Green Day - Revolution Radio

Many would've thought the bomb of the ¡Uno!, ¡Dos!, and ¡Tré! trilogy and Billie Joe Armstrong's rehab spelled the end of the punk rock legends Green Day. Those ideas have been vanquished, as the band's new album Revolution Radio sees them regain their footing.

As Armstrong claimed, the trilogy had "absolutely no direction to them" and were trying to "be prolific for the sake of it," and there's a lot of merit to that. The albums were just a collection of aimless tracks, with no rhyme or reason to them besides the statement and implication of an album trilogy. That disappointment is being them, Armstrong calling Revolution Radio "not so much a makeover as a make under."

Another true statement. The band's recent outputs since American Idiot have been slammed largely because of their failed attempts; 21st Century Breakdown was a second try at a rock opera, and I've said enough about the trilogy already. Revolution Radio returns to the roots of what made Green Day great: songwriting, energy, and character. Lead single 'Bang Bang' - read our in-depth track review of it here - ignited that flame again, rejoicing fans at its politically charged lyrics and high energy riffs. The instrumental's fantastic, a pure mix of alternative rock and punk coming into one energetic track. The song even experiments a little bit, with an eastern influenced bridge, providing a dramatic moment without sacrificing the momentum or message.

Momentum is carried forward with 'Revolution Radio', another single from the record. The fun guitar moments that imitate the melody of the vocals with other little tidbits in between to keep the song going and interesting. Like 'Bang Bang', it's another political statement on social media, but in a positive light rather than a reprimanding one. Other big moments on the record include the true punk riff of 'Bouncing Off The Wall' and the big rock vibes of 'Say Goodbye' that won't fail to pump you up. The great and big choruses of 'Troubled Times' also have strength in its groovy feel and huge output.

The softer moments on the record give some depth to the record. Single 'Still Breathing' is the prime example. It's this album's 'Boulevard Of Broken Dreams', but with the Revolution Radio twist. There's three distinct characters of the song: a child, a soldier, and a junkie at the end of his ropes, all connected by the familiarity with the world's chaos. They all understand that everything may seem horrible and at their end, but as stated in the chorus, which chants, "'Cause I'm still breathing / 'Cause I'm still breathing on my own / My head's above the rain and roses / Making my way away," life will go on and get better as long as they stay positive.

Another ballad-esque song is 'Outlaws', which feels like it came straight from American Idiot in tone. It feels as though this album and American Idiot are joined at the hip, both having the same function but growing independently of each other. There's political confusion and anger present within both, yet they each have their own separate narrative beyond that. Acoustic number 'Ordinary World' ends Revolution Radio, made for Armstrong's movie of the same name rather than the album, speaking of his character's undying punk rock dreams staying true to this day. It almost stays in tune with 'Still Breathing' in a sentimental way. The album opens similarly with 'Somewhere Now', its acoustic folk intro calling back to his folk collaboration with Norah Jones before kicking into its message.

Green Day are back if Revolution Radio has anything to say about it. Gone are the days of gimmick and lackluster attempts at a part two. Politically charged and fired up as ever, the flame within the band has been reignited with a new passion and drive. The band's no longer on the road to demise; rather, they're heading down the road to revolution.

Favorite Tracks: Still Breathing, Bang Bang, Revolution Radio

Least Favorite Track: Youngblood

Rating: 84 / 100

My Chemical Romance - I Brought You My Bullets, You Brought Me Your Love

Roughly ten years ago, one of the biggest bands in the history of music released one of the most influential albums in the history of rock. But before that, they had to begin somewhere. It has been a decade since My Chemical Romance released The Black Parade, but besides a select few songs, the songs preceding that album aren't as well acclaimed.

That being said, it's not hard to see why that's the case for the band's 2002 debut, I Brought You My Bullets, You Brought Me Your Love. The album is a tragic cross between edginess and some good ideas, but neither points are actually achieved throughout the record, making the album almost widely forgettable until you look at its purpose.

