Nevermind The Posers

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Reel Big Fish Releases New Album With An Old Soul August 22, 2012

Filed under: CD Reviews — NVMP @ 8:33 PM
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Review by Angela Blasi

Reel Big Fish’s latest album, Candy Coated Fury out on Rock Ridge Music, has been hailed as a return to their earlier sound; complete with fun, frantic humorous energy.  Opening with “Everyone Else is an Asshole,” the band sets the precedent with a choir of voices chanting the song title for what will become 14 tracks of a great breakup album.  Highlighting the experience of a bad relationship with all its trials and tribulations, Reel Big Fish manages to capture the spirit of having loved someone so much you eventually hate them with the candid track “I Know You Too Well To Like You Anymore,”  featuring Julie Stoyer of the band Dick and Jane.  In four and a half minutes, Stoyer and Barrett exchange blows while telling a love story gone horrifyingly sour.  And what is Reel Big Fish without cover tunes?  For their 7th studio album they have chosen to cover The Wonder Stuff’s “Don’t Let Me Down Gently.”  Adding the classic RBF up tempo ska to this catchy track, it fits the album’s theme well, though stylistically hasn’t been altered very much.  However, I appreciate the second cover on Candy Coated Fury, “The Promise” originally recorded by When in Rome.  If you’ve ever seen the video of the original version, then you’ve basked in all its long-haired, synthesized glory.  Despite being a slower track, and thus the last one in the lineup, it maintains the bands sense of humor while still being relevant to the concept of the album.  It’s a great cover, as they manage to transform the song with a swaying reggae vibe.  From start to finish the 7th son of Reel Big Fish has successfully given fans the energetic brand of ska-ified sarcasm and hysterics that lured them in on Everything Sucks.  After a few listens through, you find yourself ready to sing along all the while wondering where this album was back when you needed it.
Two notable songs are “Hiding in my Headphones” and “Don’t Stop Skankin’.”  Admittedly, these weren’t my favorite at first play due to their repetitive nature.  I got kind of bored with them, until I got up and started moving a precursor for what could be a blast in a live performance.  The band will be touring Europe fall of 2012 and eventually Brazil and Argentina.  Regardless of when they make it to your town, this latest musical work is a definite must for all RBF fans and anyone who can appreciate the guts and glory of heart-break up.


I’m Alright if You’re Alright by The Helveticas June 28, 2012

Filed under: CD Reviews — NVMP @ 11:53 PM
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Review by Jake Davis

I’ve had the pleasure to watch and experience The Helveticas grow from a simple high-school band to something infinitely greater.  Their signature jazzy-indie sound has finally broken free of conventions, and has transcended into what can be called a tremendous step forward for this little band from Hartford, CT.  The true beauty of their music is how the songs are written.  Very rarely do you find a band where all members are at the same level instrumentally, and all three members are superb musicians.  All of their songs, especially the newest tracks on their debut album I’m Alright if You’re Alright, are one of the easiest set of tracks to jam to that I’ve ever heard.  For a band of high-schoolers to create a record where all songs stand independently, but also come together even greater is truly a marvel.  Even if you didn’t like the band when you first heard them, I implore you to go and give this new album a listen on their BandCamp.

Surprisingly, even their oldest tracks have been tightened and given a new sound, a greater sound.  Their jazz training can be heard in the best way, and every track is a wonder to listen to.  However, as most debut albums are, there are still imperfections.  With only one vocalist and almost no harmony, it’s easy to get a bit tired of the same vocalist and vocal stylings by the end of the album.  I hope for their next release, they decide to occasionally switch up vocalists or add more complex harmonies apart from the rare backing vocals on this album.  In that same vein, as a long-time listener, I was hoping for a few new tracks to supplement the plethora of older tunes that they’ve played for nearly two years now.  Of course, if this is your first time listening, then they’ll all seem quite awesome.  One of my favorite parts of the record is an instrumental track added to the beginning of “She Killed Me,” one of their oldest songs.  It truly showcases what I love best about these guys, great music that keeps evolving, getting better and tighter.  So again, listen to The Helveticas, it’s more than a pleasant surprise.


