**No CD Reviews for August **

July CD Reviews (in alphabetical order)

ACID BATH
DEMOS: 1993-1996
ROTTEN RECORDS
Unfortunately unknown, Acid Bath deserve credit for much of the insane, brutal music we enjoy today. They're not random, just diverse and experimental. Acid Bath is unlike anything I have ever heard. They follow no recipe that we will ever understand, because it isn't made for any audience; it is the artist venting their torment, with no regard for the interest of the consumer. This isn't an album that you are obligated to listen to just because of what they have done for their "scene," like all that pretentious indie rock/"I wanna look British" stuff. This is bayou-bred metal goodness. Next time you are blacked-out drunk and punching out your neighbor's car windows, remember that the CD soundtrack skipping in your head was developed with the pioneering help of Acid Bath. -Thomas Murray

AMERICAN HEARTBREAK
SELF-TITLED
LIQUOR AND POKER MUSIC
The second full-length release from this San Francisco-based pop/rock quintet is an unabashed throwback to '80s new wave. The band has been together for a decade, and it's been 10 years of gigs and records that makes one long for Cheap Trick and 20/20. While the band does play some catchy tunes, it's hard not to believe that this ship sailed a long time ago. Perhaps there's still a market for the pogo crowd, but everybody I know forgot where they stashed their skinny ties. The only heartbreak here is that a band would spend so much time and energy recreating a scene whose brief, bright bubble burst a long time ago. -Dug

AMORPHIS
ECLIPSE
NUCLEAR BLAST
Finnish metal sextet Amorphis have undergone a few metamorphoses in their 17-year career, going from full-on death metalists to a darker folk-metal entity; but the resilient troupe remains undaunted. ECLIPSE is the outfit's latest offering, a 10-track affair that features the band's new lead singer, as well as the band's rediscovered experimental metal side shining through on cuts like "House of Sleep" and "The Smoke". Imagine Opeth ("Perkele"), Pink Floyd, and Paradise Lost jockeying for the remote control on your couch to get an idea of what to expect from these shape-shifting metal dudes who continuously push the envelope and put intriguing albums out that challenge metal's conventions. www.nuclearblastusa.com -Mike SOS

ARTHRITIC FOOT SOLDIERS
ONLY BEER CAN SAVE US NOW
VOLTAGE
Three chords, a brew, and the truth seems to be the mantra for this U.K. outfit, whose alcohol-fueled punk-rock wares are abundant on this half-live, half-studio nine-track affair. Showcasing an authentic punk-rock scowl and bratty sneer and stocked with pint-raising numbers like "Nobodies" and "Anarchy in Argos", this hardened outfit's mission statement and delivery are dead-on for anyone who likes their punk rock raw, simple, and (above all) honest. www.voltagerecords.com -Mike SOS

BACKYARD BABIES
LIVE LIVE IN PARIS
LIQUOR AND POKER MUSIC
Though this Swedish glam-punk act just released a new studio album, to the uninitiated, LIVE LIVE IN PARIS is the perfect introduction to the hard-hitting decadence that is Backyard Babies. Already having toured with the likes of Social Distortion and Velvet Revolver, BB is a well-oiled machine that brings a no-nonsense attitude matched only by their gigantic riffs. These 15 rollicking tracks (including five never before released here in the States) will turn you into a beer swilling, makeup wearing Swede in one listen. So hunt down this ridiculously good outing, and prepare to experience punk rock as it was supposed to be experienced: live, loud, and in your face. -Jeff Srack

BANCROFT
THE MELOPHOBIC SOLUTION
DOPE RADIO MUSIC
The second full-length release from this Ohio-based pop/rock quartet is a catchy, hook-filled album that walks a fine line between Bad Religion and Foo Fighters. This collection of anthemic tunes is driven by the turbo-charged interplay between guitarists Brett Duffy and Andrew Hutchinson. The vocals are solid, and the rhythm section supplies a steady underpinning to what sounds like alternative radio candy. On the band's earlier release, the music was based on acoustic guitar. Now the band has junked the acoustic and turned to a purely electric atmosphere. It's a good move, as all of these songs contain enough high-energy rock to carry these boys to the top. -Dug

BLACK MOSES
ROYAL STINK
TIMES BEACH RECORDS
It's as if Black Sabbath bumped into Otis Redding on the second full-length release from this incredible London-based blues-rock trio. Vocalist extraordinaire Jim Jones fronts the band with savage abandon, blazing through metal guitar riffs, then whipping out his harmonica as the band shifts into a '60s blues mode. He even belts out "sock-it-to-me one time!" on the opening track. This is hybrid music that takes no prisoners. Jones's previous band, Thee Hypnotics, were a psychedelic phenom in the late '80s; while drummer David Axford has played with The Original Sinners and Gang of Four. With a mini-tour of the U.S. and a triumphant performance at last year's SXSW under its belt, Black Moses appears ready to smash into the American market. -Dug

BLOOD BROTHERS
LOVE RHYMES WITH HIDEOUS CAR WRECK
V2 RECORDS
Try as I might, I can't hate Blood Brothers. When I saw them, they seemed like such arrogant jerks (e.g., they were laughing at the audience for paying to see them cavort around). Even so, it's impossible to turn away from their sound. Whether shrieking, screeching, assaulting all matter of instruments, or muttering incomprehensibly, it's all arresting. "Metronomes" takes a turn for the tame, but the title track makes that irrelevant. "Love Rhymes with Hideous Car Wreck" features all of Blood Brothers' spasms and makes it clear why they fashioned an EP around this track, including a video and a live version. You can feel that smug swagger in the live version, and it's just enough to hold you over till their fall release. -Erika Owens

BLOOD ON THE TRACKS
BLOOD ON THE TRACKS
EM DASH MUSIC
Bob Dylan's BLOOD ON THE TRACKS was one of his greatest albums. It documented the crumbling of his marriage and was one of his most personalized releases. It's impossible to sit through "Idiot Wind" from it and not be moved. The band Blood on the Tracks takes its name from that pivotal release, but little else. "Here Today, Gone Tomorrow" sort of sounds like a kinder, gentler The Strokes; and "Love Is Dead"-the best song on this short, six-tune disc-includes a cool electronic bit as it hops to a disco beat. But "Without You" is an unbearable dirge, and "In Flames" is just bad emo. If you're going to borrow your name from an amazing album, you better offer something stellar. But Blood on the Tracks are bloodless. - Dan M