Musically, there really isn't much going on that's special. There's a lot of uncertainty in the album, and its evident through the sound. The album's rawness plays into that. Unlike future MCR albums to come, I Brought You Bullets misses the grandiose of its successors and focuses more on the "emotion-through-tone" aspect. The instrumentals are often times brooding and fast-moving without much work done on them to clean up. The work isn't sloppy, but it's definitely not tight, either.

The first examples of rawness are in 'Vampires Will Never Hurt You', the big drive and solid guitar work feels wholly unpolished but still fits the context of the song with its edgy, throaty screaming from Gerard Way in front. 'Vampires' is almost like a precursor; it has traces of that signature creepiness that always gave MCR's music very Tim Burton-esque. The edgy textures follow through in 'Drowning Lessons', focussing more prominently on melodic guitars while still maintaining the off-kilter vibe.

The album isn't pigeonholed into one type of sound. That's a big thing for a debut, especially of its time. There's the lo-fi Spanish acoustic intro of 'Romance', which is almost misleading of the album but carries the sentiment expressed within it. 'Our Lady Of Sorrow' can be most easily described as a form of "dance metal," the guitars interesting and heavy with a driven beat that has a slight groove to it. If Gerard wasn't screaming like a dying frog, this song could've been something really interesting. The entire sound of the album is contrasted by 'Early Sunsets Over Monroeville', the bright, cheerful guitar shining above Way's flowing melody. The song is somber yet clean. The album's closure 'Demolition Lovers' - the subjects of the accepted headcanon of the story, discussed later on - is a longer song, starting quietly and with a defeated vibe before building into one final burst of energy and anger to close the album. There's different parts and levels to the song that give it some character, giving the album a fresh ending.

I Brought You My Bullets takes on a different dimension if you take the story into account. The story, while unofficial, turns the album into a concept album. A simple yet effective tale, the album tells the story of two lovers running from an enemy before ultimately being gunned down in the desert. The story is picked up in the band's sophomore album, but I Brought You My Bullets ends in defeat. His girlfriend dead, descending to Hell and he being trapped in purgatory, it's a tragic ending to a thrilling story put to bad screams and volatile instrumentals.

The theme of love and chasing it, or in some cases destroying it, is definitely present throughout the record. The story starts with the character acknowledging in a selfish manner that the relationship will only fail in 'Honey, This Mirror Isn't Big Enough For The Two Of Us', the chorus clearly stating "And you can cry all you want to / I don't care how much / You'll invest yourself in me / We're not working out." The Black Parade explored the acceptance of death, while the band's first two explore immortality. This becomes more evident in Three Cheers For Sweet Revenge, but the lead up is in I Brought You My Bullets. Undying creatures such as vampires and causes of death including drowning are evidence of the exploration of death, how to escape it, and what it means.

Some songs don't fully play to that concept, though. Particularly, there's 'Skylines and Turnstiles', the song that is set off My Chemical Romance. Inspired by Gerard's witnessing of the September 11, 2001 World Trade Center terrorist attacks. The lyrics discuss whether or not forgiveness can be sought out, and whether or not there is hope for justice. Way shows that there is unity amongst the people, that no one is alone, but can't beg but ask whether or not there is hope to be found, the chorus pleading "This broken city sky, like butane on my skin stolen from my eyes / Hello, Angel tell me, where are you? Tell me where we go from here."

My Chemical Romance's beginnings may not have been perfect, but they stood as precursors to what was ahead. I Brought You My Bullets, You Brought Me Your Love is a confused record, but its struggle with identity birthed something unique, unbeknownst, at the time, to both the band and listeners. It's a hit or miss record, unfortunately, but its importance cannot be ignored.

Favorite Tracks: Vampires Will Never Hurt You; Demolition Lovers; Honey, This Mirror Isn't Big Enough For The Two Of Us

Least Favorite Tracks: This Is The Best Day Ever, Cubicles

Rating: 68 / 100

We're reviewing My Chemical Romance's discography this month - check in next Thursday for our review on Three Cheers For Sweet Revenge!

Twin Atlantic - GLA

Part of your home will always be inside you. The environment of where you were raised built you. Your idea of home is what it taught you. Music tends to shape the culture of many places across the world. Twin Atlantic hoped to thank their home of Glasgow, Scotland in their newest album, GLA.