Keane, Strangeland May 23, 2012

Filed under: CD Reviews,New Music — NVMP @ 6:40 AM
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by Hoverbee
Dear Keane,

Come back to us, please; we need and miss you.  You captured our affections with 2004’s Hopes and Fears and reaffirmed our feelings for you with 2006’s Under the Iron Sea.  We forgive you for breaking our hearts with 2008’s Perfect Symmetry.  We heard the song “Clear Skies” on 2010’s EP Night Train and anticipated the rekindling of our love.  Your latest release, Strangeland, reminds us that if you love something, you should let it go and hope that one day it will come back to you.  Strangeland is an appropriate name for the album.  It’s a place we’ve never been and a place we do not wish to return.  Stylistically the album is a far cry from Perfect Symmetry and elicits memories of days gone by, but lacks the compassion and rawness of the bands first two albums.  It leaves us with an emotional void.  It’s as if they no longer really love us and are just sticking with us out of obligation.  They seem to be simply going through the motions leaving us with songs that are lifeless and boring.  Here we do not find the passion in vocals, production, and arrangement that we crave so badly.  We also long for the familiar vocal stylings of Tom Chaplin.  Chaplin’s voice has a different timbre and he sings much lower than his vocal range.  It makes us wonder if he spent a substantial amount of time locked in a closet with Brandon Flowers (not that we don’t love Mr. Flowers.)  We really do love you, Kean, but for now, we are letting you go because we can’t stand the pain.  We’ll hold our breath and wait for your return.

Your Fans


Break Anchor’s Debut EP “Black Hearts & Blackouts” March 26, 2012

Review by Angela Blasi

Released March 20, 2012 on Paper + Plastick Records behold the debut EP from Break Anchor.  This pop-punk outfit channels the spirit of East Bay sounds from a scene gone by and is fronted by the well-known Jay Navarro (Suicide Machines and Hellmouth).  Comprised of his own angst and battles with the trials and tribulations of his life, this EP beautifully expresses his gritty, downtrodden yet resilient spirit.  The opening track “All I Have” had me hooked from the first line; its subtle-driving guitar riff building with choral vocals only to break into a hard, driving piece that never loses momentum.  Even lyrically, I enjoy the content as it reflects some of my own sentiments living in this Great Recession economy.  The vocals scream, “Everything is money!” while I envision myself signing this at high volumes in the summer sun; my own fuck you to the establishment.

Without hesitation, the second track “Can We Pretend” is focused and hard-hitting from the start.  Carried by the punchy bass progression, it’s a personal track that is easy to relate with.  It’s raw without being unclean, passionate without being overbearing.  There is a sense of belonging in these first two tracks, fantastically conveyed to the listener in a time when the definitions of success and identity are blurred.  This brings me to the last track, “Failure of Epic Proportions.”  “You try and convince me this is what I’ve been working for/ Time flies/ I don’t know, I work so much I don’t know you anymore/ Growing up makes us forget who we were.”  Simply stated yet poignant, Navarro’s lyrics easily bring life to the heart attack feeling of measuring one’s own failures and successes.  A slower track, this last song doesn’t lose focus of the other two, despite being a more emotionally charged piece.  This is definitely one of those songs to listen to when feeling particularly disenfranchised and disconnected from the well-to-do establishment, seemingly oppressing us all.  The song then ends with the calming serene sounds of ocean waves, as if to signify the finding of inner peace through the hell and turmoil that is self-discovery.

I’m excited to hear more from this band; their music is refreshing to hear.  They have met their goal in achieving a fresh sound that is in your face while bringing to life the influences of punk rock from past days.  From the first listen I was hooked and left wanting more.  The EP never compromises the heart of its members, giving the listener three tracks of unadulterated feelings, eloquently stated while being melodically raw with rich hooks and riffs.

Click here to listen to Black Hearts & Blackouts 

Break Anchor also recently debuted a music video for “A Failure of Epic Proportions,” watch below


Anti-Flag, The General Strike February 13, 2012

Review by Angela Blasi

The General Strike is Anti-Flag’s 8th studio album slated for release on March 20, 2012.  Following their last record (The People or the Gun,) The General Strike is the group’s second release on Side One Dummy Records.  Maintaining the politically motivated lyrical content the band is known for, musically the band redefines their lens of interpretation through a more aggressive scope while bringing a force that is defined by the band as, “the sound track for the masses of dissatisfied private citizens that are currently protesting corporate injustice and governmental power around the world.” (

The record opens up in the simple, anthemic style any Anti-Flag fan would come to expect on the intro track “Controlled Opposition.”  A mere 22 seconds long, Justin Sane sets the tone for the subsequent tracks while screaming, “No justice in a legal system run by criminals/If you don’t like the court ruling then you shouldn’t be poor./Now, go die.”  Not even an entire minute in and listeners know they’re in for 12 solid tracks of colorful opposition to injustice and oppression.  From this point forward, the album moves with a driving momentum it never seems to lose.

