June CD Reviews (in alphabetical order)

12 SUMMERS OLD
HAIR SPRAY & HAND GRENADES
SUB-VERSE RECORDS
Let me preface this review by saying that it's difficult critiquing a record when you can see some merit, yet you personally don't enjoy the music one bit. 12 Summers Old sound like a more technical version of old Saves the Day and Fairweather. The vocals are strong, though they're very generic. The background screams aren't tasteful—they're out of place and trendy. The lyrics are weak and sometimes outright stupid and reminiscent of a teenager's diary, while the music carries itself moderately well. I won't say the band's not talented, but their attributes are active in a zone that's contrived, uninspiring, and can't survive long out of a Warped Tour/Hot Topic/ALTERNATIVE PRESS environment. -David Barker

ACT AS IF
SELF-TITLED
SELF-RELEASED
This seven-song EP debut from Southern California artist Peter Verdell is a slick, catchy package that is sure to turn heads in the music industry. With a vaguely emo/hard-rock alternative style and a truckload of biting hooks, this is music that haunts and inspires. Though up until recently Verdell was doing solo acoustic sets live, he's finally settled on a permanent quartet to bring a harder edge to his live shows. While many young musicians make obvious blunders on debut albums, it's tough to find any fault with this disc. Perhaps the only thing wrong with it is that it isn't a full-length album - Dug

AKIMBO
FORGING STEEL AND LAYING STONE
ALTERNATIVE TENTACLES RECORDS
People in satanic cults like this kind of static in their metal/hardcore. It is disturbing and difficult to ignore. There is some intensity, but the constant distortion makes it an abrasive piece of music. Clarity shines through in glimpses, and the music is pleasantly haunting. There is no "rock out" potential to this album; it doesn't really sound any better if you turn it up. The absence of that is due to a lack of coordination between instruments. This is not necessarily a bad thing, just a different sort of music. -Thomas Murray

ART BRUT
BANG BAND ROCK & ROLL
DOWNTOWN RECORDS
With their debut full-length release, this swaggering bunch of English poofsters has put out what may be the best—and definitely funniest—glam album in the last 20 years. From the opening track, "Formed a Band" (where we're told this is "gonna be the band that writes the song that makes Israel and Palestine get along") to songs about impotence and moving to L.A. to ride a Harley bare-chested on the Sunset Strip, these guys will have you in stitches. Though some of the lyrics do get a bit repetitive, this is the band The Darkness is afraid of. Imagine Ian Hunter of Mott the Hoople and Fee Waybill of The Tubes reincarnated. I tho't I were I wanker 'til I heard these naff tunes. -Dug

ATREYU
A DEATH GRIP ON YESTERDAY
VICTORY RECORDS
In the midst of Avenged Sevenfold's success with their latest record, Atreyu has released A DEATH GRIP ON YESTERDAY. I'm sure all hardcore fans were skeptical of what path Atreyu would go musically. Would they go the route of Avenged Sevenfold and stop playing authentic hardcore, or would they stay true to their roots and play the same hardcore we have grown to love in them? Well, I'm here to reassure you that they are committed to authenticity...for the most part. Every now and again in these nine tracks, the quintet will stray into the realm of pop (e.g., "The Theft"), but they immediately return to their genre (e.g., "We Stand Up"). Atreyu has squelched Avenged Sevenfold's blunder. -Luke Skywalker

BANNER PILOT
PASS THE POISON
ARSENIC RECORDS
I'm going to cut to the chase with this EP. Of the eight songs on it that fly by in all of 17 minutes, the only track worth mentioning is a cover of Buzzcocks' classic "Ever Fallen in Love". Since it is pretty much impossible to butcher this song (though the band tries its hardest to do so), it's safe to say that this disaster's best trait is that it is so short. Unfortunately for Banner Pilot, it looks like their best bet is to become a punk-rock cover band, because the original songs are just generic punk void of originality and talent. -Jeff Srack

BETWEEN THE WARS
LESS WE BELIEVE
THINK FAST! RECORDS
Between the Wars hails from New Jersey, boasts Ensign's lead singer and an ex-Thursday guitarist, and makes the kind of urgent metallic hardcore that picks up where the legacy of Snapcase left off. There are also smatterings of newer mindful yet utterly scalding bands like Modern Life is War and Bleeding Kansas. This eight-track release unleashes a tumultuous hardcore trajectory whose post-hardcore fretwork and metallic foundations found on tracks like "In a Perfect World, You'd Be Dead" and the malevolent "American Mutiny", which sound best when cranked to 11. Intricate enough for the techhead (especially guitar-wise), yet charged with the same scolding intent as old-school hardcore, LESS WE BELIEVE is a masterful album awaiting fans of dense hardcore. www.thinkfastrecords.com -Mike SOS

BIG CITY DREAMS
HONESTY
SELF-RELEASED
It's not enough to call Big City Dreams a pop-punk band, because they are a POP-punk band—and a great one. Hailing from Gainesville, FL, BCD has created a perfect five-song EP that is somewhere between Motion City Soundtrack (without the keyboards and sense of humor) and CLARITY-era Jimmy Eat World. These are the songs that put good music on TRL and are used as background music for SMALLVILLE, songs so irresistibly catchy that you can't help but stop what you're doing and hum along. Once a label gets their hands on this band, they will be going places and will definitely achieve their own big city dreams. -Jeff Srack

BLACK ROSE DIARY
HERE'S TO INDIFFERENCE
BASEMENT TRANSMISSIONS
Black Rose Diary are an eclectic bunch, as HERE'S TO INDIFFERENCE exhibits, and most of the time the four-piece's varying tones and styles work. They start off strong with a nice pop-punk couplet (not in the gross, whiny tradition that the term "pop-punk" now denotes, but rather in the charming Screeching Weasel vein) "Operation by Candlelight" and the darker, moodier "Funny Like a Funeral". But then they throw in a bunch of decidedly harder-edged songs (the title track, "Crisis Averted", "Shakedown!") and these totally tough rock 'n' roll numbers replete with gritty, mean vocals ("My Cadillac", "Switchblade Love", "Light Up the Night" (with its appropriate chorus: "I sold my soul, my soul to rock 'n' roll")). And it works. It's just a shame BRD had to taint the record with the two final tracks. -Janelle Jones

BLATANT
BOY IN THE MIRROR
INDIE ARTISTS ALLIANCE
These songs are the highly personal ruminations of Joey D'Angelo. The title track, for example, is all about D'Angelo's little brother, Mikey; "Out of Line" describes when D'Angelo came of age during college; and "Keep On" whines about how D'Angelo once felt like he'd never get ahead in life. D'Angelo plays much of this music himself, but he's assisted by Gene Engelgau on bass, drums, and organ, as well as the added drumming from both Michael Bautista and Ted Tozun. D'Angelo makes melodic rock. He also includes one cover song, Simple Minds' "Don't You (Forget About Me)". D'Angelo's best song title is "Radio Sucks", simply because radio these days truly does stink. It's doubtful, however, that D'Angelo's basic rock will make it to radio. -Dan MacIntosh

BODY PART TROPHY CASE
KILLING WITHOUT A MOTIVE
SELF-RELEASED
New Jersey metal is alive and well, and Body Part Trophy Case does its part with KILLING WITHOUT A MOTIVE. This aggressive nine-track offering exhibits influences from classic to thrash to death metal, as this quartet keeps itself occupied with odd time signatures, crushing spurts of chugging guitars, in-your-face vocals, and rhythms that shift from spastic to stringent at the drop of a dime. Imagine the imagery of Cannibal Corpse with the sound of Dark Angel, Pantera, and Carcass propelling the madness. Songs like "Welcome to the Hatchet Wound" contain all the metal goodness you desire and more. Horned hands up high, folks, because these guys crunch with the best of them. www.bodyparttrophycase.com -Mike SOS

