LAB REMIX SERIES VOL. 2 SPLIT EP
ZUM/GSL
What were originally two hard-to-find but highly-desired vinyls are now being
co-released as a split EP by GSL and Zum. !!! (pronounced "Chic Chic Chic" or
any other word repeated three times) and Outhud join their similar funk-electro-indie-rock
sounds on this four-song EP. Outhud provides the release with three equally dance-motivating
takes on the same song, while !!! supplies the last track, a 12-minute long song
entitled "Instinct". This disc could serve as background music at a
party, dance music at a club, driving music for a road trip, or even a soundtrack
to a movie. It is a truly eclectic and likeable disc, and one could only complain
of its short length. website
-tChow
40 WATT DOMAIN
SHORT WAVE
GAKI RECORDS
Bridging the musical gap between Everclear's alterna-rock and blink-182's pop-punk,
Southern California's 40 Watt Domain creates a decent party-rock blend (their
first gig was playing at Keanu Reeves's birthday party several years ago) but
ultimately is nothing more than a forgettable band destined for used-CD bins.
It's easy to imagine 40 Watt Domain playing a beach kegger where the kids are
heavily involved with flirting and playing volleyball and not really paying
attention to the band. There are some good, punchy skate-rock songs ("Conundrum", "Y&R", "Bubble"),
but there are also some huge bombs - namely, the silly pseudo-rap song "Salty
Dog" and the trying-to-be-serious-about-rape-but-ultimately-missing-the-point "Creamy
Teats".
-Chip Midnight
1090 CLUB/THE FORECAST
1090 CLUB/THE FORECAST
BINGO LADY RECORDS/THINKER THOUGHT RECORDS
There is no name for this CD; it is just simply a split CD featuring six songs
from two rock-ish bands from the Midwest. 1090 Club and The Forecast met over
the summer of '03 after playing a few shows together. 1090 Club greets the
listener first with three very slow, sleep-inducing songs. The Forecast takes
up the rear and proves to be the standout band. Perhaps it's because they've
been together a full year-and-a-half longer than 1090 Club, or maybe it's just
my taste, but I'm a sucker for trading male/female vocals. Marsha Satterfield
shines in the chorus of "I Lost Everything in Re-Entry", so I give
the tracks by The Forecast a thumbs up.
-Joe Wilson
ACTION NOW
ALL YOUR DREAMS - AND MORE 1981-1984
AVEBURY RECORDS
Think The Vaselines without the tongue-in-cheek humor and memorable songs.
ALL YOUR DREAMS - AND MORE is a collection of 27 live and studio tracks from
the early '80s. Virtually every song on the CD would fit right in on a TV Land
show about four "quirky" high-school kids that meet every day at
Hamburger Joe's for malts and just can't wait for the sock hop on Friday. In
the pilot episode, lead guitarist Paula Pierce drops her books and lanky, nice-guy
vocalist Jim Schuster helps her pick up the mess. He spots a doodle on her
notebook that reads "Action Now." "What is Action Now?" Jim
asks. "You're not one of those weirdo hippie protesters, are you?" (Enter
laugh track) "No, silly," Paula replies as she twirls a strand of
hair in her fingers, "it's just some band I've been wanting to start.
Nothing important." "NOTHING IMPORTANT?! Shucks, I've had an itch
to start a band myself," Jim says. Paula and Jim look at each other with
wide, dreamy eyes and become the best of friends. Hilarity ensues. Airing weeknights
at 9:30 after GILLIGAN'S ISLAND. Apparently, Action Now (v.2) had some sort
of reunion in 2003. A middle-aged couple in Sheboygan was thrilled.
-Casey Clague
A FALL FAREWELL
THE IMPERMANENCE OF BEAUTY EP
SELF-RELEASED
A Fall Farewell are skillful metal-core purveyors, effortlessly oscillating
between heavy, drilling hardcore featuring sick double-bass drumming, growled
vocals, etc., and more melodic fare with clean vocals and lighter guitar parts
(prime examples: "Lost in Dreams of You", "(She's) Dead in My
Eyes"). Paul Schierholtz is quite the virtuoso, showing off his metal-influenced
guitar prowess deftly via his monster solos (e.g., "The Ninth Hour", "Brought
to Ruin"), and, along with Brett Hudzietz's sick drumming (that intro
to "Brought to Ruin"...my god!), AFF are impressive, to say the least.
The lyrics stand out, also, with gloomy yet thought-provoking lines like "To
die for a cause is the most noble of gestures / To kill for one however is
nothing more than disgusting / So how should I feel because I'm killing myself
/ Is that better or worse than just killing the time until it's my turn to
die."
-Janelle Jones
A JEALOUSY ISSUE
IF THE FLAMES DON'T KILL US - WE WILL
INDIANOLA
Featuring ex-members of Poison the Well and Keepsake, A Jealousy Issue play
aggressive metal-core splashed with emotion. Their debut LP is comprised of
five remastered versions of songs off their SOMEBODY SHOOT ME, I THINK I'M
IN LOVE EP, four new songs, and a vicious rendition of Wake Up Dead's "Psychology
of Optional Experience"(by far the speediest, most chaotic track, clocking
in at a mere 38 seconds. The crushing "Take a Picture, She'll Last Longer" is
perhaps the most brutal offering, while the wrenching "Paperweight" seems
to be the most enterprising, as the guys span the gamut both musically and
emotionally, going from a somewhat subdued tone with light instrumentation
and far-away screams to punishing hardcore with mind-blowing breakdowns. Other
than the occasional spoken-word part, reminiscent of One King Down (see "In
the Shape of Stars"), this disc is dominated by the harsh screamed vocals
of Duane "Jealousy" Hosein.
-Janelle Jones
ALL RIGHTS RESERVED
REMIND ME TO BURN THESE PAGES
PUMPKINEATER
SKRATCH, what are you doing to me? Having an influence on my opinions of melodic
hardcore/screamo? I think so! Hey - thanks. All Rights Reserved are more than
a-okay in my book. REMIND ME TO BURN THESE PAGES is an 18-minute breathtaking
progression, with just five tracks to the album. And when I say "progression," I
mean progression. As each track passes, you are left with a slight difference
in sound and a harder edge. And just when you think they're about to bust out
a poppy song, an unexpected scream strikes your eardrum in the most beautiful
way possible. The overall music on this album is brilliant. It's complex and
diverse, proving they surpass the "mediocre" label (though it would
be nice to see more hardcore screaming out of these boys and less emotional
heartache lullabies). Go on, follow suit! Be like the others, and get your
scream on! website
-Courtney Riot
ALOVE FOR ENEMIES
BROKEN PLEDGE
STRIKEFIRST RECORDS
From the first track of intense hardcore to the last track of classical piano,
Alove for Enemies easily impresses my ears. This six-song EP was not difficult
to review, because all the factors that I enjoy in hardcore were compiled in
this album, BROKEN PLEDGE. Five tracks of pure hardcore aroused my senses,
and any band that includes a piano piece among their other songs is worth listening
to, in my opinion. Currently on Strikefirst Records, the band's album is being
distributed by Facedown Distribution, a faction of Facedown Records. Alove
for Enemies affiliation with Facedown Records alone gives credence to the caliber
of this band. This Long Island group will easily earn fans on both coasts.
Check them out at Facedown Fest March 19 in Pomona, CA.
-Luke Skywalker
AMBITIOUS CAREER WOMAN
TO AVOID A LAWSUIT
LUJO RECORDS
On its debut full-length release, Ambitious Career Woman (an all-male Seattle
trio) cooks its way through some blistering punk-jazz fusion. Imagine three
jazz musicians whacked out on crank who put out a screamo album, and you'll
have a pretty good idea of the hybrid sound unleashed here - "unleashed" being
the key word, as these tunes are as ferocious as a pit bull and with teeth
like a piranha. There are very few bands able to meld intense, angry velocity
with talented musicianship and challenging arrangements as well as these guys.
Back in 1999, the band was living in Southern California and churning out surf-punk
tunes. Thank God they moved to Washington and grew up. HYPERLINK "http://website" website
-DUG
AMENRA
MASS I: PRAYER I-VI
ANVIL OF FURY
Belgium's underground specialists Amenra have released a mammoth-sounding six-track
disc. Sounding like a cross between Black Sabbath, The Melvins, and Neurosis,
this outfit's unique output of heavy music is refreshingly dissonant and creative.
Tracks like the juggernaut "Hibernate" switch gears from brooding,
morose metalcore to stoner groove as effortlessly as does a brand new sports
car without sacrificing momentum or dynamics. Amenra's brand of screamo metal
is expertly crafted and takes hardcore music to the next level. anviloffury@hotmail.com" target="_blank">website
-Mike SOS
BALBOA
BALBOA
FORGEAGAINRECORDS
No, they're not from Newport, they're from Philly, bitch. Having been barraged
with praise before even releasing a record, these guys have a pretty large
fan base to throw their self-titled first release to. Musically, I am struck
heavily with elements of .hopesfall., and that just tickles me. However, Balboa
is most definitely without the hardcore glue that is Jay Forrest. This is reflected
in the production of the record. The tracks are reliant on the guitars and
drums, choosing to leave the vocal tracks far back in the final mix. Soft picking
and fervent smashing both go into the guitar track, while the double bass is
expertly lain on and not overdone, incorporating creative beats and cymbal
expression without becoming tired. However, the vocal tracks are left lagging
and are sometimes spoken, which has to be perfectly done to work at all. Despite
their sometime vocal shortcomings, Balboa creates what they set out to achieve:
a solid record. Bitches get stitches.
-AC Lerok of Philadelphia
BALLPIT
WIRE SESSIONS
DROPDEAD
I really had no idea which direction this record was going. It's sort of a
watered-down '80s metal band with a softer side. At first you hear riffs seemingly
stolen from Michael Jackson's "Smooth Criminal", and then you hear
vocals that sound like they should be back-ups for the new Bomb Skwad demo.
There's songs about getting wasted, hitting the road, and other mindless activities,
leading up to a very anti-climactic end to the disc and a desire for just a
little bit more. I suppose if you're into very simple riffs and lyrics that
lack much imagination, then you'll be right at home with the WIRE SESSIONS
sound.
-Zac
BATHTUB SHITTER
LIFETIME SHITLIST
SHIT JAM RECORDS
Cluttered drums and bass lines deter from the driving guitars and painfully
wretched vocals, which range from a monstrous voice to a high-pitched wail.
All the songs revolve around shit and the "many" aspects of it. This
is the definition of sound pollution, with saving graces limited to the occasional
screaming guitar crunch - even those of which are overshadowed by the sheer lyrical
vomit. LIFETIME SHITLIST is a painful obliteration of music and all that is
good about it. Vocalist Masato Henmarer Morimoto should have asked for a toilet-paper
dispenser on his chin to clean up the mess that fell out of his mouth on this
album. The best part of LIFETIME SHITLIST was when it was over.
-Kevin Conway
BIBLICAL PROOF OF UFOS
INTERSTELLAR MESSAGES
OTA RECORDS
Biblical Proof of UFOs has the feel of a higher-fidelity '90s alternative group.
It's subtle in some parts, and in others almost anthemic. The sound, though,
is not the issue. The thing is that the band and album name hint at a concept
group, which they definitely are not. BPU's song themes are pretty standard
rock themes - love, drinking, life in general, etc. - which is a shame. It would
be so much cooler if they sang about the solar system and its lesser-known
inhabitants. They could wear fishbowls on their heads and shiny suits when
they play and have little sound bites in between songs that sound like aliens
talking. Oh yeah, and they would have laser guns and tour in an El Camino that's
all modified to look like a rocket ship. Man, that would be wicked.
-Casey Clague
BLEED THE DREAM
AWAKE
NOIZE POLLUTION
Pop punk, screamo, post punk... call it what you will. Today, CD's in this
genre come a dime a dozen. For me personally it is a rarity to come across
an album in this genre that is genuinely enjoyable, however with Bleed the
Dream this was not the case. AWAKE is the first release from the loveable four-piece
hailing from Hollywood, CA. The band displays characteristics from several
music genres, which sets them apart from all the other Finch sounding bands
I have encountered. The vocalist easily transitions from soft flowing harmonies
to the screamo type sound, displayed in songs such as "Pop Song" and "Solace",
also being backed up by a band of talented guys who play more then just power
chords and simple drum beats is always a plus! Bleed the Dream is now on tour
with Pennywise and will be on tour with Matchbook Romance in May. I suggest
you catch a show and pick up the CD before they blow up and it costs you 20
bucks. Oh, also a quick tip for the ladies these fellas are lookers indeed!
For more information check out website -Michelle
Your Belle
BOYSKOUT
SCHOOL OF ETIQUETTE
ALIVE RECORDS
Sign me up for this school of etiquette! This S.F. quartet infuses bits of
Siouxsie and the Banshees and pieces of Sleater Kinney to round out their sound
of dark pop songs ("Secrets"), sexy rock tunes ("Jesse James"),
and synth ballads ("Ecstasy"). Leslie Satterfield draws you in with
her seductive voice and lyrics like "Baby come back to bed / I'll make
you feel so good" on Boyskout's most winning tune, "Back to Bed".
