JUNE 2004 CD reviews (listed alphabetically)

4GIVNESS
SELF-TITLED
SELF-RELEASED
Oh dear. The first bad sign was demo-quality CD art and a big glossy photo (and business card!) that came with the CD. 4givness think they are waaay better than they actually are, which is a mediocre rock band (with an inexcusable name). Every town has a dozen bands like this, slogging away in hopes of gaining some local fame. That’s fine. What’s not fine is when they expect trained ears to endure such basic, mundane, weak songs. This is so mainstream that it can’t even be compared to any of the bands we know. The only thing I could grasp at would be the indie rock of Get Up Kids or Saves the Day, but that would be stretching things to the ends of the Earth. This band needs to do some serious soul-searching. Hey, the anthem-based alternative rock stuff ain’t half bad. Why don’t they just run with that?
-Jason Schreurs

ACID MOTHERS TEMPLE
MANTRA OF LOVE
ALIEN8 RECORDINGS
Acid Mothers Temple is a psychedelic ensemble from Japan who has released an impressive number of albums—none of which I have heard—and I honestly can’t find anything attractive about this one. The guitar riffs aren’t nearly catchy enough to be so simple. The planetary synth sounds are cheesy and seem out of place behind droning metal-guitar solos drenched in a church-hall effect. The female singer—who goes by Cotton Casino (huh?)—has a beautiful voice, but her mundane, repetitive vocals only worsen the flatness of the 30-minute first track, “La Le Lo”. The second and final track equally lacks the climax and intensity necessary for psychedelic instrumental jam bands to stay intriguing and powerful (see Godspeed You Black Emperor, etc.). I hear their other stuff is great, and maybe I’m just missing out on the whole Japanese hippie-rock thing, but I’m convinced this album would be far more appealing had it been released a few decades ago…in Latvia.
-David Small

A FAITH CALLED CHAOS
FORGIVE NOTHING
VOLCOM ENTERTAINMENT
“ Crap, crap, and more crap” is what I think of this album. It reminds me of AC/DC gone horribly wrong. The press release says it is a bit like “stoner” rock. Well, you’re going to have to be pretty fucking stoned to enjoy this album. The only thing decent about this CD is the guitar solos and the end of the album. Screaming one second and then becoming extremely quiet the next leaves you wondering what the hell kind of music you’re listening to. It seems to me that they are trying to be the next everybody instead of just trying to be themselves. If you need a CD to piss of your neighbors or you’re just sadistic, then go to website to find out how you can get it.
-Ian Wilkins

ANGEL CITY OUTCASTS
LET IT RIDE
F.Y.M. RECORDS
Angel City Outcasts suggests itself to be punk by claiming “ex-members of two local L.A. punk bands, Youth Rebellion and Broke ‘til Thursday.” However, the group also has a touch of the ‘80s Los Angeles metal sound exhibited by early Crüe, as on “The Chase”. The group also pulls in the direction of Oi! and street punk with such songs as the anthemic “Youth Rebellion (revisited)”. Angel City Outcasts is the Los Angeles old-school punk/hardcore/metal sounds distilled into a microcosm.
-Tom “Tearaway” Schulte

ALL OR NOTHING HARDCORE
WHAT DOESN’T KILL YOU
RODENT POPSICLE RECORDS/ON THE RAG RECORDS
This band is at its best when the playing style reflects the individual members’ musical talents, rather than simply relegating themselves to the hardcore formula. The messages are absolutely positive, the musicianship is ample, and the recording is loud and clear. However, I felt like I was being yelled at by a punk-rock “Dr. Laura.” Perhaps it is simply the hardcore delivery that creates this feeling of “scold therapy,” but at least the lyrics are affirmative, insightful, and educational. I would like to hear Ms. Bryant sing more and yell less, but that would not be hardcore…would it? Another interesting thing is that the printed lyrics have a brief explanation of how each song should be interpreted. That is a good idea. Hardcore fans should absorb all of this, while the rest should say nothing.
-Marcus Solomon

ANTHRAX
MUSIC OF MASS DESTRUCTION
SANCTUARY
Anthrax, from lead singer changes to label-hopping, have survived the type of things that metal bands normally don’t, so it serves the NYC thrash-metal pioneers right that the opening track on this live CD/DVD is titled “What Doesn’t Die”. Filmed and recorded during the band’s most recent stop in Chicago (“the most metal place in the U.S.,” according to John Bush), the band’s vast catalog is performed to the delight of the rowdy yet knowledgeable crowd at the Metro on December 5th, 2003. The crowd, acting like a sixth man on stage, hammer home the staying power that songs like “Caught in a Mosh” and “I Am the Law” have, vehemently singing along to music nearly two decades ago. Conversely, newer tracks like the soon-to-be classic “Safe Home” and “Only” also are given similar treatment, proving that Anthrax is a band whose rabid fan base and timeless metal contributions are undeniable.
-Mike SOS

ANTIDOTE
THOU SHALT NOT KILL
HELLBENT
Okay, New York hardcore is a pretty indefensible genre sometimes, and it’s the forefathers like Cro-Mags and Antidote who set the stage for some of the violent, stupid shit that would come later. That doesn’t stop this CD re-release of Antidote’s classic 7” from being some of the best NY hardcore that was ever put to tape. And to give them credit, Antidote were always outspoken against Nazis and other violent factions in the scene. Covered by such new-era bands as Nerve Agents, Shark Attack, F-Minus, and those always peaceful lads in Floorpunch, these eight Antidote songs are classic, classic hardcore. With back-up vocals and liner notes by original Cro-Mags singer John Joseph, it’s easy to see why the two bands were often mentioned in the same breath.
-Jason Schreurs

AS TALL AS LIONS
LAFCADIO
TRIPLE CROWN RECORDS
There are many pleasing musical moments contained on LAFCADIO, the debut of As Tall As Lions. However, the wonderful melody and sometimes great ‘80s mood (“96 Heartbeats”) is lost to weak vocals by guitarist Daniel Nigro, who attempts to revisit the raw, goosebump-inducing emotion of Jeff Buckley. The result is a failed opus. Nearly wielding the magically musical mood of Sigur Ros and Black Emperor, As Tall As Lions’ failure—and that of the entire post-Buckley congregation—is the lack of delivery. There are fireworks aplenty and wonderfully orchestrated soundscapes throughout LAFCADIO (e.g., in “My Glowing Morning Dreams” and “A Ghost in Drag”); however, they are aching for the release that just does not materialize. Yet, with this being their debut, we can hope for more intense and courageous songwriting through the years.
-Norberto Gomez, Jr.

ATREYU
THE CURSE
VICTORY RECORDS
The sinister introduction foreshadows utter metal goodness. Ditching the dramatic, drawn-out intro, they immediately blare out in their first song, “Bleeding Mascara”, leading in with sharp hooks within cryptic medleys of ragged chords. And just to prove that they can also play nice, they insert a delicate, melodious interlude. Of course, after that they ditch the prettiness and head straight back into their metal hell. Though THE CURSE is somewhat of a departure from their previous hardcore-based album, SUICIDE NOTES AND BUTTERFLY KISSES, Atreyu still holds close to their talent.
-Mabel Lam

AZRAEL
INTO THE SHADOWS ACT II
MORIBUND
Black metal is renowned for being dissonant, brash, and almost cacophonic, yet Azrael gives its version of black metal some highlights and textures on the seven-track release, INTO THE SHADOWS ACT II. Retaining the distorted guitar riff meets hyper drumming motif, Azrael goes one step beyond blood curdling screaming by implementing strings and acoustic guitar overlays these tracks, giving the offering on a whole a much eerier feel than usual. Mixing blast beats with symphonic interludes isn’t exactly new, but it doesn’t make the mixture that less stark, and Azrael succeed in pushing the already extreme envelope a bit further.
-Mike SOS

BACKSTABBERS INCORPORATED
KAMIKAZE MISSIONS
TRASH ART! (SOUND AND CUTLURE)
On their latest release, New Hampshire metal/hardcore/grind/noise purveyors Backstabbers Incorporated (a five-piece featuring members of The Red Chord, Unearth, and December Wolves) unleash utter madness and vitriol, both musically and lyrically. Yet, for all its glorious ear-splitting oppression, KAMIKAZE MISSIONS proves BSI aren’t only about extreme musical forms and aggression, as the guys adeptly mix up tempos and styles, cooling things off at times with some slower, less harrowing fare. However, these intriguing respites from the searing storm don’t last, for each is inevitably followed by maniacally brutal, urgent compositions.
-Janelle Jones

BAD ACID TRIP
LYNCH THE WEIRDO
RED INK/COLUMBIA RECORDS
Backed and produced by members of System of a Down, this band billed as “four very strange guys” is, well, yet another version of System. Basically if you’re 16 and sitting in your room playing video games and living off junk food, you’re gonna love it. In fact, you’ll probably be telling all your friends in first period that you knew this band before they sold out (then learn later that Red Ink is actually Columbia). But for the rest of us out here, you probably won’t be able to stand more than five minutes of this without wanting to shake the CD player silly and get this thing to pop out as soon as possible.
-Jasten King

BILLY CLUB SANDWICH
CHIN MUSIC
INNERSTRENGTH
Listening to this album was refreshing, in the sense that, even within the recent rise in popularity of heavy music and all its different variations, certain bands seem to have been separated from the movement, doing what is true to them. New York’s Billy Club Sandwich is a perfect example. CHIN MUSIC is a record stuffed with straight-up, no-nonsense East Coast hardcore that doesn’t take itself too seriously and sounds like it was recorded in a garage. Tracks like “Veterans Days” and “Infidel” are surprisingly catchy, considering the simplicity in the songwriting, proving that in some cases less is more. The album even made me laugh out loud a couple of times with a few joke jam tracks and secret songs. CHIN MUSIC is raw, underproduced, and very heavy without pushing it too far or trying too hard. For fans of older hardcore, this is a good buy.
-Darren Davis

BLACK CAT MUSIC
OCTOBER, NOVEMBER
LOOKOUT!
On their second full-length for Lookout!, Black Cat Music, a four-piece comprised of ex-members of The Criminals, Hatebreed, and The Receivers (to name a few), are all over the place, at times playing raucous and trashy garage-infused indie/punk (“The Bridal Veil”, “The French Exit”, and especially “Hearts of Chrome”), and at others slower, mellower fare (but still saturated in rock ‘n’ roll, like “In the Lights” and “Stay West”)—as well as highly affecting crooners (the incredible “Down Pretty Low”, the comparatively upbeat, Jawbreaker-like “The Cloud of Glass” and “Kiss Until Kissed”)—but they always exude immense energy and passion. For all its highlights, however, there are a couple tracks that don’t sit well, including “The Jet Trash” and the stagnant “Thirteen Foot Waves”. Despite these two less than savory offerings, though, overall, OCTOBER, NOVEMBER is quite simply an excellent album for fans of all rock ‘n’ roll’s sub-genres.
-Janelle Jones

BLUE EPIC
LOCAL WORLD NEWS
TVT RECORDS
Recorded live in the studio, LOCAL WORLD NEWS blends the Southern rock of Blue Epic’s Alabama surroundings with the modern, melodic touch of Jeff Buckley. The quiet, whispering cry and rich, acoustic drive of “Let Me Down”, the powerfully engaging rhythm and explosive chorus of “Waiting” (the album’s best track), and the percussion-driven “Welcome Home” are the best moments of this musically strong and tight album; but overall it is yet another poppy, radio-friendly, Buckley-influenced album that is lacking in originality. Tracks such as “Afterglow” are straightforward pop songs that recall the horror of bands in the style of Vertical Horizon. The confusion created in the album over whether to let the music take over or to retard the songs in unoriginal pop blandness is obvious. Where are the guts?
-Norberto Gomez, Jr.