BROILERS/VOLXSTURM
GOOD FELLAS NEVER SPLIT E.P.
CARGO RECORDS
Broilers and Volxturm are German bands, which explains why the press release was in German, which I can't read. Fortunately, Volxsturm's Myspace site is in English, so I can tell you that the band has been playing since 1991 and describes its music as "chaos rock 'n' roll." I'd also call it a mix of Oi!, punk, and ska, with some metal and rap thrown in on one of the tracks. Yes, it WAS weird to hear rapping in German, but the songs were catchy. Members are Himel, vocals; Robert and Stahmer, guitars; Tost, drums; and Boris, bass. Broilers' Myspace site is in German, so all I can tell you is that two of the four songs they contributed to the disc are covers, "You Can Get It if You Really Want" and "Cigarettes & Whiskey", both of which were good. I really liked the vocals; the guy can sing. -tekolote

BROWN SHOE
THE WHEAT PATCH
SELF-RELEASED
Mixing equal parts The Belles and Red House Painters, Brown Shoe has created a CD full of amazing and beautifully infectious pop songs. The band's somewhat ambiguously elementary name may be their biggest hindrance, but not judging a book by its cover pays off in full if you can look past the name and get to the music. Solid vocals and soothing melodies bring forth visions of summer sunsets and bonfires with your closest friends. This is honestly one of the best CDs I've heard in a while. -Josh

BRUTAL KNIGHTS
THE PLEASURE IS ALL THINE
DERANGED RECORDS
Even mentioning an album that is this juvenile, lewd, and downright awful is a waste of space-so to use space for a review should be illegal. Brutal Knights are so horrible that I cannot even begin to explain it. There should be entire college courses devoted to analyzing the incredible lack of talent involved in creating music and lyrics that are so gruesomely bad. Acts like this make Canada look bad and have me thanking them for the likes of Brian Adams and Loverboy-because at least they had some form of ability. Therefore, if you want your mind blown by something that is so bad that it has to be heard to be believed, then Brutal Knights are for you. -Jeff Srack

BURDEN OF A DAY
PILOTS & PAPER PLANES
BLOOD & INK RECORDS
Burden of a Day could easily play with Underoath, From Autumn to Ashes, or Thrice, and no one in the audience would bat an eyelash. Their scream-sing delivery is neither new nor original, but it is done with passion, and it sounds better than a lot of the bands trying to ride the same wave. The writing shows maturity, and songs like "For Tomorrow We Die" and "Escapism as an Art Form" help introduce a band that will no doubt be in this scene for years to come. -Josh

CIRCUIT
EAU DE HUMANITY
TOP SAIL PRODUCTIONS
The debut release from this Ottawa-based sextet is a creative foray into melodic rock à la Nickleback or Matchbox Twenty. With top-notch production from Dale Penner (who produced for Nickleback), the 11 songs on this disc sound almost too slick. Often the band's melodic hooks and spot-on vocals get mellow enough to sound like an emo band. While the band has probably the worst Website ever created (a blank page with an e-mail tag), this music is already better than what most veteran bands put out on their third or fourth albums. Hopefully these guys have the creative juice to dodge the sophomore jinx, because for the next few years Live and Train need a new band to tour with. -Dug

CONNER
HELLO GRAPHIC MISSILE
SONIC BOOM RECORDINGS
There are moments when you would swear that Conner is an oldies band that got stuck in time. But sometimes they sound closer to something from just a few decades ago. Then there are instances when The Futureheads and Franz Ferdinand come to mind. In every era they reference, yelping vocals are always mixed with guitar music. "Overflow" even contains a twin guitar break, which hasn't been dusted off since classic rock was still new. Material like "Independent Women" is pretty, and here expert guitar work, passionate singing, and a memorable melody all come together. This CD title refers to missiles, but there is nothing war-like about Connor's music; instead, this is love music-love of electric guitar music, that is. -Dan MacIntosh

CROSS EXAMINATION
THE HUNG JURY
ORGANIZED CRIME RECORDS
If you like Suicidal Tendencies (who the band plays tribute to with a cover of "I Shot the Devil"), D.R.I., or Municipal Waste, and have a sense of humor, you will like Cross Examination. The guitar riffs here are very good, and the humor in evidenced in songs like "Barefoot Toothless & Pissed; "The Foodening ($3.49 Mark of the Feast)", a Homer Simpson-like tale of a disappointing "all you can eat" experience; and "Mortal Kombat", with its heartfelt plea to martial-arts fans NOT to karate kick others in the pit ("Poorly-aimed kicks leave me irate and fill me with fucking hate!"). Also, you can listen to the vocals and enjoy the fact that (according to the liner notes) "all vocals were recorded nude, no, seriously!" That certainly rocks my boat! Check these guys out for sure, either on disc or live. -tekolote

CRYNS#3
...IF HOWARD ROARK COULD DANCE
SELF-RELEASED
Toby Cryns is the nucleus of Cryns#3, and on this album he builds around ideas set forth in Ayn Rand's THE FOUNTAINHEAD. There's no bullshitting here-which is its most positive asset. Cryns sometimes sounds like he's trying to emulate Neil Young (or maybe he's making fun of Young's oft-cracking vocals). At other times, he's whiny and off-key. And on "Speak", he even drops some rhymes. But these descriptions aren't entirely relevant, because the album is boiling over with sincerity and soul, which transcends anything auto-tuning and marketability can provide. Think of this as some oddball concoction of Ben Folds meets barnyard pop. It's a damn good time. -David Barker

DEAF PEDESTRIANS
SELF-TITLED
DOTPOINTPERIOD RECORDS
The debut album from this hard-rocking Dallas quintet is a sonic blast that sounds like Foo Fighters as an emo band. But if this is emo, it is seriously twisted emo. One of the best songs on the disc, the slow and anthemic "Splatter", is about a guy killing his girlfriend and burying her on the way to kill the guy she'd been screwing. Incredibly catchy songs about drugs, murder, and booze make up the dark material that oozes off this disc. With the slick emo vibe, I had to check twice to make sure there was no religion on this album. Sure enough, in the lyrics are 34 "fucks," a few "bastards" and "cocksuckers," and nary a mention of God. This album is great, but way too filthy for airplay. -Dug

DEATH DU JOUR
GAMASHINOCH
HAMMERMILL RECORDS
Death Du Jour is the musical version of a horror movie. I am familiar with death metal and listen to it when no one is around, but I found this terrifying. I could imagine blood pouring out of the vocalist's mouth as he roared. I could see bodies piled up in heaps. Viruses and poisons cloud the air like dust. This album is truly disturbing, with its quick double-bass and the excruciating perfection of ravaging guitar. This is not monotonous or repetitive as many death metal albums can be, and it avoids the cheesiness flag that many death-metal bands unknowingly wave. This is Finnish metal at its very best. -Thomas Murray

DEMENTED ARE GO
HELLBILLY STORM
HEP CAT RECORDS
These demented, London-based psychobillies have been peddling their ghoulish stick for over 20 years and at least 14 full-length albums. The band's music consists of some pretty generic rockabilly riffs spiced up with lead singer Spark's growling, demonic vocals. It's not great music, but this formula has worked pretty well for the band over the years-whenever Spark has been able to stay out of jail or a mental ward. The band does dress up with blood and chainsaws, so it's pretty much Halloween every day for these guys. While you have to admire the band's plucky determination to ride this dark, bloody horse into the future, bands such as Gwar or Slipknot do this crap a lot better. More music and less blood would be a welcome change. -Dug