If that's not enough to get you off your ass, check out their QuickTime video
that's included with the CD, which features the gals of Boyskout engaging in
a little girl-on-girl action. (Yeah, I thought that would get you moving.)
alive-totalenrgy.com" target="_blank">website
-Jude Ruiz
BREAK THE SILENCE
NEAR LIFE EXPERIENCE
HOPELESS RECORDS
Having done stints on the Warped Tour, as well as dates with Sick of It All
and Avenged Sevenfold, Break the Silence has had some serious breaks before
even releasing their 14-song initial offering, NEAR LIFE EXPERIENCE. The sound
smacks of familiarity, yet there is a stark original bent that I can't help
but appreciate. Vocal performances are really the focus of the record, and
rightfully so. The harmonies are on par with the screaming, and the vocals
are really the highlight. Interesting picking breaks up systematic chords a
little too often, which detracts from the melodic aspects of the band. The
chord structures are almost formulaic. Break the Silence falls into the same
file as previous Hopeless gold strikes Avenged Sevenfold and Thrice, having
gone back to the well. But hey, when you're stable keeps jumping to majors,
you must be doing something right. Break the Silence deserves a listen. Listen
to the harmonics solo in the band's namesake track "Break the Silence".
-AC Lerok
BRENT ARNOLD AND THE SPHERES
LAST BOAT
UP RECORDS
The debut full-length release from Seattle wunderkind Brent Arnold and his
new band, The Spheres, is a richly-orchestrated disc that portrays the maturity
of a real musician. With vocals that could double for David Lowery and a very
similar sound, this might as well be a Cracker album. Arnold is well known
for his work with Modest Mouse, Built to Spill, Sleater-Kinney, and a myriad
of other well-known Northwest bands. The nine songs on this CD contain a dramatic
mix of cello and viola over some very grave and sobering power rock. Though
Arnold has already released a solo album as Thickness, has played for Project
W, and opened for Sonic Youth and Kinski, he somehow finds time to compose
scores for plays and films. We can only hope that in the near future he focuses
his boundless energy on his new work with The Spheres, for LAST BOAT truly
is an outstanding debut album.
-DUG
BRIDES OF DESTRUCTION
HERE COME THE BRIDES
SANCTUARY RECORDS
This album should be burned. This CD should be rioted against because it is
so bad that your ears cry while you mourn a piece of your life that you can
never get back. This band is composed of former Motley Crue member Nikki Sixx,
and the music is exactly what you would expect it to be: '80s hard rock - and,
yes, cheesy. The lyrics are funny, and it seems like the band could be featured
on a skit for SATURDAY NIGHT LIVE as a mock '80s hair band. Maybe that's where
they got the idea. One of their shining lyrics is, "I'm so sick of / I'm
so sick of / I'm so sick of you! / Shut the fuck up!" Yes, please shut
up.
-Jennifer Moncayo
BRIEF CANDLES
BRIEF CANDLES
SILENT FILM SOUNDTRACKS
The debut full-length CD from this Illinois-based quartet is a complex, ethereal
journey into a dreamscape of restrained indie rock. The seven songs on this
disc push the limits of soft, melodic pop into the prog-rock zone, as every
song is either five, six, or seven minutes long. This is a band that is not
afraid to set a quiet tone and, much like Portishead, wring every ounce of
emotion out of a tune. While lead vocalist Jenifer Boniger's wispy, introspective
voice introduces these songs, nearly every song ends with a raucous minute-long
instrumental jam. Brief Candles is one of those rare gems that the Midwest
occasionally exposes. Brilliant, edgy, and original. HYPERLINK "http://website" website
-DUG
"BROKEN BOTTLES
IN THE BOTTLES
TKO RECORDS
Fuck yeah, this is what I've been waiting for. IN THE BOTTLES reminds me of
all of the reasons I fell in love with punk rock...or at least why I've stayed
with the bastard. This makes sense, considering that they're often compared
with bands like TSOL and Social Distortion (both of which seduced me a long
time ago). I don't think, however, that this is the reason I'm drawn to Broken
Bottles. True, there is a song about having sex in a cemetery, and the line "My
future is painted black and so is my car" would probably get Mike Ness's
approval (and hey, Jess the Mess, rhymes with Mike Ness!). Who the fuck cares?
IN THE BOTTLES guarantees that Broken Bottles stand on their own. The album
is full of just enough straight-ahead, I-don't-give-a-fuck angst to get me
off. Someone grab me a beer - I'm gonna dance until I die.
-Nina
BUDDY MILES EXPRESS
HELL AND BACK
INNERHYTHMIC
Patriarchal funk-rock drummer Buddy Miles went from Wilson Pickett to The Electric
Flag to the unfortunately-brief Band of Gypsies with Jimi Hendrix to less successful
projects to prison, and from there to be the voice of cartoon raisins. Miles
is now back on track doing the progressive funk rock he is made for (as exemplified
on this album and with his other project, Hardware). This album patiently flows
from song to song, delivering electric-rock-fueled ballad soul. This version
of the Express features Nicky Skopelitis (Material, Elliot Sharp) and frequent
collaborator Kevon Smith on guitars, and a four-man horn section. Much of the
material is familiar; "Born Under a Bad Sign" and "All Along
the Watchtower" are done here. Miles also includes his own monumental "Them
Changes" (which is present on the BAND OF GYPSIES album). This album still
seems far-seeing and progressive, through it was originally released on Rykodisc
on 1994. website -Tom "Tearaway" Schulte
BURNS OUT BRIGHT
DISTANCE AND DARKNESS
DEEP ELM RECORDS
Columbia, South Carolina's Burns Out Bright is a foursome that likes to punch
you in the gut with its indie/emo rock. DISTANCE AND DARKNESS is only a six-track
EP, but it puts together some nice, anxiety ridden tunes that give listeners
a ripple in their blood. 'Crowded Streets, Empty Skies' and 'Get Around' are
highlights.
-Darren Ratner
CALLIOPE
SOUNDS LIKE CIRCLES FEEL
THICK RECORDS
Variable tape speeds, loops, and insane digital effects are only the beginning
in describing SOUNDS LIKE CIRCLES FEEL, the latest effort from Midwest experimentalists
Calliope. This band prefers the studio to the road, and it shows. To be perfectly
honest, I don't know if this band would translate well at all to a live performance,
being somewhat devoid of the energy of bands like The Flaming Lips that makes
experimental rock work on a stage. SOUNDS LIKE CIRCLES FEEL is far more subdued,
taking a relaxed approach toward music in general. The record is layered in
effects, Moog and other synthesizers, and all kinds of recording tricks created
through Pro Tools and experienced engineers. Calliope is extremely artsy, and
in this record it comes off well.
-AC Lerok
CELLBLOCK 5/WHITE TRASH DEBUTANTES (SPLIT)
WHAT'S IT ALL ABOUT?
ORANGE PEAL RECORDS
Both bands on this split release are much better to hear live. Even so, this
disc is a good listen and gives an adequate indication of what sort of sonic
detonations will hit you during the live experience. This release has been
out since 2001, but it just came my way, and I feel fortunate to have discovered
two more great bands right under my nose. CB5 sounds a lot like Minor Threat
with cleaner and tighter arrangement of the music and vocals - to a point. White
Trash Debutantes is a Hollywood based slutpunk outfit that rocks like hell
with an epileptic-bluesy swagger. Fronted by transsexual vocalist Ginger Coyote,
WTD is an anomaly even in the so-called "liberal" punk scene. The
music is revved-up from start to finish, churning like a tornado of tuneful
tones and witty lyrics. Punx and freaks unite!
-Marcus Solomon
CHEKA
RETURN THE FAVOR EP
GENERAL ASSEMBLY MUSIC
Cheka is the indie rock project of Louis Epstein of NYC. His vocals sound strikingly
like those of Canada's The Vermicious Knid, and the instrumentation features
moments that resemble Wilco, The Violent Femmes, and Elliott Smith. It all
comes together to produce a winning sound. The four-song EP is just a tease,
though. A listener will find themselves growing strangely fond of Cheka, only
to be cut short and wish they had more to hear. website
-tChow
CHRIS MURRAY
4-TRACK ADVENTURES OF VENICE SHORRELINE CHRIS
ASIAN MAN RECORDS
I was definitely stoked to receive a classic album of this caliber to review.
With the re-release of Chris Murray's 1996 4-TRACK ADVENTURES OF VENICE SHORRELINE
CHRIS, many new ska fans will get the opportunity to hear classic two-tone
of an acoustic guitar. "Rocksteady" and "Sammy Come a Jail" exemplify
the smooth sounds of Murray's music on this album, but can be heard live at
the Knitting Factory in Hollywood on Tuesdays. Many cynics believe that ska
has been dead for several years now, but the re-release of this very album
proves there is still a demand for this genre.
-Luke Skywalker
CROSSFADE
CROSSFADE
COLUMBIA
Crossfade's metallic overtones (especially the guitars, which travel from Soundgarden
to Ill Nino) meshed with its penchant for balladeering (a la Three Doors Down)
make for quite the bland offering. There's not much on the quartet's eponymous
debut release that Sevendust hasn't covered, and the DJ-meets-rock-band aura
that pervades tracks like "No Giving Up" and "Disco" just
gives the perception of Crossfade being a poor man's Linkin Park. Even though
Crossfade's debut is consistently competent, the big arena sound that it bellows
talks loud but says virtually nothing. website
-Mike SOS
CROSSTOPS
TRUCK AND DISORDERLY
MALT SODA RECORDINGS
Run-of the mill dirtball punk. Three-chord songs about drinking, screwing,
and being generally lewd and misanthropic. Booooo.
-Casey Clague
DEAD HEROES
LET IT RIDE
CARGO MUSIC
Dead Heroes is hardcore, down-your-throat rock with elements of Motorhead,
Dee Dee, and Black Flag. LET IT RIDE is a really solid, good disc with loads
of good ideas and "fuck you" attitude. A couple of my favorite songs
are "Hard Life" and "No Regrets". Kirk, Doug, and Tom rock
balls - probably like their dead heroes. LET IT RIDE is a straight-ahead disc
that would do anyone good.
-H. Barry Zimmerman
DEADSURE
FROM YOUR HEAD TO YOUR SACRUM
NO IDEA RECORDS
In attempts to give Deadsure a fair chance in my reviewing analysis, I listened
to their album on several different occasions - and, to their credit, it began
to grow on me. Mixing indie and punk rock with screaming vocals, Deadsure has
blended new sounds that are on the forefront of the music scene. Yet, this
might discourage some music fans, as they're not sure what they're supposed
to listen to; but if they give FROM YOUR HEAD TO YOUR SACRUM a chance, they
could be pleasantly surprised. It took me a week to get adjusted to this innovative
sound. In an attempt to show some similarity to other music, let's just say
Deadsure is as dark as Alkaline Trio but as diverse as Audioslave.
-Luke Skywalker
DEATHXDEATH
THE GLAMOUR OF EVIL
TRAKWORX
DeathXDeath (pronounced "death by death") are four goth rockers from
San Francisco who just decided to call it quits. THE GLAMOUR OF EVIL was their
second full-length, but despite a good receiving of the album, the band has
parted ways due to creative differences. This album is sadly just a very poor
knock-off of AFI, Hatebreed, and Rudimentary Peni. I would only recommend this
album if you are DESPERATE for the kind of music that fuses a little bit of
punk with a little bit of gothic hardcore. Otherwise, it's just another quite
bland album with not a lot to offer to music today.
-Zac
DECAPITATED
THE NEGATION
EARACHE
God bless Earache for keeping up with the darkening speed metal acts that constantly
kick ass. Decapitated's new record, THE NEGATION, is nothing too far away from
a Morbid Angel, Cannibal Corpse or Metallica for that matter, but the CD has
99 tracks. Yes, 99 tracks. Some of it is filled with creepy drones and other
various calamities, but the metallic madness and disheartening growls are good
for any fan of this oh-so-lovable genre.
-Darren Ratner
DECEASED
ROTTEN TO THE CORE
MALT SODA
My body was overwhelmed with joy when I looked at the backing of this CD. My
impression was that it was a compilation of old-school punk (The Ramones, Bad
Brains, Agnostic Front, Dead Kennedys, etc.). As The Ramones' "I'm Not
Jesus" started, my jaw dropped: that wasn't Joey singing! I quickly understood
what this was: it is an album of covers done by the band Deceased. Although
I would like to say this album rocks, it honestly doesn't. With that said,
Deceased take these influential punk greats and make them their own (hardcore).
I'll give them that. This album, for some reason, reminds me of Metallica covering
Blink 182 songs. It just doesn't work too well. website
-Courtney Riot
"DESCENDENTS
'MERICAN
FAT WRECK CHORDS
The grandfathers of pop-punk have released 'MERICAN as a precursor to their
upcoming full-length, COOL TO BE YOU. Descendents don't let their fans down.
There are the usual songs about television and (of course) girls, but the title
track is a little different from the usual songs Descendents are known for.
With it they prove that they can be completely serious. I'm not a big fan of
the melodic punk Descendents represent, but I respect them for basically creating
it. Descendents still play the anthem for punk-rock losers that abound in this
world, and they wear their banner with pride. I also give them props for having
the last words uttered on the release be "I quit," when we all know
that they don't. If you're even thinking of buying any of the bullshit passed
off on the radio as punk nowadays, check this out instead.
-Nina
DREXEL
THE INEVITABLE IS AVAILABLE
FORK IN HAND
What saves Drexel's THE INEVITABLE IS AVAILABLE from being just another typical
screamo album are the time signatures of songs (like on Track 1 (the whole
album is completely untitled)) and the overall creative arrangements. Sometimes
hinting at the hardcore greatness of bands like Refused, Drexel hit hard with
their strong guitars and rhythm section. But, unlike Refused, they fall short
of being vocally intriguing with their adolescent delivery that we have all
heard before. However, the use of energy throughout the album is done convincingly
enough to warrant a second listen.
-Norberto Gomez, Jr.
