February 2005 CD Reviews (in alphabetical order)

A CHANGE OF PACE
AN OFFER YOU CAN'T REFUSE
IMMORTAL RECORDS
Just out of high school and loaded with emotion and talent, A Change of Pace is hitting the music scene with full force. AN OFFER YOU CAN'T REFUSE clearly showcases A Change of Pace's talent through melodic hardcore punk sounds and emotional lyrics. Lead singer Torry Jasper's vocals range in style from early New Found Glory to From Autumn to Ashes. Having recently signed to Immortal Records (the original stomping ground for both Incubus and Korn), A Change of Pace is speeding into success. If only we could all experience such success straight out of high school!
-Carley Charpentier

ACHILLES
THIS AUTUMN BURNS
SELF-RELEASED
Achilles try out a number of styles on THIS AUTUMN BURNS, which could mean one of two things: they're a very eclectic band, or they just haven't quite found their signature sound yet and aren't sure in which direction to go-which is fine for a young band. On various offerings, the Arizona-based band show much promise. Take, for instance, the one-two melodic hardcore punch of "High Energy" and "End of Days", the punked-up "No Limits", and especially the outstanding "Don't Hold Your Breath", whose urgent, tense tone and wonderful vocal harmonies make it the best composition of the 12-track album. They also try their hand at instrumental interludes, including the piano-driven "54:40". However, there also are some songs that warrant a skipping over, including the staid and dull "ballad" "New Horizon", the way-too-pop-for-its-own-good "Since Love Is Everlasting", and "The Vox". In the end, this marks a good, if a bit uneven, first outing.
-Janelle Jones

A DYING RACE
POST VICTORY TIMES
LONELY TREE
It's becoming more and more difficult to make it as a simple punk band these days. The truth of the matter is that no matter how fast you execute your palm mutes and how many beats your drummer can do with a single kick pedal, most of it has just simply been done before. Enter A Dying Race, whose name is a perfect indication of the music they play. Fans these days deserve more than just the usual political lyrics and some intense group vocals. Had this album been released in 1990, it would have been revolutionary. Unfortunately for them, we are living in 2005, and this brand of thrash/skate punk is just in need of a new flavor.
-Zac

ALSTON
VOODOO FOR FUN AND PROFIT
REPOSESSION RECORDS
I forgot how much I loved mid- to late-'90s modern rock like Third Eye Blind and 3 Doors Down. A mix of pop, attitude, and heavier rock form successfully to make VOODOO FOR FUN AND PROFIT a refreshing breath of air from today's predominantly rough sounds. With catchy love ballads like "Ordinary", this New York City-based four-man band creates a fresh sound fronted by the extraordinarily talented vocalist Kobie Jackson. Demonstrating a clear range of styles and talents, Alston also rips through cover of the Billy Idol favorite "Rebel Yell". Like Idol, Jackson puts gutsy meaning into lyrics "more, more, more"-and after listening to VOODOO FOR FUN AND PROFIT, I wouldn't expect anything less from this up-and-coming band..
-Carley Charpentier

AMERICAN STATIC
SOUNDTRACK OF THE STRUGGLE
STREET ANTHEM RECORDS
The working-class punk movement has another band to add to their compilation CD. American Static's first full-length album, SOUNDTRACK OF THE STRUGGLE, is jam-packed with street-punk anthems and working-class attitude. Previously known as The Roustabouts, American Static is taking to the streets after a name change and a song overhaul. Songs like "Poor and the Proud" and "Youth" offer listeners a labor-force punch of unsettling lyrics and a riotous noise to chant to.
-Carley Charpentier

AMERICOPA MANTLE VOLUME I
COMPILATION
SUNSET ALLIANCE
This 16-song collection features nine of Arizona's best indie bands. AMERICOPA MANTLE has become a sort of musical collective to gather local bands and give them an opportunity to get the band's music out onto the national scene. There are some very promising young bands here, such as the sonic rock of Before Braille, the hillbilly-tinged bluegrass of Black Feet, and the prog leanings of Awake and Alert (with the esoteric Maya Peart on vocals). These bands also tour together and perform concerts to help fund the project. This a fantastic way to give some great bands the chance that the bloated record companies would rather waste on AMERICAN IDOL castoffs.
-Dug

AN ANGLE
...AND TAKE IT WITH A GRAIN OF SALT
DRIVE-THRU
An Angle is one Drive-Thru's newest bands, and their debut album on the mogul label opens with an a capella introduction that tugs at your heartstrings and instantly makes you fall head over heels for lead singer Kris Anaya's voice. Not only that, but you'll instantly believe in what's to come with the rest of the album: an offering of indie folk rock bearing similarities to Bright Eyes and classics like Bob Dylan and The Violent Femmes. The orchestral harmonies and the warm folk undertones combine to produce a truly beautiful, inviting sound. www.ananglemusic.com
-tChow

AND THE HERO FALLS
THE MISTAKE THAT COST THE WORLD
GRAVES RECORDS
If you take a little Linkin Park and Tool and mix in some middle-rate screaming expressionism, and you got And the Hero Falls. Drummer Dustin Vaughn displays some serious chops throughout. The three-guitar/bass attack is, on occasion, very interesting...but for the most part this is pretty much tried-and-true ideas that just annoy me enough to make THE MISTAKE THAT COST THE WORLD unlistenable. If the lack of originality doesn't bug you, there is lots of good instrumental work that is sure to please. For me, this style of hardcore/thrash/rock has been done to death-and that's why the hero falls: not enough original thought.
-H. Barry Zimmerman

BEFORE BRAILLE
BALANCE AND TIMING
BAD NEWS BEAR RECORDS
This six-song EP from Mesa, AZ's phenomenal sonic/emo quartet Before Braille is a holiday release that sounds good the whole year long. Along with three of the band's signature, edgy, guitar-dominated anthems, this disc contains three "acoustic" tunes to showcase the lighter side of the band. Although the three hard-rocking songs are perfect college-radio airplay fodder, the softer songs, while not really true acoustic songs, are the best things on this disc. The band achieves a perfect, laid-back, Jackson Browne-type of resonance on the soft tunes. The holiday tie-in is achieved with the opening track, "Merry Christmas, I'm Cheating" and a later acoustic version of the same song (there called "Ex-mas Eve"). Much like the title of this disc, the band strikes a beautiful balance with this timeless release.
-Dug

BEN LEE
AWAKE IS THE NEW SLEEP
NEW WEST RECORDS
The sixth full-length release from Australian songwriter Ben Lee is sure to be a cult favorite. With a soulful interpretation of progressive pop-folk, Lee weaves together a tapestry of layered instruments to create his heartfelt tunes. He has progressed substantially from the "teen hero" status he was saddled with in his youth towards a mature and respected artist. Perhaps the biggest drawback on this album is the unbelievably slick production values. Such studio perfection often detracts from the emotion evident on a harsher mix. This may not be the album to propel Lee to star status in America, but after listening to the careful crafting of these tunes, one cannot help but be convinced that he will eventually hit the bull's eye and become a household name here.
-Dug

BEST OF WINTER
OLALLA
SELF-RELEASED
The best way to classify this music would be to jumble and mix the following bands together: Brand New, Fall Out Boy, Taking Back Sunday, Coheed and Cambria. That gives you a pretty solid idea of the style and make-up of Best of Winter. The music really doesn't branch out much beyond the comparisons mentioned above, but for some reason this album doesn't get old and tiring. Best of Winter deliver their songs precisely and energized, to say the least. The lead vocals of Corey Warning really push this release to its fullest and finest moments. Warning does a great job of spilling his emotions into the words without making the vocals sound forced and artificial. Coupled with above-average lyrics that at times are clever and at others too common, the perfect mix isn't there yet-but it's enough to give these guys some much-deserved admiration.
-David Walter

BOOBIE TRAP
DARKNESS FALLING/ ONE NIGHT STAND DVD
JONESY FILMS
Featuring two live videos of Orange County punk band Boobie Trap, this promotional DVD offers little in terms of substance, both musical and otherwise. "Darkness Falling" is just paint-by-numbers California melodic hardcore, while "One Night Stand" sounds like a lost Lunachicks song without the sense of humor. (The comparison might have something to do with the fact that the lead singer heavily resembles Theo of Lunachicks) Aesthetically, there's not much to look at, either. Both videos are simply live shots, neither capturing the band's character or flair. Not worth a second viewing-or even a first, for that matter.
-Matthew Siblo