BOYJAZZ
IN THE CITY TONIGHT
FRENETIC RECORDS
Boyjazz rocks like Ted Nugent, Blue Oyster Cult, and the rocking end of the Ween catalog mixed and shined. Boyjazz is a two-man project gone good. Sexmouth (Adam Hobbs) plays guitar, bass, and sings as cool as you please with a sweet, rockin’ voice. On drum-programming duties and recording and mixing, Supertouch (Aaron Levin) puts it all together. IN THE CITY TONIGHT is a remarkable disc. Some of my favorite cuts are “Potfinger”, “Swedish Dates”, and “Stank on the Halo”. The coldness of machinery slips through on some tracks, such as on “No Doubt About It”. Boyjazz is a great team. Sexmouth is my new favorite singer. He’s got a shredder’s attitude—a real rocker. Get on board or miss out.
-H. Barry Zimmerman

BRAZIL
A HOSTAGE AND THE MEANING OF LIFE
FEARLESS
For a debut album, Brazil has done some amazing things. Not many bands can achieve the thick “wall of sound” that Brazil produces without playing together for a few years first. This progressive rock band would be nothing without their keyboard player, who adds interesting fills and atmosphere to each and every song. Some might compare them to Coheed & Cambria mixed with a little bit of Sparta, or even to The Mars Volta. While they might not rank up with other prog supergiants yet, they are well on their way, and I recommend this disc to anyone looking for something new.
-Zac

BREAKING BENJAMIN
WE ARE NOT ALONE
HOLLYWOOD RECORDS
Breaking Benjamin has been on tour with Godsmack for most of 2003, so you can only imagine how awful they are. This is their second album. Who knows what kind of fool would allow them to make a first record, much less follow it up with this piece of crap. The only interesting aspect to all of this is that Billy Corgan co-wrote three of the songs that appear on this album. So, if you’re interested in tracking the decent of Smashing Pumpkins frontman into the depths of almost comic pathetic irrelevance, here’s your chance!
-chad

BROKEN HANDS FOR BRILLIANT MINDS
REMEMBER THE PAST, RESPECT THE FUTURE
ODD HALO RECORDINGS
To review this dismal, gentle, and fanatically experimental composition from murmur architect Clint Listing, copying and pasting the results from a Thesaurus.com" target=_blank>website search of the word “ominous” would have been a more-than-sufficient starting point. This extended airy opus, like a predator behind glass or a painting of a blackened seaway, exudes an intriguingly dark character that, as a result of its impalpability, makes it equally absorbing and eerie. Immersing yourself in these Matmos-esque orchestrations (referring to them as songs doesn’t seem entirely accurate), which exhale perpetual minimalism and capture eons of intangibility in mere minutes, is not unlike listening to KID A on the slow-brewing inside of an apocalyptic rain cloud. This bleak aural venture doesn’t drift into oblivion—it is oblivion.
-Dave Kargol

BURNTHE8TRACK
THE OCEAN
ABACUS RECORDS
This is one of those records I wish I had more than three weeks to listen to before I reviewed it. On the surface, it seems to be nothing more than a well-executed melodic post-hardcore record; but the more I listened to this record, the more excited I got. Collectively, the band members have logged more than their fair share of hours on the independent/punk-rock circuit, and undoubtedly that experience has paid off. There is a lot of youthful energy in the music, and lyrically the album is intelligent and political. Even the anger on this record comes across as anthemic (so much so that I can forgive a line like “I’m making love to this world”). The jury is still out on the eerie resemblance of the main riff on “When Hope Becomes Denial” to “Fascination Street”—which comes complete with the desperate Robert Smith-like lyrics.
-Wally Peters Jr

CAPTAIN BRINGDOWN AND THE BUZZKILLERS
LESS FUN THAN PREVIOUSLY INDICATED
SELF-RELEASED
Some people—such as Bush—make the best impression possible by lowering expectations. After seeing the latest EP from this Elgin, TX, quintet, it is fair to say that I misunderestimated them. CB and the BKs’ play a pleasant and infectious mixture of pop/ska on this four-song EP. The band’s press release is a non-stop plug about how fun the band’s shows and music are. Though the band claims to have “emotional lyrics,” I just didn’t hear it. All the material on this CD is definitely “fun-filled,” energetic ska. While these guys won’t make Reel Big Fish or The Mudsharks green with envy, they will play a lot of very fun tunes for a lot of very drunk Texans.
-DUG

CHAOSBREED
BRUTAL
OLYMPIC
Chaosbreed is a Finnish smashing machine with a mission to destroy all in its path in it sight. At least that’s how this quintet plays, and with such an appropriate album title, you know finicky metalheads will have all knives out. Well, be prepared to defend yourselves, as BRUTAL is a 10-track metal maelstrom capable of blowing your head straight off your neck. Borrowing liberally from Slayer, Entombed, and Venom, tracks like the vicious stomp of “Faces of Death” and the groovy doom of “Demon Skunk” embody splatter rock meeting the down tuned death metal growls of the outfit’s peers. While there’s not a lot of originality here, the recreation of the glory days for the darker spectrum of metal is most welcomed, especially when infused with the kind of piss and vinegar Chaosbreed bring to the table.
-Mike SOS

CHARGE
UNIVERSAL TRIBE
HELL BENT RECORDS
This is an album that sounds like something Revelation would’ve released in the late ‘80s. The group plays straight-ahead youth-crew-style hardcore with the occasional eccentric breakdown reminiscent of the experimentation done by bands such as Bad Brains and Earth Crisis. If you think you’d like Strife with a twist, then Charge is something that would interest you. Musically, the band is both talented and creative, but it doesn’t really bring anything new to the table. Overall, the record is killer if you’re into straight-ahead hardcore that will get you in the pit.
-ADF

CHEIFS
HOLLY-WEST CRISIS
DR. STRANGE RECORDS
Here we have some of the best late-’70s/early-’80s nerdcore from Los Angeles. Anyone who is a fan of The Descendents will definitely appreciate this collection of recordings. At times, the music, lyrical content, and vocal delivery are so much like The Descendents that the uninitiated could easily be fooled. Even so, this band had enough original elements to be distinct. Somehow, the band managed to coax harmony and melody out of grit and basic arrangement. Standout tracks include “Blues”, “Eddie’s Revenge”, “The Lonlies”, “Riot Squad”, and “Justice”. “Money, power, justice / It’s all the same.” (By the way, the band deliberately misspelled its own name.)
-Marcus Solomon

CLAIR DE LUNE
MARIONETTES
DEEP ELM
High fives all around for these hairy Midwestern kids. I’m sure the masses will lap up their rendition of gritty melodic post-hardcore like Italian ice in the Kalahari. Here, predictably regimented instrumental outbursts rustle under I’m-not-even-going-to-wait-for-the-other-guy-to-stop-singing-before-I-start vocal stylings à la Taking Back Sunday, Thursday...and, come to think of it, absolutely every single band on Victory Records. I’d keep an eye out for Clair de Lune’s inevitable Victory debut in mid 2005, with a major-label follow-up plopping on shelves in early ‘06.
-Dave Kargol

COUGARS MANHANDLER
THICK RECORDS
Have you ever lain restless, anxiously shifting in your sheets while struggling to wrap your tired mind around what it would sound like if Planes Mistaken for Stars instigated a late-night alley brawl with the E Street Band with leather collars spiked and guitars, horns, and clenched fists swinging? Of course you haven’t. However, young lady/man, this is not to say that such a rousing and unlikely event wouldn’t be a riveting sight—or sound, as the case is here—to behold with eyes and ears peeled. Here, Cougars—a fiery Chicago eight-piece—douse six jagged cuts of peppy garage grit with pure groove gasoline and light the match. Between the initial pulsing thumps of the EP’s opener and their recurrence at the tail end of the clinching bonus track lives a brewing opus of singing horns, dirtily romping guitars, and raspy wails. So roll up your damn sleeves and prepare to get greasy.
-Dave Kargol

DEAR DIARY
LAUGHING ENDS LIKE THIS
BASTARDIZED RECORDINGS
Dear Diary’s indie-rock poise is really strong on this album. There’s enough peppy emotion and hard-fought feelings moving around that you’re drawn into its very subtle power. Some of the songs that accomplish this are “Songs that I Can’t Sing”, “Borderliner”, and “Angel”. Vocalist and guitarist Dennis Kohn is one of those singers who is so bad that he’s good, with the half-drunk-and-whiny vocals complementing the loud but off-kilter rhythms. Thumbs up on this one.
-Darren Ratner

DAYSLIKETHESE
CHARITY.BURNS.GREEN
LOBSTER RECORDS
Dayslikethese is the appropriate TRL-sanitized punk piss that is radical in a Target mass-production kind of way. In a world where Hoobastank, Incubus (now in politically-aware flavor!), and their cheap clones are cheaper by the dozen, bands with minimal music knowledge and less interest in broadening it deserve less attention than they get. File under pop, punk, metal, and hide it in the corner of the mall where Pacific Sun meets Hot Topic so that lucid music fans will never find it.
-Rob Macy

DEATH ANGEL
THE ART OF DYING
NUCLEAR BLAST
After a 14-year hiatus, pioneer Bay Area thrash metal outfit Death Angel have returned with a scorching new disc, proving that you can come home again. After a few failed attempts with other projects, four-fifths of the original lineup have reconvened on the scene, creating a 12-track album loaded with the kind of versatility and power that had critics and fans alike enamored from the band’s beginnings. From the old school thrash metal vibe of “Thicker Than Blood” to the Black Sabbath stoner groove of “The Devil Incarnate”, Death Angel exhibit no loss of strength, whipping out churning riffs and walloping guitar solos that will have metalheads pumping their fists in unison. Mixing in the obvious Bay Area metal influence with touches of punk rock fury (“Land of Blood”), acoustic beauty (“Word to the Wise”), and the technical excellence that made such albums as ACT III metal classics, THE ART OF DYING triumphantly marks the return of Death Angel.
-Mike SOS

DERITA SISTERS
DEAD PUNKS LIVE
KOTUMBA RECORDS
As far as live albums go, DEAD PUNKS LIVE is one of the better-sounding ones. The album includes a live set recorded in both Berlin and Dusseldorf. What you get is 36 great live tracks from the band’s Dead Punks tour. Besides that, Derita Sisters also decided to tack on five extra tracks for your listening pleasures. If you want to hear a very good live album from a very good punk band, then pick up DEAD PUNKS LIVE. It’s definitely for fans of bands like Screeching Weasel and The Ramones.
-Dane Jackson

DESERT CITY SOUNDTRACK/SETTLEFISH/SOUNDS LIKE VIOLENCE
SPLIT EP
DEEP ELM
This disc was a three-way split between Desert City Soundtrack, Settlefish, and Sounds Like Violence. The first and only song by SLV is an interesting, emotion-driven rock tune with fantastic rhythm. All three of the Settlefish songs are extremely original and in the usual Cross the Heart-esque emo-rock fashion. The Desert City Soundtrack song is just amazing. There’s a great piano lead intro going into some ambient distorted guitar riffs and fun screaming. I have a feeling all three of these bands will be heard from again soon.
-Zac

DISILLUSION
BACK TO THE TIMES OF SPLENDOR
METAL BLADE
Disillusion is a German trio whose debut full-length release may only be six tracks, but it clocks in at nearly an hour’s worth of metal. BACK TO THE TIMES OF SPLENDOR is an epic offering whose musical directions are vast, as the opener “And The Mirror Cracked” over the course of eight minutes moves from brutal metal to beautiful melodies and back once again to the brutal without sacrificing the song’s hook. Featuring stealthy guitar work, an overall leaning towards the progressive, and a stunning array of technical savvy, Disillusion has joined the savage and the sublime, creating the type of metal that fans of Opeth, Dream Theater, and Iron Maiden will undoubtedly clamor over.
-Mike SOS

DOWNSET.
UNIVERSAL
HAWINO
The LA based hardcore outfit downset. have returned, attempting to fan the flames of rap-rock before it flickers and fades. The 11-track disc is primitively heavy, as the band’s trademark crossover sound made famous by Rage Against the Machine, is back, and played with an unabashed badass attitude to boot. However, the same tired lyrical concepts are exploited here, as if we haven’t heard enough about guns, staying true to yourself, and the gang lifestyle. Sadly, as downset.’s musical output sounds as crisp and intense as ever, the less than stellar rap display leading the charge drags down these songs considerably. Maybe it’s time that the rap and rock genres separate for a while, as proven by the latest by downset., most of its possibilities have been exhausted.
-Mike SOS

DROPBOX
SELF-TITLED
UNIVERSAL RECORDS
The debut release from this vintage-sounding quintet is a throwback to all the great blues/rock bands of the ‘70s. With a lineup that includes ex-Godsmack guitarist Lee Richards and John Kosco, a vocalist who can scream with the best of them, the band is already making a hell of a buzz. The 11 original songs on this disc reek of old classics by rock stalwarts like Led Zeppelin or Mountain. While the songs on this disc will certainly please the aging headbanger and the young retro-rocker, they often seem to drone on a bit. It’s important for musicians to remember that the thing that made bands like Led Zeppelin great were its ability to go boldly where no band had gone before. Dropbox, Jet, and The Darkness will have to bring something new to the genre if they expect aging hipsters to be humming their tunes 30 years from now.
-DUG

DROP
SUCKERPUNCH
DARK STAR RECORDS
Chicago’s Drop draw comparisons to Drowning Pool, Godsmack, and Alice in Chains. In fact, I almost feel like I’ve heard these songs before because the comparisons are so strong. This is Drop’s third full-length album, and it’s filled with hard-rock-driven anthems like “What You Say” and “Superdead”. This is recommended only for those who crave a little heart-pounding rock in their diet. See drop-music.com" target=_blank>website.
-Jude Ruiz