DUB NARCOTIC SOUND SYSTEM
DEGENERATE INTRODUCTION
K RECORDS
Helmed by K Records honcho and former Beat Happening member Calvin Johnson,
Dub Narcotic Sound System have been funking up the indie universe for the better
part of a decade now. Less caustic than what's been trawling out of the five
boroughs, DEGENERATE INTRODUCTION is a funk fresh party platform on wheels,
replete with subsonic bass swells, jagged guitar stabs and vocals so huffy
they sound as though they were recorded at dawn by a winded jogger with a bullhorn.
-Jason Jett
DYNAMITE CLUB
THE LEGEND OF TIGER MASK
BIG SLEEP RECORDS
I'm not sure what to say. I'm hesitant to write this album off as a complete
joke. Actually, no, I'm not. The majority of this record showcases seemingly
sporadic back-and-forth screaming fits between the band's members - presumably
the same gentlemen who don giant penis masks on the inside of the album's liner
notes and is almost entirely void of musical or compositional substance. If
it's meant to be unlistenably absurd (and it's tough to imagine otherwise),
it's a bounding success. Dynamite Club's half-assed attempt at spazz-core (a
la The Locust and Blood Brothers) is so unbearably far off of the mark that
it's nearly as funny as it is weak. This is the sort of record that doesn't
need to be produced beyond a small stack of CD-Rs for friend - and, even then,
it still probably wouldn't be funny beyond the three-minute marker). There's
a line where, upon crossing, experimentalism obscures into nonsense. Here,
it has been crossed. So, gentlemen, please, don't come back. And we beg you:
no more albums...
-Dave Kargol
EAST BAY CHASERS
TITLE NOT YET RELEASED
FIVE & DIME RECORDS
Bay Area rockers East Bay Chasers are planning a full-length release due out
some time in Summer 2004, and when it comes out, it's going to rock your socks
off. I got a preview of two of the songs that will be on the album, and they
weren't enough for me. I've seen the band play a few times, and their energy
is always amazing, but I wasn't so sure how well that would come through on
a recorded album. It does come through, though, like a train being run by a
drunk conductor, and you don't know if it's going to stop when it's supposed
to. East Bay Chasers already have a loyal following throughout California,
but if you're not in it already, just wait for the album to come out. The aggressive
beats and raw sound of songs like "Miserable" will convince you.
-Nina
EVERYDAY VICTORY
OCEANS AND AIRPLANES
RISE RECORDS
A neat little four-piece indie-rock band, Everyday Victory has put out 12 mellow
tracks in their latest effort, OCEANS AND AIRPLANES. The Oregon natives (who
formed back in 2000) consider their music "melodic, dark and powerful," yet
I found it to be less than powerful. My roommate was content sleeping to the
group's CD as I wrote this review. Very few of the 12 tracks actually stood
out as melodic or dark, and I found myself impatient to finish listening to
it in its entirety. Yet, fans will get the chance to see the group on their
spring tour as they travel from coast to coast. Maybe on their way back to
Portland from touring they can stop by their label's headquarters in Roseburg
and ask forgiveness for this album.
-Luke Skywalker
EXHIBIT F
BLUE IN THE BACKGROUND
SELF-RELEASED
Step into the world that is San Diego's Exhibit F, a world where a raging guitar,
pulsing bass lines, and pounding drums provide the background for pure, emotional
lyrics. The thing about Exhibit F is that they are a good band that seems to
get recognition for all the wrong reasons. Yes, they are female-fronted, and
yes, that is not too common for their genre of music...but what the hell is
their genre of music? Sometimes it feels like punk, sometimes it feels like
metal, sometimes if feels much mellower than that, but most of the time it
feels like...well, Exhibit F. Personally, I love that BLUE IN THE BACKGROUND
is self-released. I am assuming that releasing it on their own guaranteed that
their style (whatever it is) didn't have to be compromised. The result is an
album that creates intense emotion, while keeping its dignity in tact.
-Nina
FINGERTIGHT
IN THE NAME OF PROGRESS
COLUMBIA RECORDS
Fingertight is a tough one to figure out. On the opening track of the band's
debut, "Fear in Me", Fingertight lays down some heavy Deftones-style
riffs while lead singer Scott Ross does his best Brandon Boyd (Incubus) imitation.
If the rest of this CD rocked with the intensity of the opening track, I might
say that Fingertight has some bright days ahead; instead, the band switches
directions throughout the rest of the CD, playing up to the type of audiences
that discover their music by watching MTV. It's all heavy, but it ranges from
nu metal ("Surface") to art-school rock ("Magical") to
mid-tempo post-grunge ("Guilt (Hold Down)") to emo-like pop ("Shut
Up"). If you're into this kind of stuff, stick with your Hoobastank, Incubus,
Filter, Korn, and Nickelback CDs.
-Chip Midnight
FORCE OF EVIL
FORCE OF EVIL
ESCAPI
Force of Evil's twin-guitar attack should sound familiar for those in the metal
know, as the fretwork of Hank Shermann and Michael Denner (most notably of
Mercyful Fate) is prominently displayed on Force of Evil's debut. Rounded out
by members of King Diamond's band and Ironfire, this Danish metal supergroup
play the kind of metal that James and Lars of Metallica cut their teeth on
back in the early 1980s combined with elements of dramatic rock (a la Fates
Warning and Queensryche). The end result is an 11-track metal opus that old-school
metal fans will no doubt appreciate, as songs such as the driving "Samhain" and
the scorching "Demonized" have the undeniable classic metal crunch.
Coupled with lyrics that touch on the demons, the occult, and for the generally
darker side of life, Force of Evil's debut is a pleasant retread to the days
of metal yore. website
-Mike SOS
FRAGMENTS OF UNBECOMING
SKYWARDS: A SYLPHE'S ASCENSION
METAL BLADE
Manifesting a heavy influence of the early sound of Swedish death metal, the
quartet known as Fragments of Unbecoming have ripped through the metal underground
with ferocity not heard since the days of Carcass and At the Gates. On the
one-time side project's sophomore effort, the galloping twin guitars and pummeling
rhythm section take the listener on a true metal journey, complete with technical
excellence and masterful metal songwriting skills. Containing 12 tracks of
some of the most scathing, well-crafted death metal, those who yearn for the
early days of melodic death metal will rejoice at Fragment of Unbecoming's
offering. website
-Mike SOS
FRANZ FERDINAND
FRANZ FERDINAND
DOMINO RECORD CO.
On tracks like "Tell Her Tonight" and "Take Me Out", this
band (named after the archduke whose assassination triggered WWII) recalls
New Order and the later dance-club-influenced Manchester scene. This scene,
led by Stone Roses and Happy Mondays, was documented much on Factory Records,
and this seemed to be a significant influence for Franz Ferdinand. As dance-pop
goes, this is a very good album, with great hooks and rhythms. website -Tom "Tearaway" Schulte
FROM BUBBLEGUM TO SKY
NOTHING SADDER THAN LONELY QUEEN
EENIE MEENIE RECORDS
As is seen in the novel's worth of press materials sandwiched in with this
record, From Bubblegum to Sky is straight pop. I really don't feel that this
band is that bad, I just really don't like them. At all. There are definite
indie influences, but the band's name says it all: the sound is all about bubblegum.
There are moments in the record where From Bubblegum to Sky makes failing attempts
at Elliott Smith sensibilities; however, these just come off contrived, as
if thrown in. There were a couple of songs I liked: "Catherine was my
june" and "Holland" avoided the pitfalls that befell the rest
of the songs. I hate pop.
-AC Lerok
FU MANCHU
SOMETHING BEYOND
ELASTIC RECORDS
SOMETHING BEYOND is Fu Manchu's first recording with new drummer Scott Reeder,
and after listening to this three-song EP, I'm ready to hear a full-length.
The EP starts off with "So Far Behind", which is loaded with three-chord
perfection, tempo changes, and near perfect drumming. All three tracks are
good and should please any Fu Manchu fan, but the last track is the gem of
the EP. As a finale, Fu Manchu covers Black Flag's "Six Pack". It's
a slower version, but it's also a very hard rendition that should make any
Black Flag fans happy. Overall, this EP is a great reintroduction to Fu Manchu
that should make people want to seek out older albums.
-Dane Jackson
GIRLBOY GIRL
FORGET THE LADDER, CLIMB THE WALL
KITTRIDGE RECORDS
Alright, all you hipsters out there, you wanna impress your friends, right?
Of course you do. Well, in the '80s, NME released c-86 mix-tape compilations
that featured some of latest in British underground - a must-have for indie-pop
and Brit-pop aficionados alike. A wealth of forgotten pop gems! Seeing as these
are nearly impossible to come by, you will have to track down the bands that
were featured - Heavenly, Felt, The Go-Betweens, and many more. These are the
bands Girlboy Girl have captured the spirit of (The Pastels, in particular),
and they are basically doing an updated version of the c-86 movement. I guess
it should come as no surprise that Bristol, England's Girlboy Girl feature
girl/boy vocals. What should surprise, however, is their penchant for making
melancholic, jangly pop tunes, such as "Don't Shout", "Trying",
and the ever so infectious "Cabmdhavas en Metten". This one's worth
looking into. 2vu.com" target="_blank">website/girlboy.girl
-Jude Ruiz
GOD FORBID
BETTER DAYS CENTURY MEDIA
This EP serves as both a teaser to spark interest for the new full-length,
GONE FOREVER, and a collection of past favorites. It features one track from
the new record, an exclusive track, a demo, and one song each from the group's
earlier releases, OUT OF MISERY and REJECT THE SICKNESS. God Forbid's sound
smacks of metal icons Pantera at some points, but it's a sound of their own
nonetheless. Unfortunately, though, on the new track the intensity is broken
by vocalist Byronde Davis's attempt at singing. For their own sake, let's hope
they don't go the Sevendust route.
-Casey Clague
GOLD CASH GOLD
PARADISE PAWNED, VOLUME ONE
TIMES BEACH RECORDS
Taking their HOUSES OF THE HOLY aspirations a little too deep, Detroit's Gold
Cash Gold have honed their epic guitar work and certainly the accompanying
mirror-perfected rock star poses. Their bar-band convictions and acoustic sensitivity
are only matched by their unexpanded horizons, sounding like Pearl Jam here,
Guns N' Roses there, and The Black Crowes everywhere else. Assumedly, all the
overemphasized guitar work was designed to distract from the painful singing
of Eric Hoegemeyer. His tonally deficient blare takes the purposely-ignored
gravel road between Greg Dulli and Bon Scott, but it feels like hanging yourself
with Fran Drescher's vocal cords. In a landscape with so many sound-alike acts,
Gold Cash Gold can only be differentiated from the pack by their singer's terrible
voice and their cool clothes, neither of which can save paradise from the used
rack.
-Rob Macy
GOREROTTED
ONLY TOOLS AND CORPSES
METAL BLADE RECORDS
Now, I am not much of a metal enthusiast (as can be observed in my latest review
of Intestinal Strangulation), but I could definitely appreciate Gorerotted's
effort in ONLY TOOLS AND CORPSES. The six-piece band from the U.K. transitions
between two vocalists, Goreskin handling the low vocals, while Mr. Gore screams
the high and mid-range vocals. Not one particular song stuck out as being especially
memorable, but all were entertaining nonetheless. I could see fans of hardcore
and metal really enjoying this group. Otherwise, their album could be used
as the music to break down suspected terrorists in interrogation rooms.
-Luke Skywalker
GREEN DAY
1,039/SMOOTHED OUT SLAPPY HOURS
LOOKOUT RECORDS
When this album first came out, it was great. It combined Green Day's three
early EPs onto one disc for the first time. Now, Lookout has decided to remaster
and re-release this very important punk album. While, it's essentially the
same recording, the packaging is brand new, and the CD now comes with extras
that you can access with your computer like pictures, video clips, and the
like. That may not be enough extras for the casual Green Day listener to want
to get another copy of this album, but this release is well worth it for collectors
and rabid Green Day fans. If you've never heard what Green Day sounded like
before Gilman Street shunned them, pick this album up. It's a must for any
Green Day fan. Must-listens include "At the Library" and "Going
to Pasalacqua".
-Dane Jackson
GREG PALAST
WEAPONS OF MASS INSTRUCTION-LIVE
ALTERNATIVE TENTACLES RECORDS
Greg Palast's credentials are abundant. Some highlights include investigative
reports for BBC NEWSNIGHT, THE GUARDIAN, and HARPER'S U.S. National Magazine
Award Nomination for his exposé of Katherine Harris's wrongful purge of African-American
voters before the 2000 election. Palast is also the author of a NY Times bestseller,
THE BEST DEMOCRACY MONEY CAN BUY (a book that Michael Moore has called "courageous
reporting"). One can't help but listen intently as Palast uncovers fraud
and corruption from the highest seats of power. Palast takes on topics like
Bush's stance on affirmative action, quoting our president ("Well, your
president," he exclaims): "No one should get their position except
through merit." Palast tackles Bush's War in Iraq. "Do you remember
what [Bush] said in his HIGH NOON, you've got 48 hours to leave speech? He
said, 'We are going into Iraq to go after those who have aided, trained, and
harbored terrorists, including operatives of Al Qaida. I thought, 'Shit, he's
gonna bust his daddy.'" So prevent Palast's stories from falling into
the black hole of American media and pick this up immediately. gregpalast.com" target="_blank">website
-Jude Ruiz
HAMMERFALL
ONE CRIMSON NIGHT
NUCLEAR BLAST
I suppose it was about time that Hammerfall finally got their act together
and released a live album. From the first track to the last you'll be raising
your fist in the air and dancing through 22 of Hammerfall's best works. My
personal favorite on the album is "Legacy of Kings", with a perfect
mix and incredible vocal work. One downside of the album is that the crowd
interaction is pretty weak - not what you'd expect from a band that has some
of the most die-hard fans around today. If you can find this double-album decently
priced, then I'd suggest adding it to your collection - if not for the cover
artwork alone, then for the amazing experience of ONE CRIMSON NIGHT.