GLA is Twin Atlantic's fourth record, so their sound has been honed and it's very clear that they know how to own it. Right off the bat, you're thrown into 'Gold Elephant: Cherry Alligator' with it slamming beat and big guitars. Sam McTrusty's vocals aren't perfect, but they're just the right amount of imperfect that it adds that punk flair to the track without it being able to be brushed off as lazy or unprofessional. The bridge builds up epically, McTrusty's vocals and a thick bassline being the only sound as the elements of the song come back together for one big explosion to the end the track.

There's just the right amount of punk on this record to give it that extra punch as a whole. Huge, crunchy riffs dominate a lot of the tracks on the album. 'No Sleep' has a big riff that brings the chorus together into a big rock uproar. Crunchy guitars are the signature of 'You Are The Devil', as well. 'I Am Alive' has choruses with soaring vocals above massive bassy riffs, the groovy track climaxing with that huge riff that reprises itself throughout. An anthemic presence can be found in 'Overthinking' within its big choruses, as well as in 'The Chaser' and its epic guitar solo. The latter of two has a very big call-to-arms vibe in it, showing that the energy doesn't falter at any point of the record - it's incredibly consistent.

The softer moments of the record are just as brilliant as its most upfront moments. The acoustic 'A Scar To Hide' is the only track with a fully stripped-down instrumental. It's just an acoustic guitar, McTrusty's vocals, and an absolutely gorgeous orchestra backing it. There's not many songs that utilize strings on this record, which really is a shame considering how beautifully they implemented them in. 

The last song on the album isn't acoustic but it isn't the most upfront. 'Mother Tongue' uses just a crunchy guitar and eventually the beautiful orchestras of 'Scar'. It's an ode to Scotland, McTrusty singing about how powerful the band's bond is with their home country. Its lyrics are some of the most powerful on the record; while most of the album is focusses on pumping you up and building power, 'Mother Tongue' is the song that is the dedication to their home. It becomes powerfully apparent with the chorus, which chants, "I've been lonely / I've been holding out for days / I miss your spirit / I am more than just a name / Our blood runs deeper / Our blood runs soaked in our mistakes."

Twin Atlantic make it very apparent that their home is what shaped who they are. GLA is an album that really captures the sound of Scotland. It's rebellious yet still has a sense of pride throughout it. Its ending number sums it all up with powerful imagery, closing the record on a very personal note. It's up there in all the bests of the band's discography. There's a lot of heart in this record, and that's half of its charm.

Favorite Tracks: The Chaser, Mother Tongue, A Scar To Hide, Overthinking

Least Favorite Tracks: You Are The Devil, Missing Link

Rating: 79 / 100

Zack de la Rocha - 'digging for windows'

It seems Rage Against The Machine is coming back this year in every way except a reunion. After Tom Morello and co. formed Prophets Of Rage earlier this year, their former lead singer has been busy at work making his own tunes. Zack de la Rocha is finally here with his debut single, 'digging for windows'.

It's safe to say that the song is better than a majority of Prophets Of Rage's debut EP (see our review here). It's not perfect, though. It has a lot of swagger and an interesting electronic based instrumental. It's reminiscent of RATM's typical in-your-face vibe, but not in the same flavor. 'digging' depends on thick, distorted synths with the subtle additions of backing guitars and synth arpeggios later on. It's a less chaotic Death Grips song, really. It definitely has the punk vibe paired with it, though.

Zach de la Rocha may have been out of the game for awhile, but he sounds just as energetic and angry as he was in his prime. It was seen when he featured on Run The Jewels' 'Close Your Eyes (And Count to Fuck)' on 2014's Run The Jewels 2 that de la Rocha wasn't out of the game just yet. Coincidentally, it was El-P from RTG who produced the track! The production of the track is perhaps one of its highlights; it's electronic and experimental hip-hop with just enough anger to still give it the punk rock vibes from RATM. 

