January CD Reviews (in alphabetical order)

AGE OF AGGRESSION
AGE OF AGGRESSION
SELF-PRODUCED
The sound is quite raw—probably due to low-budget production—but that doesn't take away from the overall quality. The band isn't bad; however, the lyrics are. Sometimes they sound like a personified 'roid rage that has trouble expressing itself. "A clichéd, angry high-school kid's thought process during a not-so creative day" is another way to say it. This is only a six-song sample, but there is quite a bit of creative activity packed in. The music itself is heavy and competitive in its fury and flow. These guys will be back with a stronger offering some day. -Thomas Murray

AGE OF SILENCE
COMPLICATIONS: TRILOGY OF INTRICACY
THE END
A supergroup of sorts, Norway's Age of Silence's latest foray into the land of prog-rock insanity finds these black-metal veterans rolling up their sleeves once again and getting all Opeth on your ass. Drawing influences from virtually everywhere in the heavy-music realm (and from other places, as well), this three-song endeavor acts as a cohesive holdover until the next time members of Winds, Borknagar, Mayhem, and By Pale Light reconvene for a full-length progressive slaying. Sounding folksy at times while retaining a classic crunch (albeit deep in the mix), COMPLICATIONS exhibits a revealing side to these musicians who go sans gimmickry and headlong into prog-rock revelry. www.theendrecords.com -Mike SOS

AIDS WOLF
THE LOVVERS LP
LOVEPUMP UNITED
Beware: THE LOVVERS LP is covered in nudie picks and other "artistic" touches. Depending on your hipness, pictures of someone's grandma at a nudist camp may or may not be particularly inviting. AIDS wolf have the super noisy, dissonant Daughters thing down, right down to having a girl singing, screeching, and slicing up her throat. That's all well and good, but it's been done. Shock with some randy message, awe with the sound of a dentist's drill, and then ramble with no purpose or originality in sight. -Erika Owens

AMESTORY
SELF-TITLED
PORTIA/STATUS
Yet another Death Cab for Cutie-obsessed band who fail in emphasizing, quiet, emotional vocals by sounding way too whiny and allowing for no real variation or dynamics within their delivery, which equals an intensely boring and monotonous set of tracks. The music actually contains more drama and variation than the music of their gods, DC4C, especially through the use of piano, which dominates every track (most notably "They're Telling You You've Been Alive", which sounds like a dark Radiohead track pushed even further by violin). Overall, Amestory will get nowhere until the very immature, unoriginal, and terrible vocals are traded for something less mass-produced. Amestory must decide whether to be more like Dashboard Confessional or Sigur Ros. For more info, visit amestory.com. -Norberto Gomez, Jr.

ARI ARI
THERE'S A NEW SHERIFF IN TOWN
FRICTION RECORDS
Spazzy, synthy hardcore with female vocals that constantly seem to be on the verge of falling into hoarseness. Crayoned-out cover art. Past tour dates with Racebannon, The Ex-Models, and The Holy Mountain. If this information isn't enough to convince you to check out Ari Ari, I don't know what to tell you. Sounding like The Unicorns meets The Locust, THERE'S A NEW SHERIFF IN TOWN is 12 minutes (five songs) of a torrential downpour of fiery, artsy hardcore sure to make Johnny Whitney and Jordan Billie check themselves. Take the brevity as a positive or negative, but when a band manages to pummel your ass (and ears) so quickly, you take notice. -David Barker

ASMODEUS
DIABOLIQUE ROYALE
HAIRBALL8/PSYCHOBILLY*US
Asmodeus slay with their third album, DIABOLIQUE ROYALE. Intense, fast, and hard, these Amsterdam boys know how to lay down some bad-ass psychobilly, as showcased on galloping tracks like "Ectoplasm", "Ride2night", "Farewell", "The Park", and "Heel on the Shovel". With mean, raw, gritty vocals; an amazing rhythm section featuring pounding, meaty, slapped bass and whirlwind drums; and sick guitar riffs, Asmodeus are a band you should definitely seek out if you're into the genre. And amongst all the hellish fury are a couple of slower numbers that sound awesome, like the bluesy "RnR Sexmole" and their renditions of Johnny Cash's "5ft. High" and Junior Brown's "Semi-Crazy" (a total country tune with the clever pun "semi-crazy": the singer's talking about driving semis and how he's "gotta be half nuts" to keep doing it). -Janelle Jones

BLACKLISTED
…THE BEAT GOES ON
DEATHWISH
Blacklisted's second for Deathwish in '05 (WE'RE UNSTOPPABLE was a collection of earlier material), …THE BEAT GOES ON is just more proof that Deathwish don't know how to put out a bad record. Anyway, it's always cool when bands have lyrics that match the power and intensity of the music, which Blacklisted achieve with their often introspective, contemplative, and just plain meaningful words coupled with aggressive, energetic, dynamic hardcore. Perfect examples are the stellar one-two punch of "I Refuse" and "Life Moves On", as well as "Brightest Son" and "Good Grief". And the band close out the record spectacularly with the slower, somber, affectingly beautiful instrumental "Mother Theresa", which needs no words to convey its striking melancholy. -Janelle Jones

BLACK SUNDAY
TRONIC BLANC
DIRTNAP
Upon a first listening, skepticism can't be helped; but after a prolonged listen, TRONIC BLANC begins to grow on you, until you are bobbing your head with every beat. Black Sunday is a torrent of sounds. Musician Alicja Trout rears towards punk rock, then abruptly jerks towards synthesized beats. The closest comparison is to an infusion of The Donnas with Ladytron. It's beyond interesting and is practically groundbreaking. "This Heart Is Now Aluminum" blows my mind every time I listen to it. Considering that it's all created by one woman makes it even more exceptional. -Luke Skywalker

BLIND SHAKE
RIZZOGRAPH
LEARNING CURVE RECORDS
The Blind Shake is from Minnesota's Twin Cities, but this listener immediately picked up on a distinct X vibe (you know, that great band that helped make Los Angeles punk famous). This trio plays almost everything fast and loud. There are elements of garage rock, which are then mixed with a punk spirit...or is that garage spirit mixed with punk? Whatever the case, it works. RIZZOGRAPH buzzes along like a 64-oz. jug of coffee taken in one gulp and keeps you up and at 'em long after the last drop. Its sound is comprised of nervous guitar, bass and drums. Many of these songs (such as "Running from the Mail") sound closer to Native American war chants than songs—but this whole tribal vibe is what makes it so cool. -Dan MacIntosh

BOLD
THE SEARCH 1985-1989
RELEVATION RECORDS
First and foremost, I must give me regards to Bold for being pioneers in the New York hardcore movement. This group had its HEYDAY during punk's evolution, and therefore respect must be given. And as for this recent release by Revelation Records, you got to love that you receive 32 tracks of unadulterated hardcore, full of all its raw sound and shouting anthems. If you would like to recognize the roots of today's hardcore music, THE SEARCH 1985-1989 is a must-get. -Luke Skywalker

BOYSETSFIRE
BEFORE THE EULOGY
EQUAL VISION
Having recently reached the 10-year mark as a band, a disc collecting demos, rarities, etc., for Boysetsfire was already past due. Aptly titled BEFORE THE EULOGY, this album compiles 20 tracks, covering the band's history from the first two demos, the CONSIDER 7", the CHRYSALIS and SUCKERPUNCH TRAINING EPs, and a few hard-to-find cuts tacked on the end. Obviously, it's an essential for Boysetsfire fans; but if you haven't heard them, don't consider it a starting point. (AFTER THE EULOGY would be ideal for Boysetsfire neophytes.) Props to Equal Vision Records for putting the record together, as it's much cheaper and easier than tracking down individual releases. And there's even an awesome Dead Kennedys cover. -David Barker