BOOKS ABOUT UFOS
LET THE BRIDGES IGNITE
SICKBOY RECORDS
Taking its name from a classic Hüsker Dü number, Books About UFOs live and breathe freak-out garage rock. Listening to LET THE BRIDGES IGNITE is a refreshing ride, and though you'll pick up on some obvious influences (Rocket from the Crypt, International Noise Conspiracy, etc.), this Salt Lake City band never falls into stagnation or succumbs to being second-rate garage rockers. Sure, the record may have benefited from a muddier mix, but the songwriting and musicianship makes up for any overly polished aspects. Lead vocalist Clint Dilley yells like a cross between Jon Reis and Jello Biafra, balancing his throaty shouts with the band's relentless pounding. Sometimes they even verge on melody. Definitely one worth checking out. -David Barker

BRANDTSON
HELLO, CONTROL
THE MILITIA GROUP
Dear Brandtson, Why? You guys had a solid following in the indie and emo circles. You had a great set of albums, all primarily in a particular musical vein. Where did HELLO, CONTROL come from? Okay, I get that it's really hip right now to fuse dancey electronica with pop music and make your own interpretation of a sound that died 20 years ago. I also know it's really hip to be into that sound. But still, I thought of you guys as one of the solid, rocking holdouts on a label full of pop bands. Indeed, there are some really good songs on this CD, but they were eclipsed by the overbearing dance-pop of the rest of the album. Sorry, guys, but better luck next time. -Josh

BUTTERTHIEF
RIDING THE RADIOWAVES
SELF-RELEASED
The debut full-length release from Butterthief, Manish Tandon's cutting-edge NYC quartet, is like a soft explosion. With an alternative indie sound that crosses the bridge from dreamy, melodic themes to surf/spy music, Butterthief plays like a band that has been together for years. Tandon, a Columbia Business School graduate, had a six-figure salary as a marketing director with Viacom (which owns MTV and VH1), but he decided his real role in this world is as a musician. He enlisted lead guitarist Aram Bakajian, who had majored in music at Columbia University, and Butterthief was born. The entire album can be heard for free on the band's Website. This music is edgy, artistic, and inspired. Plus, with names like Manish Tandon and Aram Bakajian, who could forget them? -Dug

CHAMPION/BETRAYED
SPLIT EP
RIVALRY
This split featuring three songs apiece from Champion and Betrayed is pretty momentous, acting as Champion's swan song and the debut of Betrayed as a full-time project of dudes from Champion and Carry On. Overall, the EP is pretty bad-ass, featuring two awesome, like-minded, West Coast, posi-core bands. And while the well-respected Champion rock hard, Betrayed reign supreme on this EP. I'm definitely impressed by the songs featured here. Right from their first superb offering on this split, "What You Have Left", it's apparent that this band has more of a melodic edge than Champion—yet are still heavy and aggressive. Perhaps the best song of the entire split is their last, "Bring It to Life". It's undoubtedly the anomaly: slower, mellower, RIDICULOUSLY powerful. -Janelle Jones

CHAOTIC ALLIANCE
A NEW BREED OF TERROR
CHARGED RECORDS
A short intro is all the preparation you get. Once track 2 hits, this album is non-stop speed and brutality. A clever mix of basic punk angst and metal, Chaotic Alliance has brought something new to a table (something that's increasingly difficult to do). Although a young-sounding band, they should thrive and mature into something formidable with the proper support and fan following. Based on the musical intensity, I think this would be a rare show to see—that is, if you enjoy a swirling mass of skinny arms wrapped loosely in black T-shirts and moving fast and spastically to music that is hard to keep up with (if you aren't on the level). -Thomas Murray

CONTROLLER.CONTROLLER
X-AMOUNTS
PAPER BAG RECORDS
Like Metric and The Sounds before them, Controller.Controller play a brand of dance-punk that is poppy enough to get your feet tapping but edgy enough to keep you from feeling like Britney Spears's new number one fan. The female vocals have a tonal quality that matches the beat-intensive, bass-heavy music perfectly and introduces an obviously talented bandleader. Overall, I think X-AMOUNTS is a quality interpretation of a musical style that is quickly growing in popularity. If these guys are lucky, they'll catch a nice big wave to major success. -Josh

COUNTING THE DAYS
FINDING A BALANCE
STRIKE FIRST RECORDS
A rare find. This album is packed full of heavy, wholesome hardcore that pounds fast and brutal (like drunken makeup coitus). The lyrics are straight from the heart, an example of an artist writing about what they know about. This is everyday stuff that a listener can relate to without a decoder ring. No, they are not the most compelling and poetic I have ever heard, but they are honest. This is the kind of band that is easy to root for and a blast to see live. Enjoy this album. -Thomas Murray

CRACKJAW
GIANTS FROM THE STEREO
I SCREAM RECORDS
Michigan's Crackjaw is making pop-punk with metal sprinkled on top. This particular style is a big cash cow, and Crackjaw could be the next Fall Out Boy—which is exactly what the world needs. The production on this debut CD is great, full of little touches in the mix and very clear in a non-high-tech way. Crackjaw is a very talented band with chops and tight vocals. Next week, check out the MTV gods. One of them might just be Crackjaw. Support them, if you dare. -H. Barry Zimmerman

CRONIAN
TERRA
CENTURY MEDIA
When two of Sweden's more prolific metal musicians come together, you can usually expect an intriguing merger of the heavy music. Such is the case on TERRA, a project featuring Borknagar's Oystein G. Brun and Vintersorg's Mr. V. This nine-track affair blends both men's multifaceted extreme musical influences with a cinematic flare that is as much Dimmu Borgir as it is Dream Theater. Tapping into the prog-rock pretense yields results like the atmospheric, seven-minute "Iceolated", where Cronian manages to showcase both its orchestral nuances and black-metal background—the kind of thing that propels TERRA throughout this nine-track journey. www.centurymedia.com -Mike SOS

CRUCIFIED BARBARA
IN DISTORTION WE TRUST
LIQUOR AND POKER MUSIC
If you turned The Donnas into more of metal band and discovered them in Sweden instead of Northern California, they might sound a little bit like Crucified Barbara. This girl group started with the same punk roots as The Donnas, but their sound is a lot more Ozzfest-ready these days. They're not the kind of girls you take to church or home to meet mom and dad, because tracks like "Play Me Hard" and "Motorfucker" reveal how much they like to talk dirty. On the plus side, they're a relatively traditional-sounding metal band sans the annoying screaming that ruins much of the contemporary music in the genre. Don't be fooled by this CD's title, as there's not a lot of distortion here, just naughty rock. -Dan MacIntosh

DEFCON 4
FILE UNDER FUCK
BLACK BOX
Comprised of stalwarts of the Boston hardcore and punk scene, Defcon 4's FILE UNDER FUCK meshes crusty sludge metal and volatile punk rock throughout its 15 tracks, keeping the listener in step with this quartet's deliberate sonic abrasiveness. Providing a truly disconcerting listening experience laden with dissonant melodies on the title cut, fast punk laced with a vicious bite on "Fast Car", and disparate disjointedness on "Berzerker's Rage", Defcon 4's output is perfect for the punk rocker who fancies some left-of-center aggression and a plethora of twisted chaos. www.myspace.com/defcon4 -Mike SOS

