March CD Reviews (in alphabetical order)

ACTION
ACTION
PUNKCORE
Canadian hardcore punk group Action strike the right chords on its self-titled 12-track disc, meshing the ragged simplicity of punk rock with the hard-hitting angst of hardcore to create a solid release of aggressive anthems for the disenchanted. Tracks with the rollicking drums like "Man's Law" fit nicely with speedy rhythms that dominate the collection, especially on the passionately-shrieked "Won't Be a Victim". Plowing a direct punk rock route, Action's freight-train velocity and non-stop vitriol are far from groundbreaking but are purposeful and, overall, very effective. Be prepared to destroy everything around you after popping this disc in.
-Mike SOS

THE ADICTS
RISE AND SHINE
SOS
First, a new album from these punk legends RISE AND SHINE is not, but rather a re-release (it first appeared in '02) featuring two bonus tracks. This record-along with their latest, ROLLERCOASTER-prove that, even after 25-plus years, The Adicts are still vital, capable of writing and executing albums that showcase just why these Brits have lasted so long. R&S is 21 tracks (an hour's worth of music), which oscillate between the enthusiastic, straight-up, tough pop-punk/rock 'n' roll for which they're known and some quirky pieces, and some quirky pieces, like the two oddities "Light House Keeper" and "Cup of Tea Song", as well as a deranged circus tune in "Madhatter", the orchestral instrumental intro of "Concertadicto", and the atmospheric, spaced-out "Goldfish Song". Still, the finest moments come when they let loose, forgoing the "novelty" aspect for songs like the phenomenally dark, ENERGIZE-era Vibrators-sounding "Go Genie Go", the sweet/heavy "Woke Up this Morning", and the wistful, appreciative "We Looked Back". Stellar record, indeed. Don't have the original? Get this now.
-Janelle Jones

THE ADICTS
MADE IN ENGLAND
SOS RECORDS
What's though of as early English punk has been winnowed down to a handful of groups, but there was much more going on than The Sex Pistols, The Clash, and The Damned. The Adicts were a great band, and this is a chance to catch up. MADE IN ENGLAND is a compilation of the best of their first four albums. This disc contains 25 of the catchiest punk-rock tunes you'll ever love. The vocal melodies of lead voxster and Little Alex look-alike Monkey makes all of these songs sing-along classics. Additionally, the guitar playing of Pete Dee is so cool. He was the hook master. MADE IN ENGLAND is a must-have for old fans-or anyone interested in hearing how punk rock sounds when it is done correctly. All hail The Adicts!
-H. Barry Zimmerman

ADORE
CHILDREN AT PLAY
ADS
Adore is a California rock band that sounds like a clash between System of a Down, Snot, and The Sex Pistols, with the snotty British sluggers slightly winning in attitude. CHILDREN AT PLAY is the title of the band's 12-track offering, and underneath the heavy-handed bass grooves and the effective guitars of songs like "Bedridden" lies some kind of ethereal darkness to the music (à la Alice in Chains and Tool). At times mechanical like Rush or Devo (especially on "Weight of the Dead"), Adore's robotic approach to human emotion makes the listen that much more compelling. '90s metal, '70s prog rock, and punk-rock preaching equals the artsy yet intense Adore, an intriguing outfit, to say the least.
-Mike SOS

ALEXA'S WISH
IT'S ALWAYS ABOUT U!
ELEVEN BOTTOMS MUSIC
This three-piece band from the Inland Empire churns out hard rock. Although some parts of IT'S ALWAYS ABOUT U! are edgy and metal-like, the album still is created for the mainstream audience. You won't encounter incredibly complex rhythms or intricate guitar harmonies throughout this disc, but, instead, consistent song structure and straight-forward, radio-friendly rock. Although comparisons to Stone Temple Pilots and Alice in Chains are not farfetched, these guys need to expand their sound to separate themselves from the countless bands that sound strikingly similar. Standout tracks are "It Happens Every Day" and "Relentless".
-Anthony

ANTISEEN
BADWILL AMBASSADORS
TKO RECORDS
If punk rock could be described as a number line from zero (not punk) to 10 (more punk than G.G. Allin), Antiseen would be a 78. This band simply does not give a you-know-what about anything or anyone. The only thing they enjoy doing is playing some of the most straightforward, no-nonsense punk rock the world's ears have ever heard. Tracks such as "The Devil Meets the Longhaired Weirdo", "No Apologies", and "Pledge Allegiance to the Bomb" contain as much intensity as any other record released this year-but with twice the raw talent. If you're into Motorhead, Electric Frankenstein, or G.G. Allin, you will love these guys, trust me.
-Zac

ATTICUS
DRAGGING THE LAKE VOL. 3
SIDEONEDUMMY RECORDS
This is the third installment of the DRAGGING THE LAKE compilation and is brought to you by Atticus Clothing (owned by members of Blink 182). This compilation is a who's who of scene-makers in the punk, emo, indie, and hardcore genres. This eclectic compilation features tracks from Blink 182, The Kinison, Motion City Soundtrack, Mae, The Sounds, Taking Back Sunday, MxPx, Death Cab for Cutie, Rise Against, AlexisOnFire, Fall Out Boy, Name Taken, The Bled, Lucero, Murder by Death, Gratitude, Lydia, Recover, VRC, Street Dogs, and Funeral for a Friend. Nuff said.
-Jude Ruiz