ENFORSAKEN
SINNER'S INTUITION
CRASH
Blisteringly heavy and tersely tumultuous, the quintet Enforsaken hail from Chicago-although after a few strains of the decibel-shattering "Blacklist Assassin", you'd think these dudes called some remote landscape in Europe home, especially after hearing the Viking chorus on "Sever the Ties". But they're Americans, and they are at their peak when decisively doling out smatterings of death-metal grooves, diabolic double-bass drumming, and throaty vocal techniques whose growls and rasps are amongst the best in the genre. Enforsaken's intriguing mix of metal is a definite hybrid of extreme styles that actually work in a sinister symphonic symbiosis guaranteed to leave welts and bruises aplenty. Throw Chimaira, Strapping Young Lad, and Shadows Fall into a cauldron and simmer, and SINNER'S INTUITION is the stew on which all you metalheads shall feast. Amen. www.crashmusicinc.com -Mike SOS

EPSILONS
EPSILONS
RETARD DISCO
Everyone's talking about Be Your Own Pet these days, hyping those NYC youngsters to undeserved heights. Yeah, those kids aren't bad-plus, they've got mommy and daddy in the music industry and Thurston Moore on their side. But like the saying goes, "The left coast is the best coast"-and California's Epsilons would reign supreme in a battle of the post-high-school garage bands. Dirty guitars and Stones-ish riffs maneuver around rhythms that wouldn't be misplaced on a ? and the Mysterians record. They've been touted as "Cramps go Devo," but I'll say they're The MC5 with a new-wave veneer. It slays those New York kids, by the way. Excellence. -David Barker

ESCAPE GRACE
II
ARSENAL
Yes, as the II would signify, this is Escape Grace's second outing. I haven't heard their first release, but I'm definitely intrigued by their sound. Opener, "Spartacus" actually has a Tool complex, with its thoughtful art-rock/metal vibe. The three remaining tracks are just out-of-control, intelligent, progressive hardcore à la Snapcase. Throw in awesomely abrasive vocals shouting lines like, "This is the death of intelligence / This is the death of common sense / This is the death of consequence / This is the death of significance" followed by manic howls of "Bleed the pigs!" found on "Gormandizer", and it proves that Escape Grace are the whole package. And who can't appreciate the song titles like "Siren City" and "Lotus-Eater", which have their origins in ancient literature?! -Janelle Jones

EXCEPTER
ALTERNATION
5RC
ALTERNATION is drum-machine-centric, sample-heavy, and not something you would want to put on while driving late at night, because either the record would induce some extensive hallucinations or it would lull you into unconsciousness. My limited knowledge of experimental/noise music leads me to use Kraftwerk, Sucide, and MY LIFE IN THE BUSH OF GHOSTS as probable influences, but this is more minimalist and not nearly as interesting. Beyond making me want to pass out on my keyboard, this is a pretty cool record in its own, odd way. Excepter fans should be content, and fans of experimentalism need look no further. -David Barker

FINAL CONFLICT
ASHES TO ASHES
SOS RECORDS
Guitarist Jeff Harp formed Final Conflict in 1983. The group released ASHES TO ASHES with the original line-up (in addition to Harp, Ron Martinez, vocals; Warren Renfrow, bass; and Dave Phillips, drums). The group released several more records and was one of the bands included in Penelope Spheeris's unreleased film DECLINE AND FALL OF WESTERN CIVILIZATION, PART III, where she turned her focus away from hair-metal bands and back to punk music. Final Conflict has played on and off over the years with some line-up changes and continues to perform. ASHES TO ASHES is a slice of '80s-style hardcore punk with extremely political lyrics. Who can't love songs entitled "Abolish Police", "Self-Righteous Pigs", and "More Beer"? As with political music from the Reagan years, anti-government lyrics ring true in the GWB era. Thanks to SOS Records for re-releasing this disc! -tekolote

FOMA
PHOBOS
LITTLE KISS RECORDS
Foma can be summed up as the culmination of everything good from the '60s that was injected into the indie rock of the past two decades. Lo-fi, twee-pop, space-rock, and all the rest of the hyphenated, meaningless sub-genres aren't lost on this New Mexico-based band. PHOBOS is unpredictable, unrelenting in its desire to change direction, and really makes you wonder why Foma isn't getting hyped by the indie elitist press. Credentials include tours with Cat Power, The Decemberists, and Mates of State, by the way. If you're a Grandaddy or Flaming Lips fan in need of something to make amends for break-ups or AT WAR WITH THE MYSTICS, here's your chance. - David Barker

FUTURE PRIMITIVE
EXPRESSION SESSIONS
SELF-RELEASED
Straight-edge clan Future Primitive's six-track offering has the California hardcore stamp all over it, as the music found on EXPRESSION SESSIONS is frenetically paced and laden with unabashed energy. The gang-vocal choruses found on "Future Presentation" and "White Noise" are some of the best heard in a while, truly drumming up that unbridled passion that these guys must really carry over live. Yeah, chances are you've heard this a zillion times...but when a band exudes this kind of spirit, it's hard not to get charged up yourself. Get set for the pile-on, courtesy of Future Primitive. www.myspace.com/futureprimitive -Mike SOS

GOLDBLADE
PUNK ROCKERS IN THE DANCE HALL
SOS RECORDS
Goldblade is a modern band that seems intent on not expanding its musical horizons beyond the first wave of British punk and the American bands that ripped it off a decade later. That's not a bad thing! This is The Damned or The Sex Pistols with a much keener ear for melody and more muscular musicianship, and the retro aspect suits the band perfectly. Sometimes you'll find heavy Rancid similarities, but the singer is as big as Danzig. I find myself asking, "What would Joe Strummer think?" Probably not a whole lot, but if you're content to be a punk-rock simpleton looking for Tim Armstrong's lost cred, this record will knock you on your ass. -David Barker

GOOD RIDDANCE
MY REPUBLIC
FAT WRECK
California punk-rock vets Good Riddance stay the course on MY REPUBLIC, as the PETA-loving quartet keep the beats swift and the attitude angst-ridden across their latest, 14-track excursion. While the punk-rock riffs thrown about in songs like "Regret" and "Save the Children" capable of rocking the Warped Tour set, sometimes the band exudes an atmosphere like they're running in place by playing it safe. Taking up the Fenix TX and Blink 182 slack with a bit more muscle and a helluva lot more to say, Good Riddance's new disc doesn't break new ground, but it does thought-provokingly rock your inner punk child. www.fatwreck.com -Mike SOS