CAMPGROUND EFFECT
THE FLIGHT SEAT EP
LOCAL CANNERY
Can anyone remember that obscure band Nirvana? Campground Effect does. Maybe they take it as a compliment that they sound like Nirvana. I see it as having no individual self or imagination. Josh Kh is shamelessly doing Kurt vocally-so much so that at the end of THE FLIGHT SEAT EP I expected to hear him blow his own head off. But it's not just the vocals: the song structure, the tones, the entire damn thing just smells like teen spirit...except, of course, it's not nearly as good. The copycat acts never seem to understand that you will never be as good as the band you are immolating-and Campground Effect you will always be second-rate Nirvana. So please, stop it, or kill yourselves.
-H. Barry Zimmerman

CHANNELS
OPEN
DeSOTO RECORDS
If you are looking for a fresh breath of musical air, look no further then this release by Channels. This debut EP from singer/songwriter J. Robbins (formerly of Jawbox and Burning Airlines) is a masterpiece of six tracks that will be sure to please the indie kids out there. This release is harmoniously multifaceted and thought-provoking. The music is almost weird-sounding at times but also melodic. Robbins definitely is attempting to wow some out there and challenge others with his cunning and astute guitar work and out-of-the-ordinary time signatures. If anything, this album is invigorating and refreshing. Robbins is clearly on a mission with his musical madness. This album is without doubt bringing music to new heights of discovery and development.
-David Walter

CIRCLES OVER SIDELIGHTS
WHAT IS AND WHAT IS TO BECOME
IMMIGRANT SUN
Through an odd and presumably long series of events, Circles Over Sidelights' WHAT IS AND WHAT IS TO BECOME somehow landed in my lap. I heard a demo mp3 of these guys about two years ago while browsing a metal message board. How do I remember that it was this band? Because they're amazing, that's how. Going from grind so fast and heavy it would make your grandmother weep to intense yet refined, clean bridges in a matter of seconds, you will partake on a journey from Normalville to Oddtown. Few bands can pull off eight-minute frenzies of highly distorted guitar and clean finger-picking while maintaining the listener's interest throughout. The best part is that they do it with style. Buy this album. I repeat: buy this album.
-Zac

CRAZY MARY
THIRSTY FOR COOL
HUMSTING RECORDS
The seventh full-length release by this lo-fi, semi-psychedelic New York "garage band" is another voyage into seas most bands would rather not sail. Crazy Mary claims the moniker of "original NYC garage music," but this is a garage designed by Frank Gehry. The band's esoteric mix includes a horn section, fiddle, keyboards, and some yearning vocals from new vocalist Kristin Smith. The music is popular on college radio stations-probably because nobody knows what else to do with it. At times it sounds like upbeat swing, inner-city blues, folk rock, or vintage '80s new wave. This is an interesting band that packs small venues throughout New York City. Though this band would fit in with a wide variety of bands for a live show, don't look for them to move too far from those NYC roots. At least the locals know what they're in for.
-Dug

CTRL-ALT-DEL
SELF-TITLED
SELF-RELEASED
It looks like the radio metal trend has finally gone overseas into Europe. The album sounds like slow rapcore with no rap. The singer sounds like he came from the band Korn, and even has similar lyrical ability (i.e., dark and meaningless). Can someone please go tell the Europeans that it's not cool to rip off our crappy bands?! First they steal Madonna, and now this! What is this world coming to? While you're over in Europe, can you also please kill this band? Thank you.
-ADF

DARK TRANQUILITY
CHARACTER
CENTURY MEDIA
If there's one thing that can make any music fan happy, it's when you expect an album to be nothing short of perfection, and somehow, someway it's even better than you could have imagined. Such is the case with the latest from Dark Tranquility, CHARACTER. Much is always to be expected from the band that pioneered the famed "Gothenburg sound" of melodic metal, but DT has raised the bar with every release since PROJECTOR. Some Swedish bands chose to water down their latest releases in order to reach a greater American audience. DT did exactly the opposite and wrote songs that echo of the truly amazing history of death metal. Insanely inventive and beautifully composed, every song on CHARACTER screams of dynamic energy unlike any album since the once great In Flames' JESTER RACE. Any metal fan should get this album, as its appeal is blatantly obvious. In a time where the metal scene needs heroes, Dark Tranquility has stepped up and gotten the job done.
-Zac

DIESTO
DOOMTOWN 7
ELASTIC RECORDS
Does anyone remember the old D.F.L. records? They were that really crappy thrash-punk band that nobody cared about in the late 1990s. Well, if D.F.L. were to have released a metal album, then this would've been it. Diesto plays groove-style metal that churns out muffled guitar and hard-core punk vocals. You can file this under noisecore. The album definitely sounds like something Volcom would release.
-ADF

DOGS DIE IN HOT CARS
PLEASE DESCRIBE YOURSELF
V2
One can't help but understand immediately the comparisons between Dogs Die in Hot Cars and some of the best bands of the '80s (e.g., XTC, Talking Heads) through their use of upbeat guitars, organ, and low European vocals. Quirky, playful, and eccentric, their debut album is filled with three-and-a-half-minute pop songs that are sure to get stuck in your head. "I love you! / I love you! / I love you! / I love you 'cause I have to!" chants the entire band in their best track, titled "I Love You 'Cause I Have to". The album is filled with similar humorous songs, such as "Paul Newman's Eyes" and "Who Shot the Baby?". However, unlike their '80s idols, Dogs Die in Hot Cars are strictly fun and lack the feeling of being something entirely special and significant in music. For more info, visit dogsdieinhotcars.com.
-Norberto Gomez, Jr.

ELEVATOR DIVISION
YEARS
SECOND NATURE
Elevator Division is a quartet of pansies from Kansas City who actually admit to not only listening to Coldplay but being influenced by them, as well. Their debut album YEARS offers 10 tracks of somber, wishy-washy indie rock made by guys who want to sound depressed but probably really aren't. This is slowly-strummed guitars mangled by feedback and a barely competent drummer illiterate lyrics about, well, the usual: chicks and stuff. More "Every Rose Has Its Thorn" than "Girls, Girls, Girls", if you know what I mean.
-jxk.

ETHAN DANIEL DAVIDSON
FREE THE ETHAN DANIEL DAVIDSON 5
TIMES BEACH RECORDS
Born in a Michigan commune to a family of anarchists, adopted by a wealthy Republican family, and now living most of his life on the road with his guitar and a song catalog reminiscent of Woody Guthrie, Ethan Daniel Davidson gives one faith in America. On this release, the 14 tracks touch on diverse socio-political issues, such as coal pollution, war, jingoism, and the price of CDs. Yet with a boatload of issues such as these floating through this album, Davidson still finds time to write a few pretty love songs to toss in the mix. This is a beautiful album that haunts the listener with unforgettable melodies and poignant lyrics. During his travels, Davidson has handed out nearly 50,000 free CDs. With the talent and maturity he and his band demonstrate on this album, it's about time he got paid for this stuff. Dylan, Seeger, and Fogelberg, eat your hearts out.
-Dug

FRANKLIN DELANO
LIKE A SMOKING GUN IN FRONT OF ME
FILE THIRTEEN RECORDS
Prog meets folk on this bizarre release from Bologna, Italy's new-millennium quartet, Franklin Delano. There is a lot of strange distortion here mixed with some slow, bluesy folk tunes with very nice male and female vocals. This could be one of the strangest studio releases ever. The band thinks nothing of playing a five-minute space/folk song and capping it with a single, distorted hum that echoes for two minutes until the next tune. Listening to this album is similar to watching a foreign film: you never know what the fuck will happen. With focus groups and budgetary concerns, it is amazing that a Chicago label like File Thirteen Records had the balls to record and release this disc. This may not be a best-seller, but it is art in its truest form: weird, honest, and eclectic. Veni, vidi, vici, baby.
-Dug