DESOLE
A STORY TO TELL
ABACUS RECORDS
DeSole (pronounced "day-so-LAY") is French for "desolate." Although the term describes either a very sad state of mind OR very empty terrain, the music on A STORY TO TELL is hardly that. Instead, it's really rich emo/indie-style music that is both enriched and set apart by a three-guitar line-up (Eric, Jason S., and Josh, with Josh handling back-up vocals, as well). Other band members are Lance, lead vocals; Gavin, bass; and Jason Moon (drums). I especially liked the fifth track, an instrumental that is quite haunting. The only cavil I have is with a song called "Shadowgirl", which the press release describes as being about a rape from both the victim's and the perpetrator's points of view. The lyrics disturbed me, because they seemed sympathetic to the rapist, focusing on the attack as his way of seeking love—and they definitely DID NOT include the victim's point of view. -tekolote

DIVIDED BY ZERO
THE BLACK SEA
SIK WORLD RECORDS
This CD is schizophrenic at times. It begins quietly, then suddenly turns into hard rock. Then, just as suddenly, it switches to a ska rhythm. The song "Chemical" even has a reggae beat. Some of this music may be island-ready, but the vocals are mostly angry like metal. It's hard not to like a band that names one of its songs "Heavy Metal Parking Lot". Goths may come of age at the local mall, but metalheads go through much of their growing pains armed with multiple six packs, which they then consume in rock-show parking lots. The CD ends with "Shame", which is a relatively quiet roots rocker. Divided by Zero adds up to much more than meets the eye. -Dan MacIntosh

DOWN TO THIS
DOWN TO THIS
VERSATILE RECORDS
Down to This, a Washington, DC quartet, aren't especially special. This three-track release features the singles "Funeral" and "Empty Rooms" from a forthcoming album. But these auditory samples won't make you excited to hear the group's full CD. The band sings with the passion of Pearl Jam, yet they lack that band's intelligence and melodic skills. They rock hard, but never strongly enough to be confused with metal. There's earnestness here, but sincerity and talent are two wholly different qualities that should not be confused. These songs about communication breakdowns in relationships come and go without leaving much of a mark. It's frustrating to hear a band with obvious skills who say nothing significant with them. Down to This are not up to par. -Dan MacIntosh

DRIST
ORCHIDS AND AMMUNITION
SELF-RELEASED
According to Drist's Myspace page, they're a fairly well-known band with a respectable following, and they're to be featured in an upcoming Playstation videogame. It's not hard to see why. Drist play some brand of alternative metal with a punk edge. I really don't see anything exceptional about ORCHIDS AND AMMUNITION, other than that it's very tight and well done. Musically, it's impressive, and the vocalist has some pretty strong pipes. Then again, I don't listen to music like this, so what the fuck do I know? They've played with Tommy Lee and The Bloodhound Gang, so I'll let you form your own opinion. -David Barker

DRIVE BY
I HATE EVERY DAY WITHOUT YOU KID...
RIOT SQUAD RECORDS
This is music by Craigslist, as Drive By was brought together by the world's greatest classifieds site. Now, how you view this depends on whether through Craigslist you found the roommate from hell or the best free couch ever. It's easy to see Drive By through either filter, because they supply bland, emotive indie rock that grates or is great depending on what a song titled "The Hand That Cuts" invokes in you. Another hint is that Riot Squad Records is headed by My Chemical Romance's manager. Drive By is no MCR, but they are complementary enough to them to be touring with MCR later this year. -Erika Owens

EMPTY ORCHESTRA
GET WELL SOON
ACUTEST RECORDS
The debut EP from the Midwest's Stephen Wisnewski and his band Empty Orchestra is a dark, growling affair that sounds like a cross between Bob Seeger and Coldplay. The themes to songs such as "Fuck the Party", "Down, Down", and "Get Well Soon" are pretty much not the topics to light up your day. Wisnewski does do an incredible job with the lyrics, though, as he spins his tales of woe with poetry and pathos. There are a few songs on this seven-song disc that refuse to go away, such as "A Sense of Place". The soft, acoustic intro opens with the line, "There's a kind of fight between fields and steel"—just the thing to haunt you for the rest of your day. This is a memorable first album. -Dug

ESCAPE THE FATE
THERE'S NO SYMPATHY FOR THE DEAD
EPITAPH RECORDS
It is a shame that the adage "Bad press is better than no press at all" is true, because if any band deserves no press at all, it is Escape the Fate. Somehow they believe that putting out that commonplace overproduced, cliché-ridden, blood-spattered hardcore-lite is going to give them arena-rock stardom. Arenas aren't even enough for Escape the Fate: they expect the stands to be filled with shirtless "horny groupies that would kill or die for" lead singer Ronnie. They will be playing Warped Tour this year—and are perfect targets for ridicule and maybe a tomato or two. -Erika Owens

FACEDOWNINSHIT
NPON
RELAPSE RECORDS
NPON stands for "nothing positive, only negative," which seems to be a theme. Though facedowninshit does not appear to be a peppy band, they do have a sense of humor. "Plasma Center Blues" stands out as a witty, incisive, amusing title. The song content, literally about selling plasma, is decidedly serious—like the rest of the album—but that title is an irreverent jab at a system that allows selling fluids to pay rent. Slow, screechy, and oddly catchy, facedowninshit offer a familiar sound that can be heard on their current tour with Disfear. -Erika Owens

FIXED IDEA
LA MUERTE
BROKEN BONEZ RECORDS
The second full-length release from this El Paso sextet is a fast and catchy ska disc that combines elements of old-school punk, driving rock, and great horn riffs. This band has been together for quite some time—for its first four years as a punk band, then for the last six as a ska band. The band's experience shows in tight musicianship and great timing. While the music is mostly a hybrid Tex-Mex ska, there are a few moments (like on "Debo") where the band lets its old-school hardcore roots show with a rousing one-and-a-half-minute tune. The album is rife with "day of the dead" artwork that helps sell these loco tunes. And while there is quite a little bit of profanity on a few songs, it's the music that sells these vatos. Viva LA MUERTE! -Dug

GABE CAHILL
1000 NIGHTBIRDS
ANT HILL RECORDINGS
Gabe Cahill brings to the table primarily a pretty stripped-down breed of indie music. The production on the album is probably the worst part, leaving a feeling of a live garage band. If that's what Gabe was going for, he definitely achieved it. Some of the songs are reminiscent of Heatmiser or early Elliott Smith, while others have a slightly unrehearsed Velvet Underground feel. You have to hand it to him, though, for trying to mix all kinds of music genres. 1000 NIGHTBIRDS contains songs spanning every genre from alternative folk to "Baliwood gothic." (I'm not sure if he coined that latter phrase himself but it seems to fit.) -Josh

GRAVES AT SEA/ASUNDER
SPLIT CD
LIFE IS ABUSE
Bay Area doom merchants Graves at Sea and Asunder combine forces to produce a plodding, ominous three-track split disc. Up first are Graves at Sea, whose contributions leave an eerie aura complete with tortured vocals, foreboding composition, and a general sense of dread. Without losing an ounce of trepidation, Asunder takes the reins for the closer, an unsettlingly perilous 19-minute affair that tests both your attention span and pain threshold. Displaying both sinister urges and rambling dirges, this disc is prime meat for the gloom-and-doom set. www.lifeisabuse.com -Mike SOS

