You would think the fact that a traditional length album has, so far, remained tantalisingly out of reach would be frustrating, but if anything it’s proved to be the complete opposite. Previous EP ‘I’ll Wait Around’ saw Tiny Kingdoms leave the amps at home and go acoustic, and it marked a maturing of their songwriting and musical ability.

‘Realms’ finds them back on familiar amplified territory, and ‘Cloverdale’ immediately provides a musical cocktail of the familiar and the new, topped with fine songwriting. The lyrical hook of “back to the water, back to the water” will get stuck in your head for days if not weeks, but ‘Cloverdale’ is more than just a hook; it’s a statement of intent that sets the scene for the rest of ‘Realms’ to follow.

‘Super Moon’ is another stamp of high quality that once again demonstrates Tiny Kingdoms’ ability to write instantly memorable songs as routinely as most of us breathe. The EP title ‘Realms’ conjures up images of different places and times each with their own identity, and so it is that each song sounds unique but also like part of a bigger musical picture. For example ‘Vices’ allows Nico to add unfiltered emotion to the lyrics whilst also providing a cathartic feeling of release among the rising guitars and driving drums.

‘Realms’ is a record that swells and flows through each song as the different phases become the perfect soundtrack to the changing moods and emotions within. ‘Wicked’ is the most obvious change in pace when compared to the other songs, but it still fits with the others perfectly, the reflective nature ending things on a contemplative but ultimately positive note.

Whether it’s desperation to keep up with a dying trend or representative of a lack of ideas, some bands are eager to rush their music out of the studio and onto the internet before it’s even truly finished; but not Tiny Kingdoms, who have so far taken their time to do things in their own way, to their own schedule. Traditional musical formats and milestones are becoming less relevant, but when the songs are as great as these it doesn’t matter. As the way we consume music continues to evolve, it’s exciting to see what Tiny Kingdoms have up their sleeves next.

CHRIS HILSON

Chris Carrabba has one of the best and most recognisable voices in rock; his ability to ring every ounce of passion and emotion out of every syllable is the envy of fans and musicians alike. Thankfully, nothing has changed in the intervening years and so the opening notes and vocals of ‘We Fight’ are sure to bring a warm rush of nostalgia back for those who used to sing along to ‘Hands Down’ all those years ago. Musically, it’s the perfectly composed and structured slice of anthemic emo rock that you would expect.

‘Heart Beat Here’ and ‘Open My Eyes’ are reminders of the stripped-back origins of Dashboard Confessional. The latter, featuring Lindsey Stirling, swells to a heart-bursting crescendo, and adds a subtle depth to the often singular voice of Chris Carrabba. Not that ‘Crooked Shadows’ is an album that is stuck in the past; ‘Belong’ is a modern twist on the familiar, complete with neon-coated dance music synth chords. It’s arguably the most experimental song Dashboard Confessional song, and may prove divisive amongst fans.

Another duet, ‘Just What To Say’, closes the album with Chris teaming up with Chrissy Costanza of Against The Current. It’s also the song that perhaps sums up ‘Crooked Shadows’ the best; it pays respect to Dashboard Confessional’s roots, but also shows that Chris isn’t willing to trade on past glories, and that he is aware of how the musical landscape can change following such a lengthy absence. ‘Crooked Shadows’ may not be what everyone wants from Dashboard Confessional, but it is the music that Dashboard Confessional wants to make.

CHRIS HILSON

With the hype around them showing no signs of dying down, they find themselves in an exciting but double-edged position. Do they play it safe and cater to the desires of their current fan base, or do they risk alienating those very same fans by jumping the shark and mixing things up too much?

Opening track ‘11:11’ suggests that Waterparks have opted for the former, which is not unexpected but frustrating all the same. The synth-flavoured intro feeds into a succession of verses and choruses that are ripped straight from All Time Low’s songbook, as Waterparks tick off every ingredient of a three and a half minute pop-punk song. Even if you haven’t heard it, you can pretty much guess what it sounds like.

Waterparks continue to lean heavily on their influences throughout ‘Entertainment’, to the point where you almost forget what band you’re listening to. ‘Peach (lobotomy)’ is a fine example of bright and breezy pop-rock, but it’s also very much inspired by Simple Plan, and once again the identity of Waterparks becomes an afterthought.