GUILTMAKER
DRIVEN BY ARMS
KISS OF DEATH RECORDS
"Ex-members of old hardcore bands trying to play rock songs." That is the most succinct appraisal of a band I've ever seen. Not "ex-members of the most important old hardcore bands ever in the universe," but a simple, honest explanation of who these people are and what they are now doing. Their music mirrors this matter-of-fact attitude. It's your basic indie rock, with no screaming, no screeching, and no loud outbursts. It's rock your parents could nod along to. Guiltmaker will be touring and playing at Gainesville Fest this summer, which is the perfect opportunity for you to gain some old-school cred while supporting a brand new band. -Erika Owens

HEADLIGHTS
KILL THEM WITH KINDNESS
POLYVINYL RECORDS
Despite a summer release date, Headlights' KILL THEM WITH KINDNESS is apt to take listeners on a chilly ride through mid-winter Illinois. Subtle vocals from Tristan Wraight and Erin Fein (both ex-Absinthe Blind) aid the minimal chamber tendencies of the band, as the group veers back and forth between dark, orchestrated numbers (most of the record), fuzzy pop ("Lions"), and disco-punk ("Hi-Ya!"). Headlights are a surprisingly energetic bunch. There's little plodding; and as the record progresses, the styles shift enough to keep things from languishing into monotony or dullness. Consider the band to be one of Polyvinyl Records' most promising groups, and don't pass this up. (It drops in August.) -David Barker

JOHNNY CASINO'S EASY ACTION
WE'VE FORGOTTEN MORE THAN YOU'LL EVER KNOW
STEEL CAGE RECORDS
The debut album from this Chuck Berry-influenced retro band is an energetic explosion that might sound better on vinyl or coming out of some vintage tube speakers in a sweaty nightclub. Though the band was formed in Philadelphia on the wrong side of the tracks, the guys are mostly Aussie expats. The promo material calls this band a "supergroup," with members of Asteroid B-612, Limecell, Rancid Vat, and The Egos. Well, I have heard of asteroids before, but Rancid Vat? This is a pretty entertaining album for anybody interested in The Blues Brothers or The Commitments. Don't expect anything remotely modern on this album and you won't be disappointed. -Dug

KATAKLYSM
IN THE ARMS OF DEVASTATION
NUCLEAR BLAST
Canadian metal mongers Kataklysm stay the course, grinding out nine tracks of ruthless rampage on the unit's eighth full-length release. Emblazoned with a winning formula of creeping doom, raging thrash, and mid-paced melodic death, this quartet wickedly pound out a steady stream of savage riffs, crushing rhythms, and machine-like drums on tracks such as the time-released mayhem of "Crippled and Broken" and the hellacious, sprawling beast that is "It Turns to Rust". Meshing Obituary, Machine Head, and At the Gates, this veteran metal act's scintillatingly sinful delivery and dead-on acumen is a must-have for any extreme metal fan looking for doom-laden chaos. www.nuclearblastusa.com -Mike SOS

KOVER
ASSEMBLY
ENGINEER RECORDS
This doesn't sound like any Canadian music I have ever heard. I have been missing out if there is more like it. Kover, sort of an all-star collection of other Canadian bands, offers post-hardcore mixed with some classic influences. There is some sharp guitar in here-and it is certainly not a redundant replay of every other riff you have ever heard. A nice, gruff voice is backed up with pleasant melody. However, this album lacks the emotion and frenzied intensity that many will look for in their hardcore(ish) music. When I listen to this, I am not convinced that this guy is about to jump off a bridge or burn a few houses down. This is more "get together with people of similar interests and hang out" music. -Thomas Murray

MAKEOUTMUSIC
SEGRENATION
SELF-RELEASED
Makeoutmusic is for pierced and tattooed lovers. It's not the sort of R&B smooch stuff we've come to expect from such a name. Don't chill the wine, start a fire, and settle in for a long night to be set to this music, because the moniker is ironic, as SEGRENATION is angry, fast, flailing guitar hard-core punk rock. Song titles like "The MTA Can Eat Shit and Die" reveal that even public transportation cannot escape this group's wrath. The trouble with this brand of music is that it's been recycled so many times that much of the life has been sucked from it. It is sound and fury that signifies little. It's generic punk for making out with nameless girls. -Dan MacIntosh

MELEE
EVERYDAY BEHAVIOR
SUB CITY RECORDS
While this Orange County act is currently holed up in a studio recording their major-label debut, what better time than now to review its two-year-old debut. Mix in a little Say Anything with some Something Corporate and add heaping portions of pop sensibility and arena-rock hooks, and you have Melee. They are a can't-miss story waiting to happen, and if the songs on the next album are anywhere near as good as these, well, we might be looking at the next big thing in pop/rock. Therefore, before the band's Warner Bros. debut hits the stores later this year and undoubtedly becomes a hit, pick up EVERYDAY BEHAVIOR and create the bandwagon before it runs you over. -Jeff Srack

MILES AWAY
CONSEQUENCES
BRIDGE NINE
Miles Away put forth quite a strong effort with CONSEQUENCES, the Australian hardcore band's follow-up to their 2005 self-titled record, showing that they can throw down with the best of them. With introspective, positive lyrics and nicely-placed mosh parts and gang vocals intermixed with the galloping, driving hardcore, Miles Away recall like-minded Northern Hemisphere brethren Comeback Kid, Bane, With Honor, and the lovely Killing the Dream. Some of the finest of the 11 songs here are "Reconcile", "Down the Line", and the penultimate track, "Yours Sincerely". If you dig any of the above-mentioned bands, this record is definitely worth checking out. -Janelle Jones

MINUTES TOO FAR
LET IT ROLL
MEDIC RECORDS
Minutes Too Far exemplifies what's good about power pop. This band's vocals are urgent and sung with feeling, and the guitar-based instrumentation mirrors this urgency. The way the word "hey" is chanted on the chorus to "Something You Really Oughta Know" will remind you of The Plimsouls. Peter Case fronted The Plimsouls, and it's a shame he/they have not had more commercial success. Let's hope Minutes Too Far do not face the same fate as Case. Much of today's music is passionate but far less than fun. Minutes Too Far finds the right balance between singing their guts out and having fun. This disc is only six songs long, which is many minutes too short. -Dan MacIntosh

MODERNETTES
GET IT STRAIGHT
SUDDEN DEATH RECORDS
How is it that a band could be this good with no one ever even hearing of them? Coming out of the second wave of Canadian punk in the early '80s, Modernettes combined the simplicity of The Ramones with a love for '50s rock that will remind listeners of The Replacements, a band they preceded but never equaled in garnering respect. This reissue of their only full-length showcases a band that wrote undeniably catchy tunes that were not only ahead of their time but were fun and exhilarating. This is music that will leave anyone interested in punk, new wave, and great rock in general with a smile on his or her face and reaching for the repeat button to hear such unknown classics as "Barbra" and "Confidential". -Jeff Srack

