Dead Bars, Dead Bars EP (out now, No Idea Records, deadbars.bandcamp.com/album/dead-bars) If Bruce Springsteen took a wrong turn at the New Jersey Turnpike and ended up joining a gang of chain-smoking bikers, he might sound a little like Seattle’s Dead Bars. It’s no coincidence, since lead screamer/guitarist John Maiello and drummer C.J. Frederick are both originally from New Jersey, and probably have a lot of The Boss’ DNA in them. Even with the addition of Andrew Robison on guitar, the three are considerably outnumbered by the E Street Band, yet somehow manage to channel that same rousing “Born in the U.S.A.” spirit, funneling it through a punk lens to create blue-collar anthems you can mosh to. These are songs about getting off work at the EMP, going to McDonalds, then hitting up the (now defunct) Funhouse for karaoke. Songs about missing home runs at the Mariners game because you were in the bathroom. This is punk rock for Everyman. Credit must be given to Maiello’s amazing shouting skills. He possesses a rasp so deep and gravelly that it’s astounding he hasn’t popped a blood vessel yet. Listening to “Love Sick” and looking at the EP’s cover art (childhood photos of Maiello and Frederick), it’s hard to imagine how this voice is now coming out of a human that used to be so small and smiley. (Sat., Sept. 27, Kraken Bar) KELTON SEARS

J Mascis, Tied to a Star (out now, Sub Pop Records, jmascis.com) After Dinosaur Jr. reformed in 2005 and put out two successful records with its original lineup, singer/guitarist J Mascis released 2011’s Several Shades of Why, his first solo offering outside of other projects with which he was peripherally involved. With things quieting on the Dino Jr. front and bassist Lou Barlow’s Sebadoh revving up again, Star is perfectly timed. Several Shades of Why was Mascis at his core, a man and his acoustic (with a few guest musicians in the mix), and Star practically picks up where he left off. Complete with Mascis’ falsetto vocals, lead-off track “Me Again” is a soft acoustic opener with a distinct AM Gold sound, and it’s some of his best work in years. Overall, the album is considerably more upbeat and organic, peppered with various instruments and even a vocal appearance by Cat Power on “Wide Awake.” It more appropriately showcases Mascis’ voice and technical prowess on the guitar—an element that sometimes gets washed out among the feedback and wailing guitars of Dino Jr. This works in his favor, as Star never has much of a chance to get bogged down in its own indie-folk sorrow. It’s occasionally uplifting and firmly rooted in its acoustic roots, making it a pleasant record—all it really ever needed to be. (Wed., Nov. 19, Tractor) JAMES BALLINGER

Murder City Devils, The White Ghost Has Blood

on Its Hands Again (out now, self-released, themurdercitydevils.com) Reunion records can be a drag. So often they’re like old college friends returning to the local dive, speaking in big words and other languages, wearing new khakis. Founded in Seattle in 1996, the Murder City Devils would go on to some success, but ultimately called it quits five years later. Reforming in 2006, the band played live sporadically, doing various tours and festivals, but no new music surfaced other than a 7-inch a few years ago. This new album is the MCD’s first new material in 13 years, and luckily it’s a case of aging gracefully. Sure, vocalist Spencer Moody’s voice has chiseled a bit, but the delivery is still potent as ever. Tracks like the opener “I Don’t Want to Work for Scum Anymore” and the follow-up “Cruelty Abounds” are instant stand-outs, but Ghost really opens around its halfway mark. “Old Flame,” seemingly written about the band itself, speaks of rekindling past relationships and trying to make things work, only to realize why the split happened in the first place. It’s this self-awareness that completes the album’s charm, allowing it to stand proudly with the band’s former work. JB

Perfume Genius, Too

Bright (out now, Matador records, matadorrecords.com/perfume_genius) To say the third album from Perfume Genius, aka Mike Hadreas, is a departure from his earlier work is an understatement. While the intense and extremely personal nature of his lyrics remains, along with simple, beautiful piano melodies, now his songs are packaged with additional synthesizers, meatier melodies, and an overall potency that wasn’t present before. Hadreas is more comfortable in his own skin, and the timidity in the songs from his debut, Learning, has been replaced by a new inner strength. Sexual identity and physical abuse are two major themes in this album, seen in the videos for the singles “Queen” and “Grid,” but fans will be excited nonetheless, as Hadreas’ vulnerability and openness is what first attracted so many to him. Perfume Genius is definitely growing and working out his demons, and he’s bringing us along on the bumpy breakthrough of a ride. (Sat., Oct. 25, Neptune)

MORGEN SCHULER