-Zac
HEROD
FOR WHOM THE GODS WOULD DESTROY
LIFE FORCE
Who would have thought that Buffalo, NY, would produce yet another great American
heavy-metal band? Herod combines the guitar work of Queensryche, Black Sabbath,
and even European giants like Iron Maiden with melodic vocals reminiscent of
Mercury Tide, Nevermore, and Megadeth. The end result of this is a very interesting
track listing with only a handful of mediocre moments. The guitar players will
loves this one, and the catchy choruses are sure to keep everyone tuned in.
-Zac
HIDDEN IN PLAIN VIEW
HIDDEN IN PLAIN VIEW
DRIVE-THRU RECORDS
This is the debut release from these New Jersey natives on Drive-Thru Records.
After releasing the OPERATION CUT-THROAT EP on indie powerhouse LLR Recordings,
the boys decided to release yet another EP. These four songs are a huge step
up from their previous material, which sounded exactly like New Found Glory
demos. The CD contains a bonus track, "Twenty Below", which really
doesn't fit in with the other songs on the EP and probably could have been
done without. After going through a few changes in their lineup, it seems like
they've finally found their sound.
-Joe Wilson
HOSPITAL GRADE
WRITTEN AXE TO TRIGGER
URININE RECORDS
Whoever says rock critics are cold, heartless, tone-deaf goons with nothing
nice to say have obviously no idea what we have to deal with. If you take a
listen to this album, you'll change your tune, I promise! You'll have sympathy
for us. It's even more painful because their music is supposed to be punk-rock
music, so I semi-enjoy it, and yet I can't. I'm a rock critic because I like
rock music. In fact, I think I may like rock music more then anyone else on
Earth, because I willingly put up with so many rotten bands, yet continue weeding
through all the crap looking for some decent sounds. So I know what I'm talking
about when I say Hospital Grade stink! I had to plug my nose while I listened
to them, they stunk so bad. I can't even think of any bands lame enough to
compare them to. I guess the best I could do is ask you to imagine there's
a band called Suck and another band called Dull, and Hospital Grade is what
you get when you combine the two. Hospital Grade are from New Brunswick and
have been playing in another band called Not Funny Anymore for eight years.
-chad
HYPOCRISY
THE ARRIVAL
NUCLEAR BLAST
Uber death-metal producer Peter Tagtgren steps on the other side of the mixing
board once again to front Sweden's Hypocrisy. On the outfit's latest offering,
the blistering nine-track THE ARRIVAL, the trio return to its thematic vision
of alien lifeforms to a crushing backbeat that mixes as much Carcass and Entombed
into the mix as it does Dimmu Borgir. "Heavy death punk metal" can
best describe such tracks as the pulsating "New World" and the chuggingly
catchy "Dead Sky Departure", as textured keyboards set ominous tones
for stunning guitar riffs and pummeling rhythms to steamroll over your senses.
Hypocrisy's latest release has something for every metal fan, as THE ARRIVAL
is beautifully brutal, expertly produced, and, above all, contains the future
sound of the Swedish metal scene. website
-Mike SOS
INSTRUMENTAL QUARTER
NO MORE SECRETS
SICK ROOM RECORDS
This instrumental music album is sophisticated and rich in moving, protean
arrangements. The timbre of the music is greatly enhanced by attaching to a
rock trio (guitar, bass, drums) a cellist (Marco Allocco). The rock trio is
three-quarters of the Italian indie pop band Kash (website). This gives guitarist Paride Lanciani a new creative outlet and
direction. website
-Tom "Tearaway" Schulte
INTESTINAL STRANGULATION
ECTOPIC GESTATION
SELF-RELEASED
There's only several words and feelings that came to mind as I first began
to listen to this three-track demo of hardcore metal, but I try not to be vulgar
in my reviews, so I abstain from mentioning my opinion. So, in an attempt to
write the minimum word count for this review, I will take this opportunity
to thank Intestinal Strangulation for the new CD case in my possession. It
will go to good use, as I turn it into a professor with my Power Point presentation
inside. Oh, and my review: the demo was awful.
-Luke Skywalker
INTO ETERNITY
BURIED IN OBLIVION
CENTURY MEDIA
The virtuoso metal outfit known as Into Eternity is back with another dose
of Canadian cacophony on BURIED IN OBLIVION, the band's latest, 10-track metal
opus. The quintet's stark metal sound is symphonic as death metal can be, with
a huge chunk of guitar-hero doom thrown in for a mind-boggling listening experience.
Mesh the power of Dream Theater, Rush, and Strapping Young Lad, and what do
you get? Into Eternity's musical wizardry, dear readers, and it is undeniable
(even if the immense musical diversity at times may seem a bit contrived).
Tracks such as the death-growled "Embraced by Desolation" and the
adrenaline-draining "Beginning of the End" embody the perfect meeting
of progressive and death metal, keeping the overall sound ultra-heavy and extremely
grandiose without losing any ground. While those who feel less is more may
feel musically hung over after a few tracks, those who endorse shredding guitars,
endless solos, and countless time-signature changes need to add this to their
collection. website
-Mike SOS
IRON AND WINE
OUR ENDLESS NUMBERED DAYS
SUB POP
Sam Beans is the mastermind behind Iron and Wine. OUR ENDLESS NUMBERED DAYS
is his second full-length. The 12 songs that make up the album are haunting
and mysterious, a little bit like the project's existence in Sam's life. He
leads a remarkably normal life: he's father of two girls and a teacher of cinematography
at a college in Florida. Somewhere amidst that contented life he finds time
to construct music of subtle, somber, and almost silent brilliance. Utilizing
the acoustic guitar, he paints beautiful masterpieces of songs, such as "Sunset
Soon Forgotten" and "Love and Some Verses". It is an impressive
release from an accomplished man. website
-tChow
JACKPOT
F+
SURFDOG RECORDS
This CD belongs in a bargain bin...and that is not meant in harsh terms, at
all. Think of the thrill when you pick up a CD for $3.99 by a band that you've
heard of but not listened to and it turns out to be good. The low price only
serves as an added bonus to the experience of finding a new favorite. Musically,
Jackpot shifts focus from laid-back and spacey rock to full-on, desert-highway-driving
jams. Vocalist Rusty Miller is forceful when necessary, but mostly subtle and
crooning. His lazy approach gives a sensual, relaxing feel to the songs, even
when the music is upbeat. A record to be bought for sure...but even better
if it's cheap.
-Casey Clague
JAI ALAI
DRIVE SAFE
SUN SEA PRODUCTIONS
On DRIVE SAFE, New Orleans-based Jai Alai find their groove and stay with it
by cementing themselves to the ground so firmly that even a swarm of riot police
couldn't budge them. The band, whose air-tight sound is undeniably jazz-inspired,
splashes in puddles of synthy fuzz and slow pop without losing their firm stance
in the great American artform. The final result is stunning, and it's as spirited
and calming as a windy Sunday afternoon. "With Windows Down" is a
scaling and jazzy progression of gentle bells, tenderly plucked notes, and
bluesy guitar parts that pay homage to the band's firm rooting in the Big Easy.
Equally engrossing tracks such as "Older Cities" and "Ocean
Sized" ooze a snazzy confidence that could give even B.B. King's head
a few subtle bobs. DRIVE SAFE swells with suave and offers 16 individually-foil-wrapped
slices of pure jazz-pop bubblegum.
-Dave Kargol
JET BY DAY
CASCADIA
KINDERCORE
Jet by Day sounds like it was weaned on a steady stream of '90s rock music
judging by its 12-track release, the semi-grungy kind of indie CASCADIA. With
the Seattle stomp firmly in tow on tracks like "This Quiet Hell" and
the deeply grooving "Bite the Bullet", this Athens, GA, quartet blend
a heaping dash of Foo Fighters and Toadies hard-rock tenacity to create a sturdy,
stoic rock album. Not a one-trick pony by any means, Jet by Day walk the line
between sensitive emo rock and grandiose arena rock well enough for anyone
who misses the slacking luxury of Dinosaur Jr. and the visceral assault of
Nirvana. website
-Mike SOS
JOE COFFEE
BRIGHT AS THE STARS WE'RE UNDER
STREET ANTHEM
After the initial cattle-mooing sound-byte, Joe Coffee (fronted by NYHC behemoths
Sheer Terror's howler/crooner Rev. Paul Bearer) go into a whirlwind frenzy
of brutal hardcore pieces, such as the opener "How I Fought the Missouri
Bulls" and "Coke and Sympathy"; a lone, metal-infused scorcher, "Rooftop
Rendez-vous", which is replete with gruff, abrasive vocals, heavy guitars,
and pummeling drums; as well as some subtler fare, such as "3 AM and 4
Again" and the melodic, oddly charming (musically) "Stink of Love" and "Staten
Island Serenade". On these last two songs, Bearer's vocals channel the
legendary Glenn Danzig with their bellowing strength, depth, and rock 'n' roll
feel. And how could a band miss with a tune called "Pretty in Pinko",
a wry tale of a young man falling for a staunch Marxist just 'cause, well, "It
was better bed with red." Also included is "Screwed Like You",
a live track drenched in raw energy.
-Janelle Jones
JUNE
DEMO
SELF-RELEASED
The artwork for this demo by SoCal's June has personality: it's a plain manila
envelope with what looks to be Xeroxed or silk-screened images of an old painting
on it. Although it's almost certain that the concept was due more to budget
restraints than artistic ingenuity, it is striking nonetheless. However, that
striking feeling ends at the envelope. The three-song demo definitely isn't
bad, but it doesn't grab you, either. A hollow, echo sound permeates the EP
and that, coupled with the musical style, brings Candlebox and other early-'90s
radio bands to mind. The band is good at their minimal yet intense take on
that era's brand of rock and should develop nicely after a few more releases.
-Casey Clague
JUPITER SUNRISE
UNDER A KILLER BLUE SKY
UNDECIDED RECORDS
Jupiter Sunrise rides a great rail of rock and emo with their latest CD, UNDER
A KILLER BLUE SKY. It's pretty cool to hear the animated alt-rock pressure
of a song such as 'Kaye', the climactic and anticlimactic vibes in 'Cherry
Wine' and fun-park spark of 'Master Suzuki'. UNDER A KILLER BLUE SKY is great
for that long drive, the day you need something in the middle to listen to,
and what the heck, bring Jupiter Sunrise home to mom.
-Darren Ratner
KEITH JOHN ADAMS
SUNSHINE LOFT
KJA
Only slightly less prairie dog-like than say, Widespread Panic, Keith John
Adams and his associates churn up a huge load of chortle on SUNSHINE LOFT.
Granted, they try to spice things up by adding dashes of toy piano, musical
saw and accordion into their tepid rock stew, but those scattershot components
only leave their creating reeking that much worse of second stage state fair
tomfoolery.
-Jason Jett
KEVIN DEVINE
MAKE THE CLOCKS MOVE
TRIPLE CROWN RECORDS
In the spirit of Elliott Smith, acoustic guitarist Kevin Devine rides the same
open-hearted pathway of drugs, booze and relationships that warrant a little
musical poetics - both on the hard and soft side. Sometimes the songs don't
even make sense. Just know that tracks such as 'Wolf's Mouth', 'Noose Dressed'
and 'Not Over You Yet', where the music plays out like some cloudy if not confusing
dream, carry daring, even funny candor that keep you questioning your own existence.
-Darren Ratner
KILL YOUR IDOLS/CRIME IN STEREO
SPLIT EP
BLACKOUT!
Classic ear-splitting NYHC from Long Island's best, Kill Your Idols, paired
with the more-melodic/less-abrasive stylings of fellow LIers Crime in Stereo.
Rather new to the scene, Crime in Stereo are quite impressive on this split.
I feel guilty for never having heard anything by these guys before, as I live
like a town away from their native Levittown. Sad, I know. Anyway, the two
bands offer up three tracks that will satisfy both old-school fans and new.
And anyone from LI will notice the nod to South Oaks (the infamous mental hospital
around these parts) in Crime in Stereo's last offering, "My Own Private
South Oaks". However, the best track here has to be KYI's crushing rendition
of Sheer Terror's "Time Don't Heal a Thing". Yeah.
-Janelle Jones
LAB RATZ
LAB RATZ
LAB RATZ
This is a preparation of two main ingredients: acoustic classic rock and the
gentler moments of Alice in Chains. Lab Ratz cooks up a test tube full of light
and easy folk-pop. Lead vocalist David Wyatt is unimpressive, and the recording
is, on the graduated cylinder of hobby recording, two notches above demo quality.
It will take powerful enzymes to catalyze a reaction greater than indifference
for listeners outside of Lab Ratz''s local following. website
-Tom "Tearaway" Schulte
LANTERNA
HIGHWAYS
BADMAN
Much like the inching and atmospheric aural symphonies of acts like The Appleseed
Cast, Sigur R's, and Mogwai, Lanterna's HIGHWAYS floats in subtle and ever-unraveling
waves of symmetrical elegance. With gentle layers of light strings abounding,
the album coasts through smoggy ravines and sails to skyscraping heights with
enduring patience and soul. "Clear Blue" and "Last Practice" are
perfect and ethereal, and the title track is the aural equivalent to an out-of-body
experience. "Brooklyn" is a pristine session of acoustic plucking
so melodic that one could almost imagine it playing quietly over an overhead
speaker at your local pharmacy (not to mention on the shelf as an audio-narcotic).
