“Zombies on Broadway” by Andrew McMahon in the Wilderness

Released: Feb. 10

Genre: Alternative-pop

Rating: A

Known for his early 2000s band Jack’s Mannequin, Andrew McMahon made a comeback in 2014 with the self-titled album “Andrew McMahon in the Wilderness.” This album featured all the pop-rock vibes McMahon was known for in his original band and continued to progress his sound. In his latest album, McMahon and his band continue the same course of upbeat tracks that are catchy and sure to be summer anthems, like “Fire Escape,” which has already hit the radio and is probably my personal favorite. The band can create all of the sounds that festival-goers are looking for this summer from pop-y, dance beats, fun, relatable lyrics and an overall care-free atmosphere. With his quirky lyrics — “I met up with an acrobat in Brooklyn or a place like that” — fans of these early bands will probably still be obsessed with McMahon’s latest project. You won’t want to sit still through “Brooklyn, You’re Killing Me” and “So Close” as you dance your way through the entire album. Although it’s still quite early in the year, McMahon’s love-anthem of an album is probably my favorite so far.

“Terrible Human Beings” by The Orwells

Released: Feb. 17

Genre: Punk-rock

Rating: B+

Although The Orwells have been around since 2012, they made their debut with their kick-ass album “Disgraceland” in 2014. Their second album was full of gut-wrenching vocals from lead singer Mario Cuomo and hard-hitting lyrics about mental health and suicide. “Terrible Human Beings” starts off immediately with the same punk instrumentals that fans love. “They Put the Body in the Bayou” also begins the album with the tough topics of drug use, domestic violence and murder. “Fry” picks up the pace and lightens the tone with a song about … wait for it … love. Who would’ve thought this would be something coming from The Orwells? Definitely not me, but they’re still killing it on this track as Cuomo channels his inner 90s hardcore, surfer sound. The only thing truly missing from this album is the gory, nitty-gritty details in the lyrics that stuck with me from songs like “Blood Bubbles” from “Disgraceland.”