Review: Lagwagon - Hang

After talks about possibly not releasing full albums again, Lagwagon are back with their first full length album in 9 years, the longest break between albums they've ever done. According to singer Joey Cape, the desire to make another album came from touring around and playing their older albums, essentially causing the creative juices of the first albums to start flowing again.

So after 25 years of being a band and only retaining two of the original members (Joey Cape and guitarist Chris Flippin) what sort of material can this aging band produce? Maybe the acoustic material the Caper has mostly been focused on for the past few years has caused the band to go in a slower paced direction? Maybe the relentless touring Joey does each year has worn him down to wanting to slow jam? Maybe not.

The album begins with a minute long track featuring Mr. Cape and a single acoustic guitar, but as soon as the last note of the song hits the rest of the band joins in at full speed to bring back the all-to-familiar sound that Lagwagon has perfected all these years. Besides a 30 second intro to One More Song the album keeps a steady pace of hard riff-age and impressive drum fills. You wouldn't think that after all these years, they would surprise their audience by releasing their hardest album to date, but they have.

The production seems perfect for the style of songs contained on Hang, more polished than previous album Resolve, but less slick than Blaze. There's a heavy bass flow throughout the entire album and new bassist (but long-time friend of the band) Joe Raposo gets to shine, particular on Obsolete Absolute which features bass guitar intro with an ominous typewriter quietly typing in the background.

The subject matter of the songs on the album follows mostly a dark path, questioning the contemporary world through wizened eyes. This general perspective moves Joey Cape from focusing on the personal issues he has covered on previous records and instead center on the shape of globalized society. He occasionally drifts from the general to the personal on a couple tracks though. The song One More Day describes Cape's desire to hear more music from his friend, the recently deceased songwriter Tony Sly and the track Drag explains Cape's ongoing struggle with quiting smoking.

There's not much to not love on this new album, maybe a track like You Know Me doesn't stand out that much, but it's still a solid track on a solid album. Even the bonus songs (that come with pre-orders) Don't Laugh at Me and (No Use For a Name cover) Exit are strong enough contenders that they could've been included on the album. If there was anything I could really complain about it would be the artwork. I don't what it is about it, but I just think it could have been a lot better. It looks to be the only thing that no real time was spent on, almost a quick photoshop job to get a cover out. But hey, you can see it, what do you think?

Regardless, if you're excited to hear the Lag crew back in action than you won't be disappointed by this album as long you want fast and solid guitar/drum work accompanied by Joey's signature vocal style. Just hearing the anger in Cape's voice during the closing 30 seconds of the record is enough of a reason to pick this album up.

SONG TO CHECK OUT: MADE OF BROKEN PARTS / THE COG IN THE MACHINE / IN                                               YOUR WAKE

RATING: 9/10

Review: Rancid - Honor Is All We Know

The perennial punks in Rancid are back with their 8th album. They've been taunting the album for a couple years now, to the point that many fans were starting to wonder if it would ever see the light of day, but low and behold here it is. The band took an interesting approach to how they released the album by out-of-the-blue releasing cover art, track list and a video of three songs around a month before the actual release date. Who does that? Rancid does that.

Even though it's been 5 years since the last Rancid album, the members have been far from quiet. Tim Armstrong himself was on a constant release streak with his side project Tim Timebomb and Friends, releasing what seemed like a song a day for a year. On top of that there's his work with Hellcat Records, making a web-based musical theatre, The Transplants and everything else in-between. I don't think anyone can blame Armstrong of laziness, since the early 90's he's been active in every facet of the music industry that one can be.

Mr. Armstrong is, to me, one of the biggest conundrums in music. He's honestly a terrible singer. Really, just plain terrible. It sounds less like he's trying to sing and more like he stumbled upon a microphone and is drunkenly slurring out some words. I realize that that is pretty critical of one of the most famous people in the punk scene, but guess what? Even if I insult it I still find myself enjoyably listening to it. Maybe he made some pact with the devil? I doubt I'll ever figure out what exactly his appeal is, but does that really matter? Not really. and I'm going to continue to listen to what he's involved in, but I'll never understand it. But I digress, let's get to the review of the new album.

