans of the members's previous bands know these guys are capable of.

Verdict: 3/5 Alibis
Sounds like: High School
Favorite Tracks: "Waking Up," "Broken Bones (acoustic)"

"Kingdoms will rise and fall and we'll be the same as before"

Let me just preface this article by telling you what I went through to review this album. I pre-ordered Pedals by Rival Schools on the 4th of March, four days before it was set to be released, and didn't receive it until the 25th of March. Not to mention it took three emails before I got any sort of response from the record label pertaining to my order, but I'll tell you what, I'd wait that long all over again.

After nearly a decade, Rival Schools finally released a follow up to 2001's United by Fate with Pedals. Instead of trying to rehash or imitate what they sounded like ten years ago, Rival Schools brings to the table an album that keeps the band's signature post hardcore/indie/alt rock sound but with enough tweaks to show that the members of this band have grown since their debut. In comparison to United by Fate, the approach Rival Schools takes on Pedals isn't as energetic, but it's alot more melodic and this works for them. Pedals sounds far more focused and confident than before, which is evidenced in songs like "Shot After Shot," in which the guitar riffs sound like something Queens of the Stone Age's Josh Homme would have written. Tracks like "Choose Your Own Adventure," which uses both synths and organs to create what I feel is one of the best tracks on the album, and "69 Guns," which sounds like what would happen if The Clash were a dance punk band, show the bands willingness to experiment with their sound.

Walter Schreifels's lyrics are well written and are more focused than they were on United by Fate. Schreifel's lyrics vary from first to third person, but always feel as if you're getting a peek into his personal life. You can see this in "Wring it Out" alone, with lyrics like, "You told me long ago to leave fate to itself, but I'm gonna need help/ The coast is clearly not on my side now, if it ever was" and "I have battles in my life to keep me distracted, or just a lame excuse for acting how I acted/ Pushing you away, it was too high a price to pay, I can see that now for miles and miles."

I, for one, hope that this isn't just some one-shot album Rival Schools did just to see if they still had it and they continue to release new material. We can only wait and see, but one thing's for sure, there's no way I can wait another 10 years for another album.

Verdict: 4/5 Small Doses
Sounds like: A summer soundtrack
Favorite tracks: "Wring it Out," "Choose Your Own Adventure," "Shot After Shot," "A Parts for B Actors"

"We are the orphans of the American dream"

Rise Against's 2008 album Appeal to Reason met with disappointment from fans and critics alike. The band was accused of straying from their hardcore punk roots to venture into the mainstream. With the obvious pop sensibilities, slower songs, and catchy hooks, they seemed to be losing touch. Now the band is back with the release of Endgame, which I was more than a little bit skeptical about. Instead of reverting back to the musical style heard on their pre-Appeal to Reason albums, the band polished that new sound, making it harder and more in-your-face. The result is an impressive, energetic album full of politically charged anthems that are surprisingly easy to relate to.

Rise Against's musical growth from album to album is blatantly apparent, and their most recent effort is no exception. Though the band has let go of the raw sound of old, their music is still essentially hardcore punk. Songs like "Midnight Hands," "Survivor Guilt," and "A Gentleman's Coup" feature guitar riffs and drums that stand out from the rest of the album and show what the band is truly capable of. The vocals on the album are exactly as expected -- gravelly singing with a few screams thrown in -- and the songs are rife with poignant lyrics. One thing I've always admired about Tim McIlrath's storytelling is his ability to place himself in the situation. Many of the lyrics are written from a first-person perspective, which is particularly powerful on "Make It Stop (September's Children)," a song that was written in response to the suicides of teens bullied for being gay. In it, McIlrath sings, "I'm done asking, I demand / From a nation under God / I feel its love like a cattle prod / I'm born free but still they hate me / I'm born me, no, I can't change." No matter what topic is covered in a given song, the message is always relevant.

Overall, Endgame is a solid album that serves as a reminder of what makes Rise Against special in a sea of fading hardcore punk acts. If you were disappointed by Appeal to Reason, this will certainly renew your love for the band.

Verdict: 4/5
Sounds like: One big call to arms
Favorite tracks: "Midnight Hands," "Make It Stop (September's Children)," "Satellite"

"Look alive, sunshine"

It's been four years since (the abomination known as) The Black Parade and My Chemical Romance have hit fans with a new concept album that is worlds away from their 2006 release. As if the hype behind this album wasn't successful enough in persuading me to give it a listen, the story featured throughout sealed the deal. Danger Days: The True Lives of the Fabulous Killjoys follows a group of individuals in a post-apocalyptic society of sorts, set nineteen years in the future, as they attempt to rescue a girl who has been captured by an evil corporation known as BL/ind, or Better Living Industries. Overall, the album is refreshing and fun, and effectively reminded me of the reasons I began listening to this band in the first place.