AQUI
THE FIRST TRIP OUT
ACE FU RECORDS
In Spanish, "aqui" means here, and here is definitely where it's at if you're searching for some genre-bending music that is both odd and intriguing. THE FIRST TRIP OUT hits like an indescribable hurricane that registers off the charts. Trying to classify this could prove to be a difficult task, seeing as there are traces of psychedelic, post-punk, industrial, metal, and art-rock, all set to spastic vocals and then thrown into a blender and served up raw. I think it's safe to say that Aqui throw song structures out the window. This positively falls into the "love it or don't understand it" category.
-Jude Ruiz

AUDIBLE
SKY SIGNAL
POLYVINYL RECORDS
Pop/rock ensemble Audible have some good stuff moving around on their new album, SKY SIGNAL. "Sunday Bell" is my favorite of the CD and accentuates the strong spots of this Philly ensemble. Pianos and guitar, low-key vocals, and vibrant melodies lay the band's cards on the table. The group sounds very comfortable in their own skin. With sweet, sweeping tracks like "Sound Makes a Circle", they should have good things ahead.
-Darren Ratner

BAD MOON MUSIC
EMPIRE
HAWTHORNE STREET
Consisting of members of New End Original and Chamberlain, the trio Bad Moon Music plays the kind of music that college campuses love, complete with heart-wrenching vocals and pulsating melodies. On the band's six-track release, shades of Jimmy Eat World and Hot Water Music are apparent in the group's dynamic dramatics, especially on the cut "Dirty Words". Not heavy but bold and not brash but imminent, Bad Moon Rising play its power chords with the acumen of seasoned pros rather than careless novices, as songs like the upbeat "Ligament" would sound perfect crunched in between tracks by Foo Fighters and The Police on the radio. When you're ready to reach the next level, Bad Moon Rising's new CD will be anxiously awaiting you.
-Mike SOS

BELEF
INFECTION PURIFICATION
CANDLELIGHT
French black-metal troopers Belef's album cover features a graphic illustration of a naked woman shackled to a demonic man's dog collar, while another demonic soldier-type brands her buttocks with a pentagram-like staff. Not exactly fun for the whole family, this eight-track album contains all of the blast-beated, piercing black metal your ears can take, especially during the brutal "Man Slayer" and the death-march riff that opens up the song which Manowar wish they had the title to first, "Barbarian Steel". 14-year-old boys and purveyors of all that is evil, rejoice: Belef's new album is your new soundtrack to the apocalypse.
-Mike SOS

BELIKOSE
ERUPTION
SELF-RELEASED
Belikose takes the Korn route in a few ways-most notably, in phonetics-but there's also a lot of Taproot and a fair share of Atreyu and Eighteen Visions buried underneath the tinny twin guitars of "Forever in Mine" or the verses of "Black-N-Tan" not to qualify this quintet's version of nu-metal as original. Nonetheless, the guitars and drums explode at key points, and the radio-friendly melodic choruses usually lead up to some stalwart chest-beating screams that teenagers everywhere can relate to.
-Mike SOS

BLOODTHIRSTY LOVERS
THE DELICATE SEAM
FRENCH KISS RECORDS
David Shouse has had a prominent career as the frontman of The Grifters and Those Bastard Souls. Now, as head of Bloodthirsty Lovers, he proves that he's still got a few tricks up his sleeve. THE DELICATE SEAM shifts gears like a sports car echoing the sounds of David Bowie one minute ("Stiltwalker's Local no.199"), then The Beach Boys the next ("El Shocko"). This chameleon effect can be good or bad, depending on the listener, but I never hear anyone complaining when Beck does this from album to album. Shouse is joined by Steve Selvidge (drums, guitars, bass), and cameos include Young People vocalist Katie Eastburn and Guided by Voices drummer Kevin March. Simply put, if you're looking for an album that's littered with mid-tempo pop gems, look no further.
-Jude Ruiz

BROADWAY PROJECT
THE VESSEL
DOUBLING CUBE
The second offering from Broadway Project (a remastered version of their 2003, U.K.-only release), THE VESSEL is like lounge music for the clinically depressed who've shunned their Prozac and picked up opium. Performed by wunderkind Daniel Berridge and a cast of talented and creative avant-garde musicians from the U.K. and Europe (including several guest vocalists, violinists, guitarists, and some guy playing a really creepy Wurlitzer), THE VESSEL ends up mimicking Portishead a bit, what with the haunting and tragic female vocals on tracks like "Beauty" and "Darkling", except that the nasty browbeating of trip-hop break beats are long gone. The 13 tracks whirl and sway like the incestuous offspring of Lou Reed's BERLIN and Arab Strap's PHILOPHOBIA, collapsing in and out of tragedy and anger with the greatest of ease. A very useful album for manic depressives intent on avoiding treatment.
-jack.

