Okay, maybe the posters of a blue collar lady lighting her cigarette with a blowtorch aren’t realistic, but the mentality certainly is. Here Lucero is 14 years later, for what is their eighth album, Women & Work.

If the one thing the Memphis, Tennessee group never ignored despite being in the alternative genre, was their country roots. With every passing album Lucero has lost their punk edge, and their lying somewhere in-between The Ramones and Lonestar.

The record’s one-two starter punches of the “Downtown Intro” and “On My Way Downtown” picks up on the sound where 1372 Overton Park left off. This new album features a larger horn section, keyboard of all kind, and even a gospel chorus. Well, you only get the best when Ted Hutt (The Gaslight Anthem) returns as producer.

From rockabilly with Jerry Lee Lewis energy (“Women & Work”) to pure blues (“Juniper”), it proves not only will Lucero get strange, but they have themselves pushed the limits. Like a Social Distortion with an affliction for steel pedal guitars, these are the saints for as country as punks will get.

Don’t say that there’s no way Lucero can be country. Just to throw it out there, the lyrics to “Women & Work” feature: “Honky-tonk and a Jackknife. Tomahawk and an ex-wife. Come on kid, let’s drink ‘em down / Kid don’t let it get ya down.” The album’s repetitive chorus’ beats you over the head like any typical country song – even if they aren’t good choruses. This is a phenomenon I will never understand but it makes millions upon millions of dollars every year in the music industry.

Another change is Ben Nichols’ vocals style. Gone is the grit in his voice as heard in Nobody’s Darling’s and Tennessee, and in with a cleaner croon. Lyrically like most Lucero albums, there’s still plenty of sadness to go around – so fans fear not. Try “I Can’t Stand to Leave You,” where Nichols sings, “Yes I’ve felt this kind of pain / A hole straight through my chest/ Yes, I’ve felt this kind of pain / Seems now it’s all that’s left.” He is backed up by a more country version of Roy Berry’s drums, John Stubblefield’s bass, Brian Venable’s guitar, Todd Beene’s steel pedal, and Rick Steff’s keys.

On the band’s biography, Nichols says, “You work all week, thinking about women and the weekend. ‘Downtown’ is Friday night; ‘Go Easy’ is Sunday morning. The rest of the record is the party in between.” That couldn’t be better put. This record will resonate because it’s beautiful, simple, and quite frankly gives you a feeling music’s been missing these days.

Easily this record make you feel like sunny days and whiskey were the only things that ever existed. We all share whatever that existence actually is and that’s why Women & Work is a classic.

At first, Spenceley threw me for a loop. By the eerie circus-like tinge found in the first song “Hope,” his vocal style was the last thing I expected. The longer the song went on, the closer I got to drawing that comparison I knew was stored somewhere in my iTunes library. After the song ended, I had it: Ghostree is the combination of mewithoutyou and Smashing Pumpkins. The dark sound, the weird vocals – everything lined up. Everything, that is, except the lyrics.

If the only thing Ghostree had were lyrics, they would be the equivalent of a gospel band. This alternative-rock UK-based band does not beat around the bush about their faith, but they make it less cheesy with their unique sound. The lyrics are all well written and paired well with the music. For instance, the second track “You They See” has a dark beginning that continues through the verses, yet the chorus picks up the pace by having a sing-along quality that would suit a youthful church.

Ghostree’s unique sound makes the blatantly Christian lyrics not hit as hard, and the contrasts between verses and choruses accomplish their goal of illustrating “the tension between hope and despair, between joy and sorrow, between love and loss.” It also opens up the whole Christian ideal to a group new to that scene by combining the sound with those lyrics.

Black Taxi is busy blowin’ up Brooklyn’s venues and creeping into other areas of life. Some songs have been featured on television shows on NBC and ABC. The EP version of “Pretty Mama” was featured in the trailer for Youth in Revolt with Michael Cera.  And if that’s something you’d be interested in, then We Don’t Know Any Better is right up your alley.

For this 13-track record leaves you wondering whether it’s we, you, or I who is clueless as to what’s better.  Produced by Aaron Nevezle, who worked with The Black Keys (and it’s painfully obvious), there’s enough hipster pop to go around. Meaning for fans of Bloc Party, The Strokes, Modest Mouse, or any other band pushed on alternative radio- here you go. Black Taxi isn’t original by even an ounce.