The aptly-titled "Half-light" teeters on the line between luster
and gloom, giving one the feeling that they've wandered too far into the forest
just as darkness begins to fall. Here, Lanterna don't cover ground, they glide
far above it and prove that quiet does not always translate to timid. These
nine spiritual tracks snowball and accrue into a mountain-moving harmonic force.
-Dave Kargol
LE PEPES
ALL FUN THINGS END
KITTRIDGE RECORDS
The first thing I thought when I heard this record was, "Wow, they recorded
this on a boom box inside of someone's butt." That's what gives Le PepEs
their charm, though. The almost little-kid enthusiasm and mistakes give this
album its brilliance. The songs are well written, and the brother/sister harmonies
are endearing. You know how THE MUPPET SHOW eventually had the spin-off THE
MUPPET BABIES? Well, if Sonic Youth were Sonic Youth Babies, I think Le PepEs
would sound a lot like what they would sound like. Le PepEs are from California,
and they broke up five years ago - so who knows why their record just came out
now?! Talk about bad timing. Come on, guys!
-chad
LIKE CLOCKWORK
A CROSS IN THE GROUND
INDEPENDENTLY RELEASED
Some people are born with a talent and zest for creation that puts the rest
to shame. Jesse Owen Astin, the gentleman responsible for approximately 94%
of the sound that bursts from A CROSS IN THE GROUND, appears to be one of these
people. Astin's most autonomous project, Like Clockwork harnesses the inner-tickings
and aural impulses that float within his mind and personifies them; Astin is
the music, and the music is Astin. And it's hard to imagine anyone accusing
this lad of being boring, as these 15 tracks are so wildly independent of each
other that one may occasionally forget that they're components of the same
album. The instrumentation is solid and innovative (for example, Astin plays
a Fisher-Price xylophone like Chet Atkins played guitar). Hats off to him for
creating an highly intricate and inventive album almost entirely on his own.
-Dave Kargol
LION FEVER
LUSTRE
DIM MAK
Someone contact Webster's, as their dictionary needs an expansion, because
I just found a better definition for the word "shitty." Lion Fever
reminds me of a PJ Harvey impersonator teaming up with AFI to take garage rock
to the level of Spinal Tap. They do a Gun Club cover, though, which is kind
of cool...but it doesn't justify spending money on a five-song EP to hear a
cover song and four crappy originals. Lion Fever are from Portland, OR, and
consists of members from Lost Kids and Pleasure Forever.
-chad
LOCH LOMOMD
WHEN WE WERE MOUNTAINS
IN MUSIC WE TRUST RECORDS
Loch Lomond is one of those indie music acts that have a hankering eclectic
rhythms. WHEN WE WERE MOUNTAINS has enough musicians working on the album (10,
to be exact) to make it happen. 'The Mountain' feels like some sort hippie
anthem that uses waltzy beats and violin. 'Sir Edmund' gives hip-hop beats
a whirl and 'Salt in the Air' feels like a float on water. Not a bad one if
you need something in the way of experimental as well.
-Darren Ratner
LOLA RAY
I DON'T KNOW YOU
DC FLAG
Lola Ray may be comprised of four young men, but this outfit has the swagger
of a polished and confident group of veterans, which is currently on display
on the band's inaugural release, I DON'T KNOW YOU. While the band was signed
and distributed by the label run by the Madden twins from everyone's favorite
band to hate, Good Charlotte, don't hold it against Lola Ray, even if a lot
of the 10-track album sounds like it could invade every MTV show's soundtrack
and make a killing. The pop-punk which the band pours out straight from the
heart may send teens into a tizzy like Mest and Yellowcard do, but it also
shows elements of The Cure, Prince, and Weezer at its quirkiest and is far
from many of the second- and third-tier bands prominently cashing in on the
mall-punk boom. The outfit's lyrics are pretty deep (especially on the dramatic "She's
a Tiger"), and the two-toned feel of "One by One" and the hip-shaking,
ass-grinding sway of "What It Feels Like" takes focus off of who
Lola Ray knows and instead shows you that they know what they're doing. website
-Mike SOS
LYN PAUL JUNCTION
BULLZEYE
EVIL EYE MUSIC, INC
Lyn Paul Junction is very rock 'n' roll, and I can picture them playing in
Iowa in a country-themed bar with long hair that is brushing against their
palm-tree shirts. The album sticks to the roots of rock 'n' roll with a blues/country
feel that could potentially be played on a classic-rock station. Interestingly
enough, the album has a claim to fame, with the song "If You Want to Be
Free" being featured and licensed to the MTV show FRATERNITY LIFE. The
album does have one very cool element that does deserve praise, which is their
cover of Johnny Cash's "A Boy Named Sue", which is titled "A
Boy Named Lyn (Sue)". They gave the song their own style, while not destroying
a classic; and it has flawless vocals that deserve applause.
-Jennifer Moncayo
MATT COSTA
SELF-TITLED EP
SELF-RELEASED
This five-song EP from Huntington Beach folk phenom Matt Costa is a welcome
change of pace from the ubiquitous alt-country folk that is sweeping the industry.
With a nod to Donovan and Van Morrison, Costa has created a whimsical world
of retro-folk. Music like this is both timeless and addictive. These are the
type of songs that haunt the subconscious as you walk down an empty street,
look out across a lonely horizon, or reflect on the things that might have
been. The low-key, sparse instrumentation of these tunes - usually just acoustic
guitar, light drums, and a bass - bring the focus on the songwriting. Writing
doesn't get much better than this. Costa is an incredibly talented and mature
musician for his 21 years. Currently, he is working on his full-length debut
in the Orange County studio of Tom Dumont of No Doubt. If he can produce a
coherent album as wonderful as this EP, he'll be the best thing to come out
of Orange County for a long time. HYPERLINK "http://website" website
-DUG
MEMENTO
BEGINNINGS
COLUMBIA RECORDS
The closest band I can think of that Memento sounds like is Staind and Flaw.
All the songs on BEGINNINGS are your typical, run-of-the-mill, commercial hard
rock music. If you like that stuff, more power to you. I just don't. Instead
of writing a review that blasts every song because this is a genre I ignore,
I'll simply say the production value is great and the musical talent of the
band is great. That being said, if you like bands like Staind, Flaw, Korn,
Sevendust, or any of those other bands, you'll love Memento. If you don't,
then you'll hate them. It's that simple. There was one song on there that I
did enjoy, though, and that was the title track.
-Dane Jackson
MENTAL
GET AN OXYGEN TANK
BRIDGE NINE RECORDS
You aren't going to find the same breakneck hardcore rhythms over and over
again here. GET AN OXYGEN TANK does have some insanely fast songs, revealing
their East Coast hardcore roots. However, Mental develops a somewhat more complicated
sound through the heavy influence of metal, prominent bass, and constant change
of pace. To stand out in the hardcore community, it's necessary to expand on
the sound that has been the backbone of the genres for decades. Mental succeeds
at this without having to compromise their overall sound. Go check out this
release. The artwork is impressive.
-Anthony
MIKE ALLEN
CIRRHOTIC
SUN SEA SKY PRODUCTIONS
Mike Allen was guitarist and vocalist for Sunday Flood. Some of the dream-pop
approach is taken by that group here, but the pale luminescent dawn of the
nascent shoegazer now breaks forth a stormy and wind-swept day of post-industrial
electronica akin to Aphex Twin and Nine Inch Nails. Guitar textures and the
treated sounds of other instruments are broad-stroked with umbers, grays, and
other dark earth tones in this portrait of nightmares and conflict. Breaking
the mood are the islands of vocals, which are about as dark as early Depeche
Mode or The Cure. website
-Tom "Tearaway" Schulte
MISS DERRINGER
KING JAMES, CROWN ROYAL AND A COLT 45
SYMPATHY FOR THE RECORD INDUSTRY
The debut album from this Los Angeles punk scene/art school collaboration is
a sultry Southern blues extravaganza that seems to take the listener back through
an emotional time tunnel. Guitarist/songwriter Morgan Slade has crafted 10
haunting tunes that dredge up loss, despair, and sexual frustration. Lead singer/crooner
Liz McGrath has incorporated the spirit of her dark, Gothic artwork into her
vocal stylings on this disc. She is the perfect tenebrous counterpart to this
gloomy collection of songs. A few songs, such as the hillbilly ode "Long
Way from Home" and the bouncy death tale "Open Casket Funeral",
actually sound as if they were pulled from some Ozark talent show in the early
'30s. Yet, the majority of this album is a shadowy, somber excursion to the
dark side of the railroad tracks. Check out some truly brilliant Websites at
HYPERLINK "http://website" website
and HYPERLINK "http://website" website.
-DUG
MIZAR
THE KING OF THE STARS
SELF-RELEASED
"I am out of control," sings Mizar on Track 2 of THE KING OF THE STARS,
and I would have to agree with him. This bizarre, otherworldly album goes perfectly
well next to your Wesley Willis collection. Mizar is a one-man band of paranoid
schizophrenic vocals and unconventional arrangements performed simply on a Play
Skool-sounding keyboard. Unlike Willis, however, Mizar is a composer before anything
else, and his vocals are extremely unique and emotional on a strange level, like
his whispering on "Infernal Game" and the very serious "My Angel
in the Ice World". The album is so out there, experimental, indie, freaky,
scary, and hilarious that writing this review is one of the hardest things I
have had to do in a long time. What is Mizar trying to do? Should I take this
seriously or not? Is his accent real? Is he a genius or a comedian? Is this really
happening? You decide. If you are a fan of Daniel Johnston and other playful
geniuses, then I recommend you take a few listens of THE KING OF THE STARS. You
might find that the more you listen, the more it starts to make sense.
-Norberto Gomez, Jr.
MODERN LIFE IS WAR
MY LOVE, MY WAY
MARTYR RECORDS
Feedback and screaming guitars drive behind the distortion of raspy vocal explosions.
MY LOVE, MY WAY transcends the metal genre and blends it into a hardcore eruption
of screams with fists in the air. A street-core edge is present on every track
that mixes the garage with the studio and puts out a clean, but raw sound.
Modern Life Is War scream to an angst-filled youth, pleading for a lost generation
to overcome a bitter and downtrodden society with lyrics like, "No more
self-doubt / No more inhibitions." The raw crunch and bitterness cry from
the distortion of screaming guitars and pounding bass and drum lines. This
album demands that it is "time to rise up" from the misery of a fucked-up
youth. The sheer emotion that spews from MY LOVE, MY WAY demands to be listened
to and will undoubtedly cause at least a blip on the hardcore radar screen.
-Kevin Conway
MORNING WOOD XXX
CHILL OUT SKIP: STRAIGHT OFF THE V-TRAIN
DEMO
Morning Wood XXX is a band native to New Mexico that could be compared to an
eccentric mixing of Ozomatli and Less Than Jake. The band incorporates several
elements to their music, incorporating several styles, including rap, rock,
reggae, Latin, and ska. Several of the songs are mellow, ska types with rapping
lyrics that talk about marijuana and keeping joints in your pocket. Some songs
have potential, whereas others remind you of Afroman's famous hit, "Because
I Got High". The music is very eclectic and meshes several of the elements
with a wavering ease.
-Jennifer Moncayo
MTX
YESTERDAY RULES
LOOKOUT RECORDS
I really wanted to like this album. It was the first album from The Mr. T Experience
since 1999. With the release of YESTERDAY RULES, not only does it showcase
the band's new members, but it also comes with high expectations because of
the six years since ALCATRAZ. This album is more along the lines of ALCATRAZ,
in the sense that it's a bit more experimental and power-pop-influenced. The
band has been famous for its pop-punk love songs, but instead of delivering
that, YESTERDAY RULES is filled with slower-tempo ballads. This, in turn, makes
for a very boring listening experience - even if Dr. Frank is a great lyricist.
I prefer the older stuff from this band much more than that of ALCATRAZ and
YESTERDAY RULES. The best track on this album is probably "Elizabeth or
Fight!". While I wouldn't condone buying this album, it's definitely worth
a listen from all the MTX fans.
-Dane Jackson
NADINE
STRANGE SEASONS
TRAMPOLINE RECORDS
The fourth album from this St. Louis-based, alternative Americana quintet is
a gem. With a label founded by Pete Yorn, Marc Dauer from Jukebox Junkies,
and Rami Jaffee of The Wallflowers, we can expect a mature album full of alternative
country hits. Though lead vocalist/guitarist Adam Reichmann recently declared
that "there's something about Americana that sounds a little timid and
we're trying to break out of that," the banjo never falls far from the
flag. These tunes are undoubtedly, unashamedly some of the finest music America
has to offer. Bands like The Jayhawks, The Old 97s, and Wilco are tapping their
feet and humming along with every tune on this disc. This is just one more
incredible album in a great career from a terrific band. I've got the feeling
that if they set out to do a metal album, they would end up with Van Morrison's
MOONDANCE. True heart and soul will always shine through, and Nadine will always
be one of the benchmarks of everything good about a country that would really
like to feel good about itself right now. HYPERLINK "http://website" website
-DUG
OLD TIME RELIJUN
LOST LIGHT
K RECORDS
The music is edgy, loose, hip, menacing, lowdown; and the lead singer is doing
Frank Black's best role: Black Francis. I love Black Francis...but on this
guy it wears on me. But I'm that kinda guy. But if you're someone that that
doesn't concern, Old Time Relijun is weird and rocks - like an art show with
balls.
