December CD Reviews (in alphabetical order)

A LIFELESS ALLIANCE
THE CREEPSHOW EP
FACTION ZERO RECORDS
Simple and direct. These are Jersey boys who like Fat Wreck and display their sincerity through imitation. THE CREEPSHOW EP opens with "Kill Taker", which sounds much, more foreboding than its melodic punk content. If A Lifeless Alliance stayed with this approach, they could achieve a modicum of success playing college bars and birthday parties all over northern New Jersey; but the rest of the EP takes a decidedly different tack. "Self Abandoned" calls to mind AFI with the greenness of "Answer That and Stay Fashionable" and the polished but not overproduced quality of the ALL HALLOWS EP. Sailing the AFI course may take A Lifeless Alliance to the Warped Tour side stage just yet. -Erika Owens

ACHILLES
THE DARK HORSE
HANGING HEX
This album could be best described as chaos. Blending genres of metal, hardcore, and screamo, you are constantly kept on your toes, guessing what will happen next. Yet THE DARK HORSE is not something that you can easily sing along with. It will take some time to grow on you. I must have listened to it at least two times. In all likelihood, the boys of Achilles are probably more entertaining live than on CD, but their musical intelligence is definitely appreciated. These New York natives have put out a good record, where every song is equally good. -Luke Skywalker

AIDEN
NIGHTMARE ANATOMY
VICTORY RECORDS
Well, the insert claims a punk/hybrid mix, but I couldn't milk a whole lot of hardcore out of it. I found it to be quite whiny and repetitive. There are glimpses of enjoyment for the listener, like the occasional good line or riff, but mostly I was annoyed by this album. The choruses make me want to destroy my stereo so I don't have to suffer through them any longer. It makes me think of a movie scene where a guy gets hit over the head and a line of cats taunts him by screeching the same thing over and over until he wakes up not knowing where he is. Keep your whining pussies out of my hardcore. -Thomas Murray

ALL TOMORROW'S PARTY
YOO DOO RIGHT, YOO DOO SLIDE
ALIVE RECORDS
If you're in a band with a name referencing The Velvet Underground and a record title referring to Germany's Can, you're probably already on the right path. This English-singing Japanese trio's sound recalls Sonic Youth and Teenage Fanclub, with some additional fuzz and psychedelic noodling; and each track takes the band in a different direction. "Love Can Bring You Down" is like Thurston Moore fronting a '60s garage band, while "In Shade of Blue" wouldn't be misplaced in Alex Chilton's repertoire. Add All Tomorrow's Party to the eclectic list of superb bands that Japan has given us in recent memory (e.g., Pizzicato Five, Shonen Knife, Merzbow), so don't pass this up. -David Barker

AMBRY
HOLDING ON BY THE BLINDFOLDS WE HIDE BEHIND
THE DEATH SCENE
You know those albums you're not initially excited about but that you like better and better the more spins you give them? Well, Ambry's HOLDING ON BY THE BLINDFOLDS WE HIDE BEHIND is the exact opposite. Ambry definitely isn't the most original band I've heard, sounding much like the lovechild of a Thursday/Taking Back Sunday/Saves the Day orgy...but what they lack in originality they make up for in catchy hooks and great vocals. I thoroughly enjoyed the first run-through this album. Then I listened to it again. I still believe that Ambry has a lot of potential—I'm just not convinced this offering is the best example of what they're truly capable of. -Josh

ASSHOLE PARADE
SAY GOODBYE
NO IDEA
With 14 songs dating back to unreleased material from 1997 and clocking in at slightly over 12 minutes, SAY GOODBYE is a quick and dirty glimpse of AP's backlog. Though the majority of songs abide by thrash/grind time constraints, the themes are more readily identifiable than avant-garde contemporaries. AP successfully avoids "one trick pony" categorization by occasionally screeching into mid-tempo structuralizations and strechted song lengths. Honest, raw, and at times politically motivated, this is the type of thrashcore one should come to expect from Gainesville. -Chris Hrobak

AT ALL COST
IT'S TIME TO DECIDE
COMBAT
At All Cost have concocted something really different on their 13-track release. By melding face-ripping metal with elements of pop and dance, this Texas-based quintet succeeds in awakening the senses. From opening scream-a-thon "Death to Distraction", you'd never guess you'll hear synths and a vocoder, but both play prominent parts in shaping this unique unit's hybrid sound. But don't be fooled by a band using tricks usually reserved for dance divas: these guys have no issues when bringing the metal. Tracks like "The Irony" and "What Is Left to Inspire?" (which unfolds into a classical guitar and string piece) are just two examples of this group's vast array of devices. Experimentally left of center, At All Cost shake the metal realm up with IT'S TIME TO DECIDE. www.combatrecords.net -Mike SOS

AT RISK
AT RISK
BLOODY KNUCKLES RECORDS
At Risk is what you'd expect from looking at their album cover. They're tough-guy hardcore with plenty of powerful breakdowns, pissed-off gang vocals, and intense verses. Being raised on Madball and Judge makes for an angry band—which is what At Risk is, to put it simply. Of course, in the realm of hardcore, originality isn't embraced as much as brutality and rage, and At Risk succeeds on this count, producing a sound that keeps strong ties to hardcore's roots and doesn't cater to any fashion-conscious mall-core kids. Russ Rankin from Good Riddance makes a noteworthy appearance. This record should be warmly embraced by the hardcore community. Be on the look-out for these guys. -David Barker

BLACK COUGAR SHOCK UNIT
GODZILLA TRIPWIRE
NEWEST INDUSTRY
Engineered by the fabulous Jim Marrer of Man...or Astroman? GODZILLA TRIPWIRE is a combination of full-tilt rock 'n' roll and progressive punk rock. The fire is provided by the lead guitar work of Peter Bowers. He is a real ripper. Lead singer/guitarist Alex Ulloa sounds like the great Grant Hart of Husker Du—and that's a totally good thing. The arrangements are tough and inventive. Black Cougar Shock Unit is a great band doing great work on this 15-song disc. GODZILLA TRIPWIRE should be turned up and left alone. It's all good. Some of the standout cuts are "There's Only One Hot Goth Girl at the Practice Space" and "Lazy Hipster Fuckwits". Don't think—just go get this one. -H. Barry Zimmerman

BETRAYED
ADDICTION
BRIDGE NINE
Betrayed's irrefutable hardcore stance stems from the fact that this straight-edge crew's members are not your typical idealistic teens but 30-year-old men from established scene acts Champion and Carry On. It's this level of commitment and dedication that shines through this quartet's six-track release in both musical output and lyrical content, as tracks like "A Light in the Dark" contains the buoyancy of the youth-crew group of the days gone by with the sage-like wisdom of eyes that have seen all sides of the spectrum. Uplifting yet not overly preachy, Betrayed's lifestyle choice may not be for everyone, but their energetic display of melodic hardcore is way hard to ignore—especially if you dig Sick of It All or Comeback Kid. www.bridge9.com -Mike SOS

BLACK MY HEART
BEFORE THE DEVIL
EULOGY
Tough-guy straight-edge is what Boston hardcore quintet Black My Heart uncoils on the nine-track BEFORE THE DEVIL. Gang-shouted choruses, more chugging than a locomotive, and an essence of beatdown hardcore (think Bury Your Dead, Throwdown, and Terror) can be found on "What You Know About" and "Remember Me". Radiating the tones of East Coast brutality with conviction, Black My Heart may not be the most original or bloodthirsty band on the scene, but they do a stand-up job by providing concise, chaotic hardcore concoctions. www.eulogyrecordings.com -Mike SOS

BLOODY SUNDAY
TO SENTENCE THE DEAD
FACEDOWN RECORDS
It's fortunate to be assigned a record to review that is already part of your collection. My owning TO SENTENCE THE DEAD is simply a testament that the band are worth listening to. All bias aside, Bloody Sunday is a quality band. Their live performances are amazing, and their music is intelligent hardcore. Still, I hoped for so much more from this group on TO SENTENCE THE DEAD. These Virginia Beach residents include 10 tracks that certainly bring the MOSH, but leave you wanting more. It seems to lack the innovation you would hope for in a new album. -Luke Skywalker

BROKEN BONES
DEM BONES
SOS RECORDS
As people continually become disenchanted with today's punk scene, sometimes the best thing to do is to take a look back at what made punk great in the first place. This reissue of Broken Bones' first album and early singles is the perfect place to start for someone who wants to here the best of what the U.K. had to offer in the '80s. Part thrash, part speed metal, part hardcore, it is all in your face and (most importantly) extremely impressive. The surprising thing is how incredibly familiar the sound is—even at first listen—as you can hear the influence they have had on modern hardcore bands. So pick up DEM BONES as a punk-rock history lesson and let Broken Bones take you to school. -Jeff Srack

BULLET FOR MY VALENTINE
HAND OF BLOOD EP
TRUSTKILL RECORDS
In another effort to stomp out the indie music scene, this quartet from Wales released their six-song EP hoping to bring back the guitar riffs and scorching vocals of the '80s metal movement. It's a nice theory, but unfortunately for them, this CD just sounds a little too familiar. Screaming, catchy choruses and guitar solos made me feel like I was listening to just another Avenged Sevenfold rip-off (not that there's anything to rip off there). The song construction is immaculate, with each riff and scream placed exactly where it should be. It's not a CD to fall in love with, it's more on of those, "Hey, I'm not doing anything—I might as well listen to it" type CDs. But these guys are young, so give them a break and pick it up. It's not like you have anything better to do. -Tijana Martinovic

