a five on the pop-punk scale
935803
Nerf Herder is probably the catchiest pop-punk next to the Vandals. The are no Ramones, but they play the best kind of pop-punk...funny and humorous. When I say pop-punk I don't mean Good Charlotte or Simple Plan. Not like that stuff at all. Nerf Herder play up-tempo, extremely funny, slightly perverted (no cussing really though, if that matters to ya) punk that just kicks it. I can't really tell you why this album gets a 5, you gotta hear it for yourself. For fans of NOFX, the Vandals, Guttermouth, the like
1799770
the importance of the music here cannot be understated. the influence, style and sheer fun is a sound of a band who knows what they want to do and can create short, concise and witty songs. just flat out awesome pop-psych.
3150294
Boston's Dropkick Murphys, when fronted by original singer Mike McColgan, were one of the best punk acts anywhere. While current singer Al Barr is okay, his "Cookie Monster" voice does get a little overbearing sometimes, and the Murphys' recent albums desperately lack the originality and energy of Do Or Die.
Do Or Die also has a harder, punkier sound and contains fewer Irish instruments compared to later albums (especially Sing Loud, Sing Proud). These guys owe more to the furious punk of the Stiff Little Fingers than the more Celtic-sounding Pogues, but when they do pull out the bagpipes (opening instrumental Cadence To Arms, Barroom Hero) they are truly sublime. This is energetic, hardhitting oi-punk, and even the more ballad-like tracks like Far Away Coast are totally rousing efforts. No alt-radio moping allowed! "Why don't you get up and get out!"
From beginning to end Do Or Die is full of great infectious Irish melodies, punk thrashing, fist-pumping choruses that will have you shouting along in no time, and great working-class lyrics. If you aren't doing a drunken jig on top on the nearest piece of furniture by the time the awesome cover of Skinhead On The MTBA rolls in, you probably don't have a pulse.
Picking highlights is pointless when the whole record is so good, though I'd be remiss if I didn't point out Get Up, Caught In A Jar, Fightstarter Karaoke, and Barroom Hero. If you love punk rock, just buy Do Or Die already. You'll be glad you did. Also check out Jackdaw and Flogging Molly.
4781499
I never really was into punk music too much. I thought it was too much screaming, and not enough instrumentation. THen, I discovered Flogging Molly, one of the greatest things to ever happen. I listened to Drunken Lullabies, and was immedietely hooked on this band. THis is an amazing CD that truly deserves recognition. This was the first Flogging Molly CD I listened to, and got me completely hooked on this Irish/Folksy punk band.

Track by Track:

1. "Drunken Lullabies": Brilliant opening, with a cool sounding banjo in the beginning, an awesome fiddle, and some great lyrics. 10/10

2. "Whats Left of the Flag": Another awesome song, with even better lyrics than drunken lullabies. Its not as catchy musically, but only barely so. Many consider this one of their best because of its bitter lyrics. Again, a great violin, and some really good singing. 9.5/10

3. "May the living be dead in our wake": Its similar sounding to the first two, except instead of a violin, there's a flute, which makes an awesome sound. Its still fast paced and upbeat, but more soothing than the first two songs. 9/10

4. "If I ever leave this world alive": A slow ballad that is remarkably well done. After three fast songs, it may not seem as good, but give this song some time, and you'll enjoy it. The singing is excellent here, showing Dave King's vocal power and range. 8/10

5. "The Kilburn High Road": Again, another fast paced one with a killer guitar solo, and another flute. Similar sounding to "May the living..." with a VERY catchy chorus that I always find myself singing. 9/10

6. "Rebels of a sacred heart": This is a different style song. It has a slow opening that may sound not so good, but it has an intensely catchy chorus, and if you give it several listens, it is excellent. Its long, but definetely a brilliant addition. 9/10

7. "Swagger": One of the weaker songs of the album. It is completely instrumental, with only one line that means nothing. However cool the melody is, its too repetitive to be good. THe guitar is a treat here, but again, too repetitive. Luckily its short. 6/10

8. "Cruel Mistress": There's a change of singers here, but the song is still instrumentally amazing. I don't care much for the bass player singing, I think Dave King is a lot better, but this guy provides a more sinister and evil sort of sound, and the whole songs sounds very pirate like and kind of catchy. Its not the best, but still pretty well done. 7.5/10

9. "Death Valley Queen": This is one of my personal favorites. The violin is very well done here, and despite the fact that its a slow song, which may turn people away, the lyrics are extraordinary, about a lost love. I love this song. 9/10

10. "Another Bag of Bricks": THis one sounds arabian and asian with the accordian opening it, and is different and cool. Dave King has a more sinister tone in his voice, it kind of reminds me of "Cruel MIstress". Its better though, and certainly a break from the style of the first three songs. Again, its good, but not excellent. 8/10

11. "The Rare Ould Times": Many consider this song filler, but I love the chorus. The singing/lyrics here are great, although there's not too much in the melody. Like "Cruel MIstress", its good, but not great. 7.5/10

12. "The Son Never Shines": THis is a ballad, and personally, I don't like it. Its too slow, and rather boring. THe singing is good, but the melody, instrumentation is too boring for me. Overall, a weak finish. 5/10.

