Please see my full review here.

After a three year break, Rogue Wave return with a new album on a new label (Vagrant, their third after two records each on Sub Pop and Brushfire). As opposed to the synth-driven electro sounds they experimented with on some of their last album Permalight, this feels like a more organic affair and the band are better off for it. Not quite similar to their first few albums or 2007’s Asleep at Heaven’s Gate, it’s yet another case of them not making the same record twice. “College” is as catchy as anything they’ve ever released (and that’s saying something), but don’t miss “S(a)tan” and the rest of this album as well.

I regret not picking up this incredible 7” after I saw them play here at Ladyfest (see review above) a few weeks ago, but thankfully both songs are streaming on their bandcamp page. Both sides are fabulous, angry, hyper-political punk rock from DC that perhaps starts at early Bikini Kill (on occasion, singer Katie Alice Greer can sound exactly like Kathleen Hanna in 1992, but thankfully she varies it up as well) but winds up elsewhere off in more post-punk territory, yet even angrier and more defiant-sounding. The highlight is definitely B-side “Personal Plane,” which was a live highlight as well!

After watching this incredible video of FLAG’s performance at NXNE, to say that I can’t wait for their show here (especially with T.S.O.L. just added as the opener) is a massive understatement!

I’ve always liked what I’ve heard by this band, but their first album in six years is perhaps their best since 2002’s Songs for the Deaf. Some fans seem to be complaining that there’s less stoner rock here and more homages to David Bowie (some that even sound a bit like The Arcade Fire, big Bowie fans themselves as evidenced by them covering “Five Years”). I think that’s misguided, though, as the more melodic elements work quite well here.

I have to thank Chris Zak for introducing me to this band. On the great Kanine label, it’s not surprising that I like this given that they’ve also put out recent (great) records by Bleeding Rainbow, Dream Diary, Surfer Blood and others. Anyway, the titular track of their new single is fantastic dreamy jangle pop and fans of stuff on the Captured Tracks and Slumberland labels need to hear it.

For their first album since 2009’s My Maudlin Career, Camera Obscura take a defiant left turn and give us an aggressive techno album with screamo vocals. Just kidding. While this picks up almost exactly where they left off, with songs as flat-out great as “New Year’s Resolution” and a voice like Tracyanne Campbell‘s, I’m not complaining!

Well, here it is. Black Sabbath’s first studio album with Ozzy Osbourne since 1978’s Never Say Die is nowhere near as bad as recent Ozzy solo material (and his vocals actually sound OK here), but never approaches their ’70s greatness, either. As such, it’s content to wallow in 7 to 8 minute dirges that aim for the heights of their first few albums, but frequently end up oddly sounding more like some of their early ’80s work with the late Ronnie James Dio (i.e. slightly more modern-sounding metal or hard rock). It’s not bad by any means, but none of it is particularly memorable. Still, it’s not a bad effort by any means and probably would’ve been better if the entire original lineup was on it.

This is the first track released from Neko’s forthcoming album The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You (say that ten times fast) and if this song is an indication, the album will be another fantastic effort.