EL CENTRO
PROHIBIDO
FINGER RECORDS
There is a lot of good going on here—amazingly insightful, profound lyrics and superior musicianship—but the true grit and power of this band is compromised by overproduction. “Don’t polish your Converse” is how one listener responded to this CD. The slower numbers (like “Rain Song”) sound great with this super-polish, but the majority of the music is fettered by too many “cooks” at the mixing board. Even so, if you like bands like Rancid, Bad Religion, and Pennywise, then El Centro will fit very nice in your collection. This is some real toe-tappin’, sing-along, radio-quality stuff. It is diverse in content, tight in execution, and the reggae infusion is very stony. Crabby, my friend, don’t let the apple-polishers rub you too clean next time—we want to feel your real spirit and the heavy crunch that resides in your heart.
-Marcus Solomon

ELECTRIC FRANKENSTEIN
WE WILL BURY YOU!
TKO RECORDS
I love Electric Frankenstein. The band has the thing inside the thing/power of rock (as a Being). Electric Frankenstein Rock with a capital R. WE WILL BURY YOU! is a 31-track double-CD or vinyl collection of cover tunes recorded between 1991-2003. Some of the songs were recorded for “tribute albums,” some just because. Most of the time I really hate these cover-tune efforts, but Electric Frankenstein is such a great band that it is fun to hear them run through anything. The song selection is diverse (to say the least), including Girlschool’s “Not for Sale”, Iron Maiden’s “Ace’s High”, Aerosmith’s “Sick as a Dog”, Johnny Cash’s “Cocaine Blues”, and D.R.I.’s “Plastique”. I did think Electric Frankenstein’s version of Fleetwood Mac’s “The Chain” was a little lazy and too silly. The bottom line is that Electric Frankenstein rock hard twice, and therefore WE WILL BURY YOU! is a lot of greatness for one package.
-H. Barry Zimmerman

ELROY
THE WHOLE DAY (DEMO MIX)
ELROYMUSIC
Now that the last mid-’90s Brit sound-alikes have arrived to the party late, we can all get on with our lives. Elroy’s vocals and music do more when they are soft and wispy, but they never are. The painful tempo changes ruin the flow of the songs, which are so anxious to get to the big chorus that they stumble through the verses and drag like a drunk running hurdles. The mix is shit, with vocals falling below the guitars enough so that neither go anywhere. Elroy are uninspired, resembling David Gray yelling at The Gin Blossoms because of it.
-Rob Macy

ENABLERS
END NOTE
NEUROT RECORDINGS
No matter how good the artist, some genres are just a tough sell. I think we’d all agree that spoken-word poetry set to music easily qualifies as one of these undesirable genres. Maybe it’s because it’s a tricky art to perfect, or maybe it’s because every time I think about it I can’t help but conjure up images of William Shatner reciting some ridiculous, cliched beat poetry. Whatever the case, poetry set to music always comes out sounding a bit uneven...and the latest from Enablers is no exception. A man can only take so many drum taps and abstract prose before they start reaching for the “eject” button. I just can’t get down to this sort of thing daddy-O, ya dig?
-Matt Siblo

EX-GIRL
ENDANGERED SPECIES
ALTERNATIVE TENTACLES RECORDS
With the once crazy-active Japanese noise scene currently on the nod, eX-Girl is carrying a torch that many thought had been extinguished when The Boredoms joined Lollapalooza back in ‘95 and confused the hell out of everyone. To the uninitiated: eX-Girl are three crazy chicks who claim to be from the planet KeroKero, worship frogs, and by mixing all sorts of music from disco to metal make some of the most interesting music on the planet and will no doubt rock your socks off. With lyrics in both Japanese and English, eX-Girl are not as hardcore as The Boredoms but are more like Melt Banana with a cute sense of humor. Anyone unable to tolerate the neuroses of Merzbow, The Ruins, or Mr. Bungle should give ENDANGERED a try.
-jck.

EXTERNAL MENACE
THE PROCESS OF ELIMINATION
DR. STRANGE RECORDS
Great punk from Scotland in the classic late-’70s/early-’80s vein. Originally formed in 1979, it took only 18 years to produce this band’s first “proper” full-length album. THE PROCESS OF ELIMINATION was first released in 1997 on Negative Records. As usual with most Dr. Strange releases, this is no mere rehash. This disc gives you the full-length album and two EPs. It includes SEIZE THE DAY from 1997, and NO MEAN FEAT, which was set loose relatively recently in 1998. 22 songs on one low-priced CD is a great deal. This band is somewhat similar to its fellow countrymen The Exploited, save for the interesting reggae infusion, intelligent pacifist lyrics, and the rapid-pulse bass that forms the heart of the group. website
-Marcus Solomon

EVERGREY
THE INNER CIRCLE
INSIDE OUT
Evergrey returns with a new 10-track release that meshes the elements of progressive and power metal. On INNER CIRCLE, this Swedish quintet dig deeper into its box of tricks, employing a string quartet on many of the album’s tracks for texture, as well as devising a concept for the disc based around religious fanaticism. Taking cues from other notable Swedish bands like Opeth and In Flames, this release finds Evergrey tightening up its compositions and presenting its melodic brand of grandiose metal in a more American way. The result may upset ardent fans, but those that have enjoyed albums such as OPERATION: MINDCRIME by Queensryche should be pleased with the results.
-Mike SOS

FAREWELL MY ENEMY
CASTING FOR FUNERALS
RISE RECORDS
They almost rock. Are they holding back? Maybe. It is soft pop/rock, mostly (I won't call it punk), with a little emo sprinkled around. Once in a while, vocalist Chris Envy shows the capacity for some quality growl/screams, but most of the time his voice is not that intriguing. "Monday Morning" is an emotional little love number that I listened to quite a few times with minimal guilt about it, although some of the lyrical metaphors could be strengthened with a little imagination. Track 10, "GVSG", is pretty mean, until you start to catch a few of the lyrics. You'll have to look at the insert, because there is no way in hell that they would actually…but yup, this song is about Godzilla fighting Grimmace. Why would they do that? Regardless, this band may grow on you, if you let it.
-Thomas Murray

FAVEZ
BELLEFONTAINE AVE
DOGHOUSE RECORDS
It breaks my heart in two when you watch a band that had so much potential go unnoticed. Favez have been creating their own post-hardcore gems in their native country of Sweden for the past six years, and Doghouse has been trying to get people to pay attention to what they are doing...but, for one reason or another, no one cares. This being their third proper full-length, I doubt the tide will turn. It finds them straying from the Quicksand-inspired tunes of their past and opting for a radio-friendly approach similar to what Last Days of April are doing. While this does not excite me as their past work has done, it is still better than most of the stuff coming out these days.
-RAY HARKINS

FINNTROLL
NATTFODD
CENTURY MEDIA
Finntroll is a collaborative endeavor by six Finnish metallers that combines elements of extreme metal with traditional Finnish music. The results come to us via the 10-track release NATTFOLD (translated into English as nightborn), an inexplicable listening experience that most people have never even dreamt of. Labeled as traditional pagan folk metal, Finntroll's distinct style is brutal yet surprisingly bouncy for something so heavy, as tracks like "Trollhammaren" and "Ursvamp" aptly show. Mixing the old world's melodies with today's crushing metal seems ambitious to say the least, yet Finntroll manages to pull it off without embarrassment or awkwardness. While NATTFODD is discernibly different than most other Finnish metal exports, when it comes to being bruising and foreboding, songs on this disc like "Det Iskalla Trollblod" stand up amongst its peers. website
-Mike SOS

FIREWORKS GO UP!
YOU'RE WELCOME
BARYON RECORDS
Fireworks Go Up! is a power-pop trio from New York City. Songwriter Dan Coutant was previously a member of Doghouse Records' now-defunct Joshua. Leaving behind the post-hardcore/emo sound, Coutant and company now strum out a hard-edged bubblegum pop in the vein of Teenage Fanclub, Matthew Sweet, and Buffalo Tom. YOU'RE WELCOME is their debut release, as well as the debut release from Baryon Records (founded by recording Svengali John Agnello (Dinosaur Jr., Superchunk, Buffalo Tom)). If that's not enough, the record was also produced, recorded, and mixed by Mr. Agnello himself. Now that we've gotten all the interesting information out of the way, let's move on to the less interesting details of the music. Unlike the aforementioned bands, Fireworks Go Up! just don't bring it. They got all the right moves, but they can't put the points on the board.
-Wally Peters Jr

FOUR OF FIVE
FOUR OF FIVE
SELF-RELEASED
Typical band from Orange County Four of Five is nothing new. They don't sound bad, but hey, let's move on from the death metal that you can understand. With an emphasis on drums and lyrics, the CD is mixed very well and sounds cleaner than a brand new dildo. Four of Five is a relatively new band that could definitely have a place on one of your local radio stations someday soon. It has to be soon, because I have a feeling that this type of music is going to be over before too long. (I could be wrong, you never know.) A band with this much flair needs to stop emulating the 10,000 other bands out there that sound just like them and concentrate on coming up with a new style. I know they have it somewhere in them, and only time will tell if their true talent comes out. Their Website is website, and it might be worth your while to check them out from time to time.
-Ian Wilkins

FREDDY'S FOUR FINGERS
WORLD WAR III
MAR VISTA RECORDS
Freddy's Four Fingers are from La Palma, CA. They sound like a decent-enough band...it's just that the recording of this album is so horrendous. It sounds like it was recorded by a boom box in the other room. They sort of sound like Minutemen. Their Webpage mentions they have a bunch of shows coming up around the La Palma area. I'd like to hear them live, because I don't think this album does them justice.
-chad

FREEZEPOP
FANCY ULTRA∑FRESH
ARCHENEMY
Eerily reminiscent of an electroclash Aqua, Freezepop seem to be a band all about the good vibin' electronic music. On this, their second full-length, the band demonstrates that while they might be able to bleep and bloop with the best of them, the overall outcome is generally a bit taxing. I can appreciate when a band doesn't take itself very seriously, but lines like "I know you work across the street / In the indie record store / I'm thinking one day we'll meet / I'm thinking we'll do something more" is more likely to induce a cringe than a smirk. Other examples of questionable lyrical witticisms include the aptly-titled "I am not your Gameboy" and "Duct Tape My Heart." I think that pretty much speaks for itself. Simply put, FANCY ULTRA·FRESH sounds like an album that Stereo Total or Fischerspooner made in high school and were too embarrassed to actually put out. P.S. Ixnay on the Duran Duran covers, k?
-Matt Siblo

FROM A SECOND STORY WINDOW
NOT ONE WORD HAS BEEN OMITTED
BLACKMARKET ACTIVITIES
Well, at least the title of the album does not lie: when five songs clock in at a half-hour, it is quite clear that nothing has been omitted. From a Second Story Window's problem is that nothing has been included, either. Incessant chugging, screaming, and slamming continue with no change for the entire song. There is a reason this style is usually contained in brief tracks: everyone needs a break! A break not only from the shrieking, but (in this case) from the monotony. To sustain such lengthy songs, there needs to be some variance. The shrieking and wall of noise is relentless, with only a few seconds of respite, usually in the form of a half-assed breakdown. Stay away, or you'll be left with a headache from wondering how a band can take a genre that can be refreshingly interesting and make it so painfully boring.
-Erika Owens

FURIOUS BILLY
SISSYFOOT
MUNGLER WINSLOWE RECORDS
Furious Billy, a.k.a. Casey Brandt, has a lot of fury to work out. This leads to really impenetrable, cacophonous tracks like "All you Sons of Bitches". Getting past that, there is a lot of variety in this album and some good lo-fi indie pop can be found in tracks like "The Fear." There is also a great, cutting wit in "Grow a Pair" and there is an oddball novelty to "Fishy" that leads us to believe Furious may be not all that dangerous. Drawing as it does from the simple charms of folk and the most ugly punk can get, SISSYFOOT is all over the spectrum. Blend together Melvins and your local coffeehouse troubadours for a rough idea. Two more highlights occur to close the album. "At your Door" is a melancholy song that is largely acoustic. The final track, "I Swallowed a Cat", is a fun, jangle-pop tune with lyrics that could have been written by Shel Silverstein. website
-Tom "Tearaway" Schulte

GEISHA GIRLS
SELF-TITLED
JSR RECORDS
Alright, kids, time to say hello to your new favorite band. Geisha Girls (not girls at all—rather, three guys based out of Costa Mesa, CA) are caught in a beautiful time warp of Brit-flavored late-'70s/early-'80s post-punk-driven madness. Traces of Public Image Limited, Gang of Four, A Certain Ratio, and even a bit of The Cure or Violent Femmes can be heard throughout. This four-track EP is littered with infectious bass lines, choppy guitars, and pulsating drums. This is sold as a 45 rpm and can be purchased through the band directly at geishabooking@hotmail.com or at Vinyl Solution in Huntington Beach, CA.
-Jude Ruiz

