APRIL 2004 CD reviews (listed alphabetically)

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 has definitely mastered the old-school country swing sound, I don’t think the content of their lyrics always matches up. I’m finding it hard to dig on the sound when the lyrics involve girls on the Internet. Call me picky, but I’d prefer to keep references to computers far away. Songs like “Mexican Hot Rod” may make up for this, I don’t know. If you don’t give a shit about the lyrics and are just looking for an album to rock out and have a good time to, NASHVILLE SWINGER is a good bet.
-Nina

THE SCARRED
REPRESSION
SHOGUN 77 RECORDS
When listening to The Scarred, think a Sex Pistols for the 21st century with more musical ability. While the band doesn't seem to be a direct Sex Pistols ripoff, they are definitely influenced by English punk rock from the late '70s. There are no surprises with this album: you'll get anthems, you'll get angst, you'll get three chords. In terms of punk rock, The Scarred's REPRESSION is worth a listen or two. It's not groundbreaking, but it's also not terrible.
-Dane Jackson

THE SICK LIPSTICK
STING STING STING
TIGER STYLE RECORDS
When it comes to Tiger Style Records, I think it is really hit and miss. The Sick Lipstick is definitely a miss. Electro art rock has never been so horrible. The vocals are just too irritating to try to give this album a chance, reminding me a great deal of Melt Banana or 14 Year Old Girls. If that is what you are into, you may like this—but the music gets on my nerves a little. There seems to be a good deal of hype about this new album—I just do not get it at all...and frankly, I think I would rather be left in the dark.
-Dr. Gabe F

THE STARTING LINE
THE MAKE YOURSELF AT HOME EP
DRIVE-THRU RECORDS
This EP was a bit slow for my personal taste. I am a fan of acoustic guitars, but the six songs chosen by notorious pop-punk band The Starting Line just didn’t seem to be winners. I recognized “Playing Favorites” from PUNK GOES ACOUSTIC, so I wasn’t too impressed; and the new rendition of the pop-punk single “Best of Me” was mediocre, at best. I could honestly say that if I hadn’t received this album to review, I probably wouldn’t bother purchasing the EP. Oh, and the album art was satisfactory.
-Luke Skywalker ollis

THE VINES
WINNING DAYS
CAPITOL
The Vines created quite a stir when their first single "Get Free" hit the music world. Therefore, it's understandable that their second album, WINNING DAYS, has arrived in response to much anticipation. It's unclear how the many fans the band won with their breakthrough first hit will respond to this album. It does remain true to The Vines' original sound. Unfortunately, it loses a bit of its 1970s nostalgia and begins to hearken towards early '90s grunge, which seems to taint the band's appeal a bit. Overall, it's a slower album, but definitely still likeable...though it may disappoint a few fans. website
-tChow

THE WEATHER
THE WEATHER
PIDGEON ENGLISH RECORDS
The Weather are from Northern California, and this is their first full-length release. They sound like a Beatles cover band doing mock imitations of Led Zepplin. In other words, they suck and they're dull and lame and a bunch of other similar adjectives. I'm not even going to bother using my thesaurus to acquire any more harsh similarities. Am I the only person who wonders why and how so many shitty bands are getting signed and distributed? What's going on? In fact, I challenge people to listen to this record and say anything nice about it. I double-dare you! But I warn you, you must posses an astonishing distaste for music—or be one of The Weathers' parents—to feel nothing less then a sleepy disgust.
-chad

THE WEDNESDAY NIGHT HEROES
SUPERIORITY COMPLEX
LONGSHOT MUSIC
It wouldn't take much to save Wednesday night, a night associated mostly with PTA or youth group meetings and/or going to bed early. Anything would be exciting if it happened on a Wednesday: a baby shower, a bowling tournament, or a movie on Lifetime Network would be more than sufficient compensation for an otherwise boring evening. Just when we were about to give up, The Wednesday Night Heroes came along and promised to save our midweek with three chords and leather jackets. Billions of people were thrilled and suddenly optimistic. Without any hesitation, we put our trust in them. But in the end, it was too good to be true: The Wednesday Night Heroes just didn't cut it. We'd heard these songs so many times before from countless other street-punk bands. Disappointed, confused, and a little bitter, we cut our Mohawks and returned to our Lay-Z-Boys, just in time for the 10 o' clock news.