HER SPACE HOLIDAY
THE PAST PRESENTS THE FUTURE
WICHITA RECORDINGS LTD.
Somewhere along the way, Marc Bianchi became a genius at doing Her Space Holiday. He's not attempting to sing like Celine Dion or shred like Steve Vai; he's about layers of whispery texture, rococo rhythms and groove, tone and mood and lush detailing. As sardonically referenced in "Missed Medicine", this is largely another installment in Marc's musical journal-keeping: "Make a list of all the people that you've wronged / Don't ever call them back but use them in a song." He's once again employed phone messages as a narrative device ("A Small Setback to a Great Comeback" is a haunting tribute a sleepy girl's affectionate ramble); he's once again incorporated orchestral voices into his electronic trip-hop. So? On DISINTEGRATION The Cure once again used repetition. This music is completely self-realized. Plus, Bianchi seems to have more depth and cleverness behind his unadorned phraseology (see, I don't think he'd want to use that) as he ages. He's also producing a higher quotient of danceable shit. "A Match Made in Texas", for example, gets you moving to a tale of transcending gender ideals into a romantic relationship beyond them, "just two individuals who made their place inside this world." There's maybe less guitar here than on any previous HSH album, although the finale is a simple acoustic piece inviting "enemies [to] rip up all the scorecards" and reminding that "the past presents the future." Fantastic and human. www.herspaceholiday.com. -Greggory Moore

HOUSE OF HEROES
SAY NO MORE
MONO VS STEREO
Playing sounds not too hard and not too soft, House of Heroes new album SAY NO MORE comes off like mainstream rock wet dream. Melodic vocals backed by a safe but strong guitar riffs make this album as a sure fit with fans of bands like Jimmy Eat World. Through the 12 tracks on this album, we really don't get a sense of this band's true potential. This is all too common with bands that play music with media-play potential in mind. Another thing that turned me away from this album was the all-too-sweet and high-pitched vocals. I would have loved to hear the music be a little bit more experimental. I guess you can't always get what you wish for. -Matt Edmund

INTRONAUT
NULL
GOODFELLOW
From the get-go, Intronaut brought to mind that fantastic band Morse Code Heartbeat. But upon further review, I think I make the comparison because the vocals have a VERY similar killer growl—because on the musical side, Intronaut aren't nearly as relentlessly spastic and grinding as Morse Code. That doesn't mean Intronaut don't bring it: their brutal hardcore is intense. But the heaviness is tempered by these extended moments of intricate, lush, beautiful instrumental passages, making for thought-provoking, complex compositions. But this must be made clear: these lighter moments NEVER border on retardo-pop (you know what I'm talking about). The only problem is that sometimes the songs might be a bit overlong (barring the introductory first track, they're all over five minutes), because at points this reviewer found her mind wandering. -Janelle Jones

JEFF FISHEL
THEY SAY IT MIGHT SNOW
JEFF FISHEL PRODUCTIONS
The debut EP from 18-year-old San Diego musician Jeff Fishel is a one-man emo show that portrays a young man's love life and a solid grasp of self-produced music. While the seven songs on the disc are a bit short on hooks and lead guitar, the melodic mix of acoustic and electric elements carry these songs along with a real sense of purpose. Though that purpose seems chiefly to get into some girl's pants, what else would you expect from a hormone-charged teenager? These stories of love lost and love longed for bear more than a slight resemblance to Jack Johnson's music, though with a slightly harder edge. Fishel does some pretty good vocal work here and is more than competent as a musician. It's a good initial effort for a young artist with a very bright future. -Dug

JUNE
IF YOU SPEAK ANY FASTER
VICTORY RECORDS
Chicago-based June plays music that fits neatly into the style made famous by Saves the Day. The band was formed by Mark Sutor (drums), Tim Brennan (vocals and guitar), Mark Palacz (guitar), and AJ Brown (bass and backing vocals), who "basically started the band as a joke," says Sutor, "and realized we had a pretty good thing going." The 11-song CD is the group's first full-length release and was produced with Brian McTernan, who has shared the studio with Thrice, Cave In, and Hot Water Music. I can't say that there is anything remarkable or unique here. Buy this if you simply cannot get enough of this particular sound. Yawn. -tekolote

KILLING JOKE
HOSANNAS FROM THE BASEMENTS OF HELL
COOKING VINYL
England's veritable metal machine Killing Joke has been in the game for over 25 years, and their acumen is very much the driving force behind these nine tracks. Progenitors of the industrial metal movement and undeniably one of the most influential bands, songs like the gothic electro-punk "This Tribal Antidote" rivals Ministry and Sisters of Mercy; and the mechanically-pulsed "Walking with Gods" is a hit both on the dance floor and in the moshpit; while the spirit-esque vocals on top of atmospheric electronics on "Gratitude" make for quite the cold, harsh hypnotic trip. Adorned with a keen sense of composition and total disregard for the mainstream, Killing Joke always did things their way, and they continue to carve out a niche that no one else will ever approach. If you're disenchanted with the music industry, allow this album to reaffirm your faith that there still are warriors releasing pertinent and utterly amazing records. www.cookingvinylusa.com -Mike SOS

LACK OF KNOWLEDGE
THE GREY CD
SOUTHERN RECORDS
I must admit, it is no simple task to review a record that was originally recorded when I was one year old, but as a certified SKRATCH reviewer with an all-encompassing knowledge and appreciation of music, I must conclude that Lack of Knowledge is no longer relevant today. Unless you were part of the original '80s punk scene and/or British, it will be a struggle to appreciate THE GREY CD. Let's just call this group The Clash's tone-deaf cousin. There is no doubt that Lack of Knowledge can play methodic '80s punk, and their dialect is clearly English, but the similarities to The Clash end there. -Luke Skywalker

LIGHT THE SKY
THE TV HAS US REACHING FOR STARS
LIGHT THE SKY
Playful and pleasant melodies are common on this collection of addicting sing-along songs. Characteristics of pop music peek out every so often, but for the most part, this is just a quality example of some good music that might offer something beneficial and thickening to your day. In the words of Light the Sky's "New York in December": "All I need is a song that'll keep me singing along.". This collection of music is free from contrived notions of despair, break-ups, and misdirected anger. Light the Sky offers a musical expression of existence. This is a worthwhile journey for any listener in need of such. -Thomas Murray

LOUDNESS
ROCKSHOCKS
CRASH MUSIC
In the '80s, Japan's Loudness opened for Motley Crue, made the BILLBOARD Top 100, played Madison Square Garden, and gained a strong fan base worldwide. ROCKSHOCKS is a best-of album containing many of the band's most impacting hits. With a classic series of edgy guitars and wailing, rough vocals, this album is the perfect fix for any diehard metal fan. Loudness live up to their name, as this newly-released album is loud, raw, and not for the faint of heart. –Amy June

MAXIMUM PENALTY
DEMO 89 & EAST SIDE STORY
I SCREAM
NYC hardcore pioneers Maximum Penalty's early days are documented on this 14-track re-release, some of which hasn't seen the light of day in over 15 years. From DEMO 89 & EAST SIDE STORY, the strains of no-frills, pure late '80s/early '90s hardcore à la Agnostic Front, Bad Brains, and Cro-Mags are pumped through your speakers, as these veterans have dug through their archives to, via tracks like "Brutality" and "I'll Save You", give the kids a glimpse of where the stuff they dig today comes from. With a reunion in the works, Maximum Penalty's reissue is a fine way to get reacquainted with one of the scene's founding members. www.iscreamrecords.com -Mike SOS

MESS
MESS
SELF-RELEASED
A note inside this CD brags that these songs were written and recorded in a haunted house overlooking Los Angeles. Mess is comprised of Schroeck on vocals and guitars, Cross on bass, and Bob (yes, just Bob) at the drums. Their sound is druggy and psychedelic rock put to mock-scary songs with names like "Witch", "Hell-O-Phone", and "Hex". Sometimes Schroeck sounds like he's chanting some incantation rather than singing. It's probably spooky for small children, but it shouldn't scare most adults. It all comes off like an amateur haunted house during Halloween. Perhaps this music would sound better in a in a darkened club setting with candles surrounding the stage; here, it's not much to write home about. It's just kids dressing up to go trick-or-treating. -Dan MacIntosh