Every previous Rancid record has had it's own vibe. Let me break them all down for you:

• Rancid(2003) - the debut album that established what Armstrong and Freeman wanted to sound like.
• Let's Go - The sound of the first album is polished up, but more importantly Lars Frederickson is added on guitar/vocals, adding another dimension to the sound.
• ...And Out Come the Wolves - This is where they master their songs. Everything hits home on this album. Still their most famous album and it shows off their musicality. 
• Life Won't Wait - Coming off the heels of the successful last album, Rancid gets the most experimental it has ever been. Recorded between Los Angeles and Jamaica this album incorporates multiple singers and musicians and varies between multiple genres.
• Rancid(2000) - After the experimentation of L.W.W. Rancid returns with it's most straight-up hardcore punk album. 
• Indestructable - Rancid starts to flex it's commercial success and incorporates new friends like Skinhead Rob to make a loud (production-wise) album that re-adds the reggae and ska from previous albums.
• Let the Dominoes Fall - Decidedly their worst album. A few good tracks, but overall it lacked any real passion and felt stale to most fans.

So where does Honor Is All We Know stack up to the rest? In the best way possible it sounds like b-sides from A.O.C.T.W. In production and overall vibe it comes closest to their 1995 album than any previous one has. The songs aren't as personal as earlier releases, but the gangster 'we'll-kick-your-ass-if-you-get-in-our-way' mood is present the whole way though. Dispersed through the Oi tracks is a couple ska songs and a couple others that make use of the organ. Armstrong takes the lead on most songs, but Frederickson is still present and even Freeman gets some solo vocal duties.

It's not their best album, but it certainly it isn't a disappointment. Like Armstrong says in the opening track "I've been gone way too long and I'm back where I belong." They might not have the youthful spark that stoked the songs of earlier albums, but they certainly sound like they're back in the territory that they not only know, but that they helped establish.

SONGS TO CHECK OUT: FACE UP / EVIL'S MY FRIEND / BACK WHERE I BELONG
RATING: 8/10

Review: Filmage: The Story of Descendents/ALL

My first movie review! How delightful!

I decided to pair this evening of historical musical documentation with a nice single malt scotch, a couple local dark beers and a frozen pizza. This begs the question of which was more suitable, the scotch or the beer? I'll give you a hint.. it was the scotch.

As the movie begins you're instantly hit with how influential the band(s) have been to the proceeding generation, from more known artists such as The Foo Fighters and Blink 182 to semi-famous artists in the punk scene like NOFX, Lagwagon and Less Than Jake. Descendents is known as the band that arguably established the pop-punk genre. While musicianship progressed as the band aged, the lyrics continued to hold the honest earnestness that was captured on their debut album Milo Goes To College. Although the teenage angst of the original formation begun to fade away with time, the film shows how the devotion to writing about life's dilemmas never waned.

After the short intro, the viewer is introduced to the founding members of Descendents in the early to late 1970's. Through a series of live shows, interviews and era pictures the various formations of Descendents is brought to light in succession. The style of editing done through this section allows the viewer to gain a great depiction of how and why things took the turns that they did. From personal issues inside the band to basic desires from members (Milo going to college) everything is presented in a beautiful and pleasant way.

From the hiatus of Descendents we can see how the band ALL formed and how they went through their 3 vocalists (with interviews from each). ALL lived it's lifetime in the shadows of the Descendents fame, but had moments of prestige as well. Both sides of the band are portrayed here, the good and bad times.

While the first half of the documentary is spent showing the history of the two bands to excellent fashion, it isn't until the limelight turns directly to drummer Bill Stevenson that the feature takes a particular emotional turn. The story of Bill's childhood, relationship with his father and his two life threatening bouts in the hospital humanize not only him, but the rest of the band as well. As an audience member you can't help but feel a strong connection with the lives of the individuals on screen.

