A welcome 'Blackout'

They're back. One of Boston's best contributions to the music, The Dropkick Murphys, have come back with a new album, Blackout. While their sound is different (it is lighter and clearer) in this newest effort, it is in no way disappointing. The band has kept everything essential about their Celtic-laced punk and left everything that muddled their music.

With a heavy Southie influence, the Dropkick Murphys are more serious than the Ramones, more fun than Crass, and more intelligible than Anti-Flag. Yet they have managed to keep the pop out of their punk. Ladies and gentlemen, I present to you the real deal. If you are curious to what real modern punk sounds like, start with the Dropkick Murphys.

The album opens with "Walk Away," which sounds surprisingly like Jimmy Eat World. Thankfully, the Dropkick Murphys quickly find their edge by the second verse. The song attacks a deadbeat dad, saying spitefully, "But you ain't got the heart to finish what you started."

"Worker's Song" shows the Murphys' Clash roots with its eloquent diatribe on the position of the working class. With a pounding chorus of "We're the first ones to starve / We're the first to die / the first ones in line for that pie in the sky," juxtaposed with a surprisingly-pleasing bagpipe.

"Outcast," a classic punk rebellion ballad defiantly asks, "If I break the law can the law break me?" It is followed by one of the more heavily Irish songs, "The Black Velvet," which goes with another classic punk theme: picking up a woman in a bar.

The fifth track, "Gonna Be a Blackout Tonight," features unpublished lyrics from legendary folk musician Woodie Guthrie. The group was offered the song by Guthrie's daughter, Nora.

The Dropkick Murphys take up the mantle in stellar form, portraying Guthrie's militaristic world of air raids and military police with pounding guitars and fierce drums. Its first measures are jarring air raid sirens, followed by equally jarring vocals that give a forboding air.

After hearing "Gonna Be a Blackout Tonight," one understand how screaming became so popular. When done properly, as in this case, screaming can effectively convey an emotion or a mood. CKY, Finch and other haplessly-popular screamo bands, please take note.

The refreshingly tranquil "World Full of Hate" follows with a muted accordion and acoustic guitar. The singer seems oddly content with the adversarial nature of his current relationships: "Toe to toe friends or foe I don't know / and I wouldn't change a thing." This is the only song where I'm unsure of the message, but the music was enjoyable nonetheless.

The comic "The Dirty Glass" is a loud fight between a couple in a bar, complete with interfering friends who toss in less-than-helpful comments. The song, which features a strong female vocalist, reveals the foibles of both people in the pair.

The final song, "Kiss Me I'm Shitfaced," makes fun of that sketchy guy at the bar (or club or party) who thinks he's the greatest thing since sliced bread. The singer spends the entire song listing his favorable and improbable qualities. He finally comes clean at the end of the song, as the music changes from an Irish drinking song to an enthusiastic rock song.

On the whole, Blackout is a great album -- fun without being pointless, and while the sound of the Dropkick Murphys may have changed a bit, they are still putting out quality music.