BOYSETSFIRE
THE DAY THE SUN WENT OUT (REISSUE)
EQUAL VISION
The politically-charged hardcore of Boysetsfire has been a staple of the punk scene for the past decade, but in the years since this album's release on Initial Records in 1997, it managed to go out of print. Considered by many to be Boysetsfire's zenith, THE DAY THE SUN WENT OUT showcases the Delaware quintet as one of the smarter bands to ever crossbreed hardcore's intensity with actual singing, important lyrical messages, and high awareness of the sociopolitical climate surrounding it. Rougher than the records following it, THE DAY THE SUN WENT OUT is a classic in its particular scene. -David Barker

BRAZEN ABBOT
MY RESURRECTION
FRONTIERS
Oh my god. I heard the first song and thought this was a joke. I HOPED it was a joke. Can a review just be one word? If so: Ew! This is so laughable, folks. Look at what I do for you: I listen to all 62 minutes of Brazen Abbot's wretched fifth album (don't get that label confused with Frontier, the awesome pioneering punk label that released early stuff from Christian Death, Circle Jerks, et al.) just so you don't have to. But if you are masochistic, don't skip the tender, bittersweet ballads "Dreams…", "The Shadows…", and "Shades of Grey…", which are absolutely magnificent in all their sappy retardo splendor. Ew! This prog-metal/classic-rock outfit led by guitarist Nikolo Kotzev put out a record called BAD RELIGION. That's just blasphemy. -Janelle Jones

CHARNEL VALLEY
THE DARK ARCHIVES
PARAGON
Armed with knowledge of the black-metal scene and a love of the game, Charnel Valley was born to pay homage to the forefathers of black metal—and this five-track endeavor nails the vibe, right down to the shaky production value. Blending minimalist metal riffs with raw aggression, Charnel Valley's savage output sounds like a traded tape from 1986 that you found at a garage sale—a testament to this project's penchant for truly keeping it real. Bust out the corpse paint, light a few candles, and crank this one up. www.paragonrecords.net -Mike SOS

CERBERUS
THE CAGE OF EXISTENCE
HELL AND DEATH
From the opening scream of THE CAGE OF EXISTENCE, Cerberus establishes its place as an unwaveringly volatile entity, as this ferocious 10-track disc explodes with shards of death-metal proficiency and thrash-metal technicality. The gargled-glass vocals that seal the deal, thrusting tracks like the nasty "Fractured Extraction" into death metal's upper echelon. Fortified with crushing death-metal grooves, "Brutal Remains" lashes out with bold aggression; while the acoustic intro of "The Path…" foreshadows yet another battering courtesy of "The Gates of Mercy". Meshing classic metal's crunch with a heavy-handed death-metal aura, this California-based quintet delivers a metal album whose unbridled fury and thrash-metal prowess are top-notch. www.cerberusmusic.com -Mike SOS

CHILDREN OF BODOM
ARE YOU DEAD YET?
SPINEFARM RECORDS
I can't remember hearing a whole lot of Finnish music that has really gotten me excited. C.O.D. was certainly an exception. This album got frequent airtime this month, even when I wasn't writing reviews. In fact, I broke a whole bunch of my new roommate's belongings while listening to it. The album possesses a sing-along quality to it, in addition to constantly reminding listeners of an underlying aggression that is never far away. The album begins with bad-ass synthesizers on "Living Dead Beat" and hits hard and consistent all the way through. There is so much to hear on this disc, a lot to go through. -Thomas Murray

CIRCUS CONTRAPTION
GRAND AMERICAN TRAVELING DIME MUSEUM
SELF-RELEASED
Grab your daughters and watch your wallet, for Circus Contraption is in town. On its debut release, the band (well, more of a circus troupe, to be accurate) manages to present an entire 75 minutes of performance art. There are carnival barkers, dancing girls, and klesmer musicians all wailing away in this twisted romp through a dark and sinister big-top extravaganza. At its best, the disc transports listeners into a weird mélange of performers most people would cross the street to avoid. At its worst, it goes on a bit too long and sometimes just gets lost in its own strange world. The full name of the band is The Circus Contraption Orchestra and Drinking Society. Break out the absinthe and give this creepshow a spin. -Dug

CITY FRITTER
SELF-TITLED
SELF-RELEASED
The debut, five-song EP from this Topanga Canyon band is a feel-good cross between alt-country and sonic country rock. There is some incredible harmonica-playing by vocalist Jewels (especially on the track "$91"). Most of the tunes are about drinking, drugs, and tattoos—perfect subjects for alternative country. While Jewels's voice often borders on old-school Nashville female vocals, Johnny Nation's rockabilly-styled lead guitar riffs lifts this music out of the Grand Ole Opry tradition and places it closer to musicians like Graham Parsons. No matter how good the music is, I still can't help but think of City Fritter as Kitty Litter. Time for a name change. -Dug

CRASHKILLSFOUR
SPEAK WHEN SPOKEN TO
SELF-RELEASED
Never is the adage "Thank God for small favors" more appropriate than when you pop in a wholly mediocre record and realize it's only an EP. Finding a formula that works for your band and following it as adequately as possible is completely respectable. I just prefer small doses of that respectability. Like most other melodic hardcore bands out there, crashkillsfour work hard and play around their hometown (here, San Diego) frequently. They like bands you like—Boysetsfire, Grade, Snapcase—and have fashioned that admiration as imitation. With a lot of screams, some chugging, and surprisingly no references to religion or straight-edge, crashkillsfour have turned from petty critics and consumers to producers. Good for them. -Erika Owens

Dead Kennedys

DEAD KENNEDYS
FRESH FRUIT FOR ROTTING VEGETABLES (REISSUE WITH DVD)
CHERRY RED RECORDS
This CD is amazing as is the original release of this disc (especially since it has my all time favorite Dead Kennedys song on it "Let's Lynch the Landlord"). What sets this album apart from the original is the DVD that comes along with it. FRESH FRUIT FOR ROTTING VEGETABLES DVD has some AMAZING footage - live footage of the songs being performed at various places, along with footage from Jello's run for office back in the day. If you're a Dead Kennedys fan, or a Jello fan, this DVD will blow you away. -Audiophile

EARLY MAN
CLOSING IN
MATADOR
No, you haven't stepped inside of a time warp. Instead, dynamic Ohio duo Early Man brings 1982 to you, leaving no stone unturned. CLOSING IN is a raucous, raw, relentless heavy-metal assault from start to finish, brandishing the monolithic riffs of heavies like Diamondhead and Iron Maiden with the sneer of Megadeth and the majesty of Ozzy (before Sharon's dictatorship). Retro to the bone, galloping guitar riffs are king on this 11-track fist-pounder, as tracks like "Brain Sick" and "Thrill of the Kill" scientifically follow the "keep it simple" philosophy without sounding dated or retarded. Raise your chalice and show your devil horns, metal children: the bastard spawn of Dio and Judas Priest has arrived. www.matadorrecords.com -Mike SOS