GIRLUSH FIGURE
ROTTEN TO THE CORE
RODENT POPSICLE
Bass-driven, fun-filled horror punk created by three talented young women. This 10-song release seems like an EP, because it is over much too quickly. The songs are not too long, nor are they too short. But wait! Hidden track 69 is an eerie, arpeggio instrumental that conjures images of creeping about in a haunted house on a dark and stormy night. Fans of Dinah Cancer (45 Grave, PFT, Grave Robbers) and Midnight Creeps, take notice! There's some new girls on the block, and they rock hard with ghoulish delight! My heart is in the blender. website
-Marcus Solomon

GO BETTY GO
WORST ENEMY
SIDE ONE DUMMY
WORST ENEMY by Los Angeles's Go Betty Go is probably one of the more exciting debuts so far this year. The album (produced by members of Side One and engineered by a member of Flogging Molly) is a great example of an all-girl band that actually doesn't suck. Go Betty Go blend a driving punk rock sound with hints of surf rock. What comes from that fusion is the five-song gem WORST ENEMY. The choruses are anthemic and catchy, while the guitar work will make you bob your head or tap your feet. If WORST ENEMY is a sign of things to come, then get very excited for Go Betty Go's future. The addition of an all-Spanish track was also a nice touch. "It's Too Bad" is the standout track of this EP.
-Dane Jackson

HALF PAST GONE
AFLOAT
SELF-RELEASED
Orange County locals Half Past Gone are the most recent editions to this current screamo influx. However, from the onset of the record I could do nothing but yawn. Lazy vocals thrown in with dual, average-sounding guitar harmonies is nothing I haven't heard before. I was left on the verge of a nap after this disc stopped spinning, a feeling to which I quickly gave in. This is not to say that Half Past Gone might not surprise us all in coming months, but this effort turned out a little weak and excessively boring.
-AC Lerok

HAWTHORNE HEIGHTS
THE SILENCE IN BLACK AND WHITE
VICTORY RECORDS
Have a blender handy? Throw in some of the most popular recent bands, a little e Thursday, an album of Saves the Day, a ton of Boys Night Out, and any ol' tough-guy record—and viola! Hawthorne Heights. Not just the style, but the sound precisely mimics those predecessors, complete with moshtastic growling and chugging interludes. Add to that the BNO attempt at hardcore lite, and you've got the new, frothing mess on THE SILENCE IN BLACK AND WHITE. It's slickly packaged, well produced, but the fact that the elements of each song are so disjointed prevents the album from being anything but a stale, anonymous amalgam. If you want something in black and white, forget the silence and check out A Day in Black and White—straightforward screamo without any of the sonic rip-offs or trite lyrics.
-Erika Owens

HERE KITTY KITTY
THIS IS BROKEN
LORELEI
Like their awesome debut full-length DADDY'S GIRL, Here Kitty Kitty's follow-up, THIS IS BROKEN, is raucous punk with killer female vocals and (sometimes quirky) lyrics dealing with some similar topics, including songs pertaining to girls who are wanton (to put it nicely), love (from the title track: "This is a love song to the boy I fucking hate"), offering advice to girls who need some sense knocked into them, and prudent punk scene commentary (off "Destroy": "It's not about the uniform, it's about the unity"). But some major differences are also evident. For instance, they've whittled the line-up down to a three-piece; and, like GIRLS GET BUSY, the last offering from Bratmobile (a band with whom I see some similarities), HKK, though never as gloriously raw and amateurish as that trio, showcase a slightly more-polished record with THIS IS BROKEN than that of its predecessor.
-Janelle Jones

HIERONYMUS BOSCH
" HAVIN' FUN, SOUNDIN' GOOD"
SELF PUBLISHED
Hieronymus Bosch is a Brooklyn three-piece rock band. Their sound is surf and cool, fun pop. "HAVIN' FUN, SOUNDIN' GOOD" is an excellent album. The opening track "Borg Warner, Four-on-the-Floor", starts with a slow, building noodling, and then Hieronymous Bosch throw in their six cents on the Dick Dale theory of surf guitar. This band doesn't have Dick Dale's balls (very few do), but I would say Hieronymus Bosch out-nut The Ventures. On track 2, "Metronome", guitarist and voxman Mathew Harrison is Lou Reed with cool, upbeat energy. A real cool act. My pick for the single would be "1776", a slow groove, very cool sounds ("I've had it with 1776 / And the Pistols / And the local cineplex"). Hieronymus Bosch is unsigned gold. "HAVIN' FUN, SOUNDIN' GOOD" is a real cool time.
-H. Barry Zimmerman

HINT HINT
YOUNG DAYS
SUICIDE SQUEEZE
Seattle-based post-punk outfit Hint Hint burst onto the scene with their EP SEX IS EVERYTHING, which almost immediately yielded them a slew of devoted fans. Their first full-length and first release with new record label Suicide Squeeze (almost Seattle-based), YOUNG DAYS, carries on their post-punk. Rhythmic drum beats with heavy utilization of the floor tom and bass, scratching guitar riffs, spacey synthesizers, and the occasional heavenly piano notes all coalesce together to form a truly inimitable sound. The vocalist's hoarse, lightly-accented voice flows across the combination of instruments and musical elements to complete the unique sound. Good album. Give it a go. website
-tChow

JACKASS
PLASTIC JESUS
BYO RECORDS
I knew I was in for a treat when the first words I hear on the first track "Country" is "Darling, you put the cunt in country." To summarize PLASTIC JESUS, it's a fun album. It's essentially a hybrid between country and punk music, with more emphasis on catchy country hooks. Besides Jackass' intoxicating honky-tonk originals, you'll also get some excellent covers, including Madonna's "Music" and Backstreet Boys' "I Want It that Way". If you like music that has hints of Hank Williams III, Social Distortion, and Mike Ness' solo work, than Jackass should be right up your alley. This album is filled with quality and catchy music that transcends music genres.
-Dane Jackson

JAPANISCHE KAMPFHORSPIELE
FERTIGMENSCH
BASTARDIZED
German grindcore specialists Japanische Kampfhorspiele provide an utterly brutal display of aggression on the outift's seven-track offering. 21 minutes chock full of full-on, no nonsense pummeling that meshes the best elements of hardcore, grind, death, and thrash metal is what this quintet delivers, and be warned, it's quite severe in nature, and all sung in German to boot. How's that for a kick in the ass? If you're looking for a band to grab your throat and not let go, stop looking right now. website
-Mike SOS

JET BLACK CRAYON
INACCURACIES OF THE MIND MACHINE
FUNCTION 8 RECORDS
They feature the smooth integration of instruments as various as the accordion and the cello to formulate a mellifluous ambience. Devoid of vocals, the overall element that draws together the mysteriousness of "The Light Offer", the laid-back groove of "Empiric", and the transcendence of "The Mentalist" is their ability to manipulate their instruments to craft each song to complete uniqueness. True to the album's title, Jet Black Crayon guides you through the fluctuations and inconsistencies of the human mind through their eclectic choices of expression.
-Mabel Lam

JET PIN ARMY
SELF-TITLED
INDEPENDENT RECORDING
" Eh" is all that can be said about Jet Pin Army. This six-track independent recording is not much different than what we're hearing on the radio these days (e.g., the Good Charlotte, Simple Plan shtick). The band can play—there's no doubt about that. The guitars and drums and such are all crystal and catchy at some points. But c'mon, give me something to bite into! Why be like every other pop star when you can work on being more fucked up and flamboyant than the rest? It's more intriguing that way.
-Darren Ratner

JETTISON RED
TRAVEL BY TELEPHONE
STATIC RECORDS
Before Iggy Pop and Wayne Kramer show up on postage stamps, it's good to hear a Detroit band that doesn't sound like they were recorded in a garbage can. Forgetting almost entirely about the garage blues movement, Jettison Red play likable, melodic rock with all the inspiration you'd expect from sons of the Motor City. "Dead Heroes" summons ghosts of rock ("Teenage wasteland, where did you go?"), while "Suicide of Me" could be the token pity song. The band maintain sincerity instead of processing Blink 182 somber efforts. The commercial masses should be green with envy at a band able to blend pop while staying true to their greasy roots and not sounding like soulless check-cashers.
-Rob Macy

KILLSADI
WE'RE ALL A LITTLE SICK
SATELLITE CITY
Killsadi's style of songwriting is very animated and unique, with unorthodox but fitting vocals. I just wished the album featured more of it. Nearly half the tracks on WE'RE ALL A LITTLE SICK are solely ambiance or drum and bass. The ambient tracks were very complex and actually quite poetic but became dreary after a while. Killsadi had teased be with tracks like "We Are All a Little Sick" and "Untitled Number 304" with a perfect combination of whining guitars, a suitably mellow rhythm section, and moaning, screeching vocals. But then I had to sit and wait through their experimental tracks, which were, like I said before, well-crafted but dull compared to their traditional songs. I found myself skipping through the tracks trying to find those haunting vocals. However, Fans of Minus the Bear or These Arms Are Snakes would definitely enjoy this album.
-Darren Davis

KILLSWITCH ENGAGE
THE END OF HEARTACHE
ROADRUNNER
Everything in my body wants to not like this band, but something inside of me still does. Killswitch is just one of the best metalcore bands around today—whether I like it or not. The clean vocals are excellent, the riffs are fast and fun, and the CD never gets boring. There are traces of old In Flames in the guitar work (in a world where I have to actually say "old In Flames" because of their new-found sound). Devoted Killswitch fans will eat this one up, as well as any fan of hardcore in the genre. Key tracks include "A Bid Farewell" and "Breath Life".
-Zac

KOTTONMOUTH KINGS
FIRE IT UP
SUBURBAN NOIZE
Kottonmouth Kings are still here, after 10 years of smoking grooves and countless jaunts across the United States, taking Parliament Funkadelic's place as the consummate party band. Unfortunately, with a band so fixated on getting high, giving themselves props, and getting higher, there aren't a lot of new topics to espouse upon for this troupe. Because of this, the lyrical content for many of these tracks is designed to shock but instead falls a bit flat, but 10 years in the game does speak for something these days. Potheads, burnouts, and junkies unite; your heroes have returned to share their drug-induced tales of success and failure, backed by a West Coast attitude that's as much Snoop Dog as it is So Cal punk. website
-Mike SOS

LEATHERFACE
DOG DISCO
BYO RECORDS
Is it possible for Leatherface to put out a bad album? I think the answer is most likely "no." With DOG DISCO, Frankie Stubbs and company seek a more melodic sound. They succeed with this without losing any of the band's intensity. For people unfamiliar with Leatherface, you can thank them for bands like Hot Water Music, Avail, Dillinger Four, Planes Mistaken for Stars, and others. There's something about Stubbs's gravelly voice that is almost hypnotic. If you're sick of all the mass-produced punk available now, Leatherface's DOG DISCO is your saving grace. It's filled with 12 tracks that will make you think and enjoy music all over again. It may take some effort to enjoy Leatherface, but if you make that effort, you'll never regret it.
-Dane Jackson

LIL' CAP'N TRAVIS
IN ALL THEIR SPLENDOR
GLURP RECORDS
From the second this record started, I was sold. Typically, I don't subscribe to surf rock, but as this record wore on, I fell for the best of all sucker punches. Slowly unfolding their melodies through slide guitar, brushes, and light touches of organ and harmonica, Lil' Cap'n Travis develops an irony that has been long lost to music. A relaxing, almost hypnotic sound goes far to mask a sardonic point, which is delivered so gingerly that it almost goes unnoticed. Echoes of Neil Young's HARVEST occasionally bounce through to the speakers, as the listener is lulled into listening to the message of IN ALL THEIR SPLENDOR. Opening track "Steady as She Goes" personifies the record as a whole, combining a hammock-like relaxation with a shrewd observation of the nature of paradise. Check it out.
-AC Lerok

LISA
LITTLE CONTEST
SKREWED RECORDS
The debut release from Wisconsin start-up label Skrewed Records, Lisa's LITTLE CONTEST, is advertised as a punk record, but it's not; it's straight-up, no-questions-asked emotional rock—i.e., emo. Seven songs of precisely-formatted, tempo-twisting emo, a vocalist that sounds like every other emo vocalist (maybe it's really all the same guy), and the token acoustic number tacked on at the end combine to make LITTLE CONTEST an album that's hard not to listen to and difficult to criticize. However, there are shortcomings. Maybe it's the shitty production or perhaps Lisa's admitted connection to France (never good for a rock band), but the music contained on LITTLE CONTEST just lacks attitude, as though it would be difficult to find one testicle between the four members (all male) of the band. Pick up LITTLE CONTEST if your girlfriend just left you.
-jck.