MIDDLEPICKER
MIDDLEPICKER BRINGS THE NASTY
ROYALTY, ETC. RECORDS
If you can get past the gruff vocals on this record, you're in for a treat. Middlepicker churn out catchy indie rock that would probably go over well with kids into Plan-It-X Records stuff, as the poor recording is forgotten due to a lot of heart and group vocals. The guitars are centerstage most of the time, the hooks aren't forgettable, and the entire thing is drenched in good times. This one is definitely not getting old anytime soon. Pick it up with the new Superdanger record for two doses of Minneapolis goodness. I bet they're a barrel of fuckin' monkeys on stage. This is an excellent record. Check it. -David Barker

NEW BRUISES
TRANSMIT! TRANSMIT!
KISS OF DEATH RECORDS
There are two ways to look at the debut album from Tampa's New Bruises: you can see them as a decently talented punk band that has numerous catchy riffs, a few good songs, and a sound that is so familiar that it is almost comforting; or, you can look at them as a band void of originality, has more mediocre songs than standouts, and has nothing to distinguish it from thousands of other punk acts. So give these guys a listen and decide for yourself, because, like the classic Black Sheep song says, "The choice is yours." -Jeff Srack

NIHILIST
CALL DOWN THE THUNDER
SELF-RELEASED
California metal trio Nihilist make no bones about its love for all things metal, from album artwork of pictures of studio rooms flanked with posters and half-stacks to the outfit's no-nonsense classic metal assault. They even cover Judas Priest's "Freewheel Burning", for God's sake! If that's not an indicator of what this full-tilt metal troupe (whose inclinations vacillate between the guitar virtuosity of the aforementioned and the cleanly chugged chaos of late-'80s thrash metallers like Flotsam and Jetsam) is, then you, my friend, cannot call yourself a metalhead. If you dig revival metal à la Three Inches of Blood and even the kitschy wares of Manowar, then Nihilist is perfect to quench that insatiable hunger for over-the-top metal. www.nihilistmetal.com -Mike SOS

NOFX
WOLVES IN WOLVES' CLOTHING
FAT WRECK CHORDS
Punk rock—like all genres of music—has a soulless selection of bands that don't get the human groove inside of the beat. NOFX is not one of those bands. After 23 years and 10 full-length albums, the music of NOFX is better than ever. On WOLVES IN WOLVES' CLOTHING Melvin, Smelly, El Hefe, and Fat Mike rock it old-school pop-punk like kings of good will and might on "U.S.A-holes", "The Marxist Brothers", and "60%" and the rest. NOFX is the modern punk Phil Ochs. Long live the descanters. Long live the rockers. Go get this and start loving it today. -H. Barry Zimmerman

OSI
FREE
INSIDEOUT
OSI is the second installment from this progressive metal project featuring members of Armored Saint, Dream Theater, and Fates Warning. Don't expect the usual instrumental wankery and self-gratifying solos on FREE, though; instead, envision a musical landscape laden with industrially-charged electronic rock elements(not unlike Peter Gabriel meets Fear Factory on such cuts as "Bigger Wave" and "Sure You Will") and a subdued acoustic piece akin to late Pink Floyd ("Our Town"). These two nuances are the most prominent here, giving FREE the odd yet workable pairing of a nu-metal edge with a fertile prog-rock backdrop. This disc is geared for the forward-thinking metal fan who wants a bit of ear candy. www.osiband.com -Mike SOS

OXBOW
LOVE THAT'S LOST
HYDRA HEAD RECORDS
Oxbow seems very honest in its uniqueness. Long, meditative haunts combine with vocal rants, challenging listeners to fight, focus, and figure out what is going on within each song. A plethora of musical techniques are applied to provoke the desired reaction, including the pain of a broken man's voice accompanied by a chilling acoustic steel-string. Simpleminded and skittish listeners need not apply, as this disc is sophisticated and disturbing. Listening to this album extensively will bring the certainty that there is something to be miserable and upset about if you think about it hard enough. Abused, sick animals with trusting eyes, depleted whale populations, starving kids and lonely elders may enter your mind while you listen. You have been warned. -Thomas Murray

PERMANENT ME
DEAR VIRGINIA
I SURRENDER RECORDS
Permanent Me is a Long Island-based quartet, and their EP offers emo/indie music with some extra tasty guitar hooks. The band is Brian Kapler on vocals and guitar, Joe Guccione on guitar and vocals, Mike Fleischmann on drums, and Justin Morell on bass. The best song here, "Ambient & Grey", is actually almost straight pop, with an infectious chorus and a lovely melody. I also really liked "Dead to You", which is vocal and guitar only. Although the band members are still very young, they were able to get some pretty impressive people to produce the songs here, including members of Sum41 and Nightmare of You, as well as Matt Squire, who has also produced Panic! at the Disco and Downtown Singapore. Although there are just five songs here, they're definitely good enough for me to look forward to a full-length release from these youngsters. -tekolote

RIX GLASSMEYER
24,200 MILES
NCM EAST RECORDS
To be completely honest, I don't know exactly where to begin in reviewing 24,200 MILES. It has to be the most artistic, out-there record I've ever listened to. When it started out, it sounded pretty "normal," but as I drifted further into the record, the sounds began to get more and more eclectic. Apparently, they actually used some invented instruments and unusual recording techniques to get the sound they were going for. It leaves one with the notion that Rix Glassmeyer is either a band of geniuses or a group of nutcases. -Josh

SCOTCH GREENS
PROFESSIONAL
BRASS TACKS RECORDS
I was pleasantly surprised when I found out I was going to be reviewing this album. I caught these guys opening up for Flogging Molly in March and was quite impressed with their brand of blue-collar rock 'n' roll. PROFESSIONAL truly captures the working-class sound these boys have made their own. Banjos and mandolins accompany the foot-stomping, fast-paced first track, "Rumspringa". From there, there is no looking back, as they throw us on a roller-coaster ride of in-your-face rock that lasts for the entire album. Fans of Flogging Molly would highly enjoy this band and album. Whether you pick up this album or see them live, Scotch Greens are sure to please your musical taste buds. -Matt Edmund

SET YOUR GOALS
RESET
EULOGY RECORDINGS
A horrible thing happens about a minute-and-a-half into Set Your Goals' debut EP: the singers open their mouths. I don't know how many different band members sing—because sometimes its sounds like there are hundreds coming in at all angles to drive me crazy—but I do know that none of them sound good. While the band was busy trying to mix pop-punk and hardcore, it forgot that it's always a good idea to have a tolerable singer. Of course, the best song is a cover, a decent version of Jawbreaker's "Do You Still Hate Me?". Set Your Goals should have one ultimate goal: to find and settle on a bearable singer. Until then, they have little going for them. -Jeff Srack

SIGMA
VIOLENCE SPEAKS LOUDER THAN WORDS
SELF-RELEASED
Holy crossover! Unsigned Arizona trio Sigma's 11-track release finds this genre-hopping unit of upstarts switching between bratty punk, punky metal, and seething hardcore (best displayed on "Stars and Fights"). With a keen sense for brawny riffs, punchy bass lines, and clever song titles (e.g., "God Hates Flags"), this group's proclivity for provoking a mayhem-filled moshpit is Sigma's most endearing trait, as is proven on "We Stand Alone", which shows just how to go from Cro-Mags viciousness to Anti-Flag anarchy and back again without batting an eye. www.shadowcasteredcords.com -Mike SOS