However, despite a couple blemishes (The Son Never Shines, Swagger) this album is amazing. Definetely, if you like music with great melodies, and yet still a upbeat feel, this is a brilliant album.
1958953
After years of playing in other bands, singer and songwriter Silvi Wersing formed Chorusgirl, and she repeatedly demonstrates a sharp sense of pop harmony and what made the 80s such an underrated era in rock. Her ghostly low-key vocals, heavenly harmonies, surf-soaked guitar riffs, jangly rhythms, touches of near-kitschy synth, and four-on-the-floor drumming, all pushed through lots of echo and chorus make for an album of near perfection. As many have already attested, they are richly steeped in elements of 80s-90s alternative-pop such as The Cure, Lush, and The Breeders. To that list, might I also add a strong dose of John Hughes soundtrack artists, the bass-driven vibe of Joy Division, and Viv Albertine.

Their first single, the opener Oh To Be A Defector, encompasses much of their strengths; a lilting bass riff, Motown harmonies, a nifty riff, and Silvis lovely voice. No Moon is one of my favorite songs in recent memory. I find myself singing the chorus all day long at work, even as it pops back into my head as I type this; its that addictive. This is hands-down my favorite song of 2015.  Girls of 1926 opens with a fuzzy chord riff that harkens back to Nevermind from Nirvana, and This Town Kills keeps pushing the buttons that work, with a retro guitar melody and the deadpan line, and they suffocate you!

We Care About You is pure Cure and Shivers schizophrenically plays with song formula by injecting the copped riff from The Waitresses Christmas song (Christmas Wrapping) in between dreamy psych-pop verses. Its not often that I enjoy every song on a disc, let alone on their first recording, but thats how good Chorusgirls eponymous effort is.