Operating as a sort of call to arms, The General Strike delves into a harder sound for the group.  I really enjoyed this record musically as well as lyrically.  The band hails this as their most aggressive record to date, and I think they have successfully accomplished that.  Although I have always appreciated their consistency of sound, change is a good thing.  Breaking away from past formulas, the band manages to maintain their penchant for catchy riffs and choral lines while steadily keeping the tempo swinging.  Chris #2’s bass lines groove effortlessly from track to track, filling out each songs’ sound with a fullness that provides a punchy backbone.  I could not help but notice the raw edginess that kept on coming song after song.  From the first second of every new track, the intensity never let up on the listener.  It’s as though Anti-Flag sought to sow the seeds of rebellion through the osmosis-like absorption.  Not for nothing, but only a few minutes after listening I could see myself in a mosh pit somewhere, fist in the air and sweat rolling down my face as I continually belted out the lyrics of “The General Strike.”  All those choral chants, one can’t help but want to lift up their voices like a battle cry.

Lyrically, Sane provides us with his witticisms and biting sarcasm designed to dig a thorn in the side of every fat cat and corporate pig conceivable.  Refusing to hold back, the urgency and anger in his lyrics decry publicly the shamefulness of capitalism while making said concepts relatable to listeners.  Young or old, this record doesn’t seek to isolate its listeners, but rather seeks to appeal to a broad spectrum of disenfranchised citizens.  On “Nothing Recedes like Progress,” a sample of the Human Microphone opens the track, giving a nod to the Occupy Wall Street Movement.  I enjoyed this addition, as it so vividly captures the spirit of the bands’ politically charged mission.  (The back story to the Human Microphone is simple; the police banned megaphones under noise ordinances, not to be defeated the OWS folks invented a system of call and response, inadvertently unifying the movement even further.)  Additionally, “Bullshit Opportunities” screams with the voice of a movement in the face capitalist majority, “redefining what success is/redefining what wealth is.”  It’s as though it embodies the restless energy and philosophy of the proverbial 99% in the heavy guitar riffs, rolling floor tom and a bass as punchy and fluid as its players.

My only qualm about this record is that it seems to go by too quickly.  I started listening and before I knew it, I was already back at the first track.  However, it’s the type of record that has cohesion, making it an easy listen from track one through twelve.  Needless to say, I have allowed it to loop on repeat for the better part of a day and I’m not sick of it yet, the true hallmark of a good album.  Make sure to check them out on their record release tour with The Flatliners and The Have Nots.

Anti-Flag with The Flatliners and Have Nots

03/06 Philadelphia, PA – The Barbary

03/07 Washington, DC – Rock & Roll Hotel

03/08 New York, NY – The Studio

03/09 Allston, MA – Brighton Music Hall

03/10 Wilkes-Barre, PA – Redwood Art Space

03/11 Pittsburgh, PA – Altar Bar

03/12 Detroit, MI – Magic Stick

03/13 Chicago, IL – Reggies

03/14 Cleveland, OH – Grog Shop


Review of The Season by All Get Out October 28, 2011

Filed under: CD Reviews,New Music — NVMP @ 8:05 AM

Review by Jake Davis

Simply put, All Get Out’s The Season is a jaw-dropping explosion of surprisingly good music.  On the surface, the band comes across as a mediocre pop-punk band that relies too heavily on guitar hooks.  Perhaps this is because of my murderous hatred of bad pop punk.  In my opinion pop punk has two sides, the horrible, horrible, whiny stuff and the brilliant song writing of early Fall Out Boy.  The difference is that when you sit down to listen to All Get Out, the band’s true brilliance shows itself.  Most songs are your fast-paced, punk-driven affairs but the tempo hides some truly heart-wrenching lyrics and melodies you will hum long after the music has stopped.  They fail to fall into one genre, one sound.  When you think you have pinpointed the sound, a song like “Girl, Gun” appears with its heavy riffs and vocal distortion.  Even strings make an appearance!  And even better, they’re spectacular and not gratuitous!  The final two songs of the album are so beautifully written and performed; you’ll think it was coming out of the amps of a band on its 8th album as opposed to its first.