SNOWGLOBE
OXYTOCIN
MAKESHIFT MUSIC
Snowglobe are influenced by acts like The Beatles and Electric Light Orchestra. The 14 selections on this disc are lighthearted and upbeat, sure to have you taping your feet and bouncing to the beat. On tracks like "Dry", the use of strong and elaborate brass and string ensembles gives the tune a Beatles-like feel. Another impressive facet of this band is their ability to incorporate instruments like the saw and steel guitar. Snowglobe's ability to create a sound so strongly rooted in classic rock but yet keep things original and fresh really attests to the top-notch musicianship of this band. Thumbs way up for this one. -Matt Edmund

SOCIETY'S FINEST
AND I, THE DRUNKARDS
HAND OF HOPE
Society's Finest frontman Joshua Ashworth recently spent some time yowling for metalcore titans Zao, a task that definitely rubbed this quintet the right way, judging by the 12 tracks on AND I, THE DRUNKARDS. Meshing the menacing wares of Darkest Hour, As I Lay Dying, and Zao, songs like the title cut mix six-string staccato chugfests and Maiden-esque, cascading guitar licks with serpentine vocalizations and deep metalcore grooves that will have zero difficulty producing moshpits from coast to coast. If you like your metal abrasive yet strangely memorable, this disc delivers. www.handofhoperecords.net -Mike SOS

STARS AND STRIPES
ONE MAN ARMY
I SCREAM RECORDS
Stars and Stripes is a kick-ass street-punk band featuring Choke from Slapshot on lead vox. ONE MAN ARMY is a skanker's holiday full of big buddy sing-alongs and excellent musicianship and fun. Some of the top moments on this album of top moments is "Just Fuckin' Around", an anthem for chillin' and singin'. ONE MAN ARMY is a must-have for the mohawks and happy drunks. Great job, Crackjaw. -H. Barry Zimmerman

STUTTER
SELF-TITLED
THUNDERBOX RECORDS
Their press release describes their sound "like Blondie dry-humping Gwen Stefani in the back of Billy Idol's car." Trust me when I say that I wish I could say the only bad thing about Stutter is their PR manager, but that is truly not the case. In an attempt to relive the new-wave glory days of The Go-Go's and Devo, these Canadian trendoids present us nine tracks of watered-down super pop that makes me cringe at the thought of the pain my ears went through while listening to this album. There's a huge difference between being influenced by the new-wave sound and trying to replicate it. For those looking for a truly original new-wave experience, check out Japan's Polysics. It sure beats this crap. -Matt Edmund

TELEFONICS
HIP FLIP COLOURS
BASEMENT TRANSMISSION RECORDS
The psychedelic rock from Erie, PA's Telefonics, might be cooler than anything on either coast. Guitarist/vocalist John Johnston has found a direction in vintage Velvet Underground music. He's enlisted the vocal and theremin talents of Gina Rull. I could write a college treatise on "Heart Attack" alone, the tripped-out, 14-minute jam extravaganza that closes the album, as the music breaks from a traditional melody into complicated psychedelica painted with ethereal theremin backing, then back into an explosive rock ending. It's the song used to close shows and is more effective than "Free Bird" at melting your brain. This is insane, good stuff. -Dug

THE BAD RACKETS
FULL ON BLOWN APART
MORTVILLE RECORDS
DIY waves its ugly parts at you again on this fantastic rock disc. The Bad Rackets is writing songs with quality in the realm of Paul Westerberg, but with more Byrds and Stones influence—and busting it with casual cool, American garage style. FULL ON BLOWN APART is an awesome turn-it-up CD with hooks and brain-sticking choruses on every single song. The Bad Rackets is the shit. Support Texas punk, and be better for it. -H. Barry Zimmerman

THE BLACK HOLLIES
CRIMSON REFLECTIONS
ERNEST JENNING RECORD CO.
If you put The Black Hollies into a stereo along with a White Stripes CD and a Jet CD and put it on shuffle, I'd be willing to bet you wouldn't be able to tell the difference between the three. I'm not necessarily saying that's a bad thing. What I am saying is that the CD is slightly unoriginal and severely influenced by the rock of the 1970s. Not a bad thing...if you're into that sort of thing. The songs are actually pretty catchy and give me a slightly nostalgic feeling—which is never really a bad thing. -Josh

THE BLUE BLOODS
DEATH OF A SALESMAN
I SCREAM RECORDS
The Blue Bloods unleash 17 tracks of energetic, riotous street punk on their new album. Would you expect anything less coming out of Boston? While their music isn't up to par with the Murphy's and Street Dogs, it's from the same vein and will keep any fan of those bands singing along to the anthemic melodies. The band is even cool enough to successfully pull off a swinging cover of John Mellencamp's "Authority Song". So cheers to another great Boston band. And this one proves that you don't even have to sound Irish to represent the city! -Jeff Srack

THE DOWNERS
SHAKE THE DEAD AND LET THE DOWNERS DIE
SICKBOY RECORDS
Utah's five-man The Downers is playing the psychedelic pop of Big Star—and doing it very well. This five-song sampler will trance you out like a Quaalude from 1974. It's good. The vocals of Paul Burke are mesmerizing. The Downers is not a throwback; rather, the group is transporting its genre into the future. SHAKE THE DEAD AND LET THE DOWNERS DIE is a quality album with feeling, pumping new blood into the ancient stoned vibe. -H. Barry Zimmerman

THE EDDIES
IN THE SUNSHINE
TWIST RECORDS
I never realized that those bands that play the annual ribfest and monster-truck rally actually put out records. The Eddies are proof that those anonymous, sanitized, nostalgic acts that grace the hastily-built stages of street fairs everywhere do more than provide background music for hot dogs and funnel cakes—they also provide background music for work and dive-bar local-band nights! The Eddies wish they had been rocking in the '60s, but their efforts only sound like mockery of that sound. They supply simple, short girl-yearning and summer-loving pop songs that rival any garage-sale bin record selection. -Erika Owens

THE FORECAST
IN THE SHADOW OF TWO GUNMEN
VICTORY RECORDS
Appearances can be deceiving, as well all know, and though IN THE SHADOW OF TWO GUNMEN is a Victory Records release, it's neither a shitty mall-emo nor a meathead hardcore record. In fact, The Forecast sound like Hey Mercedes and Rainer Maria vying for a chance to take a stab at alt-country-inspired punk. The Illinois quartet is a few steps above the rest of their label's roster, but while there's really nothing grating about The Forecast, there's not much that's exceptional, either. Still, this sophomore release is engaging and enjoyable and should receive a warm welcome from fans of Cursive, The Jealous Sound, and any of the other bands mentioned here. Victory Records' best? Probably so. -David Barker

THE FUTUREHEADS
NEWS AND TRIBUTES
STARTIME/VAGRANT
England is incessantly dreaming up innovative post-post-punk groups these days, and when The Futureheads' self-titled debut was issued in 2004, the record was met with much-deserved hype. The band's angular take on early XTC and The Jam (with Gang of Four's Andy Gill as producer) yielded energetic, humorous excellence. The follow-up, NEWS AND TRIBUTES, has the requisite maturity, but while the songwriting is more thought out, it's lacking the in-your-face qualities of its predecessor. Still, The Futureheads aren't running out of steam, and their sophomore release maintains the band's gusto—it just puts its emphasis in different areas. The debut would have you envision a show with musicians flailing across the stage, whereas NEWS AND TRIBUTES is more subdued and thoughtful. -David Barker