That isn’t necessarily a bad thing and it’s seriously not a criticism of taste. It’s true no band is original but there has to be some spark of specialty and it lacks here. All of the previously mentioned bands have some pretty good substance. I don’t mind it; after all, I still listen to FM radio.

However We Don’t Know Any Better is brick by brick a pop record in alternative format.  For example “Tightrope” could be on radio Top 5 lists tomorrow. Yet the next song, “We Don’t Know Any Better,” is completely different with an almost hip-hop edge that is extremely repetitive. It’s like Black Taxi set off on a mission to cop Head Automatica but just go down in smoke.

Essentially every song after is more of the same. The lyrics are uninspiring including hits like “Tell Me What You Need” as a dumb love song about stupid guys, or “Hope I Never Know”’s subject matter of what it would be like if we all had different colored blood and wouldn’t die.  The acoustic-of-sorts songs don’t work either. The oh-so essential keyboards remain single noted. My notes of this record repeatedly contain the following word: boring, but with different adverbs (ridiculously, totally, absolutely). That being said “Vultures,” “Do What You Gotta Do” and “We’ll Take Another” aren’t clunkers and deserve another listen.

Now about a decade ago, 13-song albums were how we got our money’s worth but now it’s just too long. My attention span lasts as long as a rat’s. Let alone when We Don’t Know Any Better is this prolonged, it doesn’t give one song a chance to shine.

It leaves you wondering if that’s the point, which is why it’s just too damn easy to say They Don’t Know Any Better. That, my friends, is up to you.

The Stars are Indifferent to Astronomy basically follows the same path for each of its songs – catchy but calm melodies (you could say they put the “mellow” in “melody,” heh heh), the drums that take the lead in exhibiting the desired moods, Nada Surf-signature guitar tones and the like. There is even some nice horn-usage in “Let the Fight Do the Fighting.” The first track “Clear Eye Clouded Mind” is one of the best on the album, making it a good pick for the opener. Lyrically and musically great, it somehow makes you both want to bob your head and chill out at the same time.

Second track “Waiting For Something” opens up with a pretty guitar lead that continues throughout the entirety of the song. Both the drums and the vocals here are comparable to Butch Walker (see “Mixtape”). The pre-chorus however, takes a Saves the Day turn with the different harmony layers and the dark transition before returning to the chorus which is followed by an Kansas-like guitar solo. Speaking of the Eagles, if you enjoy the guitar work they do in “Dust in the Wind,” you will also enjoy the guitar-work in the first half of Nada Surf’s third track “When I Was Young.” This lead does not last for long before an eerie synth sound joins in and makes the sad nostalgia of the song completely evident. The drums pick up shortly after that, seemly locking in that mood.

Nada Surf stays true to themselves in their seventh  studio album, which is a solid ten tracks long – a good length that (thankfully) does not seem to drag on and on forever or get cut short. Also set in good lengths are the songs: not a single one makes you check how much longer you have left to go. The album is a perfect balance of ballad-like guitar solos, chill melodies and moody drums. Now you have something to look forward to on January 24.

Second track “All I Know” begins with a Motion City Soundtrack feel, thanks to the synth work. The drum work throughout the EP is always good, but this song is particularly noticeable. With the smooth transitions and dance-y beats, “All I Know” is the catchiest song of the set.  ”New York, New York” is the pop-punk song of the album. This song has the poppy value of an All Time Low song, with the chorus sounding similar to “Coffee Shop Soundtrack,” an ATL oldie.

The lyrical content, while simple and having been done before (but honestly, what hasn’t?), is relatable on the surface and on a deeper level, presenting the listener with two options: listen to the song and enjoy it for the simplicity of the upbeat chipper sound, or enjoy the song for the lyrics that are at times a little down – or, if you are a philosopher, there is that third option of both. Sad lyrics with pop music tends to allow that dismal feeling one would achieve from listening to a band like Coldplay to be avoided.

With vocals comparable to those in Summer Obsession (see the title track, “Finders Keepers”), and catchiness like that of +44, Fourth Quarter Comeback is the Alternative power-pop band to listen to.

Most of In Some Way, Shape, Or Form makes Four Year Strong come off as a follower in the Foo Fighers‘ footsteps more so than New Found Glory‘s. On these tracks, they fail to encapsulate what makes them a great band. “The Security of the Familiar, the Tranquility of Repetition,” “Heaven Wasn’t Built To Hold Me” and lead single “Just Drive” are as bland as the band’s newfound radio rock sound goes. With cliche, downright unlistenable lyrics (“Someone save me from myself/Drag me from the gates of hell/Cause I’m hanging by a thread/And I’m getting closer to falling off the edge”) and corny melodies that Nickelback would be proud of, these songs will be win/lose tracks for the band as they will lose many longtime fans, but gain just as many, if not more, new ones.