THE WEIGHT
SHIPS
SABOT PRODUCTIONS
Joseph Plunket, the Mississippi-born son of a preacher who fronts this alt-country powerhouse, once said that musically he was “drawing from every influence, from Black Flag to Merle Haggard, to make music from the gut, honest, and passionate.” He certainly touches some heartfelt bases on this 7” vinyl release. With a style that mixes power chords and pedal steel guitar, Plunket ties these disparate worlds together with an emotional clarity and force that haven’t been heard since early Jackson Browne. The band has a new album, STREETLIGHTS AND NIGHTLIVES, which was released in February of this year. Though the two songs on this 45-rpm disc are incredible tunes, not many folks even have a record player anymore, so the full-length disc might be the way to go. For those who do have access to a record player (that thing with the needle and the really big, black CDs), the disc is available for only two bucks wholesale at No Idea Distribution (352) 379-0502.
-DUG

THOUGHT RIOT
SKETCHES OF UNDYING WILL
A-F RECORDS
Thought Riot is a five-man loyalist brigade dedicated to punk rock's revolution. The band is on Anti-Flag's label, so what do you expect? As far as ballsy pop-stained punk goes, Thought Riot have an edge and powerful team and lead vocals (Marc is truly a great singer). The band's sound is thick and chiming, but always heavy. Thought Riot adds the must-have rock to pop/rock-punk (if that makes any sense). Simple, straight-down-your-throat songs played with mucho ambition and dexterity. Thought Riot is no pussy, pop-radio shit. SKETCHES OF UNDYING WILL is not friendly, as this scene is ripe with purpose and patriotic fever. Organize and purchase.
-H. Barry Zimmerman

THRALLDOM
BEAST EYE OPENED TO THE SKY
BESTIAL ONSLAUGHT
From start to finish, BEAST EYE TO THE SKY is a non-stop double-guitar-picking cacophony. That's not a good thing at all. This is one of those records where you could start playing it from any part of any song and you would never know the difference. If you LIKE songs that all sound like identical twins of each other, then this record has got your name written all over it. If not, keep your ears, hands, and money far, far away.
-System

THRIFT STORE HEROES
MOVING ON
MAKES NO CENTS MUSIC
"Sugary" is the only word to describe this record, and it's just way too upbeat for me, period. The lyrics are pretty straightforward ("I just wanna kick back / You and me and a bottle of Jack," "I just wrote this song to ease my pain"). Three-chord tunes abound on this record, as Thrift Store Heroes have a good time, yet say very little. It is somewhat reminiscent of Blink 182 without the humor, as well as a few bands from the mid '90s. The producer chooses to rely heavily on the vocals, making for a pretty boring musical jaunt. There is very little to write home about on this release, as MOVING ON leaves much to be desired in creativity, musicality, and poetry.
-AC Lerok

TOM HEINL
WITH OR WITHOUT ME
TOP BUNK RECORDS
Is it possible that after the tragic death of legend Johnny Cash, Tom Heinl got a hold of every song that Mr. Cash wouldn’t touch? That was the first thought that popped in my head after listening to this comedic excuse for an album. To most artists, that would be an insult, but here’s the catch: that’s what it’s supposed to be! In fact, this classic album came with a letter AND postcard. Basically, Heinl created an album that didn’t fill an entire CD, so he filled the last half with just the instrumentals-so that you, too, can have a good time rhyming ridiculous lyrics to old Western soundtracks. Heinl opted for lyrics about IHOP, Pintos, and pee. While the songs may have no deep meaning or life altering choruses, for the comedic dive-bar value, I give it an A+!
-Carley Charpentier

TORTURE KILLER
FROM MAGGOTS TO DEVOUR
CANDLELIGHT RECORDS
Right from the disgusting cover art, it's clear Torture Killer is out to maim and mutilate the listener (and, judging by the cover, possibly bite off their nipples?). Full-on death metal is the clear intention on FROM MAGGOTS TO DEVOUR, and this Finnish band even take a lesson in shock tactics from Cannibal Corpse with some simply disgusting lyrics. I mean, I'm all for freedom of speech, but what value does a lyric like "Shredded cunts I will penetrate" serve the greater good of our society? And believe me, that's just the tip of the evil phallus. At least half of these songs are about raping, killing, or eating people. I'd much prefer to see a death-metal band tackle some serious issues—and those bands are out there, so seek them out and avoid this crud. website
-Jason Schreurs