CAN'T DECIDE
CAN'T DECIDE
BOSS TUNEAGE
Can't Decide formed in the late '80s out of the ashes of UKHC bands Heresy and Ripcord. This retrospective contains everything that Can't Decide ever recorded, including two albums, 7" material, and 11 previously-unreleased demo tracks. Can't Decide is a great melodic rocking punk band. Some of the more brutal sides include "Jump Before You're Pushed" and "Change the World with Me". When you hear this disc, you will want to hear more—but there is no more: you will have it all. This is worth your hard-earned dimes and your time. They rock. -H. Barry Zimmerman

COMMUNIC
CONSPIRACY IN MIND
NUCLEAR BLAST
Scandinavian trio Communic displays its progressive leanings throughout the seven-track CONSPIRACY IN MIND. This group showcases their savvy by writing long, intricate songs laden with twists and turns (e.g., "They Feed on Our Fear"), yet still find the right place to throw in heaping dollops of headbangingly good thrash metal on tracks such as "Ocean Bed". Communic liberally borrows from bands like Nevermore without aping them completely, opting instead to fuse technicality and tumultuousness into an intriguing package that fans of all types of metal can find no fault with. www.nuclearblastusa.com -Mike SOS

CONSPIRACY OF THOUGHT
DANCE OF THE REVOLUTION
SELF-RELEASED
Conspiracy of Thought is not your run-of-the-mill rock band. This socially-charged, politically-aware quartet's 10-track release exhibits a brand of funky hard rock à la POD while spouting out social injustices and the ills of society. Tracks like "Siege Engine" and "Back to Back" share revolutionary sentiments and barrages of heavy rock riffs crashing against bouncy rhythms. The band's dynamic side also rears its head on "Bloodstained" and "Dia de Los Muertos", taking a sojourn into U2's more impassioned moments. Displaying a keen sense of their surroundings and a finger on the pulse of the rock crossover realm, DANCE OF THE REVOLUTION contains more than your average listener is ready for; but if you're properly prepared, this album will take you on a trip laden with solid facts and flavorful hard rock. www.jointheconspiracy.com -Mike SOS

CONVERGE
PETITIONING THE EMPTY SKY (REISSUE)
EQUAL VISION RECORDS
After breaking through with FOREVER, Converge continued their assault with PETITIONING. That attack is all the more visceral here, with incisive sounds and intelligible vocals. Though a lyric sheet is still useful, it is not indispensable; and the hypnotic quality of Bannon's shredded chords make it difficult to entertain any distraction, anyway. With the clarity this remaster affords, you get the feel of a live performance without the smell, sweat, and technical difficulties. In fact, there are three live tracks included and a video. Though reissues of albums readily available on CD may seem premature, the chance to hear Converge so distinctly and watch a few videos is well worth the purchase. -Erika Owens

CONVERGE
WHEN FOREVER COMES CRASHING (REISSUE)
EQUAL VISION RECORDS
With WHEN FOREVER COMES CRASHING, Converge descended on the scene; and with the support of Ferret and later Equal Vision, they ascended to the heights of the national hardcore arena in the mid '90s. Listening to this again after almost 10 years brings back memories of THE CROW. Its soundtrack slowly ushered me from The Beach Boys to bands like Converge, who instead of jangling and surfing would screech, wail, and spill their pain onto the stage and into the crowd. That pain is palpable in this reissue, where screams are clear and sounds are sharp. Converge sliced through all the BS and fakery a decade ago, and this reissue reminds us of the incisiveness of the band then and their relevance now. -Erika Owens

DAVID LEVIN
STEPPING ON MY HAT
SELF-RELEASED
David Levin's press material is not ashamed to compare his music to The Police, and this CD's title track certainly rolls with that trio's familiar rhythms. There's more going on here than just a police report, however. Just get a listen to the finely textured guitar work on "Where Is the Heart?" or the hard-rock guitar of "Blood and Feathers". Another Police-ism comes through on "How Could You?", due to the reggae beat during the chorus. This is relatively subdued guitar rock, for the most part. However, "Let's Think About This" is a soulful number that features a harmonica solo. "We're Okay, for Humans" (great song title, by the way) also includes keyboard instrumentation. STEPPING ON MY HAT is simply smart rock for smart guys. -Dan MacIntosh

DAY AT THE FAIR
THE ROCKING CHAIR YEARS
RUSHMORE
Here's the thing: when a record label starts a sub-label that caters to a separate but similar genre, essentially just disguising itself as the same label with a new name (think Tooth & Nail/Solid State), all it really means is that the label knows that people are sick of the music being released by them, so they trick consumers into thinking the "new" label will produce something different. Rushmore Records has released an album from yet another young, moderately-talented, overly-hopeful, poppy punk band—just like the previous 20 albums released by Drive-Thru. Day at the Fair certainly has potential, but the record is just a big slap in the face to consumers for being fools enough to think that a purchase from Rushmore would be anything more than a rehash. -Sarah Conway

DEAR DIARY
HOW TO BECOME A GHOST
BASTARDIZED RECORDINGS
The sophomore album from this fledgling American emo group is a prime example of great production, poor marketing, and non-existent consumer help. While the album is an emo classic, with some great, gut-wrenching crescendos and heartfelt emotion, it seems to fall flat on its face as a commercial endeavor. Dear Diary is signed to a German label—not a bad thing in and of itself, unless you attempt to go to the band's Website and any time that you attempt to buy something, it bounces from English to German and so you cannot complete the transaction unless your Deutsch ist ganz gut. This is a crucial mistake, as this is a really good emo album. -Dug

DESERT CITY SOUNDTRACK
PERFECT ADDICTION
DEEP ELM RECORDS
This is an extremely well-produced album of moody rock songs all perfectly written to be straightforward pop gems in the vein of the melody king himself, Elliot Smith. The instrument of note here is the piano, which helps simultaneously deliver melancholy and euphoria. The vocals have that sweet, clean delivery of Death Cab for Cutie. Like Death Cab—and unlike Elliot Smith—the minimal nature of the vocals make for a somewhat dreary feel, which towards the end of the album treads on the mundane. Acoustic guitar and simple drums help hold the sadness together. Unfortunately, no instruments match the power of the piano. For more info, visit deepelm.com. -Norberto Gomez, Jr.

DIRTY KINGS
ELECTRIC DIRT
BARNBURNER RECORDS
Dirty Kings fit perfectly in the bar-rock scene. The Los Angeles-based trio is somewhere between Fu Manchu and a much less radio-friendly version of The Foo Fighters, rocking without any artsy pretension. Dirty Kings aim to rock, and that's what's accomplished. It's dirty, gritty, sorta bluesy, and somewhat sexy; and though it's not very fresh or original, the band's charisma allows them to blaze through the entirety of ELECTRIC DIRT without wearing thin on the listener's ears. Though I'm conscious of the fact that saying how much a band rocks is way overdone, it's the most appropriate way to describe these guys. -David Barker

EKTOMORF
INSTINCT
NUCLEAR BLAST
Hungarian quartet Ektomorf's blatant lifting from Sepultura/Soulfly is so obvious it's distressing on the band's latest offering. Utilizing the same low-end heaviness and vocal growls employed by Max Cavalera and company to death throughout all 12 tracks doesn't showcase the band to be much else besides a third-rate rip-off of an incendiary sound. While tracks like "Fuck You All" and "Show Your Fist" are rabble-rousing numbers guaranteed to rip heads off, they went down way better when you first heard them on ROOTS or CHAOS AD. Emitting an admirable delivery with zero creativity, Ektomorf need to broaden their scope of musical influences before they get written off as just another knockoff. www.nuclearblastusa.com -Mike SOS

ELLIOTT
PHOTORECORDING
REVELATION RECORDS
This beautifully-packaged DVD/CD combo is a testament to a band that created a sound and a vision, then ultimately faded into the background. The 14 songs on the CD were recorded in a live session directly after the Louisville band's last performance. Elliott has an emo-type sound, all soft lyrics and sonic crescendos. The DVD is a chronicle of the band's last tour. There is some incredible photography, along with a fairly gritty diary of a band that drives itself from show to show in its own van. The fans on the video are amazed that Elliott never reached the success of such bands as Coldplay and Radiohead. The unfortunate fact is that, though the music is very atmospheric, it is also bland and repetitive. -Dug

ELLIOTT BROOD
AMBASSADOR
SIX SHOOTER RECORDS
The sophomore release from this sepia-tinged Canadian trio is one of the most brilliant Western-themed albums ever created. Recorded in three days and nights in a dusty second-floor room, this CD oozes atmosphere. The banjo-driven alternative rock tunes on this disc are like nothing in the music world today. Elliott Brood sounds as if Travis or Wilco discovered a lost banjo prodigy on the streets of Laredo and incorporated his sound into their music. The wood-grain album cover sets off an incredible CD packaging job that includes vintage Canadian train tickets and an "engineering department project worksheet" that makes the album notes read like some bridge-builder's contract. The band's Website, www.elliottbrood.ca, is also a thing of beauty, filled with period tintypes and free downloads. These cowboys rule. –Dug