Fortunately, for every dull radio rock track there is an enjoyable radio rock track. “Stuck In the Middle” features a fun chorus and some harsh shouts that we have grown to love from the band while the hard-hitting guitars and sky high chorus of “Infected” make for a solid track. “Falling On You” and “Unbreakable” feature excellent lead guitar lines and well-crafted melodies as the latter has one of the best choruses on the album and the former emerges as one of the best songs on the album.

Even though Four Year Strong clearly decided to go a different route with this album, there are still traces of their past albums on In Some Way, Shape, Or Form. “Bring On the World” fuses alt. rock and pop-punk successfully and “Fairweather Fan” pays homage to longtime fans while also sticking it to fans who decided to abandon the band after the release of “Just Drive” with lyrics like “We’re standing/Standing up to face the branding/We said it before and we’ll say it again/Rise or die trying!” which is a reference back to their first notable full-length titled Rise Or Die Trying.

So was Four Year Strong’s attempts to jump genres successful? Maybe. Some songs featured on In Some Way, Shape, Or Form embody everything that makes an alternative rock song great, but there are other songs that stand for everything wrong in the genre. Radio play is imminent for this band, and if  ”Just Drive” doesn’t quite get them there, the band’s next album will. And if it doesn’t, we just might be witnessing the downfall of Four Year Strong’s legacy.

In this EP, Currents prove themselves to be a multi-faceted band in terms of genre.  In a lot of ways, the band has common traits with Emarosa, with their post-hardcore instrumentals stitched into pop-rock songs. However, “Chase the Sun” shows an alternative side to the post-hardcore, when the piano adds a simpler pop-rock sound. Switching sides once more in “Cause I’m a G,” they show a more dissonant introduction.

While this behavior can show a sort of inconsistency with what kind of band they have chosen to be, it also shows that they are able to expand their sound beyond the same genre, and keep the listener’s attention by changing things up every once in a while.

Lyrically genuine, the band is good at connecting with their audience; something that a lot of bands lack.  Drummer Mike Thomas shows talent beyond basic pop beats, and lead guitarist John Alaimo adds all the more redeeming qualities.  When it comes to vocals, Joe Sherman is at his best when he uses his growly tones, but there is hardly a flaw when he uses his more gentle side.

New to the music scene, Currents are already making footprints, and I would be surprised if they do not continue to do so. Based on the contents of this four-track EP, they definitely have the skill for what it takes.

Moreover, he’s a musician who hasn’t released a new album (of new material) in too damn long. Until now, with the release of Waits’ latest record, Bad As Me.

For all my love and praise of Tom, I have never had the chance to celebrate an album release of his (unless you want to count his 2009 live album, Glitter And Doom). When the news of Bad As Me being imminent, I suddenly had doubts. That in itself is a strange feeling to hold in regards to the Rock’n'Roll Hall of Famer, because if you can’t trust any musician in this world to put out music that speaks (or grumbles) to you one way or another, you can rely on ol’ Tom to churn out something noteworthy. The question was, rather, which Tom Waits are we going to hear (mostly) from? The dark alley skulker who juggles trinkets and tales? The unforgivable, lovelorn wallflower? The train-hopping hobo about town?

As I would imagine Waits himself would say, “Yes.”

No matter which Tom you’re gonna get, Bad As Me is above all another quintessential Tom Waits record. Opener “Chicago” speaks to me on a personal level, slamming down grooves that demand you get your wanderlust on. It’s also proof that Tom still has plenty of matches under his feet, and he’s got plenty of vigor to walk that walk. “Raised Right Men” and “Talking at the Same Time” waltz through waves of Waits’ renowned stupor and swagger that’s as familiar as it is enjoyable. “Get Lost,” however, is where things start getting particularly interesting; in a surprise turn of style and energy, he unleashes an assault of rockabilly and brass in a way that I have yet to hear from the madman. A refreshing spin that reassures the listener that this grizzled old dog still has plenty of tricks.