MUNKEY JUICE
FATTY ARBUCKLE'S COKE BOTTLE
C7L RECORDS #012
This is the eighth album in the 11-year history of this straightforward rock quartet. According to the band's Website, this will be the last album by Munkey Juice, as the group is splitting into two separate entities. If this album is any indication of the band's progress, the final chapter probably could have come a few albums ago. The band's sound is lightweight punk akin to The Ramones on a bad day. While the nine tunes on this disc are performed in a journeyman-like manner, you'd think a band would learn more in 11 years. Yeah, it is a terrible name for a band, but with the right music you could probably forgive these guys. Unfortunately, there's nothing warranting forgiveness here. -Dug

OH NO NOT STEREO
LP-001
SELF-RELEASED
Is it possible to please more than one type of music fan with one album? I think we have found that answer. Oh No Not Stereo could be on the verge of being the next big thing in mainstream music, with harmonizing vocals and catchy hooks. If you don't particularly enjoy sweet vocals, don't fret: these boys lay it on hard with screaming guitars that make the mix of sweet and harsh balance itself out. "Death to the Attitude" displays the softer side of this band with a hook that sounds a bit like "Miserable" by Lit. Whatever your musical preference is, Oh No Not Stereo is worth a listen. -Matt Edmund

PLAIN WHITE T'S
HEY THERE DELILAH
FEARLESS RECORDS
Are you Delilah? If not, keep moving, because this EP is not for you; but if you do have a tee that says "I Am Delilah," this is the CD you've been waiting for. Not only are there two versions of the title track, but this enhanced CD also includes the music video and two other vids. The live version of "Hey There Delilah" is a sing-along of people (girls) who are inexplicably drawn to its throwaway sound. "Times Square can't shine as bright as you" somehow wooed Delilah and her copycats, but listeners shouldn't be so easily bowled over by tiresome lyrics and a plainly boring sound. -Erika Owens

PUNCHLINE
37 EVERYWHERE
FUELED BY RAMEN
Pittsburgh's Punchline has the pop-punk thing down pat. There isn't too much punk about it, however. "Getaway", for example, is so mellow that it'd be a crime against humanity to label it punk. The layered vocals on 37 EVERYWHERE are as sweet as candy, and the playing is smooth and seamless. None of these songs stand out, although it's hard not to like the first-grade rhyme scheme of "The Fake, the Snake, and the Birthday Cake". Punchline could be just about any band, from Any Town, U.S.A., playing some midday stage at Warped. This recording leaves no impression at all. It's nice and inoffensive and anonymous. I can see some teenage girl hanging this band's poster on her bedroom wall. She just wouldn't know any better. -Dan MacIntosh

RAUNCHY
DEATH POP ROMANCE
LIFEFORCE
Denmark sextet Raunchy return with their third release, the aggressive, keyboard-heavy, 10-track DEATH POP ROMANCE. And if you thought that these guys were cloning Soilwork and In Flames before, get set for a lot more of that, with chunks of Children of Bodom and the lighter moments of Strapping Young Lad thrown in for good measure. Humungous drums, killer riffs, and a slew of technical programming is what these metal mavens deliver, from the hooky electronic feel of "Live the Myth" to the contagious death march with an absolutely killer breakdown "Remembrance". While the "melodic metal" tag seems to be a maligned moniker to place on a band these days, it's quite possibly the best way to describe DEATH POP ROMANCE's innate yet crushing charm. www.lifeforce-america.com -Mike SOS

SAVAGE CIRCUS
DREAMLAND MANOR
CENTURY MEDIA
DREAMLAND MANOR isn't Michael Jackson's new abode, nor is it the place where the sleeperhold was invented: it is the title of the debut by Savage Circus, a power metal troupe that boasts members of Blind Guardian, Persuader, and Iron Savior. Unadulterated power metal is what these guys serve best, complete with grandiose intros, massive solos, thunderous drums, falsetto vocals, and telling tales about demons, wizards, lands far away, and other power-metal lyrical fodder. Chances are that if you dig Blind Guardian, Helloween, Iced Earth, and the like, then this swashbuckling epic release is right up your alley. www.centurymedia.com -Mike SOS

SOUTH OF NO NORTH
...IN THAT OLD WHITE VAN
GREY FLIGHT
To be fair, South of No North have their moments in a few songs on ...IN THAT OLD WHITE VAN, like during the opening couplet "The Day the Current Died" and "Where We're Going We Don't Need Roads". I'm partial to the somewhat shoddy sound quality, but overall, this five-song EP comes off like a sloppy, unfocused pop-punk/screamo mess. Don't get me started on "This Town", which is just plain painful(especially because of the horrendous vocals; nor on the grand finale, "The Real Me (Too Mathematic)", a pretty useless "heartfelt" acoustic crooner that could've very well been left off the record. Thankfully, these two disasters are each only about two minutes long. -Janelle Jones

SSM
SELF-TITLED
ALIVE RECORDS
SSM (an abbreviation for its band members' last names: Szymanski, Shettler, and Morris) delivers music that could be described in many different ways. One word is "quirky," for the keyboards that provide groovy, rhythmic melodies. Rough and somewhat distorted guitars hit hard with a classic garage feel, while the drums keep up a steady beat. Tracks like "Candy Loving" and "Ain't Love" give this album a toe-tapping feeling of joyful energy, while songs like "Dinosaur" brings a psychedelic edge. No matter how it's described or sold, SSM's throwback to the '60s psychedelic sound should have no problem pleasing its listeners. -Matt Edmund

THE ACACIA STRAIN
THE DEAD WALK
PROSTHETIC RECORDS
The Acacia Strain have almost a quarter-million hits on their Myspace page. They appear to have struck a chord with Prosthetic Records' metal-core audience and beyond. Problem is, they seem only capable of striking that single chord. Over and over again. Nothing about this album is distinctive-not the sound, not the dead-pig cover art, not the tough-guy promo pictures. Apparently, thousands of people would disagree with the estimation that their work as trite...but those voices do not take away from the monotony of this sound. -Erika Owens

THE ACROBRATS
GO DOWN SWINGING
SUSSPOOL RECORDS
For the most part, giving a CD a bad review is easy on the conscience, because the albums are so bad that they deserve the beating they take. This album isn't one of them, as The Acrobrats aren't incredibly horrible...but neither are they very good. A few cool guitar riffs here, some interesting backing vocals here, and a suitable cover of The Primitives' classic hit "Crash" does not make for a recommendable record. I wouldn't go so far as to leave this band for dead, though, as the talent is there; it just might take a few more albums and tours to iron out the wrinkles. So give The Acrobats a chance. As far as this album, don't expect to being blown away. But hey, at least you won't be disappointed. -Jeff Srack