EPICA
CONSIGN TO OBLIVION
THE END
From the majestic horns that open CONSIGN TO OBLIVION, the Holland-based sextet Epica set a regal tone. Melding the a cinematic feel with opera, goth rock, and metal, this overblown yet grandiose offering is laden with strings, a choral section, and a slew of catchy songs that would sound at home on a Broadway stage. Tracks like the calming beauty of "Solitary Ground" make Evanescence sound like The Spice Girls; while songs like "Force of the Shore" join melodic death metal with traces of "Bohemian Rhapsody"-era Queen. Equipped with a full-scale symphony and unafraid to take Stratovarius-like breaks to rage, Epica's latest release falls far off the metal radar into showtune land...but as long as you're ready, you'll be able to marvel at the mystique of this disc. www.theendrecords.com -Mike SOS

FINAL BREATH
LET ME BE YOUR TANK
MAGICK
German death thrashers Final Breath relentlessly roll you over on the 11-track LET ME BE YOUR TANK. Dropping a vicious mixture of galloping guitar riffs, headbanging bass and drum displays, and a stream of snarling, kick-you-in-the-gut vocals, this disc is bursting with raging heavy metal akin to Destruction, Kreator, and Arch Enemy. Get your battle gear and brace yourself for the barrage of bombastic metal found on choice cuts like "Greed for Revenge" and "Exposed to Hatred", which evoke the spirit of The Haunted, Children of Bodom, and Entombed rolled into a destructive entity capable of turning a mild-mannered dance floor into complete chaos. www.magickrecords.com -Mike SOS

FINE CHINA
THE JAWS OF LIFE
COMMON WALL MEDIA
The third full-length release from this Phoenix-based pop quartet is an evocative gem. With a melancholy sound that would make Morrissey cry, Fine China evokes a sad, soft twinge of regret with some of the finest pop songs ever written. They look like English poofsters, but the music that oozes out of the grooves on this CD is enough to make the most jaded hardcore punk fan do a double-take. It's hard to love an album this dark, but these evocative tunes captivate that uneasy portion of your consciousness that just can't ever get comfortable. By all means, buy this album and become fans of these jaded hipsters. Just don't tell anyone it was a band from Arizona that made you jump off a cliff. -Dug

GROUP36
THE NEXT STEP
SELF-RELEASED
Group36's latest release, THE NEXT STEP, reeks of leather, sweat, and Smirnoff—like a lot of street-punk releases. Stamped with that familiar "them against us" mentality, each song—driven at desperate, unstable speeds by the occasional blast-beat—seems to unravel even before the first verse begins. The same four or five chords are rearranged and repeated in each sloppily-executed cut. Some songs, like "Kill or Be Killed" and "Bombs on the Nightly News", sound a little too similar. Group36's music and meticulous image—too-tight pants and tattoos, studs strewn across their clothes, a logo of rebelliously-assembled line segments—are pretty stereotypical stuff. Of course, such criticism could be considered a compliment, couldn't it? -Dane!

GUITAR WOLF
GOLDEN BLACK
NARNACK RECORDS
This execrable "greatest hits" album lets everybody know why all bands should go to Japan to get famous. Though this trio of Japanese garage rockers do their best to look like The Ramones in tight leather outfits and dark glasses, they forgot the most important thing about a band: making music. This collection of 26 songs, mostly clocking in at two minutes or less, is enough of a distorted mess to make your eardrums bleed. Japan is a place where you can buy beer and used panties in vending machines. In order to shock its audience, this band chose to abandon all the stylish beauty of the Japanese culture and embrace the worst of American music in the worst way possible. This album is so fucking bad. -Dug

HEADRUSH
SELF-TITLED
LOCOMOTIVE
Hailing from Italy, Headrush is offering a whole new take on "hard rock." With a sound that is more Christian alternative than Ozzfest, Headrush is pretty perplexing. The songs are nearly operatic, with sweeping vocal numbers that feature back-up singers who you can almost see dancing and snapping their fingers. With such a bombing sound and vocals that convey a sincerity rarely heard without a whine or a scream, it is clear Headrush has something to offer. But shrouding that offering in faded guitars and brassy back-up singers is not the way to reach an American hard-rock audience. With a shift in promotion, though, Headrush could be tearing up the adult-contemporary charts in no time. -Erika Owens

HEADQUARTERS
GET YOUR HEAD ON
GROUP 4
Originally inspired by an indie cult classic film, AMERICAN MOD (which was made by frontman Charles Wallace), Headquarters are now attempting to be a REAL band in the vein of the most recent garage-rock explosion of bands like The Strokes, and The White Stripes. This five-track debut EP was even produced by Gordon Raphael (IS THIS IT), and the attempt at raw, guitar-driven rock songs is obvious. Yet, unlike the sincerely disgruntled nature of The Strokes, the guitar work, bass, drum lines, and keyboards are heavily inspired by bubblegum pop/rock of The Monkees and Herman's Hermits rather than The Velvet Underground or The Doors. The Headquarters sound more like a TV band pretending to be a REAL band. For more info, visit hqmusic.net. -Norberto Gomez, Jr.

HISTORY INVADES
THE STRUCTURE OF A PRECISE FACTION
LUJO RECORDS
The debut release from this Portland-based group is an upbeat, techno drum-sampling electronic disco/screamo album that pushes music to boundaries that most people never knew existed. This band is so esoteric that it chose an unreadable script for its name on the album cover so that no record store will ever figure out how to catalog it. The band's Website is magical, though very limited, in information. According to the band's press release, there are only two members in this band, though the album lists 13. This CD really does have it all: moments of brilliant rock improvisation, spaced-out interludes and intros, and urgent, melodic dance beats that make this a very listenable (though bizarre) album. With all its strangeness, this is still a great album. -Dug

IMOGENE
SELF-TITLED
SELF-RELEASED
The funky use of drum and bass throughout is Imogene's strongest element, and it's done with a dark psyche-rock emphasis (à la Queens of the Stone Age). However, strong hooks are nowhere to be seen, and except for some fun fuzz-box-driven psyche-outs, the guitars are almost non-existent. The vocals themselves want to be smooth and somewhat soulful to conflict with the grittier moments; however, they so lack in variation that the attempt at smoothness becomes utter monotony. The overall package of IMOGENE is lacking energy, as the music tends to follow in the footsteps of the vocal delivery. For more info, visit www.imogene.info. -Norberto Gomez, Jr.

INFLICTION
THE SILENCER
CRUZ DEL SUR
Infliction plays a hybrid of styles that shouldn't match up as well as they do here. Meshing melodic death metal with radio-ready goth rock, the 11-track collection jumps around from genre to genre with relative ease and astonishing cohesiveness. Tracks like "Redhouse" find this Italian band trading Nevermore-esque choruses with frenetic death metal à la The Haunted, while the gothic rocker "Nocturnal" chimes in with a creepy aura and a sense of Paradise Lost's better works. Arguably, THE SILENCER's focus seems a bit askew and purists will be disenchanted, but songs like "Sleepers" uncoil a vitriolic slab of melodic death-metal madness. If you can withstand some dark, piano-led tracks like "Paperlife", this disc is a salvageable effort worthy of a few good spins. www.cruzdelsurmusic.com -Mike SOS

IT'LL GROW BACK
SEDUCE AND DESTROY
GET FACED RECORDS
It's not pretty, and it's not polished; it's neither complicated nor clever; but It'll Grow Back's simplistic punk rock is as brilliant as it is basic. SEDUCE AND DESTROY sounds like something recorded in the early '80s, with its flat, lifeless drums and fuzzy, fuzzy guitars. The album's energy and enthusiasm is the band's own and not the fruit of some studio's soundboard or some producer's expertise. The riffs in songs like "Burn the Kid Out" lurk and slink suspiciously behind J.T. Rocket's voice, which is part Davey, part Danzig, part Jello, and yet is unusually unique. The raw rock 'n' roll intensity in "Say What, Motherfucker?!" showcases It'll Grow Back's gritty bravado with Rocket's wall-quaking wails, growling guitars, single-finger solos, and unpretentious, passionate punk-rock spirit. -Dane!