The song is pretty upfront with the lyrics; in fact, it starts off with him saying that he isn't here for cheerful lyrics - he's in it for some madness: "Fuck that bright shit / The spot or the flashlights / We in L.A. ducking both / In the shadows with lead pipes." The song deals with the narrator being caught by the cops and being taken to prison as well as falling into hard and unfavorable situations in life. He's angry at the corruption of it all, and calls out the big corporates: "Rise every time my cherry glows / On the end of my cig as / The smoke blows through the bars / And the C.O.’s laugh fades / As he strolls away / Says I gotta pay / Off that roll away / Or it's fuck your visitation days." The lyrics are edgy enough to harken back to that angsty yet relevant tone that RATM always had. 

Prophets Of Rage has nothing on Zack. They may cover Rage Against The Machine, but they're missing the main man that made the songs so real. The song has been confirmed to be the lead single of a yet-to-be-announced LP, and this song shows a lot of positive signs. 'digging for windows' is a great return to music for Zack de la Rocha. Now, we wait. This is the true return of Rage Against The Machine - not in the way we expected it, or necessarily wanted it, but the way we needed it. 

Rating: 81 / 100

PUP - The Dream Is Over

Punk rock outfit PUP is back with their follow up to 2013's eponymous debut, The Dream Is Over. The band abandons some of their gritty pure punk rage from their prior release and come to a new, more accessible sound while still maintaining their core punk rooting.

Reckless abandon is a signature in our current definition of a punk band. PUP seems to sacrifice some of this in order to blend angry rock with structures that have some sense of order. Some songs don't stay entirely true to this; songs like 'Sleep In The Heat' has a loose sense to it. This doesn't really play to it's favor, though. The song is one of the weakest on the record, given that the rest of it has steadier structures that make up the tracklist. It stands out in the way a punk song should, but in this album it's a bit of a black sheep. 'My Life Is Over & I Couldn't Be Happier' feels similarly unpolished, but tighter than the former track does, giving it that extra edge.

Something this album does stay true with its genre is the riffage. Especially towards the middle section of the record, giant riffs explode with inner angst and rage. 'The Coast' has perhaps the most confident riff: it's huge and in your face as it kicks in without warning. The juxtaposition of the wailing tremolos over the thick distorted powerchords create a distinct urgency that really carries the riff to a different level. The strength of the chorus takes the riff a step further, Stefan Babcock's angry voice complimenting the enraged riff. Another giant track, 'Old Wounds', follows suit, this song immediately starting off with energy and channelling it throughout the entire song. Disjointed guitar lines and harsh screams fill the choruses while Nestor Chumak's chunky basslines provide a strong low-end to the trashing track. While not full on angry like the prior tracks, 'Familiar Patterns' has a driven beat and strong riffs. This song is more relatable than jam-worthy, but it certainly falls in both categories.

There isn't too much memorable emotion besides rage on the record, but it does exist. Right off the get go, 'If This Tour Doesn't Kill You, I Will' starts with a signature of punk rock: a melody that doesn't seem to care. While it usually throws me off, this specific melody seems to have a sense of conviction to it, and while it throws off the call-to-arms vibe the rest of this track his, it certainly isn't as much of a detraction as it would be coming from any other band. The track segues without pause into 'DVP' that, unless you were watching the track change, you might not even notice. The song just... happens. It doesn't leave much of a mark, perhaps as a result of its immediate and unaccented transition. The album closes on the considerate 'Pine Point', a recollection of past experiences. It builds up from a somber ballad to a powerful rock 'n' roll anthem. Big powerchords and electrifying guitar back the chorus before the final reprisal kicks in in a big group sing-a-long that brings the album to a satisfying and full circle conclusion.

PUP may be Canada's current punk sensation, and they've certainly lived up to their hype from their debut, but there's still a lot of room to grow. They polished up their sound with The Dream Is Over, allowing for a more accessible sound but abandoning some of the pure punk feel. This album isn't free of bumps and bruises, but it certainly makes up for its flaws with its best moments. Don't miss out on this one.