THE ADORED
A NEW LANGUAGE
V2 RECORDS
The Adored's story spans the United States from east to west, being that they in Boston and eventually formed the current line-up in L.A. But their sound isn't a product of American rock roots; rather, their tunes come across as being influenced by late-'70s Brit-pop, with a splash of punk rock. Buzzcocks' Pete Shelley even caught wind of their sound and contributed to their 2005 EP. What you will find within this disc are 14 infectiously catchy tunes that can't help but put you in an upbeat mood. Perhaps the most valuable aspect of this album is its ability to make you dance! Hey, Punky McPunkerson, it's okay, to shake your ass to music like this! -Matt Edmund

THE ANTHEMS
SELF-TITLED
SELF-RELEASED
Although they were conceived just two years ago, The Anthems have already toured in Germany and Amsterdam. On this self-released four-song EP, seconds into the first track you realize what the attraction is. One of the first things I am amazed by is the sound these kids (they look to be in their early 20s) produce. The songs are well played and rich in sound, and the vocals are quite impressive, bringing to mind a comparison with Joe Strummer. You can also sense a bit of 1960s surf influence (mainly in the percussion). Another impressive band out of Anaheim! www.theanthems.com. -Matt Edmund

THE DESTROYED
RUSSIAN ROULETTE
SELF-RELEASED
Boston punk rockers The Destroyed are a combined age of 108-and there's only two guys in the band! While age ain't nothing but a number, unfortunately, no one told these guys that their infernal racket is devoid of any melody whatsoever. They should've stayed up in the attic with their leisure suits, pet rocks, and Slinkies. Atonal by choice or intentionally unlistenable? That's hard to decipher-but save yourself the struggle by avoiding this at all costs. www.thedestroyed.com -Mike SOS

THE DIALS
FLEX TIME
LATEST FLAME RECORDS
If girls really just want to have fun, then this would be the perfect soundtrack to their night out on the town. This Chicago outfit's debut album is filled with fantastic dance punk led by two female vocalists who complement each other flawlessly. Though the band was recently hit with the tragic death of drummer Doug Meis in a car crash, luckily for music fans, they have vowed to go on. Sounding like an amped-up The B-52's without the annoying guys constant yelling, The Dials take the "less is more" sound to the extreme without ever sounding dull or repetitive. This total mindless fun is a treat from start to finish. -Jeff Srack

THE FIRST STEP
WHAT WE KNOW
RIVALRY RECORDS
North Carolina-based The First Step formed in early 2001 with the intention of invigorating their local scene and "to write fast, thrashy hardcore that was lyrically honest and open." The songs on WHAT WE KNOW are definitely replete with heartfelt lyrics, some in the traditional straightedge mode of singing about the advantages of sobriety, but most addressing the issues of becoming involved in life, taking a stand, reaching out and helping others, and world peace. I especially liked the title track, which has some major T.S.O.L. overtones. The band takes its inspiration from straightedge pioneers like Youth of Today, Minor Threat, Uniform Choice, and Insted. The album was produced by Walter Schreifels, who's also worked with Gorilla Biscuits and knows how to get the best out of a hardcore band. I'd definitely recommend this to anyone who likes these other bands or who likes musical with motivational lyrics. -tekolote

THE GERSCH
THE GERSCH
TORTUGA
This reissue's press release urges you to get a new pair of pants for this one, so you best have another set of knickers ready for The Gersch's aural assault. This nine-track monstrosity, originally released in the mid '90s, can be viewed as a blueprint for much of today's current crop of avant-garde stoner metal, as songs like "Listwish", "Face", and the wondrously-titled and glued-together "Your Lips Are No Man's Land but Mine" definitively set the now-all-too-familiar drone metal-meets-sludgy groove-meets-caustic vocal attack. Be prepared to zone out, burn out, and get out of your head a while after a few spins of this one, folks. www.tortugarecords.com -Mike SOS

THE HOLY FIRE
IN THE NAME OF THE WORLD
THE MILITIA GROUP
The Holy Fire bring forth a sound that is equal parts folk and indie rock on their debut EP. But to my dismay, the more I listened to it, the more it made me feel like I was listening to Train or O.A.R. It tends to have an almost Southern rock feel to it. While I have to admit some of the melodies are catchy, I just couldn't really get into the album. This is no doubt a talented group of musicians-especially considering they're only a three-piece-but I'd spend my hard-earned cash elsewhere. -Josh

THE ILLUMINATI
THE ILLUMINATI EP
LIQOUR AND POKER MUSIC
It sounds as if .38 Special tried to make a prog EP on the new release from this "psychedelic hard rock" (their promo description) trio from Toronto. The only thing psychedelic on this disc is the cover art: an all-seeing eye on a creepy, Bible-like leather cover. Once you get past the eye, it's all Southern boogie rock with lots of endless leads. While this music has its place, the place isn't alongside prog or jam bands. These guys should just portray themselves as they are: long-haired country rockers from the backwoods. If this band was onstage next to ZZ Top and Lynyrd Skynyrd, it would certainly create a stir; but if these guys get paired with Phish or Dreamtheater, they'll get booed off the stage. -Dug

THE IOS
IN SUNDAY SONGS
KANINE RECORDS
The iOs have that male/female thing going for them (like The Human League). They also have an affinity for synthesizer-driven pop songs. Synth is their instrument of choice, yet "Resident" is guitar-driven garage rock. Other standouts include "Reality Intrudes", which begins with electric piano before the electric guitars burst in; and "Deeper Sleep", because of its acoustic guitar and lullaby-like elements. As good as some of this music is, a few fine vocals tracks are cruelly buried in the mix. This occurs on "Neveright" and "Rockets". "Deeper Sleep" sounds particularly humanistic and serious. The tone alternates between upbeat pop and dreamy alternative rock. With better production, this disc might have stood out even more. -Dan MacIntosh

THE PLASTIC CONSTELLATIONS
CRUSADES
FRENCHKISS RECORDS
"Iron City Jungles", which sounds like a noisier Buzzcocks one minute, and cheeky Supergrass the next, is an anomaly. That's because The Plastic Constellations are a disjointed hard-rock band, instead. Both "Quixote" and "Belly of the Beast" feature hyperactive electric-guitar strumming. Vocals are gravelly and desperate. The music stops and starts, much like someone learning to drive stick shift. The oddest cut of all is "Reunitiation", which is an instrumental that begins acoustically, then blooms into what can best be described as a rock fanfare. This band has been compared to Pavement by some, but I don't really hear it. Pavement was much more resigned and far less aggressive. But The Plastic Constellations are an inventive and unpredictable band-and well worth a listen. -Dan MacIntosh

