46 SHORT
JUST A LIABILITY
GO KART RECORDS
Southern California's very own 46 Short make their Go Kart Records debut and
aim their no-frills hardcore punk sound like that of Circle Jerks, Aggression,
or Adolescents. For JUST A LIABILITY, the boys enlisted Jerry Adamowitz (who
has worked on albums with US Bombs, F-Minus, and The Stitches) to give this
an authentic punk feel. The only problem here is there just isn't enough variation
to go around. However, that doesn't stop 46 Short from kicking out rockers
like "Positively
Negative" and "I Don't Want to Play".
-Jude Ruiz
AKIMBO
ELEPHANTINE
DOPAMINE
What do you get when you cross Deadguy with Clutch? Something that I should
like WAY more than I like this. It's loud, yet uninspired. It's quirky and
off-balance, but in a contrived sort of way. Apparently, these guys are a big
deal in Seattle. Unfortunately, Seattle hasn't been a big deal musically in
10 freakin' years. If you search and eventually end up on their Website, you'll
notice that these guys are pretty full of themselves. They herald themselves
as one of the most violent and destructive live acts you'll ever see. I have
five words for you, Akimbo: Bad Luck 13 Riot Extravaganza. Now, beat it.
-FLINT
ALL NIGHT RADIO
SPIRIT STEREO FREQUENCY
SUB-POP
All Night Radio, Dave Scher, and Jimi Hey of L.A. are the equivalent of a Syd
Barrett who never aged. Mellow psychedelica that is both playful and poetic,
SPIRIT STEREO FREQUENCY is another work of beauty, experimentation, melody,
and songwriting kept within the modern age of Super Furry Animals. Unlike most
of the retro-/garage-rock movement, All Night Radio are able to create a work
that owes much to the psychedelic past without losing their own voice or becoming
clones of clones of clones. The walls of sound and noise are controlled within
each song to create a tight, well-rounded album of wonderful melancholy. The
strong melody and rhythm are in conflict with the airy nature of the haunting
vocals in "Oh, When?"; and the last track, "All Nigh Radio",
is a fitting ode to the spirit of the album and band as a whole. These are
true modern pipers.
-Norberto Gomez, Jr.
AMERIKAN MADE
AMERIKAN MADE
J ROCK
Amerikan Made's press junket says that this band has "the whole package," as
it lists all of the things this band has working for it, from an interactive
e-mail list and a solid fan base to photos. Whoop-dee-doo. Luckily, Amerikan
Made also has a seething punk-rock attitude that is devoid of the current vapid
California punk mentality and lies a little more in the direction of bands
like Pennywise and D.I. While the name-dropping and boasting of its accomplishments
sounds a bit like a spoiled child bragging that he got all he wanted for Christmas,
this quartet's 14-track disc stays on the passionate punk-rock course, as tracks
like "Not the King", "405", "Faith", and "United
Anarchy" contain all of the elements that smart, punchy, effective punk
rock should. website
-Mike SOS
AMPS FOR CHRIST
THE PEOPLE AT LARGE
5RC
The seventh album from this Claremont, CA, collaboration is a mismatched hodgepodge
of "music" and "poetry" that is as mystifying as it is
boring. While AFC proclaims an affinity for Christ but an aversion to "FAKE
Christ for profit right wing elitists," there are some tunes among the
23 cuts on this album that approach music. Much of the CD is spent with strange
homemade instruments chugging along with a sitar. Then there are a few pleasant
acoustic guitar tunes that would be nice to listen to if they weren't plopped
down in the middle of ridiculously pretentious "poetry" and Scottish
folk songs. The Scottish folks songs would also be nice to listen to if they
weren't plopped down in the middle of sitar music, "poetry," and
acoustic guitar tunes. If this band had taken its previous six albums and combined
it with this one, they probably could have made one decent album for each of
its bizarre styles. After listening to the sitar and electronic birdsong duet
during one of the tracks, "Freddie the Mockingbird", Jesus wept.
-DUG
ANOTHER BLUE DAY
HAULERS
STINKY RECORDS
Hailing from Oshawa, Canada, this quintet is the brainchild of singer/songwriter/guitarist
Dave Schoonderbeek. With three self-released EPs under their belt, Another
Blue Day show some incredible range in melancholic indie-pop. The Cure-ish
opening tune, "Nova Scotia", has all the gloomy melodicism one can
handle; and "American Guitars" comes equip with a classic rock feel.
Other highlights include the ballad-like "Christmas '98" and "Streetlight
Song". With such emotionally-charged lyrics, one can't help but have a
soft spot in your heart for this one. anotherblueday.com" target=_blank>website
-Jude Ruiz
AT A LOSS
A FALLING AWAY FROM
BLACKOUT! RECORDS
The mixing and matching of rock, emo, indie, and punk is unmistakable and undeniable.
Bitterness and cynicism scream out of the amplifiers, as emotion pours from
the harmonious vocals and eerie guitars. The non-traditional style and composition
of each song is apparent, as metal, emo, and punk are juxtaposed upon one another
to form a blend of beautiful disaster. Not only is A FALLING AWAY FROM genre-bending,
but At a Loss defies traditional song structures to form an original sound
that cannot be compared to almost any rock band. This album has similar structure
to an At the Drive-In album, yet sounds nothing like them; however, it is just
as eclectic. The pop is left out of this punk and the progression takes its
place. This album takes more than one listen to completely appreciate the time
and intricacy spilled out of At a Loss' heart and into A FALLING AWAY FROM.
At a Loss structures the album as complex as the music they play, with complexity
and emotion coming to a startling pinnacle. From Mr. T Experience to thrash-metal
guitars, At a Loss cover the spectrum on their Blackout! debut.
-Kevin Conway
AVEO
BATTERY
BARSUK
From the first word, the The Smiths comparisons are undeniable, but this is
no '80s nostalgia trip. William Wilson's voice is eerily similar to Morrissey's
and has that same breathy, pleading tone, especially evident when politely
crying "please make it so." But on the whole the music does not have
the same solemn, suicide-inducing sound of The Smiths. The album remains pretty
quiet, until "Idiot on the Bike", which riffs and jokes its way from
the dreary Smithscape. Elsewhere, lyrical content is also inquisitive as "and
the people won't talk like TV" hints at the interactive social commentary
present throughout the record. The music does not match up with the lyrics,
though. The songs have a lullaby quality, not the engaging conversation the
words hint at. This type of soft, introspective style is adequately produced
with BATTERY but only serves to keep you awake, not entranced.
-Erika Owens
A WILHELM SCREAM
MUTE PRINT
NITRO
Could harmonies be any more powerful? Nitro Records most recent signing, A
Wilhelm Scream, produces an outstanding debut that is compacted with a diverse
yet steady tracks. MUTE PRINT exemplifies superiority in the present punk-rock
scene. Excessive amounts of complex guitars and drums add perfectly to the
melodic joint vocals. The vocals could quite possibly be the most impacting
feature on this album. Incorporating different tones, ranges, and harmonies,
the vocal capacity displayed is remarkable. With a total of 11 tracks, there
is not one moment of silence. The intensity and heart provided on MUTE PRINT
are sincere and flooded with rage. Seriously, find out for yourself, and run
out and get a copy on April 20. website
-Courtney Riot
BAD ACID TRIP
THREE SONG SAMPLER
SERJICAL STRIKE
With a band name like Bad Acid Trip, it's a safe bet that you can expect the
unexpected. This eclectic Los Angeles quartet (produced and distributed by
members of System of a Down) share the Armenian metaller's weird taste, yet
take the act one step further—both musically and visually. Embodying
an underground metal sound which incorporates thrash, grind, punk, and metal
whipped into a warped world full of frenzy, this three-song sampler takes the
listener on a boundary-pushing experience that truly will mess with your head.
Include a slab of performance art into the band's unique slant, and you've
got a band that the music world may hate or may love but that will undoubtedly
be talking about when the full-length release sees the light of day. website
-Mike SOS
BAGHEERA
TWELVES
ASIAN MAN RECORDS
St. Louis's new two-piece project Bagheera has recently released their debut
album, TWELVES. Theodore Moll (drums, vocals, guitar) and Heather Dallape (guitar,
vocals, bass) join forces to create some pleasant rock tunes. Their combined
vocal harmonies along with overlapping catchy guitar melodies make for a solid
release. Ranging from topics revolving around the universe, love, and science,
Bagheera share lyrics that are vividly intimate, yet still secretive and mysterious.
Fans of indie rockers Rainer Maria, Flaming Lips, or Yo La Tengo should check
this duo out.
-Anthony
BARGAIN MUSIC
THE MAGIC IS OVER
BEATVILLE RECORDS
Fronted by Josh Fischel (who co-directed the Sublime music videos "Wrong
Way" and "Doin Time"), Bargain Music mixes everything from reggae
to country to hip-hop to punk. There is no way to describe this album without
mentioning Sublime, since the influences can be heard. Similar in laid-back
style, Bargain Music can also double as a group you can listen to while partaking
in many of the same leisure activities George Bush did while in college (i.e.,
smoking pot and snorting coke, for those of you who are a bit slow). Besides
the occasional upbeat rock song, this album has taken a very soothing approach
to blending the aforementioned genres.
-ADF
BARTON GILL
DEMO
NO LABEL
Barton just sent us his new set of demos—and I, for one, am quite thankful.
This is great music. It's soft, but it has a slight edge to it—although
most songs are just acoustic rock. It's hard to exactly compare Barton's music
to other artists, because he has somewhat of his own sound. There's really
not a ton to say, except that if you enjoy underground acoustic rock, then
check out Gill's gigs coming up soon.
-System
BEFORE BRAILLE
CATTLE PUNCHING ON A JACK RABBIT
SUNSET ALLIANCE RECORDS
Hey, I'm always up for something new; and any band that can't be quickly categorized
into a clean little sub-genre is fine and dandy with me. Arizona's Before Braille
creates an enthralling rock sound on CATTLE PUNCHING ON A JACK RABBIT (early
contender for weird album title of the year) with seven lively emo-rock songs.
Complemented by a clean, sparkling mix, these tracks gloriously sing from the
speakers. If I may be so bold (or cheesy), this sounds like the offspring of
At the Drive-In and Jimmy Eat World—and I mean that in best possible
way. Before Braille is an excellent band to watch for. website
-Jason Schreurs
BLACK COUGAR SHOCK UNIT
S/T
NEWEST INDUSTRY
This Gainesville five-piece—featuring ex-members of Panthro UK United
13, House on Fire, Discount, Army of Ponch, and Unitas—are quite impressive.
Their intense, self-titled EP is a lesson in gritty rock 'n' roll-drenched
punk and is fresh and inventive throughout all seven tracks. The guys kick
things off with "Iron Cobra", a song about tenacity and fighting "every
fucking day." With its memorable guitar riffs and tough vocals, it's definitely
one of the standouts. Some other insanely good songs are the more hardcore "Codename:
Deadman", the Sticks and Stones-like "I Claim This One in the Name
of France", and the final offering, "Let the Cowgirls Ride",
which is a bad-ass hard rocker.
-Janelle Jones
BLANCHE
IF WE CAN'T TRUST THE DOCTORS…
CASS RECORDS
The Motor City is back on the map (did it ever really leave?) with the debut
full-length from Blanche. Don't look for any White Stripes-esque garage rock,
though: IF WE CAN'T TRUST THE DOCTORS… is more Hank Williams Sr. and
less Robert Johnson than any White Stripes release. The songs on this record
are old-time love anthems for the forlorn, perfectly crafted by the use of
less-traditional rock instruments (like the pedal steel and auto harp). All
of the songs featured here would fit perfectly on the OH BROTHER, WHERE ART
THOU? soundtrack or on the phonograph while at home, home on the range. Watch
out for tumbleweeds.
-Casey Clague
BLOODY SUNDAY
THEY ATTACK AT DAWN
STRIKE FIRST RECORDS
First off, I don't go out of my way to write bad reviews. I figure, let the
band do its job, and I will do mine. THEY ATTACK AT DAWN was fairly interesting,
but it just lacks any originality. The mindless lyrics were covered up by the
drums, and that wasn't a good thing. Bloody Sunday sounds just like a high-school
band I used to check out...but that was way back in '92, so that isn't saying
much. A recommendation to them would be to switch it up a bit, maybe let someone
else sing…or quit (that's always an easy way out). You can go to website,
if you don't believe me.
-Ian Wilkins
BOMBING ADAM
DEMO
SELF-RELEASED
God rock! YAY! I sure do love brainwashed ideologies that try to cram their
misbegotten faith-based gibberish down my throat. To make matters worse, they
hired a company to make a publicity packet for their demo, complete with clichés
from people that sound important. So I now have three pages, a business card,
publicity photo, and three-song demo from four schmucks who need hand grenades
stuffed up their asses. Sweet. They shouldn't be that hard to track down.