Milo is and probably will always be the image of what the Descendents are, but as you traverse your way through this documentary you quickly learn that Bill Stevenson is the mastermind behind almost everything. He is undoubtedly the key piece that held everything together as well the main contributor for the direction both bands went.

One of the excellent things about this film is that as chalked full of information as it is, it could still include so much more, which really speaks to the amount of influence these individuals have made on the music world. I caught myself in an emotional state watching how things have progressed as the band(s) have continued. Even though the band was almost 10 years old when I was born I still can find so much to connect to, a sign that as things changed so much still remains the same. There will always be those awkward teenagers trying to find their way in life and trying to find something to belong to.

The story of the Descendents and ALL is interesting enough that even if this documentary had been done poorly it would still have redeeming qualities, but I have to hand it to the creators, their devotion to get an in-depth, all encompassing picture is commendable. The editing is so skillfully done that there isn't a dull moment to be had, yet the pace is able to change from lightning fast to reflective and yet retain an even flow.

How good is this rockumentary? Well, I watched it twice in a row in one night and I felt ready for a third. I simultaneously wanted to go to a dirty venue and mosh around or have a chill night with friends just reminiscing. Even if you aren't a fan of the music or the genre I'm pretty sure you'll find yourself falling in love with this film. I already can't wait to watch it again.

RATING: 10/10 A+

Review: O'Death - Out of Hands We Go

O'Death has quietly released their 5th album and maybe that's a perfect way for it to come to light. If you were hoping for a return to the raucous energy that filled their first albums than you're in for disappointment. Instead, O'Death has decided to continue with the dark and somber tone that ran the course in their 2011 album Outside.

Somebody needs to hire these guys to score a hillbilly themed horror movie. The instrumentation and production fits perfectly into the genre. Add that feeling with the high pitched and haunting crooning of singer Greg Jamie and you'll maybe want to use the buddy system to listen this album. I for one won't be found anywhere near an abandoned cabin if this music starts to play - because shit is for sure to go down.

I find myself constantly wondering what exactly is going through the minds of O'Death when you listen to the lyrics. These guys clearly have some deep-seeded issues to get through and luckily they've recorded it down in music for the rest of us to hear.

As good as an album as Out of Hands We Go is, it does seem to underwhelm a bit compared to that of  their last release. Tracks such as Wrong Time and Roam stand out, but ultimately the album stumbles in diversity. This lack of diversity allows the album to flow very well, but you'll often find yourself not realizing that the tracks are changing. This is a bit of a double edged sword and it depends on how you like your music. If anything, this album could use an occasional blast of energy, nothing to chaotic, but just something to mix up the slight monotony.

SONGS TO CHECK OUT: ROAM / WRONG TIME / WAIT FOR FIRE

RATING: 6.5/10

Review: Weezer - Everything Will Be Alright in the End

Since the idea of me writing music reviews is polarizing I figured I'd start off this little trek by reviewing an artist who is undoubtedly also polarizing. With 'Everything Will Be Alright In The End' Weezer release their 9th LP. Since Pinkerton came out most die hard fans have been waiting for a return to the style and lyrics that made that album so beloved. Singer Rivers Cuomo promised that this new album would be a return to roots. Is it? Well, besides a couple of the brighter spots from the last release 'Hurley' (such as Unspoken) EWBAITE comes as close as any album has since 1996.

There really isn't a bad track on the album and that is a great sign of relief as Weezer had become synonymous with filler tracks. They crank the guitars up for tunes such as 'Ain't Got Nobody', 'Back To the Shack' and 'The Trilogy'. They dive into catchiness with 'I've Had it Up to Here' and 'Da Vinci' while steering back a bit on 'Go Away' (feat. the vocalist from Best Coast). The lyrics come across as honest, particularly on Cuomo's apology to his fans on 'Back to the Shack', but are also occasionally too silly to lack any real depth.

Point is, this album is fun and should delight most Weezer fans and can span multiple re-listens.

SONGS TO CHECK OUT: Da Vinci / I've Had it Up to Here / Ain't Got Nobody

RATING: 7/10