Also, the production on ‘Entertainment’ regularly goes into overdrive. Whilst it means that every song is coated in a glossy layer of pitch perfect effects, it completely demolishes any bite that the songs may have had. One song that wasn’t auto-tuned to death or drowned in samples is ‘Lucky People’, a typical acoustic love song that’s sickly sweet, overly twee and quickly forgettable.

Almost every song is fighting over the same musical space; as soon as one hook-filled, melodic, and youthful anthem ends, it’s replaced with another one just like it. Every generation needs its pop-punk flag-bearer, and Waterparks may go on to be this one’s, but they will need to fully realise their potential to be remembered in ten or twenty years time.

CHRIS HILSON

It comes as a surprise then that ‘Hold On To Your Heart’ opens not with a surge of guitars but with gentle piano accompanying Murray Macleod on stripped-back ballad ‘The Dark’. It’s a brave way to kick things off and an immediate example of the songwriting maturity that The Xcerts demonstrate throughout the album. For those craving a more familiar and equally enjoyable experience, tracks like ‘Daydream’ provide the energetic and melodic riffs that the band are known for.

From the red cover art to the album title, and the multitude of references to love, it feels like ‘Hold On To Your Heart’ is drenched in emotion; and The Xcerts certainly deliver a level of emotional depth that will cause your bottom lip to wobble and your eyes to well up. The two songs that are mostly likely to test your emotional resolve are those that bring the album to a close. The double-header of ‘Show Me Beautiful’ and ‘Cry’ are both beautifully written and performed, and are the perfect outlet for any pent-up emotion that you may be feeling. The lyrics are painfully honest and the purposeful pacing of each song only adds to the impact.

In the build-up to the emotional close The Xcerts deliver pure musical escapism in the form of songs such as the sugary ‘First Kiss Feeling’, and the arena-filling ‘Feels Like Falling In Love’; both of which are sure to find their way into live sets sooner rather than later. At the same as providing a whirlwind of energetic chords and distinctive vocals, The Xcerts find a couple of moments to experiment with their winning formula.

There aren’t many bands who decide to break out a saxophone during the intro of an otherwise solid stadium-rock tune, and even fewer who bringing the sax back throughout the rest of the song, but The Xcerts are one of them. And it just about works, as they channel their inner-Springsteen on ‘Drive Me Wild’. What initially sounds out of place soon works its way into the fabric of the song, and it leads into the more expected guitar solo very well.

‘Hold On To Your Heart’ can at times feel almost relentlessly upbeat, but The Xcerts finely balance lighter and more emotional moments in much the same way as Jimmy Eat World do. It has felt like The Xcerts have been poised to make a breakthrough for a while now and ‘Hold On To Your Heart’ is the album that will take their popularity to a whole new level.

CHRIS HILSON

Chris J Connolly however has no such distractions to get in the way, allowing him to create the music he wants when he wants. ‘Moving Maps’ follows 2015’s debut album ‘Flying Lessons’ and it picks up fairly directly from where Chris left off two years ago. If you do need an introduction, ‘Fight At The End’ provides a useful indication of what to expect, as country-tinged guitars drift by and Chris’ laid-back vocal delivery flows over the top.

The Americana influence runs throughout every part of ‘Moving Maps’ and is indicative of just how much the musical culture of Chris’ adopted homeland means to him. Whilst the album borrows heavily from the roots of country and bluegrass, it’s done with genuine respect and admiration. The authenticity of ‘The Sun’ instantly transports you to the hot and dusty plains of the American west, whereas the twanging guitars of ‘The Nineteen Eighties’ will make you wish you were lazing about outside on a hot summer’s evening with a cold beer in hand.

Although Chris does bounce a few new ideas around the album he largely sticks to what he knows. Unfortunately the meandering structures of many songs leaves ‘Moving Maps’ with a lack of energy and spark to make an instant impression, with tracks like ‘Tornado’ only showing their appeal after several listens.

Chris should be commended not only for steering well clear of any gimmicks or musical fads, but also for his ability to write touching and heartfelt songs, like ‘Grey Boxes’. By offering up his innermost thoughts and feelings, the album delivers in lyrical honesty, though it often lacks in musical variety. The sense of familiarity that sets in after a few songs proves too hard to shake and leaves ‘Moving Maps’ struggling to connect.