Chorusgirl has created one of the better debuts Ive heard in a while and one of the best, if not the best album Ive heard this year. The group hits a powerfully sweet spot for me. The affinity for 80s UK alterna-pop, surf, jangle, and noise is obvious and lovingly embraced by the band. Through ten songs, they demonstrate the ability to mesh these influences with a unique identity; something far too few musical acts properly balance, particularly this early in the game. I will be following their career with keen interest, and if you wish to see a great band in small setting before things blow up, Id suggest you check your UK listings and catch them live. Im hoping they can get stateside, but this fantastic cd will tide me over until then. Simply stunning cd.
2040921
For Monkeys is a great example of what great-sounding and catchy punk sounds like. Songs like "Twenty-Two", "Roll the Dice", and even the kinda ska songs have a good sound. The only song I really believe could and should have been left off is "Monkey Boogie". Besides the lame circus music, it doesn't blend well with the rest of the CD. But I didn't let one song take away the 5 star rating. This is one of my best pop-punk CD's, and if you know what's good for you you'll pick it up too.
1126234
The 21st Century's answer to Fleetwood Mac, by way of Blondie and Madness, are back with this, their finest, most comprehensive collection Pop. Actually, calling this album "Pop" would defeat its very purpose: "Rock Steady" is a one-CD jukebox of sublimely catchy Post-Punk, tipping its hat towards Dub, Dancehall, synth-friendly 80's Pop, Electronica, lithe R & B, and even elements of Tropicalia. It's a VERY pretentious album, if you haven't noticed by the absurd hype, the flaunted phallanx of celebrated collaborators/producers, and the fact that, nowadays, Gwen seldom wears anything that doesn't have the album's name emblazoned on it. Nevertheless, notwithstanding my distrust of the industry-manufactured hoopla, I do believe the band pulls it off nicely, crafting what I feel is their most complete album to date, topping both their previous (increasingly better) efforts. If "Tragic Kingdom" was their "Rumours", and "Return of Saturn" their "Tunnel of Love", "Rock Steady" seems to be more complete, versatile and canonical... Gwen Stefani has practically grown into the role of SoCal's chic-est chick, much like previous LaLaLand queens Stevie Nicks, Exene Cervenka, and Belinda Carlisle, all of which (along with some Debbie Harry) Gwen echoes in "Rock Steady". The album's main shortcomings, which are mainly of the lyrical variety, are emphatically overcome by the obscene amount of hooks, and by the band's sheer professional playing within the sheeny production values of Spike Stent, The Neptunes, Sly and Robbie, Ric Ocasek, and the great Prince, whose contribution to the album, "Waiting Room", can best be described as deserving of "Sign O' the Times", complete with Sylvester-like harmonies and backing vocals by His Royal Badness himself. Ric Ocasek's deft touch with synths and guitar riffs lends a little bit of "Just What I Needed" to "Don't Let Me Down" and especially "Platinum Blonde Life", while Sly and Robbie submerge "Underneath It All"'s lyrical shortcomings under the deluge of Tony Kanal's bass-playing. Blondie's "Parallel Lines" seems to be a huge influence here, although THAT album spawned most of what No Doubt seems to be drawing on here, hence Blondie's greatness... However, the fact remains that there is nary a truly "bad" song on this album, most of which is treated as a comprehensive whole, ill-served by the invariable Greatest Hits compilations t which will follow in the next decade... In this day and age of pre-marketed paup, of thirty dozens of Orlando-bred and fed teenieboppers with no musical inkling or touch, and of twenty-five interchangeable (mediocre) rappers and Angry White Men Who Want to Rap... bands such as these, who play and write hook-laden Pop/Rock rooted in the canon, deserve high praise. High praise, indeed.
2613684
On paper, Savages have it all: a formidable live act (so I'm told) putting a fresh, invigorating and convincing update to a retro sound. On record, though, they don't quite live up to their immense potential. The songs on Silence Yourself are a modern rendering of old-school post-punk, played as if Savages were contemporaries of Wire and the Banshees rather than followers, so expect left-of-center, angular anti-pop. Unfortunately, for me, the songs fall apart as often as they hit the mark. The trouble with this sort of anti-pop sound is that it makes the songs more interesting than pleasurable/fun, and merely interesting songs don't lend themselves to repeat listenings as easily as more pop-oriented songs do. Plenty of bands have made abrasive songs - Jesus and Mary Chain, Sonic Youth, and A Place To Bury Strangers all spring to mind - but they've also found ways to toss some pop into the mix which makes for a much more well-rounded and satisfying result. Savages haven't figured out how to do that yet. (Perhaps they intentionally never will.) Silence Yourself as a whole is a good, solid slice of genuine post-punk, showcasing a band with immense potential. They just haven't quite attained that potential with this record. 3 1/2 stars.

UPDATE: Okay, after several more listens I have to admit the album has grown on me. Bumped up to 4 stars.
2997391
I highly recommend this album; it was better than expected with some catchy and dancy power pop songs.  It's been a while since I first bought it but I find myself breaking it out to jam to quite often.  The songs are hook-filled and memorable with nice vocals and awesome beats comprable to a sunny-punk vibe.  I think most people will find something to enjoy about this album--it's definitely worth a listen.  Thanks for reading.
1149359
Just to preface this, I have to say that I'm not a pop person. I don't usually listen to pop music, and rarely do I find it stimulating or enjoyable; in fact, Ferreira's work prior to her Ghost EP is a perfect example of exactly what I hate in pop music-- fortunately, now at 21 years old, she doesn't seem to be under the thumb of her male label executives anymore, or at least not to the degree that she would have been when she was sixteen and releasing awful electro dance music. With 'Night Time, My Time', Ferreira seems to have used her newfound leverage to throw everybody a curveball.

It's difficult for me to pinpoint what it is exactly that I find so alluring about this record, but I think a large part, at least from first listen, is the genius melodies, as well as Ferreira's diverse vocals. The lyrics, as some have said, are sometimes repetitive, sometimes abstract, and sometimes even thoughtless, but there are interesting things going on here all across the board that nullify the record's weaker elements. Sonically, there is a whole slew of '80s synthpop and indie rock references at play, and it seems Ferreira and her producers are wearing their influences on their sleeves. You can hear tinges of Blondie, Madonna, and even Joy Division and Suicide throughout the record, which is an extremely weird confluence of inspirations, but for whatever reasons, it works. Granted, not all of the tracks are stellar; "Ain't Your Right" and "Kristine" are perhaps the most uninteresting; but overall, there is a great collection of songs here. "Boys", "24 Hours", "You're Not the One", and "Omanko" are all killer standouts for me, as well as the sinister closing title track, which evokes Julee Cruise's hazy soundscapes and lifts dialog verbatim from David Lynch's 'Fire Walk with Me'.