EVERGREEN TERRACE
SINCERITY IS AN EASY DISGUISE IN THIS BUSINESS
EULOGY
First off, the title rules. It IS hard to distinguish just which bands really have their hearts in it and are totally all about the music and which are in it for a quick buck. Well, based on 2004's AT OUR WORST (which wasn't all-new material) and now SINCERITY (the only two albums by them this reviewer's heard), Evergreen Terrace seem to be the real deal. They utilize their mixture of heavy-ass hardcore and melodic flourishes to powerful effect, as witnessed on the intense opener, "Dogfight" (which features Bad Religion-esque harmonies (!)), "Brave Reality" (which gets extra points for its gnarly Danzig-like part towards the end), and "I Can See My House from Here" (which is as moving⎯and, dare I say, at times beautiful⎯as it is aggressive and heavy). -Janelle Jones

EWIGKEIT
CONSPIRITUS
EARACHE
Something about heavily-vocalized, progressive metal, one-man electronica bands just doesn't sit right with me. James Fogarty, on the other hand, thought that making this kind of music was a great idea. CONSPIRITUS is probably some of the weirdest and most random music ever to have entered my ears...and I can't really say I'm grateful for that. Filled with predictable ups and downs and mechanical musicianship, it's difficult to really feel where this album is supposed to take you. If you're into that spacey, hypnotic, daze-inducing, acid vibe, metal hair thing, I would definitely recommend this album. If not, go pick up some Face to Face or Rancid. I hear they're pretty good. -Sarah Conway

FATAL RIOT
LIVE TO DIE
www.fatalriot.com
Fatal Riot are an intensely good band reminiscent of old-school early-'80s hardcore punk legends Verbal Abuse, as the music they wield is gloriously hyper, urgent, fierce, and unabashedly in your face⎯not to mention their no-holds-barred socio-political lyrics. One particular gem, "Death Consumes You", recalls VA's great "I Don't Need It", with its awesome mid-tempo part and memorable guitar riff followed by a more frenetic aesthetic. Other standouts are the opener "Kuklinski" (about serial murderer Richard Kuklinski), which starts out with slow, foreboding instrumentation topped by soundbytes relating the "Iceman's" exploits before exploding into pure wildness; "Texas Chainsaw Massacre", whose subject matter is obvious (yes, The Ramones had "Chainsaw", but this tune, from the viewpoint of the wackos' dad, goes into MUCH greater detail); and the religion-attacking triad "Useless", "Unholy Water", and "Bible Disease". -Janelle Jones

FIGHT PARIS
PARADISE, FOUND
TRUSTKILL
Seems our boys in Fight Paris have just a couple things (perpetually) on their minds, if the songs constituting their debut are any indication: the old in-out (e.g., "100 Proof Woman", "Complete Heat"), partying ("One Track Mind", "Southern Comfort", "Better than Elvis"), rock 'n' roll (uh, "Rock N Roll Soul")...and did we mention the old in-out? Yes, the high-octane, rock-infused, chaotic hardcore supports lyrics dealing with all these things, making for a party record crude men will enjoy. Kevin Phillips's vocals may get a little annoying, but I'm kinda digging the strained intensity and his arrogance. One unnecessary aspect of the album, however, is the gratuitous female moan/groan soundbytes. (Oddly, I'm a bit prudish about certain things.) A LITTLE over the top. -Janelle Jones

FIREBALL MINISTRY
THEIR ROCK IS NOT OUR ROCK
LIQUOR AND POKER
THEIR ROCK IS NOT OUR ROCK is an apt album title for the third installment from retro metal act Fireball Ministry. This 10-track foray into the land of muscle cars, leather jackets, and horned hands held high finds the quartet continuing to save our rock 'n' roll souls. From the sturdy riffs of "Save the Saved" and "It Flies Again" to the driving rhythms of "Hellspeak", it's evident that Fireball Ministry are doing everything they can to resurrect that old-time, organic hard rock/heavy metal feel. Sounding as retro as your uncle's old Judas Priest LPs but emblazoned with the timeless haziness of bands like Black Sabbath and with the chops and memorable choruses of groups like Blue Oyster Cult, this is the ultimate antithesis to what the kids are currently hopped up on—and Fireball Ministry wouldn't want it any other way. www.liquorandpokermusic.com -Mike SOS

FOUR MINUTE MILE
THE JJ DIARIES
SELF-RELEASED
There's a harsh brutality to much of this hard-rock music. Granted, "Bad Rotation", with its chiming guitars, offers a brief break from the disc's overall onslaught; but the listener just gets beaten into submission after a while, needing to dig for anything that isn't merely musical jackhammering. "The New Black", for example, has an echoed vocal track reminiscent of Jane's Addiction; and "Kansas City" incorporates guitar jangles. These are but silver specks, however, rather than fully encircling silver linings. These THE JJ DIARIES recount depressing life stories, which make this CD feel like a long walk to nowhere, rather than a quick four-minute mile. -Dan MacIntosh

GOBLIN COCK
BAGGED AND BOARDED
ABSOLUTELY KOSHER RECORDS
It's hard to get over the cover art of BAGGED AND BOARDED, which has a Goblin King sitting on a throne while a huge cock lies on the ground between his spread legs. The album art, font, and band name are obvious jabs at metal bands of all sorts, and this humor is much appreciated. Surprisingly, Goblin Cock weaves in and out of doom rock and up and around post-punk guitar chugging and maximum riffage! Though mostly subdued, the small variations in vocals (think early Queens of the Stone Age) and guitar work make the music far from boring and make for an excellent, creative work. This is definitely a kick-ass hard-rock album that is almost completely unknown. For more info, visit absolutelykosher.com. -Norberto Gomez, Jr.

GOREROTTED
A NEW DAWN FOR THE DEAD
METAL BLADE RECORDS
Gorgeously gory metal (hence the name) pours out of your speakers like maggots flow from a dead eye socket. Lyrics are presented like a microphone next to a throat gargling coagulated blood. This is death metal, everything you would ever want from a death-metal album. I can't say I'm surprised really. Metal Blade doesn't tend to let down its listeners. Also, the cover art had me convinced that this band has actually witnessed murders themselves, if not participated in them. The lyrics are actually quite good, and I recommend reading along with them if you don't have a death-metal "ear." Warning to dumbasses: these guys use big words in their lyrics. -Thomas Murray

HAM 1
HAM 1
SELF-RELEASED
Ham 1 has a casualness to their attack that seems friendly and familiar. And there is a intelligence and artfulness that makes you want to know more. Ham 1 leader guitarist/songwriter Jim Willingham (a reading teacher from Athens, GA) is like your oddest, smartest buddy. HAM 1 includes folksy tunes, cool-as-hell instrumentals, and loads of good karma. This isn't hippie music; Ham 1 is like Velvet Underground performing porch music. This band is highly musical and deserves the attention of the music-loving people of Earth. Go check it out at www.Ham1.org. Your ears and musical mind will thank you. -H. Barry Zimmerman

HIT THE SWITCH
DOMESTIC TRANQUILITY AND SOCIAL JUSTICE
SELF-RELEASED
What we have here is a definite case of a young band with unlimited potential. While this particular album may not be worth buying, there is noticeable talent that just needs to be harnessed by the right producer and label. Political-minded punk with impressive NOFX-like guitar leads, vocals that recall Anti-Flag's Justin Sane, and a sound that can best be described as what Sum 41 would be if they strayed away from metal influences. With some luck, this band will be given a chance and nurtured into the punk-rock monster they can evolve into. So remember the name Hit the Switch, because if we hear from them in a few years, the band could very well be claiming its spot next to punk's elite. -Jeff Srack

REASON 2 REBEL
THE POLITRIX
ABOVE GROUND RECORDS
Wow! This is bad music. Upon first listening to THE POLITRIX, the drumming hints at much more potential than the band has. As soon as the singer comes in, you realize the huge trainwreck that is this EP. I am most disappointed that I share the same name as the musician who has created this atrocity. I should have known instantly how bad it would be when I saw the album art, which looks like someone's doodles on a junior-high-school notebook. I give them credit for their D.I.Y. efforts, but I think Reason 2 Rebel should quit their hobby and get real jobs. -Luke Skywalker

HOODS
THE KING IS DEAD
EULOGY
Sacramento troupe Hoods return with another unremitting offering that embodies tough-guy hardcore. THE KING IS DEAD displays this outfit's decade-long mission of laying down beatdown riffs with the struggles of the street in the forefront. Much like Hatebreed, Madball, and Sick of It All, Hoods have never strayed from the formula of combining heavy riffs, heavier subject matter, and the unbreakable NYHC spirit spilled over onto the West Coast. While this disc doesn't cover any new ground, the undeterred spirit and delivery of tracks like "26 Seconds of Hate" and "This Time" provide the proper backdrop for Hoods to convey its hardcore wares. www.eulogyrecordings.com -Mike SOS

HULDA
FOREST OF THE NIGHT
HULDA WORLDWIDE RECORDINGS
Hulda's female vocalist sometimes sounds a bit like the great Patti Smith. This is nothing more than a vocal coincidence, however, because one is never struck by any of Smith's transfixing charisma here. Instead, Hulda has filled FOREST OF THE NIGHT with unremarkable melodies that drive unremarkable songs that end up sounding, well, unremarkable. This CD's generic first impression is best exemplified by the track "Demeter", which comes off like a dreary heavy-metal rip-off. Even the CD's song titles—such as "Don't Look Back" and "Show Me the Way"—are retreads, which have been used to greater effect by more famous artists. The tracks "Black Moon" and "Forest of the Night" suggest a dark-hearted little band, but this music is like a scary movie...but without the scary. -Dan MacIntosh