Lyrically, The Season bounces around from happy to heavily introspective.  This range of emotions showcases lead singer Nathan Hussey’s ability to both write and perform not only a one-noted affair, but a deep and multifaceted collection of songs.  The electric instruments backed by complex drum beats, acoustic guitars and piano (which is my Achilles’ heel musically, if you’ve got the black and whites you go up 10 points in my book) are pure bliss, and you just want to sit on the repeat button until your ears can’t take it anymore.  Laugh at my over-the-top descriptions if you want, but you’ll surely be missing one of the best albums this year.  What is so special is that the band may use the stereotypical methods of “let’s make this song more dramatic” with strings or harmonies, but they do in such an original and beautiful way; you can’t fault them for it.  As I write this, faint horns augment a song called “The Season” (which is also the title song of the album) and I am dumbstruck by the near perfection of this debut album.  In fact, I hate putting this band in the genre pop punk because of its transcendence of the current typical sound.  Sadly, as with all albums, especially new ones, there are a few flaws.  The first number of songs on the album has a slight identity problem, namely being that they don’t differentiate themselves from one another.  While this is alleviated later, you don’t exactly fall in love with the album straightaway.  This absence of a signature sound somewhat persists throughout the album, but it’s near impossible to bash this collection of songs.

For a debut effort, it’s superb.  This has restored my faith in the direction that rock is going.  If this is where it’s headed, buy me a ticket on the train to happiness.  Readers, go out and buy this album.  It’s that good and this band will only get better as time goes by.  So, be that one guy or girl who is cool enough to turn people on to the next great band.  I wish I could do it all myself, then I would be that guy.  However, I leave it up to you, fair music-lovers, to spread the word on a spectacular start from a spectacular band.


Can’t Be Mad At MADBALL July 21, 2011

Filed under: CD Reviews — NVMP @ 7:50 AM

By Oz Litvac

New York Hardcore music is alive and well.  Madball’s latest album, Empire, solidifies this theory.  Needless to say the DMS Crew, also known as Doc Martens Stompers, which includes several bands such as legendary Agnostic Front, Skarhead, Madball and other affiliates, set a standard for this genre and really stamped it with their own originality.

With chunky guitar riffs, solid breakdowns and raw lyrics that deal with real concepts and being true to themselves, Madball started as a side project to Agnostic Front, nevertheless quickly built their fan base and helped maintained the legacy of the New York Hardcore scene.

Over twenty years in the game and eight plus albums later, Madball delivers their latest creation proving these veterans are as solid as ever, just as they were when they first appeared on the scene in the late eighties.

Unfortunately many bands lose their edge after being in the industry, particularly in this scene for many years.  Not Madball.  Still as relevant as ever, and although Empire does not introduce anything new in terms of style or structure, it’s as hard-hitting as some of their best earlier projects.

It has good, angry energy and includes all the right ingredients necessary to make great hardcore music.  Bouncy breakdowns perfect for floor punching, with a touch of slam dancing feel to it.

The song “All or Nothing” really embraces the bands’ integrity in its lyrics and is an example and honest representation of everything they stand for.

Although maintaining the ‘don’t give a fuck’ attitude, Madball still manages to demonstrate maturity in their understanding of the responsibility they hold to the hardcore scene and the fans.  They are easy to relate to with their ‘blue collar’ values and mentality, and keep a positive spin on this angry genre with the morals in their songs.

In conclusion it is important to mention that any band that makes you feel a certain way, and does so consistently for twenty years, no matter what that feeling is, deserves respect.  Although it is only thirty-five minutes long and perhaps angrier than previous albums, Empire is another example of solid NYHC legendary music with no compromise on lyricism.


CD Review: Damnesia by Alkaline Trio July 18, 2011

Filed under: CD Reviews — NVMP @ 9:52 PM

By Alexander ‘Stigz’ Castiglione               

When I heard about a new Alkaline Trio album, I must admit I did a little happy dance in the privacy of my own home.  While in my joyous two-step, I hoped that it was more like their older stuff, such as Goddamnit, Good Mourning, or even Crimson.