Overall, though it's not a complete masterpiece, 'Night Time, My Time' is an extremely unusual debut that has Ferreira straddling 1980s pop aesthetics as well as more experimental influences, and the moments on the record where the grey area between the two bubbles up are perhaps its most distinctive achievements. Like I said, there is a lot of sugar on the surface of this record, but one also consistently gets the sense that there is a hard, bitter candy lurking just underneath, and, in that regard, Ferreira is the oddball to end all oddballs among her more commodified peers (as if the confrontational album art didn't already suggest that to you).
4119408
i won't say there aren't a couple songs i don't fast-forward when i listen to this cd....but in general, this is one of the most extraordinary pop albums made so far this century.

the fact it was made 5 years ago truly amazes me. i'm totally unaware as to the cartoon-aspects of the band nor had i any idea who the legends were behind this work. that may or not be interesting to others but what is truly impressive here is the boldness by which this crew saunter through a mish-mash of styles and attitudes and almost always with deftness and purpose and cunning....and yes....some straight-up kicking joyous sounds.

there are no less than 5 classic hits here which deserve really tuning the stereo up...i mean way up. this is rock pop and hip-hop dub of a most extraordinary nature.

mcc>
3470947
Sold out? Who cares? This is the pop-punk powerhouse trio's pinnacle record, and it is a glorious achievement, fitting into the zeitgeist of 1999 like a glove. Every song is good! 'What's My Age Again?' doesn't age with that endlessly infectious riff, 'Adam's Song' is their best pre-self-titled serious track (sorry 'Stay Together for the Kids'...) 'Dumpweed' kickstarts the whole party on a perfect note, 'Going Away to College'! - what more needs to be said?! It's impossible for a circa-Y2K high school graduate like myself to hear this without an "American Pie" association, and that works. They helped soundtrack the formative years of many with a heavy dose of hooky, carefree fun. I love Blink. Which makes their recent resurgence in popularity on both the charts and on the road immensely gratifying (altered line-up or not). Listen to this, and then listen again.
219915
Green Day plugs into their punk roots to create a muscular, super-charged follow up to "American Idiot." The musicianship is awe-inspiring at times, the lyrics are great, and the overall gestalt is impressive. A very listenable album with plenty of fireworks and adrenaline, it stands out as another major work by a band that is really hitting its stride.
127977
This album is truly a gem within the punk world, especially the newer punk age full of overused themes and riffs courtesy of Blink 182 and the current infestation of similar pop-punk bands.  Even though The Offspring have driven down a more poppy road in recent years, one cannot dispute the greatness of this album.  I'll admit, it took a while to really get into this album (as well as other Offspring albums) but when it all finally clicked, it was well worth it, and the true worth of this album revealed itself.  The in-your-face songs flow very well, with Dexter Holland's incredible vocals leading the charge for Noodles' guitar work combined with great bass lines and drumwork.  From the intro to the anthem-like title track, this album is full of energy that is sure to please even the most pure of punk fans.
2276497
The Lawrence Arms have two other full-length records, but I hadn't heard of them until I learned they were putting their newest out on Fat.  Apathy and Exhaustion is a fantastic blast of empassioned fast and melodic punk rock.  Themes of disillusion, exhaustion, indifference and feeling burnt out run throughout the album, and the band's two singers (gravelly uber-punky 'Clarence Darrow' and softer 'Lehigh Acres') share vocal duties; Darrow sings the knock down, drag out songs, while Acres takes the slower and more mapped out tunes.  It works really well and the approach is similar to the one Propagandhi used on their first two albums.  No matter who's singing, the fuzzed out guitars wail, the bass pops along merrily, and the great (cynical, funny, embittered) lyrics all swirl together for a truly staggering brew.  Highly recommended!  The Arms are one of my new favorite bands.
4936370
If I could give this album ten stars, I would. This is simply an amazing effort by one of the best west coast punk bands. After buying 'Rev', I just could not stop listening to it. The instrumentation, energy, and song writing is at a level that most bands do not reach until their forth or fifth record, and this was ten foot pole's FIRST major label release!! Almost every song has been stuck in my head at one time or another, and I never get tired of them. An unfortunate blotch on the whole presentation is the song "old man", which has sort of an off-beat ska feeling to it. It's not horrible, but it just doesn't fit the style of the rest of the album (or TFP for that matter), so I always end up skipping it. The vocals are awesome, because as most people know, Scott is one of the most talented singers of our time, period. And he's not even a full time musician!! If there is a downside to this album, it's that you realize how much Ten Foot Pole has LOST through the exit of Scott, and how their new recordings just can't compare. In a nutshell, this is the absolute BEST that they have to offer. Let me put it this way:If you had to choose just one TFP album, this is it.
3048637
Part punk, part grunge, part rock, part pop, part awesome, with a healthy dash of fantastic describes this song.  It's sure to be a hit.