Streetlight Manifestoā€™s long-awaited second album of original material (their sophomore release, Keasbey Nights, was infamously a re-recording of the classic debut album by frontman Tomas Kalnokyā€™s former group Catch 22) more than justifies the wait.

The seven-member band play ska-punk, itā€™s true, but calling it ska-punk seems too simple for musicians with this level of virtuosity (although they do stay true to the roots of the genre, rather than incorporating progressive elements like RX Bandits). The complex and technical nature of the compositions leads to extended songs (three of the ten tracks exceed five minutes), featuring instrumental detours like the cathartic conclusion to Watch It Crash. In particular, the four-piece horn section is unbelievably tight, and even more dominant than on previous releases.

At times it feels like the hooks have been sacrificed for technical proficiency, but the singalong title track, anthemic The Receiving End Of It All and the vibrant funk-influenced horn lines that follow the sombre intro to Down, Down Down To Mephistoā€™s Cafe (not to mention that trackā€™s infectious chorus) put the lie to this fear.

Despite the intricacy of the arrangements, the album keeps up a clipping pace, so much so that (especially at first listen) the tracks can blend together. But plenty of differences come out under closer scrutiny ā€“ the mariachi moments of Would You Be Impressed, the metal riffing in Watch It Crashā€™s explosive opening, or the restrained beginning of One Foot On The Gas, One Foot In The Grave.

Exhibiting no pressure despite Kalnokyā€™s influential back catalogue, Streetlight Manifesto continue setting the benchmark for third wave ska groups with Somewhere In The Between.

Owen Heitmann

Angels & Airwavesā€™ second album is practically We Donā€™t Need To Whisper Part 2: despite the critical mauling Tom DeLongeā€™s post-Blink-182 outfitā€™s debut received, heā€™s stuck to his guns, creating more densely layered, grandiose, eighties-sounding rock that combines Joshua Tree-era U2 guitar riffs, sweeping space-rock keyboards, bombastic chiming choruses and effects-laden whining vocals.

So, if you liked the first album, you can expect much of the same. If, like me, you hated the first album, however, there is some hope: thereā€™s more excitement in the opening of Everythingā€™s Magic than in the entirety of Whisper, thanks to its whip-snap tempo, and DeLonge actually spitting out the lyrics instead of droning on and on. Likewise, Sirens goes some way towards recapturing his past knack for a hook, and Secret Crowds actually has a bit of punch to it, initially at least. Meanwhile, the autobiographical Rite Of Spring seems out of place, sounding (ironically) like +44.

However, the rest is often repetitive. First track Call To Arms is a virtual rehash of everything that made the last album so bland, and Love Like Rockets struggles to capture the euphoria DeLonge expresses in his lyrics. Breathe, which offers a quieter interlude, still suffers from being overlong, a problem which plagues the album. Five and six minutes songs are the norm ā€“ even the two-minute instrumental Star Of Bethlehem is essentially just a preface to the six-minute True Love.

DeLonge is still a megalomaniac ā€“ on Secret Crowds he muses about what heā€™d do if he had a world of his own ā€“ but at least heā€™s a benevolent one (ā€?thereā€™d be no more war, death or riotsā€¯). Similarly, I still donā€™t like Angels & Airwaves, but at least I-Empire is a small improvement.

Owen Heitmann