BY NIGHT
BURN THE FLAGS
LIFEFORCE
Effectively sporting the technical prowess and metal mechanics of bands like Fear Factory and Meshuggah, By Night's latest album provides similar sheer sonic discomfort. Abrasive guitars like the ones found on "One and the Same" act as construction equipment, piledriving riffs into your head; while the eerie tone of "Completed" suggests this Swedish quintet have heard its share of The Haunted and Earth Crisis. Looking for heavy? Check out the explosive double-bass drumming on "Behind in Silence" for a clinical display of aggression or the ferocious fretwork of the song's breakdown that leads into a hardcore sing-along that would make Snapcase proud. Ballistic and brazen, BURN THE FLAGS is an unforgiving foray into the search for metal's technical ecstasy.
-Mike SOS

CANDIRIA
WHAT DOESN'T KILL YOU
TYPE A
Brooklyn's Candiria know a lot about cheating death, as the band narrowly escaped a horrendous van accident a few years back, which halted all momentum the diverse quintet had accumulated. Undaunted, the band recovered, regrouped, and created the 10-track release WHAT DOESN'T KILL YOU, an offering that marks a discernible change for the band. Almost gone are the sprawling musical deities (sans the closer, "The Rutherford Experiment") and the multifaceted song arrangements, replaced by more imminent, jarring songs, like the melodic metal of "Down" and decipherable singing throughout the entire disc-an unheard-of concept in this band prior to now. While longtime fans may frown and complain, the adventurous spirit, tumultuous breakdowns, hardcore rap interludes, caustic drumming, and generally deadly vibe unleashed by Candiria is still here-it's just been condensed for maximum impact. And if there's one thing songs like "Blood" and "1000 Points of Light" feature, it's impact. Always known to bend the rules, Candiria does so this time from within to celebrate the band's unbreakable spirit and undying creativity.
-Mike SOS

CATERPILLAR TRACKS
S/T
PHRANTRY
This review couldn't possibly be easier to write. Once I mention that Cincinnati's Caterpillar Tracks sound exactly like Fugazi, 98% of you will have made up you mind to buy this disc and never look back. It is a built-in endorsement and brilliant marketing strategy: promoting your band as fundamentally unoriginal and derivative. Guaranteed record sales. And since when did Ian Mackaye start giving voice lessons? Abstract hardcore played by two guitarists, two vocalists, a bassist, and a drummer. Sound familiar? If you like familiar (and Fugazi has never been familiar), you'll love Caterpillar Tracks.
-jack.

CELLPHISH
SUICIDE KINGS
SELF-RELEASED
There's plenty of funny but unnecessary BOOGIE NIGHTS and AMADEUS outtakes on the debut full-length release from this bad-ass East L.A. ska quintet. The real draw here is the music. Fans of frantic, hard-driving rock will love the enthusiasm these guys bring to the stage. This is a band that could teach Reel Big Fish a thing or two. One of the best things about this disc is that it never gives the listener a chance to catch their breath. Song after song pounds out a ferocious, horn-soaked speed-metal assault that glorifies drinking, partying, and chasing women. On second thought, I guess Dirk Diggler and Mozart fit in there somewhere. All 12 songs should be anthems for the amoral majority. There's even a quick and clever track here, "Scratch", that would have got a lot more press if the band had spelled our 'zine's name correctly. Currently, the band is playing most of its gigs in Southern California and Arizona. Catch these vatos live-and do some shots with them if you can-but definitely pick up this very catchy disc for your next real party.
-Dug

CHILDREN OF BODOM
TRASHED, LOST & STRUNG OUT
CENTURY MEDIA
Rising up from the Finnish extreme metal scene to worldwide tours and accolades across the globe, Children of Bodom have become a phenomenon of sorts in the metal underground and are on the cusp of breaking through. Acting as a holdover release until the new album is in the can, this four-track EP with bonus DVD footage is a way for fans to keep interest levels high. On some levels, it does a proper job. With two originals and two covers, TRASHED, LOST & STRUNG OUT is uneven, yet the original compositions alone are worth the price of the EP, as the title cut and the chaotic anthem "Knuckleduster" display prog-metal wankery, epic fretwork, savage composition, and melodic hooks. As for the covers, well, if a latter-day Alice Cooper track ("Bed of Nails"), and an Andrew W.K. song are up your alley, then go for it...but don't be disappointed if they fail to impress. Overall, the latest release is a must for rabid fans, and the new material should be heard to catch a glimpse as for what's in store...but isn't really essential.
-Mike SOS

CIA
ATTITUDE
SCREAMING FERRET
ATTITUDE is the re-released album from Nuclear Assault drummer Glenn Evans. Originally put out in limited release in 1992, the nine-track collection was done primarily by Evans with a few friends filling in on guitar, showcasing Evans's multitalented side. But make no mistake: CIA is without question an old-school thrash act, complete with incessant double-bass drumming and speed-metal guitar riffs. Surprisingly, it still stands up by much of today's American metal standards, especially in the guitar solo department. If you crave for the days when Metallica wore their hair long and Megadeth was unclean and unsober, then CIA will give you the jolt you need as you anxiously await the new Nuclear Assault disc.
-Mike SOS