-H. barry Zimmerman
ON THE RISE
BURNING INSIDE
BRIDGE NINE RECORDS
Firstly, I must state that out of the four releases I've reviewed from Bridge
Nine Records, this is by far the best. Featuring members of Agnostic Front
and Maximum Penalty, On the Rise create a blend of melodic hardcore not seen
everywhere. BURNING INSIDE is greatly punk-influenced, having a smaller emphasis
on metal or even traditional hardcore. On top of that, On the Rise is able
to incorporate some great guitar solos and vocal harmonies. Some tracks start
off as sounding nothing like a hardcore band (e.g., "Burning Inside"),
and I love that. Lyrically, these guys don't disappoint, either, exceeding
the creativity of many of their counterparts. Overall, this band doesn't give
off the meathead impression at all, and that makes all the difference in their
music.
-Anthony
ORKEST
CANVAS
HAY-DIAS RECORDS
Orkest comes across as yet another art-school, damaged metal band that attempts
to mix strong visual images in their intense live shows (John Cooley is credited
on the CD with providing live show theatrics) with the brooding and primitive,
dark rock sounds committed to CD. If that makes this bilingual band from SoCal
sound like Tool, well, that's the intent - though at times Orkest channels the
grunt rock of bands like Korn. Listen to the opening of "#" to hear
the nü-metal influence. Singer Rolando Mora's emotionally-charged whiny vocals
are particularly annoying, but not nearly as bad as the "screamer" (not
sure who in Orkest takes credit for this), who must have thought he was in
a death-metal band. Mommy, please make this style of music go away - quick!
-Chip Midnight
PAPA WOODY
PAPA WOODY
KNOCKOUT RECORDS
When a studio musician with a legendary pedigree and a list of credits as long
as WAR AND PEACE releases a debut album, friends step forward and the industry
pays attention. Woody Lee Aplanalp grew up in a family full of successful musicians
and has played with the likes of Bobby Womack, Mike Watt, and Stephen Perkins.
His debut album includes John Avila (Oingo Boingo), Pete McNeal (Cake), Perkins
(Jane's Addiction), Oliver Charles (Ben Harper and the Innocent Criminals),
Greg Kurstin (Beck), Richard Aplanalp (Buddy Miles Band), and Dan Morris (Smashing
Pumpkins). Though there are some pretty catchy R&B guitar tunes on this
disc, somehow ol' Papa Woody found a way to ruin a good thing. "Get Paid",
is a perfect example of how to fuck up an album with the word "fuck." Aplanalp
veers wildly into a tune with bad rap lyrics and a meandering, Sublime-like
tune that talks about somebody "having their mouth up around my ass while
I squeeze a dump." He also calls out to "jive motherfuckers" and
then spouts a list of obscenities that have no point in an album not produced
by Death Row Records. Unfortunately, most listeners will never get past that
to hear the rest of this very musical disc. Papa Woody needs to stick to R&B
and stay the fuck away from rap.
-DUG
PEARLENE
MURDER BLUES AND PRAYER
DIM MAK RECORDS
Hot shit! This is bomb-diggity stuff that will race through your body like
a double shot of cheap whisky. Pearlene is a blues-driven garage-rock band
from Cincinnati that isn't as frantic as The White Stripes or as psychotic
as The Jon Spencer Blues Explosion, but equally as rocking and even more listenable.
If I could script the best night of my life, it would involve stumbling into
some roadhouse bar with cheap beer prices in the Deep South on a hot, sweaty
summer night just as Pearlene hit the stage and launched into "A Kiss
on the Lips". With the current state of garage-rock revival alive and
well, Pearlene should be a household name by the time you read this.
-Chip Midnight
PECCADILLOES
DESERT RATS
UNSIGNED
Let's begin with one basic fact: if it comes from the desert, it belongs in
the desert. I know this may be harsh, but being a desert rat myself, I am at
total liberty to poke fun and criticize my kin. In cases when a CD grows on
the listener, the first listen is never as good as the next. However, in the
case of our dear Peccadilloes, each time I heard those vocals and basic one-two
drum beats, I had to stop myself from throwing the CD straight across the room.
I know every band begins with some fundamental tunes and improve as they go
along, so I'm hoping that's also the case for these desert rats. The beats
are simple, the guitars are basic, the lyrics are shallow inside jokes and
the vocals simply suck. All in all, it's a CD for desert rats. So unless you
can relate to scorching weather, cigarettes, and dirt, don't bother.
-Carley Charpentier
PIPEDOWN
MENTAL WEAPONRY
A-F
After experiencing the tour de force that is ENEMIES OF PROGRESS, it's hard
to imagine such a record could ever be trumped. Well, with MENTAL WEAPONRY,
Pipedown come awfully close. See, I'm biased and therefore feel their debut
is superior, but that's not to say this isn't one helluva record. With the
mixture of frontman Ean Elliot's blistering, infuriated vocals, the charged
hardcore punk, and the now-expected acute socio-political commentary, it's
quite apparent Pipedown haven't lost their edge. Yet, there are also some tracks
that are more melodic (most notably, "Leviathan"), and even an ethereal,
piano-driven instrumental following the final track, "Voids". But
that's not what people (or at least what I) look for in this band: where these
guys truly excel is when they break out their masterful brand of pummeling
hardcore that's become synonymous with the name Pipedown, as on songs like "Order" and "Muppet
Goes to Washington" (!).
-Janelle Jones
PYREXIA
CRUELTY BEYOND SUBMISSION
CRASH
Long Island, NY, wouldn't be a place you'd think of when you think death metal,
yet some of the most brutal underground bands of the genre hail from this NYC
suburban utopia. The reformed Pyrexia is one of the bands that were around
from the beginning, and the new 11-track release from these metal-mongers showcases
a hungry quintet. With fresh new blood dripping from the sledge-hammered riffs
and explosive drumming, tracks like the technically-sound "Ode to Brinn" and
the punishing groove of "Closure" prove that Pyrexia is ready once
again to kick your teeth straight down your throat. As if the music isn't enough,
the album's artwork of a demonic orgy is reason alone for purveyors of the
macabre to dig in. website
-Mike SOS
RAPIDER THAN HORSEPOWER
THIS IS MY BIG NIGHT
ESSAY
Southern Indiana's Rapider Than Horsepower create some innovative rock 'n'
roll. With wacky vocals, twirling guitars, and jazzy drumming, THIS IS MY BIG
NIGHT will capture anyone's imagination. The absence of bass usually would
create a void for most bands, but in this case I think it works well, as it
allows for the harmonious guitars to flow uninhibited and unconventional. The
amazing freshness of this disc makes describing it a challenging task - mostly
because I haven't heard anything like it. Think of funky indie rock, a bit
of jazz/blues influence, a touch of hip-hop, a hint of Western influence, and
the artist formerly known as Prince. What a combination! If you want an album
that drips creativity while creating a fun atmosphere, here you go.
-Anthony
RAQUY AND THE CAVEMEN DUST
SELF-RELEASED
Rather than just a straightforward release to showcase her talents as an Arabic
drum virtuoso, Raquy Danziger, with the aid of her band the Cavemen, delivers
a powerfully eclectic amalgamation of modern music and ancient. Much of DUST
is filled with pulse-pounding beats, and rhythms that remind you of something
Nine Inch Nails would conjure up. Songs such as "Raquin" (with its
use of the classic Moog) and "Axarai" are prime examples of the multilayered,
dark, industrial feel that accompany these powerfully intoxicating Arabic arrangements.
From bass guitar to various exotic instruments, DUST contains a large variety
of tight instrumentation that takes you all over the map. Mostly instrumental,
the album hypnotizes the listener to a point of psychedelic coolness, and you
find your body swaying along to the sweet musical flow that is pouring itself
out of the speakers, it and has you asking for more.
-Norberto Gomez, Jr.
RAW TOFU/AFTER THE MASSACRE (SPLIT)
RAW TOFU/AFTER THE MASSACRE
DR. STRANGE RECORDS
The spirit of Crass is alive and well - and apparently residing in Alta Loma,
CA. Political crust punks rejoice! This is a nice, six-song EP full of fast
and furious songs about veganism, animal rights, pacifism, and government bullshit.
Each band has contributed three songs, and every number charges full steam
ahead from start to finish. Both bands are nearly identical in philosophy and
overall arrangement of how the songs are constructed. However, Raw Tofu edges
out After the Massacre because of the more palatable vocals (same singer, but
different mixing). Raw Tofu also has the added attraction of the male/female
duet thing. In its entirety, this CD is rather impressive, because most crust/thrash
bands are way too sloppy - and this release is surprisingly tight. Get yours
now, because this is a limited release of only 50 copies. website
-Marcus Solomon
RIOT-A-GO-GO
A PIECE OF IT
SQUEEKY WHEELZ MUZIK
At a time when the punk-rock scene is either too heavy, too melodic, or both,
enter Riot-a-Go-Go. A PIECE OF IT combines the spirit of '77 with dance beats
of the '80s and lyrics aimed at the here and now. Riot-a-Go-Go goes through
so many styles that you won't know what to do...besides dance. Songs like "Planetary
Persuasion" will get you to pogo, then the straight-up punk rock of "Negativo" will
get you to pogo faster. I'm a sucker for bass lines, and this album is full
of 'em. Quiche and Matt get the beats going while Nova Lee adds guitar and
the girls combine just enough screaming with singing for a nearly flawless
result. A PIECE OF IT reminds us all that we could all use a little less bitching,
and a little more dancing, and then maybe, just maybe, we could change the
world.
-Nina
RUNNING FROM DHARMA
IF WE DON'T SPEAK BEFORE THE END OF THE WORLD
REVELATION
The liner notes from Running from Dharma's potent debut end with the statement: "Everything
on this recording may be wrong." If that's the case, what's actually right?
The Pennsylvania quartet's searing brand of emotional hard rock (which sounds
as haggard as Avail and Boy Sets Fire), for starters. Add in some gripping
guitar work, solid production, and passion, and this 11-track release couldn't
be more right. Perhaps the boys were making a joke, or maybe they were being
a bit self-depreciating. Whatever the case, this collection does everything
right in terms of delivering hard-hitting, dramatic rock. website
-Mike SOS
SARAH RABDAU
BENEVOLENT APOLLO
CERTIFIED NEXT GENERATION MUSIC
I would personally like to issue an apology to Sarah Rabdau. I had her wrongfully
pegged before I even played her record. Turns out it's not the Indigo derivative
I expected, but more of a mixture of Joan Osborne and Susanne Vega. Sarah is
extremely talented, as is her band, and every track on the disc is both vocally
and instrumentally complex. Musically, this is a great record. Stylistically,
I'm not really a fan. I never really liked Joan Osborne, and the only reason
I liked Susanne Vega was because she was so incredibly strange. Rabdau shows
some of the quirky elements that make Susanne so appealing, but it's not enough
to make me like BENEVOLENT APOLLO. It's not for lack of trying. I tried hard
to like this record, I really did. It's so well-done musically, but stylistically
it just doesn't agree with me.
-AC Lerok
SECOND SHOT
SEVEN YEARS BAD LUCK
SHOVE-IT RECORDS
Quite easily the best album I've heard of all 2004, Second Shot has created
a mix of songs that reminds me of the good days of punk music. Similar to one
of my favorite albums, MORE BETTERNESS from No Use for a Name, SEVEN YEARS
BAD LUCK instantly took its place as great record in my CD folder. Simply by
hooking the listener with first three tracks, "Sorry", "Today",
and "Time and Money", Second Shot leaves the listener craving more
and for the opportunity to see them play live. Putting on this album for my
friends as we drove to see MxPx, SEVEN YEARS BAD LUCK quickly became one of
their new-found favorites, too, so I can guarantee that when Second Shot plays
their next show in L.A., the three of us will attend.
-Luke Skywalker
SEVENOUT
FEAST OF EDEN
ORBITAL
Detroit rockers Sevenout have got a different kind of vibe going on than most
of the band's peers in the pop/rock genre. Maybe it's each member of the trio's
vast musical experience (which ranges from hard rock to blues) that makes tracks
like the arena-rock flavor of "Forever" and the smoky ambiance "Where
It Hurts" stand out. Containing 10 tracks of tasteful rock tunes that
won't dumb you down with contrite lyrics, Sevenout mixes the best of Black
Crowes, Kiss, and Cheap Trick and come out with a solid rock offering. website
-Mike SOS
SHINE
HEAVEN AND HELL
INNERHYTHMIC
Shine - a collaboration between Innerhythmic founder Bill Laswell, Shin Terai,
and guitar master/anomaly Buckethead - does not quite live up to its bright moniker
here. HEAVEN AND HELL is a balancing experiment of infectious innovation and
morbid redundancy in which the listener is the guinea pig...and let's just
hope that the walls are padded, for everyone's sake. The album, which boasts
an interesting mix of experimental sounds, is kept afloat by a catchy (although
never-changing) percussion track. As the minutes spill by, this hair-pullingly
monotonous beat track all but erases any other innovative character that the
record may have had going for it. Also, the usual guitar pyrotechnics of Buckethead
are practically absent. "Moments 6" (not to be confused with "movements" one,
two, three, four, five or seven) tenders up a few golden minutes of hair-metal
solo-work, but it's the only fleeting moment on the album in which this renowned
six-string genius appears to convince himself that his instrument isn't smeared
with SARS gel. Crank out a few more drum beats, gents, and the next record
may seem a bit less like the fiery inferno.
-Dave Kargol
SHODDY WORKMANSHIP
THE WORLD'S GREATEST SHIT IN THE UNIVERSE
SELF-RELEASED
Despite owning one of the better titles of recent memory, THE WORLD'S GREATEST
SHIT IN THE UNIVERSE, falls prey to its own self-defeating prophecy; it's nothing
more than five tunes worth of bad bar band boogie adorned with predictable
song structures, annoying-as-piss vocals and a deep-seeded love for all things
John Mayer and Dave Matthews.