LOS DRYHEAVERS
HANGUPS, HEARTACHES AND HANGOVERS
LORELEI RECORDS
After listening to this album, I realized my threshold for boredom had increased. Two years ago, there would have been no way I could sit through an album full of filler and not slit my wrists; but now, in my mature old age, I just stare blankly at the wall, waiting patiently for it to end. I can't tell if these symptoms are good or bad. Los Dryheavers are just angry punk rock. Fast guitars and nothing new. They do have the occasional song with Spanish lyrics, which is unique (at best)...but certainly doesn't redeem them for releasing this awful record into the world!
-chad

MANKIND LIBERATION FRONT
AUTOMIND
REALITY ENTERTAINMENT
AUTOMIND is Mankind Liberation Front's debut U.S. release. Mankind Liberation Front are a three-man band that produce the electronic sounds and lyrics that reflect their unique twist on music. Many songs include piano, guitar, synthesizers, and strange noises (such as loud frogs). This band and album will surely be embraced by those who love the style of music that attempts to be modernly psychedelic with strange lyrics and lots of technology to create the sound of instruments and vocals. They will surely be embraced and danced to by the electro-clash indie scene.
-Jennifer Moncayo

MASTER CYLINDER
MASTER CYLINDER
UNSIGNED
Let's first give these guys credit for writing everyone of their songs on this 10-track CD. Let's also try to take this into consideration while we listen to the songs that sound like they've been written by a group of disgruntled 12-year-olds. The more CDs I get to review, the more I realize how much leverage the lead singer has in making or breaking the band. In the case of Master Cylinder, the vocals are simple and keep with the stereotypical brand of screaming, tough-guy, garage-band lead singers. Don't get me wrong: I dig garage bands...just not this one. It's likely that the last time you heard these guys was probably at your high-school battle of the bands. Yeah, they were the runners-up. They also haven't made much progress—but perhaps the next kegger they play will be their big break!
-Cancun Carley

MIDNIGHT CREEPS/CAPO REGIME
MIDNIGHT CREEPS/CAMP REGIME SPLIT REGIME
RODENT POPSICLE RECORDS
This split CD showcases two East Coast bands rocking harder square-beat tunes. Overall, this compilation is an interesting mix. Midnight Creeps offer a bland instrumental sound with a dynamic vocal frontwoman; while Capo Regime plays like mad, offering bitchin instrumental talents against un-tuned hollering. These two bands complemented each other's sounds utilizing both their weaknesses and strengths. Perhaps if we could take the instrumentals of Capo Regime and toss in Jenny from the Midnight Creeps, we'd have one hell of a talented, vibrant band on our hands. Otherwise, no thanks.
-Cancun Carley

MIDTOWN
FORGET WHAT YOU KNOW
COLUMBIA
Midtown has grown up, or just changed, or something. However you want to say it, they've definitely undergone serious evolution with this new record. The new album, FORGET WHAT YOU KNOW (releasing on Columbia in late June), could not have been more perfectly titled. The album calls not only for all former fans to forget what they knew of Midtown, but also, the album's concept calls for most of society to let go of all presupposed beliefs. The album's lyrics mostly take a stab at modern-day religion. The music is much less pop, far more dark, and rock 'n' roll all over. The bleak concepts the album faces mix well with the darker sound Midtown has taken on. Despite the band's drastic evolution, the same talent is there, the same driving guitar riffs, the same catchy hooks. With all of this, the same inevitable and unforgettable impression is made to any who listen. Change CAN be good. website
-tChow

Missing Pilots
DISPASSIONATELY
EIDUS RECORDS
Meandering and meditative, Philadelphia transplants Missing Pilots' accomplished musicianship create faint melodies that hit like hammers to the heart. The churchgoing chime of "The Truth Is Never Easy" leads a slow progression towards a delicate release that would be buried anywhere else, but it's fiery and defiant when played in this setting. Howlingly unhinged by comparison to the rest of the songs, "Properties of Undoing" finds the inward depression thrust to outward rage in sweeping soundscapes and pounding resonance. Missing Pilots' ability to retain poise amidst both their gloom and mania affords the songs a genuine elegance. Only the scope of their inspiration holds them from success.
-Rob Macy

MODULATOR
DON'T HOLD OUT ON ME
PLANETARY GROUP
Do not be surprised if you hear this band on the radio in coming months. That said, this three-song EP absolutely blows. Midway through the first song, I suffered an aneurysm. I am becoming infinitely tired of synth-based pop—this record being the genre's poster child. Even the lyrical content is weak, although delivering precisely what the titles of the songs promise. Track 2, "You're So Analog", cries the title repeatedly, occasionally interjecting the line, "But it's okay." This record would fit seamlessly into the CLUELESS soundtrack or into any compilation, so long as it was bookended by vapid, meaningless ditties that would not overshadow its mediocrity.
-AC Lerok

MY HOTEL YEAR
THE CURSE
HEINOUS
My Hotel Year's THE CURSE can be summed up as an average pop-punk album that is fueled by solid, confident vocals. The first couple of tracks are energetic and sincere, but after a while the songs seem dreary and seem to become different variations of each other. However, when the music began to sink, it was the vocals that kept it afloat, showcasing obvious talent and utilizing catchy harmonies between guitarists Ryan Fleming and Travis Adams and bassist James Woodrich. The Hotel Year have brought nothing new to the table, but they have made due with what was already there. A decent record.
-Darren Davis

MYSTERY GIRLS
SOMETHING IN THE WATER
IN THE RED
Mystery Girls so expertly channels the pre-punk rage 'n' soul of '60s psychedelic rock that tracks like "You're So Blue" are veritable wayback machines. The spacey interlude of the instrumental "Radio Planet Blues" is a point of recovery at the crest of this emotionally draining, sweaty 13-song album. It's the eye of the storm in the retro garage hurricane that lashes the listener on SOMETHING IN THE WATER. Something has been dropped into the Wisconsin water the boys of this quintet are drinking, and I would like to have a dose.
-Tom "Tearaway" Schulte

NAME TAKEN
HOLD ON
FIDDLER RECORDS
What happens when you take a pop-punk band, give them a bunch of old post-hardcore records, and place them in a studio? These are the results. I have always placed Name Taken in the same group with bands like Slick Shoes. Fortunately for them, they have grown above their pop-punk beginnings and are trying to create a unique sound. While many may see this as a breathtaking record, it lacks any sort of energy and drive to keep a listener's ears glued to the stereo. Most of the time this record is painfully average and quite mundane. While the kids know how to play and are trying their best, it is not realized on this record.
-RAY HARKINS

NANCY
AMERICAN VICTIM
IDIOT RECORDS
AMERICAN VICTIM is meant to tide everyone over for Nancy's forthcoming full-length this summer. Instead, it's made me want to hear the full-length even sooner. What Nancy does with acoustic guitars on four tracks is more than some established bands can do with a full band. On "Abuse", Nancy showcases its mastery of the guitar with very intricate and layered guitar melodies. Quality songwriting, as well as perfectly layered dual vocal harmonies, are showcased on "Circles". Overall, Nancy is one of those bands you should seek out if you like pure talent.
-Dane Jackson

NO CHOICE
DRY RIVER FISHING
NO IDEA
Finally! Finally, a CD that I don't have to come up with a witty joke about. Simply put, these guys kick ass. Having toured with such reputable bands as Against Me! and Planes Mistaken for Stars, No Choice offers passionate political messages mixed with powerful guitars, held together by syncopated drum beats. DRY RIVER FISHING provides listeners with anti-establishment anthems, perfect for the heightened political context surrounding today's youth. Overall, No Choice is an awesome band worth rocking out to, so get of your asses, vote...and pick up DRY RIVER FISHING while you're out.
-Cancun Carley

NOCTURNAL RITES
NEW WORLD MESSIAH
CENTURY MEDIA
I was so happy to receive the new Nocturnal Rites album. After a few good listens, I can say that this is the best disc they've recorded. This being their sixth album, you can now call them power-metal veterans, and it shows through intricate guitar work (compliments of Nils Norberg) and fantastic studio keyboard arrangements. Picture a heavier Sonata Arctica mixed with Hammerfall, and you've got a start at Nocturnal Rites. Go get this one.
-Zac

ON THE OUTSIDE
DIRTNAP RECORDS
One of the joys of being able to review records is hearing something that completely takes you by surprise. I don't know anything about The Marked Men, besides the fact that this record is an absolute joy. Gritty pop-punk the way it was meant to be played: fast, loud, melodic, and short. ON THE OUTSIDE is the perfect mix of The Hives playful pomp and Screeching Weasel's bratty melodies all mixed together with the volume and fuzz of The Ramones. In such bleak times for punk rock, it's always refreshing to hear that at least someone remembers how much fun the genre can be when done correctly. Long live The Marked Men...whoever they are!
-Matt Siblo

OUTPUT
WERE ALL WIRED EP
CUBE RECORDS
Hailing from New Jersey, Output roll through some electronic no-wave punk that might appeal to fans of Feix Da Housecat, LCD Soundsystem, Kill Hannah, or The Rapture. Label owner/producer DJ Junior Sanchez (who's remixed tracks for The Faint, Placebo, and Moving Units, among others) practically acts as the group's silent partner, as Output churn out six dance-friendly tunes. The lyrics are as about as inspiring as the campiest '80s dance tunes (think Flock of Seagulls or Missing Persons), but at least this has what it takes to get your ass out on the electro dance floor. See outputband.com" target=_blank>website for mp3s.
-Jude Ruiz

PHONOCAPTORS
CALL IT WHAT YOU WANT
PRO-VEL RECORDS
The Phonocaptors encompass all forms of musical genres and creative juices to form an eclectic force of rock. The CD is exemplary indie-rock music (which is not my particular favorite), yet the album possesses a certain sedated catchiness. The album contains several sedated and mellow songs that maintain a certain level of energy, with rock-infused vocals and riffs which fluctuate accordingly. At times, the lyrics are humorous and discuss the absurdities of life, such as people who live for high school (as they mockingly sing, "You're so so cool / Yes, I know you are still so so cool" in "Trifecta"). Their music is undoubtedly good and the lyrics are fantastic, with a rockin' beat behind it. They will most likely be the next indie-rock sensation.
-Jennifer Moncayo

PRESSURE COOKER
BURNING FENCE
JUMP UP! RECORDS
The fourth full-length release from this nine-piece Boston ska outfit is a classic example of Jamaican roots at its best. Pressure Cooker has been performing together since 1997 and has backed such reggae legends as Prince Buster, Derrick Morgan, and Monty Morris. On this release, the band grooves through 15 original instrumentals and two DJ versions with guest vocalist Craig Akira Fujita. All songs were recorded onto analog tape in studio in a live, one-take session. This gives the tunes that rarest of appeals, that of the old-school Jamaican Studio One recordings. The band has won several Boston Music Awards, such as the 1999 Best Reggae Act and Best Ska Band of 2000. Their sophomore album, I WANT TO TELL YOU, won the About.com" target=_blank>website award for the Best Ska Album of 2001. This is an all-star band playing roots reggae and ska at its best—something a real cultist won't want to miss.
-DUG

REASON FOR NOTHING
THE TURN OF TOMORROW
REASON FOR NOTHING
Wait…did SKRATCH just send me a Third Eye Blind album? There's got to be some mistake. Track 2: wait…is this some sort of sissy compilation with Third Eye Blind and Blink 182? Track 3: oh no, I can't take anymore.
-Jasten King

REIGNING SOUND
TOO MUCH GUITAR
IN THE RED RECORDS
Straight out of Elvis's hometown of Memphis comes this cute little fuzzy wuzzy album. Titled TOO MUCH GUITAR, it's just that. Maybe purposely made to sound like a Stones' record on the phono player, it's full-on '60s retro. I guess if you're going to recreate a specific sound, that's a good one to go for; but if you're trying to wow the kids of today, don't count on it. But chances are these guys don't care about that and simply want to have fun playing the music they like. And the record is just that: fun.
-Jasten King

ROCHESTER FOSGATE
SELF-TITLED
SMOOTH EXCAVATOR RECORDINGS
The debut release from Northwest solo artist Rochester Fosgate is a highly personal document of an existential journey of discovery. All 11 tracks on this album are recorded at Fosgate's Stu Stu Studio, where, in true D.I.Y. style, he wrote all the songs, played all the instruments, and did all the vocals. While there are a few semi-rockers on this disc, most of the tunes are lively acoustic melodies in the vein of Nick Drake or Matt Costa. Fosgate does a great job with acoustic and electric rhythm guitar, but he falls painfully flat with his bass. Fosgate's appealing acoustic songs are often jarred by a too-loud or incompatible bass line. This is a good first effort, but Fostgate will have to tighten up his tunes to attract any major label attention.
-DUG