CLARITY PROCESS
KILLING THE PRECEDENT
RISE RECORDS
This sophomore release makes me seasick with the crest and trough of angry hard rock and the shrill peaks of a mighty melodic episode. Now featuring keyboard and sampler, the re-tooled Clarity Process may be striving to be the Rush of indie rock.
-Tom "Tearaway" Schulte

COLLECTIONS OF COLONIES OF BEES
COMPUTER
POLYVINYL RECORDS CO.
Using guitars, computers, a synth, and more Collections of Colonies of Bees presents acoustic guitar music through a kaleidoscope. Sliced and diced like being run through Gallagher's Sledge-O-Matic and then stitched together with the care of grandmother's needlepoint, this instrumental album (where nine tracks are titled "fun") walks a tightrope between the two worlds of an uneasy hodgepodge and hypnotizing complexity. www.PolyvinylRecords.com
-Tom "Tearaway" Schulte

COLOR OF DAY
DRESS CASUALTY
Sometimes people buy up every local release they can get their hands on. They see it as an investment, because you never know if one of those bands will hit it big and that hand-numbered EP will be worth big bucks. More often, though, those small releases are enjoyed by only a few friends and quickly forgotten. DRESS CASUALTY is safely in that second group. Music punctuated by shrieks and misspelled lyrics about life and death spew from this anyband U.S.A. release. This is not an investment, and chances are that you'll be able to pick up something just like it from your friend's band.
-Erika Owens

COULIER
COOL, COOLER, COULIER
STICKFIGURE
There's no bass player in this band, but Coulier couldn't care less. At least, that's what the twin-guitar slayings that pervade the band's irresistibly titled album suggest. Morphing from arena-metal anthems to commercial jazz tunes to stuff guys like what Page Hamilton used to cut his teeth on, the lack of bass (and vocals, for that matter) never factor on tracks like "There's a Monster (Riff) Under My Bed". Those damn guitars done stole the show. Alongside a crazy drummer sick enough to indulge these two, this is an album that guitar freaks and avant-garde alike will spend countless hours trying to figure out.
-Mike SOS

DAME FORTUNE
BOTH SIDES OF MIDNIGHT
SELF-RELEASED
Do you sit around and pine for those days when so-called "hair bands" ruled the airwaves? Well, pine no more: Dame Fortune of (where else?) Los Angeles wants to take you back in their way-back machine to find that lost can of Aqua Net. BOTH SIDES OF MIDNIGHT is a total flashback. To make the entire project even that much more authentic, Dame Fortune have enlisted Kevin Valentine (drummer of Cinderella and Kiss) to produce BOTH SIDES OF MIDNIGHT and even play drums on a couple of tracks. Dame Fortune is lost in a time warp, and the band is tearing that time warp up. I'm just not sure if it's been long enough to get nostalgic, but if so, here you are.
-H. Barry Zimmerman

DEAD HEARTS
S/T
STATE OF MIND
Comprised of a self-titled 7" and a demo (THE WORDS YOU BETRAY), DEAD HEARTS is short and to-the-point (eight tracks in an all-too-quick 14-plus minutes), straight-up hardcore replete with breakdowns and gang vocals while still showcasing some melody. The five-piece kick off the impressive disc with a brief, heavy, oppressive intro, "In Our Hands, Once Again" and don't back down from there, as they head into the speedier blast "Breakdown" and the crushing "Small Town Tragedy". And, happily, despite the band/EP moniker, the subject matter isn't all about lost love, but rather the lyrics are far more interesting-and somewhat bleak and melancholic, to boot, often dealing with the "city" and how it kills dreams. For instance, on the finale, "Bright Lights, Burnt City", in his incessantly shouted, pissed tone, frontman Derek yelps, "I see this city for what it is / Nothing more than a burial ground for our caskets." Intense.
-Janelle Jones

DEADLY WEAPON
DEADLY WEAPON
ROCKY
From the opening scream on "Don't Hesitate" asking some unnamed female to "gimme some loving," Deadly Weapon gets you ready to step inside of its time machine, which is set back to 1985. This Chicago quartet's nine-track disc is chock full of '80s rock clichés, from the song titles like "I Want It All" and "Kiss of Death" to the lead singer's dead-on Paul Stanley falsetto wail to the thunderous drum sound to the infectious yet dated choruses that emblazon each track. Yes, Deadly Weapon's album comes complete with credits thanking a cover model (who bares the band's logo above her belly button) and their hairstylists, and it rocks like the opening act at summer's annual hair-metal jaunt, the Rock Never Stops tour, should. If that's such a crime, then persecute them; otherwise, dig out your denim jackets and stock up on Aquanet and rock out to this group's self-titled arena-rock tour de force.
-Mike SOS

DECIBULLY
SING OUT AMERICA!
POLYVINYL
Decibully is an interesting name for a band you'd expect to be a loud, obnoxious metal clan but isn't. Instead, the outfit (which hails from Wisconsin and goes seven deep) is a jangly juggernaut, intertwining the art of capturing captivating sound alongside the craftsmanship of good songwriting. SING OUT AMERICA! succeeds at both, hooking you to its memorable choruses, deliciously-placed banjos, and sweeping Rhodes pianos while creating moody, atmospheric layers on songs like "Let's Eat Our Mistakes" that you'd expect haughty Brit rockers to roll out. Brandishing a two-step twang usually found on alt-country acts like Wilco or old Neil Young while exhibiting the devil-may-care attitude of bands like Talking Heads and The Police, Decibully's nine-track escape from the everyday is a welcome indication that there is important pop/rock music somewhere out there.
-Mike SOS