GLORY OF THIS
ADORATION
INDIANOLA RECORDS
A Cinderella story of a few concert-winners asked to live their dreams and join the 2003 Vans Warped Tour. All that, and the CD isn't bad, either. There is radio-pop potential here, but also glimpses of an underground mean streak. The most savage that this album has to offer might be "The Fear That Gave Me Wings", the song that kicks off the album. GOT are talented and worth a listen. I am especially curious to see what happens with the second album. Will they improve? Or perhaps their second album will be crap and flop like Reveille did a few years back, disappointing the hell out of me?
-Thomas Murray

GOLDEN GROUPER VOL. 1
V/A
GOLD STANDARD LABORATORIES
This compilation is branded as the album with "18 California bands that you won't see on the Warped Tour." Well, there is a very good reason for that, my friends: none of these bands are very good or very special. Out of all those bands, there wasn't one band that made me want to check out any other of their music. Compilations should offer a reason for you to dive further into the bands featured on the release, and this release featured not one speck of that. This compilation also offers very little diversity, which made the release grow very old very quickly. If this release shows anything, it's that California is full of bands who definitely won't be playing the Warped Tour very soon because they are simply very bad.
-David Walter

GOLDFINGER
DISCONNECTION NOTICE
MAVERICK
Buzz is that Goldfinger have grown up. Their singer is a vege-vega-tarian something or other who spouts off about his political views and runs around with Good Charlotte. And the promo disc Maverick sent (which won't play in my car stereo) is specially watermarked to prevent any "illegal" dissemination of the CD to my friends (I'm glad they give me that much credit). The new album is a mixture of poppy, punky, incredibly listenable songs that unleash the band from the ska-punk prankster stigma that plagued them for so long with high record sales. Instead, we see the band as adults singing about the emptiness of getting wasted (the first single, "Wasted") and the, uh, size of their feelings (apparently they're "Ocean Size"). I didn't like Goldfinger before this disc, but I often find myself listening to it and humming along (only not in my car).
-jck.

GREENLIGHT PROMISE
IN A MIRROR THAT LIED THE TRUTH
SELF-RELEASED
Greenlight Promise is a four-piece band from Trenton, NJ. Even though the recent success of the indie film GARDEN STATE brought a level of coolness to the state, New Jersey is still kind of lame. Greenlight Promise does not do much to break that mold. There's just too much reverb on the guitar and too much of a spacey feel to the vocals and music in general. It is a weak offering of alt-rock and not worth checking out. www.greenlightpromise.com
-tChow

GWAR
WAR PARTY
DRT ENTERTAINMENT
GWAR hasn't released an album of new material in three years (since its final release on Metal Blade Records, VIOLENCE HAS ARRIVED). While GWAR fans (such as myself) were forced to wait three years for this album, after listening to it on repeat for the last two days, I can honestly say the wait was well worth it. With WAR PARTY, GWAR reunited with Glen Robinson, who was responsible for producing AMERICA MUST BE DESTROYED. If you're hoping to hear the amusing punk-rock songs that were laced throughout CARNIVAL OF CHAOS and WE KILL EVERYTHING, you'll be sadly disappointed. WAR PARTY picks up where VIOLENCE HAS ARRIVED left off, as GWAR returns to intense metal. While most people don't take this band seriously because of their costumes and subject matter, as musicians and performers GWAR are top notch. This album also shows off some of the best guitar and drum work I've heard from GWAR in a very long time. Don't let GWAR's gimmicky albums (which were also great) get in your way of enjoying GWAR's best album since SCUMDOGS and AMERICA MUST BE DESTROYED. Other notable tracks include "War Party", "Bring Back the Bomb", and "You Can't Kill Terror". This is GWAR doing what they do best: songs filled with dark humor, gore, and social satire.
-Dane Jackson

HALIFAX
A WRITER'S REFERENCE
DRIVE-THRU RECORDS
Before I go any further, I need to let you all know this is a re-release. If you already have the No Milk Records' release of A WRITER'S REFERENCE, the only difference here is an acoustic bonus track and remastering. But for those of you who don't have this EP, read on. At times, Halifax sounds like a generic pop-punk band à la the majority of the Drive-Thru Records roster; but on tracks like "I Hate Your Eyes", Halifax shows it actually has some talent. Unfortunately, besides the track I just mentioned, the rest of the album sounds like homogenized emo pop-punk. Oh, well, you can't win them all.
-Dane Jackson

HANZEL UND GRETYL
SCHEISSMESSIAH
METROPOLIS RECORDS
If you paid attention to the MORTAL COMBAT: ANNIHILATION soundtrack, then you may recall that this band had a track featured in the movie. This is probably one of the easiest records I've ever come across in terms of being able to describe the style: the group plays creepy German industrial metal in the vein of Rammstein. This is creepy shit you should check out if you're into industrial with hints of black metal.
-ADF

HEADDRIVE
SECOND COMING
IN THE EYE ENTERTAINMENT
I am personally sick shitless of the growling/screaming vocals. And while there are some isolated moments where lead voxman Daniel Kresty is actually singing-and he can sing with balls-he chooses to mainly scream and sound like one of the million angry dudes doing that. Also, it bugs me to no end when bands do two almost identical versions of the same song and put in parentheses, "Radio Edit." If you want to say "fucking" in a song, have the nuts for that to be what you said and that's that. Don't pussy-boy around and cover your bases-especially when you need special equipment to understand what in the hell you are saying to begin with. These two complaints add up making HEAdDRiVE just not enough band to think for themselves-or for you to invest time in.
-H. Barry Zimmerman

HEARTS OF HEROES
FREE FROM SIN AND DEATH
SELF-RELEASED
Hearts of Heroes has the potential to be a great band. As the songs on this EP show, the band is a still a bit rough around the edges. Fortunately, the guys in Hearts of Heroes have talent-and that's half the battle. The music on this EP is one part metal, one part hardcore, and one part AFI rip-off. The songs are a bit on the darker side, but they're also surprisingly catchy (especially the chorus of "Crimson Red"). Once these guys work on the arrangements and trimming down some of the songs, they'll have a very solid album. Until then, FREE FROM SIN AND DEATH is a great start that leaves you hope for the future. This is a great up-and-coming band.
-Dane Jackson

HERMOSA DRIVE
ANOMALY
GRAVE 9 RECORDS
Hermosa Drive is selling themselves as five troubled youths (typical). And I personally think that "ANOMALY" is a pretentious album title. And lead singer Andrew Pringle is not doing anything original: his vox style is demon voice, then pretty as the boy next door. But Hermosa Drive's music is so tight and creative that you cannot help but like ANOMALY. Guitarists Mike Clombo and Joe Boning are young axe gods in the making. These two are worth the price of admission. Track 1, "Curse the Midnight Sky", is a slow, dramatic piece that is so well arranged and interesting, with cool time changes, nice piano work, and shredder axe work deluxe. This song is full of all the elements that make Hermosa Drive a standout band. ANOMALY, a great debut effort.
-H. Barry Zimmerman

HER SPACE HOLIDAY
THE YOUNG MACHINES
MUSH RECORDS
This is the latest installment in the musical autobiography of Marc Bianchi, a boy with a history of eating disorders, substance abuse, etc., who fell in love with a girl named Keely and took to expressing himself quite plainly in song. In our last episode, MANIC EXPRESSIVE (which this writer absolutely loves), Keely had become literally integrated into Marc's music, and life seemed to be going relatively well. On THE YOUNG MACHINES, however, "This has been my hardest year": Keely is gone, grandmother has died, some music critics have both gotten personal and rather missed the point, etc. All of this has led to another lovely album of staccato trip-hop beats, Cure-ish repetition and overtone, intricate-yet-organic programming (this time incorporating orchestral textures), and a simple monotonal quality that serves to highlight the genuineness of the project. Additionally, while Bianchi's lyrics were always raw (as in an open wound), they've gone from almost simplemindedly plain on HOME IS WHERE YOU HANG YOURSELF to simply plain on MANIC EXPRESSIVE to cleverly plain here.
-Greggory Moore