READY FOR VEGAS
DEMO
SELF-PUBLISHED
Ready for Vegas is a conglomeration of some of the coolest bands' sounds of the last 30 years, including Firehose, The Sex Pistols, X, REM, Sonic Youth, and so on. The tribute-mindedness is off-putting. I cannot get past it. I listened and I tried to hear something in between the notes to tag as Ready for Vegas' heart and soul, but this group is slavishly emulating what's in their collective CD collection. My favorite aspect to this demo was that it was only 15 minutes long. Ideas are the key to being a good band. Have your own, or shut the fuck up.
-H. Barry Zimmerman

SÇRE
MANIC TOWN
MIDDLE MAN PRODUCTIONS
This is an album of decently-produced groove metal. Nothing really stands out about the album itself or any of the tracks. 20 years ago, the band could have been huge. The group probably would have toured with and opened for the bands listed in Circle Jerks' "American Heave Metal Weekend"—without rating a mention in that song itself.
-Tom "Tearaway" Schulte

SEX WITH GIRLS IS RAD
S/T
SELF-RELEASED
" What we lack in skill, we make up for in enthusiasm," reads the crayon-colored liner of these Portland hipsters' homemade recording of sloppy songs and general silliness. Sex with Girls Is Rad is what happens when two teenage boys with WAY too much spare time, energy, and pent-up sexual frustration are allowed near musical instruments and a Tascam. They aren't actually teenage boys—they clearly state their age as 22—but they play the role with humorous accuracy, advertising their insecurity through screeching vocals in what I'm hoping was recorded in one take. The quality is horrible, but the songs are enthusiastic and moderately entertaining the first time through. I give its creators props because it sounds like it was a hell of a lot of fun to make, but I wouldn't subject anyone to this...unless they were a personal friend of the band.
-David Small

SHOTBLUE
UNTIL DEATH DUE US PART
INDEPENDENT
In the wake of the latest rock-fused hardcore trend, a band following the typical formula of screaming with melodic choruses enters the scene. Shotblue comes to us from Los Angeles showcasing plenty of radio-friendly melodies. It's easy to compare the group to bands such as Finch, Thrice, Trust Company, Thursday, Boy Sets Fire, etc. With its good-looking lead singer and catchy choruses, Shotblue will probably make a name for itself this summer on the Warped Tour. So hurry up and buy the group's new album before your kid sister does.
-ADF

SKINLAB
NERVE DAMAGE
CENTURY MEDIA
Bay Area metal troupe Skinlab are back, kind of. While band members consistently change and the future of the band is in doubt, the outfit has released a compilation of B-sides, rarities, and live tracks named NERVE DAMAGE. Boasting two discs jammed with demos from the band's early days to remixes of some of the more recent material, this collection is a must for fans of the band, but not many else. Following the trend of bands that clean out the closet for the benefit of the fans, this CD has a transitional feel, and only includes two new tracks, which open NERVE DAMAGE with a vicious one-two punch. If you really dig these guys, then pick it up, because it has some awesome liner notes and pictures included, but if you're merely a casual fan, it's not an essential purchase. website
-Mike SOS

SIX REASONS TO KILL/ ABSIDIA
MORPHOLOGY OF FEAR
BASTARDIZED
This split disc features two German groups whose metallic firepower is undeniable. Up first is Six Reasons to Kill, a quintet whose four-track submission metalcore guitars sound like a machine gun's rapid fire, while the growled vocals and rhythmic power groove create an atmosphere that's one-half Hatebreed and one-half Cannibal Corpse. From there, we reach the less in your face yet faster and more technical beast known as Absidia. This German fearsome fivesome inject some Scandinavian influences into its metallic mixture, blending the best of At the Gates and Children of Bodom to create an environment where crunch guitars and lightning fast interludes reign supreme. website
-Mike SOS

SMALL TOWNS BURN A LITTLE SLOWER
S/T CDEP
RISE RECORDS
The truly sad thing here is that, just by looking at the artwork, band name, and song titles, I could have written this whole review. Simply put, this is Midwestern emo by sensitive "pretty boys." Marshall guitar amps, snappy drum beats, Vonbohlen-esque vocals (without the charm), and oh-so-sensitive song titles like "Wait for Me Abby Bernstein". Even the bio was predictable and generic: "…getting quite a buzz on the scene," "…ready to take over the world," "meet your new favorite band." Remember when the Midwest was home to fresh and exciting bands like Braid, Promise Ring, and Christie Front Drive? Of course you do—and apparently so does every 20-year-old boy from Ohio to Omaha. Follow the blueprint, and you, too, can have your very own emo band. MTV2 is only a haircut away.
-Wally Peters Jr

SMUT PEDDLERS
COMING OUT
TKO
Smut Peddlers' fifth studio album and first for TKO, COMING OUT, is a lesson in incomprehensibly catchy (but NEVER cloying), fun yet tough punk fucking rock. These O.C. veterans (who started back in '93) hit the mark on each of the 14 tracks, sprinkling each hyper composition with somewhat irreverent and lighthearted lyricsæthough there are some exceptions, like "State of the State", which offers some insightful socio-political commentary, and "Dead End", which deals with drugsæprovided by the powerful and sometimes-urgent-sounding vocals of frontman John Ransom. Still, no matter how good this record is, there are inevitably some tracks that stand out, including the unsurpassable "Rebatron Party" (a song featured on TKO's PUNCH DRUNK V—and for good reason!), the frantic "Coppers", the chaotic "Lotsa Cooks", and the rock 'n' roll-drenched "Dead End" (memorable in large part for its very Jerry Lee Lewis-like piano work).
-Janelle Jones

SPRCSS
TASTE LIKE DAUGHTER
MY PAL GOD RECORDS
Abstract lyrics and melody-driven psychedelic minimalism overrun and infiltrate the listeners' eardrums throughout TASTE LIKE DAUGHTER. One minute you are engaging in the head-bopping vocal melody and driving bass of the opener "Look: Explosion! New Springs", and before you can fully comprehend the sonic beauty of what you have just been bombarded by, you are assaulted further by more gems that cause instant addiction. The Johnny Rotten-like screams in "I Call I Gorilla (Mountain Lifter)" inject the raw art-punk feel deeply into your veins. As instantaneous as an epiphany, TASTE LIKE DAUGHTER's attack is quick and satisfying—an amazing feat for a six-song album that barely comes close to 30 minutes. In this respect, less is definitely more.
-Norberto Gomez, Jr.

SQUAD FIVE-O
LATE NEWS BREAKING
CAPITOL
It seems that, with the arrival of bands like The Darkness, Jet, and The Vines, rock 'n' roll is becoming increasingly trendy nowadays. Enter Squad Five-O, a five-piece who has been perfecting the epic rock 'n' roll sound of the '70s for much longer than any of those on the Top 40. LATE NEWS BREAKING is Squad Five-O's first major-label release with Capitol Records. Their last release, BOMBS OVER BROADWAY, was a masterpiece of soulful R'n'R hits. Their latest continues the tradition of poignant hits, comprised of classic-sounding guitar riffs, pounding snares and toms, catchy melodies, and wailing vocals. The album starts off strongly with "Always Talkin', Never on the Run", and the catchy, howling rock continues straight through the entire album. You won't be able to control your feet, as they start moving back and forth to the melodic rhythm. website
-tChow

STAMPEAD
COUCH THE COMFORT
TICKLE ME TWICE RECORDS
COUCH THE COMFORT is the second release from the L.A. quartet known as Stampead, and let me tell ya, these guys have the sensitive classic-rock vibe down pat. At times, this disc has a way too radio-friendly vibe, but there's enough substance behind the songs to keep you listening. Stampead are clearly at their best on tracks like the vaguely familiar "The Ballad of Page" or "Momma's Little Baby". As a whole, however, this album is just too much of a downer. I'm feeling tired all over. I think I'll take a nap. See stampead.com" target=_blank>website for some mp3s.
-Jude Ruiz

STEREOTYPERIDER
UNDER THE INFLUENCE
SUBURBAN HOME RECORDS
A band with a slight identity/genre crisis takes on some classic covers songs to prove their valor. This album rocks, and I am not ashamed to say that I like some of Stereotyperiders' versions better than the original songs. They pay a fine homage to some of their influences (such as The Cure, The Pixies, and Fugazi), while remaining more than just a cover band giving shout-outs. Their influence bleeds through in each song, leaving the listener with an appreciation for their interpretive style. This album is the first in Suburban Records' UNDER THE INFLUENCE collection. There will be more to come, featuring other bands we've never heard of covering songs done originally by their influences (who we have heard of).
-Thomas Murray

STILL REMAINS
IF LOVE WAS BORN TO DIE
BENCHMARK RECORDS
Since the explosion of hardcore has fully taken a grasp on the mainstream music-buyer, it comes to me as no surprise that a band like Still Remains exists. Borrowing heavily from the ever-popular Orange County hardcore scene, these six gentlemen from Indiana love Bleeding Through—and are not afraid to show it. This is primed and ready for the big time, as the production value for a debut EP is stellar and the breakdowns are enormous. While it may take time for this band to develop their own identity in the sea of bands out there, they are on their way, as it seems that the band is willing to work hard to present themselves to the world. Give them time, and it could develop into something inspiring and original.
-RAY HARKINS

STU WALKER
THEFT, ARSON, VICE, MURDER, AND DEATH
ODD HALO RECORDINGS
Described as "what happens when DJ Shadow meets the Squirrel Nut Zippers down the back of a dark alley," THEFT, ARSON, VICE, MURDER, AND DEATH indeed has a pseudo-trip-hop vibe mixed with a vaudeville/jazz feel, and it even features layered effects with big-band samples, sleazy bass lines, and some jazzy female vocals (by Ethyl Bourbon). Stu Walker is no newcomer, as he has been on the Boston rock scene for years with bands like Liquortricks, Cokedealer, and Crack Torch. This album should have you on the first track. If it doesn't, then it's probably not your cup of tea, and you should move on. If you do feel the vibe, wait until you get to "The Midas Touch", which features big-band horns, eerie organs, drum loops, and muffled male vocals paired with some female vocals reminiscent of THE TRIPLETTES OF BELLEVILLE. At oddhalo.com" target=_blank>website, you can listen to a snippet of the title track, so you don't have to just take my word for it.
-Jude Ruiz

SUPERCHRIST
SOUTH OF HEAVEN
BLACK PLANET
This disc makes an excellent Frisbee, but there is nothing "super" about it. But what can you really expect from a band with a drummer named Whorepuncher and a guitarist named Hank Bitchlover? Chris Black is the vocalist and producer, so I guess we have him to blame for this. The other two are there as back-up, with their cleverly offensive names. The music may be appealing to those caught in a late-'70s haze of delusional, angry musicians degrading women and acting the tired role of rebellion, but this is 2004, and this fad has long since passed—so the music should probably evolve with it. Bands heaped with talent can pull of this sort of debauchery, but Superchrist isn't one of them.
-Thomas Murray

THE ADVANTAGE
SELF-TITLED
FIVE RUE CHRISTINE
Growing up as a kid, I wasn't one to do ANYTHING normal. I never watched any of the STAR WARS movies, I couldn't eat candy...and most importantly, my parents wouldn't allow me to play video games. I guess it's not too late for my dose of Nintendo. The Advantage revolves around Nintendo covers, and for a band who is nerdy enough to do so, they sure sound suave and smooth. However, they are less electro and more instrumental-based, putting their dual-guitars, bass, and drums to good work.
-Mabel Lam

THE HORRIBLES
EP
SELF-RELEASED
It's always good when bands use their name to let people know what their music sounds like. Horrible is very close to what The Horribles sound like. The lyrics are juvenile, the choruses are annoying, and the lead singer's voice will grate on your nerves halfway through the first song. There really is no reason for you to seek this band out, unless you want to hear absolutely terrible poppy girl punk. The best part about this EP is how short it is.
-Dane Jackson

THE MARKED MEN
THE BOLIDES
SCIENCE UNDER PRESSURE
DIONYSUS RECORDS
It's record label is known for putting out lo-fi records that often sound like they came out of a garage, and this is no exception. This is lo-fi rock with a twist of keyboard and sassiness. The record is full of '60s-style garage-rock songs that have a modern electronic edge. The group's presentation is very creative, keeping with the science-fiction theme—which also complements the music. The song structures are very simple and straight ahead, very much in the vein of Groovie Ghoulies and others in the lo-fi genre. I can definitely hear these tracks on the soundtrack of a modern surf film.
-ADF