ICARUS WITCH
CAPTURE THE MAGIC
MAGICK
The nine-track offering by torch-carrying metal troupe Icarus Witch shows no surprises, as the quartet's unabashed heavy-metal assault hits right between the eyes (much like it does on their ROSES ON WHITE LACE EP). Hearkening back to the glory days of majestic metal à la Dio and Queensryche, CAPTURE THE MAGIC embraces the old-school approach with little alteration, creating an enticing array of metal that, despite taking much of its influence from the '80s, doesn't sound all that dated or forced. They even employ six-string metal heroes George Lynch (Dokken) and Frank X. Aresti (Fates Warning) for a shot of star power; but ultimately it's this Pittsburgh group's classic metal leanings on tracks like "The Ghost of Xavior Holmes" and "Darklands" that shine brightest. www.magickrecords.com -Mike SOS

ITS REVENGE
ROCK AND ROLL RETRIBUTION
SONIC REBELLION
The word "retribution" suggests that somebody gets what is coming to them. What this has to do with rock and roll, however, is tough to comprehend. If anything, Its Revenge is attempting to get back at those who may have shamefully forgotten power-pop. At least that is hinted at by these eight pop-o-licious tracks. "Kill Your Radio" brings to mind Cheap Trick, whereas Jeff Wright's vocals hearken back to Jon Bon Jovi during "No Surrender". "No Surrender", by the way, also carries with it an urgent, Foo Fighters feel; and "Nothing to Lose" tips its hat to Green Day, with to its marching beat. There's nothing wrong with loving power-pop, but groups like Weezer and Hot Hot Heat have revived these sounds far better than Its Revenge has done here. -Dan MacIntosh

JACKNIFE
MOMENT OF RECKONING
ZERO SUM
Jacknife is a Dallas-based quintet whose "new wave of American metal" meets "Texan hardcore thrash" style is served with a boot up the ass on MOMENT OF RECKONING. This explosive 12-track entity straddles the line between power-groove metal and death-tinged hardcore on tracks like "A Glimpse of Hell" and "Breaking Away". Uncoiling a dastardly blend of punishing guitar riffs that emulate Maiden and At the Gates, bottom-heavy rhythms that shake the fillings from your teeth, and versatile vocals rising from guttural growls to high-end shrieking, songs like "Destined to Rise" showcase a band not content until the entire floor is moving, bloody, and sweaty. Fusing the gap between Lamb of God and Hatebreed, metalheads will go insane for these guys and their solid metal assault. www.zerosumrec.com -Mike SOS

JOHNNY CAGE IS A FAKE
JOHNNY CAGE IS A FAKE
PURITY
The math hardcore/metal field is starting to get crowded, with bands everywhere doing Botch and Dillinger Escape Plan impressions like there's no tomorrow. But there may be a future ahead for Johnny Cage Is a Fake. This NYC band isn't earth-shatteringly original, but it has musicality, brutality, and dynamics going for it. Songs never get boring, with plenty of switch-ups to keep things interesting, as well as the occasional clean texture for variety. The production isn't huge, but it's clear, which is key when there's this much angularity and dissonance. The bass lines are particularly cool, but all parts of the band are firing. For a first album, this is great stuff. -Cosmo Lee

KILL YOUR IDOLS
LIVE AT CBGB'S JULY 30TH 2000
CREEP RECORDS
A Long Island band is rocking out at one of the nation's infamous venues, and I get to listen all the way in California. Lucky me. The band is refreshingly straightforward—basically, "Dig us or fuck off." The songs are hard and fast, pulsing with true hardcore integrity, completely raw and free of all that crap that weighs down hardcore bands that try to cross over to other genres or other genres that try to claim hardcore because they scream a few lyrics like they are mad at their parents or girlfriends. None of that here. I wish I was at this show getting elbowed repeatedly in the head by some guy half my size. -Thomas Murray

KILLJOY CONFETTI
THE FUN IS
WOODEN MAN RECORDS
A band of female banshees attacks the listener with edgy guitar riffs that pierce the eardrums with their ferocious melody. The driving bass lines and surf-rock drums chug along to supply the spine, and the vocals can go from serene beauty to angry post-punk wails. Overall, it's as if Kim Gordon of Sonic Youth cloned her DNA to form a band of her own minions. Most songs have excellent build-ups (like the opening track, "Stanford Prison Experiment, No. 2"), but without a doubt the best quality of Killjoy Confetti is their strong guitar melodies, which carry the songs. For more info, visit woodenmanrecords.com. -Norberto Gomez, Jr.

LA RESISTENCIA
LIBERTAD DE EXPRESION
SELF-RELEASED
If the debut full-length from La Resistencia proves anything, it is that great music crosses language barriers and is able to have an effect on listeners without them understanding a single word. This Los Angeles outfit may sing in Spanish, but that should not stop any fan of punk, reggae, and skacore from picking up this release, as it displays a band on the top of its game. 11 quick, driving tracks that will cause the whitest person in the room to get out of their seat and dance, LIBERTAD DE EXPRESION is a celebration of music and the happiness it brings. So dust off that Spanish-to-English dictionary, because after one listen you will want to sing along with the boys of La Resistencia. -Jeff Srack

LAUREN K. NEWMAN
JANUARY 2005 10 SONGS
GREYDAY PRODUCTIONS
Lauren K. Newman is a difficult artist to label. She sings and sometimes screams like a punk rocker. At other times she sounds a bit like an amplified blues lady. The opener, "You Seem Determined", could very well be Newman describing herself. It's metallic, with angry vocals and a disjointed guitar solo. Although it's not exactly easy on the ears, Newman sounds determined to let it fly raw. In stark contrast, "Come in from the Rain" features stinging guitar blues, whereas "Your Favorite Color Is Green" is relatively funky. Newman's various vocal approaches are displayed on "We Could" (where she sounds a little robotic) and "Within the Curve of Truth" (where she comes off child-like). She wrote and played all the instruments—something that further underscores her determination. -Dan MacIntosh

LINES INTO PHOENIX
ARIES
LESS AVENGED
Washington-based Lines Into Phoenix's frenetic display hits like Glassjaw meets Thursday via At the Drive-In on the sextet's six-track offering, ARIES. Cascading melodies on tracks like "Epiphany 210" fit snuggly between swirling guitars, while the screamo feel of "Coma Induction Via Aquarium" interlocks with the post-hardcore rhythms. Taking the eclectic wares of bands like Coheed and Cambria and Open Hand and crossing them with the mainstream senses of Story of the Year, Lines Into Phoenix have created a captivating array of sounds that you get more and more from after repeated listenings. www.lessavangedrecords.com -Mike SOS

MARA'AKATE
CONGRATULATIONS ON YOUR IMPENDING GEOGRAPHY DVD
HCNL
Being taken on a journey through the now-defunct Indiana hardcore band Mara'akate's quirky musical adventures is like reading the diary of someone who died: you really start to contemplate the could-have-beens. Not only is this DVD created with home-video footage, but with the fact that the music this band once created was unlike anything ever created before, it's really easy to get sucked into the live, basement-show-style performances and feel they're happening right in your own living room. It's just a shame that this documentary isn't a little bit more organized. It really jumps around without any real purpose or story to accompany it—something that could really be beneficial to anyone even remotely interested in this band or the music they created. -Sarah Conway

MARIGOLD
AUDIBLE TO ANIMALS
TEXTBOOK MUSIC
It seems that this is one of those bands that's actually better live than on record—at least that's what people keep saying. They must have one incredible live show, then, because here they are amazing. Since the band's singer is former This Day Forward member Vadim Taver, you can probably imagine what this band is going to sound like. Are you imagining it? Okay, now add a little more polish and prettier sounds. Now you know exactly what it sounds like. It's that fresh, refreshing sound you can only get from a band that hasn't been pre-packaged to sell. It's getting harder and harder to find that, so start listening to this band ASAP. -Tijana Martinovic

MIKE PARK
NORTH HANGOOK FALLING
SUB CITY
Mike Park has an agenda that is to create socially-conscious music as a plea for peace. Of Asian descent, in NORTH HANGOOK FALLING, Park finds himself questioning his own heritage's past and (in light of recent turmoil) its future. His message is sent through clean, smooth, acoustic-guitar-driven tracks that dance around with nice lead melodies and quiet but strong bass lines. His vocals are calm, simple, and subdued, requiring far more variation. With such weighty topics as political unrest, one would expect far more emotion from Park; however, for the most part, we are given folk-pop songs that could easily be cheesy love songs. Nowhere on this album is there a standout track, since all of them have the same folk-pop formula, leading to a boring piece of work. Park is going to have to do a lot more if he wants us to notice the problems of the world. For more info, visit mikeparkmusic.com. -Norberto Gomez, Jr.

MINOR MAJORITY
UP FOR YOU AND I
BIG DIPPER
Here we have the harsh, moody folk feel of Johnny Cash at his calmest. The vocals have that gritty quality that is somehow able to be charming and lovely. But this is fuller musically than Cash, as there is a sense of R.E.M.'s shining quality and use of layers within a constantly crawling pop song. The subtle shifts in each song are successfully done, which is a hard feat with such a minimal use of instruments. The balance is excellent. The production quality is a neat, tight package that simply enhances the already perfectly-constructed pop songs. For more info, visit minormajority.no. -Norberto Gomez, Jr.

