10. Dan Andriano In the Emergency Room – Hurricane Season
Hurricane Season saw Alkaline Trio bassist and co-vocalist Dan Andriano embark on his first solo album. Hurricane Season is much softer than the Trio, however, the mood of the album does feel consistent with Andriano’s own penned Trio tracks such as Love Love Kiss Kiss and Crawl. Despite these clearly being Andriano themed songs, lyrically this is a much lighter and more descriptive offering, with gloomy undertones being somewhat brightened by lines like ‘I’m like a wine glass sitting on a wedding dress, I am ready and willing to make a mess’ from the title track. Although Andriano made his name as a bass player, much of Hurricane Season’s highlights come from his clearly talented guitar playing. Let Me In and On Monday feature memorable and embracing riffs that perfectly underpin the soft, undercooked vocals.
9. Twin Atlantic – Free
The first full length LP from Glaswegian alt-rockers Twin Atlantic attracted much attention, with frequent radio airings and prestigious touring slots creating a busy 2011 for the quartet. Free saw the band justifiably make the big breakthrough that they have threatened since their formation and two mini-albums. Featuring 13 ambitious and majestic songs the band has achieved an established sound no doubt honed by producer Gil Norton (Foo Fighters, Pixies).
The highlight is undoubtedly the epic single Edit Me which soars and crashes into a massive chorus of real power and vigour. This big-verse, even bigger chorus format suits singer Sam McTrusty, who retains much of his regional accent despite the more mainstream sound. Tracks Free, Time to Stand Up and Make a Beast of Myself emphasize the bands unreserved desire to be successful however, Free shows a band breaking into the mainstream by doing what they love and losing none of their principles.
8. Rival Schools – Pedals
The eagerly awaited follow up to 2001’s United by Fate, Pedals marked the return of post hard-core super group Rival Schools. Whilst Pedals doesn’t quite match up to the brilliance of their influential debut, it only serves to emphasize the frustration as to why Schools have taken so long to return. Opening track Wring It Out is catchy and full of superb hooks, whilst the gigantic chorus serves as a triumphant announcement of Rival Schools’ return. Eyes Wide Open and Choose Your Own Adventure are in a similar mould, whilst 69 Guns and Small Doses showcase the understated brilliance of singer Walter Schreifels.
Here’s hoping they don’t take another ten years to release a third…
Here’s hoping they don’t take another ten years to release a third…
7. Blink 182 – Neighbourhoods
Blink’s first record since 2003’s self-titled success and the first since their reunion in 2009 could perhaps have been considered a last gasp attempt. The impact of various side projects before and during their split opened the question as to whether these contradictions in styles spelt the end for Blink 182 almost twenty years after they formed. Whilst Neighbourhoods does appear more Angels and Airwaves than +44 this is in no means a bad thing.
For their sixth LP Blink offer a mature mix of pop-punk, with Delonge’s love of big, aircraft hanger power chords driving the record forward, whilst Travis Barker’s drumming is as tight and inventive as ever. Neighbourhoods offers something that showcases all of Blink’s many qualities, with tracks such as Ghost on the Dancefloor and Up All Night emphasising the bands advanced sound, whilst the Mark Hoppus led Hearts All Gone is a fast paced anthem, reminiscent of their early work.
The differences and growing pains that may have caused Blink 182’s hiatus actually ends up creating a fresh, new direction for the group, highlighting that even as they approach middle age they’re still as relevant as ever.
If you’d rather hear 40 year old balding, overweight men singing about farts and fucking then go ahead, Bowling For Soup are still touring…
6. Chuck Ragan – Covering Ground
Chuck Ragan, front man of Florida punk band Hot Water Music, released his third, folk influenced solo album in September.
Ragan’s love of low-key, whole hearted folk may seem a million miles away from the gruff hard-core sound of HWM, however Ragan approaches Covering Ground with the same power and intensity that gave his band so much acclaim.
Ragan’s gravelly voice powers through Covering Ground, giving the LP a breathless force as he paints a picture of a traveller’s lifestyle. Backed brilliantly throughout by fiddler Jon Gaunt and Joe Ginsberg (Bayside) on the double bass, tracks such as Nomad by Fate and You Get What You Give provide a strength and passion severely lacking in modern folk, whilst Ragan also remains true to the genre.
The album features a range of duets and appearances from artists such as Audrey Mae, Frank Turner and Brian Fallon, who assists Ragan in the LP’s highlight Meet You in the Middle.
5. Tom Waits – Bad As Me
One of the last great releases of the year, Bad As Me is the 17th studio album by American icon Tom Waits. 62 year old Waits offers up a blue-grass, foot-stomping account of his travelling life as an artist throughout the decades. Despite this lengthy career Waits’ voice has never sounded so good. Frantic, dark, soulful and as whiskey smoked as ever, Waits shows no sign of slowing down now he’s entered his 60’s. On opening track Chicago we get a clear indication of this with Waits howling ‘I’m a boy’ at the end of the song.
The albums stand-out tracks are the singles Satisfied, a Keith Richards riff led thumper of a track, the title track Bad As Me and the military march and bark of Hell Broke Luce.
The albums stand-out tracks are the singles Satisfied, a Keith Richards riff led thumper of a track, the title track Bad As Me and the military march and bark of Hell Broke Luce.