-FLINT
BOOKS LIE
HALL OF FAME OF FIRE + SINGLES & B SIDES
LEVEL-PLANE RECORDS
From the slums of Brooklyn Books Lie are a raucous quartet that specialize
in vintage punk/hardcore that bring to mind Born Against, TSOL, or Swiz. HALL
OF FAME OF FIRE is the culmination of four years of basement shows, four U.S.
tours, and one European tour. Amidst the screeching guitars and screaming vocals,
it may be near impossible to make any sense out of the lyrics, so Books Lie
has included them in the liner notes so that you can keep up with the amount
of anger and humor used throughout the disc. This album grabs a hold of you
and keeps you there for awhile. If you're interested in checking this band
out, this is the perfect place to start. Oh, but just for the record books
do not always lie. level-plane.com" target=_blank>website
-Jude Ruiz
BOXCAR SATAN
UPSTANDING AND INDIGENT
DOG FINGERS RECORDINGS
Boxcar Satan takes so much from Captain Beefheart that one almost has to look
past that to realize how good the group is. Vocalist Sanford Allen is a real
Beefheart soundalike, and he also plays guitar in the intricate, angular style
of The Magic Band's Jeff Cotton. However, Boxcar Satan is heavier and darker
than the Captain, coming from the post-goth direction of bands like Scratch
Acid and early Birthday Party. The content of such damaged characters as a
bandit queen ("Shoot Down the Sun") and an alcoholic that trades
drink for the Lord ("Drunk on the Blood of the Lamb") owes much to
Tom Waits. Boxcar Satan certainly has all the right references and mixes up
the elements right for a manic, imaginative, damaged blues. Many press references
cite a Southern influence here, but I find that valid only when considering
the gonzo early punk tradition of Texas such as Roky Erickson, Big Boys, and
early Butthole Surfers. The band goes from those roots to the artists already
mentioned to approach near to the territory of The Jesus Lizard. Few bands
run such an excellent spectrum and shine so well in its multi-hued glow. website
-Tom "Tearaway" Schulte
BUTTERFLY BOUCHER
FLUTTERBY
A&M RECORDS
This album is dedicated to Butterfly Boucher's dearly departed grandmother
Madge Gardiner. I find this slightly ironic, because I'm pretty sure God must
have let Madge die so she wouldn't have to listen to this shitty-ass record
and be forced to horribly lie to her own granddaughter and say, "Yes,
dear, it's really good"—because no one is capable of enjoying this
garbage! Butterfly Boucher is from Australia, and she wrote, sang, and played
guitar, bass, and piano on each track of the album. She reminds me of if Avril
Lavigne auditioning to be a Spice Girl.
-chad
CANNIBAL CORPSE
THE WRETCHED SPAWN
METAL BLADE RECORDS
When you think of the original hardcore bands, you might think of Death and
Slayer. But no one will disagree that Cannibal Corpse was the first big death-metal
band. Started over 15 years ago, Cannibal Corpse still knows what is needed
to fuck your brain up. Once banned in over three countries, Cannibal Corpse
might be on the road for a total world ban. The cover art is very disturbing,
and the inside jacket is no better. If you're reading this, then I assume you're
familiar with Cannibal Corpse and know their music. This album is no different
than anything else they have ever put out: it is awesome and unbelievable.
Go check it out.
-Ian Wilkins
CARINA ROUND
THE DISCONNECTION
WEAPONS OF MASS ENTERTAINMENT/INTERSCOPE
With her sweet, charming looks of her cover, Carina Round reminds you more
of a cute little child rather than the seemingly avant-garde artist she really
is. Like the child, though, she takes you by the hand and leads you down the
edge of a knife with her smooth melodies and right into the intense edges of
her songs. Songs like "Lacuna" has Karen O's style of oscillating
vocals, while "Charge Motel 74" has bold charges in its rhythms.
This just goes to show how well this upcoming U.K. artist can diversify on
her music to be truly innovative.
-Mabel Lam
CASEY JONES
THE FEW. THE PROUD. THE CRUCIAL.
INDIANOLA RECORDS
The instrumentals sound like Slayer meets Minor Threat, and the lyrics sound
like my balls slapping your chin. It is that brutal. This CD is a must for
anyone who likes fast, hard metal. The band is from Jacksonville, FL, but I
am sure their souls reside in hell. The only thing shitty about this album
is that there are only 12 tracks on it. Come on, give me a break—put
like five more songs on there next time. The world needs it. I need it. C'mon,
do it for mankind. This is a must for any cocaine-addicted trucker out there
who has to drive at four in the morning. Their Website is website.
-Ian Wilkins
CHERRY HILL
THE STRUGGLE
SELF-RELEASED
If I had a girlfriend, she would love this CD. It's poppy, jazzy, and really
gay. This album is as far from punk as the Sun is from Neptune. The first song, "The
Struggle", is a really lame love song. It takes about two cigarettes to
get through it, it is so long. If you are into sitting under trees with your
Marlboro Ultra-lights and listening to your mp3 player while thinking the grass
looks really green today, then bingo, here you go. Cherry Hill has been around
for nine years now, and it might be time to hang it up. This music was big
in '95, but come on, no one still drinks espresso anymore…do they? After
you find your black beret, go to websiteand smile, 'cause
the world loves you.
-Ian Wilkins
CHEVAL DE FRISE
FRESQUES SUR LES PAROIS SECRETES DU CRANE
FRENETIC
No, this isn't high-school language-arts time. Cheval de Frise is a French
duo that, through the Bordeaux rock scene, has founded this interesting unit.
Comprised of solely drums and an electrified acoustic guitar, this enigmatic
pair plays its brand of instrumental gold with zeal reserved for late-night
television commercials featuring that pan-flute dude. All kidding aside, there's
a barrage of baroque style flowing through the fingers of the guitarist on
this 10-track experimental delight, while the drums construct an avant garde
atmosphere, like the one you may find in the way out world of free form jazz.
Cheval de Frise isn't easy at all on the ears or on the musicians, yet its
artistic merit lies in the instability of the eclectic musical mix. website
-Mike SOS
CHROMATICS
PLASTER HOUNDS
GOLD STANDARD LABORATORIES
This CD is so fucking bad I am going to use up 130 words to tell you just how
bad it was. First off, this shit was so slow they would have to snort a huge
eight ball of speed just to keep up with a turtle. If I was crossing the street
and a car playing Bauhaus plowed into me and bashed my head against a curb,
I am pretty sure this is what I would hear right before I entered hell. I have
never heard anything this bad. I have watched documentaries on concentration
camps, and the screaming there wasn't nearly as bad. The whole thing sounds
like they used a beat machine, and I doubt if they could play this live. Fuck,
who the hell would want to see them live…or dead. Once again I am listening
to crap for you people. You better remember me at Christmas.
-Ian Wilkins
CIRCLE TAKES THE SQUARE
AS THE ROOTS UNDO
ROBOTIC EMPIRE
Funny that I didn't start listening to this album before the due date of my
CD reviews, AS THE ROOTS UNDO seemed pretty fun to critique. The intro to the
album didn't leave much for me to hope for, but as soon as the real music came
on, I was blown away by an onslaught of screaming vocals. The self-described "loud
rock, hardcore, metal punk, screamo, grindcore" band chaotically mixes
their genres and somehow have melody in their music. Lead vocals shared between
a male and female, Circle Takes the Square blend singing and hardcore screams
together nicely (such as in "In the Nervous Light of Sunday"). They
are touring around Georgia and on the East Coast, and it could be assumed that
this band puts on an intense show, so I look forward to them coming out to
California.
-Luke Skywalker
COALITION
BREAKING POINT
FIGHT FIRE WITH FIRE RECORDS
This is the second CD I am reviewing for the month, and if it doesn't get any
better, I am going to shoot myself. I reached my "breaking point" with
BREAKING POINT after the third song. The first two just made me reach my boiling
points. (Does that make any sense?) Basically, the first song starts off slow
with some guitar chords, then the singer kicks in his ear-piercing vocals.
Next, the drummer goes flipping nuts. Now, repeat that 12 times, and you have
the album. If you want to go to the Website, you can't, because it was closed
down last time I checked; but if you insist on looking for yourself, it is website(or try website).
-Ian Wilkins
COUNTERATTACK
STEP ASIDE
REALITY CLASH RECORDS
Now performing as a trio, Counterattack is back with their sophomore release
and a new direction that may appeal to punk and hard Oi! fans of DKM or The
Templars. Counerattack throw in a revved up cover of X's "Home Is Where
the Floor Is" and kick out lyrics like "Fuck you! I do just what
I please" (on "Good for Nothing"). So buy this or don't buy
this. Counterattack ain't likely to give a fuck.
-Jude Ruiz
CRASH DAVIS
SELF-TITLED
INDEPENDENTLY RELEASED
After soaking up this five-song EP, I've become increasingly convinced that
Tom Waits has a younger and lesser-known half brother. Crash Davis sails through
endearing acoustic ballads, while narrating each step along the way with his
thunderous yet non-threatening tongue. Davis's calm and authoritative tone
immediately allows him to assume the role of the guide, and he patiently leads
us through subdued strumming sessions that would complement any lonely campfire
perfectly. Gather some wood, pull up a seat, and prepare for a Western-style
storytelling session before the last light escapes through the branches and
you're left out in the cold with the demons that haunt Davis so devoutly here.
-Dave Kargol
CRIME IN CHOIR
THE HOOP
FRENETIC RECORDS
Including founding members of At the Drive-In, Hella, and Hades Kick, the sophomore
release from Crime on Choir is called THE HOOP. Right away I notice that the
absence of vocals doesn't at all hinder the band's obvious aptitude to expand
on progressive rock as a whole. With an eclectic mix of synth and electronic
beats entangled with baritone guitar and fluid percussion, Crime in Choir emit
a wide variety of emotions. From smooth and dreamy tracks like "Night
Bandit" to the lively and supernatural sounds of "The Hoops",
calculated rhythms run wild. Chaotic but enticing transitions can be found
in several songs, leading the listener on a voyage of dynamic discovery. Any
fan of progressive rock, new wave, or experimental music will find this thoroughly
enjoyable.
-Anthony
CRIME IN STEREO
EXPLOSIVES AND THE WILL TO USE THEM
BRIGHTSIDE RECORDS
The bio reads that Crime in Stereo comes from Hoboken, NJ. This just reassures
the fact that nothing good has ever come out of there. Promising "outspoken,
unapologetic, yet melodic and positive," they deliver nothing that even
resembles that. The whole album is just a week attempt at trying to sound like
so many other bands. They say they're punk, but I say their junk. The only
reason to go out and buy this album would be if you were starting a band and
want to know what not to do. If you want to listen to some shit, go to website.
-Ian Wilkins
CROPKNOX
ROCK AND ROT
PUNKCORE RECORDS
Cropknox are a five-piece band out of S.F. who draw their style from U.K. acts
like Uproar or The Vibrators. ROCK AND ROT has its share of fast, loud, and
to-the-point punk, as on tracks like "No Here in Sight" or "Red
and Black"—although I prefer Cropknox when they slow it down a notch
on tracks like "Anger and Apathy" and "Rebel Youth", which
provide some catchy sing-along hooks. The disc closes with an uninteresting
cover of The Underdogs' "East of Dachau", but even that won't be
enough to stop disenchanted youth from rocking and rotting away. cropknox.com" target=_blank>website
-Jude Ruiz
CROWPATH
OLD CUTS AND BLUNT KNIVES
ROBOTIC EMPIRE
Hailing from Sweden, Crowpath actually knows how to play some decent hardcore
music. Since they're European, they're automatically going to be better than
any American band—that's just how it goes. They really do play some interesting
tracks. The guitars are rough, and the vocals are very brutal. There are some
songs reminiscent of Dillinger's CALCULATING INFINITY, just not quite as technical…or
as good, for that matter. Overall, this is a decent record, just nothing too
special.
-System
DAISYCUTTER
SELF-TITLED
SELF-RELEASED
Daisycutter is the type of band that plays suburban sports bars that feature
live music. I'd bet they probably have a decent following among the type of
people that like to hang out at these bars. I'm not one of these people. There
is an early-'90s funk-metal thing going on in Daisycutter's music, which reminds
me of both Limbomaniacs (with the pseudo-rapping, pseudo-singing) and Extreme
(minus the flashy guitar work of Nuno Bettencourt). In this day and age, that
style of music ain't selling. The songs on this CD—including even the
modern cover (complete with a dribbling bass line) of The Beatles' "I
Am the Walrus"—sound extremely dated. The exception is the smooth
and laid-back "Without You", which could pass for a decent 311 song
(is there such a thing?).
-Chip Midnight
DANIEL
AS THE LANTERNS WE CARRY GROW DIM
VENDETTA RECORDS
Some nice melodic posicore with some metallic leanings quickly turns stale.
The problem here is not just a clunky, beginner-ish sound but the repetitive
nature of these 10 songs. I dare you to try and tell the difference from one
song to the next. This Detroit band needs to master the fine art of songwriting
before tackling a full-length of cloned songs that had me yawning uncontrollably
halfway through the CD. At its finest, Daniel hints at melodic hardcore greatness,
but by song three or four the song remains (exactly) the same. Features the
bass player from Capture the Flag—another band destined for mediocrity. website
-Jason Schreurs
DANNY HAMILTON
WHERE DO I FIT IN?
KOALA BEAR
Honestly, this album just made me smile. It's unfortunate that it's such a
Dave Matthews Band rip-off, but it's still great music. There's plenty of great
bass work, as well as some nice harmonica and string contributions, forming
a pretty decent-sounding band. The downside is that you'd really have to love
the radio's version of urban rock a lot in order to enjoy this. Perhaps Mr.
Hamilton will mature in his songwriting a little more and not try to emulate
his influences (which range from Ben Harper to Miles Davis) with such obviousness.
If you have an undeniable longing for this genre of music, then I'd say pick
this one up; but as for anyone else…your money might be better spent
elsewhere.