MINSK
OUT OF A CENTER WHICH IS NEITHER DEAD NOR ALIVE
AT A LOSS RECORDINGS
I can't get excited about this type of music. Guys from Finland and other Viking countries getting together and playing that weirdo sub-genre of metal that no one really likes to talk about. Maybe Minsk aren't European or Finnish, but this music is such awfully boring garbage that I wouldn't be the least bit surprised if they were. The songs are over before I even realize they've truly begun. I mean, the whole song sounds like an intro. The vocalist sounds like he is being recorded from the next room doing his best impression of a bored lion that has never had sex. Ugh. -Thomas Murray

MISHKA
ONE TREE
CORNERSTONE
Well, this CD certainly fell into the wrong hands. While I pride myself on my musical tolerance, stuff like Mishka's ONE TREE is just too mellow for my liking, as none of the eight tracks has any bite. I know that's the aesthetic he was going for with his reggae/pop/jazz hybrid (plus some R&B on the sexified "Rock with Me"), but when I'm confronted with music like this, my mind wanders, and I inevitably tune out. That isn't to say that ONE TREE is bad. Mishka's vocals are soothingly agreeable; the two concluding tracks, "Sometimes the Ones" and the instrumental "Dust Your Blood Dub", are beautifully melancholy; and I appreciate the overriding theme of the title track, which speaks of global/human unity. Still, the songs are simply too long and languid. -Janelle Jones

NESHAMAH
COMMUNICATING IN HEARTBEATS
BLOOD & INK
Christian hardcore punk from South Africa? The good and bad news is that it sounds pretty much like the American variety. What we have here is modern metal-influenced hardcore with raspy screamed vocals, mid-pace grooves, and a touch of Swedish influence. The material is nothing original, the production is unnaturally compressed, and a few songs could have been cut; but there are interesting melodies and textures here and there. If the band tightens up its songwriting, it could play with the big boys. -Cosmo Lee

NEVERWONDER
PREVIEW
SELF-RELEASED
The debut EP from this Orange County-based quartet contains some fairly catchy rock along the lines of ex-L.A. stalwarts Mary's Danish. Joy Pearson, the cute lead singer, has some appealing pipes and demonstrates some good range. The thing lacking in this group is a touch of humility. While the band's publicity claims the band will be "a new modern rock movement," "Grammy award winning artists," "multi-platinum sales" artists, and "a multimedia empire," first the band needs a few hits. I'm all for ambition, chutzpah, and a big set of hairy balls on a female lead singer, but every band has to pay its dues. After this group records a full-length album, does a couple of tours, and gets some radio airplay, it can talk about multi-platinum sales. -Dug

OLD MAN'S CHILD
VERMIN
CENTURY MEDIA
The apocalyptic vision of black-metal luminary Galder continues on Old Man's Child's sixth release, the menacing VERMIN. Now on break from his guitar duties with Dimmu Borgir, this Norwegian pioneer of the darker side of the metal realm returns to his pet solo project, playing everything except drums on this nine-track opus. From the blistering guitars of "Enslaved and Condemned" to the majestic maelstrom of "Lord of Command" to the keyboard-driven assault of "Black Marvels of Death", this release is bursting with ferocious riffs, scalded vocals, and undeniable evil while retaining the initial raw black-metal feel. A must-have for the corpse-painted contingent. www.centurymedia.com -Mike SOS

OSYRUS
OSYRUS
LATTICESPHERE
Nu-metal quartet Osyrus (who take their name from the Egyptian god of life and death) have an eclectic mix of influences (from Fates Warning to Trapt) seeping through the outfit's self-titled endeavor. This 12-track disc boasts a friendly, big, rock-radio-ready sound, as the crisp vocals and massive rhythm section are very prominently displayed on tracks like "Never Change". The guitar work is stock nu-metal, reminiscent of Godsmack meets Crossbreed on tracks like "In My Corner" and "World Disorder", while the lyrical content and song titles lack the depth of much of the music underneath. If you're looking for some meat-and-potatoes rock without a lot of heavy brainwork (think Three Doors Down meeting Taproot), Osyrus more than fits the bill. www.osyrus.net -Mike SOS

PARKER
THE CITY FACES EP
SELF-RELEASED
Perhaps the first thing you'll notice about Parker is just how much singer Nick Cooper sounds like Pearl Jam's Eddie Vedder. From opener "Lost Angel", Cooper puts his vibrato croon over a moody guitar part. Unlike Pearl Jam, however, Parker does more than just rock. "Bridges", for instance, has some Sublime swing going for it, as well as much acoustic guitar; while "The Friction" features funky, jazzy electric guitar. To further muddy categorization attempts, "Open Your Eyes" drops into an extended progressive section. Parker either has an identity crisis, or this is just too darn eclectic. THE CITY FACES EP is only a short, five-song introduction to what the group can do. They clearly have multifaceted musical skills, which only adds to anticipation about their eventual full-length. -Dan MacIntosh

PLAYING ENEMY
I WAS YOUR CITY
HAWTHORNE STREET RECORDS
There is no doubt that Playing Enemy is a talented band. If you go on tour with Converge—like they did—you've earned your reputation. This three-piece group from Seattle proves their worth with I WAS YOUR CITY. These boys juxtapose every complex song with and equally chaotic anti-melody. In "Monaco", Demian Johnston romantically screams "Our last night in Paris was just like our last night together," while the rest of the band wail on their instruments. This song is reminiscent of Thursday's "Paris in Flames", but Playing Enemy only has minor resemblances to that supergroup. Playing Enemy is unique. -Luke Skywalker

POOP YER PANTS
POOP YER PANTS
WEASEL LAND RECORDS
Despite the absurdly immature moniker, Poop Yer Pants isn't half-bad. The witty Ken Adam is in charge of the act. They're not especially original, but they take a decent shot at lo-fi (this probably was recorded in a bedroom or a basement). "I just wanna keep it simple / And live in a shithole," Adam tells us on "Simple". That title sums up the record. When you take Adam's recording budget and conditions into consideration, you're able to appreciate this record a little more; and though there's much better out there, he deserves a round of applause for his effort. -David Barker

PROJECT X
STRAIGHT EDGE REVENGE
BRIDGE NINE
Any good intention can be tarnished when carried out with the fanaticism of a Nazi or religious zealot. Though featuring a now-notorious youthcore lineup, this juvenile, testosterone-riddled chest-beater of '87 NYHC hardcore now finally commercially released only justifies the stereotypes that plague straightedge kids: heavy on muscle and conviction, light on the gray matter. But if you're straightedge and you need a reason to beat someone's ass or just a sonic pat on the back, be sure to pick this one up. -Chris Hrobak

PROPAGANDHI
POTEMKIN CITY LIMITS
FAT WRECK CHORDS
POTEMKIN CITY LIMITS (like all the Propagandhi discs before it) should come with a coupon for one credit hour in political science. Plus, the band has worked their rock skills into a red hot, jagged beast. This, the Winnipeg trio's forth disc, is so smart and creative. The musical growth of Propagandhi should be the standard. The lyrics sometime read like an essay. The musical breaks are more progressive than punk. Propagandhi's pro-gay, pro-vegan, anti-fascist stance is relentless. Some of the standout cuts of this A+ disc are "A Speculative Fiction", "Cut into the Earth", and "Rock for Sustainable Capitalism". Jordy-boy Horkoff, The Rod, and Glen Lambert are a force of nature and intellect. Go Canada. -H. Barry Zimmerman

R.A.M.B.O.
BRING IT!
HAVOC
I don't think I've ever felt the kind of instantaneous connection as when I opened the liner notes to this album. To read your beliefs transcribed by someone else is both exciting and surreal. That generated high expectations for the album, which ended up being icing on the cake. Versed in old-school hardcore punk (such as Toxic Narcotic), R.A.M.B.O. blaze through 19 tracks ranging from distaste for right-wing politics, animal cruelty, religion, and violent dance-floor bullies like a bulldozer through paper walls. It's not all seriousness, as is evident in "Sophomore Effort" and the immensely hilarious supplement DVD. Riding the octaves while intertwining skate-punk solos, R.A.M.B.O. create memorable songs that have a grandiose feel and plenty of playability. -Chris Hrobak

RED KNIFE LOTTERY
SO MUCH DRAMA
UPRISING
This is much like a female version of the recent explosion of screamo bands like Thursday and Thrice. Here we have the formula of noisy, high guitar riffs surrounded by punk bass lines, cascading, busy drums, and agonizingly screechy vocals resembling a very pissed-off Karen O. Overall, this explosive style fails with its lack of dynamics, meaning that most tracks are entirely repetitive. Luckily, this is a six-track EP, so the energy stays potent and steers clear of complete and utter boredom. For more info, visit www.uprisingrecords.com -Norberto Gomez, Jr.