LAKE TROUT
NOT THEM, YOU
PALM PICTURES/RX RECORDS
When you realize that Dave Fridmann (The Flaming Lips, Mercury Rev) and Tony Doogan (Mogwai, Delgados) helped produce this CD, that very fact fills the heart with anticipation. And the heart is not let down, because NOT THEM, YOU is a fine collection of music. Whereas both The Flaming Lips and Mercury Rev have each been gravitating to a more orchestral approach of late, Lake Trout still shows off fairly strong rock 'n' roll roots. This ballsy direction is exemplified by the cover of The Rolling Stones' "Street Fighting Man". Nevertheless, there is a moodiness saturating these songs (such as in "Pill"). But instead of plodding in slow-motion depression, Lake Trout take a hint from Johnny Cash and get rhythm when they get the blues. -Dan MacIntosh

LASALLE
EXPEDITION SONGS
THICK RECORDS
For those of you still hurting from Small Brown Bike's unexpected demise, LaSalle should be able to heal your wounds. The three-piece (comprised of the aforementioned band's Mike and Dan plus Mike's wife Katy) play somewhere in the same field as FIRE IN THE CITY OF AUTOMATONS-era No Knife, latter-day Small Brown Bike, and Karate, beautifully intertwined with male/female vocal melodies. The result is a gorgeous debut from former members of one of the Midwest's most underrated bands of the past decade who've now stepped into a slightly different game. EXPEDITION SONGS is certainly more accessible than Mike and Dan's earlier work, and the female component is entirely welcomed. -David Barker

LIES
HATE
SICK ROOM RECORDS
Lies calls its CD HATE, and such negative words come easily to this band. Its sound is sludgy hard rock, and its approach is a little bit like a metal version of Sisters of Mercy. During opener "This World", the group chants "Just another bullshit day / Just another bullshit life." This disc's sound is a little on the muddled side, with lots of buzzing guitars beneath warbling vocals. This warbler, by the way, is Travis Bain, who is assisted by Nick Ascenario on guitar, Paulo Garcia on bass, and Raynal Reyes on drums. In the band's bio, Bain states: "This album is a reflection on my life and all the bullshit I've had to deal with." So if you'd like the pleasure of dealing with Bain's bullshit, simply pick up HATE. -Dan MacIntosh

LOGH
A SUNSET PANORAMA
HYDRA HEAD RECORDS
With moments of Sonic Youth at their most subdued, Logh make no secret of their meticulous obsession with every single note played. There is strong use of atmosphere that if left alone could easily suck you into a black hole, but the combative drum and bass bombastically chug along while the melodic guitar urges us onto a more positive path. The minimal vocals, which echo those of other vague maestros (à la Sonic Youth's Lee Reynaldo), are perfect to express the somewhat hopeless nature of past, present, and future. A SUNSET PANORAMA successfully balances dark delivery with hope through excellent focus on creative music, ensuring that they do not fall in with mass-produced EMOtional whiners. For more info, visit www.hydrahead.com. -Norberto Gomez, Jr.

LOZENGE
UNDONE
SICKROOM
Lozenge's vast array of spastic, jazzy noisemaking antics are splattered across UNDONE much like an abstract painter's final canvas. This 14-track experimental jam-rock freak-out is led by a massive display of both drums and non-traditional percussive devices, giving songs like "An Exhortation" a mechanical glaze on the artsy punk rock underneath. Instrumentation such as accordion, oboe, and tuba are all prominently used on tracks like "Eyeteeth", emitting the kind of left-of-center radiance of a Mike Patton project. If you're up for a challenging listen, this CD beckons. www.mylozenge.com -Mike SOS

ME VERSUS THE MONSTER
THE RESURRECTIONIST
SHOW OF HANDS
With THE RESURRECTIONIST, Me Versus the Monster have managed to create an EP that is at times stellar and at others a bit lacking. Half the tracks kick total ass, whilst the rest seem to not be quite up to par. Basically, these guys really excel when they put more aggression into their post-hardcore, as on the opener "Purgatory Screen", which is up-tempo, driving, and intense; "Next of Kin", a composition showcasing much urgency and an almost raging punk tone; and the pounding "Rolling in His Grave". Still, even though the songs that aren't as forceful aren't bad, they don't hit the same high points. A poor decision is finale "Set Up the Support Lines", the weakest, most dragging song. -Janelle Jones

MISSING SINCE YESTERDAY
WE ARE THE CATALYSTS BUT WE WILL BE CONSUMED BY THESE EVENTS THAT BREAK US ALL
SELF-RELEASED
This quartet manages to bust out some nice screamo distortion, killer drums, and the longest name of any album in recent history. This five-song EP contains plenty of anthemic choruses with urgent backing vocals, some droning lead vocals—and did I mention killer drums? The band uses ?s instead of 's on all album liner notes. With a preponderance of spacey interludes, this band almost becomes a prog band. These guys are very talented and probably do a great live show, but here, the band sounds like Coheed and Cambria on acid. -Dug

MODE
THE DEAFENING MOMENT OF TRUTH
SELF-RELEASED
Well, it is officially 2006, and I am now stuck answering the question, "Why am I reviewing a self-issued CD by a punk/metal band out of Oklahoma City that was released in 2004?" I have no idea. This album is so bad that the adjective to describe it hasn't been found yet. Perhaps "shittiestthingeverreleased" is a good one. Since the band hasn't recorded anything in two years, here's to hoping that they have moved on in their lives and stopped ruining eardrums with this garbage they called music. Well, there goes my New Year's resolution, which was to stop being so mean in my reviews...but these guys had it coming. -Jeff Srack

NAGLFAR
PARIAH
CENTURY MEDIA RECORDS
Holy double-bass! Jesus, it is fast and constant. I haven't heard such blatant use of the double-bass in quite some time. Another Swedish band. After seeing the Geiger-ish cover art and the unpronounceable names on the back cover...I thought so: this is pure black metal. Apparently, Sweden and Finland are exporting more of this music than Ireland is beer. What it lacks in creativity, it holds in staying true to an apparent pattern. Despite the occasional glimpse of interest, it is too similar to the other stuff I have heard from this genre. I know there is a swarming fan base for Naglfar somewhere, and I hope they like this album just as much as the other four Naglfar albums released since 1995. -Thomas Murray

PATHS OF POSSESSION
PROMISES IN BLOOD
METAL BLADE RECORDS
I haven't seen a Metal Blade release in quite some time. They were king throughout my listening youth. This album is not reflective of what I have come to expect from such a label. For fans of very textbook death metal, sign up for this one. Another death-metal group with their name somehow attached to Cannibal Corpse. I guess I can't blame them. With obvious themes of "doom" and "darkness surrounding" and "godless fear" running constant, I can see how many listeners would find this cheesy, hokey, and ridiculous (except on Halloween). I think that this album is so blatantly death that you must overlook the socially-imposed standards and appreciate this for what it is: laughably headbangable...and not the kind of music that'll get you laid. -Thomas Murray