CHRIS HILSON

In a time where pretty much anyone with an internet connection can upload their music to the web, it would have been easy for Ontario 6-piece Rival Town to fade into the background. The band faces competition from a multitude of small town pop punk bands who have taken their influence from those such as Yellowcard, New Found Glory, and – of course – Blink 182, all hoping to reach an audience that will take something from their music.

Their task is not an easy one, and while ‘Make It Work’ does, for the most part, sound like the kind of pop punk we hear all the time from bands all over the world, there are moments of brilliance that suggest with a few more years, Rival Town might just break through the barriers and become something great.

As you make your way through the EP, the band’s influences are clear. Whether it is reminiscent of A Day to Remember as in ‘Subjective’, or Real Friends like in ‘Shot Down’, their own music taste seeps into everything they do. That isn’t to say, though, that they don’t find ways to implement their own signature sound, too. Drummer Devon Forbes steals the show with his consistently outstanding drumming, and ‘Open Windows’, sees them integrate a heavier and more layered sound to an otherwise melodic collection of tracks. Furthermore, if you take a moment to listen past the heavy Americanised accent, it is evident that front man Cary Hanson’s vocal talent goes beyond what might otherwise be expected of the pop punk genre.

Lyrically, the EP is made up of all the angst and pain fans of the genre have come to love, frequently returning to themes of tumultuous relationships with both people and places, unrequited feelings, and the regret that comes with ruining something good. While thematically it offers nothing novel, the lyrics themselves suggest that a complex mind lies behind the man that wrote them.

Rival Town and their fans will be rewarded with perseverance. Like most pop punk bands, it will take time for them to find a sound that is truly their own, but they undoubtedly have all the tools to ‘make it work’. In the mean time, they have created something catchy with the added value of complexity and depth in terms of lyrics that will ensure both old and new fans stick around to see what comes next.

YASMIN BROWN

Perhaps it’s a case of tentatively blowing away the cobwebs but ‘Welcome To The Edge’ is not the best choice of song to open the album with. The modern and clean production gives it a slick radio-friendly appeal but it also throws a blanket over the brooding guitars. Under the gloss, there is a strong set of riffs wanting to break out but they aren’t really given a fair chance.

Thankfully, having eased themselves back into it, the rest of ‘Wish I Was Stormborne’ is much more confident and musically rich. ‘The Otherside’ is driven, melodic and uplifting, and brilliantly demonstrates just what Plan Three is capable of. ‘Echo’ sees their confidence grow further as they fuse elements of a gentle piano ballad with a rising and catchy chorus. Both songs show a flair for epic stadium-filling rock and make it easy to see why the band have shared stages with the likes of Thirty Seconds To Mars.

Jacob Lovén’s vocals are a highlight across the whole album, but ‘Carl Sagan’ is the perfect showcase for them. A simple accompaniment of piano and strings is all that is needed for his soulful and powerful yet heartfelt vocals to really shine. Whilst Plan Three never really let loose in a furious barrage of heavy guitars and pounding drums, anyone craving something a bit meatier will keep returning to the final five songs.

‘Unveil The Unknown’ is given a pop sheen by the various samples and effects but the guitars provide a welcome kick of excitement. ‘Oblivion’ and ‘Burn’ are both dynamic and energetic slices of modern alternative rock and are perhaps the songs most likely to win them new fans and propel Plan Three to new heights.

‘Wish I Was Stormborne’ is an album that encapsulates the sense of balance between the subtle and the direct and it runs throughout each song, be it the anthemic ‘When Everything Comes To An End’ or the instrumental title track. Up until now Plan Three have not been the most prolific of bands but here’s hoping they continue to believe in quality over quantity.

CHRIS HILSON

‘Burst And Decay’ may not be new material but it continues that journey, as The Wonder Years take some of their best and most popular songs and give them a stripped-back twist. Fans shouldn’t worry at all, as it’s not an attempt at changing the songs from their original form, nor is it an empty gesture of a record. What it is is another angle on the music and lyrics, and they’re no less emotional or cathartic than when they’ve been recorded or performed as a full band.

Over the past few years frontman Dan Campbell has crafted himself a brilliant second outlet for writing and performing in Aaron West And The Roaring Twenties, and some of the styles and influences that he has recently explored and embraced have made their way into the songs here. There’s a rawness to the production that gives space to the extra instrumentation, whether it’s subtle organ notes or familiar guitar chords.