THE ROGERS SISTERS
THE INVISIBLE DECK
TOO PURE
Back in the day, sister groups were mostly vocal acts that created beautiful harmonies. Of course, before the advent of rock 'n' roll, that's pretty much what everybody did. The Rogers Sisters, however, are not an old-time singing group. Comprised of sisters Laura and Jennifer Rogers and Miyuki Furtado, their music ranges from what sounds like The Futureheads ("Never Learn to Cry") to the big, heavy electric-guitar backing of "Money Matters" that brings Pixies to mind. On "The Clock", these girls count it down to a surf-rock beat. Although there isn't much sisterly singing going on, "Never Learn to Cry" is one entry that at least features duel vocals. The Rogers Sisters are girls who just wanna have rock. -Dan MacIntosh

THE SLEEPING
QUESTIONS AND ANSWERS
VICTORY RECORDS
This album has some feeling inside, something to associate with. The lost, the sick, the depraved, and the sad will all find common ground here. The whole album has an air of frustration that the band keeps a barely contained, masterfully letting it boil over on occasion. An obvious genre does not exist for this album, but it's more emo than it is heavy metal, punk, or hardcore. I think the band would freak out if you called them emo, though, so let's just stick with "rock" for now. QUESTIONS AND ANSWERS is an honestly complicated album that listeners won't soon get bored with. -Thomas Murray

THUNDHERSTRUCK
YOU'VE BEEN...THUNDHERSTRUCK
THUNDHERSTRUCK
An all-girl tribute to AC/DC-why not? The guitar is right on, riff for riff and chord for chord. It sounds like they have the exact same amplifier and strings and everything. I am not an obsessive AC/DC fan or anything, but I know the songs well enough to point out fraudulent misrepresentation-and this band does not fall into that category. As a matter of fact, I liked most of these versions better than the originals. I realize that is a shameful reality, but it does happen. There was something about Bon Johnson's voice that irked me-which is unfortunate, because AC/DC has some bad-ass songs. Dyna Shirasaki's voice is much more agreeable. Not to mention that these girls are all hot. That never hurts anything. -Thomas Murray

THURSDAY
THE CITY BY THE LIGHT DIVIDED
ISLAND
If you're reading this and you haven't heard of Thursday, this must have been the first rag you could find after you moved out from under your rock. If you're like the rest of us, you probably already know the band's ability to blend genres and write incredibly passionate music. THE CITY BY THE LIGHT DIVIDED is no exception. It is a natural progression and maturation from WAR ALL THE TIME and showcases some of the best songs the band has ever done (e.g., "Running from the Rain"). I have a feeling this record will be on a lot of "best of" lists this year. -Josh

TRANSITION
GET THERE
EAST WEST
Transition is produced by Mike Herrera of MxPx, but don't expect to hear that band's hurried tempos. "Down at the Harbor", for example, includes layered vocals and a mid-tempo musical track. Transition songs are the sort of "trying to understand it all" pleadings you expect to hear from young adults. Thankfully, there isn't a lot of whining and complaining, just sincere emotional exploration. "Transition" is another word for big change, and this group has created the proper soundtrack for those who are in the midst of change-whether it's growing up, changing jobs, whatever. These musicians look at the unknown as opportunities, not problems. And that's a good thing. With Transition, change doesn't seem so bad. -Dan MacIntosh

ULTRALORD
WE HATE YOU AND HOPE YOU DIE
THIS DARK REIGN
Don't look for Ultralord to start endorsing Hallmark anytime soon, as this wickedly scornful quartet and its abrasive, anguished eight-track offering is not only fueled by an incensed view of the world, but also by some of the finest sludge-ridden metal heard in a long time. Hailing from Ohio and boasting members of Rue, Fistula, and Rune in its ranks, from the opening din of "Wizard Pimp", your best bet is to cling to whatever is near and pray that the maelstrom of metallic might leaves you unscathed. Unfortunately, with songs containing serpentine vocal deliveries and seething rhythms found on songs with over-the-top titles such as "Pussy Witch" and the bombastically hypnotic approach found on the deliberately measured "Negative D" and "Roach Detector", there's nary a chance of you ever being the same after playing WE HATE YOU AND HOPE YOU DIE. www.thisdarkreign.com -Mike SOS

URGENCIES
DESOLATION CHIC
BUBBLE EMPIRE RECORDINGS
Austin-based quartet Urgencies has been playing together since 2004. Band members are Shawn Ptera, drums; Mike, vocals/bass; J.T. Trash, vocals/guitar, and Al G, vocals/guitars. As far as influences go, I will let the press release speak for itself: "Though the cum stains of the New York Dolls, Dead Boys, and The Replacements are evident, these lads put their own John Hancock on America's original musical rebellion." The band lacks the Dolls' soulfulness, but makes up for that in sheer energy. I would also list The Plimsouls as a major influence, which you can hear in Urgencies' cover of the former's "A Million Miles Away". The harmonica on "Gotta Have It" is excellent. If you're into the whole bluesy garage sound, this album is for you! I also suspect this would be a great band to see live. -tekolote

VANDEN PLAS
CHRIST 0
INSIDE OUT
German prog-metal quintet Vanden Plas ambitiously tackles the classic THE COUNT OF MONTE CRISTO on the nine-track CHRIST 0. This veteran outfit's latest endeavor explodes with keyboard and guitar duels, passionate vocals, and a metallic bite that accelerates Vanden Plas' spot in the prog-metal hierarchy. Tracks like "January Sun" is as epic as it gets, clocking in at over nine minutes and fully loaded with choir background vocals, rumbling rhythms, and dramatic changes of pace that rival any well-done Broadway musical; while "Wish You Were Here" excels with a dynamic sense of orchestration that never gets irritating (as prog metal tends to do more often than not). CHRIST 0 will not disappoint fans of atmospheric metal that crave a strong narrative and are floored by remarkable songwriting prowess. www.insideoutmusic.com -Mike SOS

VARIOUS ARTISTS
SUMMER SOUNDS: FOUR REASONS FOR THE SEASON VOL. 1
CABANA RECORDS
This CD contains 16 songs by four bands (which amounts to four tracks apiece). Fun rock is the characteristic they all share, although there are variations on the form. For example, The Burbs are from San Diego and have a thing about the beach. Their sound is surf-punk rock, and they cover oldie "Surfer Joe". The Prozacs, on the other hand, have a The Ramones thing going for them. Regal Beagle aren't all that distinctive, although they get Brownie points for covering Gary Lewis's "Just My Style". The last band, The Lebowskis, are named after that funny movie about bowling and stoners. They are from Pennsylvania. These aren't angry young men; they're just out for a good time. It's only rock 'n' roll. -Dan MacIntosh