Ironically, I was partly right, and mildly happy with the album.  An “acoustic” album as it is dubbed in i-Tunes, it only has two new tracks on it, one being a cover of The Violent Femmes “I Held Her In My Arms” and a new original track “I Remember A Rooftop.”  (Not to be confused with “Rooftops” off of Remains)

Despite it being an “acoustic” album it still possesses nuances of their angst and fervor from their earliest albums, the ones that any Alkaline fan has undoubtedly blasted at high volume and screamed the lyrics at unwitting pedestrians.  For instance, their new take on “Radio” still has the same unfettered intensity despite the tempo being reduced by at least 15 bpm.  Some of the vocals on certain tracks have “evolved” and become more melodic, leaving the grimy, guttural, almost growl-like phrasing behind (which, as a true fan, I love their unpolished and unique sound).

In my opinion a much better release than 2010’s Agony and Irony, this album revisits and takes a new perspective on some of their best tracks.  Some of them I truly enjoy, while other’s I found myself clicking “next track” because I felt their first cut was much, much better.  “Clavicle” belongs to the latter description, as their vocals are too melodic and lack that crude, unrefined vocal quality that made them a hidden gem in the world of obscure rock.

However, their new take on “This Could Be Love” I found to be absolutely brilliant.  Vastly down-tempo from the original, the piano work is haunting and mesmerizing with the vocals operating under the same descriptive qualities.  One of their hardest jams and the soundtrack to so many whiskey sours consumed, they made it sound like a completely different track with beautiful progressions.  The same description applies to “American Scream.”  On the flip side of that musical coin lays their new rendition of “We’ve Had Enough,” and I don’t feel at all like they’ve had enough, I feel more like I’ve had enough of some band playing the local coffeehouse, not even coming close to the passion possessed in the first mix.

In closing, I have hybridized feelings about the new album which dropped July 12th, 2011.  Some of their revisits I feel are not only great but possess a very unique and memorable quality missing on their earlier renderings.  With others, I have to admit, I feel they come up wanting, and would prefer the older versions.  However, this album was vastly better than their last release, Agony and Irony, as they went back to their roots and evolved at the same time, as paradoxical as that sounds.

Alkaline Fans: Give it a shot.

Newcomers: If you like indie-rock, you’ll dig this album; if you like your rock served a la carte with angst and a side of balls, check out the older albums in their discography.


Protest the Hero’s New Album Scurrilous April 11, 2011

Filed under: CD Reviews — NVMP @ 7:49 PM
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Review by Zach Hannon
I’ve been a fan of Protest the Hero ever since a buddy introduced me to their music back in 2008, so I was overly excited when I heard they were releasing a new album this year.  Scurrilous (2011), the new disc, is more like their first major studio album Kezia (2005) and features work that will definitely interest current fans, maybe even turn some new heads.  This album might just be Protest the Hero’s best yet.

With this new release, the band maintained their commitment to their music that fans have come to expect.  Guitarists Tim Millar and Luke Hoskin really deliver on the guitar tracks, while singer Rody Walker provides great vocals.  Bassist Arif Mirabdolbaghi and Drummer Moe Carlson give great rhythms that back the songs up with a distinct sound, reminding you that even though these are the musicians you’ve come to know and love, they still have a few tricks up their sleeves that we haven’t seen yet.  While this album may not be as hard as their 2008 release Fortress, it still delivers what I believe the fans want to hear and definitely will not disappoint.

All of the songs on this album are simply amazing; the vocals paint vivid stories with deep moments of meaning, while the instrumentals are constant and solid.  This is what Protest The Hero does, make a great album and have fun while doing it.  Scurrilous is my favorite album yet, and to give you a preview of the sound of this new album, I would suggest that it might be a good idea to take a listen to some of the key tracks from Kezia: “Heretics & Killers”, “Blindfolds Aside” and “The Divine Suicide of K.”  While the songs are hard for the most part they tend to be soft in just the right moments for that distinct sound.  When you remember the tracks on the Kezia album that featured Canadian country star Jadea Kelly on back-up vocals, especially when she played the role of “Kezia”, you immediately recognize her contribution on the sophomore track of Scurrilous.  My favorite tracks off this latest offering are “C’est La Vie”, their iTunes single, “Hair-Trigger” and “Termites.”