TOYS THAT KILL
FLYS
ASIAN MAN RECORDS
FLYS is the third full-length (and first on Asian Man) from this San Pedro, CA, punk band. Although the band is still relatively obscure, Toys That Kill should sound instantly familiar to punk-rock enthusiasts and historians. The brash and snotty voice of Toys That Kill is none other than former F.Y.P. frontman/pop-punk mainstay Todd Congelliere. With fellow F.Y.P. alumnus Sean Cole on bass, Toys That Kill has created a sound not altogether different from their previous band—loud, distorted, and garage-y. To their credit, though, this record sounds fresher and is still as poignant and honest as anything from either band. If not completely impressed by this release, listeners should at least find it refreshing that, in a world of Simple Plans and Good Charlottes, some people are still carrying the punk-rock torch, and doing it well.
-Casey Clague

TRANSISTOR TRANSISTOR/WOLVES
SPLIT
LEVEL PLANE
Start to finish, the assault is endless. Even the track breaks disappear. Right from the start, the screaming, crashing, smashing, churning, and driving does not relent. The challenging guitar parts invite the listener to try to keep up and the kinetic energy keeps you shaking, tapping, and damn near dancing the whole time. Wolves maintain the pace set by Transistor Transistor with no problem and are a perfect counterpart. They are able to add a rawer vocal quality with music that investigates and invents with each note. As Wolves entreat, this is definitely not the "same old game," as both bands add an intensity and essential energy that is difficult to replicate. Definitely recommended to jump "at a chance to dance, dance, dance."
-Erika Owens

TRASHING ANDI
UGLY ON THE INSIDE
SELF-RELEASED
Jesus god! I hardly have time to wade through the established metalcore bands, so getting through the demo-quality stuff is a real struggle. Trashing Andi (ick, that band name!) has some potential, granted, but this ain't fit for my fine-tuned, critical ears. I mean, fuck, I probably review hundreds of metalcore CDs a year, and they all pretty much sound the same; but this one is just an amateur version with low production values. So you know where this review is going. UGLY ON THE INSIDE is the kind of CD you hand out to your buddies after your band opens for Poison the Well in exchange for them buying you a beer to drown your sorrows. Not quite fit for public consumption.
-Jason Schreurs

TWEAKER
2 A.M. WAKEUP CALL
I MUSIC
Tweaker is Chris Vrenna (formerly of Nine Inch Nails). 2 A.M. WAKEUP CALL is an album about early morning dreams, nightmares, and insomnia. This is a dark disc. The music for the most part is urban distress modernism with organic textures laid out smartly on top (acoustic guitar and piano, etc.). One thing that I found very interesting is that each song has a guest singer, and that singer wrote the lyrics to the song on which they appear. That seems to be such an open trust for a one-man band. Some of the guest singers include the legendary Robert Smith (The Cure), David Sylian (Japan), and Hamilton Leifthauser (The Walkmen). The quality on 2 A.M. WAKEUP CALL cannot be denied. If you are one who digs Nine Inch Nails, the smart money says that you will dig Tweaker. Also, if you are a night owl with leanings toward heavy contemplation or dark mood, this one's for you.
-H. Barry Zimmerman

UNCLE FUCKER
USURPERS OF THE TRADITION
SELF-RELEASED
What happens when you cross country and bluegrass with punk and thrash? The answer is Uncle Fucker. While on paper it sounds like a match that won’t work, when listening to USURPERS OF THE TRADITION, you’ll realize that the music Uncle Fucker offers is fun, interesting, and just plain good. For the most part, the songs on this album are straight-up punk rock with a very strong hint of bluegrass, but the band also touches on their New York hardcore roots. This is most evident on the hardcore/thrash metal cover of “Man of Constant Sorrow”. This band is extremely unique and deserve to be heard by everyone. I’ve never heard anyone infuse country music so well into a punk framework. Not only does Uncle Fucker do that, but it also does it extremely well. This album is fun, refreshing, and energetic-which are all of my qualifications for a great album. Besides, I’m sure Uncle Fucker’s fiddle player could kick Yellowcard’s violin player’s ass.
-Dane Jackson

UNDERONESKY
EVERYDAY ABOVE GROUND
BACKSTREETNOISE
Is it me, or does it take absolutely no imagination or heart to put out a hardcore album anymore? It seems like once kids got wise to the fact that you don't have to live in NYC or Orange County to sound tough, everyone with two nickels to rub together is tearing up their hardcore handbooks and referencing the hardcore blueprints. This band sounds like everything that has come out of dysfunctional suburbia since '98. It's all, "I'm sad, I'm angry—now get away from me or my bass player will keep playing the same predictable riff." This shit is wack, yo.
-FLINT