Favorite Tracks: The Coast, Old Wounds, Pine Point

Least Favorite Track: Sleep In The Heat

Rating: 7/10

Modern Baseball - Holy Ghost

The whole emo “sing like you don’t care” scene is all the craze in punk today, and lots of artists are failing to find a niche within the sound and become just another whiny band. Modern Baseball escapes that cliché with their new album, Holy Ghost. 

Honestly, I categorized MoBo under that cliché before I heard this album, and I still standby that most of their material prior sounds that way to me (&I saw them live at Skate And Surf twice!). Regardless, this album was definitely a refreshing sound to sore ears. Beginning with the folky acoustic lo-fi ‘Holy Ghost’, the albums starts off on a sweet and sombre note. The good vibes kick in immediately with ‘Wedding Singer’, that builds on the sweet intro with an alternative rock drive to it and elaborates on the sweetness of the beginning. ‘Note To Self’ follows up on the vibes with a big summer vibe. Lots of the songs have that big sound with a taste of good feelings, such as ‘Apple Cider, I Don’t Mind’. The closure track on the record, ‘Just Another Face’ is a grand song to close on, triumphant all the while ending the album on a thematically pleasing way.

That isn’t to say there are some low points on the record. The sincerity of the track ‘Hiding’ is completely ruined by the murderous distorted drum sample that plays right in the middle of it. Do yourself a favor and turn your volume down for this one. The song builds softly with little tidbits in the background that just clutter up the song, and it would honestly be my favorite song on the album had it not been for all these rogue samples. The second half of the album barring ‘Just Another Face’ feels uninspired, as well; ‘Coding These To Lukens’ is dinky but lacks any substance, making it feel like a filler. ‘Breathing In Stereo’ is a strong punch to the face, but the energy is thrown off by the following tracks that have the same issue ‘Coding’ does.

Modern Baseball made a profound mark on the indie punk culture, and while I still stand by my original opinions on their back catalogue, Holy Ghost is definitely an all around great record. With the genre becoming more monotone with acts who fill the cliché, this album was a refresher. Perhaps it’s time to give them another chance.

Favorite Tracks: Wedding Singer, Just Another Face, Holy Ghost

Least Favorite Tracks: Apple Cider, I Don’t Mind; What If...

Rating: 7/10

The Drones - Feelin Kinda Free

Electronic meets gritty punk in The Drones’ new record, Feelin Kinda Free. The Australian quintet has offered up their seventh record this year, the first since 2013′s I See Seaweed. The album explores a wide variety of sounds and combines electronics with guitar noise that sounds like it’s being amplified by dirt. 

A sense of the dirtiness straight off the beginning with ‘Private Execution’, a dark track with a brooding bassline on top of chilling guitar synths and the screeching of scratched guitar strings. This song also highlights the Nirvana-esque lyricism that the band has; quote the second verse: “But what do fish know about water? / I'm probably someone's entertainment.” The next track, single ‘Taman Shud’ brings some funk in the most disjointed of fashions, synths panning left and right on top of the crunchy, staccato picked guitars. Things take a softer turn as the album approaches it’s center, with ‘Then They Came For Me’ and ‘To Think That I Once Loved You’ taking on more personal subjects. The latter of the two is the peak of the album, a massive build up of haunting harmonies as the slow moving monster sluggishly chugs along into a beautiful climax. The Drones take some influence from other artists following the meat of the album; ‘Tailwind’ starts off pretty ominously but then becomes what could be a punk Lorde song, and ‘Boredom’ draws from the Nine Inch Nails playbook. The album ends just as you may expect from a band like this; ‘Shut Down SETI’ ends the record with droning synths and slow buildups.

The Drones’ seventh album is a slow, burning engine, with occasional bubbles of energy and the uncommon beautiful display of embers. It burns with a vengeance and a conviction, each note a burst of emotion. Even then, it almost feels like it’s lacking somewhere; possibly in its adventure to achieve dirty emotion, it loses touch of any sense of purity it may have. But where it lacks in purity it has in rawness, and this album is about raw revenge.

Favorite Tracks: To Think That I Once Loved You, Then They Came For Me

Least Favorite Tracks: Sometimes, Boredom

Rating: 7.5/10