Having been a band for 10+ years, Mustard Plug seemed to hit a new maturity with this new release.  Gone are the less-than-serious overtones of their earlier material (not to mention what the band’s name really means); instead the band takes on weighty socio-political issues like war and racism.  Despite being nothing new for a ska-punk band to tackle, it’s quite refreshing and commendable to hear Mustard Plug broach such topics.  Maybe more surprising is their ability to still crank out quality, and more importantly catchy, songs that recall the heyday of ska in the ’90s (an era they helped forge) without sounding stale or out-of-date.  I’ve been predicting a resurgence of ska in 2008 and, if I’m right, these guys might be among the few 3rd wavers to have lasted the drought.
Hopeless Records

I’m totally on the fence when it comes to She Wants Revenge.  While their biting hits right at the core of the goth/post-punk classics I love (think the dance-inducing tunes by Sisters Of Mercy teamed with the almost monotone vocal delivery of Joy Division) and draws obvious parallels to contemporaries Interpol, there’s something a little off.  At times, I can nail it by hearing an all-too-Marilyn Manson sound; a direction the band should absolutely avoid at all cost.  And maybe the problem lies within that example… they know quality, yet seem to stray from it a bit too often for the purist in me.  A decent album that falls frustratingly short of being really good.
Geffen Records

First off, it doesn’t bode well for The Anthem Sound that their label doesn’t have a web presence of any kind that I can find. A band with a debut EP has a lot to overcome, least of which should be having information about their release/label readily available. Beyond this hurdle, 4 Songs, feels more like something Lujo Records might put out… spacious-yet-poppy indie rock tunes that recall a bit of the emo spirit ala Christie Front Drive or The Gloria Record. Although I suspect the band might be striving for a bit more mature, forward-thinking stylistic approach, these songs are good, even if a little dated.
Hello My Name Is Records

The Wonder Years’ myspace headline, “I mean, shit could always get worse,” might be the furthest thing from the truth.  This release pretty much hits the bottom of the barrel.  I know that’s a bold statement, yet entirely accurate.  These fellows sound like a terrible high school band got sick of covering Taking Back Sunday and threw together an album worth of piss-poor songs of their own.   As if their music wasn’t awful enough, the lame attempts at humor throughout the album add insult to injury.  I feel stupider for having heard this.
No Sleep Records

If you look up “concept album” in a few months, it’d be safe to say this release might be listed. Not only does Precambrian span two discs, one of introductory length followed by a more full length format disc, but The Ocean have also enlisted some of the top musicians/vocalists in their genre to belt over their sprawling compositions. Among those providing vocals are Caleb Scofield (of Old Man Gloom/Cave In) and Dwid Hellion (of Integrity), both demonstrating how they’ve developed unique styles distinctively their own. In fact, Scofield’s track “Ectasian” showcases his prowess as well as ever. Musically, it’s hard not to bring up such comparisons as Old Man Gloom, Isis, Neurosis, and even Dillinger Escape Plan (when they’re not noodling about), although The Ocean stand alongside these groups in creativity and execution, not behind.
Metal Blade Records

Returning for their sophomore effort, Haram throw somewhat of a curveball with Drescher. Their previous album never really stuck for me as much as their awesome live shows, so I was hoping this new CD would reconcile the differences. Instead, they’ve seemingly stepped even further away from the chaotic live energy reminiscent of their previous bands (Pg.99, City of Caterpillar, and Majority Rule) and towards a more almost rock n’ roll sensibility. This works about half the time… the song “Fever Sleep” sounds way too much like The Rolling Stones to be good for anything. I kind of wish they wouldn’t tweak things to such a degree and let out the harder tendencies the listener can hear just below the surface. It’s difficult not to think this album feels restrained simply for the sake of seeking a faux maturity. Maybe next time they’ll get it sorted out.
Lovitt Records

A refreshing break from the usual over-poppy or over-sexed dance music deemed appropriate for consumption by the indie set, The Cops’ second full-length release is fast and angry. This is as close to the definition of dance-punk as you can get with its disdainful lyrics and rapid, high-pitched rhythms. Overall the music is simple and the chord progressions won’t impress aficionados, but audiences like the tried-and-true. Parts reminiscent of the Misfits’ type of dark, driving, organ-laced beats are about as fancy as they get, delivering just as advertised on the promo CD: “No fuss, no muss, no stupid hippie haircuts.” Well said.
The Control Group / Mt. Fuji Records