-System
DAY AT THE FAIR
THE PRELUDE
SPRINGMAN RECORDS
Day at the Fair would be a halfway-decent emo effort if vocalist Christopher
Barker would make his voice sound convincing. THE PRELUDE—a five-track
affair—has almost all its songs acting as identical twins, sounding woeful,
blatant, and reminiscent. It's really not a bad effort, except for Barker,
whose vocal feeling isn't making my heart thump (and believe me, I could use
a little thumping).
-Darren Ratner
DEAD AND BURIED
THE COMPANY I KEEP
SPOOK CITY RECORDS
Dead and Buried poops out pent-up white-boy jockcore, perfect for getting all
sweaty in the pit with your homoerotic pals. This Delaware five-piece really
adds nothing new or progressive to the metalcore mix, instead opting for the
same tired breakdowns, gang vocals, and affection for the F-word. Really, these
kind of bands need to understand (are you listening, Throwdown?) that as soon
as they litter their testosterone-driven lyrics with random cussing, they just
end up sounding juvenile. THE COMPANY I KEEP comes across more like a comedy
skit spoof of bad metalcore than a serious band. I was especially tickled by
the spelling mistakes on the CD spine! A real no-brainer here. website
-Jason Schreurs
DEAD KENNEDYS
LIVE AT THE DEAF CLUB
MANIFESTO
Any diehard Dead Kennedys fan will enjoy this rare collection of live tracks
recorded way back in 1979. Recorded at San Francisco's Deaf Club, LIVE AT THE
DEAF CLUB contains 14 tracks, including a previously-unreleased song ("Gaslight")
and cover songs ("Back in the USSR" and "Have I the Right").
The sound quality is surprisingly good. This album features original members
Jello Biafra, East Bay Ray, Klaus Flouride, Ted, and elusive guitarist "6025." After
their first live album, MUTINY ON THE BAY, this is the only other live release
allowed by the band. Go get your hands on it.
-Anthony
DEAD POETIC
NEW MEDICINES
SOLID STATE
Finally, the long-awaited sophomore effort from melodic hardcore specialists
Dead Poetic has arrived. The new album, NEW MEDICINES, is not only the evidence
of amazing leaps and bounds in growth for the band, but it also pays homage
to an ever-growing genre. It explores that almost too familiar sound of “screamo” with
incredible freshness. There is an inexhaustible store of catchy melodies, evolved
lyrics and themes, hauntingly beautiful vocals and screams, and ripping guitar
riffs in every track. You may hear me introduce Dead Poetic as my new favorite
band, as I am sure many of you will too. This album will definitely make devoted
fan out of you. website
-tChow
DEERHOOF
MILK MAN
KILL ROCK STARS
Deerhoof excels at a balance of memorable melody and ear-catching experimentation.
Part of the charm of the post-rock ensemble's sound is the child-like high-pitched
falsetto vocals of vocalist/bassist Satomi Matsuzaki. Her lullaby delivery
over the angular guitar sounds and electro-beats completes the picture. The
amalgamation of cutesy pop and edgy crunchiness has been tried before, but
few have or will reach the fine heights of this weird and wonderful ensemble.
The arrangements are dramatic and open, like a chamber work, while the Japanese
schoolgirl vocals fill in the spaces with islands of sweet sound for a well-rounded,
varied album. website
-Tom "Tearaway" Schulte
DORADO GOLD
WHICH WAY TO TOKYO?
CHORDATA RECORDS
No matter how hard I tried, I just couldn't get into the music on Dorado Gold's
WHICH WAY TO TOKYO?. Musically, the band is about one step above a college
rock band. Dorado Gold blends a bit of punk influence in its music (which makes
the music slightly resemble Face to Face), but, for the most part, the songs
on this EP are boring. The talent is there, the band just needs to become a
bit more polished and mature in their songwriting and musical arrangements.
While I didn't like this EP, I'm sure that in the future when this band has
been given time to grow, they'll become great. Right now, they're almost good.
-Dane Jackson
DRIVER OF THE YEAR
SOME GIRLS WOULD SAY…
FUTURE APPLETREE
Driver of the Year are attempting to be a cheeky lounge act and serious rock
band all at once—at least, that's what it sounds like. They say they're
into Steely Dan, Rush, and Sabbath. Still, as what seem to be their two opposing
musical personalities duke it out throughout the disc, neither comes out entirely
victorious. Sometimes their Rhodes, synth, and organ sound delightfully spooky;
other times, they creep into Mario mode, inching painfully close to becoming
video-game soundtrack music. Jason Parris's vocals are strained, and so Driver
of the Year's smartest moments come in their breakdowns and extended outros
(they love those). "On This Stage" contains one such interlude, a
little bass/drums/synth segue that will convince you these boys have at least
a few smart moves up their sleeves. The question is: are you willing to wade
through the junk to get to the good stuff?
-Davie Kaufmann
ELEVEN ELEVEN
HEAD
FOREVER RECORDS
I have no idea why I like this record, but I do. My gut feeling would be to
hate any band that premiered on CARSON DALY'S BEACH HOUSE and instantly gained
mainstream popularity, but they write good music—it's that simple. The
songs are upbeat and energetic, leaving a great taste in your mouth and a good
feeling in your heart. The overall feel is pretty much just rock with a lot
of older influences, such as The Cure and Moody Blues. Some of the select tracks
are "Forever", "Unlovable", and "Broken Bird".
I have a feeling this album will end up being re-recorded and re-released when
a bigger label finds it and gets a hold of it. That is good news.
-System
ELYASIN
TWO MORE DAYS OF PAIN
GRAVE 9
I have never really been too into hardcore, but recently I have been trying
to get more into it. The problem is, I think most of the bands sound more or
less the same. Elyasin (pronounced e-lie-a-sin) kind of impressed me, though.
The screaming vocals of Drew and Matt are typical of hardcore bands at times,
but most of the time they are intensely unique. The two manage to harmonize
singing and growling in a way that few other bands can. Their recent release
on Grave 9 Records is sure to be a hit among fans of hardcore and might manage
to convert a few hardcore virgins—like myself. (By "hardcore virgins," I
mean virgins to hardcore, not militant refuters of sex.)
-Nina
EMPTY SEAT
NUMBER 9
LOADED BOMB RECORDS
Empty Seat lead singer Red sounds a lot like Gwen Stefani and looks like Janis
Joplin—which I mean as compliments. The sound of this five-piece band
ranges from punk rock to rockabilly and has the ability to put you in a trance.
Now, I'm not sure if this in necessarily complimentary, but as I was listening
to NUMBER 9 in my car, I missed my exit by 10 miles. Especially impressed by
bassist Spade, I can conclude that all the members are quality musicians. Currently
playing shows in the Southern California area, you can catch Empty Seat at
Rude Dogs in Covina.
-Luke Skywalker
EVENING
OTHER VICTORIANS
LOOKOUT! RECORDS
The first thing that struck me about this disc was how much this sounds nothing
like any of the bands on the Lookout! Records roster, but hey, Evening didn't
make Amoeba Music's "Best of 2003 Music We Like" list for nothing.
Evening are a quintet out of S.F. who shine on their debut album by expertly
bridging the gap between rock and electronics, calling to mind Blonde Redhead,
Paloalto, or Interpol, with plenty of Radiohead-isms to spare. Evening throws
out the traditional verse-chorus-verse routine and creates some melodic off-kilter
avant-pop. The highlights here are in abundance, so if art rock is your flavor,
then you're gonna want an extra serving of OTHER VICTORIANS. theevening.com" target=_blank>website
-Jude Ruiz
FEAR FACTORY
ARCHETYPE
LIQUID RECORDS
Much beloved in metal circles, Fear Factory has always been the bridge that
unites the fickle industrial metal crowd with the down-and-dirty heathens of
the metal underground. Leader Burton C. Bell is a godhead on a par with crushers
like Peter Steele and Glenn Danzig, but his unit has never really received
the wild levels of acclaim that those men garner within both consumer and critical
parameters. ARCHETYPE is the group's first post-Roadrunner album, and its skull-kicking
mix of double-bass thunder and industrial mystery could make it the album that
puts the band out of the cult worship business and into the cash-flooded fields
of consumer-driven success.
-Jason Jett
FIRE DIVINE
IT'S ALL A BLUR
DEEP ELM
Fire Divine is another winner on scene-favorite label Deep Elm. With their
debut, four-song EP IT'S ALL A BLUR, Fire Divine has been able to somehow nail
the art of recording a sound that is raw yet tight. Listening to the CD with
your eyes closed almost makes it seem as if you are standing a packed, sweaty,
dank venue seeing them live. Their sound is composed of grinding guitar riffs,
quick and sharp drumming, passionately raw vocals, and harmonious peaks and
dips in melody. Spanning several genres (from melodic hardcore to post hardcore
to emotional rock 'n' roll), this EP will surely win many fans. I know I've
been won over. website
-tChow
FLATUS
CRASHING DOWN
BLACK PUMPKIN RECORDS
Why even try anymore? Flatus has been releasing juvenile music for over a decade
now. Lead singer Gene Finocchiaro pretty much sums up everything that is wrong
with Flatus in track 5, "Radio Hit", with lyrics like, "We need
more clever lyrics / We need a catchy hook." If they took their own advice,
then maybe CRASHING DOWN would be worth listening to. I'm sure these songs
would sound a lot better once you have a few beers in you. CRASHING DOWN is
not for sober people.
-Joe Wilson
FRIENDS OF DEAN MARTINEZ
RANDOM HARVEST
NARNACK RECORDS
Seems like lately we have been hit with a flood of instrumental acts vying
for our attention. Ironically, Friends of Dean Martinez has been around almost
a decade, releasing almost as many records. They occupy the niche well, a trend
which continues on their latest release, RANDOM HARVEST. With a sound that
comes straight from Yes' FRAGILE, Friends of Dean Martinez achieves a sublime
sound that comes off as pretty original, incorporating guitars, bass, drums
into a mellow, pensive groove that progresses emotionally. This effect lasts
until about the fifth track (ironically, titled "Dusk"), where the
emotional vibe becomes repetitive. Without a vocal track, it is hard to differentiate
between like-sounding songs. As an EP, this record would work well; but in
its extended format, RANDOM HARVEST becomes a little stale.
-AC Lerok
FROM GRACE
FROM GRACE
SELF-RELEASED
To be a modern metal band is to be granted both a major privilege and a major
disadvantage. On one hand, even bad metal can be better than good anything
else. You, too, think it a superior form of music, no? On the other hand, one
bum move and you're going to remind someone of Scorpions. I guess that last
part's a good or a bad thing, depending on whom you ask. From Grace's sharp
musicianship keeps them afloat, but as songwriters they struggle to catch up.
The riffs are clumsy, if not cheesy. The vocals are, at times, extremely staccato,
and thus fail to hold their grip on the music. Perhaps From Grace know their
weaknesses, as their self-released disc is short, at only four songs—just
the right amount to keep you wondering rather than convinced. Give them points
for that sneaky trick.
-Davie Kaufmann
GRAINER
YOU SAY IT LIKE IT'S A BAD THING…
BENT RAIL FOUNDATION
Though I'm not particularly inclined to enjoy any form of pop-punk, Grainer
remains tolerable in my CD player. To my pleasant surprise, they frequently
inject short-lived bouts of grungy riffs into their ear-friendly tunes. To
my dissatisfaction, the mediocre vocals counter music that might otherwise
be decent. The lyrics don't particularly scream out AWESOME! BLOOD BROS! either.
Rather, the lines "When you hang up / Just drive straight home" merely
sets off my internal Chris Carra-baby radar. Cliff's Notes' version: If you
have an aspiring 12-year-old rock-star brother, give this CD to him. It's way
safer than Simple Plan.
-Mabel Lam
GET FUCKED
GET FUCKED
LEVEL PLANE RECORDS
Get Fucked is beyond brutal, to the point where the music becomes incoherent.
The artwork is deceiving, proving to be more intriguing than the actual music
that was produced to go along with it. The eight tracks that comprise this
crazy EP were all recorded and mixed in one day—which makes sense, because
it sounds like all of the instruments are at the same level as the vocals.
Some grind enthusiast might appreciate this, but I sure as hell don't. Get
Fucked? More like "Get lost."
-Joe Wilson.
GOLD CASH GOLD
PARADISE PAWNED, VOL. 1
TIMES BEACH RECORDS
Out of the grunge and indie-rock scene developed a genre with an aesthetic
best described as classic rock romantic. Think Soundgarden. Gold Cash Gold
fits right in there and does the job with excellent musical ability and nice
melodies. However, this is all forgotten just as fast as it is enjoyed. Gold
Cash Gold is the sonic equivalent of a really good Chinese buffet: the music
is good, but it will not satisfy the appetite for really good music. I can
imagine the mix of rock ballads (such as "Damaged") and good rock
'n' roll tunes (e.g., "Same Old Blues") winning over older, nostalgic
classic rock fans if Gold Cash Gold gigged at classic car shows; but as underground
rock goes, this is nothing to write home about. website
-Tom "Tearaway" Schulte
GREY DOES MATTER
HOW TO MAKE MILLIONS IN REAL ESTATE
JANKOMATIC MUSIC
Grey Does Matter is the brainchild of New Yorker Jason Crawford. He's able
to accomplish with a guitar, a keyboard, and a drum machine what some complete
bands will never accomplish: he's made an infectious pop album that mixes lo-fi
recording with power pop to create 11 very infectious tunes. When listening
to Grey Does Matter, picture Ben Kweller, Mike Park, and the quirky side of
Beck. You'll hear an underlying theme of love throughout the album. With tracks
like "Sinking", "Zero", and "Short Sight", HOW
TO MAKE MILLIONS IN REAL ESTATE has the power to become a cross over hit. The
album is catchy, groovy, and infectious...in a good way.