THE BREAK-UP
SHE WENT BLACK
SELF-PUBLISHED
The Break-Up is a super pop-rocker outfit. The rock is mainly all in the voice of the super mod and ballsy Jamie S. Jeff M. the guitar man is playing with a when-it's-necessary philosophy. When the guitar is laying low, The Break-Up can drift into moments of sounding a little pussy. Most of SHE WENT BLACK is a sweet listen. There are only 18 minutes/five songs. Fortunately, what's here is choice. I love the chorus of "Don't Save Me"...which is one of the more pussy moments, really. It's just so hooky that I can't get it out of my head...which is how SHE WENT BLACK works. Jamie S. is a voice of the future. He can write the hooks, and he can sing 'em. The Break-Up is more unsigned gold.
-H. Barry Zimmerman

THE DEFECTORS
TURN ME ON
BAD AFRO RECORDS
The third album from Danish, eerie, creepy-crawly garage-rocking band The Defectors. I can honestly say that, out of all the things I've ever been given to review, this is the coolest. That retro-Cramps style sped up a bit with a modern twist makes this album a party. Sure, it's probably meant for that narrow type of garage-rock audience, but I would dare anyone to pop this in and try to tell me they don't want to get down and boogie.
-Jasten King

THE EPIDEMIC
SELF-TITLED
RODENT POPSICLE
Some pretty kick-ass punk rock/hardcore from these Massachusetts freaks. Cussing and spittle are thrown here and there on 11 songs of spazzed-out, sloppy, metallic punk featuring that beloved and distorted-beyond-recognition guitar sound. The vocals are bellowed out without a lot of attention to detail (or tunefulness), and the rhythm section has a hard time keeping it together on half the songs. Ah, punk rock. How we love thy tendency to not give a shit. Fans of UK Subs, Toxic Narcotic, and A-Team might get some listens out this (but a single spin is probably enough for me). website
-Jason Schreurs

THE ELECTRIC
DEGENEROTIC DOSES
PROVEL RECORDS
St. Louis has rock bands? I thought it was just Nelly and homeboys with Band-Aids under their eye. Well, thank God, 'cause the new album from The Electric is fine rock 'n' roll in classic bad production (I mean that in a good way). Kept short and sweet, dancey and neat, it's crossing The New York Dolls with The Cramps—and you know you can't go wrong with that.
-Jasten King

THE GAMITS
ANTIDOTE
SUBURBAN HOME RECORDS
If The Gamits aren't going to try very hard, then I won't, either. A three-piece outfit from the rock 'n' roll Mecca that is Denver, supposedly they're big in Japan and Italy (though press releases are full of lies). ANTIDOTE is their fourth full-length release. Is it college rock? Is it indie rock? Is it worth listening to? Questions without answers, really. They sound like Buzzcocks, if Buzzcocks had grown up listening to Buzzcocks rather than The Stooges. The sole compelling reason to buy this album: if you already own every other album ever made and want to complete your collection. It is boring, middle-of-the-road snivel made by pretty boys who clearly got laid plenty before starting their stupid band. Fuck them.
-jck.

THE GIRLS
THE GIRLS
DIRTNAP RECORDS
The Girls (who are, incidentally, five guys from Seattle) are part of the new-wave revival. The Girls play the new wave that followed the guru David Bowie. Shannon Brown at the mic sounds like Bob Geldoff, Danny Elfman, and a perky Bowie. He is doing lots of cool things. Mr. Brown seems to always be on. Keyboardist Eric Nurdlund is getting all the new-wave tones. Very classic. Zache Davis on guitar is erupting above the pop rim occasionally, but his rhythm work is stylish and ballsy at the same time. The Girls do have heart, and that's the name of the game. The music isn't the most original, and sometimes Mr. Brown's voice is just too much and on my nerves, but the bottom line is that The Girls rock as far as their act will allow.
-H. Barry Zimmerman

THE HOT FLASHEZ
RESORT TO PLAN B
DMR
The Hot Flashez sound like a ska band not trying to be a ska band. They have the horn section and the clean vocals, but none of the ska rhythms. , so it's just bad rock 'n' roll with horns! RESORT TO PLAN B is an EP they've released to accompany them on a tour of the Midwest this July. They are from Flint, MI, so if you're from Michigan, remember to stay home during July. This band is so bad that I feel embarrassed for them.
-chad

THE IZZYS
THE IZZYS
KANINE RECORDS
The Izzys deliver an authentic version of blues, boogie, and country music. The Izzys carry the traditional in a fresh way that doesn't seem to fall into the trap of sounding cliched or hero-worshipping. Mike Storey's vocals, guitar work, and songwriting lead this New York City trio like a modern-day John Fogerty. Lots of swagger and low-downness. My favorite song is "You Got Me Crying", a bluesy rocker with pop grace in the backing vocals of bassist Joe Cooney. This self-titled CD is comfortable and may cause involuntary head and foot movement. Long live the American songbird.
-H. Barry Zimmerman

THE KICKS
HELLO HONG KONG
TVT RECORDS
Vocalist and guitarist Scottie Cook admits to a big influence from TSOL's CHANGE TODAY? "One of my fondest memories is how that record mixed punk rock and goth," says Scottie. This looking backward gives a retro influence to much of the material, like "Pretty", which could be from The Cure's songbook. This Little Rock, AK, band offers a lot of catchy pop hooks on peppy indie rock songs like "Satellite", "Ass Tonight", and "Mir".
-Tom "Tearaway" Schulte

THE MEANS
THE DIVINE RIGHT OF MEANS
DOUBLE PLUS GOOD RECORDS
The Means play it abstract and smart with a great hard-rock intensity. There is a lot of artsy fartsy chance taking that works, Beatles charming at moments. Mainly, The Means rock. I hear a lot of The Pixies. Sometimes it sounds like a lost recording of The Pixies—which, of course, bugs me. I got a chip about bands riding around on other people's shaft of light. When THE DIVINE RIGHT OF MEANS is at its best is when The Means is getting ultra-weird. The two-minute ending on "Charlize Theron (Blast Majesty)" is very creative minimalism. The disc's big surprise is track 13, "Honey Bayonet", a convincing piano and voice tune. THE DIVINE RIGHT OF MEANS is a masterpiece in some ways. I believe The Means love this album. Their heart is in the mix. What more do you want?
-H. Barry Zimmerman

THE MODERN DAY SAINT/SONNY
TENNESSEE ISN'T TOO FAR AWAY
FORK IN HAND RECORDS
Usually, bands that fall into the same category as Taking Back Sunday bore me to death. Because of Taking Back Sunday's popularity, it seems as if there has been an oversaturation of bands with similar sounds. That's why when a band like The Modern Day Saint come along, it's important to take notice. Sure, if you like Taking Back Sunday, you'll probably really dig this band, but the important thing is that, unlike all the TBS clones, The Modern Day Saint can function as an independent band. The three songs offered up on this split with the now-defunct Sonny are filled with intensity and maturity. Layered vocal harmonies, intricate guitar work, and dynamic song structures are just some of the highlights for the band's three songs. The EP would be worth it just for The Modern Day Saint's three songs. Sonny's three songs are just an added bonus. If you're jaded by all the TBS clones, than The Modern Day Saint is here to give you a breath of fresh air.
-Dane Jackson

THE NIPPLES
FILTHY LYRICS, HAPPY KIDS
SELF-RELEASED
I love The Nipples. Let me rephrase that: I love The fucking Nipples. I am crying with joy as I am listening to this album. I want more—and not just some more: I want a lot more. Now that you know I like it, let me tell you why. The artwork on the cover was done by John Pound. He is the guy that did all those Garbage Pail Kid cards that were popular in the '80s. More importantly, this album is real punk. There is no way The Nipples will ever make it on MTV—and I think that is absolutely fantastic. It is fun-tastic. It's truly a beautiful breath of fresh air to hear an album that you know they did just for themselves—and anyone else who likes it is just an added bonus. I don't have any stickers on my car, but I am putting the one they sent me right in the middle of my back window. Having played with bands like Drain Bramaged, DI, and Side Kick, these guys know what is up. Sounding a tad bit like The Descendents and maybe no one else, The Nipples are my favorite band of the month. Their Website is website.
-Ian Wilkins

THE PUT-ONS
DESOLATION GIRL
PUKE 'N' VOMIT RECORDS
Damn this band for being so catchy! Some of these songs get stuck in my head for weeks at a time. Non-threatening but edgy, The Put-Ons blend bratty, tongue-in-cheek lyrics with upbeat, driving tunes. The guitar work is clean and very much in the same vein as Buzzcocks, (particularly with some of the guitar solos) and the softer elements of The Clash. Lead guitarist and vocalist Dave Pedroza looks amazingly like famous actor Hugh Grant. He also seems to mirror Mr. Grant's boyish charm and witty sensitivity—both of which are clearly evident in this band's music. The standout track on this four-song EP is the eponymous "Desolation Girl". website
-Marcus Solomon

THE REPUTATION
TO FORCE A FATE
LOOKOUT RECORDS
This is The Reputation's Lookout debut, but it's also the band's sophomore album. After listening to TO FORCE A FATE, it's clear this Chicago-based quartet hasn't fallen into a sophomoric slump. TO FORCE A FATE is filled with tons of variety. It starts off with a lo-fi girlie pop song and is immediately followed by a more driving, punk-influenced track. After those songs, "Follow-Through Time" has a slight Ben Folds influence. If you're looking for a very solid rock album with wonderfully blended melodies, vocal harmonies, and solid production, look no further than The Reputation's TO FORCE A FATE.
-Dane Jackson

THE SAD RIDERS
LAY YOUR HEAD ON THE SOFT ROCK
STICKSISTER RECORDS
Brilliantly written and produced, The Sad Riders debut release brings 10 refreshing tracks to the world of acoustic rock 'n' roll blues. Reminiscent of Billy Corgan's acoustic solo work, Crooked Fingers, or at times the trendier Wallflowers, this album is a welcome change from the recent trend of pretentious, soft-rock confessionals. While the band's name reeks of emo, the lead singer/songwriter, Chris Wicky from Favez, sings simple lyrics of real life, as a Hammond organ and occasional electric guitar back up his room-filling acoustics. The Sad Riders come highly recommend to anyone who craves something refreshingly simple and sentimental.
-David Small

THE TEETH
WE WILL KILL YOU
SELF-RELEASED
I suppose this might be considered a punk album, but I think it sounds more like bullshit emo punk. If that isn't an oxymoron, I don't know what is. The music emulates so many hardcore bands out there, but the lyrics kill it. I can't pinpoint who they sound like to give you a comparison. While usually I smile at that fact, this time it is just frustrating, 'cause they sound like somebody I have heard...but I cannot remember who that was. Maybe that says something about the band. Maybe they are great and I don't know what the fuck I am talking about, but this CD just doesn't sit well with me. Fuck, I just remembered: the vocals sound just like Glen Danzig. I knew I could figure it out. If you're a huge fan of The Misfits, then go to website.
-Ian Wilkins

THE VOIDS
KILL A GENERATION
DR. STRANGE RECORDS
After this band was fucked over by Black Noise Records, Dr. Strange breathes new life into one of the best punk-rock CDs in years. The ominous power and fury of The Voids combines the best elements of the old school with up-to-date consciousness and vigor. The sound is reminiscent of early-'80s British and American punk, but with plenty of originality to keep everything fresh and lively. I am often reminded of Vice Squad, Sin 34, and a little bit of GBH. The lovely Ms. Adri's vocals are rapid-fire and aggressive, yet feminine. She is a perfect complement to the driving, power-chord-based tornado of music coming from her four bandmates. The CD has been remastered and has three bonus tracks. If you have the original release, hang on to that (muddy mix) for posterity's sake, but this new one has more music, cleaner (but still raw) recording...and the band will actually get paid this time. website
-Marcus Solomon

TOWERS OF HANOI
TOWERS OF HANOI
BARRACUDA SOUND
The Gainesville-based Towers of Hanoi (a few of whose rail-thin members crawled from the fresh tomb of the ill-fated Appalachian Drinking League) can strew together a decent hunk of chugging power-pop. Their harmonically cohesive songs sway between sessions of amp-to-11 post-hardcore and augmented ebbs of distortion-free jostling, and they certainly pass the standardized inventory for acceptability. Brains and heart get reasonably sized Xs on the checklist, and there's a moderately great chance you'd head outside if you noticed them performing in your backyard. If you were tight with them, you'd be blathering to cab drivers and convenience-store clerks about how you went to homecoming with the bassist, and it's only a matter of time before the band ends up with a seven-figure record deal and a recurring gig on Kilborn. The only potential road-bump, however, is the piercing voice of singer Rachel Ryder, who I'm guessing bears at least some relation to the fabled telephone operator. Look for their follow-up EP (tentatively titled IF YOU'D LIKE TO MAKE A CALL…) by late October.
-Dave Kargol