THE GO-SHEILAS
THE EP
SELF-RELEASED
Here's a funny little story about this CD. When I went to place it in my car stereo, my CD player didn't even pick it up, so I forced it into my head unit (which in hindsight was a dumb move), and it got stuck. Even worse, it didn't even play! But with a little elbow grease and tweezers, I got it out and learned a valuable lesson: don't force things where they don't belong. So if this EP won't even play in my car, it has to blow, right? Well, I couldn't have been more wrong, as the disc has four catchy pop-punk tunes that sound like The Go-Go's and Descendents lovechild. So be sure to check out this band as they work to get a record deal—just don't put the album into your car. You can't say I didn't warn you. -Jeff Srack

THE OBSESSED
LUNAR WOMB
METEORCITY
Let's face it: Scott "Wino" Weinrich is a legend. Although many of you may not even know who the hell he is, your favorite bands sure do, as guys from Phil Anselmo to Dave Grohl exalt the man's achievements. The good folks at Meteorcity have dug through the archives and bring you up to speed with LUNAR WOMB, which showcases Wino's underground heroics with The Obsessed at its most visceral. Brimming over with Sabbath-esque intensity and Black Flag-esque urgency, this 12-track re-release retains all that it surely conveyed some 15 years ago. If you're unfamiliar with Wino and his many musical ventures or if your old copy of this release is worn, now is the time for a purchase that's worth every hard-earned penny. www.meteorcity.com -Mike SOS

THE POPZILLAS
THE INCREDIBLE ADVENTURES OF PANDORA POP
WOLVERINE RECORDS
The debut full-length album from this self-described "girlpopmangapunk" quartet from Stuttgart, Germany, is a poppy little punk piece that sounds more like vintage Blondie than the Japanese manga world the band tries so hard to emulate. There is a fairly elaborate four-minute manga video clip on this disc that tells the story of "Pandora Pop" and includes a very short adventure. Unfortunately, the video clip is light years behind real manga. Musically, this female-fronted band belts out 12 tunes that sound like they were ripped straight from a late-'80s new-wave sound track. It's humorous listening to Germans sing in English about Japanese stuff. Now, if only the band included the horribly translated press release with the CD, we'd have something funnier than an Asian menu mistranslation. -Dug

THE RED JUMPSUIT APPARATUS
THE RED JUMPSUIT APPARATUS
VIRGIN RECORDS
It's a pain in the ass to review bands like The Red Jumpsuit Apparatus. Musically, they're fairly qualified. Throaty screams recall Refused, the rhythms are taut, and the gang vocals are a nice touch. Unfortunately, The Red Jumpsuit Apparatus' debut is chock full of generic vocal patterns and cheap harmonies. When I took a guess at what these guys would look like when I pulled up their Myspace page, I wasn't far off. Having a debut record come out on a major label means that these guys are cashing in on a trend, and when this wave starts to fall, The Red Jumpsuit Apparatus will go with it. But hey, they're better than anything on Fueled by Ramen. -David Barker

THE SUPERVILLAINS
GROW YER OWN
LAW RECORDS
The first major release from Orlando, FL's The Supervillains is a blend of tight, close-knit ska rhythms that bounce back and forth from speedy punk to old-school reggae. The band's live shows are known to be frantic, explosive affairs, where this type of party music rallies the faithful. Perhaps the band's only real failing is the lyrical content. Though it can be excused that most of the tunes are focused on weed, the band seem to use the same lyrics on each tune (maybe they forgot?). The worst tune here is a yucky ska lament about catching clap and crabs from an ex-girlfriend. One of the best tunes, "Baghdad", is one of the few songs on the album where the band takes on a real issue. -Dug

THE TRASHIES
LIFE SUCKS TRASH FUCK
MORTVILLE RECORDS
Calling itself a "Northwest trashcore" outfit, The Trashies revel in the grotesqueness and immorality of G.G. Allin while harboring the twisted sense of humor of The Dead Milkmen. The singer sounds like Jello Biafra. The musicianship is generally weak, the production sucks, and the lyrics are absurdly stupid...yet, The Trashies somehow pull shit this off. Don't ask me how. You can't listen to LIFE SUCKS TRASH FUCK without laughing at how ridiculous it is (especially to "Sweatpants Boner", which I could have sworn was a cover). This record can be fun now and again—but I'd wager their live show is where the real action is. -David Barker

THE WILLIS
BATHTUB.LIGHTBULB.HEARTATTACK.
DOUBLEPLUSGOOD RECORDS
The one thing the debut album from Oshkosh natives The Willis does not lack is energy. From the opening line to the closing tune this five-piece band will keep your toes tapping. The album is a combination of artsy rock with a bit of comedy, as is apparent on the clever "Jimmy Fallon: the Plan". The mediocre vocals can become a bit draining, and the music quality can use some stitching to tie up the loose ends. The Willis' sound seems to lack experience. Give them a few more years to fine tune, then give these hip nerds another listen. -Amy June

THINK I CARE
WORLD ASYLUM
BRIDGE NINE
Want old-school flavor? Allow Boston quartet Think I Care to serve up some of the toughest blue-collar hardcore this side of CBGB circa 1982, as WORLD ASYLUM contains all of the vitriolic madness of bands like Killing Time and Sheer Terror. This is 10 tracks of lean, muscular hardcore brazen with venom. Songs like "Heads Will Roll" and "Nature of the Beast" emit the kind of metallic firepower and floor-punching ferocity that conjures up a good idea of how it used to be. WORLD ASYLUM is highly recommended for the truly sullen and forlorn hardcore purist who needs a new soundtrack to break shit to. www.bridge9.com -Mike SOS

TOWER OF ROME
WORLD WAR I
HEWHOCORRUPTS
Illinois grind gurus Tower of Rome get all crusty and chaotic on your unsuspecting ass on this eight-track excursion. Equipped with blast beats and harsh bottom ends galore, throat-ripping screams and the kind of manic guitar and bass work that scares small kids and household pets, and song titles like "Save Art: Kill an Art Kid", Tower of Rome must be a hoot to witness live. WORLD WAR I is the perfect soundtrack to piss off your neighbors, cause property damage, and bang your head incessantly to. www.hewhocorruptsinc.com -Mike SOS

ULTRA DOLPHINS
WHY ARE YOU LAUGH
ROBOTIC EMPIRE
The shrieks within this album are terrifying. It is abundantly clear that the band members of Ultra Dolphins are all about having a good time with this. The music is quick. At times it seems desperate and random. The name, the art, and the sound all indicate a very lax approach to creativity, nothing too strict or meticulous. Inside jokes and a healthy sense of humor must be a big part of this project. I imagine that the Ultra Dolphins would be some pretty interesting people to know—like their music: never a dull moment. However, similar to dealing with people with highly energetic senses of humor, you have to be in the right mood; otherwise, it can be annoying as hell. -Thomas Murray

VANITIES
COMA KISS
SELF-RELEASED
A man called Rob Blake leads Vanities. While Blake shares a name with a famous NHL defenseman, he doesn't sound nearly as burly as a pro hockey player. Instead, his voice might make you think this rock quartet has a chick vocalist. The music they make is a little morbid (e.g., "Coma Kiss", "Mementos on a Noose"). The CD cover, which features skeletal figures wasting away in a field, is equally creepy. The band's rock is hard, although they also veer toward math rock, with their tricky time signatures. Joe Reilly creates some especially memorable six-string moments. Like other acts on the cusp of commercial success, Vanities are a good band in search of a great song. -Dan MacIntosh