-Dane Jackson
GRIMLOCK
CRUSHER
LIFE SENTENCE RECORDS
If bands like Pantera, Slayer, or even Twisted Sister turn you on, then this
just might be the album of the century. CRUSHER has it all: twisted lyrics,
fast guitars, and I am positive the drummer has a mullet. Okay, I know he doesn't,
but he should. This has all been done before, and these guys are just taking
their turn on the merry-go-round. It's not bad, it's just not great. If your
truck needs a stool to get into, then grab this CD from your nearest Wal-Mart.
If you don't have a raised truck but you want one, go to the Website at websiteand dream little one.
-Ian Wilkins
GROZA
PUSHED TOO FAR
FIRE FORGED
Well, I listened for a while, and I truthfully couldn't find one redeeming
value in this entire record. The guitar riffs are all cut and paste from old
Madball records, and the vocals are frighteningly boring. I suppose the lyrics
are attempting to be positive, but with so much profanity and negativity toward
other people, it's hard to feel the underlying message. I just can't seem to
find a love for the old-school hardcore style this band plays. But that brings
me to my next point: if you are into this way of playing, I'm sure you'll be
very fond of this album.
-System
HAYMARKET RIOT
MOG
THICK RECORDS
Named after an 1886 Chicago protest, Haymarket Riot incorporate aspects of
The Arrivals, Dillinger Four, and Small Brown Bike into their repertoire. As
a whole, the album is a bit short (clocking in at just over 30 min.), but Haymarket
Riot offer up some volatile yet quirky punk. Standouts include the spastic "Cue" and
the playful "You Might Know Who We R, but We Know Who You R". Anyone
familiar with Thick Records bands know to expect some above average and diverse
punk—and anyone not familiar with the Thick Records crew is shit out
of luck. thickrecords.com" target=_blank>website
-Jude Ruiz
HEADS VS. BREAKERS
APATHY IS THE NEW BLACK
MORDAM RECORDS
This Long Island screamo outfit features former members of Silent Majority,
Strongpoint, and Dropout Year. However, this disc fails to grab listeners'
attention by any means necessary. The only thing that comes to mind is that
perhaps "Apathy Is the New Black" will attract broken hearted teens
whose New Found Glory albums have been worn thin. Everybody else, save your
dough.
-Jude Ruiz
HILLBILLY DEVILSPEAK
LIES…AS TOLD BY THE WHITE MAN
SLACKDADDY RECORDS
Hillbilly Devilspeak is an interesting band. I think they're a lot better then
a lot of people are going to recognize them as being. They just bash it out.
And they know what they're doing. And they rock. They remind me a lot of early
grunge bands before Sub Pop took over the world, bands like The U-Men and The
Fastbacks and The Wipers and Dead Moon. Real heavy, but with punk influences.
This is a band I want to hear more of. I want people to discover them, because
I think they're capable of making some really great tunes. They've already
proven it on this record. Get in touch with them at hillbillydevilspeak.com" target=_blank>website.
-chad
HINDI GUNS
SELF-TITLED
FRENCH FAN CLUB
There are times when I catch myself singing terribly out of tune and think, "There
is a reason why you never were the lead singer for a band." If only everybody
thought this way. Deedee Cheriel (ex-Juned, The Teenangels) doesn't have the
worst voice ever committed to CD (in fact, there are even songs on Hindi Guns'
CD in which Cheriel sounds sexy and cool (e.g., "I Don't Wanna Drink Mercury")),
but for the most part her voice is flat, dry, and out of tune. It doesn't help
that the spaghetti Western, acid-tinged theme music accompanying her sounds
lazy and uninspired. I sat through way too many sets by bands that sounded
just like this back in the early '90s to really get any enjoyment out of this
CD.
-Chip Midnight
HOT LIKE A ROBOT
SIX-SONG EP
INDEPENDENTLY RELEASED
These San Diego-based garage-bangers appear to have drafted the beginning lines
to an efficient formula for loud and driving rock with heart. These steadily
rolling cuts of straightforward prog-pop/rock don't quite measure up to the
influences named in the band's bio such as No Knife, Drive Like Jehu, Fugazi,
but they do indicate a respectable double-step in the general direction of
their time-honored elders. Hot Like a Robot can certainly hold what they have
assembled together with passion and aptitude, and I wouldn't be surprised to
learn that residents within three city blocks of the band's practice space
have grown used to sweeping their windows off of their floors on a nightly
basis. Although the radio-rock tendencies of cookie-cutter tracks such as "Stayin
Up" and "Drag Me Down" are questionable, at best, songs such
as the curtain-clearing "Music Is Dead" offer wise constructions
built upon layered guitars and powerfully infectious choruses.
-Dave Kargol
ICEWATER SCANDAL
NO HANDLE
THE SOCIAL REGISTRY
Icewater Scandal is an indie experimental band at the intersection of Sonic
Youth and God is my Co-Pilot. The arty guitar band luxuriously spreads 50 minutes
over the space of six songs on this CD. The edgy, angular riffs support the
dreamy-to-squeaky vocals of Andrea Hansen. The trio succeeds best when it allows
the most melody into these extended jams, as on the catchy and wistful "Muddy
Blue" and the elongated space-blues odyssey "Shiny Gold". website
-Tom "Tearaway" Schulte
IMMORTAL SOULS
ICE UPON THE NIGHT
FACEDOWN
Hailing from Helsinki and weighing in at 10 tons of molten metal, Immortal
Souls offers its nine-track soundtrack of destruction to the masses. While
the obvious metal comparisons are obvious (as most bands that hail from the
region sound like a combo of In Flames, Soilwork, and Arch Enemy), this quartet's
commanding metallic presence—as heard on such blistering tracks as "Welcome
to North" and "You"—can't be denied. Armed with riffs
galore, a diverse voice that can both soothe and slay in the same song, and
a rhythm section that holds it all down with precise grace, Immortal Souls
may lack the innovation of its peers, but this band more than makes up for
it through a keen usage of the tools of the trade coupled with an awesome metal
presentation that unrepentantly blasts through your speakers. website
-Mike SOS
IN-QUEST
EPILEPTIC
GOODLIFE RECORDINGS
Strangely atmospheric, interestingly melodic, and heavier than Louis Anderson,
In-Quest's first album with their new lineup (featuring Sven from Aborted on
vocals) is one of the best death-metal albums to come out of Belgium in a very
long time. The vocal work is a bit too heavy at times for my taste, but most
metalheads would probably eat this one right up. My favorite tracks on this
record are "Deprivation Synapse" and "Scorched". These
guys are sure to get some recognition in the metal world very soon, as talent
like this hardly goes unnoticed. Don't miss out on EPILEPTIC!
-System
IN FLAMES
SOUNDTRACK TO YOUR ESCAPE
NUCLEAR BLAST
I eagerly awaited my press coordinator to send me this record. In Flames was
one of the first metal bands I got into, and I couldn't wait to hear what they
had to offer this time around. Unfortunately, I felt like a blunt object had
slammed into my head when I first turned it on. Seriously, it's over folks.
I know In Flames made some changes on REROUTE TO REMAIN, but it was still a
good record. Now, on SOUNDTRACK TO YOUR ESCAPE, the beautiful guitar harmonies
are gone, the interesting riffs are lost, and the powerful songwriting has
disappeared. The songs truly sound like an American metal band, just slightly
heavier than bands like Static-X and Slipknot. In fact, even Anders himself
only uses his band-defining scream in about half the songs, while the rest
are filled with his new, whining voice that reminds me of Korn's Jonathan Davis…mixed
with a nine-year-old Catholic schoolboy, that is. This is easily the greatest
disappointment In Flames has ever given us. Yes, it's THAT bad.
-System
JENNIFER NASH
SELF-TITLED
FLUFFY PUPPY RECORDS
The debut release from this Sherman Oaks, CA, film-music editor is a wonderfully
fresh excursion into territory usually reserved for the likes of Tori Amos.
Soft, haunting piano melodies mingled with heartfelt lyrics make this newcomer
a musical ringer for cult favorite Amos. Nash says she was inspired by Oingo
Boingo, and she even has ex-Boingo bassist John Avila on board for this album.
Yet, this is no "Dead Man's Party". Nash has worked with Danny Elfman
on his film scores and has obviously learned the skill of editing well. With
generous use of cello, violin, and harpsichord to back these ethereal melodies,
she has created an excellent first release. website
-DUG
JET LAG
BEAUTIFUL SCARS
GET HIP RECORDINGS
Fresh from Madrid comes an alternative sound that can only be described as
REM, Wilco, The Beatles, and rock 'n' roll thrown in a blender. For only their
second release (and their American debut), Jet Lag seems to have that edge
of an ambitious and progressive sound that cannot be placed into one specific
genre. BEAUTIFUL SCARS is a cool breeze with bittersweet undertones. This album
and band have their own personality that are hard to compare to those of any
bands past or present. Jet Lag has that something extra that music is always
looking for. The smooth vocals float over powerful instrumental beginnings
with driving guitars and steady drum and bass lines to the chilling ending
of pop-gone-bitter covers of Christina Aguilera's "Beautiful" and
Bruce Springsteen's "Hungry Heart". The covers take nothing away
from this progressive blend of rock genres and leave BEAUTIFUL SCARS a success.
-Kevin Conway
JOSH TODD
YOU MADE ME
XS
Remember Buckcherry, the heirs apparent to the rock throne vacated when Axl
went awry and the world grew weary of Corgan, Manson, Love, and Reznor? Josh
Todd and new band roar back on the scene with a tweaked hard-rock attack well
worth the time away from the game. Building an interesting mix of thunderous
nu-metal coupled with Todd's raucous rock 'n' roll spirit, the 13-track release
shows a much heavier side to Todd's rock-star vocal approach. While there may
be a bit less frontman swagger and more anger displayed than you'd expect,
thank the boys in the band for their hunger, which propels the metallic wrecking
ball on such tracks as "Flowers and Cages", the radio-friendly yet
bottom-heavy groove of "Broken", and the chunky guitars of "Slave".
While a lot of the lyrics lack the depth of Deftones and Tool, much of the
aggressive nature the music takes follows from the mid-90s metal movement,
providing YOU MADE ME with a current sound with the timeless hard rock attitude.
Worth a spin if you dig real hard rock. website
-Mike SOS
JUCIFER
WAR BIRD
VELOCETTE RECORDS
Jucifer is a two-piece band from Athens, GA, who exude raw and roughness through
their lyrics and sound. The band is comprised of lead singer and guitar player
Amber Valentine and drummer Ed Livengood, with no bass player needed for their
sound. All of their songs are rough and garage rock with very loud distortion,
depressing lyrics, and a glum sound. If you like distortion and the "stoner
rock" vibe, you will enjoy their style of rock.
-Jennifer Moncayo
KARMELLA'S GAME
WHAT HE DOESN'T KNOW WON'T HURT HIM
SPEEDBUMP RECORDINGS
I can't decide if my favorite part of this band is KTO's voice, her mad keyboarding
skills, or a combination of the two. I think it's just that it's just crazy
enough to work. Synthesizers kick ass, and apparently this band knows that.
It's about damn time somebody else thought that. My favorite track is the last
one, "Crazy Girl", but that's probably only because of the title.
This is a band that's doing something completely different and fun—too
different to go mainstream ever, but rad enough to make it into heavy rotation
on college radio-station play lists. So, if you're into keyboards, synthesizers,
college radio, and all that rad stuff, check 'em out.
-Nina
KATAKLYSM
SERENITY IN FIRE
NUCLEAR BLAST RECORDS
This is metal at its finest. The guitars are brutal and provide some very vicious
hooks, and the vocals are as loud and guttural as you'd expect. What makes
SERENITY IN FIRE unique is Martin Maurais's drumming. I've never heard drumming
this intense on a metal release. At one point his drumming sounds exactly like
a machine gun, at other times his speed seems almost impossible to achieve.
Martin Maurais definitely brings a whole new level to drumming with his efforts
on SERENITY IN FIRE. It was hard for me to key in on the guitars and vocals
because of the intensity of the drumming, but if you like loud, kick-ass metal,
you've come to the right place.
-Dane Jackson
KILL ME TOMORROW
THE GARBAGEMAN AND THE PROSTITUTE
GOLD STANDARD LABORATORIES
Our friends at GSL are at it again. I'll be damned if they didn't release another
beautiful electrolash record. Complete with a second DVD disc to compliment
the music, Kill Me Tomorrow's CD layout made me excited even without Viagra.
Somewhere between one of Trent Reznors nightmares and a Blood Brothers daydream,
Kill Me Tomorrow has taken a neo-goth approach to electroclash. The songs on
this disc vary so much from one track to the next that it would take me 10
pages to describe the album. Save me the trouble and go buy the disc if you're
into chaotic music.