DEHRA DUN
MARIPOSA SALAD DAYS
SINGELTON
Dehra Dun is a San Diego sextet whose five-track EP shimmers with dramatic grace and resonates with majestic swagger. Tracks like "DSM-V" intertwines electronic gasps and keytar noodlings with elegant guitars; while the atmospheric "Apollo" trails into shoegazer territory, complete with the special-effects nuances firmly in tow. Dehra Dun's attention to detail and strong sense of dynamics are the band's strongest attributes, and MARIPOSA SALAD DAYS showcases these traits throughout. Somewhere between The Snake the Cross the Crown, Far, and Codeseven, this group's EP is aimed for those looking for a musical emotional roller-coaster ride.
-Mike SOS

DIECAST
TEARING DOWN YOUR BLUE SKIES
CENTURY MEDIA
On the cusp of the new American metal explosion, Diecast was one of the bands on the frontline before their singer quit, leaving the band in a lurch. Now back after a three-year hiatus and armed with a new lead throat and renewed focus, the 11-track TEARING DOWN YOUR BLUE SKIES finds this Boston-based quintet ascending to reclaim its lofty position in the burgeoning metal scene. Reclaiming its scream-sing device with vengeful vigor, tracks like "Seize the Day" and "Savior" sounds like Hatebreed, Killswitch Engage, and Sevendust in a three-part harmony; while the straight-up screamo of "Traitor" can go toe to toe with Shadows Fall any day. Let's not forget the other four guys here, either, whose musical crush is evident on the thrashy breakdown of "Pendulum" and the relentless "Torn from Within". Their version of metalcore is never rushed or forced, but flows with the fluidity of blood from a fresh moshpit head wound. Diecast may have been away for a long time, but they've obviously left no stone unturned when planning the proper way to return.
-Mike SOS

DMBQ
THE ESSENTIAL SOUNDS FROM THE FAR EAST
ESTRUS
DMBQ stands for Dynamite Masters Blues Quartet for those keeping score at home, and this Japanese group's latest, 10-track release marks its first in the U.S., despite sharing the road with Fugazi and Mudhoney across the States. This hard-rockin', blues-based band kicks out the jams and acidic rhythms on tracks like "Mo-Ya Mo-Ya" and "Mirror Baby", once again proving that you don't need to know English to know how to scream and wail like Robert Plant or play like a garage band from Anytown, U.S.A. Psychedelic, pulsating, and noise-rock-driven, DMBQ's delivery is flawlessly sloppy and riddled with the kind of textures that the mod '60s left behind. Shagadelic, indeed.
-Mike SOS

DORIS HENSON
GIVE ME ALL YOUR MONEY
DESOTO RECORDS
At heart, Doris Henson is a rock band. Unfortunately, Doris Henson is a rock band that came together 10 years too late. These guys would have fit in great with the whole alternative wave in the early '90s, but they just feel out of place now. That may work to this Kansas five-piece's advantage, though. Musically, the songs on GIVE ME ALL YOUR MONEY are extremely solid. The melodies are catchy and slightly infectious. While this is a good rock album, the use-or should I say, misuse-of the trombone detracts from the band's overall effect. Also, the vocals are mixed slightly awkwardly in some songs (such as "Pollen Tom"). The mixing gets better as the album goes along, but there are too many issues with the trombone and vocals to call this a great album.
-Dane Jackson

DOWNTOWN SINGAPORE
UNDERSTANDING A GUARANTEE
DCIDE RECORDS
The debut release from this Washington, D.C. pop band is a mature affair for a band whose members range in age from 18 to 21. With a clear and powerful sound akin to the neo-prog band Coheed and Cambria, Downtown Singapore plays like a screamo band without the screams. Five of the six tunes on this EP are brilliant original pieces with an emphasis on the band's passionate lyrics. One of the songs, the poignant "Good Night Lord", is a tribute to a friend who died in a recent car crash. The closing song on the disc is a straightforward cover of Cyndi Lauper's "Time After Time". The band delivers a terrific version of the tune without a touch of irony. All Dcide Records needs to do is decide when to release the band's full-length debut.
-Dug

DRIVING THE SALT
THE GHOSTS STOPPED WATCHING
STRIVING FOR TOGETHERNESS RECORDS
Straubing, Germany's Driving the Salt has produced a rock-solid, honest hardcore punk album without sounding nostalgic or bandwagonish. THE GHOSTS STOPPED WATCHING is powerful, musical, and full of good ideas. Drummer Johannes Puschmann is filling up so much space with his fantastic stick work. He is the backbone of Driving the Salt. Axeman Ule Gigl and bassist Ralf Blagau are tight and playing off of each other like champs. On the mic, Patrick Winterl is a fresh voice in punk with something to say and saying it with artful authority. Driving the Salt is ready to conquer the world with THE GHOSTS STOPPED WATCHING. Great songs, soaring musicianship. Support great bands-buy this disc.
-H. Barry Zimmerman