UNJUST
GLOW
KOOL ARROW
Unjust is a Bay Area quintet whose latest, 14-track offering GLOW mixes the best of the heavy music spectrum (both globally and locally), yet doesn’t really sound like anything currently on the map. Yes, there’s an underlying powerhouse metal groove that pervades the rhythm of tracks such as “Meantime” and “Throwin’ Pennies”, but there are a slew of tones and styles layered on top, from the ethereal vocals that are reminiscent of Jeff Buckley and Brandon Boyd to the moody, melodic guitar work that ranges from the heavy hypnotic kick of “Notes from a Sunday Morning” to the melancholic maelstrom of “Tired”, sounding like a cross between Taproot and Tool. Some bands create their own unique sound; Unjust does one better, and, like Dredg, The Mars Volta, and Faith No More, this outfit creates its own atmosphere, where the music is dynamically dramatic and the boundaries are limitless. If you enjoy hard music that thinks as much as it rocks, GLOW will be a welcome addition to your collection. website
-Mike SOS

UPHILL BATTLE
WRECK OF NERVES
RELAPSE RECORDS
Being compared to the likes of Slayer and Converge, Uphill Battle has enough cutting hardcore pushing its way through your eardrums that any headbanger would get a kick out of it. Nothing too different comes out of the actual music, but it's always good to hear uncompromising metal arranged in a controllable way.
-Darren Ratner

VARIOUS ARTISTS
16 STRANGE BANDS PUT THEIR TWIST ON CLASSIC BLUES
DOGFINGERS RECORDINGS
The blues is like punk, in that, intellectually speaking, it's not the most complex set of chords and structure. But like punk, it is very easy to suck at. Both forms of music require that the personal traits of the inner self of the performer come across. I like this comp; it's about 60/40 fun to listen to—and even the 40 doesn't suck (I'm just not moved sufficiently). The songs are classic blues standards from such notables as Muddy Waters, Sonny Boy Williamson, Howlin' Wolf, John Lee Hooker, and so on. I dug Boxcar Satan's version of Bukka White's "Sic 'Em Dogs On", Pseudo Buddha's version of Robert Nighthawk's "Goin' Down to Eli's", and Rev. Vince Andeerson's version of Son House's "Preachin' Blues". For the most part, 16 STRANGE BANDS PUT THEIR TWIST ON CLASSIC BLUES is worth your dimes. My main beef is that there's not really enough strangeness for me.
-H. Barry Zimmerman

VARIOUS ARTISTS
BAD INFLUENCE VOLUME 1
CAPTURE
This is honestly what hardcore punk is all about: recordings that sound like complete shit, but in the best way ever! C.H.U.D.S., Joey Butta and the Functions, Spirit Lies Broken, Urban Assault, Coat Hanger Clinic, Black Listed, Systems Victims, T.G.D., Thrive on Apathy, and M.T. Saints are the featured artists on this thrash-punk compilation. Although I am not familiar with any of these bands, they connect amazingly on BAD INFLUENCE VOLUME 1. This is an uncooked display of the angry youth and their take on the government, society, and YOU! Thrive on Apathy and M.T. Saints were the bands that stood out most in my mind. If you want something mastered and polished, don’t bother with this CD; but if you want something real, true, and great, this CD is for you!
-Courtney Riot

VARIOUS ARTISTS
BLIZZARD BLUE #1
YAWN RECORDS
A supposed "compilation for the 'zine enthusiast," this CD has a little bit of everything, so one should be able to find something he likes among the 22 diverse tracks. I was a little upset, though, that SKRATCH wasn't included among the liner notes as one of the 'zines, because, as everyone knows, we are the best one out there. If not, we wouldn't review this—because it even forgot to mention us. Oh, well, everyone makes mistakes sometime. COPPER #2, the next installment of this compilation, will be coming soon, so hopefully it won't happen again.
-Nina

VARIOUS ARTISTS
BLOOD, SWEAT, AND TEN YEARS: TRUSTKILL RECORDS
TRUSTKILL
Hard to fathom that underground pioneer label Trustkill Records have been breaking new bands in the extreme-rock scene for 10 years, but such is the case. To commemorate the occasion, the New Jersey-based company has comprised an 18-track compilation disc that spans its catalog and showcases the best of the past decade. Featuring previously released material by such acts as Poison the Well, Open Hand, Most Precious Blood, as well as a glimpse at new material by Eighteen Visions and Walls of Jericho, Trustkill's hand continues to be firmly placed on what the kids are moshing to. If you're familiar with the label's successes or if you have a hankering to listen to what's rising up from the all-ages VFW shows you always seem to miss, this celebratory release will aptly work for both situations. Here's to 10 more glorious, productive, and groundbreaking years! website
-Mike SOS