-ADF
LAYMEN TERMS
3 WEEKS IN
SUBURBAN HOME RECORDS
Since I received this CD, it has not left my CD player. Unsure of what to expect
from a band that has recently toured with Sum 41 and Unwritten Law, I let Laymen
Terms give me what they got. The very last thing I expected to hear emanating
from my speakers was one of the most captivating voices on top of some of the
most tasteful musical entrees I have heard in a long time. The single "3
Weeks In" boasts melancholy lyrics beautifully displayed by lead singer
Andrew Tanner amongst a talented array of instrumentalists. As if the first
song didn't prove their potential, Laymen Terms covered the timeless Beatles'
classic "While My Guitar Gently Weeps". Often times, covering a classic
like that only results in disaster for up-and-coming bands, but this cover
does nothing more than leave the listener begging for more. This was undoubtedly
one of the best CDs I've heard in a long time. Do yourself a favor and follow
up on Laymen Terms.
-Carley Charpentier
LOCKE STAR
EVERYTHING ROCK 'N' ROLL SHOULD BE
SELF RELEASED
Before reviewing this CD, I decided to check out the band on their website.
After looking at the photo page, I thought I was dealing with some Good Charlotte
rejects. I'm glad that when I put in EVERYTHING ROCK 'N' ROLL SHOULD BE, they
sounded nothing like the corporate mall punk ambassadors. In fact, unlike Good
Charlotte, Locke Star has talent. Some of the tracks on this album are fast
paced up tempo power pop punk songs ala Screeching Weasel and The Queers. The
other tracks are more rock influenced, like "Walking Dead". I really
like the rock tracks and the power pop tracks, but I think "Boy Band Blues" was
better left off the album. It brings down all the momentum the band builds
up during the first six tracks. Overall, a very solid release.
-Dane Jackson
LIGHTS OUT ASIA
GARMONIA
SUNSEASKY
Lights Out Asia's brand of expansive noise swoops from electronica to post-rock
and even new wave almost effortlessly. At their most aggressive, they evoke
Sweep the Leg Johnny. At their most timid, they are awkwardly flamenco-tinged.
But this band is made up of only two members, and given their limited staffing,
the fullness of the soundscapes they created proves impressive. There are no "real" vocals
on the record, and when they do appear, they drift in and out of the foreground
rather than play lead. It's a haunting effect, and Lights Out Asia know how
to use it to their advantage. The new-age leanings make my skin crawl, but
they're not always present. I can forgive them, because there are a few truly
beautiful moments to be had here.
-Davie Kaufmann
LOCAL H
WHATEVER HAPPENED TO P.J. SOLES?
STUDIO RECORDS
I was under the impression that the only listener-friendly two-piece band was
The White Stripes. Whoa, was I wrong! This Chicago duo ripped into my speakers
with catchy lyrics and head-bopping beats. Relying on steady drums and energized
vocals, Local H has proved themselves worthy. WHATEVER HAPPENED TO P.J. SOLES?
is Local H's second album, and it finally allows listeners to get a taste of
what they have to offer. The tracks range from angst-ridden garage rock to
synthesized, Radiohead-esque sleeper tunes. While not necessarily a to-die-for
album, it's definitely one that promises potential. The repetitive lyrics scream
radio-worthy and undoubtedly will make their way to airwaves near you.
-Carley Charpentier
LONG WALK HOME
FULL AUTO SHUT OFF
1 TON RECORDS
You know the state of independent rock is in trouble when you can predict specific
chord progressions used on an album solely based on a band's name. Long Walk
Home takes equal influences from straight-up modern rock (à la Foo Fighters
and Jimmy Eat World) to the predictable discordance of hundreds of other faceless
bands to create a mixture that you swear you've heard many times before. FULL
AUTO SHUT OFF plays like the record of a band that's destined to be signed
to Equal Vision and forced to live out the rest of their existence as a band
in the middle of the road, sandwiched between obscurity and relative notoriety.
-Matt Siblo
LOREN DAVIS
THE LIMITED DIARY
SELF-RELEASED
As a big fan of acoustic music, I was a little disappointed with this fellow.
The vocal style is a little too wispy, and he just seems unsure of what he
is doing. I would suggest finding someone else to sing the songs. A little
confidence comes out in "To Disappear" and actually shows some sort
of a melody for the first time on the CD. Even though a little handwritten
note came with the CD hoping that whoever was reviewing the CD liked it, I'm
sorry, broham, I don't.
-Joe Wilson
MADELIA
EP
EVERYDAY UNDERNEATH
"Madelia" sounds like the name of a flower, and that same quality is
present in this EP. The music beautifully furls and unfurls, retaining and releasing
latent energy that comes out in a very steamy, ethereal fashion. This sort of
eagerness is similar to the sound of Sunny Day Real Estate's final effort, THE
RISING TIDE. Quizzical lyrics like "Don't forget to remember she remembers
to forget" are sung by a whiny but eager voice, with surly guitar parts
to match. Songs about relationships in peril are commonplace, but it's the tactile,
textured sound that propels Madelia past typical college-radio fare and makes
these four songs an admirable debut.
-Erika Owens
MARIANNE PILLSBURY
THE WRONG MARIANNE
LABEL UNKNOWN
Gnarly guitars and a cutsie-wootsie voice give Marianne Pillsbury's record
THE WRONG MARIANNE an edge over a lot of female singer/songwriters. She's got
the angst of an Alanis Morrissette, but the tenderness of a Jill Sobule. She
pulls out the banging pop tunes with something like "Layaway Girlfriend",
then skips along with a ditty such as "Unintentional". THE WRONG
MARIANNE can get by on charm alone.
-Darren Ratner
MARTYR AD
ON EARTH AS IT IS IN HELL
VICTORY RECORDS
Treading the middle ground between Slayer and Hatebreed (okay, toss in some
Dillinger Escape Plan, too), Martyr AD hits their stride with the impressive
ON EARTH AS IT IS IN HELL. Most of the eyebrow-raising here comes from a white-hot
production sound courtesy of the band's guitarist Joel Johnson. Admit it, it's
pretty cool when the band can do their own production without having to hire
in one of the big guns and still get a meaty, full sound that brings you to
your knees. Two of the band members were in the much-renowned Disembodied,
and a bit of that evil, industrialized vibe remains intact. The huge difference
is the no-nonsense approach of these songs. Sure, some metalcore spin-doctoring
is evident throughout, but mostly this is a punchy, powerful scream-therapy
session. Good vocals (a rarity in the genre), great flow to the album, and
even better tightness from the band as a whole. Jump on this steamroller fast—it's
a wild ride. website
-Jason Schreurs
METALIUM
AS ONE
CENTURY MEDIA
Finally! I have been waiting for a completely true metal album for a long time,
and Metalium's AS ONE is that and more. What strikes me most is the overall
strength of this album. I listen to a ridiculous amount of power metal, but
few bands know how to deliver their riffs and choruses with such incredible
force. The entire story behind this concept album is mostly what you'd expect
from a German power-metal band, but I lost interest in the characters because
I was so turned on by the music itself. There is a lot of replay value here,
and it's the perfect album to get you pumped up for riding a dragon through
the heart of the sunset. Don't miss out on this amazing release from Metalium.
-System
MEZKLAH
SELF-TITLED
INDEPENDENTLY RELEASED
Santo mierda. Here we have a fiery four-course serving of Spanish-spiced harmony
that flows with a genuinely ethnic soul. This L.A.-based ensemble hustle out
spicy jams laden with Spanish-to-English serenading and peppery instrumentation.
A trance-like aura is spun into effect from the moment this EP sparks into
motion, with abundant horns and steady tribal percussion abound. I know salsa
dancing like Cantonese, but I'm willing to venture that Mezklah's blend of
authentic south-of-the-border styles would make for some fairly intense ass-shaking.
And although I can comprehend nary a single word of this record's Spanish-heavy
lyricism (I'm pretty sure I caught "enchilada" in there somewhere),
it remains a welcome temporary departure from my indie-rock disc arsenal. Allow
Mezklah to throw a jalapeno into your system.
-Dave Kargol
MILES GURTU
SELF-TITLED
SHAKTI RECORDS
DJ/drummer-led combo Miles Gurtu specializes in swank, down-tempo jazz fusion
that recalls mid-period CTI material as well as nu-bucks like Medeski, Martin,
and Wood and Tortoise. While everything on the group's self-titled record meanders
pleasantly through subterranean jazz territory, there's no real anima to any
of the compositions, leaving tracks like "Wearing Masks" and "Loom" feeling
cold and listless. It's certainly no ON THE CORNER, but for those who get their
kicks from George Benson and Paul Hardcastle, this is one album you simply
can't do without.
-Jason Jett
MORIFADE
DOMI<>NATION
CANDLELIGHT USA
Wow. When I signed up for the metal assignment, I guess I didn't really realize
what I was getting myself into. I had no idea that people still made mid-'80s
power metal. Do you remember getting that first taste of Yngwie Malmsteen when
you were 12? Yeah, it's kinda like that—ya know: all harmonic vocals
with driving guitar riffs that turn into blinding solos with dragons in the
background and the wizard casting spells against the dark prince just before
the end of the world, and then the knight turns into a marine. Anyone who has
ever rolled a 20-sided die knows EXACTLY what I'm talking about.
-FLINT
MOTHER SUPERIOR
13 VIOLETS
TOP BEAT RECORDS
When Henry Rollins is fronting them, Mother Superior is The Rollins Band. 13
VIOLETS is this trio's sixth disc. Mother Superior is dug in, they've made
it. And 13 VIOLETS (produced by MC5er Wayne Kramer) is a testimony to why Jim
Wilson (guitar, vocals), Marcus Blake (bass, vocals), and Jason Macenroth (drums)
can really really play and write good songs. The arrangements and complex melodic
sweetness conjure up visions of '70s hard rock, occasionally reminding me of
Austin's Fastball. 13 VIOLETS is as solid as an album gets. Inside the format
of what Mother Superior is doing, this is a perfect disc. My favorite tune
is "Queen of the Dead". Turn Mother Superior's 13 VIOLETS up and
fall back into the golden age.
-H. Barry Zimmerman
NATURAL DREAMERS
NATURAL DREAMERS
FRENETIC RECORDS
Even for an instrumental record, this is terrible. Natural Dreamers tries to
be unique, but instead their chaotic melodies and random rhythms just fall
flat. It's really just bad. When I was listening to it, I wanted to turn it
off. The individual songs follow no structure, no order, no melody, no nothing.
The irony is, the band members are really good musicians—the songs are
just terrible.
-AC Lerok
NOVI SPLIT
KEEP MOVING
SUNSET ALLIANCE
It's rare to hear acoustic done right, but Novi Split are able to adeptly entangle
electric elements, keyboard, acoustic guitar, and even hand claps without making
a muddled mess. The album opens focusing on the acoustic part with a Conor
Oberst-like crooner (except that his voice doesn't make you want to die) that
creates a very open and personal foundation for the rest of the album. David
J.'s honest, appealing, slightly wounded voice is the common thread that ties
the eclectic album together. Novi Split echo bands like Death Cab and Cursive,
which they build upon with even more inviting and entertaining lyrics. The
courage to explore different sounds makes for a rewarding trek, especially
on the little folky ditty "Who's Going to Shoe Your Pretty Little Feet?" Novi
Split utilize elements and topics that many bands are content to keep mediocre,
but they go beyond typical constraints—and create a wholly enjoyable
album because of it.
-Erika Owens
NURAL
THE STRUGGLE CONTINUES
SELF-RELEASED CD
If you dig the current wave of radio-friendly California rock bands infiltrating
the airwaves, you'd probably enjoy the melodic meldings of Nural. This quintet
wavers between the sappy meanderings of Hoobastank on "Spotlight" and
the hook-laden mainstream sound of Trapt on "Crowded". Pristine production,
slightly whiny lead vocals, and heavy guitars with an edge of funky punk is
the fodder that major labels swoon over, so don't be surprised if you see this
group on an upcoming MTV2 NEW FACES IN ROCK special. website
-Mike SOS
OFF THE RECORD
NOTHING NEW
NEW SCHOOL RECORDS
Five fucking songs is all you get with this new album. Why is it when you get
an awesome CD there never seems to be enough of it? Well, the five I heard
were fantastic. Finally, I get to listen to a real punk album that doesn't
sound like everything else on MTV. This is what you want to hear when you want
to listen to something new and fast. This is why I listen to all the crap I
get in the mail. This is the payoff: real music. If you want to know what is
in my car radio, well, this is it. Go to the Website at websiteor websiteand
download some free shit—then go out and
buy it.
-Ian Wilkins
ON THE SPEAKERS
EP
SELF-RELEASED
I looked for label affiliation for a long time. I could not believe that On
the Speakers (cool name) were not signed. This six-song, 21:50 EP is warm and
cool, like the idea of California dreamin' rocking in the wind. A modern rock
disc. The guitars soaring in sections (like at the end of "Click Your
Heels"). Sometimes the song structure sounds like Elvis Costello (e.g., "Dolphins").
On the Speakers' EP is a feel-good CD because of vibe and skill. Let the negotiations
begin.
-H. Barry Zimmerman
ORPHANED LAND
MABOOL
CENTURY MEDIA
Is Orphaned Land a metal band or a team of biblical scholars? How about both,
as this Israeli sextet's new album (its first in seven tumultuous years) follows
the Good Book's story of three sons who fight God's wrath, namely The Flood.