Waits’ lyrics are as imaginative and colourful as ever whilst the mournful tracks Last Leaf and Face to the Highway showcase the softer, bluesy side of Waits’ versatile vocals.
4. Polar Bear Club – Clash Battle Guilt Pride
American hard-core group Polar Bear Club lived up to all their early promise on the third full length Clash Battle Guilt Pride. The band appears ambitious, with opening track Pawner declaring ‘I gotta take my grab at something great’ – something the band have achieved with this record. Singer Jimmy Stadt retains his gruff voice, which perfectly matches the heavy riffs and beats throughout the album, although Clash Battle is a much more melodic and attractive record then their previous work. Tracks Screams in Caves and My Best Days show that the band now have a confidence in their sound, appearing unafraid of embracing big sing-a-long choruses that may well introduce Polar Bear Club to a wider audience. Based on this record, future success appears inevitable – and richly deserved
3. Dave Hause – Resolutions
Fans of Dave Hause’s full time band The Loved Ones or indeed anyone who saw him steal the show at 2011’s Revival Tour (no mean feat. considering Chuck Ragan, Dan Andriano and Brian Fallon were also there) will tell you exactly how great and underrated the Philadelphia front man is. On Resolutions, Hause offers his first solo LP and unquestionably shines.
Resolutions features songs that Hause originally wrote for The Loved Ones, however the differences between these tracks and The Loved Ones brand of punk make the decision to publish alone a correct one. Acoustic driven tracks such as Pray for Tuscon and Years from Now are the more traditional, singer-song writer type tracks; however Resolutions is much more than simply this. C’mon Kid and Rankers & Rotters are ready made anthems that deserve a massive stage, whilst Prague and Time Will Tell showcase Hause’s equally powerful vocals and lyrics.
Regardless of whether Hause remains solo, or returns to The Loved Ones, Resolutions is an album of real class and accomplishment and I can’t wait to hear what he does next.
Regardless of whether Hause remains solo, or returns to The Loved Ones, Resolutions is an album of real class and accomplishment and I can’t wait to hear what he does next.
2. The Horrible Crowes – Elsie
The Horrible Crowes features Gaslight Anthem frontman Brian Fallon and English friend and guitar tech Ian Perkins. On Elsie Fallon looks to delve into influences such as Tom Waits, The Afghan Whigs and Nick Cave, which perhaps differ from TGA’s blue collar Rock and Roll. On Elsie the duo achieves just that. A perfectly timed album of just under 45minutes of soulful, brooding reflections on love lost and the pain and anguish felt.
Despite Fallon’s distinctive vocals, this clearly isn’t just a solo project passed off as a band. Perkins creates a dark and mournful atmosphere through the use of innovative bass lines (Sugar) and intricate guitar-work (Cherry Blossoms) which perfectly complements the rock chords used by Fallon. Fallon’s lyrics are intimate and gritty, truly catching the feelings of unrequited love and unfinished business. This is most evident on Ladykiller (‘I can smell him on your skin; I bet I’d taste him in your blood’) and the final track on the album I Believe Jesus Brought Us Together, a track that offers hope after 11 songs of torture.
The main highlight of Elsie remains Fallon’s vocals however. The crescendos at the end of Crush and Go Tell Everybody are powerful, raw and balls out brilliant, evoking Waits at even his most raucous and wild.
The main highlight of Elsie remains Fallon’s vocals however. The crescendos at the end of Crush and Go Tell Everybody are powerful, raw and balls out brilliant, evoking Waits at even his most raucous and wild.
With this stomping, passionate and tender debut The Horrible Crowes have provided both a modern and classic LP, paying homage to and revitalising styles that have been criminally neglected by many new artists. Whilst I hope that this doesn’t spell the end of Gaslight Anthem, I certainly hope it isn’t The Horrible Crowes’ only album.
1. Social Distortion – Hard Times and Nursery Rhymes
California punk stalwarts Social Distortion take the top spot in our albums of 2011, despite being one of the first records released last year. Though formed over 30 years ago, this is only Social D’s seventh studio album, with founder and iconic front man Mike Ness the only surviving member. Hard Times and Nursery Rhymes sees Ness fully immerse the band with the Bluegrass, rock’n’roll sound that has always been present even in their punkier beginnings. California (Hustle and Flow) and Gimme the Sweet and Lowdown take clear influence from the very origins of Rock’n’Roll in the 1950’s whilst low-tempo numbers Bakersfield and Writings on the Wall are stripped down to the very essence of blues, with Ness’ gravely snarl sounding better than ever before.
Social D still flaunt their punk rock attitude with tracks Road Zombie and Machine Gun Blues, but the addition of female backing singers give the group a much more complete and classic sound. Ness’s battles with drug and alcohol addiction feature heavily in the album, although this is an upbeat record, suggesting the worst is well and truly behind him, with closing track Still Alive cementing Ness’ place as the great survivor.
The fact that Mike Ness and Social Distortion are still alive is something that we should all be thankful for. In Hard Times and Nursery Rhymes Social D have perhaps produced the most honest and truly Rock’n’Roll record of the last ten years.
Other special mentions should go to Title Fight’s Shed, Frank Turner’s England Keep My Bones, Bon Iver, The Foo Fighters and Against Me!
