Back in ’96 when alternative was all the rage and grunge was its equally cool stepbrother, rock music was alive and vibrant. Oasis was at the top of its game.

The band’s unequaled wall of sound and Liam Gallagher’s Johnny Rotten-esque sneer was omnipresent.

“(What’s the Story) Morning Glory” went platinum several times over.

Oasis was the British Invasion all over again — it was supposed to save rock n’ roll. Somewhere it fell short as did many bands.

Oasis is back after its last stateside miscue, the underrated “Heathen Chemistry,” with “Don’t Believe the Truth.”

Noel and Liam Gallagher’s wild nights fueled by mountains of coke are over by their accounts, but their music is still catchy as hell. Then again, rock music never died on their side of the pond.

The album as a whole is pure Oasis with the mix of rock anthems meant to be heard in large stadiums filled with screaming Brits and ballads meant to warm over the soul between sets.

Two of the better songs are by Andy Bell and Gem Archer with “Keep the Dream Alive” and “A Bell Will Ring,” respectively. The brothers also contribute with “Lyla” and “Mucky Fingers.”

The sound here is refined. Gone are the orchestral accompaniments and eight minute oceans of noise. It is just them, their lyrics and lungfuls of noise unique to these boys.

—Matt Campbell

Like many beloved bands before it, Fall Out Boy has finally released its first major label debut. Also, like many of its precursors, the band’s first single, “Sugar, We’re Going Down,” has been receiving lots of airplay. This dangerous combination unrolls the red carpet for the never ending dilemma of fame and fortune vs. loyalty to fans. Oftentimes bands find themselves up a creek with no paddle, labeled sell outs by fans. But once in a while, a band will find a formula that can both please long-time fans and entrance new listeners.

Well ladies and gents, Fall Out Boy seems to have done a decent job figuring out the formula for success. More production and polish definitely push the band into the realm of radio friendly pop-punkers.

The band, renowned for its clever break up songs and singable choruses, strays somewhat from its signature formula on its newest album. More introspective, and sometimes humorous, songs include standouts “I Slept With Someone In Fall Out Boy and All I Got Was This Stupid Song Written About Me,” and “Sophomore Slump or Comeback of the Year.” Musical maturity and clever experimentation combine for the better to make this an undeniably good album.

Fall Out Boy shouldn’t have to worry too much about losing fans over this release, and widespread airplay will most likely push these candy-coated emo boys into the mainstream.

—Dan McClanahan