Juxtaposing Middle Eastern music with progressive metal, Orphaned Land's 12-track,
nearly 70-minute opus may be a bit too ethnic for your average Slayer T-shirt-wearing
metalhead, but if you think you have a more open mind than most, MABOOL's rich
tradition and vast instrumentation put an interesting twist on epic metal music. website
-Mike SOS
OTIS TAYLOR
DOUBLE V
TELARC RECORDS
Interesting, to say the least. Otis Taylor plays a blues-inspired, acoustic-guitar-driven
type of music. There is not much effort behind this middle-aged man's vocals;
instead, they seem to just appear. There is no percussion to be found on DOUBLE
V; and after listening a few times, I've come to the realization that you don't
hear many songs featuring the harmonica or banjo these days. Someone should
do something about that...someone like Otis Taylor.
-Joe Wilson
PARIS TEXAS
LIKE YOU LIKE AN ARSONIST
NEW LINE RECORDS
"Eh" is all that can be said about Paris Texas' LIKE YOU LIKE AN ARSONIST.
The band has enough happy-go-lucky rock sounds to put itself amongst an already-budding
pop crop. Songs like "Action Fans Help Us" and "Your Death" have
that sunshine-rock optimism to them, with electric guitars and pretty-boy vocals
lingering throughout. After too many bands doing the same things, however, one
has to ask: Who cares?
-Darren Ratner
PEDRO THE LION
ACHILLES HEEL
JADE TREE
Although change is always good, there is true comfort in consistency. Pedro
the Lion, in that sense, is one of the most comfortable artists in the industry
at the moment. The raw and genius talent of David Bazan (mastermind behind
PTL), the quality of each album, and the lyrical brilliance are always constant
in each release. It is no different with the newest album, ACHILLES HEEL. Each
song on any of Bazan's albums are tightly woven together around a central theme,
whether it be a story or topic. Although ACHILLES HEEL is not a storyline,
it does cover heavily the idea of weakness—as each Pedro the Lion album
seems to do. Staying consistent on this album is also the catchy but raw and
powerful folk/indie-rock sound. This album is all around enjoyable and impressive...just
like each of the other albums. website
-tChow
PEPPER
IN WITH THE OLD
VOLOCOM ENTERTAINMENT
Pepper sounds like an utterly awful bar band who struggles through slow Sublime
covers at happy hour on a Tuesday night. I didn't know music like this was
still being made, and and I think I was generally happier not knowing otherwise.
-Matt Siblo
PETRACOVICH
BLUE COTTON SKIN
RED BUTTONS RECORDS
Petracovich (a.k.a. Jessica Peters) built on her neo-folk background to add
in post-trip-hop and post-electronica elements. The result is dreamy, melancholy,
and features Peters on piano and Nord II keyboard. Jessica, with Tad Wagner
(engineer/guitarist for Buellton) as co-producer and recording engineer, spent
a year at Buonapasta Studios crafting this album. The effort shows in delicately
poised arrangements and layers of carefully-applied sound. Somewhat lo-fi and
delivered in a personal, breathy voice just above a whisper, this album is
an intimate and warm album, despite the reliance on electronic tone coloring.
What guitar that is present is sparsely applied—just like all the instrumentation—making
this nearly a vocal album. Fans of Aimee Man and Beth Orton will appreciate
this nine-song debut. website
-Tom "Tearaway" Schulte
PHINEHAS
AGAINST THE WORLD
MIDDLE OF NOWHERE
Moral question here: do you give a band that doesn't take themselves too seriously
a "get out of jail free" card? I'm wondering, because Phinehas certainly
don't take themselves too seriously. From the poorly-Photoshopped cover of
the record (their smiling faces floating in oversized chess pieces—hilarious)
to "Opera Song" (sample lyrics: "La la…la la…la
la"). There's even a plea for mom to calm down in "Don't Wait Up".
It's all pretty cute, and I'm almost tempted not to mention the part about
the music sucking.
-Davie Kaufmann
PIG DESTROYER
PAINTER OF DEAD GIRLS
ROBOTIC EMPIRE
The most devastating bunch of shit-merchants the world has ever seen, Pig Destroyer
make Anal Cunt and Agoraphobic Nosebleed sound tame by comparison. Their crushing
mix of heavy-metal thunder and hardcore aesthetics has never yielded better
results than PAINTER OF DEAD GIRLS. A 20-minute tour de force of bulldozing
rhythms, detuned guitars, and bloodletting screams, PAINTER... is destined
to become the soundtrack to the seventh circle of hell's waiting room. The
brutality ends here.
-Jason Jett
PISS ANT
YOUR BEST SUCKS
GENXTASY RECORDS
Dear Piss Ant,
On your next record, please do not put yourself on a pedestal and try to be
witty by naming your album something like "YOUR BEST SUCKS." You
have nothing to back you up or put you in a position to make a statement like
that. In addition, please have your vocalist complete grades K-8 before she
writes any more lyrics, as I have heard Dr. Seuss stories with more imaginative
rhyme schemes. Yes, "gun" does rhyme with "run"—congratulations.
Please accept my best wishes in your future careers as truckstop waitresses
and/or middle-school janitors. Sincerely,
-Casey Clague
PROJECT 1
REFUSE TO COMPROMISE
SELF-RELEASED
Project 1 isn't your run-of-the-mill metalcore band. With just three members,
Southern California's Project 1 oozes more energy and power than bands that
have more support and more popularity. What makes Project 1 better than your
average metal band is the way lead singer Joe Arnold uses his voice. In one
moment he's letting out a guttural yell, but in the next he shows how well
he can sing. Add a message of hope (as on "My Only Life"), along
with some very solid musicianship, and Project 1 becomes one of the metal bands
I think everyone should hear. While the EP is only four tracks long, you can't
go wrong with these quality tracks.
-Dane Jackson
PRIMAL FEAR
DEVIL'S GROUND
CENTURY MEDIA
For those of you who know Primal Fear, you know that this record had no intention
of breaking any new ground. Instead, Primal Fear decided to keep on making
some of the best '80s speed metal ever created. Their sound—always reminiscent
of Judas Priest's PAINKILLER era—is strong and energetic. The lyrics
are true to the metal way of life, and every track is going to make you want
to go out and buy a Harley so you can have a parking lot party before the next
Megadeth show. If you're a fan of Primal Fear, then you're obviously going
to want to pick this one up; but if you're not yet a fan, you just might be
after these blazing tracks headed up by metal god Ralf Scheepers.
-System
RADIO ONE
SELF-TITLED
DISASTER RECORDS
What if the band Rancid had a bastard son with Blink 182? The ugly daughter
would look something like Radio One. These punk-rock newcomers bring us a poppy
street-punk sound similar to that of our good friends in Rancid. Don't get
me wrong: the CD is both catchy and nice...but it can be easily overlooked.
The saving grace of this CD is a lovely cover of The Clash's "New World
Shakedown", which has been given a nice facelift.
-ADF
RAINER MARIA
ANYONE IN LOVE WITH YOU (ALREADY KNOWS)
POLYVINYL RECORD COMPANY
With the release of the band's fifth full-length album and first live album,
Rainer Maria has set the gold standard for any band releasing a live disc in
our techno-savvy environment. While many bands have released hybrid CDs with
a full-length album and a track or two in computer files on the disc, Rainer
Maria is the first band I've seen release an 13-song live DVD with an added
studio video and a full-length 11-song live CD in the same package. The live
video is from a 2003 concert at Cat's Cradle in Carrboro, NC. Fans of the band
will love the trio's energy, as they perform inspired versions of several of
their hits and a few off-key versions of lesser known tunes. The songs for
the live CD were culled from years of performances and chosen by the band for
inclusion in the release. Years ago I wrote a scathing review of the band's
first album. Since then, much like The Talking Heads, the band has matured
musically to complement its artistic roots, thus creating a few really good
albums and some legitimate hits. This double-disc set is a must have for any
alternative coffeehouse, poetry-spewing, modern beatnik. website
-DUG
RAINY DAY SAINTS
SATURDAY'S HAZE
GET HIP RECORDS
Dave Swanson has a rich history in the Ohio music scene having played in seminal
underground rock bands Death of Samantha, Cobra Verde, and Guided by Voices.
He has also been a fixture behind the counters of record stores in Cleveland
for the past 15 years. Given his background, it's no surprise that Swanson
has produced a lo-fi pop/rock gem sure to leave a grin on the faces of power-pop
fans. There's a hint of '60s psychedelic rock sprinkled throughout the 13 tracks
(particularly on "Come on Girl" and "Lost", which will
be included on every mix CD I give out this year). As a self-pleasuring album
for Swanson—he plays all the instruments on the CD—he supplies
plenty of money shots for not only himself but the listener, too. Be careful:
the stuff will stick in your head for days.
-Chip Midnight
RAJIV PATEL
OBEY THE CATTLE!
SUNSET ALLIANCE
This solo, experimental debut from Before Braille's guitarist Rajiv Patel is
a unique, captivating mixture of Middle Eastern melodies and acoustic guitar.
There are few musicians that can mix two seemingly dissimilar styles of music
and make them sound as if they were always intended to be together. Patel is
just such an artist. His tremendous acoustic guitar work on this album is backed
by a variety of Eastern instruments and chants. This is the type of album that
musicians will pass from hand to hand while daring each other to try to play
any of these tunes. It is the perfect CD after a stressed-out day in the trenches
as the melodies seem to lull the listener into a state of Zen. Don't think
too hard. Don't listen for radio-friendly cuts, just become one with the music
and let Rajiv Patel be your mantra. website
-DUG
REDFIELD
THE HELLFIRE CLUB EP
GRAVE 9 RECORDS
Every town has a band like this one—you know, the "modern rock" sound
with the chunky guitars and gruff vocals, as if we were right back in the heyday
of grunge. In this case, that town is Phoenix, and the guilty parties are ex-members
of Sam the Butcher, Jedi 5, and Seven Story Mountain. Okay, the songs here
are decent, including a clean production sound courtesy of Jeremy Parker (Boysetsfire,
Puddle of Mudd, Evanescence), some throbbing bass-lines, and solid guitar work.
The weakest link is definitely the pained frog-croak of their singer. What
an annoying voice to have to sit through, even for six relatively short songs.
Best song is the EP closer "Falling Down", but that just might be
because I know the end is coming soon. website
ROBBERS ON HIGH STREET
FINE LINES
NEW LINE RECORDS
There is no room in the buzz-band bandwagon for any new up-and-comers, but
when one of the hipster bands sells out to a major label, Robbers on High Street
will jump aboard. The band members met in upstate New York, but nobody gets
a record deal playing in Poughkeepsie, so they high-tailed it to the big city
(if you can make it there, you can make it anywhere). With a style that sounds
like The Strokes, Spoon, or Interpol, Robbers on High Street deliver an infectiously
retro indie-rock EP with hip-shaking rhythms (e.g., "How it Falls Apart", "Hot
Sluts (Say I Love You)"). The EP's lone ballad, "Opal Ann",
moves with the swagger of a vintage Afghan Whigs song. It's too late to say
that you discovered Robbers on High Street, but if you want to be the coolest
kid on the block, start dropping their name now.
-Chip Midnight
ROBERT ROTH
SOMEONE, SOMEWHERE…
PATTERN 24
Robert Roth (Truly, Built to Spill, Jim Carroll) is an important unsung hero
to the modern underground music scene. On Roth's release SOMEONE, SOMEWHERE...,
we are given a true American album. I don't mean the patriotic propaganda of
other post-9/11 albums, but American in the sense that Roth has weaved one
of the best lyrically-driven albums. Roth details his experiences in the past
three years with the hard-rocking, grunge, 9/11-influenced "Relive These
X" and the subtly political "Blackout City Serenade". Clocking
in at 70+ minutes, the album has a full, rich texture very reminiscent of the
recording quality of fuzzed-out '60s-'70s psyche rockers, like in the song "Vicki
and Jacky", while others contain the surreal, discombobulation of The
Beatles. This is indeed a historical account, a prophetic warning, and a vision
for the modern young American—or, as Roth puts it in "Streetplay
'99": "Street scene / Final act / The last soliloquy of the last
century."
-Norberto Gomez, Jr.
RUNNER AND THE THERMODYNAMICS
SELF-TITLED
ACE FU RECORDS
I was naïve a few years back when the whole "garage rock" movement
exploded onto the scene. I thought music was going to see a revolution. However,
like every past movement (from punk to grunge to alternative), what makes them
special soon becomes nothing more than another whored-out commodity of robots
being mass-produced by the Machine. Bands like The Darkness are terrible signs
of how ridiculous this modern pop/rock can get. Runner and the Thermodynamics
are just another example of this. Touting a The Who/Gang of Four feel (like
I haven't heard this before), Runner is merely a heavier-sounding Weezer who
are trying to carry the old school. Contrary to what they believe, there's
nothing original here or revolutionary. With that said, their pop structures,
vocals, and songwriting as a whole make this album very radio-friendly...but
so is Britney Spears.
-Norberto Gomez, Jr.
SATYRICON
VOLCANO
EATURMUSIC/COMLUMBIA
Does it seem like all the good metal bands are coming from Europe these days?
I couldn't pronounce half the names of the members of the Satyricon, but do
I really need to? No, I am sure I don't. The whole album is full of head-pounding
anthems and no-nonsense lyrics. You won't have to listen to boring love songs
or try to figure out some political message with this album. Satyricon will
be on tour in the U.S. all through our April and May, and you might want to
check them out. Believe me when I say this album is like a breath of fresh
air…wait, make that a gasp of some smog…no, a toke of…Check
it out at website.