RENEE HEARTFELT
DEATH OF THE GHOST
TEXTBOOK MUSIC
Though the members of Renee Heartfelt put in time with seminal hardcore groups (including Give Up the Ghost, Count Me Out, and Striking Distance), the Richmond quartet has risen above any simplemindedly descriptive tags. With DEATH OF THE GHOST, each individual member has contributed something more musically inventive than on previous endeavors. Recalling Failure and Quicksand, Renee Heartfelt have created a muscular slab of spacey rock that's much better than you'd expect from any band with such a name. They're not accessible enough to be landing any major-label attention just yet, but they're on the way. DEATH OF THE GHOST is smooth and non-threatening, yet it still functions as a solid release from a young, maturing band. -David Barker

RINGWORM
JUSTICE REPLACED BY REVENGE
VICTORY
Cleveland mainstay hardcore troupe Ringworm have returned after a four-year hiatus with JUSTICE REPLACED BY REVENGE, a menacing 13-track disc that shows no sign of rustiness in the vitriolic quintet. Hailed alongside Earth Crisis and Integrity (to which some members of Ringworm used to belong) as progenitors of the metalcore movement, this band, despite the long layoff between albums, can still unleash the power and fury unlike most in their genre, as the flawlessly-executed "God Eat God" and the rapid-fire relentlessness of the title track unquestionably exhibit. Yeah, they may not be the most technical or brutal, but on the merit of anger alone, Ringworm's latest rekindling of the metalcore flame burns brighter than ever. www.victoryrecords.com -Mike SOS

SANGRE
EVOLUTION IS NECESSARY
FALLACY
This is some straightforward metalcore out of Pomona, CA. The ingredients are familiar: chugging riffs, barked verses, and clean vocals in the choruses (think Bleed the Sky minus the electronics). Though there's nothing original here, the recording is nicely heavy, and the latter cuts are broodingly dark. There's even a joke grindcore hidden track, complete with tremolo picking and blastbeats. That kind of variation would have been welcome in the actual album. The title here is unwittingly apt. -Cosmo Lee

SILENCE IS TREASON
SELF-TITLED
NINE 12 RECORDS
Not since the Vietnam War has there been such an uprising of musicians who have used their music to make political and social statements. Chances are most of you have yet to hear the music of Silence Is Treason. On their self-titled release, they bring us lyrics strong in meaning and don't hold back. The music is along the lines of a System of a Down sound, but a bit more progressive. Musically it's very intricate, but I didn't care too much for the vocals. I was impressed with the content of the lyrics. "A New American Century" is a song that exposes the dirty truths behind the controversial neo-conservative group The Project for a New American Century. Overall, this is an impressive yet sobering album. -Matt Edmund

SINALOA
FOOTPRINTS ON FLOORBOARDS
WAKING RECORDS
Controlled chaos is the key to the sophomore full-length release from this Massachusetts-based punk trio. Blending three screeching vocal lines, crashing drums, and a discordant pair of guitars creates a sense of both energy and confusion on this ambitious, abrasive album. The band has fashioned a unique and somewhat appealing sound out of what seems to be kind of a musical mess. There are no clean melodies or hum-along choruses on this disc, but rather a kind of tortured tone poem that oozes angst. The one song on the disc that does have a recognizable chorus "Only in Dreams", is the most accessible tune (though even that song lurches to its final chorus like the sea on a choppy day). This is an interesting—but ultimately frustrating—album. -Dug

SINCEBYMAN
PICTURES FROM THE HOTEL APOCALYPSE
REVELATION RECORDS
Yes! This album starts with the man yelling at the listener, "It's the end. Push start, please." The music is good, really good. The screams are top-notch—seriously. More importantly, the singing is actually quite haunting in a "spoken-word through a megaphone" kind of way. The real treat here is the photos inside the album. Jesus, they will change you. At first it is damn random, but then you start to piece together what they are going for—which goes so very well with the music. Someone involved is quite artistic when it comes to the concepts involved of posing/setting up a thought-provoking picture. I'd buy it like an art book, with the music as a big bonus. -Thomas Murray

SKULLFUZZ
SELF-TITLED
HAWTHORNE STREET RECORDS
I hear terribly boring sludge metal. The vocals, which are semi-angst-driven, are typical for such a genre and at times are unsuccessfully delivered (like in "Let's Go!", which sounds like the vocalist has too much to say in so little time). The strong downbeats and doomy guitar riffs add as much heavy power as they can without being too showy, while the bass lines lead with repetitiveness. The drums are standard and uninteresting. Songs like "Out of My Skull" hint at success with catchier vocals and a somewhat heavy, Weezer-like (or, if we want to go back further, Pixies-like) delivery of guitar and bass. For more info, visit hawthornestreetrecords.com. -Norberto Gomez, Jr.

SO THEY SAY
SELF-TITLED
FEARLESS RECORDS
Maybe it is just me, but I seem to be writing the same review every month. A new emo band's debut EP is sent to me, it blows or sounds like the 75,000 other upstart emo acts popping up everywhere, and I proceed to trash it. I used to think that I was being mean or nitpicking, but this is starting to get ridiculous. I know this will all pass and these bands will go back to their jobs at Subway, but until then I am constantly tortured by this music so that you, the reader, do not have to be. Oh yeah: the review. So They Say are an average act with a less-than-average debut that you will now never have to waste your money on. -Jeff Srack

SOCIETY'S FINEST
LOVE, MURDER AND A THREE LETTER WORD
HAND OF HOPE
It's depressing how many bands are mining the same metalcore/death/grind sounds. Society's Finest have the requisite scathing vocals, Swedish influences, and Dillinger Escape Plan-esque dissonance. The production is a bit thin, but the band's chops are sharp. There's not much in the way of songwriting or hooks, but the delivery is ferocious. A few cuts near the end have eerie clean guitars to mix things up. The intriguingly atypical artwork doesn't hurt, either. -Cosmo Lee

SOFA HEAD
PRE MARITAL PEDICAMENT
THE BOSS TUNAGE RETRO SERIES
When Sofa Head recorded their second studio album, WHAT A PREDICAMENT, in 1990, they probably didn't anticipate that it would be re-mastered, re-released, and virtually re-invented 15 years later. PRE MARITAL PREDICAMENT, which combines these tracks with those from their 1989 debut, is a 30-song thunderstorm that characterizes the coarse, quick-paced, punk-rock sound that this band has been praised for: guitars as sharp and volatile as shrapnel, nimble but obese bass lines, singer Claire's bratty British accent. Because of its recently re-polished production, Claire's socially-conscious lyrics in songs such as the sinister "Come to Daddy" and the sarcastic "Boys Will Be Boys" become clearer, bolder, and braver. Some parts are still sloppy, some pieces still aren't perfect fits; however, Sofa Head's albums seem to have passed the test of time. -Dane!

SOLEA
SOLEA
TEXTBOOK MUSIC
Boasting former members of Samiam, Texas Is the Reason, and Sensefield, Solea already has one foot in the door of the hearts of those who found themselves enamored by the so-called emo scene of a decade ago. Solea's eponymous debut is a much poppier outing than I expected, but it wields extensively beautiful melodies. The production by Ariel Rechstaid (from goofball ska-popsters The Hippos) might not go over well with everyone, though, as it's a bit polished. Or, you could say that the band will find new fans who've just recently caught onto the trend. But this isn't the place for scene politics. Ultimately, Solea is an excellent band penning exquisitely memorable songs. -David Barker

STELLASTARR*
HARMONIES FOR THE HAUNTED
RCA
You can call Stellastarr* a second-rate Interpol. Both groups are New York City-based, as well as purveyors of dark pop music. While Interpol is steeped in Joy Division influence, Stellastarr* chooses The Cure as a guide—though vocalist Shawn Christensen brings to mind a new-wave loving Glenn Danzig. The record runs through its 10 tracks without anything sticking. The production is slick, the melodies halfway memorable. In the end, it's a very bland album. Interpol's ANTICS and VHS or Beta's NIGHT ON FIRE are excellent records in the same genre. -David Barker

STRATOVARIUS
STRATOVARIUS
SANTUARY
There's a place where men are long-haired, occasionally androgynous, and equipped with egos bigger than their stature. No, I don't speak of a gay nightclub: it's Finland. Apparently, Stratovarius never got the memo that Motley Crue isn't IN anymore. Mixing the pretentiousness of '80s hair bands and symphonic production on their fourth release, Stratovarius shoots for the wallets of our radio-weaned older siblings and the adoration of arena crowds. I find it ridiculous to categorize these pussies—who, by the way, apparently need therapy to continue touring and bitch about such travesties as the Finnish tabloids interfering in their personal lives—as anything remotely closely to metal. -Chris Hrobak

SWIFT
THE ABSOLUTE UNCONTROLLABLE
TRIBUNAL RECORDS
These metalheads (and I use the term loosely) from North Carolina put out one chaotic CD. I'm not saying that that's a bad thing, because when they do slow down for a bit, they almost reach perfection. They just need to realize that the whole emo vocals thing doesn't work when the instruments are going at warp speed. This is one of those instances when the title of a CD just fits. "Uncontrollable" would definitely be one of the terms I would use to describe this band's music. Take a deep breath before you buy this CD, because from start to finish, they'll take your breath away. Whether it's in a good way or not is up to you. -Tijana Martinovic

THE BLAM
CAVEAT EMPTOR
SELF-RELEASED
The Blam treats us to a collection of mellow soundscapes and driving artsy rock. This album would sure please anyone who likes straight-ahead indie rock. Unfortunately, this album didn't do too much for me. My problem lies in the fact that the music featured on this album sounds like something that has been done a million times before. It's fairly obvious that they draw from many different influences but don't separate themselves from those influences. There's nothing really original here. CAVEAT EMPTOR isn't the worst-sounding album, but it came off bland and uninspiring. I did enjoy the title cut, but its recycled sound had me searching for something with more originality. -Matt Edmund

THE CLERGY
ALL WHO FLY
BOOT TO HEAD RECORDS
From the album artwork, you'd expect a mediocre Solid State Records release, but from the group photo, you imagine a typical rock 'n' roll band. The disc proves the second assumption to be more accurate. The Clergy, even 10 years after their last release, still have their edge. Fronted by Christi Simonatti, the Portland-based quartet creates complex yet straightforward rock 'n' roll akin to The Pixies in some places (but without the quirks). Simonatti isn't an exceptional vocalist, but she gets the job done, leaving the ability to impress to guitarists Leon Goodenough and Kevin Collins. Hopefully the band won't be overshadowed by all the garbage out there today (but we know how that goes). -David Barker