HIDDEN IN PLAIN VIEW
LIFE IN DREAMING
DRIVE-THRU RECORDS
To me, Hidden in Plain View is no different than the emo-pop bands that have polluted the music scene with their incessant yelling, bad fashion, whiny group vocals, and hordes of pre-teen fans. I tried to give this band a fair shake, but by the third song on the album I wasn't sure if I was listening to Hidden in Plain View or Taking Back Sunday. While I'm not trying to sound like an elitist, I liked this album better in 2002 when Taking Back Sunday did it. I think it's safe to say that after three years, the whole emo-pop thing has been wearing thin. Everything new just sounds like a regurgitation. Is it too much to ask for something innovative or creative to come out of this scene? But if you happen to appreciate this type of music, Hidden in Plain View should definitely be on your radar as a band you'll enjoy.
-Dane Jackson

JET
FAMILY STYLE_ATLANTIC
All rock that is worthwhile stands on the soldiers of such '60s and '70s giants as The Rolling Stones, The Who, and AC/DC. Occasionally since then we have heard glimpses of the same undeniable spirit. Such an example was The Cult Electric, and now another is Jet Family Style. This excellent concert DVD is the type of thing that makes you glad to have a huge plasma TV hooked up to a killer sound system...or it may make you rush out to buy one. The DVD includes a tour documentary and several videos.
-Tom "Tearaway" Schulte

JON OLIVA'S PAIN
TAGE MAHAL
SPV
A legend in his own time, Jon Oliva has broken as much ground for the metal scene as anybody, and has done so in such a personal and unique fashion. Drawing in memories of his stupendous work in Savatage and his collaboration with the Trans-Siberian Orchestra, his new solo project seems to know no boundaries, as he has applied the use of woodwinds and genius orchestration to already fantastically arranged metal anthems. Every track brings new surprises, every song offers an interesting twist, and it all seems so fresh for a genre that has been around for decades. Particularly interesting is the use of backup vocals-not to drown own Oliva's magnificent voice, but to complement it in a majestic manner. I'd consider this to be one of the best metal albums of the past five years-something I say that with a lot of confidence. Don't miss out!
-Zac

JOSH SMALL
SELF-TITLED
POP FACTION
This bluegrass-themed release from Richmond's banjo-picking troubadour, Josh Small, is a strangely disjointed disc that should have been left in the studio until it matured. While there are a few nice banjo and steel-guitar melodies on this album, most of the material sounds as if it was thrown together in a drunken one-night binge. Neil Young was able to pull it off on TONIGHT'S THE NIGHT, but Small is no Young. His pathetic stab at humor with the tired lyrics of the second song on this disc, "Fall Motherfuckers Fall", throws off the entire album. The third tune, "Setting Up", is a poignant, beautiful piece that is only poisoned by the song before it. Small has talent, but it doesn't shine through like it should on a debut album.
-Dug

KASABIAN
SELF-TITLED
RCA
Overtly influenced by Happy Mondays and The Stone Roses...but hey, cut them some slack, because, unlike the glut of annoying Brit-pop bands invading your town, these guys are actually from the U.K. And they sound pretty damn good, too, nailing that swirly Brit-pop production sound that made careers out of much lesser bands. The pleasurable vocal lines are here, that throbbing rhythm section pulse, and the overall feeling of happy, shiny British people. Funny how Brit-pop never sounds downtrodden or bleak-almost the complete opposite of the English doldrums we are always hammered with. If Kasabian are any indication, the Brits are content to keep pumping out the feel-good pop bands that North America sorely lacks. Next big thing?
-Jason Schreurs

KITTYKAT DIRTNAP
I AM A ROBOT, I AM TALKING LIKE A ROBOT, I AM A ROBOT
WONKA VISION RECORDS
The debut release from this Philadelphia-based quintet is a comic sing-along that pairs the earnest vocals of guitarist Adam Eckhoff and the melodic stylings of keyboardist Robyn Montella. The male/female vocals work pretty well on the nine upbeat synth-pop songs on this disc. While the band has a propensity for a way too long album title and parentheses in every song title, there is enough humor on this disc to keep it entertaining. Song titles like "(If I Had a Purse I Would Carry) Breath Mints (in It Too)" and "(Getting Caught Enjoying) Phil Collins" should give you some idea of this band's direction. One of the biggest drawbacks of this album is that the band sticks too tightly to its scripted sound, thus causing most of the songs to sound quite similar. There's lots of humorous promise here, if the band can just vary its material a bit.
-Dug

LAST PERFECTION
DRAWING CONCLUSIONS
UNITED EDGE
Sorry, folks, not a lot here to grasp on to. Instead, we get metalcore producer extraordinaire Kurt Ballou slumming it just a wee bit with yet another generic hardcore/metal band. My biggest bone of contention with these bands is their insistence on hammering us to death with as many ideas as possible without ever really giving us anything to hold dear or even to remember halfway through any given "song." Essentially it's a bunch of parts strung together to create something intense, but no melody lines, no decipherable verses or choruses-and thus, no songs. If windmilling and having epileptic seizures in the circle pit are your bag, strap this on and let loose. Me? If I hear one more Dillinger Escape Plan jazz segue, gallopy Maiden riff, or Botch guitar squealie, I'm gonna lose my lunch.
-Jason Schreurs

MANUOK
SELF-TITLED
LOUD AND CLEAR RECORDS
Manuok's self-titled album is an album that you pop in when you're trying to relax, fall asleep, or if you simply want background noise. For the most part, each track on this album is very lo-fi. At its hardest, this album has slight hints of acid jazz and heavier acoustic-guitar music. Despite its lo-fi leanings, the songs on this album are very distinctly orchestral, with piano and cello accompaniment. While most of the songs are essentially background noise Manouk show off some of its rock sensibility with songs like "Flowers for Algernon". All in all, this is a great release to relax to (but you might look awkward blaring it in your car).
-Dane Jackson

MARK DIGNAM
BOX HEART MAN
TIMES BEACH RECORDS
The fourth full-length release (and first on Times Beach Records) from Dublin, Ireland's soulful street poet Mark Dignam is a soft, reflective work in the vein of early Van Morrison. At times, the songs are nearly somnambulant, as they devolve slowly into a dreamlike trance. Then, suddenly, Dignam jars the listener back to the present with an upbeat, Billy Bragg-type folk-rock number. Politics and passion play hand in hand on this release, as Dignam bares his heart and then his soul on these earnest anthems. This may not be the album to make him a headliner, but Dignam certainly serves notice on this disc that he is one of the greatest Irish folksingers of his generation.
-Dug

MEANS
BY RED GRACE
LONELY TREE RECORDS
During the first 45 seconds of "Snatch me from the fire", a member of Means earnestly dedicates BY RED GRACE to Jesus Christ and proclaims "our lives have changed with God." While such a bold announcement is something that could potentially turn off a lot of people, I found this declaration to be the most interesting and bold statement on the entire record. Lengthy and repetitive, BY RED GRACE sounds similar to many other contemporary punk/metal outfits (such as Open Hand). The difference lies in Means' murky production and monotone vocals, which sound flatter than a punctured basketball. By all means, stick with those prayers, guys.
-Matthew Siblo

MIDNIGHT LASERBEAM
A DEATH IN THE DISCOTHEQUE
MATTRESS RECORDS
From the second the album begins, emotion oozes out of the speakers, word by word. Synthesized drums, bells, and whispered back-up vocals add to the dark feel of A DEATH IN THE DISCOTHEQUE. The syncopated beats and chaotic sound effects give a dramatic orchestrated feel to each song. If each album had a color, this one would be black with silver sequins. Reflections of light bounce off each beat, while the overall feel for the CD is dark and bears heavily on the total emotion of the album. While I'm normally not one for the electro-emo, Midnight Laserbeam is on to something with A DEATH IN THE DISCOTHEQUE.
-Carley Charpentier

MIDWEST BLUE
ALARM CLOCK
JOHANN'S FACE RECORDS
The generic brand of pop, melodic punk rock can become very blah and plain when so many bands out there are aiming for that sound. Midwest Blue definitely falls into this category. Unfortunately, Midwest Blue has decided to call it quits, killing any of hope of improvement with age that I feel was just in reach for them. While the music is ultra-catchy and filled with melodies, the structure is too predictable and too played-out by now, although they do play their instruments extremely clean and tight. It's a shame these guys broke up, because they were definitely on to something. I guess we will never know what Midwest Blue could have been.
-David Walter