RAISE THE RED LANTERN
BREATHE FIRE
SEVENTH RULE RECORDINGS
Birthed from the underground music Mecca of Chicago, Raise the Red Lantern is a brutal punch-to-the-gut assault of crusty hardcore/metal/punk, all ready to be embraced by fans of Kylesa, Neurosis, Tragedy, Baroness, Pelican, Mastodon, and the like. Aggression runs high, with gruff vocals over the intense guitar work and pounding rhythms. And for all the intensity, there are brief moments of intricate, beautiful melodies. The musicianship is excellent, abounding with plenty of energy at times, at others breaking into slower, sludgy sections. Check it out if you're into any of the previously-mentioned bands—but not because Raise the Red Lantern is a simple knock-off: they're not. They're just fucking good. -David Barker

RIGOR SARDONICOUS
APOCALYPSIS DAMNARE
PARAGON
Rigor Sardonicous is a doom-metal band whose super slow pace makes most bands that share the genre look like shredders. Unleashing eight tracks of crawling agony not for the faint of heart, mind, or stomach, this collection of dirges releases a very ominous aura. Re-recorded from an earlier release, APOCALYPSIS DAMNARE aims to make you feel as if you've ingested a whole bottle of cough medicine and washed it down with a few prescription painkillers. This threatening trio, adorned with a death-metal growl from the depths of Hell, diabolically delivers the goods for those who yearn for doom-laden, funereal metal. www.paragonrecords.com -Mike SOS

RIKETS
ANYTHING FOR THE DEVIL
CORPORATE PUNISHMENT
Hello, Cleveland! Ohio's latest industrial-metal clan Rikets try on the wares of Marilyn Manson, Static X, and neighbors Chimaira on the band's five-track episode, creating a tumultuous exhibit of rabid, rapid-fire metal. From the grinding groove of "Bitter Words" to the machine-like rumblings on "Useless", ANYTHING FOR THE DEVIL is a boisterous ride through electronically-manipulated metal that has traces of loathing à la Korn built in for an extra dose of aggression. If you like angry music with a techno edge, Rikets holds its own amongst the pack of chugging low-end acts. www.corporatepunishmentrecords.com -Mike SOS

SHENOAH
BLEEDING IN THE RED
CORPORATE PUNISHMENT
Shenoah blend metal with post-hardcore pretty effortlessly on the Cleveland-based outfit's latest, five-track outing. At times emulating 36 Crazyfists, Life of Agony, and Lostprophets, this band shows that they can both crank out some heavy rhythms and driving riffs and still leave room for a melodic passage or interesting musical interlude. Featuring stellar songwriting with exemplary movements (especially on the bridges of "Age of the White Dove" and "Ashes to Ashes"), Shenoah succeeds by sounding like a lot of bands without blatantly ripping any of them off. Instead, this five-piece use a metallic backdrop and some modern-day metal wares to illuminate catchy hooks, anthemic choruses, and a strong overall sense of dynamics. www.corporatepunishmentrecords.com -Mike SOS

SLOUGH FEG
ATAVISM
CRUZ DEL SUR
This is so bad that my listening buddy went outside to poke at a palm tree with a palate knife. He just stood out there and left me to endure this album on my own. Slough Feg, a demon lord from Irish mythology, is a very classic old-school kind of metal. Even with hints at Irish culture throughout, there was nothing to make up for the other horribly cheesy things a listener must experience. This album is an older, long-haired uncle with a Fender telling high-pitched folk stories that you don't care about. Occasionally I'd shake my ass a little with the bass line, but then vocalist Scalzi would start belting out his lyrics, and my stomach would turn in anguish. Keep digging, guys. -Thomas Murray

STEREOTACTIC
THE DAWNING
AVEBURY RECORDS
The first song (a prelude, really) consists mostly of an instrumental jam but includes the lyrics: "The time has come for them to see / You all will know, you all will see now." I don't know exactly how I feel about this. It seems pretentious. The second song flows smoothly from the first, ending with the yelling repetition of "Do you wanna see how we play?" To me, this is like those guys that slap-spank unwilling ass while hissing, "Do you like that? Huh? Do ya?" The second song, "Dead Men", is much better—the music, the lyrics, everything. The album improves vastly, with many more decent lyrics and songs throughout. They explore many levels of music while not being too annoying about it. -Thomas Murray

SMALLSPACE
NO MATTER
SPEEDYWAGON RECORDS
The debut release from this Michigan-based quintet is a wall of sound that walks a fine line between electronica and lush pop. This Grand Rapids band reaches for the stars on this disc. At times, the band reverts to futuristic folk (e.g., "For Days"), where acoustic guitar and soft vocals are matched with electronic rhythm and the occasional synthesizer. For most of the album, the band has hit upon a winning combination with the merging of catchy vocal melodies and rave-type electronics. This music is too slow and contemplative to appeal to anyone addicted to speed metal or punk, but in the right crowd, with laser beams bouncing off the ceiling and day-glo-clad scenesters weaving across the dance floor, this shit is chilling. -Dug

SUMMER'S END
SUMMER'S END
HAND OF HOPE
Supposedly, Summer's End is innovative in the genre of horror-core, but without close inspection, it would be difficult to differentiate them from any other metal-core group out on the market. This is not to say they are not a fantastic metal-core band. Vocalist Josh Hansen is clutch on every scream and growl, and drummer Dave Eaton is on tempo with his double kicks. Whether you are a fan of the horror genre or just into the hardcore scene, you'll like Summer's End for their ability to rock. -Luke Skywalker

SUPREME COURT
THE UNFAIR WARNING
SATAN CLAUS RECORDS
The cover art had me pretty optimistic. But a few songs in, I wasn't completely turned off and nauseous. There is some creative use of medley and genre crossover, as well as the occasional bad-ass breakdown. According to the inserted write-up, this is their third "proper" recording. After some more time playing together, they could be quite good. Speaking of the included write-up, I was able to learn such fascinating facts about the band as: "Hobbies for the boys include drinking beer, smoking cigarettes and DOING pranks." WOW, is that it? Could that be any less interesting? The music isn't bad, but the next group of guys is probably just as talented—and chances are they'll have more interesting things to say about their lives. -Thomas Murray

TAKEN
BETWEEN TWO UNSEENS
MONARCHY MUSIC CORP
Taken is no longer in existence; the band has broken up. But this past October, on their last tour, the group decided to release an EP featuring their diversity of emotional hardcore. The first few tracks are what we all will remember of Taken, but the record closes out with epic instrumental ballads "Eternity Was on Our Lips" and "Swirling Memories". It's sad to come to terms that we won't hear from these guys ever again, but BETWEEN TWO UNSEENS is a memorable collection of songs for Taken to go out on. -Luke Skywalker

TENEMENT HALLS
KNITTING NEEDLES & BICYCLE BELLS
MERGE RECORDS
Tenement Halls is the new outlet for Chris Lopez's songs. Lopez, you may recall, once led Rock*A*Teens. Shamefully, I'm not all that familiar with Rock*A*Teens. TENEMENT HALLS, however, makes me want to pay Rock*A*Teens a little belated attention. Various pianos offer the primary instrumentation here (although "Starless Night" includes organ and (I think) banjo; and "Charlemagne" is lovely, jangling guitar rock). Lopez's singing leaves him sounding more than a little bit like an Anglophile. In fact, he often comes off like a dead ringer for Ian Hunter (Mott the Hoople), of all people. Lopez sounds desperate and self-deprecating throughout many of his lyrics here. This desperation comes through during "Plenty Is Never Enough", while his self-deprecation is best expressed best with "My Wicked Wicked Ways". Rock on, ex-Teen!
-Dan MacIntosh

