The RadioActivist

The playfully perverse name Amish Electric Chair dons across their equally morbid DIY cover art gives little indication of the fiery melodic punk contained therein: a fuming concoction of equal parts Anti-Flag, Time Again and Strike Anywhere with their own fervent Midwestern twist. The initial shock of how much the EP’s opener “Social Revolution” sounds like Justin, Pat, Chris and Chris may take a moment to wear off given the familiar sneering vocals, rolling bassline, unabashed political stance and even the chord pattern. However, when it does, a varied but consistent five-song disc emerges. Arguably, the best of the bundle is “State of the Union,” which unlike its opening-number counterpart, seems more reflective than angry as it attests, “Young kids and girls / You’re at the top of the world” above a warm four-chord progression. Like the opener, “Jellico, Tennessee” gives a resounding nod to Anti-Flag musically and lyrically with a simple chorus of “Fuck you, Jellico, Tennessee.” “W

The Braces have changed it up significantly since their 2007 self-released LP Yeah Right!. Nearly gone are the angsty vocals, the sloppy poppiness and the amateur lyrics of the past, replaced with a cleaner, more accessible sound. There are benefits and disadvantages of the changes, which don't appear to affect the net enjoyment one way or another. Though the welcome absence of goofy, immature cuts like “Dr. Phil” is appreciated, the band’s more serious and emotionally-laden numbers like “Confidence,” “Flood" and "I Love You, But" are inversely out of place, even while occasionally packing some hooks. The best tracks on I’m Telling Everyone are those that balance the playful with the sincere, like the two-minute “Jumping” and album opener “I’d Rather Be Hot,” a declaration of why California’s so great despite its myriad flaws if only for the climate. I probably would have made the same argument some time ago, but two winters in Minnesota have proven that four seasons

The Manix of Minneapolis (not to be confused with Manix of Long Island) are probably best known nowadays in relation to guitarist and vocalist Corey Ayd’s “other band,” Banner Pilot, even though they’ve been at it almost as long, toured the country, and have their own healthy catalog to boast. Released earlier this year, Razorcake predicted Stay Low and Go might be one of those discs that doesn’t grab you right off the bat, but eventually ends up at the top of the playlist, and that appears to be its exact effect. Though the Manix’ brand of Midwestern pop-punk is rooted in the tradition of its forerunners with catchy guitar leads, members pulling multiple vocal duties and compelling group sing-alongs, they’re certainly no derivative product of their environment. The first five seconds of “I’ll Fill It In” are rather unassuming, a three-chord progression over a stiff rhythm that quickly breaks into the frenetic pop-punk the Manix display over the course of the next 20 minutes. Ayd and g

This one’s a bit of a head-scratcher: rock/metal from Lutz, Florida, credited as a two-guitar duo in the lyrics booklet though clearly also composed of bass and drums. The packaging of their debut full-length Red Carpet Material is plastered with attractive women in seductive poses, and said objectification is supposedly “for the troops” because “freedom isn't free” and “these chicks are our gift to you.” Before going into any extensive rants about justifying sex appeal for military service, it should also be mentioned that 16 Second Stare has the same trouble conveying ideas lyrically as they do warranting scantily clad females on their album art. Take “Anymore” for a quick example: “I don’t care if you want me anymore / It’s my time so let’s make it easy / I don’t care if you’re a pretty little whore.” The title track is much the same: “Wanna go for a ride / Release the fantasy / In our time of need.” Those are just two examples, but there’s nothing of any real substance on the e