NARNACK RECORDS IS...
A FIST FIRST SAMPLER OF NEW MUSIC
NARNACK RECORDS
If you like your rock served up weird (like I do), this sampler from Narnack Records is for you. 21 tracks in 70 minutes featuring some super cool groups, including The Fall, Coachwhips, Lil Pocketknife, Guitar Wolf, Bunnybrains, and Yellow Swans. For the most part, the songs featured are noisy and rocking with balls and an interesting spin. I was blown away with the quality and consistency. And the kicker is that Narnack Records (www.narnackrecords.com) is selling this gem for less than $7. I love this disc. It is so weird and cool that you must have it. Go now and order it. Narnack Records is trying to make your life more interesting. Let them.
-H. Barry Zimmerman

NECRO
THE PRE-FIX FOR DEATH
PSYCHO+LOGICAL
Can gangsta rap and death metal mix? After enduring the 71 minutes of New York rapper Necro's THE PRE-FIX FOR DEATH (featuring guest spots by members of Hatebreed and Obituary), the answer remains unclear. Moments seem to gel, like the raging chorus work of Jamey Jasta (Hatebreed) in "Push It to the Limit", but some of the other metal/rap efforts dive-bomb. Did we really need to hear the Obituary dudes take another stab at rap (remember "Bulletuary")? The brain-dead "Insaneology", featuring a non-vocal-effected John Tardy, only reminds us of how ineffectual Obituary is in 2004. On Necro's solo tracks, things tend to get ugly, a serial killer/rapist vibe played out with any irony lost in embarrassing postures and lyrical posing. Granted, this shit ain't my bag to begin with, but it would interesting to run it past a hardcore N.W.A., Onyx, or Geto Boys fan and see what they think.
-Jason Schreurs

NEW CRASH POSITION
MUSIC TO ROB BANKS TO
HANDOUT RECORDS
With today's music industry producing and promoting everything and anything remotely punk, it's great to find a band withstanding the hype and playing music true to its roots. Resembling such timeless bands as Stone Temple Pilots and Tool, New Crash Position rocks hard with an alternative feel. Songs like "Save" and "Sugarmouth" leave the listener singing along with catchy choruses and admiring lead singer Jawn McElroy's versatile vocal capabilities. This foursome of musicians came together after all separately experimenting with different rock ventures. With a rough attitude and a rocking sound, New Crash Position is definitely poised for success.
-Carley Charpentier

NONE MORE BLACK
LOUD ABOUT LOATHING
SABOT PRODUCTIONS
This EP will tide over None More Black fans until the Fat Wreck Chords full-length release later this year. The raspy-voice vocalist fits well with the tight and punchy hard rock music that covers the spectrum from Dischord-like progressive hardcore to Southern boogie hard rock. This post-punk/indie-rock band benefits from effectual use of such rock 'n' roll tricks as cool breaks and catchy choruses on such standout tracks as "iScrapbook" (video in production as I write) and "I'll Buy You the Fucking Single". www.nmbmusic.net
-Tom "Tearaway" Schulte

NUMBERS ON NAPKINS
WAITING FOR TOMORROW
BAD STAIN RECORDS
Nothing new, and not that great. Maybe I can find some good things to say, though. It is kind of funny that there is a song called "Fat Chicks" about-you guessed it-how fat girls always want him and how that annoys him. Well, my friend, if your band was a little better, then you could probably get some hot little hardbodies, too. I'd like to commend the bravery that it takes to actually put forth lyrics about getting head and getting pissed when your threesome leaves you out for round two. I am all for original creativity, and there is a lot of that here. This band could definitely be good someday if they concentrate less on the lifestyle and more on the music.
-Thomas Murray

ORANGE ISLAND
THE MORNING AFTER
RISE RECORDS
Boston's Orange Island is playing a non-poseur version of radio-friendly emo pop music. The energy level is low, which makes listening to THE MORNING AFTER a bit of a drag. I don't think Orange Island has the magic, and I do hate their name, so thank goodness that this disc is an EP containing only five songs. I don't want to be so negative, but I just could not get into this album.
-H. Barry Zimmerman

PARCHMAN FARM
PARCHMAN FARM
JACKPINE SOCIAL CLUB
The Mose Allison song "Parchman Farm" was recorded by John Mayall's Bluesbreakers, but it's called "Parchment Farm" when done by Blue Cheer. Cross the two varieties of power blues, and you have an idea what this neo-stoner-rock band sounds like. The primitive rock 'n' soul band has an exciting album here that will go over big with fans of Queens of the Stone Age.
-Tom "Tearaway" Schulte

PLAN OF ATTACK
THE WORKING DEAD
ORGANIZED CRIME
It's simple: Plan of Attack play awesome hardcore punk that is fast, aggressive, dark, angry, and threatening-just as it should be-on the 18 blistering tracks of THE WORKING DEAD (what I believe to be the band's second LP). Meanwhile, many topics are covered lyrically, including the monotony and dead-end aspect of the working-life rut (which could be guessed from the record's title and artwork), as well as all sorts of things that bother the band, such as certain types of people they can't stand (viz., "pretentious punks," poseurs, liars, and back-stabbers (to name a few)). If you like your hardcore super fast, intense, and loud, you'd be doing yourself a great favor getting acquainted with Plan of Attack.
-Janelle Jones

PREACHER GONE TO TEXAS
FROM THE HEARTLAND
SINISTER LABEL
Anyone interested in the harder edges of rock music will want to get in on the ground floor of PGTT, a melodic hardcore act from Bettendorf, Iowa, who mix metal and hardcore (but shun the theatrics and posturing of both genres) with pianos and other non-power-chord-driven instruments and sport two amazing vocalists. The music offered on HEARTLAND, their third EP, is unquestionably some of the most intense and severe allowed by the FCC, pushing and shoving the listener forward and backward, struggling to drag itself through the muck and filth of human loss, suffering, and, ultimately, redemption. Throw in a fuck-it punk ethic, and PGTT comes off as one of the more inspiring bands around. Comparisons to a less technique-obsessed The End or a far less bloated Poison the Well would not be off the mark.
-jck.

REDLIGHT HALO
MAKE YOUR MAKER
THE LOCAL CANNERY RECORDING COMPANY
This is a pretty solid EP. For the most part, Redlight Halo offers up some pretty straightforward rock music with leanings toward bands as diverse as Hot Water Music, Fugazi, Quicksand, and Nirvana. The album is filled with emotion, but it's nothing like emo (which is a good thing, in my opinion). At times, the album is filled with raw emotion (like on "Rabbit Got a Gun"), but the guys in Redlight Halo have no problem showing a mellow side, as well. The only drawback to this EP is that it's an EP. After listening to the tracks on this disc, I was left wanting more. This is a very good introduction to a very creative and intriguing rock group.
-Dane Jackson

ROCKET SCIENCE
ETERNAL HOLIDAY
MODULAR
Rocket Science's third album, ETERNAL HOLIDAY, finds the Australian garage-rock/new-wave-tinged band coming up with mixed results. To wit, some tracks are EXTREMELY good: the upbeat rocker "Modern Life", perhaps so palatable because of frontman Roman Tucker's odd resemblance to Roger Miret's vocal stylings in his Disasters mode; the very retro-sounding gem "Too Tough to Care"; "Dressed to Kill", a fast and quirky number that sees drummer Kit Warhurst seizing the mic; the moody, mellower, alluringly dark "Strange Outside"; and the spirited, ass-shakin' finale "Blow Up". However, amongst these high-quality songs are some equally annoying ones worth mentioning for the bad taste they leave in one's mouth: the monotonous "Sex Call"; and even worse, "Connect Me". And then there are ones that make not much of an impression at all: the unmemorable "See the Sun" and the organ-laden "We the People" come to mind.
-Janelle Jones

RYAN MUDD & THE STUFF
S/T
INDEPENDENTLY RELEASED
Taking cues from legendary bands such as The Damned and DI, Ryan Mudd & the Stuff play raucous punk 'n' roll not for the faint of heart. Although Mr. Mudd's gruff baritone vocals don't always match the band's ferociously raw attack, this six-track teaser is enough to pique my interest. Looks like it's time to take that old studded leather jacket out of storage.
-Matthew Siblo

SATAN'S PILGRIMS
THE BEST OF
MUSICK RECORDS
Now, this is just plain old fun surf, garage, raunchy instrumental rock at its finest! Fantastic straight-up music to play as the soundtrack to anyone's day, Satan's Pilgrims do their Master's bidding and completely hypnotize the listener into a frenzy of 1950s-'60s vibrations. These pilgrims of the underworld have been infiltrating Earth for about two decades now and have amassed not only legions of zombies but a string of underground hits contained in this huge collection of tracks, including their fun take on "The Godfather Theme". Disc two also contains new, rare, and unreleased material, making for a total of 30 tracks of hellfire and brimstone. Here's proof that The Flaming Lips were right when they said, "Hell's got all the best bands / Anyway." For more info, visit musickrecords.com.
-Norberto Gomez, Jr.