THE APPRENTICE
AN AMERICAN PORTRAIT
FUTURE DESTINATION RECORDS
The Apprentice is a lush, tenderhearted, acoustic-guitar-oriented group led by singer/songwriter Eric DeLong. Honestly, I don't listen to stuff like this, but I can imagine Copeland and Armor for Sleep fans deeply enjoying this. AN AMERICAN PORTRAIT is neck-deep in sincerity, with 11 songs told from the different perspectives of family members (a rather cool concept). The alcoholic father buries himself in whiskey and regret each night, as he's disconnected from the rest of his family, each of whom has his/her own moments on the record. The narrator of the unfolding story gets his views in twice, tackling the American Dream. Either way, DeLong is a young talent, a diamond in the rough. -David Barker

THE BLACKOUT PACT
HELLO SAILOR
ASTRO MAGNETICS
The debut album from this Denver six-piece seems to have everything going for it: strong lyrics, hooks upon hooks, and production from Geoff Rickly of Thursday. So why does there seem to be something missing? Listen after listen has confirmed this band's talent, but something seems to be holding them back from truly becoming the great artists they seem destined to be. This is a band that will definitely make fans of Rise Against, Sparta, and AFI ecstatic, but until they can take its sound to the next level, they will be just a good opening act. Take a chance on The Blackout Pact, because they won't disappoint, but they don't impress as much as they should, either. -Jeff Srack

THE BLOWTOPS
INSECTED MIND
BIG NECK RECORDS
Insects, suicide, and surgery. These strange and seemingly dismal themes recur on INSECTED MIND, the latest album by The Blowtops. This bass-less foursome from Buffalo crank out unconventional rock 'n' roll with a spooky, experimental essence. Gooey, distorted guitars drone like jet engines in the brooding "Black Jebus", beneath which an organ bleats, filling in the bottom end that would otherwise be absent. Less eccentric (though still strange) are songs like "Now Translation" and the title track, whose retro-rock aura features Scary Dave's frantic, feverish vocals and a percussive keg, successfully making an ordinary drum set seem more odd. INSECTED MIND is a transition from something straightforward to something freakier. Though there are still some wrinkles that need ironing out, The Blowtops thrive in their new threads. -Dane!

THE DREADFUL YAWNS
SELF-TITLED
BOMP RECORDS
Despite the "dreadful" name, this band has put together the greatest album Neil Young never released. With a sound as pure and endless as a prairie wind, this Ohio-based quartet sounds like the "Godfather of Grunge" in his heyday with a healthy dose of The Jayhawks tossed in. Reviewers have compared the band favorably with Buffalo Springfield, The Byrds, and Fairport Convention, but this band manages to form its own identity with tasty banjo licks and a mournful harmonica. Fans of alt-country will love this disc. Now, if we can just do something about that name.... -Dug

THE HOLY SMOKES
SELF-TITLED
NBO RECORDS
While the debut release from Las Vegas quartet The Holy Smokes is often lumped into the psychobilly genre, this eight-song CD ought to be placed firmly in the backwoods blues camp. Though the band tours and performs mostly with rockabilly and punk bands, one listen to Jeff Koenig's harmonica solos and listeners see more of a kinship with a band like Blues Traveler. The bluesy garage rock the band plays on this disc calls forth a smoky, whiskey-drenched evening in the bad side of town. The band claims that "these songs were recorded live in our garage with borrowed mics and beat-up gear." Though the sound quality does suffer a bit, the muffled, amateurish mixes actually work okay for these working-class rockers. -Dug

THE GREENHORNES
SEWED SOLES
V2 RECORDS
Collecting bits and pieces of The Greenhornes' past, SEWED SOLES provides a 19-track overview of the Cincinnati-based garage rockers. The band has deep roots in the classic '60s rock of The Kinks, The Yardbirds, and The Who; but since it's not the '60s anymore, The Greenhornes will fit right into any diet relying heavily on The White Stripes. In fact, Jack White lent a hand on production for some of these tracks, as did Brendan Benson and The Afghan Whigs' John Curley. Highly original they aren't, but The Greenhornes do an exceptional job of reviving authentic blues-based rock and will appeal to a wide range of music aficionados. -David Barker

THE ITS!
THE ITS!
PWMD RECORDS
A better-than-decent effort for a debut, The Its! create hopelessly infectious pop songs with a teenage sense of humor. Utilizing aspects of rock, punk, pop, ska, and more, the band's musicianship is exceptionally tight and enables them to avoid being pigeonholed in a genre. A melting pot of each member's various influences is a successful formula, and The Its! seem to be just that. They're not rough, but you can hear '70s New York punk rock in there somewhere, as well as The Specials and The Smiths. If you look at their pictures, you don't have a clue what they'll sound like—which is a plus these days. I bet these guys love perusing used record shops. Ultimately, a superb record. Fun for everyone. -David Barker

THE LIFTED
A REASON TO LIVE
RUDY
The Lifted is a Massachusetts quintet whose hard-rock leanings lumps them somewhere in between Chevelle, Staind, and Trapt. The outfit's 12-track outpouring of emotion is strewn with arena-rock hooks, bludgeoning guitar riffs, and absorbing nu-metal choruses. Tracks like "This Is My Will" and "5 _ Hours Later" would sound just as much at home during a sports event as they would pumping out of a tailgater's speakers outside a rock concert. Peeking through a metallic sheet yet holding back enough to emit the kind of "heart on your sleeve" devices used by merchants of mopey modern rock like Three Days Grace and Cold, A REASON TO LIVE is solid but falls a bit flat, never reaching the heights of the bands they emulate. www.thelifted.com -Mike SOS

THE MAYBELLINES
A LA CARTE EP
BEST FRIENDS RECORDS
Indie-pop has seen better, but that's not to short the Denver quartet known as The Maybellines. Sticking to the roots of their genre, the group uses female vocals over keyboards and bouncy rhythms to its advantage. But throughout the entirety of A LA CARTE, there's not really a moment where you're overly impressed; but there's also no point where you're offended. A LA CARTE is friendly and charming in its delivery. The Maybellines aren't exceptional, but they are enjoyable. That's really all that matters. Having shared the stage with big-name acts like Deerhoof, Dressy Bessy, and Junior Senior, the group is on the right track but needs to carve out its own place in this scene. Still, not bad. -David Barker

THE MAKERS
EVERYBODY RISE!
KILL ROCK STARS
One might more accurately refer to The Makers as "The Re-Makers," because this Bay Area band revives sounds that originated roughly four decades ago. But because there is really no new thing under the sun anymore, originality is as overrated as it is unlikely. Listening to EVERYBODY RISE! is like experiencing déjà vu over and over and over again. One hears a bit of The Plimsouls during "Good as Gold", then a touch of Cheap Trick within "Promises for Tomorrow". Memorable aural elements include the organ that infuses "Takes a Mighty Heart", as well as the falsetto vocal that appears during "Ordinary Human Love". If you fondly recall garage rock's heyday, you'll get a rise out of this CD, because The Makers know how to make that era come alive. -Dan MacIntosh