-Jason Jett
SHORTCUT TO NEWARK
HEADS IN HANDS: HEARTS IN HALF
BOSSTUNEAGE
This quad-piece British outfit has come through with some very nice tunes.
Four nice songs on this nice EP, 15 minutes of powerless, gutless, so-what
pop. I was bored from start to finish. Shortcut to Newark is such a boring
bit of lukewarm blah that they could actually be big. This is not your grandfather's
British invasion; this sucks.
-H. Barry Zimmerman
SIDETRACT
DERAILED
SELF-RELEASED
Sidetract is a generic hard-rock band from Milwaukee. The 13 tracks on this
album are very radio-friendly and offer up no satisfaction whatsoever. If you
like the generic rock that you can hear on mainstream radio, then you'll like
Sidetract. If not, you'll find Sidetract's music lacking substance and boring.
-Dane Jackson
SILENCE THE EPILOGUE
BLOODSTAIN PATTERN ANALYSIS
STRIKE FIRST RECORDS
This debut, six-track EP blends metal and hardcore to produce an impressive
first release mixed with quality and raw crunch. Blood-curdling screams mixed
with chant-like vocals overpower the driving guitars and pounding double-bass
from the drums. BLOODSTAIN PATTERN ANALYSIS is filled with gothic chanting,
harmonic choruses, and hardcore undertones. The heavy-metal guitars come out
blazing and never fade, while accompanied by bass and drums that keep pounding
throughout the entire album. This album is as fast as it is furious. Sex, blood,
and hardcore seeps out of BLOODSTAIN PATTERN ANALYSIS and stain the welcoming
eardrums.
-Kevin Conway
SINAPSE
FEED ON ME
SELF-RELEASED
This is simply not my thing. If it were, I could write some kick-ass review
for a band that has obvious talent, but it's not, so I can't. I will say that
the arrangement of FEED ON ME is incredibly unique and well-executed. The songs
seem to convey a positive message, which makes me wonder if the band has any
religious undertone or is just a bunch of guys with good morals. Either way,
trying to get across a positive message in today's world of hard rock while
being taken seriously is quite an undertaking - and one Sinapse seems to have
tackled well. FEED ON ME shows very good potential for Sinapse to be the next
big hard rock band in heavy rotation on KROQ, so if you're into that sort of
thing, you'd probably like it. But I'm not. That's why you and I are different
people.
-Nina
SIXGUN RADIO
PLEASE PRESS ME
BANKSHOT! RECORDS
New York's Shotgun Radio put forth a hard-edged, musical, entertaining version
of hardcore punk rock. Their songs primarily work like this: some interesting
or weird or pretty or riffish bit, and then, boom, they explode down your throat.
Not to mention that the price of the disc would be worth it if you only got
Shotgun Radio's version of the Billy Joel classic, "You May Be Right".
Check these guys out - I bet you'll be glad...unless, of course, you are a pussy.
-H. Barry Zimmerman
SLAPSHOT
DIGITAL WARFARE
BRIDGE NINE
As Boston's longest-running, best-known hardcore band, it's no surprise Slapshot
is, without a doubt, one of the most influential bands in the Boston hardcore
scene. After a seven-year retreat, the boys are back with an astonishing 12-track
album. And after 17 years from their debut release, you couldn't be more satisfied
with the outcome of DIGITAL WARFARE. Longtime fans and new listeners won't
be disappointed! This album displays the raw, vocal-driven energy that most
bands lack in today's world. It's how all production should be: amazing and
powerful without refined perfection...for this IS perfection. The powerful
joint vocals will make you throw your fist in the air and join in on the revitalization
of hardcore. Sure, they've been gone for seven years, but Slapshot still owns
every aspect of Boston hardcore. Hell, they OWN you. website
-Courtney Riot
SMOGTOWN
ALL WIPED OUT
TKO RECORDS
ALL WIPED OUT is the last album by O.C. band Smogtown. The CD consists of eight
songs collected from their two last recording sessions, with all but one of
the songs being previously unreleased. The music rocks, and there is no denying
it. The first song, "You'll Be Observed", is the strongest song on
the album. From the second it begins, it hooks you and hypnotizes you to hit
replay over and over. The album is rough and it grinds at your core, so you
can't help but rock out unless you're dead. The vocals are great, and the riffs
are outstanding. The last song, "You'll Be Disturbed", is a 50-second
instrumental track which is also a winner and seems to coincide with the style
of the first track. The CD is also enhanced and contains a music video and
some pictures.
-Jennifer Moncayo
SNOOZER
WINTER STOPS ALL SOUNDS EP
HAPPY HAPPY BIRTHDAY TO ME RECORDS
Snoozer is the brainchild of Susie Ghahremari, who, for all intents and purposes,
is a one-woman band (with a little help from Cara Hyde on drums/cello). WINTER
STOPS ALL SOUNDS is a very tongue-in-cheek indie pop album that brings to mind
the sounds of a stripped down Postal Service and Rilo Kiley. Ghahremari pens
some notable everyday lyrics, like "I'll get my shit together any day
now" (on "Write You") and "'It's only a matter of time
before I get the hell out of here,' she sings of her hometown" (on "Providence").
Snoozer's definitive moments come when Ghahremari layers her vocals to create
a rich sound, as on the upbeat, synth-driven dance tune "Labor Day" or
the acoustic strummer "The Fuss". This is a superb EP, recommended
for the spirited of heart. boygirlparty.com" target="_blank">website
-Jude Ruiz
SOME KIND OF HATE
UNDISPUTED
BRIDGE NINE RECORDS
Combining elements of late '80s NY hardcore, Some Kind of Hate create a heavy
and high-speed blend of punk-induced hardcore. UNDISPUTED offers the typical
hard-hitting formula of many other acts but at the same time keep things interesting
with some varied rhythms and vocals. Rapid drum beats alongside thick guitars
set the mood in virtually every track. Then, mid-tempo breakdowns consisting
of even thicker guitars take over. Vocals also vary on this release, ranging
from typical intense yells to beastly groans. The good recording quality should
also be noted. To sum it up, Some Kind of Hate dish out some old-school hardcore
tunes, but with some flavor.
-Anthony
SPEEDBUGGY USA
RED EYED AND ROWDY
SPLIT 7 RECORDS
RED EYED AND ROWDY is the best outlaw country music I have heard since Waylon
Jennings spent his last night in jail. Recorded live at the Thunderbird Lounge,
this is Speedbuggy USA's sixth disc. This is country music with guts and a
gritty heart - which is why it's called alternative country. That means it sounds
old-school, like '70s country and before. This is working-man's music. I love
this disc.
-H. Barry Zimmerman
STAND & FIGHT
SELF-TITLED
BRIDGE NINE RECORD
Track 1 of STAND & FIGHT is entitled "Nothing New", which ironically
describes the album ideally. At a lengthy 12 tracks, this album is a mere 18
minutes long, with every minute consisting of fast, brutal, and predictable
Orange County hardcore. The obvious intensity of this album cannot be ignored,
although too much of anything is bad. With each song sounding alike, the luxury
of enjoying creative riffs, subtle tempo changes, or clever lyrics is nonexistent.
These guys are going to have to step it up a notch to compare with their fellow
Bride Nine labelmates.
-Anthony
STARFLYER 59
THE PORTUGUESE BLUES
TOOTH & NAIL
Sometimes a band has to step back in order to move forward. That is exactly
what happened to Starflyer 59 on their latest release, THE PORTUGUESE BLUES.
The bulk of the album was composed between '97 and '98 and was supposed to
be the follow-up to AMERICANA, but singer Jason Martin decided to shelve these
songs and concentrated on a mellower sound. I wouldn't call this CD heavy by
any means, but it does have a gritty feel to it. The vocals are hidden most
of the time but it works. I suggest this disc mainly because these guys have
been recording music for over 10 years, and they still know how to rock.
-Joe Wilson
START TROUBLE
EVERY SOLUTION HAS ITS PROBLEM
COLUMBIA
Start Trouble have got a case of the mall-punk whine, and Lord, does this Florida-based
quartet have it good. The debut, 14-track release from this bland band makes
Kid Rock look like Radiohead and sounds like the countless other bleached-haired,
trucker-hat-wearing acts that are living their salad days on a major label's
dime. If Ashton Kuchtner decided to ditch the idiot box and pick up a guitar,
this would undoubtedly be the result - complete with pseudo sensitive ballads
("Diggin' Holes") and hard partying anthems ("Let's Get Fucked
Up"). Ugh. website
-Mike SOS
SUBHUMANS
LIVE IN A DIVE
FAT WRECK CHORDS
Taped at Corona Showcase Theater in spring '03, this album wonderfully immortalizes
Subhumans, those influential anarcho-punk pioneers. All the classics are here,
starting with the opener "All Gone Dead" (the first song off their
monumental debut LP, THE DAY THE COUNTRY DIED) to "Religious Wars", "Animal", "Black
and White", "Society", and "No", to name a few. The
communal chants of the first verses of "No", "Apathy",
and "Subvert City" are testaments to these guys' power, 20 years
after the fact. It makes you appreciate the band's 1998 reformation (after
disbanding December '85) that much more, which enabled a whole new generation
to witness Subhumans live(and believe me, it's quite an experience. Comprised
of 26 tracks of over an hour of music, this is a great way to familiarize yourself
with their material if you've never heard them before - because, after all, this
is one band you NEED to know.
-Janelle Jones
SUGARPLUM FAIRIES
INTROSPECTIVE RAINCOAT STUDENT MUSIC
STARFISH RECORDS
Silvia Ryder and Ben Bohm are Sugarplum Fairies. Their second release, INTROSPECTIVE
RAINCOAT STUDENT MUSIC, is comprised of 16 delicate and vocally-driven tracks.
Silvia Ryder showers the listener with gentle and dreamy vocals, while presenting
reflective lyrics that would intrigue any curious soul. The entire album is
laden with numerous instruments (piano, accordion, cello, upright bass, and
tuba, to name a few), creating a comforting atmosphere. Moreover, a refreshing
combination of rhythm acoustic and subtle electric guitar can be seen in several
tracks, ("Touchdown or Fly", "Some Girl", and "Common
Sense"). Sugarplum Fairies achieve a simple sound while leaving a complex
feeling, ideal for a midnight drive on a lonely road.
-Anthony
SUNWHEEL PSYCHEDELIC
BURNING DOVES
SELF-RELEASED
Sunwheel Psychedelic is produced, written, performed, and sung by G.W. Miner.
His vocal style seems heavily plotted out in a pertinacious, dramatic, breathy
way. For those of you who dug Soundgarden, there is that classic-rock bigness
to the attack. BURNING DOVES is impressive, in that it does sound like a band,
and that is difficult to pull off as a one-man band. G.W. Miner is not my cup
of theater. BURNING DOVES is a bare-chested pose, rehashing the long-dead rock-star
gaze towards the big mirror in the sky. I see you, Mr. Miner, I just don't
want to listen.
-H. Barry Zimmerman
SUPERCHRIST
SUPERCHRIST
BACK & BLACK
After numerous line-up changes, the trio of Chris Black (a.k.a. Johnny Thunderpants),
Whorepuncher, and Hank Bitchlover (who, incidentally, loves bitches!) now seem
poised to kick off a new wave of Chicago heavy metal. Superchrist pound their
way through some raucous, Brit-flavored metal, taking their cues from Motorhead,
Iron Maiden, The Exploited, and Turbonegro. Superchrist rips up a couple of
competent covers (Maiden's "The Trooper" and Motorhead's "Poison"),
although the real kick comes in their original tunes, like "Stand Up and
Shit", "I Am Your Hero", and "Old, Fast, and Hard".
All guaranteed to cure your metal fix. website
-Jude Ruiz
SWARM OF THE LOTUS
WHEN WHITE BECOMES BLACK
AT A LOSS
I'm sick of listening to repetitive, meaningless hardcore recreations. The
deep growls, the typical down-stroked E chord, overuse of the double-bass pedal,
and "eerie" guitar riffs don't cut it for me anymore. I want a hardcore
band that is impressive, aggressive, insane, and unique, a band that puts no
limits on their music and integrates different mediums, along with a presence
that is visible just from listening to the CD. Swarm of the Lotus might appeal
to a great number of people, but it's far from what I like to call true hardcore.
Throw an HxC on there, if you'd like, but WHEN WHITE BECOMES BLACK brings nothing
new to the table. Pick this album up if you want less-than-mediocre hardcore
and tracks that are strung-out to a point of unbearable listening. website
-Courtney Riot
TAD MOROSE
MODUS VIVENDI
CENTURY MEDIA
Scorching power-metal to get all your Tolkien-worshipping friends weak at the
knees, Sweden's Tad Morose bring the metal hammer down on MODUS VIVENDI--a
scintillating metal ballet that's equal parts fantasy league mayhem and filth
encrusted mega metal thunder that's pitched just on the right side of operatic.
Fucking brutal stuff.
-Jason Jett
THE 7-10 SPLITS
YARD SALE
BIG NECK RECORDS
By looking at the cover of YARD SALE with a bowling pin, ball, and a skull,
I had a premonition that I'd love this album as much as I love bowling. Boy,
was I off on this one. The 7-10 Splits turned out to be some of the most immature
punk that I've heard in a while, and it quickly disappointed me. "Immature" was
the lone adjective that came to mind as I listened to the rest of the CD, and
unless that's what the band was going for, I'd say they have a lot of work
ahead of them. The sole redeemable track on the album was "I Love Your
Mom"; unfortunately, it's a few months too late: Fountains of Wayne have
all ready cornered that market with "Stacy's Mom".