VARIOUS ARTISTS
CONTAMINATED IV (MUSIC SAMPLER)
RELAPSE RECORDS
Scorching guitars, thunderous drums, tearing bass lines, and blood-curdling screams burst out of this sampler and scorch the airwaves. The range is from death metal to pure hardcore, with a mix of everything in between. The blends of genres make for an exciting ride that leaves no stone unturned in the world of hardcore. 39 tracks of pure crunch scream for the headbangers and mosh-pit-frequenters. Lighting-fast instruments and searing vocals are smashed onto these two evil discs spewed from the darkness. All in all, CONTAMINATED IV is a collection of battering screams, eardrum-perforating guitars, and throbbing drums that packs a nose-breaking punch.
-Kevin Conway

VARIOUS ARTISTS
H.O.M.E.-A GAINESVILLE BENEFIT FOR THE HOMELESS OUTREACH MOBILE EFFORT
SIGNAL PATH RECORDS
Through two CDs, 42 separate van-jockey bands from Gainesville establish the varied crop of talent in the sake of their fellow man. But a humble gesture of charity may be may be a preventative measure should one friend’s couch or one load of equipment be stolen. The broad range of artists on this charity compilation goes from funk to pop to hardcore to roots with little apology. Led off by hard-ass Signal Path poster children The Horror (disc one) and the abstract emotism of Loyal Frisby and Morivivi (disc two), H.O.M.E. puts its best foot forward early on. Deeper under the tracks you find gems like the literate hip-hop of Headcrackaz (whose porno take “Apple Now N’ Laterz” almost makes up for the lame ‘90s gangsta name), capable rocking of The Pawn’s Rook Four and some addictive soul-funk by Dean’s on Bass revealing Gainesville as the sight of a new, diverse music scene.
-Rob Macy

VARIOUS ARTISTS
HOME OF PRIMITIVE ROCK ‘N’ ROLL
VOODOO RHYTHYM
HOME OF PRIMITIVE ROCK ‘N’ ROLL is without any doubt the best comp disc I’ve ever heard. The consistency in quality from band to band is astounding. The bands range from garage, surf, country, swamp blues, lounge instrumentalist, and funny-as-hell commercials. Some of the great bands that I would like to mention are The Monsters, Hipbone Slim, Die Zorros, Come ‘n Go, The Dead Brothers, and Stompin’ Harvey. This is downhome, nothing but the meat of the atter music. Go Voodoo Rhythms.
-H. Barry Zimmerman

VARIOUS ARTISTS
LULLABY FOR THE APOCALYPSE
UPRISING
This Uprising Records compilation is probably one of the better compilations I’ve heard come out of the year 2003. Feature artists include Kid Gorgeous, Project Rocket, Fall Out Boy, The Kill Pill, McRad, Stretch Armstrong, Rogue Nation, Cipher, 7angels 7plagues, and Eyes Upon Separation (just to name a few). It wasn’t until I saw Go! for the Throat on this comp that I new it would be killer! Okay, so I’m partial to Go! for the Throat (and The Kill Pill) above any others, but this CD is wonderful overall. With a mix of brutal hardcore and a few poppy/indie/softer-core bands, you have to admit it’s an interesting but delightful twist. There’s a little something on this album for ALMOST everyone! website
-Courtney Riot

VARIOUS ARTISTS
MOB ACTION AGAINST THE STATE: COLLECTED SPEECHES FROM THE BAY AREA ANARCHIST BOOK FAIR
ALTERNATIVE TENTACLE RECORDS/AK PRESS
All the tracks on this CD were recorded live at the County Fair Building in San Francisco over the course of several Anarchist Book Fairs. Since 1996, the Bay Area Anarchist Book Fairs have been held annually in March, giving anarchists of all points of views and careers a place to gather, inspire, discuss, and educate people. The album is a double-disc featuring several ideas from anarchist points of view on religion, government, terrorism, capitalism, and global issues. A speech from Jello Biafra is featured on the CD, which is an educational discussion about war and terrorism. The speakers discuss issues of politics and culture that everyone should think about critically. They discuss issues that might not always be talked about in the mainstream media, so don’t miss it.
-Jennifer Moncayo