E-TOWN CONCRETE
MADE FOR WAR
IRONBOUND
E-Town Concrete's latest release finds the New Jersey-based quartet leaner, meaner, and more dangerous than ever. MADE FOR WAR is a collection of 11 soul-crushing tracks laden with hardcore intensity and metallic mayhem, as the one-two combo of "Pariah" and "Ploughshares and Swords" opt for the sledgehammer riffs and thunderous rhythm right away, eventually giving way to the funky death metal of "The Distance" and the Eminem-meets-Everlast rhymin' of "Do You Know What It's Like?". Anthemic and acerbic, tracks like "What Can I Do?" still prove that Anthony Martini is the noblest rap-rock warrior on the scene, poignantly juxtaposing personal pain with biting commentary. The title track boastfully exemplifies the band's love for mixing the sounds of Newark to the metalcore beat. As E-Town's unique musical output continues to soar to uncharted territories, add MADE FOR WAR in your list of discs to own.
-Mike SOS

ELECTRIC FRANKENSTEIN
SUPER KOOL
VMS
Believe it or not, Electric Frankenstein has released over 15 albums in only 10 years. As amazing as this accomplishment is on its own, their latest release, SUPER KOOL, is truly the most outstanding item on their résumé. SUPER KOOL comes straight at the listener with eight tracks of high-octane punk rock à la The Stooges and Black Flag. If songs like "Tear It Down" and "Injected" don't make you want to rev up your Harley and head down to the local bar, then nothing will. But I suppose it's also possible that you don't own a Harley. Oh, well. Buy this album. www.electricfrankenstein.com
-Zac

EMOK
SHOVE YOUR HEAD INTO THE GROUND AND FEED IT TO THE EARTH
WRONG
With clear Middle Eastern influences, the Israeli-born members of Emok have come to Brooklyn to further the musical mission of fusing the sounds of their homeland with the pulsating offerings of upper tier metal and the nuances of noise rock's elite. On the trio's 12-track endeavor, there's a slew of System of a Down meandering in between meaty Helmet structures and industrial metal's mechanical rhythmic movements, which are all over tracks like "Guilt" and "Field of Thorns", not to mention a substantial amount of the outfit's traditional roots shining through on tracks like "Kasha" and "Bliss". "Hatred Grows Old" shares the Soulfly vibe, while the pummeling electronic groove of "Turn off the Lights" smacks you down like early NIN. Emok's multifaceted metallic journeys exhibit the type of band that has the lineage and ability to pull off a hybrid form of music with tact and conviction.
-Mike SOS

ENSLAVED
ISA
CANDLELIGHT
Enslaved's rise to extreme metal's prominence culminates with the Norwegian outfit's latest album, the 10-track ISA. Not being a band to rest of past glories, songs like the title track demonstrate the outfit's knack for molding a rich musical landscape where tumultuous noise and elaborate melodies cohesively intertwine; while the old-school sonic outpouring on songs like "Bounded by Allegiance" is the dynamically-charged, dramatic equivalent of Opeth meets Satyricon. Enslaved's lush textures and ferocious undercurrent propel ISA to the top of the must-listen to pile for any black-metal fan yearning for more.
-Mike SOS

ENDZWECK
STRANGE LOVE OR: HOW THOSE LEARNED TO STOP WORRYING AND LOVE BOMBS
GOOD LIFE RECORDS
Japan's five-man terror squad Endzweck has released STRANGE LOVE..., a collection of songs from compilation discs and 7" releases. Endzweck is a hardcore metal outfit obsessed with war. The driving force of Endzweck are guitarists Hirohisa Yamaguchi and Tsunehito Oba, who play with a melodically and with a style that flows thru each other with grace while maintaining a big, ballsy attack. These two are worth the album's cost. Lead singer Takashi Uesugi screams his way thru nine songs in less than 20 minutes. Endzweck's version of Snuff's "That's Enough" is ripping. The guitar work is inspiring. STRANGE LOVE... is a thought-provoking, monster, rocking disc.
-H. Barry Zimmerman

EXMORTEM
NIHILISTIC CONTENTMENT
EARACHE
Exmortem's musical offering is technical, brutal, and abrasive, as the outfit's 10 depraved death-metal songs on NIHILISTIC CONTENTMENT wield the kind of power usually reserved for bands like Morbid Angel, Suffocation, and Cryptopsy. Guttural vocals, breakneck rhythms, grinding fretwork, and a true sense of impending doom are all major cogs in the Exmortem machine, and these items are relentlessly drilled into your head via tracks like the crushing "Bitter Disciplin" and the slow rot of "Division of Genocide Pleasure". While many may argue over the lack of creativity in this Danish band's songwriting, the final product is effective enough to stir the interest of your average death-metal listener, even if Exmortem wears its influences too visibly on its sleeve.
-Mike SOS

FANGS
WATCH WHAT YOU SAY TO GHOSTS
LUJO RECORDS
What a strange formula: nasal, throaty Frank Black-like vocals, classical piano, dynamic drum and bass, and minimal guitar work all coming together to make a rather tasty dish of nouveau art-punk. Catchy and fun songs like "Pentagramme Lollipoppe", "1983", and the moodier "I Cut Myself" are a testament to their great songwriting and the very strong and original vocals. This could very nearly pull off being an unheard collection of mature Pixies tracks! Very much recommended for those yearning for some tasteful rock. Fangs have bite. For more info, visit www.lujorecords.com.
-Norberto Gomez, Jr.