First of all, it takes a great deal of creativity to come up with a story like the one presented on this album and I'm thoroughly impressed with the delivery. The lyrics on the album, though sometimes nonsensical in nature ("Shut up and let me see your jazz hands/Remember when you were a madman?/Thought you was Batman/And hit the party with a gas can/Kiss me, you animal"), are interesting and, at times, strangely easy to relate to despite the subject matter. The music itself is more polished than on previous efforts, but not in a way that makes the band lose their spark. The synthesizer on songs like "Planetary (GO!)" and "The Only Hope for Me Is You" feels out of place at first, but after a few listens it seems to fit just fine. The low point on the album comes in the form of "Summertime," a love song with awkward placement, especially considering the song that follows is significantly harder and almost has a Jane's Addiction sort of feel to it. One of my favorite aspects of the album is the narration by Steve Montaño (also known as Steve, Righ?, guitarist of Mindless Self Indulgence) as the radio DJ Dr. Death Defying. The interludes act as updates on the Killjoys and really make the story come alive.

I must admit, this album surprised me and in a very good way. It's hard to believe this is the same band I became a fan of all those years ago with the release of I Brought You My Bullets, You Brought Me Your Love. Definitely worth checking out.

Verdict: 4/5
Favorite tracks: DESTROYA, Vampire Money, Save Yourself, I'll Hold Them Back
Bonus: The three-song EP, titled The Mad Gear and Missile Kid, that comes with the special edition of the album features songs that are reminiscent of the band's older sound

"Enrich the fallow soil with germs of perfection"

In honor of Bad Religion's 30th anniversary, SPIN Magazine and MySpace collaborated with various bands to put together a tribute album. As of October 19, the album has been available for download on the SPIN website... for free! The album features cover songs performed by a variety of artists, ranging from Guttermouth to Tegan and Sara to William Elliott Whitmore. With their politically charged lyrics and energetic delivery, there is no doubt that Bad Religion is one of the most well-known and influential punk bands still making music today. (Their most recent album, Dissent of Man, was released last month, by the way.) Could any of the covers on Germs of Perfection possibly do the band justice?

The answer, believe it or not, is yes. Each of the artists employs their own style to make the songs their own, which is what makes these covers so refreshing. Bands like New Politics ("Generator") and Riverboat Gamblers ("Heaven is Falling") don't stray too far from the original sound of the source material. However, others, like Switchfoot ("Sorrow") and Frank Turner ("My Poor Friend Me"), recorded acoustic covers that add new dimensions to familiar songs. The Weakerthans' version of "Sanity" might just be the strangest cover of them all, complete with bongos and an airy, folk sound.

In short, Germs of Perfection: A Tribute to Bad Religion is worth checking out. There's something for everyone on this album, whether you're a long-time Bad Religion fan, like myself, or a fan of some of the featured artists. Listen with an open mind and you might be surprised with the songs you end up enjoying.

Verdict: 3.5/5
Sounds like: What do you think?
Favorite tracks: "Suffer" (performed by Tegan and Sara), "Against the Grain" (performed by Ted Leo), "Better Off Dead" (performed by Polar Bear Club)

To download the full album for free, click here.

"I got a heart of gold, how could it break?"

If you're a fan of The Adicts you know that this band has been making music since 1975 and is the only punk band to be performing as long as it has with it's original line-up. If you didn't know that, well, now you do.

If you're already a fan of The Adicts, then there's really nothing for you not to love here. They still play the same type of light-hearted, quirky punk that you're accustomed to, while still managing to sound fresh and not like the same thing you've heard for the past 3 albums. Pete Dee continues to evolve his offbeat guitar style on this album, and the rest of the band sound as tight as you'd expect from a band that's been around for about 35 years.

Now, lyrically speaking, you're not going to find any deep or poetic lyrics here. The Adicts are, first and foremost, about having fun and they hit that mark as always. While some of the lyrics are often cheesey [I don't know what a "Reaky Deaky Boy/Girl" is and I don't want to know what a "Reaky Deaky Boy/Girl" is], you'll often find yourself singing said cheesey lyrics long

after listening to this album

due to it's infectious pop sensibilities. Vocally, Monkey, sounds as good as he ever has and there are plenty of whoas/ohs/et cetera to go around.

There are, however, some odd points on the album. "Gangster," while a cool song, doesn't sound like The Adicts and "Mr.Hard," is another weird one. The music is pretty awesome and sounds like The Adicts, but there's something about the lyrics/vocals that I don't enjoy as much.