THE NIPPLES
FILTHY LYRICS, HAPPY KIDS
SELF-RELEASED
I put this CD into my friends car's CD player while we were on our way to a bar and I promptly got dirty looks from everyone in the car. Apparently no one I know has the same appreciation for perverted gutter punk like I do. It's good stuff. On this 20 track CD only two songs go over two minutes in length and are all about something sexual (such as nipples, what a surprise) or something gross (like the Garbage Pail Kids). This is a decent album but it doesn't compare to The Nipples live, so do yourself a favor and find a place to get a hold of The Nipples live, if not, order their album. -Audiophile

THE POST
IN THE EVENT OF TOMORROW
JALISCO RECORDS
Dark, synth-driven atmospheres and haunting vocals (à la Sigur Ros and Nick Cave) reign, propelling IN THE EVENT OF TOMORROW conceptually and texturally into one cohesive pessimistic epic of a future apocalyptic world brought down by hasty leaders. Other than the vocals and atmospheres, the drums are the only other instrument used inspiringly enough, as it pulses and pumps life into these somewhat lifeless tracks (as with the electronic feel of "Even Though I Care"). The aptly-named The Post are reaching high with their songwriting and emphasis on soundtrack-like drama, but more experimentation is needed before they pull themselves out of the mostly dreary, quiet world of unheard bands, as they lack any noticeable hooks (even in the guise of artsy conceptualists). For more info, visit paperthinsurprises.com. -Norberto Gomez, Jr.

THE SIXFIFTEENS
FEATURE, CONFERENCE, TRANSFER
FAKE CHAPTER RECORDS
Whether an artist is performing punk rock, country, or R&B, the key element to being successful is that beyond everything there still needs to be great pop songs. This theory holds true for The Sixfifteens debut album, as their music might be layered by a wall of Sonic Youth-like noise but stands out because of their ability to craft wonderful little pop numbers. And yes, some of it does sound like it was recorded for $50, but that can be fixed once the band gets some better production on their next record. Even though this LP is obviously flawed, it is well worth a listen. There is a world of talent here, and with a little work, this little band could be the next big thing. -Jeff Srack

THE SKEPTICS
HEARTS & SPADES
THIRD WORLD INDUSTRIES
HEARTS & SPADES presents the sound of a highly professional, modern rock band. That band, by the way, is called The Skeptics, which is an act that rolls with an urgent, nearly emo sound. Fortunately, this band never resorts to the whininess that is so often associated with the far-too-prevalent emo genre. Their playing is also extremely tight, with plenty of interlocking melodic/rhythmic guitar lines, propulsive bass parts, and snapping drums. At times, it's a little too hyperactive for its own good; but mostly, this is pleasant and professionally-played rock 'n' roll. But at the risk of spouting off a record-business cliché here, it's hard to hear a true radio single here. Nevertheless, this band appears to have the skills to make big hits one day. -Dan MacIntosh

THE SPILL CANVAS
ONE FELL SWOOP
ONE ELEVEN RECORDS
The sophomore full-length release from South Dakota's The Spill Canvas is quite a break from its debut album. While the first album, the critically-acclaimed SUNSETS AND CAR CRASHES, was mostly an acoustic album, here singer/songwriter/leader Nick Thomas has opted for an urgent, melodic rock sound. Thomas's songs drip with emotion and heartbreak. His rock-tinged melodies sound like something The Gin Blossoms might have done, accessible yet not overtly commercial. The production of these anthemic odes is first-rate on this disc. There are still a few acoustic gems, like the haunting and melancholy "The Dutch Courage". The CD package has an extra disc to acquaint the listener with songs from nine of One Eleven Records' other artists. -Dug

THE STILLETTOS
PUNK TRAMPOLINE!
ELDA SEZ MUSIC
This compilation of ditties from a legendary punk band from the '70s is a taste of early CBGB-style rock. While the music sounds dated, there is no doubt that this was one of the most influential bands in the early days of punk. The Stillettos' original lineup included Debby Harry and Chris Stein from Blondie. The band, led by Elda Stilletto, was later joined onstage by such luminaries as Robert Fripp, Rick Derringer, Johnny Thunders, and Rick Danko. This genre of punk is nearly unrecognizable compared to today's hard-core punk, though at one time it railed against the established disco trend and caused hipsters to traipse around in safety pins and torn up T-shirts. But 35 years after these tunes scandalized a nation, they tend to sound like tame new wave. -Dug

THE WALKUP
THESE WALLS HAVE EARS
SELF-RELEASED
Whatever it is that makes music generally enjoyable, The Walkup's got it. The guitars are graceful and energetic but not jarring. In songs such as "Run and Hide", these strummed, stringed things are rhythmic and melodic complements, playmates chasing each other through a park playing freeze-tag, bouncing off their buddies' bodies. Meandering bass melodies (lumpy but limber) and drumbeats driven with dance-floor finesse make THESE WALLS HAVE EARS a solid-sounding, smart debut. Still, something seems missing. Maybe it's that singer Alex Koch's voice seems slightly lethargic and lackluster or melodically diffident. Maybe it's that each track, which drips with delay and echo and chorus, feels somewhat superficial or that album feels almost emotionless, almost empty. Though talented and terribly catchy, The Walkup is missing some integral ingredient. -Dane!

THE WEATHER MACHINES
THE SOUND OF PSEUDOSCIENCE
TIGERS AGAINST CRIME!!!
At a time when any band that can name one Flock of Seagulls song is acclaimed as "new" new wave, The Weather Machines actually provide a large dosage of the real thing. THE SOUND OF PSEUDOSCIENCE exhibits an educated understanding of great pop/rock. The Weather Machines never blind you with their science, however; instead, this is the kind of music that will make you kick yourself if you miss it because of ditching class. Being that this quartet is from Rapid City, SD, perhaps studying the music of the past is far more interesting then focusing on their home's present. Whatever the case, it's an unmitigated joy to jerk along to the stop-and-start guitars of songs like "The Latest in Company Brides" here. Behold, the kinder and gentler Devo! -Dan MacIntosh

THE ZEN OF SCREAMING:
MELISSA CROSS
LOUD MOUTH
This DVD shows that even if you can't sing worth a damn, you can prepare your voice for shower-screaming your music so that you won't get hurt (as I did when I got the new Himsa and tried to howl along with them). Even if you aren't in a band, this is an entertaining DVD, packed with famous faces from the music industry. You actually get to see them learning techniques such as "the dump" to increase understanding on how the vocal process works and how to control it. As vocal instructor Melissa Cross explains, "This isn't to change how you sing, it is to improve the way you go about it." She explains it all simply and effectively. -Thomas Murray

TRIGGER POINT
A SILENT PROTEST
CORPORAL PUNISHMENT
Nu-metal mavens Trigger Point come off as an angst-ridden yet versatile lot on A SILENT PROTEST, the outfit's debut, 13-track endeavor. Embracing the nuances of bands like Staind, Mudvayne, and Nonpoint with hints of Glassjaw, VOD, and The Used, this Los Angeles-based quartet is at its peak on tracks like "Picking Up the Pieces", as a jarringly heavy yet melodic guitar and drum attack permits the vocals to soar, scream, and wail with clarity and a slew of emotion. Pounding out sledgehammer rhythms à la Disturbed on "The Color of Real" and furnishing industrial strength riffs on "Cycle", the group's dexterity and ability to convincingly blend genres stand out the most, making this disc enjoyable to the fan of modern-day metal's sound. www.corporalpunishmentrecords.com -Mike SOS