-Ian Wilkins
SCARLET
CULT CLASSIC
FERRET
Scarlet comes out firing right from the start with the chaotic, blistering
cacophony of "O.D.". From Jon Spencer's screamed vocals to the almost
dissonant-sounding whirlwind of guitars and punishing drums, there is a real
sense of urgency prevalent in this song and throughout much of CULT CLASSIC.
Reminiscent of Morse Code Heartbeat and Darkest Hour, Scarlet have created
an ambitious metal-core album highlighted by truly thought-provoking, bold
lyrics. Yet, for all the unrelenting noise and harsh vocals, there are some
respites from the abrasive storm—namely, the quite sedate, mysterious "Human
Pollen"; "My Black Hole Girl"; the sweet-sounding finale, "You're
My Fix", featuring beautiful Chino Moreno-esque vocal harmonies; and the
magnum opus "Dead America", which is full of emotion and grand in
scope. While this song's lyrics are minimal, they're some of the most powerful,
recalling the genius of Discharge (though not as bleak).
-Janelle Jones
SIXGUN RADIO
PLEASE PRESS ME
BANKSHOT
Punk rock is a term thrown around so much these days that it has lost much
of its relevance. A NYC-based quartet named Sixgun Radio is helping the term
regain some prestige, as the act's 14-track, adrenaline-rushed offering contains
both the awkward charm of NOFX and the boiled-over aggression of Sick of it
All, creating the right concoction of East Coast and West Coast styles. Featuring
members of F-Minus and Leftover Crack, these folks are no strangers to the
sacrifice and skill it takes to make honest, underivative punk with bite. Songs
like "Bitterend", "Fire Inside", and "Redlight" are
explosively tight, while a lighter side of Sixgun Radio can be seen on its
tongue-in-cheek version of Billy Joel's "You May Be Right" and on
the surprisingly sensitive acoustic number "Kings and Queens". Diverse
enough to allow themselves leeway to broaden its horizons yet confident enough
to provide dynamic surges of punk energy on tracks like "Lights Out",
Sixgun Radio will erase that bad taste mall punk leaves in your mouth from
the moment "Welcome to the Big Time" hits your CD player. website
-Mike SOS
SLEWFOOT
MOSQUITO
DEMO
Slewfoot are a new up-and-coming band from San Diego. They are a four-piece
who play a new blend of alternative metal rock. The songs emanate a mellow
feel and sound with an underlying imbedded anger. The music doesn't really
have any distinct changes, which makes the interest level wane due to the monotone
feeling. The only real change in mood comes from the vocals, which occasionally
belch out a scream of emotion. The band is comparable to the mellow era of
The Deftones minus intense vocals or a Linkin Park band that decided to replay
the same riff. Slewfoot embrace the new sound of alternative rock...except
that they lack any sort of edge. Instead, they get lost in blandville.
-Jennifer Moncayo
SLOTH
DEAD GENERATION
HOLLYWOOD RECORDS
Another slickly-produced uber-metal band spewed from the bowels of major-labeldom,
skunk-haired quartet Sloth are destined to be top-40 staples for months to
come. They've got the look, over-processed riffs, and spit 'n' polish to become
modern HEADBANGER'S BALL superstars, but DEAD GENERATION is a horrifyingly
one-dimensional album that's all filler and no killer, all styling and no soul. "Someday" is
simply beefed-up Nickelback, and the chugga-chugging "Broken Crutch" was
dredged from the same shit swamp that produced Creed and Days of the New.
-Jason Jett
SNOW PATROL
FINAL STRAW
POLYDOR
Snow Patrol's glistening rock soundscape combines Brit-rock standards with
a slew of indie-rock devices to create FINAL STRAW, a 12-track feel-good rock
'n' roll record. From the light-hearted guitar rock of "Spitting Games" and
the airy "Ways & Means" to the ominous feeling brought on by "Run",
Snow Patrol's grasp on altering mood and displaying pure emotion makes them
suspect as being Coldplay's little brother band in disguise. This Irish quartet's
secret? Utilizing production from hip-hop and rock producers (Garret Lee and
Chris Lord-Alge, respectively), a move that allows the music to cross communicate
lines and speak to a larger audience. If you enjoy pristinely-produced rock
music, Snow Patrol's FINAL STRAW is a must-listen to disc. website
-Mike SOS
SOME GIRLS
ALL MY FRIENDS ARE GOING DEATH
DEATHWISH INC.
Consisting of members from Give up the Ghost, American Nightmare, Unbroken,
Over My Dead Body, The Locust, Swing Kids, and Holy Molar, Some Girls bring
some musical experience to the table. ALL MY FRIENDS ARE GOING DEATH consists
of 15 rowdy, high-speed, and short songs. The typical HXC formula is present
through most tracks, although there are times of expansion. Some attention-grabbing
guitar rhythms and quieter moments help complement the high speed and ferociousness
that fill most of the album. On the whole, this isn't exactly something I'd
drop my pants to—but hey, you might feel different.
-Anthony
SOULFLY
PROPHECY
ROADRUNNER RECORDS
Soulfly hasn't exactly wowed me with nu-metal shtick that's been take it or
leave it, but I always respected the band for the power and experimentation.
PROPHECY is more of the same power and experiments; it's a combination of guitars,
trumpets, ballads, bongos, and a whole lot of balls as the album moves on. "Living
Sacrifice" and "Moses" are a couple of the stand-out tracks.
-Darren Ratner
SPEEDEALER
BLEED
DEAD TEENAGER RECORDS
Fuck me, my whole system just crashed, and I lost everything. I am having to
start all over again after reviewing six CDs. You know what has gotten me through
it, though? BLEED. That's right. This album is crazy, like a giant cluster
fuck—but the good kind of cluster fuck. Harden Harrison plays the drums
like an epileptic plays the floor. Their were no sappy love songs, just hard-hitting,
punch-you-in-the-stomach-type shit. If you like trippy-ass hard punk, then
check this album out. If you cant find the album, go to websiteor website.
-Ian Wilkins
SURF
THE RED LEAVES RUIN
FIVE AND DIME RECORDS
A poppy quintet of young men that don't stop rocking 'til track 11, Surf play
a retro blend of rock that reminds me of better days of alternative music.
Their latest album, THE RED LEAVES RUIN, is an eclectic piece that features
an instrumental and ballads. Instrumental "Funerals" is curious,
in that it doesn't bring out any real sad emotions but more of a solemn feel,
while "The Id of Og" is outright strange, with music set to the monologue
from an Austrian. Despite the stupid band name, Surf was able to get my head
to bounce.
-Luke Skywalker
TARGET NEVADA
SOMETHING NASTY
SURPRISE ATTACK RECORDS
Apparently, the people over at Surprise Attack Records felt that there is a
shortage of metal-core bands in the music scene. If you've listened to Zao,
Earth Crisis, or Dead to Fall, then you've pretty much heard this group. Vocalist
Alan Landsman sounds like a carbon copy of Dan from the group Zao. This debut
CD is only two tracks long—probably the shortest I've ever listened to.
If you're into the aforementioned metal-core bands, then maybe you should take
a listen.
-ADF
TAROT
SUFFER OUR PLEASURE
METALBLADE
Tarot returns after a five-year absence with SUFFER OUR PLEASURE, a true, 10-track
metal sojourn with diversions into the sounds of today's on the cusp metal
outfits. From the opening riff of "I Rule", you can feel the majestic
vibe mesh with the metallic foundation, almost sounding like Iron Maiden meeting
Soilwork. Recorded at Spinefarm Studios (owned by band founder Marco Hietala),
tracks like "Rider of the Last Day" has a definitive old-school,
NWOBHM feel, while the underlying keyboards and vocal lines suggest a more
modern metal assault. "Undead Son", with its eerie intro and driving
rhythms, mixes early-era Scorpions with In Flames; while the straight-ahead
pummeling of "Convulsions" has an Ozzy-with-Zakk stamp. In short,
Tarot's return to the game is a welcomed one and fits nicely into the current
metal soundscape. website
-Mike SOS
TESLA
INTO THE NOW
SANCTUARY RECORDS
Tesla plays an interesting kind of alternative rock music that could be considered
a harder-rock version of Nickelback. Let's be honest: this album doesn't offer
anything new to the music world. The CD contains several different types of
songs, ranging from melodic, thought-provoking songs to harder rock songs.
Most of their songs seem to a spiritual plea or message with a soloing guitar.
Overall, it sings generic.
-Jennifer Moncayo
THE ADOLESCENTS
LIVE AT THE HOUSE OF BLUES
KUNG FU RECORDS
Let me just start by saying that after listening to this album, I really wished
I could've been at the live taping of this performance. In all its punk-rock
glory, The Adolescents bring back some great songs from its past. If Jack Black
were to open a School of Rock in Orange County, then surely The Adolescents
would be recommended reading in Punk Rock 101. If you're a fan of bands like
Wasted Youth and Social Distortion, then definitely check out this release.
-ADF
THE ARROGANT SONS OF BITCHES
ALL THE LITTLE ONES ARE ROTTING
KILL NORMAL RECORDS
Unbeknownst to the majority of the underground music community, people still
like ska-punk. Yes, you could be a cartoon character and count the ska fans
on one hand (cartoon characters have less fingers, get it?), but they do exist.
Thankfully, bands like The Arrogant Sons of Bitches exist, or else the rude
boys and girls would be in a fix. ALL THE LITTLE ONES ARE ROTTING is traditional
ska-punk in the vein of Link-80, Less Than Jake, and Assorted Jelly Beans.
There's nothing breathtaking on this record, but if you ride a Vespa and wear
suspenders, it could be your new jam.
-Casey Clague
THE BANNER
YOUR MURDER MIXTAPE
BLACKOUT RECORDS
The intro to this CD is a clever one and is probably the only reason I will
ever put YOUR MURDER MIXTAPE back into my CD player. It was taken from an old
horror movie; and, from what I gather from the lyrics, these guys love zombies.
These New Jersey natives like to play songs that all mesh together with that
familiar fast hardcore beat that makes every friggin' band in this genre sound
the same. The guitar work is pretty intense, but other than that, The Banner
sounds like another recycled hardcore band.
-Joe Wilson
THE BEAUTIFUL MISTAKE
THIS IS WHO YOU ARE
THE MILITIA GROUP
The Beautiful Mistake continues to expand on the style of emotionally-charged
rock that it displayed on its debut album. While the band's musical foundation
is rooted in the rock sounds that propelled Elliot, Further Seems Forever,
and All American Rejects to stardom, classic alternative bands such as U2 and
Failure serve as influences, too. The balance of combining powerful rock grooves
with strong pop sensibilities is handled seamlessly by The Beautiful Mistake
on songs like "Walking Wounded" and "Cold Hands (for dying hearts)",
which features blissful guitar interplay between Shawn Grover and Josh Hagquist.
The band took some risks on THIS IS WHO YOU ARE, including kicking out its
drummer just as pre-production began, but the payoff was well worth it, as
the band has produced a tight CD that traverses through a wide range of emotions
and ultimately leaves the listener begging for more.
-Chip Midnight
THE BLOODY LOVELIES
SOME TRUTH & A LITTLE MONEY
CHEAP LULLABY RECORDS
Sometimes a band's ability to squeeze partially listenable sounds out their
instruments isn't enough to rival genuinely cheesy lyrics, like "You don't
want me / Darling I'm aware / Maybe I'd be better off alone." This release
from The Bloody Lovelies should have been released by Kraft Records and kept
stored in the refrigerator of your local grocer. These songs have musical substance:
keys and guitars manage to stay afloat, and I'm almost positive the drummer
has two arms. Songs follow traditional verse/chorus structures—but hey,
so does the muzak I have to squirm through every time I call my dentist to
schedule my bi-yearly check-up...and that shit isn't exactly enough to get
my foot tapping. Here, the lyrics are truly the nail in the coffin of mediocrity,
and I can picture The Bloody Lovelies' singer straining through coffee-fueled
nights while synching his lyrics and voice to the precise quality standards
of the Train discography.
-Dave Kargol
THE BREAKUP SOCIETY
JAMES AT 35
GET HIP RECORDINGS
Ed Masley (formerly of The Frampton Brothers) has struck soulful pop gold with
his new band, The Breakup Society. JAMES AT 35 is a concept disc about isolation,
the rock 'n' roll dream, and the hysteria around trying to find the perfect
girl to love. And The Breakup Society do all that without sounding like snoots
or self-important genius wanna-bes. The band is ballsy/cool, with a classic
post-Beatles electric pop sound (e.g., Big Star, Fountains of Wayne, Teenage
Fanclub (with ambition)). I can't stop singing the chorus of "Robin Zander"—"Every
girl that I had a crush on / Had a bigger crush on / Robin Zander" (I've
been there)—which is the hookiest song since "Love Grows Were My
Rosemary Goes". Ed Masley has got a quirky vocal style comparable to Wayne
Coyne (with less enthusiasm) or Gordon Gano (with less stains). I love JAMES
AT 35. It's a classic.
-H. Barry Zimmerman
THE BRAINDEAD
BORN DEFIANT
UNKNOWN
Personally, I find it hard to listen to most metal. I've never been a huge
fan and hardly know the history of the genre—which makes it even more
difficult to critique an album from a band I never heard of. Upon first hearing
The Braindead, I thought maybe it was a band mocking the metalcore sound; but
after researching the Washington group, my first inkling was proved wrong.