If you’re acquainted with the albums that the songs are taken from, then the tracklisting may feel a bit alien at first. Admittedly it is the most minor of criticisms, but ‘There, There’ feels slightly out of place not kicking off the EP, despite the track itself being as brilliant as the original. The other tracks are equally as strong, such as ‘A Song For Ernest Hemingway’, which still packs a raucous punch, particularly each time the drums kick in.

Out of the seven songs here ‘Dismantling Summer’ is closest to its original form, but still different enough to warrant its inclusion. Elsewhere, ‘Coffee Eyes’ has guitars intertwining with Dan’s heartfelt vocals as an already emotional song becomes even more personal and relatable.

The Wonder Years are by no means the first band to release an acoustic EP, and they won’t be the last. But they may just have released the best example. They’ve always set the bar high, and with ‘Burst And Decay’ they’ve raised it again.

CHRIS HILSON

Each of the five songs is a finely polished pop punk gem just waiting to be unearthed. ‘What We Started’ is a perfect example of how to write soaring, positive pop punk. In addition to Mike’s vocals, the perfectly layered drums and guitar chords combine to produce a song that is anthemic and elegantly simple at the same time.

Throughout ‘Again’, pop punk motifs are constantly given new twists. ‘Snapped In Two’ bounces around in a riot of colour as driving rock verses lead to a chorus that is packed full of confidence and spot on melodic hooks. ‘This Dissonance’ is as far removed from the territory of token slow song as possible. Not only does it stay well clear of bland ballad territory, but the purposeful riffs give every word of the lyrics time to sink in in a way that would make Jimmy Eat World sick with envy. And ‘Space Mountain’ is quite simply the best rollercoaster-themed song ever, sorry Red Hot Chili Peppers.

Sometimes you need to break an EP down to a microscopic level and to dissect every note to find its appeal, but ‘Again’ has it plastered on the side of a venue in giant glowing neon letters. There’s a wide-eyed innocence and sense of pure fun that stands out on a release that is free of the jaded cynicism and the feeling of bands cashing in that has been creeping into the genre.

‘Again’ not only delivers some of the most outwardly enjoyable and joyous pop punk anthems of the year, but at its heart is an understanding of how music can be a crucial part of someone’s life in a way that few other bands can convey.

CHRIS HILSON

Even when listening to the album for the first time you will feel like you’ve heard it many times before. From the moment it starts to the painfully drawn out end eleven songs later, there is zero excitement or imagination to be found, no matter how hard you look. You can correctly predict the DNA of the song within seconds of the intro, such is the way that every song stays within the tight confines of every hard rock stereotype that Hinder wheel out.

Every tired riff, lazy production effect, and attempt at edginess only serves to increase the constantly growing feeling of familiarity. You could even amuse yourself by ticking off each cliché as you hear it. ‘Too Late’ is the expected lighters-in-the-air, wannabe Guns N Roses rock ballad, whilst ‘King Of The Letdown’ is the unsurprising radio friendly twist on already watered down crowd-pleasing rock.

Much of the album meanders by in an indistinct haze of filler despite a couple of feeble attempts at injecting some energy into proceedings. ‘Remember Me’ features a brief guitar solo, but chances are that you will have forgotten that and the rest of the song by the time it finishes. The initially plodding ‘Burn It Down’ does attempt to add some muscle, but it remains a skeleton of a song that is quickly dismissed.

The lack of flow to ‘The Reign’ only makes its multitude of problems more apparent as Hinder first try to appeal to your angst-ridden inner teenager before trying to charm your inner classic rock loving ex-roadie. Quite who Hinder are trying to appeal to with ‘Making It Hard’ is unclear, as it features the sort of sad and outdated sexual innuendo that is of interest to absolutely nobody.

Bands such as Halestorm and Shinedown also deal in a similar sort of histrionic arena-rock and it would be easy to argue that Hinder are only trying to please their fans and keep pace with their rivals. However that’s no excuse for such a complacent and lacklustre approach to making music. With ‘The Reign’ Hinder have really started to take their foot off the gas and it seems unlikely they’ll be bothering the Billboard charts any time soon.

CHRIS HILSON