SHINDIG
THE BEGINNING IS YOUR END
UNDECIDED
Now, this is emo, but in such a good way! There is no pretension here, just 110% emotion delivered through heartfelt vocals and acoustic guitar. With truly dark lyrical content and theme, Shindig puts forth a valiant effort on the new full-length THIS BEGINNING IS YOUR END. Richie Ray is the man behind the music, and his honesty has earned him lots of attention and credit in the music industry. Shindig has already shared the stage with the likes of Fugazi, Saves the Day, and Thursday, has played stages at Warped Tour, has had a spot on MTV's TRL. Check him out before he's the next big thing. www.undecidedrecords.com
-tChow

SHORT STORY
I KISSED YOU GOODBYE, YOU KISSED ME GOODBYE
LONELY TREE RECORDS
I swear that there's some sort of factory that churns out bands/records like this. It seems that just about any nitwit with some Atticus gear and a friend who has an extra couple thousands can put out an "honest and emotionally-purging" record. How can anyone judge the merit of these bands when they all sound exactly the same? As a reviewer, it's become so frustrating that I can't even conjure up new and inventive insults every time. You want the short story? This record blows, and chances are you probably already own it in one form or another.
-Matthew Siblo

SIMPLY WAITING
THE SUBTLE DYNAMICS BETWEEN THE WINDSHIELD AND THE REARVIEW
A SMALL VOICE SCREAMS WORLD
Simply Waiting is one of those band's whose sound you just can't put your finger on. Their promotional packet pitches them as a band who is able to appealed to a wide range of listeners, and I would have to agree. From tracks driven by intense piano parts to slower, melodic, acoustic-driven songs, their new full-length covers all bases. This rising band from Ohio is worth a listen (and when you give it one, check out the track "Paper in Hand"). www.simplywaiting.com
-tChow

SLOE
THE NIGHT ALL SYSTEMS FAIL
PUNT! RECORDS
I haven't heard an album that's not a death-metal album with so many references and allusions to death in a very long time. It's almost as if a third of the album is devoted to the subject. Luckily, the band's talent overshadows their morbid fascination. I'll admit that after hearing "Everyone's Beautiful, Everyone's Dead", I was ready to write Sloe off as a noisy, no-talent band. Luckily, the album started getting better after that track. What began as a worthless piece of noise turned into a very solid rock album with great musicianship, quirky vocals, and an indie feel. Instead of being cookie-cutters of other bands in the genre, Sloe actually created an album that is creative, innovative, and should keep you interested for more than one listen. If you can get past the horrible first song and the fascination with death, THE NIGHT ALL SYSTEMS FAIL is a worthwhile album.
-Dane Jackson

S.O.S.
S/T
PERFECT VICTIM
Well, a quick click to S.O.S.' Website brings this brief, to-the-point message: "We broke up." So, what's left of this Boston band is this six-track, self-titled EP that ain't too shabby, as it's rife with some pretty cool hard-hitting hardcore with plenty of breakdowns and screamy, abrasive, oft-pleading vocals that add a bit more emotion to the compositions than the instrumentation would lend on its own (see "Intro to Nearism" for a prime example). One place where this is NOT the case, however, is the final offering, the lone instrumental, "Save Our Souls Part 1", which is, even sans vocals, the most emotive, affecting piece on the CD, as the music's slower, lighter, more intricate, and infused with a sense of longing not found in such abundance anywhere else on the EP.
-Janelle Jones

STAR STRANGLED BASTARDS
RED, WHITE, AND DEAD!
RODENT POPSICLE
This ain't your momma's music. Star Strangled Bastards play the kind of old-school punk that makes teenagers light things on fire and babies burst into loud, obnoxious crying. While you will have some difficulty deciphering singer Joel Nielsen's lyrics due to the usual gruff yells, if you happen to decipher a few along the way, you will find songs of politics and rage. Fans of Bad Brains, The Exploited, and Total Chaos will be sure to eat this one up.
-Zac

STEREOFLUX
S/T
DRAGONSHUT RECORDS
Like their boring, ready-for-modern-rock name suggests, Stereoflux play mundane pop/rock that's reminiscent of faceless mid-tempo acts such as Our Lady Peace. Most tracks are sound like nothing more than sludgy faux-metal with melodies that beg to be segued right into the latest from Three Doors Down. Remember, kids: do not listen while operating heavy machinery.
-Matthew Siblo

STREET DOGS
BACK TO THE WORLD
BRASS TACKS RECORDS
BACK TO THE WORLD is full of classic-style punk anthems, ready to be taken to the streets. But one should expect nothing less from Street Dogs. Fronted by original Dropkick Murphys lead singer Mike McColgan, this army of experienced musicians have produced and incredible follow-up album on their new label, Brass Tacks Records. Carrying heavy remnants of the Irish ballad feel familiar to McColgan, BACK TO THE WORLD is packed with street-fight anthems, hard-/punk-rock roots, and the necessary beer-drinking sing-along songs we've all grown to know and love. This just feels right. Go out and buy it right now!
-Carley Charpentier

SUBMISSION HOLD
WHAT HOLDS BACK THE ELEPHANT
G7 WELCOMING COMMITTEE
Submission Hold is a fierce band. Female-fronted and politically-driven, their formula of post-punk aggression truly delivers their message, as well as sets the tone for their sentiments. This Canadian four-piece has been making music for two decades now, having produced 15 official releases in their years as a band. In all that time they have remained intensely devoted to their D.I.Y. attitudes and have grown as a band. www.submissionhold.org
-tChow

SUICIDE NOTE AND BREATHER RESIST
SPLIT EP
HAWTHORNE STREET
Fans of hardcore take note: this EP is the next bit of hardcore music to add to your collection. Absolutely heavy and brutal, both bands play mean hardcore riffs with plenty of fist-pumping action to get your adrenaline pumping. Suicide Note may prove to be the stronger of the two, with fewer moments of blandness and overall a more well planned attack on the listener's ears. Breather Resist are no weaklings, however, with enough double-bass to keep you going to get the job done with no problem whatsoever. This EP is a must for fans of A Life Once Lost, Cursed, and By the Grace of God.
-Zac

THE APATHY CODE
THICK RED MOMENT
ONCE A GREAT SURGEON
This album is filled with uninspired, monotonous, droning, and dreary music. It doesn't help that lead singer Jason Montagna seems completely tone deaf. If the actual music didn't turn you off, the poor recording and production quality would get you. The drums are too high at times, the guitars are too low, and the vocals sound distant and fuzzy. I'm not sure if this was done intentionally, but if it was, then I'd have to question the people involved with recording this album. With all its recording flaws and horrendous music, THICK RED MOMENT doesn't make it past uninspired, bland power-chord rock music.
-Dane Jackson

THE CHASE THEORY
SCRAPBOOK 1998-2001
TRIBUNAL
The Chase Theory's re-release of their favorite songs from their debut (and now out-of-print) album SCRAPBOOK and some unreleased tracks was truly a project of devotion from the people at Tribunal. It's been a while since I have seen a record label so adamant about a release or a project, but Tribunal truly believes in the unrecognized brilliance that is The Chase Theory. Their sound hearkens back to the heartfelt emo days of groundbreaking bands like Sunny Day Real Estate and the Jimmy Eat World of CLARITY. Start with "Pharaohs and Kings", and then move through the rest of the album, as the whole is just as impressive as its standout track. www.tribunalrecords.com
-tChow

THE COMAS
CONDUCTOR
YEP ROC RECORDS
Already named one of the sleeper hits of 2004 by some in the music press, The Comas' CONDUCTOR is a wonderful, melancholy work of art influenced in part by the film DARK CITY. The album opens up with "the science of your mind," a very Bowie-esque track (à la "The Man Who Sold the World") that sets the stage for the rest of the journey. Chief songwriter Andy Herod weaves a web of love, loss, and introspection through the primary use of acoustic guitar, agonizingly beautiful vocals, and subdued melodies and noise. Altogether, the band manages to produce an extremely tight set of songs, producing a cohesive yet unique feel throughout (as achieved recently by other masters of the craft such as The Flaming Lips and Modest Mouse). Also included is a DVD of the movie version of CONDUCTOR, which, for the most part, is a long music video (or visual accompaniment) that complements the CD. For more info, visit thecomas.com
-Norberto Gomez, Jr.

