Colleen Green stays true to form with new album

West-Coast-rocker Colleen Green brings gritty nostalgia to her most recent effort, "Milo Goes to Compton."

The title is a play on words based on the Descendents’ debut album, "Milo Goes to College," as well as NWA’s "Straight Outta Compton."

Green’s eight-track reissue was originally self-released on cassette tape in 2011 following her "Cujo" EP.

Fitting into her simple but brilliantly-crafted fuzz and garage rock sound flawlessly, "Milo Goes to Compton" is everything one can expect from Green.

It’s easy to feel a sense of familiarity on "Milo," whether it comes from Green’s cover tracks or her decipherable ’60s rock ‘n’ roll influence.

Black and white caricature cover art of a skinny, sunglasses-wearing Green standing alongside sketched buildings and palm trees looks like it could have been drawn with an ink pen, and this gives the album an immediate classic touch.

The music kicks off with an appropriate "Good, Good Things" Descendents cover that perfectly presents Green’s signature rough resonance of earlier punk rock idols. This is then complemented with guitar-laden riffs and low vocals.

"I Wanna Be Degraded" puts a quirky twist on the Ramones’ hit, "I Wanna Be Sedated," while "I Will Follow Him" delivers Green’s darker take on Little Peggy March’s 1963 hit.

This track also serves as the longest song on the album, at just over five minutes.

Green delicately croons "I need you" alongside a prominent drum machine and electric guitar on the album’s single, "Goldmine," which begins weighing in on early signs of ’60s pop rock guitar influence.

The undeniably catchy "Worship Me" takes a leap in the same direction, and this track best showcases her ties to not only classic but also modern strong female guitar pop similar to Vivian Girls, Best Coast and the Dum Dum Girls.

With relatively brief, simple lyrics, it’s easy to follow along with her relaxed topics on crushes, confusing relationships and "green" of a different kind.

Perhaps one of the most impressive qualities of "Milo Goes to Compton," though, is that Green remains a one-woman act, making full use of her electric guitar and drum machine.

While this album doesn’t require a great deal of profound afterthought, the most charming aspect of the compilation is Green’s effortlessly chill attitude that remains unwavering throughout its entirety.

All things considered, "Milo Goes to Compton" is another solid outing from Green, and the album will serve to better establish her place among today’s most original and captivating female performers.