-Luke Skywalker
THE ALMIGHTY GRIND
LOOK AT YOURSELF
FOUR STAR
Let me preface this review by stating that I personally do not have a taste
for the type of music that The Almighty Grind chooses to play. This is what
I would fondly call "rap-core" (if such a thing exists). There is
heavy guitar work in the vein of Limp Bizkit, Linkin Park, and Static-X, along
with plenty of rapping and "flowing," cumulating in an interesting
array of music that will probably make its way onto MTV sooner or later. I
find the melodic vocals to be a tad overdone and distracting, in a sense that
they don't latch on to me. If you're into the aggressive scene where rap and
rock meet, then I'm sure you're just going to eat this one up.
-Zac
THE BLACK KEYS
THE MOAN E.P.
ALIVE RECORDS
Ohio's The Black Keys exemplify the garage blue manifesto with every fiber
of their fabric. They desire deeply to be black, middle-aged, and more worn
than their young, suburban, white, middle-class upbringing affords them. They
keep their influences close at hand here, covering The Stooges "No Fun" as
prehistorically detoxed take on Iggy and the Ashton's blood-, cum-, and vomit-stained
classic. They also retool "Heavy Soul" from their 2002 Fat Possum
release as a slowed-down, staggering dirge. The fat fingering and jazz-hop
drumming Dan Auerbach and Patrick Carney again show why Jack White's rule of
garageland is up for rebellion.
-Rob Macy
THE BLOW
THE CONCUSSIVE CARESS
K RECORDS
There are many bands that take the self-producing route when it comes to their
own music. Khaela Maricich (a.k.a. The Blow) takes this idea to a whole new
level. She normally likes to record her albums in caves and tents, but THE
CONCUSSIVE CARESS was a step in a new direction, being that it was captured
in a studio using the Dub Narcotic 16-track tape deck. Her breathy vocals,
Bjork-like musical style, and the fact that the majority of the songs barely
reach two minutes make it a pretty easy listen.
-Joe Wilson
THE CHANGE
THE CHANGE
FIGHT FIRE WITH FIRE RECORDS
The Change are the latest Swedish export who find inspiration (on their debut
album) in '80s melodic hardcore and might appeal to fans of Dag Nasty, Ignite,
Sick of It All, or Uniform Choice. Singer Anton Klint belts out lyrics like "You
can call my words worn out / I'll wear em 'til I die" set to thrashing
guitars. There really isn't anything unique here, but this album rocks hard
from beginning to end. thechangehc.com" target="_blank">website
-Jude Ruiz
THE CHOAD EFFECT
FEEL THE CHOAD
SELF-RELEASED
Honestly, these guys might as well have named themselves "Don't Take Us
Seriously" or "We Are the Kids That Ate Paste until Senior Year." Okay,
so it's easy to tear apart a bad name, but how much can one say about a bad
record? It seems that this CD is The Choad Effect's attempt to horribly replicate
many various styles of music. The bad white-boy rap was first on the list and
excusable only because there are too many acts like them to even begin trying
to put a stop to it. TCE take a crack at nu-metal on track 6 and pop-punk on
track 9. We'll let those also slide because, well, how much integrity is in
nu-metal and pop-punk to begin with? But what really calls for this band to
have their instruments revoked is the Tool cover: this band covering "Sober" is
like having Meg White try to pull off a Buddy Rich drum solo. Give it up, guys.
-Casey Clague
THE CRYPTKEEPER FIVE
TRENTON MAKES THE CRYPTKEEPER FIVE
KING KAHUNA PRODUCTIONS
The fourth full-length release from this Trenton, NJ, greaser/rockabilly septet
is a homage to all the garage bands who still work on cars, all the deathrock
psychobilly fans, and every East Coast kid who ever picked up a guitar. Though
the band looks and poses a lot like early ShaNaNa, its music walks a tightrope
between quick Ramones-type tunes, traditional rockabilly, and a weird Springsteen
feel. Perhaps the thing that really separates these guys from the pack is that
even though they look great in their mechanic's shirts, pomaded pompadours,
and rolled-up sleeves, only one of the seven guys in this band has any tattoos
to speak of. The band's use of sax and keyboards to accompany quick, punk guitar
tunes gives this album its '50s feel. A few of the tunes, such as "Our
Last Goodbye", could well be spouting from some HAPPY DAYS jukebox; but
other songs on the album, like the melodic rocker, "Evil Thing",
sound like The E Street Band at a car show. The Cryptkeeper Five have successfully
honed a hybrid sound that works as hard as that gas-station mechanic busting
a knuckle on your old gas guzzler. HYPERLINK "http://website" website
-DUG
THE DEAL
CUTTHROAT
FACEDOWN RECORDS
The Deal have a metal/hardcore sound accompanied with gritty and shrieking
vocals with a tinge of harmonic back-up vocals. Several songs have sing-along
back-up vocals while the guitar screams away in metal fashion with drums pounding
away with the hardcore sentiment. The album is well made, although it does
not have much progression or varying dimensions to the music. The lyrics seem
to scream for change and come from the heart. Overall, the album doesn't really
offer anything new or brilliant to the music world, but you can tell the band
is passionate about their music, which is ultimately important. I wouldn't
put the album on and rock out to it, but if you like the hardcore sounds of
Sick of It All or H20, The Deal might be right up your alley.
-Jennifer Moncayo
THE EARLY NOVEMBER
THE ROOM'S TOO COLD
DRIVE-THRU RECORDS
The engaging emo that The Early November exudes on its new CD, THE ROOM'S TOO
COLD, sucks you in from the get go. A lot of it, however, resembles the instrumental
and lyrical ramblings of a Saves the Day or Last Week. There's a nice rainy-day
feeling to a song such as the melancholic 'Ever So Sweet', and the album will
always bring you back to some brusque overtones in tracks such as 'Something
That Produces Results'. Overall, THE ROOM'S TOO COLD has great arrangement
and gives good reason to listen again
-Darren Ratner
THE END
WITHIN DIVIDIA
RELAPSE RECORDS
Self-described as a "seamless marriage of manic ferocity and indescribable
density" in their press kit, the Canadian quintet known as The End have
been playing hardcore metal with screaming vocals since 1999. Along with their
labelmates the Dillinger Escape Plan and Neurosis, The End hope to further
increase their international status with the release of WITHIN DIVIDIA, as
well as by touring through their native Canada and the United States. Many
of the tracks from their new release range in momentum from slow interludes
to extreme heavy bass and metal guitars. I encourage fans of hardcore music
to give this a chance.
-Luke Skywalker
THE EVERDEAD
SLUMBER PARTY MASSACRE II
ANTIDOTE RECORDS
I'm going to take a stab in the dark here and assume that these guys listened
to a lot The Misfits as young lads. I guess every band needs a niche or a definite
style, but if I hear the word "die" anymore, I just might. To be
quite honest with you, I was anticipating the secret memoirs of Lucifer after
reading through the CD insert, but I was delighted at the sounds of organ-riddled
rockabilly and morbid messages. Listening to songs like "Raining Blood
Tonight" and "Ballad of a Teenage Zombie" allow the listener
to experience THE ROCKY HORROR PICTURE SHOW at the press of a button. I've
always wanted to know what a duet between AFI and Alkaline Trio would sound
like, and The Everdead mastered it. While the song styles vary, these guys
have struck the potential chord in just about every song on SLUMBER PARTY MASSACRE
II.
-Carley Charpentier
THE FARAWAY PLACES
UNFOCUS ON IT
EENIE MEENIE RECORDS
At the heart of The Faraway Places, there is performance artist Donna Coppola
(keyboards and vocals) and Chris Colthart, who writes and produces all of the
material. And this is some top-flight college rock. It's very sincere and ultra
hip and cool and soft and interesting. There is a psychedelica/drugs feel to
some of the songs, and there is a folksiness on other tracks. The sincerity
is the thing. These guys (a four-piece) is on it without the stench of trying
too hard. UNFOCUS ON IT is excellent.
-H. Barry Zimmerman
THE FUSE!
THE FISHERMAN'S WIFE
IN THE RED RECORDS
The Fuse! are a maladjusted trio who make fractured fairytales of forceful
chaos out of somewhere southwest of the Mississippi. Under the names F-1, F-2,
and F-3, these well-tailored crackpots seem to play well throughout THE FISHERMAN'S
WIFE'though not with each other. The sound comes off like all three have a
punch-up midway through a song and patch it up by the two-minute mark, just
in time for the fireworks. Their use of insanity as an artform works like a
loosely-wound garage band on angel dust, with each member playing a different
song at the same time. They use The Germs' scattered yelps and cries over driving
bass rhythms, jazz-affected drumming, and all the guitar "fuck up, then
rock out" of At the Drive-In. The abstract and surgical attack of "Fire
in the Hole" does to you what a strobe light does to an epileptic - only
everyone leaves with a smile on their face.
-Rob Macy
THE GET UP KIDS
GUILT SHOW
VAGRANT
Wow! I could stop my acclamations right there - but I won't. So many bands owe
their sound to The Get Up Kids, and so many kids owe their youth to them, as
well. What began seven years ago is still carrying on strong with this new,
13-song release. The album starts off with a short, almost punk-sounding "Man
of Conviction" and moves on to a slew of keyboard-heavy songs that hearken
back to the days of SOMETHING TO WRITE HOME ABOUT. It's not at all that these
indie stalwarts have failed to progress in their sound: they continue to construct
winning tunes that do not sacrifice skill or complexity. No, in fact, it might
even be that the Kids have truly discovered their perfect sound - and how can
anyone move on beyond perfection? TGUK have found a niche in music that has
brought them unending praise and success - and I don't blame them for sticking
to it. website
-tChow
THE HANG UPS
S/T
TRAMPOLINE RECORDS
This release is the fourth full-length from psychedelic indie-rockers The Hang
Ups. To their credit, this record stands above many in the genre and is definitely
not a throwaway disc. The sextet seems very in tune with their instruments,
layering organs and pianos into comfortably delicate songs. Smart but not pretentious,
the record contains 13 tracks - and not one boring one among them. If you like
Beulah, The Beatles, or The Shins, check out The Hang Ups.
-Casey Clague
THE HIDDEN TRACKS
THE SWEET SOUND OF EXCESS
DISPOSABLE POP REVOLUTION
Taking every opportunity (from the label name down) to criticize the music
business, The Hidden Tracks apparently haven't learned how to be nice since
their last record. THE SWEET SOUND OF EXCESS takes their constructive bitch-and-moan
theme to the brink of exhaustion when they realize the self-fulfilling prophecy
created with tracks like "Get in Line". The often literate lyrics
are harder to take when the vocals come off gratingly reminiscent to Harvey
Danger. Then you realize that the nerdy satire makes them thematically similar,
too - so they may very well be worse. They haven't been humbled enough to realize
you must be talented to knock the system you work through. Lacking the balls
and rhythmic charge of many bands similar to The Hidden Tracks, each layer
of sound melds a little too close to the next, as their attempts to assassinate
the pop class results in them shooting themselves in the foot.
-Rob Macy
THE HOLLOWPOINTS
ANNIHILATION
DIRTNAP RECORDS
Once I heard that these guys were from Seattle, I figured it would be another
sappy album from another sappy Seattle band; I was way off. ANNIHILATION is
full of raw energy. The members of The Hollowpoints met in high school in Port
Orchard, WA. After surviving a move to Seattle, a name change, and a lineup
change, they seem to be well adjusted to their new surroundings. It sounds
like they set up a boom box in their rehearsal space and just hit "Record" while
they practiced - and for some reason, it works for them.
-Joe Wilson
THE HORROR
INSOBRIETY & INSUBORDINATION
SELF-RELEASED
This eight-track EP isn't bad, but it's not good, either. The music is average
and somewhat cookie-cutter, but it's worth listening to because the actual
band is very talented. Musically, the band vaguely sounds like a sped-up version
of Hot Water Music with a more punk-rock edge. Bridges, choruses, and power
chords all come when you'll expect them to, but unlike most of the other boring,
generic punk-rock bands in the scene, The Horror has the talent and ability
to be something much more. Just give them time and experience, and I guarantee
you'll hear more about this band.
-Dane Jackson
THE KLEPTONES
MEET THE BEATLESS
SELF-RELEASED
A recent Dandy Warhols' song says, "When Michael Jackson dies we're covering
'Blackbird'." Well, unlike the Warhols, The Kleptones aren't waiting for
the former King of Pop to leave his Lazarus chamber. Insane, speed-induced
remixes from hell! The Kleptones rip apart the classic songs of The Beatles
in this super experimental collection of songs, almost to the point of being
uncomfortable. Nothing from The Beatles' collection is saved from the extremely
calculated collage work of The Kleptones, who weave one of the strangest remix
albums I have ever heard. This medley represents what The Beatles would have
sounded like had they been a band of the post-modern world of anything goes.
The album is so strange, intense, and out there with backwards music, moments
of cut-ups, rests, loops, and complete chaos going from any one Beatles' song
to another that you have to give The Kleptones credit for having enough guts
to completely manipulate the greatest band in the world. Not only that, but
this is perhaps one of the greatest tribute albums you will ever hear. This
is an album for the modern age of file sharing and the death of the music industry.
Let music be our new library!
-Norberto Gomez, Jr.
THE KISS OF DEATH
THE KISS OF DEATH
TRIBUNAL
Former members of hardcore stalwarts Turmoil have reshuffl