TRAPDOOR FUCKING EXIT
BE NOT CONTENT
NO IDEA
Coming from Sweden, it's uncanny how similar Trapdoor Fucking Exit sounds in comparison to San Diego bands like Hot Snakes and Drive Like Jehu. BE NOT CONTENT isn't so punk that you want to start breaking shit, but it doesn't have you reaching for that sweater and black hair dye, either. TFE keeps it simple with distorted down-stroke guitar riffs and fast drums matched with scratchy vocals. They pretty much nail the difficult balance between noise and melody, bringing a post-punk sound to a foundation of garage rock. Simple, yet creative.
-David Small

TRUE NORTH
SOMEWHAT SIMILAR
NO IDEA RECORDS
A few years back, the world of hardcore was in a very delicate state in which two worlds existed: the world of metal-core, filled to the brim with breakdowns and nice equipment; and the world of basement hardcore, confined to basements and with music played with the intensity of five bands. The war went on for a few years, and it looked like the basement hardcore bands were making a threat of rising out of that and making an impact on the scene. True North should be one of those bands that make a difference. Sounding like Fugazi meeting Black Flag with Orchid watching over their shoulder, True North create frantic, melodic, and passionate music—qualities that are not often found in hardcore these days.
-RAY HARKINS

TWISTED ROOTS
TWISTED ROOTS
DIONYSUS/BACCHUS ARCHIVES RECORDS
When I first put this album in, my heart nearly exploded with love! Twisted Roots are amazing! It's just my luck that they broke up over 20 years ago and only lasted a little over a year. Twisted Roots were made up of members from The Germs, The Screamers, and Black Flag. They have more of a Screamers sound to them, but they also incorporate other, eclectic sounds. Some songs sound like circus music, some like PIL songs. If you love the L.A. punk scene of the late '70s, you'll love this album.
-chad

UNDYING
AT HISTORY'S END
ONEDAYSAVIOR
After a lengthy sabbatical, Undying finally returns with a new and female vocalist named Logan but the same exact riffs they've always used. This entire album sounds borrowed from their previous effort, THE WHISPERED LIES OF ANGELS. I see no growth whatsoever, nor any attempts at a mature sound. It's sad, because a lot of talent lies within this band, just begging to be let out. Perhaps the problems within the band have contributed to this stunted songwriting. I would only buy this one out of the bargain bin.
-Zac

VARIOUS ARTISTS
BOSTON
RODENT POPSICLE RECORDS
As the album title suggests, Rodent Popsicle Records has released a slew of punk and hardcore bands, compiling quality songs from the Boston scene. The album features nationally-known bands like Street Dogs, as well as lesser-known bands, in hopes of promoting and helping the Boston scene and the bands that live it. The compilation is a double-disc with a total of 60 songs. Some bands featured are The Blue Bloods, Midnight Creeps, Darkbuster, Toxic Narcotic, and The Sarcastics. The comp contains some good punk, Oi!, and hardcore music that will satisfy you. It contains a plethora of music you can appreciate at an affordable cost—as the CD case reads: "Pay no more than $5.99."
-Jennifer Moncayo

VARIOUS ARTISTS
GEN-SUB NEW MUSIC SAMPLER
GEN-SUB RECORDS
How many more of Canada's endless qualities do I need to register in my warped American mind before I pack my socks and underwear into a handkerchief, tie it to the end of a long stick, toss it over my shoulder, and relocate to the Great White North? Aside from that whole national health-care thing and the fact that they're not blasting each other's heads off in record-setting numbers, Canadians simply know a good idea when they have one. For instance, this twinkling new CD sampler from the Toronto-based Gen-Sub comes with a fancy built-in media player, in addition to spotlighting new music from some of the label's best up-and-coming local flavor. Aphasia shatter the ice with an epic rock ballad reminiscent of H.I.M., and Joel Parkes delivers a sweetly sung hymn that is simply begging for play in the next feature-length Disney cartoon. Anybody know of some good Canadian zines?
-Dave Kargol

VARIOUS ARTISTS
IF IT PLAYS…
THINKER THOUGHT RECORDS
Ugh! Compilations generally suck. I rarely find myself buying or even listening to any comp—especially indie comps based on scenes or genres of music. Reviewing a comp is even worse. How the hell do you review 19 different bands on one comp in 150 words? Inevitably, for every good song, there are four terrible ones from bands you've never heard of. Politically, I've never been too interested in comps, because they always seem like a cheap ploy to promote an unknown label and its unknown bands by commissioning a popular band to be a part of the collection so that people will pretend to give a shit. IF IT PLAYS… had all the makings of another disaster. But after one spin, I realized that I couldn't have been any more wrong! This comp is flat out awesome. I'm moving to Peoria tomorrow! 19 great songs by 19 completely different bands making up one great comp.
-Wally Peters Jr

VARIOUS ARTISTS
LABEL SAMPLER 2004
RISE RECORDS
Oregon-based label Rise Records placed itself on the music map when it released albums by various promising young artists, such as Fear Before the March of Flames, Lonely Kings, Anatomy of a Ghost, and Divit. This new label sampler has offerings from both past releases and current. Highlights on the disc include great tracks by Small Towns Burn a Little Slower and Fear Before the March of Flames. If you're into the kinds of bands that are released on Equalvision and Victory, then you should give the Rise Records catalog a listen.
-ADF

VARIOUS ARTISTS
ROCK AGAINST BUSH VOL. 1
FAT WRECK CHORDS
On the initial installment of ROCK AGAINST BUSH (a second volume is planned), 26 bands of disparate styles unite to fight against the Bush regime. Legendary punks Jello Biafra and D.O.A. contribute "That's Progress" (a tune from '89), while industrial/metal pioneers Ministry release aggression on "No W". At the opposite end of the spectrum, The Get Up Kids calm things down with "Lion and the Lamb". There's an elaborate track from World/Inferno Friendship Society (what else is expected from these guys?!), new wave from The Epoxies, ska care of RX Bandits, the incredible "Baghdad" from The Offspring, (although altered, the track dates back to '91), and The Ataris do an acoustic version of Bad Religion's "Heaven Is Falling". Of course, there's one from NOFX ("Jaw, Knee, Music"), and a DVD packed with videos (BR, NOFX, etc.), comedian David Cross's biting stand-up, and other valuable information.
-Janelle Jones

VARIOUS ARTISTS
TRACKS AND FIELDS
KILL ROCK STARS
This is by far one of the best compilations I've heard in a while. There are great tracks by Radio Berlin, Xiu Xiu, The Decemberists, Superchunk, and The King Cobra, among others. There are some rad live tracks that can only be found on this compilation. I'm not sure if this two-disc set (which features over two hours of music) can be purchased in stores, but if you have to mail-order it, I'd say it's worth it. It's a good chance to hear a lot of new and undiscovered bands. Have fun impressing your friends.
-Zac

VARIOUS ARTISTS
VACANT CAGE RECORDS COMP 1.0
VACANT CAGE RECORDS
Vacant Cage Records focus in on the ever-growing Tennessee music scene. This compilation features diverse bands such as Across the Fields (atmospheric rock in the vein of Cave In or Failure), Fluid Ounces (some ska-tinged piano pop), Fall with Me (droning experimental rock sound that might appeal to fans of …Trail of the Dead), Casio Cassanova (who comes across as a lo-fi Postal Service), and Velcro Stars (who deliver catchy, guitar-driven melodies).Other bands included are Call Florence Pow, Serotin, Juan Prophet Organization, The January Taxi, Flesh Machine, Snail Trail, Character, The Roosevelts, Ghostflower, The Preservatives, Ups and Downs of Industry, Falling Down, Infamous Ernest, The Tony Danza Tap Dance Experiment, and Sourpuss. Checkout vacantcagerecords.com" target=_blank>website for some mp3s. Go on, don't be frightened.
-Jude Ruiz

VARIOUS ARTISTS
WE THE PUNKS: OLD SKARS AND UPSTARTS 2004
DISASTER RECORDS
This is a compilation worth listening to. There has been an OLD SKARS AND UPSTARTS released each year for the last couple of years...and why quit on a good thing? If you want to discover some new names in punk or just glorify the older bands like The Hunns and The Briefs, you won't go wrong here. "This Party Sucks" by Butcher Bill and "Dead or Alive" by Deep Eynde got the most airtime in my player, due simply to the fact that I became deeply obsessed with them. There are plenty of other fine songs on the album to listen to repeatedly. This album is fun to put on random and drive around, stopping at stoplights and staring people down and pointing at them while lip-synching lyrics you are not yet familiar with.

VARIOUS ARTISTS
YOUR NEW FAVORITE LABEL
ABACUS RECORDINGS
Ah, a compilation. Once in a while, these recordings can do a label justice by giving a good sense of what styles the label advocates. Abacus Records seems to welcome anything in the harder rock spectrum, including hardcore (Glass Casket), punk (Haste), some metal (All Else Failed), and more. Each band plays solidly and most of the tunes are curdling enough to keep your pubes on end. Haste's "Stutter" is a standout track.
-Darren Ratner

VEHEMENCE
HELPING THE WORLD TO SEE
METAL BLADE
This album just didn't do much for me. Vehemence plays death metal in the traditional sense, reminiscent of Gorgoroth and Morbid Angel. The songs aren't very forceful, and the vocals are extremely weak. There are few things about the album that can be considered good death metal. Vehemence has quite a bit of recognition in the scene (having toured with Amon Amarth, Testament, and Deicide), but I still don't see what the fuss is about. I would only suggest this one if you're extremely curious.
-Zac

VOMITORY
PRIMAL MASSACRE
METAL BLADE
With song titles like "Stray Bullet Kill", "Autopsy Extravaganza", and "Chainsaw Surgery", Vomitory succeeded in making me do what their name implies. I didn't enjoy this record at all. Yes, they have been around for 15 years and deserve credit for that, but I don't care how long a bad Slayer/Venom rip off band has been around: they're still terrible. Metal just should not be played this way anymore. It needs to grow. Tradition can be respected, but we shouldn't be writing the same songs over and over again. This album breaks no new ground, and I give it no compliments.
-Zac

WASHINGTON SOCIAL CLUB
CATCHING LOOKS
BADMAN RECORDING CO.
Emerging out of the D.C. area is Washington Social Club. Their sound echoes that of The Cure and Pixies, while maintaining their own sense of upbeat rock. The album contains songs which exemplify their mellower Cure-like sound, which is slow and emotional but not nearly as whiny. Lead singer Martin Royle's vocals possess a certain sense of strength, while simultaneously sounding like a little boy with a stuffy nose. The vocals and music match perfectly, and the vocals give the music an added dimension that makes it loveable. The music will make you tap your foot and feel emotional—be it teary, angry, or excited.
-Jennifer Moncayo

WINGS OF AZRAEL
SUSPENSION OF DISBELIEF
BRIDGEPORT ENTERTAINMENT
Where will Wings of Azrael go on your next mix CD? They're too screamy for The Get Up Kids, not quite 'core enough to follow Cave In, and almost trendy enough to go before Thursday...but you SO want to put "Autumn in July" on your compilation for the cute girl at Hot Topic. What to do? With reflective riffs, sentimental cries, and predictable melodies, this talented but not-too-horribly original crew of emo/post hardcore/radio punk rockers are destined for success. SUSPENSION OF DISBELIEF, their debut, five-song EP, has already helped the band escape sweaty Pennsylvania VFWs and hop on board this year's Vans Warped Tour. The band likes Saosin, Zao, Matchbook Romance, etc. Sounds like a girlfriend-winning mix CD to me. Enjoy!
-David Small

WITHDRAWAL
SELF-TITLED DEMO
LABEL UNKNOWN
With only three tracks to work with, it's a little difficult to decide whether or not the progressive punk style of Withdrawal will make waves. Drawing influence from Sonic Youth, Mogwai, and others, there's definitely traces of these bands in the music. If it starts getting comfy, then it's also soon to get crunchy, as the music sways from wavy off-beats to electric-guitar booms. Still, though, I'm asking the question: What else can these guys do?
-Darren Ratner

XFILESX
EXCRUCIATION
TRASH ART
Normally if I can get the cellophane that encompasses a CD off in less than 10 minutes, I love the album. So eight minutes later, I can tell you I hate this album—and my whole theory went to shit. Sounding exactly like a bad rendition of Split Decision, Xfilesx left me wanting to swallow a whole bottle of Codeine. It sucked so bad that even my cat Freddie crawled out the mail slot and ran into the street. Harsh lyrics that go nowhere accompanied by harsh instrumentals that definitely set a new level for crap, Xfilesx has become my new standard for shit. I don't want to say any more than if you like bands like Cannibal Corpse and Death, then this copycat band is going to piss you off. Fuck mentioning their Website. That would be the equivalent of taking the plague to school and putting it in the tater tots.
-Ian Wilkins

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