THE DICKIES
STUKAS OVER DISNEYLAND
OVERGROUND RECORDS
In December 2004, STUKAS OVER DISNEYLAND was re-released. This album took a total of three years to complete, due to the death of drummer Chuck Wagon and The Dickies departure from A&M Records. They finally finished recording the rest of the album in 1983 with Laurie Buhne on bass and Jerry Angel taking over on percussion. On STUKAS OVER DISNEYLAND, The Dickies bring their silly Brit-pop/punk sound to the forefront and do it well. With tracks like "She's a Hunchback" and "Out of Sight Out of Mind", this album is sure to please any fan of The Dickies or prove to be a great introduction to their off-the-wall sound. It's well worth owning, as this disc is a pivotal piece of the British punk movement. -Matt Edmund

THE DIFFS
SELF-TITLED
SOS
If you're anything like me and live and breathe early punk (in my case, the California variety), this shit's for you, as the young'ens in The Diffs spew out raucous, tough, youthful jams recalling Germs (the vocals are TOTAL Darby Crash (e.g., "Life")), CH3, Adolescents, Circle Jerks, etc. Other bands these guys must've feasted on are TSOL (one part in particular on "Silent People" is totally nicked from (is a tribute to?) "Sounds of Laughter") and Agent Orange (see the dark, surfed-out closer "Can't Escape"). These kids have it fuckin' spot-on. If you spin this album, you'll think it was made in the late '70s/early '80s (excepting the Schwarzenegger song)⎯the ultimate compliment for any punk band (at least in my book (which, as we all know, is gospel)). No wonder they've already played with a copious number of old-school legends. -Janelle Jones

THE FICTION
NAMES
WAKING RECORDS
I'd like to start this off by stating that I believe myself to be reasonably open-minded and accepting when it comes to music. That being said, The Fiction's NAMES only made it through two rotations in my CD player. Those two rotations were enough, as the high-pitched screaming and incomprehensible lyrics made it difficult for me to enjoy the experience. The instrumentation was really the only saving grace. At times, the imaginative and daring arrangements reminded me of early Cursive, at others of several of the old DC hardcore bands. In all honesty, I've heard worse...but not much. -Josh

THE HEURISTIC
PARAPRAXES
BLACK BOX
The Heuristic is a Boston-based clan whose aggressive dissonance, spacey jazz-rock interludes, and understated production assist in creating the nine-track, 17-minute PARAPRAXES. Warping your ears with as much indie-rock flare as math-rock muscle, there are also elements of shoegazing elegance amongst the cacophonous carnage, allowing this quintet the ability to maim at any given moment, then suddenly lament about its actions. This CD covers a broad range of emotions and moves very quickly—much like a tumultuous storm that leaves you helplessly seeking shelter. If you dig bursts of insanity wrapped inside atmospheric rock, The Heuristic will serve you proper. www.blackboxrec.com -Mike SOS

THE JADE SHADER
CURSE OF THE TUATARA
SONIC BOOM RECORDINGS
Hailing from San Diego, The Jade Shader brings us this seven-track EP. At first listen, the first track, "Minnesota", introduces the band's sound. It's slow to mid-tempo sound seems to flow quite naturally and gives off a great vibe. As the album plays on, the tracks become more up-tempo and turn from something natural into something more clichéd. It's not necessarily bad-sounding, but the music becomes a bit repetitive. The vocals glide along to mediocre guitar work, and the rest of the tracks seem to blend into one. Maybe a change will occur by the time The Jade Shader returns with a full-length effort—but for now, I'll pass.
-Matt Edmund

THE MOIRAI
BURY YOURSELF
ENGINEER RECORDS
Back in the late '90s, there was Penfold, a promising young band that suffered an untimely demise. The Moirai is the result of that break-up, and BURY YOURSELF is their first release. Picking up where Penfold left off, then album full of introspective, well-written lyrics and beautiful music not far removed from The Appleseed Cast, Sunny Day Real Estate, and most of the roster at Crank! Records. It's just too bad that vocalist Brian Carley's voice is an acquired taste I was never fully able to warm up to, or else I might have really enjoyed this. –Josh

THE PATHWAYS
BOAT OF CONFIDENCE
RIYL RECORDS
Brooklyn's The Pathways is the reincarnation of the coolest band of the '90s, Pavement. It's not total rip-off...but it certainly is rubbing up against being a rip-off. The odd time signatures, wandering guitar lines, and cool clever-dude ideas are all so familiar. But it's all so good. The element that saves The Pathways is their sincerity and commitment to good art. BOAT OF CONFIDENCE is a solid disc. Some of the best tunes include "Kid Gloves on the Pocket-Boat", "7 Types of Ambiguity", and "The Race to Invent the Airplane". The lesson here is that if you are going to imitate, pick someone challenging and nail it (like Badfinger or E.L.O.). -H. Barry Zimmerman

THE RUNS
WET SOUNDS
URBAN CHEESE
Although I feel I'm beyond that stage in life, I can overlook punk toilet humor. What I can't overlook is poor vocal delivery, even poorer production, and songs that are lacking in substance. The Runs attempt to have their hands simultaneously in all the cookie jars, trying vocally to sound like The Ramones while nicking Misfits themes and wrapping each song with an adolescent punk bow. It ends up a big, gray mess that's all kinds of rough around the edges and barely worth a listen. -Chris Hrobak

THE SAMMUS THEORY
MAN WITHOUT EYES
OCI RECORDS
This CD is all over the place (and I don't mean that in a positive way). We have some of those straight-up hardcore songs that are attempts at ripping off what makes Tool so good and come off as being watered-down versions of that creativity (à la Staind). This is done through agonizing screams that act as an explosion after quiet whines (à la Deftones), which is the factory-produced vocal styling of the nu-metal/hardcore genre. Some songs come across more like the garage-rock explosion with catchy their hooks and simple, repetitive riffs (e.g., "Get up, Get Down"). Then we have tracks like "Rising", which present an almost pop-metal reminiscent of Godsmack with the low, exaggerated Eddie Vedder vocals! Oh God, save me from this attack of all that made my high school years a horrible experience! For more info, visit www.thesammustheory.net. -Norberto Gomez, Jr.

THE SECRET
LUCE
GOODFELLOW
Italian skull-crushers The Secret unleash a mammoth display of decadent discord on the eight-track LUCE. This quintet's uncanny knack for composing cohesive yet experimental metal propels this release, as songs like "Close to Me, Inside My Heart" bounce from Meshuggah-esque brutality to Neurosis-esque ambiance within a six-minute timeframe. The Secret also succeed by being able to alter moods as quick as they can make lightning-fast tempo changes and dissonant chord changes on tracks like "Oslo". In all, The Secret excel by merging a multitude of extreme styles with startlingly stellar results. If you dig Mastodon, Isis, or Converge, there's something here for you. www.goodfellowrecords.com -Mike SOS

THE STIVS
SWEET HEARTACHE AND THE SATISFACTION
BOOT TO HEAD RECORDS
There is something old and dusty about this album that I really enjoy. It reminds me of all the bad-ass stuff I don't know about, punk and the generation before mine: hot rods and dive bars with flames on the front and guys with neck tattoos who rock pomade. One could just call this rock 'n' roll, and that would be sufficient. Nothing is forced or fake or flamboyant. Every song is unique enough not to be boring, and they definitely suit the style you are growing to love as you listen again and again. There is something here for all fans, especially those who enjoy tastefully long hair and tight pants. I'll even wear the tight pants. Whatever. -Thomas Murray

THE TRAILERPARK TORNADOS
MATA AL CONTACTO
BIG NECK
There's something to be said about poorly-recorded music. Not only is it raw, rough, and brutally honest, but it stirs up fond memories of mix tapes and garage shows from the early '90s that served as such a release to young hopefuls during those rough high-school years. The Trailerpark Tornados have released an album that goes against all things new by creating music that remains true to the roots of noisy garage punk. It's catchy but not too poppy, chaotic but deliberate, and tough without the 'tude. Between the raw vocals, the sloppy drums, and the undistorted guitars, this is certainly a band that was left behind with the start of the new millennium. But sometimes reminiscing on simpler times can be a good thing. -Sarah Conway

THE VAN ERMANS
UNDER THE GUN
BROKEN SPOKE RECORDS
Now that SKRATCH has shortened the word count for reviews to 130, it means that I have to persuade people from staying away from bad albums in less space. So here goes. The Van Ermans are best described as a band that wants to be Alkaline Trio, but they do not have the darkness, edge, and most importantly the talent to do so. All of this trio sing, which is probably because they all sound horrible and cannot decide who sounds the best. Neither will you. A couple of the songs have decent hooks, but decent hooks do not make an album worth listening to. (That is how you describe a crappy disc in less than 130 words.) -Jeff Srack

THUNDERSTONE
TOOLS OF DESTRUCTION
NUCLEAR BLAST
Finnish metal troupe Thunderstone's third offering finds the band straddling the line between progressive and power metal, as the 10 tracks are armed with a bevy of arena-shaking anthems and enough technicality to cajole your average prog-metal fan into giving this a spin. Packing the punch of hair metal's most prominent players laying down some flashy fretwork and heartfelt acoustic numbers like "Another Time", this metal juggernaut displays great depth, tight chops, and a melodic element that fuses it altogether, which gives this quintet a wide appeal. www.nuclearblastusa.com -Mike SOS

TOWERS OF LONDON
FUCK IT UP
TVT RECORDS
As a single from their first full-length on TVT, Towers of London has spit out two sweaty, arena-rock anthems. The title track has all the fixins for a cock-rock classic, with its simple but brilliant lead guitar licks, the Tommy Lee-like snare/bass drum break, and the crowd-cried chants; and all these ingredients return on this single's rowdier, meaner B-side, "Down in the Streets", alongside singer Donny Tourette's snotty sneer. Though the music is pretty impressive, it seems secondary to their "bad boy" image. The press pack supplementing this five-minute sampler includes an article about Tourette's court date (for trashing a venue) and the band's eight-page fashion shoot (which spotlights their big hair, tight pants, and alluring sexuality), suggesting that with Towers of London it's image first and music second. -Dane!