THE CURE
DISINTEGRATION
ELEKTRA
The Cure is like Jerry Rice: no longer in their prime but beloved as ever and hugely influential, a redoubtable paterfamilias. Well, the album that Robert Smith has called their masterpiece and SOUTH PARK's Kyle Broslofski declaimed "the best album ever" turns 16 in 2005, and it's worth looking back on. With influences ranging from Gregorian chants, Pink Floyd, and Nick Drake to Sylvia Plath and nihilism, The Cure mixed repetition, texture, interweaving melody lines, and lyrical depth to create a bewitching brew-nowhere more grandly realized than on DISINTEGRATION. "Lovesong" (KROQ's #1 song of 1989), "Pictures of You", and "Fascination Street" were the hits, but there are no misses here. This is not a concept album, yet it's completely unified. Full of long intros and instrumental passages, lugubrious tones dominate from start to finish. Additionally, nowhere in literature will you find poetry any more beautiful. "Sometimes you make me feel like I'm living at the edge of the world," Smith intones in "Plainsong"; that about sums it up.
-Greggory Moore

THE DEADBEATS
LONG HARD NIGHTS
BOOTLEG BOOZE / ROCK ALLIANCE
The Deadbeats are, unfortunately, just a mediocre Swedish rock band riding on the wave of success brought on by The (International) Noise Conspiracy, Division of Laura Lee, and The Hives. Unlike those three great and original bands, The Deadbeats perform boring, unmemorable rock. The vocals are like a dreary Ozzy in full monotone, and the only instrument that is at the forefront is the guitar, which shoots out nothing new or catchy. Like anything else, this scene is getting milked for everything it's worth, and it's obvious that it's starting to really get empty in there. For more info, visit thedeadbeats.dk.
-Norberto Gomez, Jr.

THE FELIX CULPA
COMMITMENT
COMMON CLOUD
The Felix Culpa is a three-piece from the unlikely state of Illinois. Their technical brand of post-hardcore indie rock delivers an intensity that is often lacking in other contemporary displays of rock. The urgency of their sound is displayed in the driving mixture of guitars, drums, vocals, and bass. To add to the depth and complexity (as well as technicality) of the album, other instruments have been used, ranging from a Rhodes to synths. Their opening track stands out most in my mind, though the rest of the album is right behind. Definitely worth your time, money, effort, whatever. www.thefelixculpa.com
-tChow

THE FEVERFEW
APPARITIONS
EYEBALL
Lighter than snowflakes falling from the sky, Bethany Spiers's ethereal voice lays upon acoustic guitar-picking in the vein of Sixpence None the Richer and Let's Go Sailing. In other words, this acoustic indie-pop is strictly for the lighthearted women looking for something to listen to after their boyfriend breaks up with them for that cute cheerleader that he always seemed to talk to a LOT during lunch break. "Selby" is the standout track, a powerful release of emotions for a lost love, while "Descending" features what is perhaps the most interesting of the album's songs. I'm convinced that this record would make the perfect soundtrack to a romantic comedy starring Jennifer Garner, Meg Ryan, or Ben Affleck. It's up to you to decide if that's a good thing.
-Zac

THE FREAK ACCIDENT
THE FREAK ACCIDENT
ALTERNATIVE TENTACLES
I am as opposed to forced rhyme as I am to fat-free cream cheese and dogs in sweaters-but for some reason The Freak Accident pulls it off. This guy's voice and pitch are so damn random and all over the place that you don't even catch the rhymes-or the fact that they are unnecessary. I was actually fascinated to the point that I listened to this album more than I had to. If you see it, you may want to grab it just to give you a little perspective on what's possible these days. It's good background music for staring contests and doing puzzles on drugs.
-Thomas Murray

THE METEORS
THESE EVIL THINGS
I USED TO FUCK PEOPLE LIKE YOU IN PRISON RECORDS
Well, if you want to listen to an album full of anger and songs centered on wild themes such as horror, perversion, and death, well, The Meteors are the band for you to bang your head against a wall to. This music-which I guess is best classified as psycho-is a little too harsh for my liking. I mean, there is a fine line between writing songs with some anger and rage built into them and writing songs with some sick and twisted ideas. The frustrating part of all this is that the musical aspect behind this band is pretty damn good. They play a very unique style, but the emphasis of their lyrics on the grotesque and bizarre is really hard to overcome and appreciate. While I'm positive that this music will definitely appeal to a large audience who are just as crazy as The Meteors, I'll stick to material that I can relate to.
-David Walter

THE MILITIA GROUP COMPILATION
TUNES '04 VERSION 1.5
THE MILITIA GROUP
Here we have a pretty eclectic roster of artists on the Militia Group: the emotional, falsetto vocals of Lovedrug, the pop/rock of Reeve Oliver, the somewhat screamo of Anadivine, the nice melodic rock of Brandtson, the pop of Cartel, and the slow sadness of Umbrellas. Overall, this label has a nice mix of music for listeners of different tastes. They also have much potential for hits within their catchy songwriting and popular styles. For more info, visit themilitiagroup.com.
-Norberto Gomez, Jr.

THE REASON
RAVENNA
SMALLMAN RECORDS
This album has like a weird Spartan theme. The lyrics discuss conquering shit and destroying...but they are really good in other parts. Yes, the lyrics are like personal thoughts from a messed-up mind, but they seem like poetry. The singer-or "narrator," as they call it-has a wide variety of vocal offerings and is backed-up well by two of his bandmates (who also rock the guitar). The energy and originality that pumps out of this disc makes me really want to see these guys live-and even though I am against dope, I might do some with them to see what they are really like. Oh, wait: they are Canadian. Never mind.
-Thomas Murray

THESE LIES_...MORE THAN THEY'LL EVER KNOW
RODENT POPSICLE
More-than-capable five-piece These Lies should impress fans of the genre with hectic and frenetic rockers like the great one-two punch of "Enemies and Friends" and "Now It's Time", the couplet of songs that kick off the 13-minute, seven-track record. Lyrically, the EP deals mostly with socio-political issuesexposing lies, taking a stand, fighting for what's right, etc. Though essentially a street-punk band, they incorporate different elements into their sound to add some additional flavor, as on the more rock 'n' roll-influenced "Things Never Change", which boasts some great bass lines that bring to mind those of Rancid's Matt Freeman. The awesome bass work continues onto the next track, "Bad Blood", another speedy number. Fare more on the anthemic side appears in the form of the final two compositions, the great sing-along "Our Days Are Numbered" and "Forever Bleed", making for a fitting end to a first-rate release.
-Janelle Jones

THE SHITGIVEITS
FREEDOM FROM REALITY
IN YOUR FACE RECORDS
Crude recording quality emphasizes a gloomy doom-punk element to such tracks as "I Don't Care", but the overwhelming feel is snotty old-school punk. While the album is evenly good, it is so even that no particular tracks stand out. Despite the use of choruses and catchy repeated lines full of rebellion and angst, nothing here rises to the level of a punk anthem.
-Tom "Tearaway" Schulte

THE SHITGIVEITS
VICIOUS CIRCLES AMERICAN DREAMS
IN YOUR FACE RECORDS
Loud, obnoxious, abrasive hardcore punk rock with a political and social flair. If you like that kind of stuff, more power to you. While I don't like this kind of music, I can comment on the recording quality: it's horrible. As it gets louder, the sounds gets fuzzy and muffled. If you like this kind of stuff, then you'll probably enjoy The Shitgiveits. I just couldn't get into it, no matter how much I liked the political and social aspects of this band. Oh, well.
-Dane Jackson