FINAL SOLUTION
SELF-TITLED
INDEPENDENT RELEASE
Inland Empire HARDCORE PUNK IN THA HOUSE!!!!!!!! Okay, sorry for the useless energy. Here comes a band from the 909 area code with plenty of punk angst that it would like to share with you, the faithful listener. Think Operation Ivy minus the ska chords. This is very straight-ahead Berkeley-esque hardcore punk with simple rhythm, simple tunes, and one pissed-off singer. If you enjoy groups like Operation Ivy and Anti Seen, check out Final Solution.
-ADF

FINGERS CUT MEGAMACHINE
SELF-TITLED
THICK RECORDS
Being an old fan of Osker (even when Devon spit on me at the showcase) has made me absolutely love Devon Williams's new group, Fingers Cut Megamachine. The former Osker frontman has really outdone himself this time around. This album has a very indie folk (with a punk twist) approach that makes it soothing to the ears. Devon's singing has gotten quite better since his punk days (and it's not as snotty!). I will make the obvious comparison here to the indie stylings of Bright Eyes, but FCM has a much more original teen angst-rooted punk folk sound. Go pick up this album and tell me what you think (stereooverdose@aol.com).
-ADF

FIREBALLS OF FREEDOM
GREASY RETROSPECTIVE
WANTAGE
I'll tell you what: after work tonight, forget the club, pull out your lawn chair, buy a twelver of Pabst, and commune with the Lords of Rock N Roll in a uniquely mystical way: listen to this long-awaited 'spective from Missoula, MT, punk icons The 'Balls. Thank the most benevolent Lords that guys who dug The Meat Puppets long before St. Cobain told us to and to whom the term "acid-reflux" carries a cool meaning still exist outside of some VH1 special. Offered here are 17 pieces of chaos-inspired, country-fried soul punk culled from the unjustly overlooked decade-long history of a band that meant more to some than your vintage Styx T-shirt means to you. Give it up, reco'nize, holler, do what you gotta do, but pay some fucking respect to what got us here: horny teenagers starting bands to get laid.
-jack.

FIRESCAPE
REARDEN'S CONSCIENCE EP
RANDOMPLAYMUSIC
Firescape is the side project of Something Corporate's Josh Partington, which means I automatically wasn't too hopeful that I would enjoy this EP. But after just the second spin, I'm hooked. Josh abandoned the conventions of Something Corporate for a more raw rock sound packed with plenty of punch and melody. The lyrical content will also cause you to become engrossed with the music because of how personal it is. Lyrically, Firescape is along the same vein as Elliot Smith. While Firescape sounds like a more raw version of Something Corporate without the pianos, some songs are reminiscent of bands like Weezer (especially the chorus on "This Midas Touch") and Jimmy Eat World ("Postcards with Hidden Meanings"). This is a great EP that just may get me to give Something Corporate another chance.
-Dane Jackson

FLUID OUNCES
THE WHOLE SHEBANG
VACANT CAGE RECORDS
I see Fluid Ounces as a chilled-out emo band or a smoky, bluesy lounge act. Either way, it's good stuff to hear. THE WHOLE SHEBANG has a lot of piano and blues guitars going on to make songs such as "Crazies", "Fool Around", and "Big Deal" sound like a Ben Folds/Ray Charles duet. If that sounds original to you, it probably is, to a degree. Fluid Ounces seems to pull the whole thing off wonderfully, to the point where they become unpredictable. Unpredictability, where have you been?
-Darren Ratner

FRANTIC BLEEP
THE SENSE APPARATUS
THE END
Frantic Bleep's nine-track release is a progressively Gothic metal joyride emblazoned with the dramatic twists and turns of any good mystery novel. Switching gears on a dime from Meshuggah-esque pounding to Amorphis-like dream states, tracks like "Curtainraiser" contain more interludes than most bands include on an entire album. But Frantic Bleep's penchant for excess always seems fresh, exciting, and (most of all) unpredictable. When you think this Norwegian trio is going to follow a pattern, it instantly morphs into something dazzlingly creative-a feature that makes THE SENSE APPARATUS an album to both freak out and cool down to.
-Mike SOS

FU MANCHU
GODZILLA'S EATIN' DUST
ELASTIC
The re-release of this Orange County, CA, quartet's 1998 album sounds as if Black Sabbath and Deep Purple got in a train wreck, and crawling from the wreckage came four greasy mechanics who just happened to rock really hard. One of the cuts on the album, "Mongoose", is being used in the upcoming WEST COAST CHOPPER movie by Jesse James. If you've got a jones for some long-haired retro rock, this is the band that delivers. There's even a cover of Blue Oyster Cult's classic "Godzilla" on the disc. This is good stuff if you love comically overdone guitars, crashing cymbals, and a good mullet. The only thing missing is the cowbell.
-Dug