VARIOUS ARTISTS
PAISLEY AND TWEE
HAPPY HAPPY BIRTHDAY TO ME AND BI-FI RECORDS
This is a four-song sampler. The element that connects the four bands (The Red Pony Clock, Ryan Anderson, Elekibass, and The Poison Control Center) featured here is a Beatlesque artiness (circa post-SGT. PEPPER’S...). On one hand, there seems to be something stagnating about focusing in on a time period and re-attempting its majesty. (Of course, that could also apply to punk in the year 2004.) On the other hand, I love that period of music-all whimsy and optimistic. All four bands are equally good, which is really good. A happy bong’s best friend.
-H. Barry Zimmerman

VARIOUS ARTISTS
PUNCH DRUNK V
MORDAM RECORDS
Punk. Punk. Punk. Never mind the frills, here comes street punk, with three chords, scratchy vocals, and a middle finger in the air. High hats are blazing and guitars are tearing up the speakers. Mordam Records has put together an album of 30 traditional punk-rock songs with street credibility. Throw your radios out the window and put this record in your player. From the drinking anthems to the fist-in-the-air Oi! chants, PUNCH DRUNK V has it all. It has been so long since a compilation has been put out that is worth listening that is filled with straight punk rock and street credibility. >From the moment the album starts, you will be looking for your turntable and searching for the vinyl of PUNCH DRUNK V to get the real crunch out of this authentic punk release. Altogether, punk rock needed this boost of credibility and adrenaline to prove once again that real punk rock will never die. FTW.
-Kevin Conway

VARIOUS ARTISTS
RISE UP: HARDCORE ‘03
FIGHT FIRE WITH FIRE
Aside from the lame, melodic, out-of-place pop of Last of the Famous, RISE UP is a more than decent comp with some impressive under-the-radar hardcore bands from all over the country that are worthy of attention. Some of the standout offerings (in no particular order) include the opening scorcher “Indestructible” from Never Surrender and the following track, Coalition’s angry tirade against poseurs “You’ll Never Know”. Face the Enemy offer a good one, “Third Degree”, which ends with a slam-inducing breakdown, while Deathstar’s “Die to Remain” has real shoddy production but is tough as hell(probably the toughest, meanest, gnarliest of the 18 tracks (and that’s saying a lot). The ferocious “I’ve Had It” from RNR and Comeback Kid’s “Lorelei” are both stellar, and Where Eagles Dare rip it up with “Good Times”, an awesome (if mateurish) finale with sing-along choruses. Overall, an extremely satisfying comp.
-Janelle Jones

VARIOUS ARTISTS
SOUNDTRACKS FOR KISSES, TRIPS, AND HITS: A FUTURE APPLETREE COMPILATION
FUTURE APPLETREE
When I was young, I was a big fan of compilations where I got the chance to hear new music from bands that I might not be aware of, but this particular one did not incite my ignorant interest. I got incredibly bored listening to Future Appletree’s artists, The Marlboro Chorus, Tenki, Driver of the Year, The Vow, Roman Castles, Seth Knappen, and Chrash. Much of the music on the label reminded me of Beck, whom I recognize as a good artist but don’t pursue listening to. I fell asleep to this compilation, which makes me glad that I stopped buying comps long ago and that I didn’t gamble and purchase this one. Oh, and the dang album cover is in indecipherable cursive, making it difficult to know what I’m listening to.
-Luke Skywalker

VARIOUS ARTISTS
SPIN THE BOTTLE: A TRIBUTE TO KISS
KOCH RECORDS
This KISS tribute album features an assortment of rock-band gurus such as Dee Snider from Twisted Sister, Tommy Shaw of Styx, and Lemmy Kilmeister of Motorhead singing and playing KISS songs. Each KISS cover has its own style and spin on a classic song, which adds another level or dimension to a song that you may have heard a million times before. If you enjoy KISS and find the idea of other rockers whom you may also adore rocking out to KISS, you may find this album quite the treasure.
-Jennifer Moncayo

VARIOUS ARTISTS
SUMOSONIC 22
DIESEL-U-MUSIC
How can you deny an effort with the slogan, “It might blow up, but it won’t go pop”? It will be very hard to, as Italian fashion company Diesel releases this compilation of a variety of up-and-coming hip-hop, rock, and electronic artists. Diesel decided to put together a board of industry insiders to head up Diesel-U-Music, a showcase for breakthrough talent. For their 2004 series, artists such as The Postal Service, The Shins, Moving Units, Automato, Ambulance, and countless others take part in this unique opportunity to gain substantial recognition in the fiercely competitive music world. This particular release features songs from DNTEL, The Fiery Furnaces, and Prefuse 73, in addition to a remix of “Such Great Heights” by The Postal Service. It’s a truly energetic and impressive compilation of innovative talent. website
-tChow