Appropriately, things start to mellow out after “Get Lost.” The album begins to again set sail into the ebb and flow of the drunken sentimentality fans have come to expect from Mr. Waits. By the time the album’s namesake comes around, however, things begin to start snapping fingers and tapping feet. Things then finally get into the darkest of alleys with the album’s penultimate track, “Hell Broke Luce.” About as literal as  “Road to Peace,” almost as critical as “God’s Away On Business,” but with the tempo of “Starving in the Belly of a Whale.”

Closing the curtain on Waits’ latest circus show is pensive “New Year’s Eve,” which may not be as powerful a closer as, say, “Anywhere I Lay My Head,” but it is still plenty powerful and graceful – or at least as graceful as Tom Waits can be. And for a guy who seems to be as ageless as his music is timeless, that’s all we can ask from him. Everyone’s favorite vagabond may have a few more wrinkles on his face, but his mind is just as weird, voice just as gruff, and brilliance just as shining as the first time we discovered him.

Cheers, Tom.

In The Pit of The Stomach is much brighter than it is intense, and much more ambient than it is progressive, which changes the feel, though it is still easily identifiable. The album begins with an upbeat track, “Circles and Squares,” which starts with an intense yet melodic guitar intro that builds into different levels of intensity throughout. This song is great because of its dynamics, and is a great start to the album. It sets the tone for what is to come, with other tracks that, for the most part, stick to the melodic building sound found on this track.

Though this album is not as fast-paced as These Four Walls, second track “Medicine” is a combination of that sound with the melodic undertones that are characteristic of this album. Again, the feeling is created with excellent melodic guitars, which is a standard on this album, but with a catchy bass line and upbeat drums, a factor that is more consistent with the last album.

The predominantly instrumental track “Act on Impulse” is one of the most unique tracks, and sounds much like an Explosions in the Sky song. This track is probably the best use of a build, soften, build style on the record. It has a mellow feel throughout, followed by a capturing ending that features an excellent addition of strings.

The dynamic track, “Boy in the Backseat” stars with a harmonious intro, but is quickly brought into an upbeat, intense sound. As is true with many songs on this album, this song is incredibly dynamic, but this song is unique in that it changes pace throughout. You feel as though you don’t know what just hit you, which makes this track incredibly interesting.

Closer “Pear Tree” is the opposite of “Boy in the Backseat,” as it starts out with a more intense and somber tone, created by an intense and hard-hitting drum sound and heavy ambient guitars. The song takes a change of pace in the middle, with a somber guitar and room-style quiet vocals. The track then builds back into intense drums and guitars, this time with another marvelous string addition. The song creates a very epic feel, and serves as a good ending to the album.

We Were Promised Jetpacks have managed to create what feels like a musical story, featuring ups, downs, plot twists, and changes in pace. It is this factor that makes this album so unique, entrancing, and ahead of the game.

Album art is pretty good. Similar to Closure in Moscow‘s newest album. As always the tree is up there. I’m not 100% sure the reasoning behind the tree but I love how all of the album arts have been (and will be) focused on it. Running almost 57 minutes Act III is still 20 minutes shorter than Act II‘s epic 1 hour 17 minute run time. Although Act III ends up with more overall tracks with 18, whereas Act II has 15.

Casey continues to take full advantage of dozens of instruments, consistently giving a very “musical” sense to the album (musical as in…a musical play…you know). Creating epic crescendos using strings, piano and well executed gang vocals. The composition is fantastic creating an exciting yet brooding mood throughout the album. This album, unlike Act II, is more ‘serious’ so to speak. The last act dealt with the boy searching for information on his mother and eventually falling in love; whereas this Act seems to focus on the transition the boy experience from being innocent to sinful. The music expertly represents transformation, so even if you aren’t following the narrative you can sense that something is constantly changing for the worse. The melody is much darker than the previous records.

The narrative is as well crafted as can be. In “He Said He Had A Story” the boy sings about an experience he had with a prostitute. As she says “Please, be soft and sweet to me. This life has not been good you see” in which Casey sings “I broke her smile, reminding her I paid her well!”. “The Tank” sounds like a well-oiled war machine, chugging along. “The heavier parts are heavier and the softer parts are more serene.” Casey says about his latest masterpiece, and he is right on the mark.

Act III meets all of my expectations, and it is very noticeable that Casey and crew are continuing to grow and out-preform themselves with each new album. I am so excited that this is only Act III of a six act rock opera, which means there are at least 3 more Acts we can all be excited about. Check it out, pre-order the new album, and try to catch them on tour this summer.