THE SOUND OF ANIMALS FIGHTING
TIGER & THE DUKE
STARS AND SATELLITES
This Drive-Thru Records supergroup has members of Finch, Saosin, and Rx Bandits. The screamo vocals of Anthony Green and the Rx Bandits guitars with the progressive-rock knob up to 11 will give you an idea of how this punk-rock opera sounds. The four acts of post-emo sophisticates' noise-rock opera are connected by electronic interludes. This exciting, energetic, ambitious release succeeds and harbingers well as the debut release on TSOAF member Rich Balling's (Rx Bandits) label.
-Tom "Tearaway" Schulte

TIGER MOUNTAIN
GET ALONG LIKE A HOUSE ON FIRE
LUCKY CAT
I couldn't believe how much I disliked this album the first time I heard it, so I let a few friends listen to it, and my girlfriend said simply, "This shit is weak!"-and everyone else seemed to concur. While this should be expected from a New York band named after a Brian Eno album and containing the old Nada Surf drummer, it is unacceptable for an ex-Murphy's Law bassist. The songs are catchy at times, but frankly, all the critics currently comparing these pussies to the early Stones or The Replacements should be punched in the stomach. They sound like The Smithereens, you assholes-lukewarm college rock played by guys desperately in need of a bad acid trip or an abusive girlfriend.
-jck.

TWENTY2
UNSTABLE
NEW SCHOOL RECORDS!
These guys have been around for a pretty long time, but this EP is my first exposure to Twenty2. After listening to it, I'm kind of bummed that it took me so long to discover this Canadian punk band. Essentially, Twenty2 is a pop-punk band in the same vein as All, Descendents, and No Use for a Name. With UNSTABLE, JonH and gang have crafted six very tight and very enjoyable pop-punk songs for all of us to listen to. If you're a fan of any of Fat Wreck Chords' roster of pop-punk bands, you won't be disappointed with Twenty2. UNSTABLE is perfectly crafted in every way. The songs are tight and catchy as hell, and the disc has enhanced features, to boot. This has made me want to pursue previous releases.
-Dane Jackson

TRISTANIA
ASHES
SPV
Let's face it, Tristania hasn't been around very long. But since their humble debut, WIDOW'S WEEDS, they've kicked a lot of ass. With ASHES, however, Tristania has severely upped the ante for what a symphonic doom-metal band should bring to the table. From shimmering acoustic guitar passages to utter gut-wrenching pieces of apocalyptic bliss, ASHES travels quickly from one end of the metal spectrum to the other. Complete with a mixture of harsh screams and melancholy sighs, the amount of balance achieved is a most noteworthy accomplishment. Fans of Insomnium, Black Sabbath, and Bathory should not go without this one.
-Zac

UNPERSONS
SELF-PORTRAIT EP
LIFE IS ABUSE
Sometimes the uglier and nastier a band is, the better. In the case of Unpersons, we're talking really fucking nasty and really fucking ugly. This EP is Unpersons' fourth release (according to the handy IV on the CD spine) and shows the band getting more and more intense. Treading the same muck-infested swamps as bands like Eyehategod, Keelhaul, and most bands on the Hydra Head label, Unpersons throw in the always welcome vocal style of legendary Seattle splatter-rockers The Accused. In other words, their singer sounds like he is being strangled to death. What puts SELF-PORTRAIT in a class pretty much of its own are the atmospheric melodic bits between the fury and the fact this is one 15-minute track of pure annihilation.
-Jason Schreurs

UNWRITTEN LAW
HERE'S TO THE MOURNING
LAVA RECORDS
This is it. After a while in the recording studio and a few court cases, the guys from Unwritten Law are back and with a vengeance. HERE'S TO THE MOURNING is an incredible collection of tracks packed with truthful lyrics, emotional ballads, and the endless array of talent we've known Unwritten Law to demonstrate. Lead singer Scott Russo's voice is as sultry as ever. This bad boy lets everything out in HERE'S TO THE MOURNING. With songs like "Because of You" resembling "Cailin"-style ballads and singles like "Save Me" screaming a cry for help, the guys in Unwritten Law are ready to bear it all-and in doing so are bound for unprecedented success. Buy this album.
-Carley Charpentier

VAROIUS ARTISTS
IT'S A TEAM MINT XMAS VOL 2
MINT
The futility of reviewing a Christmas album in February is not lost on me, but if you're planning the best year-ender ever for next year, you should think about picking up any contribution Team Mint makes to the holiday spirit. First there was a 7", now a CD, this time expanding the original with artists like the lo-fi Tennessee Twin, Atomic 7, punk veterans The Smugglers, and newcomers young and sexy. Also included is Carolyn Mark's hilarious ode to dysfunction, "The Christmas Song"; and an all-star gaggle of Mint artists doing the modern classic "Do They Know It's Christmas?". But the real gem here is the track offered by The Buttless Chaps, who not only sport the world's best name but also the most original sound, a Johnny Cash-fronted Galaxy 500. Certainly for those with impeccable taste.
-jck.

VARIOUS ARTIST
ORGANIZED CRIME RECORDS COMP
ORGANIZED CRIME RECORDS
All the bands here are serious hardcore maniacs. And if you dig the aggressive, brutal rock, this comp disc from Organized Crime Records is a must-have. Deciding which tracks are the standout cuts is all a matter of taste, because every band here is tearing up what they are doing. Sidewalk's "Living Withit" is a 44-second jewel, and xDISCIPLEx A.D.'s "Swordpath" is a thrashing killer. Overall, Organized Crime Records has aligned a fantastic roster of hardcore acts that deserves your money and respect. This is a great way to find your next favorite band(s). This is an offer that you can't refuse.
-H. Barry Zimmerman

VARIOUS ARTISTS
POLICIA-A TRIBUTE TO THE POLICE
THE MILITIA GROUP
First off, I don't like The Police at all, so I was biased from the beginning; but this album boasts some interesting interpretations that may rekindle interest in a band lamer than Hydrox cookies and powdered milk. If you are into what is widely known as "punk covers," then you may get a kick out of this collection. Some of the new versions are worth rocking out to, while others sound just like the originals. All right, fine: I like The Police. This album helped me realize it. I knew more lyrics than I realized.
-Thomas Murray

V/A
THIS IS SOLID STATE VOLUME 5
SOLID STATE
The fifth installment of THIS IS SOLID STATE kicks off with a strong and exceedingly heavy number by Norma Jean titled "In Reference to a Sinking Ship", a song that'll appear on their upcoming LP. This track, along with fare from the tense and urgent Showbread, the utterly sick and spastic The Chariot, and mewithoutYou (who go the experimental/noise-rock/Jesus Lizard route with the meandering, VERY aesthetically pleasing "4 Word Letter") are some of the better offerings on a record that showcases a multitude of varying takes on hardcore. Sheer brutality is served up by the aforementioned Norma Jean and The Chariot; Figure Four; the chaotic, all-over-the-place He Is Legend; and the oppressive, metal-tinged Demon Hunter (barring their occasional ill-advised and uncalled-for forays into melodicism, that is); while bands like Underoath, Dead Poetic, Emery, and the multi-faceted, now-defunct Beloved belt out the melodic hardcore. Definitely a great purchase for fans of any of these bands.
-Janelle Jones

VON IVA
SELF-TITLED
COCHON RECORDS
This six-song EP from San Francisco's dreamy synth-rock female quartet Von Iva showcases all the band's strengths...and a few of its shortcomings. Fronted by the incredibly talented Jillian Iva (whose voice sounds as if she's channeling all the great black female soul singers) and backed by bassist Elizabeth Davis (from 7-Year Bitch), this band has all the credentials. With the lack of a lead or rhythm guitar, the disco-pumping tunes on this album are driven mainly by Bex's overwhelming keyboard melodies and Lay Lay von Guthier's dance-beat drum rhythms. Perhaps the only drawback on these songs, with their unbridled energy, is the lack of a real guitar player to add some musical variety. But these girls are so foxy that nobody's going to give a damn whether they have a guitar player at a live show or not. Look for this band to start doing gigs at televised fashion and awards shows.
-Dug

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