VARIOUS ARTISTS
THE FIRST COMPILATION
BLUNTFACE RECORDS
For being a compilation, the music mix is not cohesive in the slightest. The only consistency is that all the music is a disappointment. This music really does nothing for me, besides perhaps giving me the migraine I acquire by the end of the day. Luckily for me and the rest of the listeners out there, Bluntface threw in a few rocking tracks. Track 5, “Fountain” by Skintrance, was a sort of eclectic, new-wave rock song, which freshened up the hardcore mix. Another somewhat different yet refreshing sound came from Teiousekkai, a Coheed and Cambria knock-off. The CD begins with hardcore tracks from Senseless Mutilation and slowly merges into synthesized hard-rock dishes from bands like Evil Sex Party. Bluntface may have worked in a decent song or two in the mix, but all in all, we can only hope THE FIRST COMPILATION is the last.
-Carley Charpentier

VARIOUS ARTISTS
THE NECESSARY EFFECT: SCREAMERS SONGS INTERPRETED
EXTRAVERTIGO
Talk about underground. Imagine releasing a tribute album for a band that never even released an album. Seems a bit strange, no? Well, The Screamers are that kind of genre-breaking outfit, and THE NECESSARY EFFECT is the album that pays homage to the seminal pre-1980s Los Angeles (by way of Seattle) underground cult crew. This 29-track release contains bands that, like The Screamers, are far from household names-and that’s the way it should be. After all, chances are that if you heard of this band or even were into this band, you probably wouldn’t appreciate bands like Sum 41 covering one of its tracks. Noisy, disjointed, and very left of center (many of the bands and solo artists paying respect don’t even use a guitar-much like The Screamers), The Screamers are an acquired taste; but if you enjoy music that is artsy, dissonant, and way underground, check this twin-disc collection out. website
-Mike SOS

VARIOUS ARTISTS
THIS IS HOW I KILL MY TEARS
DEEP ELM RECORDS
I always complain about how hard it is to find quality indie rock, but ironically enough, I found it in my mailbox this month. THIS IS HOW I KILL MY TEARS is one of many compilation discs released from Deep Elm Records. Boasting such bands as Sounds Like Violence, Desert City Soundtrack, and Burns out Bright, Deep Elm prides themselves in providing and promoting "quality independent recordings." I would have to agree: these tracks are fabulous. With each band providing two tracks for the compilation, the listener gets a good sense of what to expect from Deep Elm Records. Ranging from indie/garage rock to screamo-emo, the bands exhibited on THIS IS HOW I KILL MY TEARS have found a place in my heart and my CD collection.
-Carley Charpentier

VICE DOLLS
DIE TRYING
CROSSCHECK RECORDS
About three tracks into this record, I felt like vomiting—not from the constant death imagery or the nailed-down bloody body used for cover art, but rather from the terrible noises coming from my headphones. Instead of screaming, or even singing, the female singer, just kind of shouts the lyrics, which are laden with constant references to death and growing up. The cadence of the female vocalist never changes, similar to the constant overuse of the guitarist's overdrive. Everything runs together, making my stomach knot up from pure nausea. By the musical trifecta that was "American Dream", "Modern Guns", and "Killing Words", I was ready to boot.
-AC Lerok

WALLS OF JERICHO
ALL HAIL THE DEAD
TRUSTKILL
Power-driven. The core of all cores. They rip out all the tired stereotypes of hardcore, metalcore, grindcore, thrashcore, and incorporate only the best in this third album of theirs. If you're even thinking about scenesters with jet-black hair pasted down on halfway across their face, get it out of your head. In fact, you'll have no problem doing so with songs such as "Fixing Broken Hearts", where the spasms of the riffs correspond perfectly with the vocal jerks of lead singer Candace Kucsulian and will leave you either shaking your head in disbelief or banging your head.
-Mabel Lam

WE'RE ALL GONNA DIE
GO TO HELL
UNDERDOGMA RECORDS
The story of We're All Gonna Die is a heartwarming one, with a moral of family and love conquering all that is something that we can all identify with. Taking a cue from such powerhouse brother acts as Nelson and Hanson, brothers Jim and Scott Healey (on vocals/guitar and drums, respectively) formed the band in Boston with their cousin Russ Boudreau on drums. One can only imagine the warm feeling inside that comes from playing music with your own flesh and blood. I'll bet that once a year they all get together at the nu-metal family reunion and do renditions of "Yankee Doodle Dandy" with Sikk Kimmy (age 8) on the clarinet and Unkle Stu playing a mean accordion.
-Casey Clague