VARIOUS ARTISTS
PAUPERS, PEASANTS, PRINCES & KINGS: THE SONGS OF BOB DYLAN
DOGHOUSE RECORDS
Here, a slew of artists decades removed from Dylan's heyday vainly attempt to revamp a variety of tracks from his catalog. Rarely are compilations like this truly atrocious (save for the Jawbreaker tribute), and this isn't an exception. PAUPERS... is tolerable-if you're not a diehard Dylan freak. The song selection isn't predictable, thankfully, and it's always interesting to hear modern bands pay homage to someone as influential as this character. Multiple styles are represented, as the artists range from Rachael Cantu to Apollo Sunshine to Panama Jerk. Even rapper P.O.S. makes an appearance. Unfortunately, it's a novelty record and warrants only a few spins...if any. -David Barker

VARIOUS ARTISTS
BRIDGE NINE SINGLES VOL. 1
BRIDGE NINE
The bands on the premiere volume of the BRIDGE NINE SINGLES series bring it hard. From the get-go with the Sum of All Fears couplet of songs (especially "Amber's Almighty Warhammer"!), the listener is immediately(and ceaselessly(pummeled into submission. The three other bands comprising the comp are Tenfold, Proclamation, and The Trust (the last being the most wondrously scrappy sounding). Expect to hear some straight-edge numbers amongst the 22 tracks, including Proclamation's self-explanatory "Straight Edge Hardcore", Tenfold's "Stand Hard", and The Trust's stellar "Marked for Life". As a crucial addendum for those unfamiliar with these bands, all the material represented here was released between '95 and '98, representing Bridge Nine's first four (now out-of-print) releases-which shows that the label had the quality hardcore bands right from the beginning. -Janelle Jones

VARIOUS ARTISTS
BRIDGE NINE SINGLES VOL. 2
BRIDGE NINE
Well, for the second comp in the series, Bridge Nine compiles their vinyl-only releases from 2000-2005 (all out of print) on one handy disc. One of the first things noticeable is the superior sound quality of this CD (well, barring Right Brigade's lovely "Understand") as compared to the shoddy, lo-fi sound (of which this reviewer happens to be more fond!) of the first volume. We get 29 tracks(almost 50 minutes worth(of some killer hardcore. Some of the best cuts come from R'N'R ("Punk's Dead, Hardcore's Next"), Outbreak ("I Blame You"), The Distance, Death Threat, Right Brigade ("Understand"), and A Poor Excuse ("Drunk, Poor, on the Floor"). The other bands included-all of whom have strong showings-are Fit for Abuse, Some Kind of Hate, Over My Dead Body, and Breaker Breaker. All in all, as with its predecessor, VOL. 2 makes a nice addition to any self-respecting hardcore kid. -Janelle Jones

VARIOUS ARTISTS
UNSOUND
EPITAPH RECORDS
Say goodbye to the PUNK-O-RAMA compilations and introduce yourself to its replacement, UNSOUND. In an attempt to give the Epitaph label a facelift, UNSOUND features the new breed of Epitaph bands that come with a screamo/emo sound. Hip-hop artists Sage Frances and Dangerdoom also contribute to this title. It's as though Epitaph is attempting to ride the ever-changing trend of bands having an MTV appeal (screaming 20-somethings who wear too much eye shadow). This album also includes a DVD filled with 10 music videos from bands like From First to Last and Bad Religion. Fans of the defunct PUNK-O-RAMA series should be hesitant in picking this up. Epitaph isn't the Southern California punk label it once was. Besides a few decent tracks, there isn't much worth getting excited about here. -Matt Edmund

VARIOUS ARTISTS
TRUSTKILL TAKEOVER
TRUSTKILL
Hardcore to emo and back again, New Jersey label Trustkill has a fine arsenal of bands that they lovingly showcase on this 14-track sampler. Like getting physical in the pit? Then try Terror and Throwdown. How about something for your sensitive side (or for your tender moments with your special lady friend)? Bed Light for Blue Eyes and Roses Are Red suit the bill. Angst-ridden and looking to rage? Allow Walls of Jericho and Most Precious Blood to maul you. Trustkill covers all the bases for your average 17-year-old underground music fan with this comp, a perfect complement for the car ride to the summer festival of your choice. www.trustkill.com -Mike SOS

VARIOUS ARTISTS
HOPELESSLY DEVOTED TO YOU VOL. 6
HOPELESS/SUB CITY RECORDS
The first of these two discs displays all the new and recent signings to the label, as well as favorites like Thrice and Ever We Fall. The second disc boasts big-time songs like Guttermouth's "Hopeless" and Avenged Sevenfold's "Unholy Confessions". There is plenty here for those in search of some new material, but there's also enough proven stuff to keep even the pickiest bastards happy. Also enclosed is a DVD featuring some music videos and promos from the same bands on the first two discs. Some highlights include a video for "Tamara Is a Punk" by The Queers and "Deadbolt" by Thrice. This is a quality sampler. There should be more like it available to paranoid bastards who want to sample before buying. -Thomas Murray

WHIRLWIND HEAT
TYPES OF WOOD
BRILLE RECORDS
Reviews don't usually begin with a disclaimer or an apology, but I'll probably need one or the other for the things I'm about to put down. For starters, TYPES OF WOOD is a disjointed effort that lacks passion and is a difficult album to listen to in general. The singer (and I use that term loosely) tends to resort to simple melodies that are more spoken than sung, and the band plays music that is extremely basic. Apparently they have seen all kinds of success, from playing SXSW to touring with Beck and The Yeah Yeah Yeahs-which baffles me, because I don't understand how these guys got a record deal in the first place. -Josh

WILSON GIL AND THE WILLFUL SINNERS
AMERICAN BANNED
TINNITUS RECORDS
The second full-length album from these Bay Area veterans is a sleazy collection of country-tinged rock that will make you want to smash up a cowboy hat and pull the brim down low over your bloodshot, inebriated eyes. These are some tough, raunchy fucks whose songs, "Drink", "Last Drinking Song", and "Twinkies and Speed" pretty much tell you what you need to know about their mindset. But there is an even darker side here. The album cover is a hand flipping off the world while nailed to a cross, and nearly every song contains some kind of religious symbolism or sinner's lament. This is some pretty good rock and some pretty hard-nosed twang à la Cash and Haggard under the influence. If that ain't American music, nothing is. -Dug

WITCHERY
DON'T FEAR THE REAPER
CENTURY MEDIA
A Swedish all-star band of sorts (but aren't most Swedish metal acts all-star bands?) comprised of members of The Haunted and Arch Enemy, Witchery's latest endeavor is a 14-track metal tour de force. While not nearly as engaging or hair-raising as the member's main outfits, DON'T FEAR THE REAPER still manages to excite with a blistering barrage of instrumentals that slowly build to mighty slabs of metal like "Disturbing the Peace" and "War Piece", as well as molten numbers like "Styx" and the relentless "Cannon Fodder". Providing very simple yet very heavy nuggets of metal throughout, Witchery almost goes the Entombed route on this offering, unveiling a savage thrash assault intertwined with slower, groovier crushers guaranteed to hold you over until these guys return to their main projects. Horns up, indeed. www.centurymedia.com -Mike SOS

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