UNEARTH
OUR DAYS OF EULOGY
EULOGY RECORDS
Well, Unearth fans, clean off your mirror, because you can now practice mosh moves while listening to Unearth live in the comfort of your mother's basement! "It's been too fucking long, Long Island. Show us what we've been missing," commands Trevor Phipps in the first of five live songs. Aside from a few quips to the crowd, it's almost impossible to tell that the songs are live, as the recording quality is excellent. A clean recording doesn't exactly give that in-the-pit feel, but with a few directions from the stage, you can be comfortably tearing it up in no time. Tracks from two EPs fill out the rest of the album—a three-in-one deal perfect for any fan. -Erika Owens

VARIOUS ARTISTS
3-WAY ISSUE#2
TAKEOVER RECORDS
Takeover Records has found a good match on this three-band compilation, with punk bands whose styles actually complement one another. The CD starts out with the frantic punk screamo of Near Miss. That band's three tunes may not be classics, but they do bring on the adrenaline with their catchy sing-along, screamo lyrics. Reeve Oliver, the second band on the CD, plays a reserved, indie sort of rock. Its melodic, world-weary sound is promising, except for the very realistic sirens on "We're All Gonna Die". The Matches are a punk band with two acoustic and one electric songs here. The band's edgy and off-kilter rhythms are effective both in electric or acoustic modes. All three bands sound promising here. -Dug

VARIOUS ARTISTS
MASTERS OF HORROR
IMMORTAL
Released to coincide with the launching of the Showtime anthology series of the same name, the soundtrack to MASTERS OF HORROR is a mixed bag of tracks from all types of heavy bands, from the likes of Mudvayne and Shadows Fall to lesser-known acts such as A Change of Pace and Fall River. Many of the submissions have a B-side feel to them and aren't really all that scary. For argument's sake, would you consider bands like Gratitude and Armor for Sleep bands you'd associate with horror movies? The bevy of screamo and punk bands here are better suited for a Warped Tour comp than this twin-disc set. Just a word to Immortal: next time, try a little Slayer and Misfits. www.immortalrecords.com -Mike SOS

VARIOUS ARTISTS
PUNK ROCK HOLOCAUST
SPRINGMAN/BACKSEAT CONCEPTIONS
Since the advent of punk, the genre's gone hand-in-hand with horror (think The Ramones' "Chain Saw", U.K. Subs' "Living Dead", etc.). So, the thought of seeing tons o' Warped Tour bands being murdered (in outlandish ways) by a deranged, masked madman over the course of two months on the road is enticing-even if, as one evil character from PUNK ROCK HOLOCAUST notes, most bands on the tour nowadays "are as punk as Pee-wee Herman." But to see guys in Simple Plan getting impaled by their instruments?! Neato. And like any low-budget, B-movie horror with "non-actors" (bands CANNOT act), it's hilariously cheesy, which adds to its appeal. Some parts will leave you scratching your head, but it's all resolved tidily by film's end with a warmhearted indie-vs.-majors moral. -Janelle Jones

VARIOUS ARTISTS
RETURN OF THE HOTROD ZOMBIES
SPLIT 7 MEDIA
This follow-up compilation to ATTACK OF THE HOT ROD ZOMBIES is loaded with 25 grease-dripping, bone-snapping, blood-curdling tunes that are sure to keep any rockabilly fan intrigued. The majority of tunes on this disc are psychobilly songs, though there are a few surf and garage-style ones thrown in. 13 of the tracks are previously-unreleased songs, and a few of them are perfect gems. "Shake" by Mad Marge & the Stone Cutters is a freaking classic, while Hellbound Hayride cuts loose with a great live cut, "Hot Rods to Hell". Lots of people are put off by the squeaky clean image of swing dancers jiving to rockabilly tunes. An album like this exists to showcase the dirty, lowdown scumbags that they don't let into the dance. This album kicks greaser ass. -Dug

VARIOUS ARTISTS
ROADRUNNER UNITED
ROADRUNNER
56 artists strong, the commemorative recording sessions celebrating Roadrunner Records' 25th anniversary proudly showcase the label's groundbreaking metal advances. A virtual all-star assortment of players from bands plucked from the vast Roadrunner catalog adorn ROADRUNNER UNITED, an 18-track compilation whose lineup reads as a who's who in the metal world. Encompassing the heaviest (Deicide) to the most ambient (Junkie XL) to the new school (Trivium) to the classic (King Diamond), if you enjoyed Dave Grohl's PROBOT or Tony Iommi's first solo offering, you'll have no problem getting into this special session album laden with metallic glory and solidified with one-time collaborations and special guest galore. www.roadrunnerrecords.com -Mike SOS

VARIOUS ARTISTS
TONY HAWK'S AMERICAN WASTELAND SOUNDTRACK
VAGRANT RECORDS
The Tony Hawk videogame franchise has always mixed in classic punk songs with the best of today's scene to produce the finest background music this side of Tetris. So why not take the idea one step further and have some of the most popular current punk and emo acts cover their favorite songs from the punks that influenced their career? While it might have seemed like a good idea at the time, all this compilation goes to show is that no one did it better than the originators. Yes, there are a few highlights (including Dropkick Murphys' cover of The Adolescents' "Who Is Who"), but the bad outweighs the good. You can listen to Thrice butcher Minor Threat or From Autumn to Ashes murder Fear (FATA murders everything they play), but you're better off just buying the classic albums that all 14 of these tracks came from. -Jeff Srack

VARIOUS ARTISTS
WELCOME TO THE ANARCHY LIBRARY VOL. 1
GALE FORCE RECORDS
Let me list, in alphabetical order, why you should get this amazing comp. Adolescents, Angry Samoans, Anti-Flag, Bouncing Souls, D.I., D.O.A., Dwarves, Street Dogs, The Adicts, The Briefs, and Voodoo Glow Skulls. That’s not all, but it's a great start music wise. Now many of you might be asking yourselves "What's The Anarchy Library?" The Anarchy Library is one of my favorite bar/venues in Downey, California. If you ever find yourself in Downey and you like cheap drinks, awesome music, and ultimate wrestling (on T.V.) then you should stop in and make yourself at home. -Audiophile

VAZ
THE LIE THAT MATCHES THE FURNITURE
NARNACK RECORDS
As a reviewer, one is occasionally sent an album that is so strange that you have to say to yourself, "If it is this odd and different, then it must be good." This third LP by Vaz doesn't fall under that category. Though it is weird and eerie, it is pretty much simply awful. No song structure, incoherent ranting, drums that don't carry a beat, and a headache is what you get from this release. This album is like nails on a chalkboard...if the nails belonged to King Kong and they were scraped along the world's largest chalkboard. At this time you might be thinking, "Hey, I like weird music because I'm cool, wear a beret, and have a blog," but trust me, no one is this hip. Be afraid, be very afraid. -Jeff Srack

WIDOW
ON FIRE
CRUZ DEL SUR
Widow's haunting old-school metal goes 10 tracks deep and conjures up the days when Eddie ran rampant with Iron Maiden and parents were freaking out over King Diamond's imagery. Playing in a similar power-metal style, Widow's chops are aces, especially on the harmonizing guitar runs that sound like 1986 all over again. The female vocals are a nice touch, especially when accentuated by their male counterparts, giving off the epic flare à la Lacuna Coil. Unfortunately, with song titles like "Misstery" and "Sinderella", this band's rating on the cheese meter is high, rendering ON FIRE tough to take completely seriously. But if you can stand a bit of tongue in cheek with your dated metal, it's all yours. www.cruzdelsuremusic.com -Mike SOS

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