WE RAGAZZI
WOLVES WITH PRETTY LIPS
SUICIDE SQUEEZE RECORDS
The third full-length from this sexy Chicago threesome brings more of the same no-wave antics that the kids go crazy for these days—and I mean that in the best way possible. 11 tracks of sexy, groove-heavy punk with an emphasis on the jive, if you catch my meaning. Singer Tony Rolando's powerful pipes conjure up comparisons to such heavy hitters as Billy Corgan and Mick Jagger, but with a confident swagger that is all his own. Highly recommended for those with a little sass in their step. Solid.
-Matt Siblo

WHERE EAGLES DARE
TO COME FROM NOWHERE
NEW DAY RISING RECORDS
TO COME FROM NOWHERE is the follow-up to Where Eagles Dare's debut EP on Endwell Records. Compared to some of the other hardcore bands in the scene, these songs are some of the best songs I've heard in a while. The guitars incorporate equal parts technicality with melody, which is a feat not many bands can pull off. The vocals are a pretty high-pitched scream that get a little annoying every now and then, but the music helps to make up for it. Look for a West Coast tour with Strike Anywhere soon.
-Joe Wilson

WIGGUM
BRINGING BACK '77
SELF-RELEASED
When it comes to three-chord, anthem-filled punk rock, most of you know what to expect. From the first track on this EP from Southern California trio Wiggum, I was expecting the worst. But, unlike other bands who follow the three-chord punk formula, Wiggum actually has talent. Also, halfway through the EP Wiggum decided to break the three-chord punk mold and show off some of its other talents. "Grandma's House", for example, offers up some layered vocal harmonies and intricate guitar work. Wiggum takes the punk formula to new levels with its EP. Worth a listen for authentic punk fans and fans of pop-punk.
-Dane Jackson

WITHIN Y
EXTENDED MENTAL DIMENSIONS
CANDLELIGHT USA
So this is my introduction to the Gothenburg metal scene, and the latest band out of said scene. With dozens of bands packed onto the Gothenburg metal Website (gothenburgmetal.com" target=_blank>website), I seem to be a bit behind the times. If they're all as good as Within Y, then I have been missing out. When I think of metal, my thoughts go directly to American bands like Sworn Enemy and Biohazard. I had no idea that the death metal from Sweden had actually progressed past the days of Cannibal Corpse and Obituary. When I think of death metal, I immediately conjure up visions of long-haired goofballs trying to swallow their microphones and pouring fake blood all over themselves in a half-assed attempt to be spooky. Within Y has opened my eyes and showed me that Europeans can make decent music.
-FLINT

YES SENSEI
WE WHO TRANSPLANT, SUSTAIN
ROK LOK RECORDS
Take the funky hardcore of The Minutemen and add some escapist sonicness, and you got Yes Sensei (bitchin' name). The personality of WE WHO TRANSPLANT, SUSTAIN can be summed up in the first three tracks' titles: "Russian or Retarded", "Progress Is Dead", and "Right Shirt, Wrong Band". Very much like The Minutemen. It stands apart. Yes Sensei don't come across like posers, they're just rockin' the funky hardcore. Very well. This album will get a party started with lots and lots of cool-as-hell moments. The jammy aspects come wrapped weirdly, instead of some hippie blues spawning. It has more to do with Pink Floyd and jazz than Phish. Cool weirdo jams.
-H. Barry Zimmerman

ZILLATRON
LORD OF THE HARVEST
INNERHYTHMIC
When I first picked up this ultra-funky sound orgy featuring ‘70s bass legend Bootsy Collins, I couldn’t seem find enough hands to help me rub my eyes and ears in disbelief. You see, referring to this psychedelic audio trip as “funky” is not much unlike calling Noam Chomsky “smart” (i.e., it’s a rabid understatement). A 20-something suburban white boy like myself may not typically know peas from carrots when dealing with the art of funk; however, my babes, I do know it when I hear it. Zillatron also features guitar-solo wizard and all-around enigma Buckethead, as well as Umar Bin Hassan, who, as a member of The Last Poets, has been credited as the founding father of hip-hop. Spooky, alien-like narration, swirling electro-jams, and slinky bass madness all chip in to actualize LORD OF THE HARVEST as funky and colorful enough to make George Clinton blush and throw in the towel.
-Dave Kargol

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