V/A
AN INTERNATIONAL TRIBUTE TO THE MAN IN BLACK JOHNNY CASH
REBELLION RECORDS
If you're going to put out a tribute album honoring the one and only Johnny Cash, it should be required that the artists contained on the album are of superior quality. While some bands like on the 29-track compilation (e.g., The Regulars) answer that call, most fall short. The risk of taking a Johnny Cash song and putting it to metal and punk should be respected; but when it is done with inferior quality, it is simply poor taste. If you love Johnny Cash, buy a best-of album and pass up on this tribute. -Amy June

V/A
PROM QUEEN MASSACRE
HORROR HIGH
Venture into the dark underbelly of seething rock and blaring punk, as Wednesday 13 narrates a journey through a pleasantly-doomed prom at the infamous Horror High. This latest release is hardcore and packed with fast beats that will charge up your inner demons. Standout tracks include "Nightgown" by The Rosedales and "Killer Creature Double Feature" by Nim Vind (a band sounding a bit like The Ramones). The superior tracks won't be appreciated, though, because the concept lacks taste. This album is solely for those who love the dark side of punk rock. -Amy June

VARIOUS ARTISTS
STRANDED IN STEREO VOLUME TWO
ADELINE STREET
The second issue of STRANDED IN STEREO is a sprawling two-disc compilation that has something for nearly everyone. Some of the better-known artists on the disc include Anti-Flag, Joan Jett, The All-American Rejects, and Green Day. While it's always nice to hear a tune from old favorites, the best this disc has to offer is from some incredibly talented bands that aren't as well known. If you want to see what all the buzz about Wolfmother is about, the band has a video in this comp. Bands that should rule the world, such as the sexy and hyperactive Morningwood and the viciously funny hardcore psychobilly legends The Legendary Shack Shakers, each contribute videos that by themselves are well worth the price of this innovative double-CD. -Dug

VARIOUS ARTISTS
UNDER THE RADAR: VOLUME 1
ANTIDOTE
"UNDER THE RADAR" is definitely a fitting name for Antidote's nearly 80-minute compilation, which features 22 artists from around the world with whom I was not familiar. Most of the tracks are dark, heavy, rock 'n' roll-drenched tunes—and some are quite good, including: the swaggering and tough tracks from Clark County Daredevils and The Unsatisfied; The Fury…Heat! sound is nicely psychotic and demented; The Secret Cervix are mean and hard, singing about a girlfriend who's "a walking infection" (wink wink); the hardcore of Crybaby Bridge and Valdez; the very Danzig-like (musically, at least) Spectremen; and the rockabilly-infused track from Hallowmas, whose singer recalls our dear Glenn. Still, as with most comps, there are a few clunkers, like those from the unlistenable Tears for the Dying and Dark Humor. -Janelle Jones

VARIOUS ARTISTS
HEADBANGERS BALL: THE REVENGE
ROADRUNNER
With two CDs of 19 tracks each (from as many different artists) making for over two-and-a-half hours of music, you can bet HEADBANGERS BALL: THE REVENGE covers all of today's heavyweights in the metal/hardcore scene. Iron Maiden, In Flames, Arch Enemy, Opeth, High on Fire, Trivium, Throwdown, Mastodon, Lamb of God, Hatebreed—they're all here, along with those old nu-metal standbys Korn and Disturbed. There's pretty much something for every fan of heavy music (including even those few Mudvayne aficionados out there). Most of the offerings are album tracks, but there are some previously-unreleased songs, like those from Slipknot, Hatebreed, Walls of Jericho, and "Buried in Black" by Kingdom of Sorrow (which features members of Crowbar, Down, Hatebreed, and Seemless). -Janelle Jones

VARIOUS ARTISTS
BACKSTREETS OF AMERICAN OI! & STREETPUNK VOL. II, TEN YEARS LATER
STREET ANTHEM RECORDS
This mammoth two-disc collection features tracks from 55 bands, including every band that matters in the Oi! and street-punk scenes. Some of the better-known bands are Roger Miret and the Disasters, The Boils, The Bruisers, and Iron Cross. All the songs are really good, and although there is some similarity between them (due to the fact it's a genre compilation), there is enough variety to make listening to it interesting. The bands are all really tight and offer some nice guitar solos (which, along with its anthemic quality, are the things I like most about Oi!). I especially liked "Trouble Bound Blues" by Trouble Bound, which had rockabilly overtones; "Leave the Old Man Alone" by Wretched Ones, with it's catchy chorus; and "Sex, Thugs & Rocknroll" by Whiskey Rebels. -tekolote

VARIOUS ARTISTS
PUNK GOES 90'S
FEARLESS RECORDS
I have a real objection to the title of this series of Fearless releases, which have included four other PUNK GOES... titles. The bands covering the songs included on these collections ARE NOT punk bands (and I'm NOT splitting hairs, like trying to decide if Green Day is more punk than Bad Religion). Who in God's name thinks Plain White T's, Cartel, Amberlin, and The Starting Line are punk bands? NO ONE who likes punk. Second, the covers generally sound so similar to the originals that they aren't very exciting. The most interesting was The Killing Moon's "You Oughta Know", because it made me realize how much Alien Ant Farm's version of Michael Jackson's "Smooth Criminal" sounds eerily like this song. Vagrant Records' BEFORE YOU WERE PUNK, VOLS. 1 & 2, released in the '90s, continue to offer the best of this genre. Now, those are some REAL punk bands. -tekolote

VARIOUS ARTISTS
SAVING LIVES HAS NEVER SOUNDED SO GOOD
VANS WARPED TOUR '06/AMERICAN RED CROSS
This 18-song sampler has been compiled by the American Red Cross and the Vans Warped Tour to be given out to people who donate blood as part of a program to induce younger people to give blood. With the exception of a number by Street Drum Corps, the contributing bands play post-punk and emo-style music, so there is some similarity between the tracks. I really liked the contributions from Plain White T's ("Revenge"), Mae ("Someone Else's Arms"), Angela's Dish ("The Light On"), and Cartel ("The Minstrel's Prayer"), all of which feature exceptionally nice melodies and strong vocal performances. So give a little blood. You'll get 18 songs for FREE, and you'll be doing something good for the world. -tekolote

VARIOUS ARTISTS
CLASS PRIDE WORLD WIDE 3
INSURGENCE RECORDS
Highlighting the very best of Insurgence Records, CLASS PRIDE WORLD WIDE 3 smacks us across the face with 22 punk-rock and hardcore tracks from artists all across the globe. Many of the tracks featured on this disc deal with the theme of the plight of the working-class man and his never-ending grudge with the corporate police-state world he lives in. It's punk in its purist form. I got a kick listening to German kraut-rock band Freiboiter with their track "Schone Neue Welt". Actually, I enjoyed all the foreign selections quite a bit—maybe more than the U.S. and Canadian tracks. In all, this disc is well worth picking up if you're looking for something new and unheard of. -Matt Edmund

WICKED WISDOM
WICKED WISDOM
SUBURBAN NOIZE/100%WOMON RECORDS
If you read credits, you may realize that Wicked Wisdom is Jada Pinkett Smith's hard rock band. Smith's hubby is the actor/former rapper Will Smith, but there's no rap here. Instead, Wicked Wisdom participated in Ozzfest 2005, which puts it squarely in the hard rock/metal category. Jada Pinkett Smith sounds like a snotty hard rocker throughout, although she quiets things down a bit for "Forgiven". She proves that she can reach down for guttural metal vocals in places (e.g., "Cruel Intentions"). On "Something", she shows that she can sing melodically if she wants to. By they way, she also knows how to cuss like the dudes. This may be an okay rock offering, but it will hardly make anyone think of Jada as anything other than Mrs. Will Smith. -Dan MacIntosh

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