This band of misfits actually considers their music for real—making it
even more humorous to take it seriously. With moans from what I can only guess
is their favorite porno layered on "Cum Shot", I can only guess these
cinema buffs had too much fun in the studio. Every track seems to have some
sort of audio from a movie, which simply becomes annoying. Sorry, but I couldn't
listen to this album past track 4. Oh, and a message to The Braindead: "Find
Jesus."
-Luke Skywalker
THE CODE/WHATEVER IT TAKES
SPLIT
A-F RECORDS
This album came out on vinyl in early 2003, and thankfully it has now been
repressed in the form of a CD, so I can listen to it in my car. This also helps
out you losers out there who don't listen to vinyl, so you can stop crying.
If you're already a fan of either The Code or Whatever it takes, you probably
already have it. If not, go get it now. Not letting fans down, both bands infuse
their tracks with intelligent lyrics put over forceful music in true punk-rock
fashion. Every once in a while we all need to be reminded of the true spirit
of the music we listen to—which is exactly what this album does. So go
get it, put it in your fancy little CD player, and turn it up. What are you
waiting for?
-Nina
THE COOPER TEMPLE CLAUSE
KICK UP THE FIRE, LET THE FLAMES BREAK LOOSE
RCA RECORDS
The U.K.'s newest claim of the Second Coming, The Cooper Temple Clause has
garnished quite a reputation for themselves overseas. This, of course, has
subsequently led to some heavy speculation and anticipation surrounding the
band and their forthcoming release. Their domestic debut finds the band channeling
respectable musical spirits (everyone from The Cure to Oasis to Nirvana), yet
they manage to do so in a way without ever managing to connect this influence
into something that is all their own. Too timid to rock and too self aware
to let itself flow, KICK UP THE FIRE… is a juvenile portrait of a band
who needs some time and experience to sort out its own contradictory personality
and influences.
-Matt Siblo
THE CRYPT
A NIGHT AT BROADWAY'S LABORATORY
SELF-RELEASED
These guys have names like Lurch Coffin and Phantom Fester. Their album isn't
bad, and you can dance to it. Take what you want from that, I guess. The songs
are catchy, the kind of stuff that would be really fun to listen to live, but
I don't know: something's missing. It just sounds a little sophomoric. I want
to wait a few months and see what happens with them—and they are working
on a full-length right now, so I guess I can. Until then, they sell their CDs
at shows for $3, so why the hell not pick one up?
-Nina
THE ELECTED
ME FIRST
SUB POP
Apprehensive is the best emotion to describe my reaction upon receiving The
Elected's debut record. For those of you who don't know, The Elected is fronted
by Rilo Kiley guitarist and occasional singer Blake Sennett. And for all of
those non-Rilo Kiley listeners, you should know that most of the songs that
Blake usually sings aren't necessarily ''stellar.'' So you can imagine how
shocked I was upon the realization of just how impressive ME FIRST is for a
debut record. Hidden beneath the sun-stained pop and murky vocals, Mr. Sennett
has transcended the limitations of the typically hideous endeavor that we call
a side projects and has made an album that can easily stand on its own merit.
One caveat, however: ''Don't Get Your Hopes Up'' does sound a little too much
like a quirky interpretation of Randy Newman's ''You've Got a Friend in Me''
(the theme song to the movie TOY STORY)—but who's to say if that's a
bad thing?
-Matt Siblo
THE FAITHFULL
OUR OWN SCORES
REASON Y
Just to make it clear, The Faithfull are not a religious band. Their site declares
that their faith is in music, a commitment which is clear in their music. They
have their roots in the New England hardcore scene, and while this is certainly
not a hardcore album, the influence is still there. The strong chorus-verse
song structure and brief phrases of lyrics are punctuated by emphasizing the
last word illustrate that the singing could easily be switched back to screaming.
By the fourth song "Hooray for Us", The Faithfull have clearly gotten
their new post-hardcore grove, and the comfort is evident in a much faster-paced
tune. They proclaim that "this song is not an anthem," but it's certainly
a great mix of the hardcore roots and a more rock-based, melodic quality. This
punky, confrontational, and optimistic sound clarifies the transition from
the scene to the clubs.
-Erika Owens
THE FEMURS
S/T
HOMESPUN RECORDS
My mellow music pick of the month (was that excessive alliteration?), The Femurs
are currently touring their native state of Washington promoting their latest
album. Busting out what sounds to me like poppy surf rock, the two-member band
play surprisingly well for not having a bass player. According to their site
(www.cdbaby.com" target=_blank>website/cd/femurs), The Femurs "mix electric pop punk and acoustic
indie songs." While I might not agree with their genre proclamation, I
do concur that they sound similar to The Ramones and Elliot Smith. Good album.
-Luke Skywalker
THE GATHERING
SLEEPY BUILDINGS
CENTURY MEDIA
I was very confused when I put this record in. I wasn't sure if I had accidentally
grabbed my sister's Liz Phair CD by mistake or if I was in fact listening to
The Gathering playing acoustic. Either way, I was completely turned off by
the obvious hope this band had to gain some mainstream popularity by murdering
their own songs and making them sound like something that should be played
while 45-year-old business men wait in line at Starbucks for their grande café latte.
I found absolutely no redeeming value to this record, which is quite a sad
thing, really.
-System
THE GLOW
UNNAMED DEMO
LONESOME RECORDINGS
Now this is great stuff. The three-track demo from The Glow plays like some
rediscovery of Richard Hell and Iggy Pop, putting emphatic punk goodies in
with some achy-breaky rock 'n' roll. "Ever?" makes me think of THE
ROCKY HORROR PICTURE SHOW. That, right there, is just so cool.
-Darren Ratner
THE HISS
PANIC MOVEMENT
SANCTUARY RECORDS
The Hiss play that famous retro-garage rock we've been having shoved down our
throats for a few years now. They're like Jet or The Hives with a Southern
rock/Black Crowes influence. There's just nothing new or interesting about
them. The Hiss are from Atlanta and are big stars in England, I guess. And
this is their American debut album. I can't quite put my finger on exactly
what their music sounds like, but I think I'm leaning towards irritating. But
there's definitely a good amount of boring dullness about them, too. So I'm
torn. Is there a word for irritating dullness? Well, if not, then I suppose "hiss" is
as good a definition as any!
-chad
THE LAST VEGAS
LICK 'EM AND LEAVE 'EM
GET HIP RECORDINGS
Exploding with energy and headbanging furry, LICK 'EM AND LEAVE 'EM comes off
the line with a sonic boom. The energy of a live show is somehow packaged into
the album and crashes and burns out of the speakers in an inferno of sound.
It would be nearly impossible to talk about The Last Vegas without mentioning
the '70s rock 'n' roll power that is crammed into every track from start to
finish. The tracks never slow down this adrenaline rush of pure rock that kicks
you right on your ass. It hasn't been since The Bronx that a band has started
me for the refrigerator and a 12-pack to slam and smash off the walls. House
parties have been aching for something this destructive to blame holes in the
wall and broken pipes on. The guitars never stop pounding and crunching, sounding
of a coming Armageddon. With driving cymbals, pounding bass lines, and powerful
vocals, this is the music of a sweaty club of long-haired rock 'n' roll junkies
dancing, drinking, and rocking. The rock is back and the energy has never been
this high. Thank The Last Vegas for putting rock back into the vans, clubs,
and house parties. This album never slows down and will leave everyone catching
their breath.
-Kevin Conway
THE LETTERPRESS
INPUT/OUTPUT
SUNSET ALLIANCE
The Letterpress distance themselves from their pop-emo contemporaries (Death
Cab, etc.) with an interesting concept: drums, bass, lead bass, and vocals.
That's right: The Letterpress use two bass guitarists on this very well-written
and strongly melodic album. The basses manage to create a great full and moody
feel throughout the entire album, without becoming redundant or too minimal.
At first I hadn't even noticed there was no guitar! The dark yet playful mood
of the opener "Input/Output" and the outro to "Hanging in the
Stars" are extremely well-crafted. However, with lyrically sappy, immature
tracks like "Ember" ("You'll be something beautiful / And we'll
see some kind of miracle / When you're breathing it takes my breath away"),
it makes it harder to take them as serious music contenders for our listenership.
-Norberto Gomez, Jr.
THE MIDDLE DISTANCE
FOREWORD
YOUNG@HEART
Just when you think you've lost Devin Greenleaf's Kermit voice for good, it
creeps back up again. The Middle Distance dip into emo-by-numbers more than
anything else, though the guitars often border on nu-metal. The record isn't
a total embarrassment, but it's weighed down indeed—most notably by drummer
Jefferson Davis's one little weakness—which, unfortunately, ends up costing
his band a whole lot: just when you're about to take them seriously, in comes
the bell of the ride cymbal, and Davis either doesn't know how to hit it or
simply doesn't care how he does. It's amazing how juvenile that can render
a song. I prefer records that take me somewhere. Unfortunately, FOREWORD ends
up exactly where it started.
-Davie Kaufmann
THE MONSTERS
YOUTH AGAINST NATURE
VOODOO RHYTHM RECORDS
Emerging out of Bern, Switzerland, The Monsters play a wicked dose of garage
and '60s rockabilly. This album is a re-release of a 1997 album that was only
pressed on a limited amount of vinyl. The album is killer all the way down
to the cover design, which displays an eerie, all too perfect suburban neighborhood,
which continues to the inside of the CD with a much bloodier version of the
neighborhood with evil people, bloody dead bodies, and body parts for all.
Each song contains its own flavor with a tinge of blues and rock, accompanied
by lyrics about being a record junkie, trips to graves, voodoo, and (of course)
death. The album has a very rough garage sound and a whole lot of personality
to make the average listener quiver.
-Jennifer Moncayo
THE NEGATONES
SNACKTRONICA
MELODY LANES
Who are The Negatones, and why hadn't I heard of them until the moment I slipped
this explosive five-song EP out of my monthly SKRATCH care package a few weeks
ago? I demand an answer. A better question would be why this NYC-based quartet
hasn't wielded their finely-tweaked electro-noise-pop high and hard enough
to topple the current rash of no-wave hipster bands from their collectively
hogged pedestal (throw together a mildly rhythmic bass-line and suddenly you're "the
next Hot Hot Heat." Great). Here, The Negatones spread magnificently off-kilter
jazz-funk harmony over seizure-inducing guitar drills like marmalade on Hillbilly
bread. "And So Much Troubles Begin", the album's absolutely manic
opener, spits crackling distortion squeals and Batman-esque screaming horns
like an aural bonfire gone utterly awry. These songs don't need their hands
held, either, as each portion of this five-song pie assumes its very own refreshingly
independent vibe. "Snacktronica" is the sound of burnt buttered popcorn.
-Dave Kargol
THE ONE AM RADIO
A NAME WRIT IN WATER
LEVEL PLANE
Why is it that foreigners always seem to put forth music that innovative, impressive,
and intellectual? Enter the project of Hrishikesh Hirway, The One AM Radio.
A brilliant mélange of synthetic beats, ambience, organic instrumentalism,
and a soothing voice make up Hirway's newest release (and first from Level
Plane), A NAME WRIT IN WATER. This album could be the perfect soundtrack for
a dark and moody art film or background noise for a day spent contemplating
in bed. It is pure experimentalism without sacrificing catchiness or enjoyment.
This is truly an album to find, buy, and treasure. website
-tChow
THE OPPONENTS
CLASSIC STORY EP
THE OPPONENTS
It was a surprise when I found out just this last month that The Opponents
decided to call it quits due to the loss of their bass player, determination,
and patience needed to keep the project moving forward. The Opponents did,
however, leave us with the five-track compilation known as the CLASSIC STORY
EP. On one hand, you have the actual music as a backbone holding the band together.
The melodies, riffs, and beats hold the EP together strongly, thus creating
something painless to listen to. Honestly, when it comes down to it, the vocals
are what can make or break a band. I got the distinct impression that the vocals
were influenced solely by L.E.S. Stitches or another band like that (not the
actual content of the lyrics, but the way the guy sings!). I give these guys
credit, though: it does have some catchy moments. Even with that said, its
nothing out of the ordinary. website
-Courtney Riot
THE RED TYGER CHURCH
FREE ENERGY
ALIVE RECORDS NATURAL SOUND
The Red Tyger Church has been playing music together since 2002 in a commune
in Sacramento, CA. They sound like The Beatles showing up for THE ED SULLIVAN
SHOW five years too late, and instead of Chuck Berry songs they’re playing
Iggy and the Stooges songs. “I Wanna Hold Your Hand” would have
been “I Wanna Be Your Dog”. I guess what I mean by that analogy
is that they’re presenting the listener with punk energy, but delivering
it in a happy, sing-song kind of way. They use male and female vocals and a
plethora of mid-’60s psychedelic clichés. They even have a sitar-based
song! I certainly enjoy the idea of a communal gospel cult band, but I think
I would enjoy the idea even more if they did away with the happy-go-lucky,
predictable stuff. Maybe if they were more Frank Zappa and less Jefferson Airplane.
Well, if you enjoy living in the past but with all the amenities of modern
music, then I think you should testify, brothers and sisters!
-chad
THE SADDLE TRAMPS
NASHVILLE SWINGER
SPLIT 7 RECORDS
The first time I listened to this album, I thought, “Right on, this is
some fun stuff!” Then I listened to it again. Track 10, “You Put
the Cunt in Country”, definitely made me laugh; unfortunately, the rest
of the lyrics didn’t seem as witty or amusing the second time around.
While Saddle Tramps ha