This is Protest the Hero’s third major studio album and serves as a reminder that the band is able to maintain their individual voice among the New-Age-Pop garbage that is ruining the music industry.  I say that Protest needs to keep up the good work and stay ahead of the game. Scurrilous features ten tracks, with vocals written by singer Rody Walker and bassist Arif Mirabdolbaghi, and the album artwork was painted by Arif’s grandfather, Jafar Petgar, 60 years ago.  I recommend giving this album a listen then if you like it buy it, like the Protest the Hero Facebook page and listen to their old stuff if you haven’t already.  Protest The Hero will be launching a tour through out Canada and the U.S. starting March 23rd.


Dropkick Murphy’s New Album ‘Going Out In Style’ March 6, 2011

Filed under: CD Reviews — NVMP @ 10:41 PM
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Review by Angela Blasi
I got myself a sneak peek into Dropkick Murphy’s latest installment in a series of raw punk rock charged, Boston beer-drinking, “Irish Eyes Are Smiling”- type albums.  A band that was introduced to me back in high school, I’ve always loved the use of traditional Irish culture and its brash and brawny fusion with Boston charm.  Their seventh album to date, Going Out In Style features 13 tracks of everything you would ever expect from the band.  Except, that seems to be my very problem with it.

Kicking off the disc and bearing the sole responsibility of carrying and setting the tone for the entire album is a track titled “Hang ‘Em High.”  The song begins with a great drum beat on a floor tom, slowly gaining strength with the addition of choral style vocals, all chiming in unison with gusto “hang “em high!”  Cue the bag pipes, gritty vocals, catchy hooks and riffs.  Other tracks, such as “Memorial Day.” seem to offer a slight variation on the previous theme.  As is so characteristic to Dropkick’s sound, traditional Celtic sounds are fused with clean yet edgy uptempo guitar riffs and lyrics, begging the listener through voice, drink and song to join the celebration.  I feel like no matter what album I’ve ever listened to by this band, I always get the same few variations on the same themes.  Be it a solo instrument intro that is gradually joined by other instruments only to drop the hook into this full-bodied energy that simply forces the taste of every St. Patrick’s Day you’ve ever taken the “Irish for a Day” thing too seriously back into your mouth or the 1-2-3-4 thirty-second note shred of a punk rock guitar, the call to arms of men and who can forget the teary-eyed mournful cry of the ballad.  I feel like each album is simply a mathematical formula stated and restated in a few different ways.  Two people can take the same equation and do completely different work, but still end up with the same result.  It seems as though they refine the production and beef up the sound with every passing album.  It’s like going through the filtration process to turn Popov into Grey Goose; either way you’re still drinking vodka.

Admittedly, I still like the band.  Much like the culture itself, the band captures the spirit of storytelling as it is passed down from generation to generation.  This is why they are able to keep making album after album in the same vein.  Something about it always manages to strike at the core of humanity as the songs they compose are not intricate orchestral pieces, but simply the group being the only people they know how to be while having the courage to do it flawlessly without wavering or compromising their passion.

To be honest, half way through the album I lost interest.  I got bored with each passing track, try as I might to labor through each one.  Then again, one shouldn’t have to labor through an album.  I crave change, growth and experimentation; adaptability in the face of an evolving music scene and punk rock’s ever uncertain niche in it.  I mean, hey, if you’re going for one thing and one thing only, then you might as well be the best at it.  That is, of course, unless you start talking to Flogging Molly fans.  The band’s fifteen year history has seen changes in the lineup, yet I feel there has been little change to the music.  And while many fans of bands everywhere often lament “I wish they  sounded like they did on their first album,” I can promise you they do not.  I want to know what was so different or great about Going Out in Style besides the fact that Bruce Springsteen lends his vocals on the song “Peg O’ My Heart.”  Surely, fellas, in all this time you’ve had to have had some experiences and heard other sounds from new and different places and artists that might translate into inspiration on your latest endeavors.

I’m not saying the album is bad by any means.  In fact, for what the band is known for doing, they do it extremely well.  You can’t argue with the fact that their live shows are solid in-your-face sets; evenings of inclusion where the entire audience embodies the lighthearted, yet hard-working wisdom of the Irish culture in song either.

All in all, as a fan it left me wanting more and feeling a bit disappointed.  I can say this album is not one that will be making its way into my personal collection any time soon.