UNION CITY BLUE
BEAUTY IN NUMBERS/ANSWERS EPS
SELF-RELEASED
Union City Blue combines the EPs BEAUTY IN NUMBERS and ANSWERS into this 10-song release. Without a doubt, this New Jersey trio sings highly emotional songs. For example, the disc opens with "Label This", which states emphatically, "You can't take my heart away." There's quite a bit of variety here, too. "Sweet, Sweet September" is upbeat guitar rock, which then switches to a pleasant orchestral section near its conclusion. Although uncluttered electric guitar rock is the best description of the overall sound, "Teenage Romances" carries with it a British Invasion feel that incorporates plenty of acoustic guitar work. There is also insistent piano propelling "Driver Can't See". This release's production has a distinctly DIY attitude to it, but that doesn't distract from these fine songs. -Dan MacIntosh

VARIOUS ARTISTS
PRIMOSONIC RHYTHMS VOL 2
RIVERCIDAL SYNDICATE RECORDS
Ska isn't dead. Nor is this album, by a long shot. This disc is filled with some great ska, dub, reggae, and rocksteady tracks from some of California's best skankin' acts. The Aggolites provide some great dub with the first track, "Black Lung". Its sound is reminiscent of Lee Perry from the early 1970s. Chris Murray's one-man ska act contributes the moving song "Fourth of July". Monkey represents the Northern California ska sound with pride with "Sound System". This is perhaps one of the best compilations I have heard in years. Spark it up, my friends, and enjoy! -Matt Edmund

VARIOUS ARTISTS
PUNK GOES 80’S
FEARLESS RECORDS
Don’t be fooled by the title people; PUNK GOES 80’S is not filled with punk bands, but rather pop punk bands. What’s the difference? Well, if you like punk you’d know, if you’re into pop punk I guess it really makes no difference. Although I don’t like any of the bands on this album (Halifax, Rufio, Motion City Soundtrack, etc.) I love these songs. And the best part of all is that the bands don’t really fuck them up, although you’d never find me listening to any Hidden in Plain View album I love their version of “I Ran” and A Thorn For Every Heart does an incredible job of covering “Dead Man’s Party” which was one of my favorite songs when I was like … five. All in all, this is a decent cover album. -Audiophile

VARIOUS ARTISTS
TAKE PENACILIN NOW
G7 WELCOMING COMMITTEE
This compilation screams revolution—literally—as these 19 tracks are a mish-mash of punk, rap, and rock, featuring bands that have graced the G7 Welcoming Committee catalog at one time or another. From the politically-charged punk of Propagandhi to the militant rap stance of warsawpact to the chaotic metal of Malefaction, TAKE PENACILIN NOW is as diverse a comp you'll find on the market. Emblazoned with eclectic acts such as Clann Zu and Consolidated and solidified with tracks by bands like The (International) Noise Conspiracy, this comp is long on cleverness and thought-provoking material. Recommended for the free-thinking spirit who like the harder edge of the spectrum. www.g7welcomingcommittee.com -Mike SOS

VARIOUS ARTISTS
THE NEW CRAZY: LABEL SAMPLER NO. 6
DEEP ELM RECORDS
Deep Elm serves up a colorful sampler that is sure to be served at a hot summer evening house party. From a label lending a hand to awesome acts such as Secondhand Stories and Slowride, THE NEW CRAZY is a well-blended mix of rock, indie, and a dash of punk goodness. Standout tracks are Brandtson's "The Rookie Year" (now on The Militia Group Label) and Benton Falls' "Hold Out". Good stuff. -Aimee Curran

WARSAW POLAND BROS.
LIVE
INVISIBLE MASS
Because studio albums can be underperformed and overdubbed, because onstage imperfections can be veiled by a band's visual aura, live albums—which reveal every flaw and forte—seem to be the true test of a band's ability. On their latest live release, Warsaw demonstrates their impressive capacities as performers. "Nobody's Home" is a vigorous ska song featuring their flawless horn section. A slower but steady dub beat drives "Love Is Stronger Than Pride" and "S'get Budded". As the album advances, a funkier, hip-hop feel is emphasized. In "Magic Flower" and "Midnight Cold Cut", lyrics about getting ass and scoring grass are forced to the forefront, leaving little space for the trumpet and bold trombone. The album's ska essence (their forte) hibernates until the last track, revealing Warsaw's two-faced tendencies (their flaw). -Dane!

WITCHCRAFT
FIREWOOD
RISE ABOVE RECORDS
The second release from this Swedish doom/stoner band is an homage to early '70s bands such as Black Sabbath and Jethro Tull. Indeed, many of the riffs on these songs seem to have been lifted right off of PARANOID, only played a little slower and with less conviction. These guys do a good job of pulling of that seedy '70s goth look, with messy long hair and medallions. The band also seems to spend a lot of time posing for photos in old farmhouses. Witchcraft's self-titled debut album made a big splash with doom-cult fanatics. The fact that there was a big enough pool of fans to splash in is enough to make one wonder about the future of music. If we wait long enough, everything comes around again. -Dug

WRECKING CREW
1987-1991
BRIDGE NINE
What can be said about Wrecking Crew that hasn't been said before? If you're not familiar with the hardcore quartet, a complete history of the original five members is available in the liner notes or at www.bridge9.com (where you can get a full understanding of this band's impact). Upon inserting this album into my car stereo, I presumed I was just listening to a new band that played some good old-school hardcore. I quickly realized who I was listening to. I won't bother to dissect the 26-song album because we all have our favorites, but be forewarned: be careful when you Google Wrecking Crew, as you're sure to find some bands that are the antithesis of punk.
-Luke Skywalker

X TAKES THE SQUARE
GODDESS OF COOL
VIRGIN DOG RECORDS
This is easily the hardest review I have had to write for SKRATCH, as this album is all over the place. Punk to electronic to reggae to pop to folk...This album needs a small novel written about it, not a 130-word rant. X... is a two-piece act with the amazing vocal power of Dana Victoria (who sounds like Chrissie Hynde and Kate Bush's lovechild) leading the way. Though this record is three years old and is hit-and-miss, it is worth checking out. Plus, the proceeds go to the Hurricane Relief Fund. This is girl power at its most confident, eclectic, and charming—and it sure as hell beats that crap Gwen Stefani is trying to pawn off as music. -Jeff Srack

YOU WILL DIE
YOU WILL DIE
HAWTHORNE STREET
Aside from having the coolest name ever, You Will Die is a trio from Indianapolis that plays instrumental metal. The Fucking Champs and Pelican come to mind, but You Will Die lean more towards the caveman side of things. There's a bit of '70s metal influence, with bluesy bass lines and thundering drums. For three guys, this group can sure fill up space—although some riffs are just begging for a vocalist. The artwork for this album is phenomenal, with some beautiful silver textures. Crack open a cheap beer and break out the Atari for this one. -Cosmo Lee

ZEN ROBBI
COMPANY
SOUL SURFER RECORDS
Few musicians succeed when they try to stuff multiple styles of music into their album. Some stylistic switches seem awkward, impractical, and imperfect, like the psychobilly band that bangs out an occasional bluegrass tune; while others, like the pop-punkers who squeeze synth-rock, reggae, and grindcore songs into an album, can't acquire a signature sound or identity. Conversely, on COMPANY, Zen Robbi's multiple personalities—head-bopping hip-hop on "Sewed Up", frat-house funk on "Reinvent the Wheel", a swingin', jazzy swagger on "Dog House" and "Back2You", smooth and serene reggae on "No Worries", pushy punk on "Beer Song"—manage to maintain a sound that only they could claim. The sometimes crispy/sometimes crunchy guitars, singer Mic Dangerously's assertive voice, and the solid, sturdy rhythm section all prove that these boys are both jacks of all trades" AND master musicians. -Dane!

ZOMBIE APOCALYPSE/SEND MORE PARAMEDICS
TALES TOLD BY DEAD MEN
HELL BENT RECORDS
Face paint, fake blood, and zombies. No, it is not Halloween, but the entertainment sure is fine. As with Halloween, fun and frivolity are central to this split. By track 2, "God I Hope the Data is Lying", I was already in stitches. The song ends in a rhyme, punctuated by the chanting of S.O.S. Such clever wordplay is commonplace in the world of "Murder Be a Lady Tonight". Zombie Apocalypse and Send More Paramedics complement each other well with their ghoulish topics and formulaic delivery (an approach that is hopefully just a mocking costume). -Erika Owens

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