If I can be honest, The Adicts are one of my favorite punk bands and, with that being said, I really thought that this album was going to be lackluster. In the end, it turned out to be a really fun and enjoyable album and I feel stupid for ever doubting The Adicts.

"Our message, such as it is, has always been, have fun. That's timeless and appeals to everyone." -Monkey

Verdict: 3.75/5 Reaky Deaky Boys

Sounds Like: A good time.

Favorite Tracks: "Over There," "Full Circle," "Tune In, Turn On, Drop Out," "Life Goes On"

"Push back with every word and every breath."

The long-awaited fifth album from punk band Against Me! is nothing if not a logical step up from their first major label record, New Wave. With new drummer George Robelo (of Hot Water Music) on board, it was almost a given that this album would be different from anything they've done before. The band's sound on the album is not only a big change, but many of the tracks on White Crosses come off sounding overproduced and lacking in passion.

One thing that seems to be missing completely from AM!'s new effort is the band's signature folk punk sound. What we get instead is a mishmash of boring guitar riffs and cookie-cutter drums -- probably the most disappointing aspect of the entire album. If you are expecting something that is musically great, you won't find it on White Crosses. This album also features the cleanest vocal delivery I've ever heard from lead singer Tom Gabel. This is neither a good nor a bad thing, and it definitely goes hand-in-hand perfectly with their new style. The lyrics, at times, are laughable, especially on "We're Breaking Up," in which Tom sings, "We used to like all the same bands. We used to have all the same friends. What do we have left in common? Just shared memories of good times long since past." Clearly, little room is left for interpretation and I would even go so far as to call it lazy songwriting. Alternately, the political issues touched upon in songs like "High Pressure Low" would probably fall on deaf ears.

The first two tracks on the album, title track "White Crosses" and first single "I Was A Teenage Anarchist," are solid songs that make for a strong opening. Unfortunately, it goes downhill from there. "Because of the Shame" tells an amazing story but something is missing in the music itself that would probably make the song good instead of just alright. The middle of the record is one huge 'What the hell?' moment, with songs that feature piano, strange background whispers and chants, and very little feeling behind the delivery. However, the band redeems themselves a little with the final three tracks, ending on a high note. "Spanish Moss" and "Rapid Decompression" are easily the catchiest (and maybe the best) songs on the album.

Overall, the songs on White Crosses don't flow well. It's as if the band wrote song titles on slips of paper, threw them into a hat, and chose at random, leaving a handful of sub-par tracks sandwiched in-between the better songs. Either way, at least half of the album is worth a listen or two; it might get old fast or it might grow on you.

Verdict: 2/5
Sounds like: Someone sucked the soul out of punk rock
Favorite tracks: "Bamboo Bones," "Rapid Decompression"

"Who does it better than we do?"

New Jersey's finest, The Gaslight Anthem, seem to be turning heads with the release of their third studio album. Multiple critics have even gone so far as to call it the "album of the month." I admit I was nervous when lead singer Brian Fallon spoke of a new writing approach the band would be taking this time around. It's true that American Slang boasts a slightly different sound than their previous efforts, but the final product won me over.

Rarely do I come across an album that I love upon first listen, but when it happens, it's magical. American Slang delivered the magic and then some. The album mixes beautiful storytelling with music that makes me want to shake it like I'm at a 1950s high school dance. Unlike on their previous albums (Sink or Swim and The '59 Sound), the lead guitar almost takes on a life of its own as it wails away in the background of the majority of the songs, a separate entity from the rhythm guitar, drums, and bass. It doesn't blend in to form a uniform sound throughout, but rather adds an extra dimension to each song. Brian Fallon's vocals are just as rough and soulful as ever, but at times reach such a high level of awesome that it barely sounds like the same man. His vocals especially shine on "The Diamond Church Street Choir," which proves that he's been holding back just a little.

The album opens with a bang as the powerful title track and first single, "American Slang," sets the stage for what comes next. Everything from the thumping drums to the background vocals chanting, "Give me fever! Oh, give me fever!" during the chorus fit so perfectly together to create an anthem full of raw emotion. The nine songs that follow are pure genius, featuring lyrics that are sometimes filled with pain and sometimes not, sometimes heartbreaking and sometimes uplifting. "Bring It On" even gave me chills when I first listened to it. The last track, "We Did It When We Were Young," feels a bit tacked on and out of place among the rest of the album, but still serves as an acceptable closer.

The Gaslight Anthem's songs always remind me of summertime and this album is no exception. I'm thinking it's no coincidence they released it with perfect timing to become my summer soundtrack.

Verdict: 5/5
Sounds like: Bruce Springsteen's alternative punk cousin, a warm summer night
Favorite tracks: "Bring It On," "The Queen of Lower Chelsea," "Old Haunts"