FUNERAL DRESS
COME ON FOLLOW
SOS
Yes yes yes! Long-running punk outfit Funeral Dress, though hailing from Belgium, have a very British punk sound exhibited wonderfully on COME ON FOLLOW. From the anthemic sing-alongs "Come on Follow"; "Welcome to Murder Town"; "Death and Glory"; the good-time, uh, party tune "Party On"; and "Beer and Women" to the heavier, faster, more brutal, Varukers-type fare like the great "Speed Psycho"; "Sound of the Suburbs"; the hardcore blast "On Your Knees"; and the crushing "Underground Unity", Funeral Dress deliver the goods. Also included is a sweet version of Slade's "Cum on Feel the Noize" and a hilarious acoustic finale entitled, simply, "Britney Spears", which is just some silly, derogatory shit...all in good fun, I'm sure....
-Janelle Jones

FUNERAL DRESS
PARTY POLITICAL BULLSHIT
SOS RECORDS
If you're in the mood for some mediocre punk rock, then PARTY POLITICAL BULLSHIT is for you. Originally released in 2001, this group of foreigners hopes to gain some more interest in America with the re-release that includes two bonus tracks. Perhaps you've heard of them in their 15 years of music that had them touring with The Virus and The Unseen. Though the album art is simply STUPID (with an animated duck in punk attire), the music is not entirely dumb. Funeral Dress is worth a listen-if only for their cover of "Leaving on a Jetplane".
-Luke Skywalker

GAY FOR JOHNNY DEPP
EROTICALLY CHARGED DANCE SONGS FOR THE DESPERATE
FIREFLY RECORDINGS
This album has something for everyone, whether you want to have gay sex with Johnny Depp or you just don't like what's going on in the world today. While the album is short and sweet, it packs a punch. Every song is highly aggressive and loud, with no clear sense of melody. The vocals are screeched more than sung. The abrasiveness of the vocals is kept at bay by the amazing guitar work. I recommend "She Said 'I Like This One'" as the standout track, and "Kill the Cool Kids" as the comic-relief track.
-Dane Jackson

THE GENA ROWLANDS BAND...LA MERDE ET LES ETOILES
LUJO/AUTOCLAVE
By way of the subdued chamber pop and the emphasis on the vocal delivery, The Gena Rowlands Band is reminiscent of David Byrne and Nick Cave and the Bad Seeds at their finest. Unafraid of presenting songs without catchy hooks or melodies, this album is just pure storytelling at its finest. "Well, I used to hope / Hell, I was an optimist / Now I'm a third-rate lyricist / What I always never wanted to be / They call that irony / But I call that comedy." That illustrates the genius of Bob Massey's songwriting, which shows itself off all over the place on ...LA MERDE ET LES ETOILES. The backing of strings and the intricacies of the guitar work that weave in and out of the lyrics creates a sort of playful dance that helps not only complement every track but also help achieve a great work of art. For more info on this great album, visit www.genarowlandsband.com.
-Norberto Gomez, Jr.

GHOSTRIDE
COBRA SUNRISE
DISTRUKTOR
Comprised of former members of seminal Sacramento, CA, metal troupe Will Haven and ex-members of Tinfed and Oddman, Ghostride is a quintet whose undisputed musical prowess pours out of the 11-track COBRA SUNRISE like hot lava from a volcanic explosion. Leaning on the stoner-/desert-rock side of the fence yet often retaining the jagged staccato aggression of Will Haven, this disc has the hypnotic potency of Sabbath, yet it also displays the stark beauty of Soundgarden, as tracks like the cascading groove of "Bear Trap" combine syrupy guitars and lush melody. Ghostride is the type of band that can write a song like the pummeling "Diamondhawk", yet still excel on cuts like "Spearment Whino", where the band expertly exhibits the wherewithal to pull back and let the music breathe with a life of its own. Somewhere between the post-hardcore jabs of Helmet and the volatile aesthetics of Deftones come Ghostride, a band on the fringe of cracking heavy music's upper echelon.
-Mike SOS

GREENBRIER LANE/PARTY THROWN MY WAY.
GREENBRIER LANE RECORDS
So, get this: I throw on Greenbrier Lane's latest record, and upon hearing the opening title track, am thinking, "This is total MTV pop-punk fodder!" Then comes "You Doubted Me", and what do I hear? Well, yes, the excessively sugary melodies, of course, but also this amazingly timely line: "So, I may never be on MTV." Ironic, no?! Anyway, these guys have a total safe melodic pop-punk sound, but the great twist found in this same song is the assertion that because "you" doubted them, they're gonna get all violent on yo ass. "I wanna hear you scream / I'll cut your throat and watch you bleed." Frightening, really. The rest of the record is full of saccharine songs (some of which are LOVELY ballads) filled with predictable, sophomoric lyrics. But I must admit that there IS one pretty good composition here: the more hardcore and claustrophobic "Today Is the Day You Will Die".
-Janelle Jones

GOD DETHRONED
THE LAIR OF THE WHITE WORM
METAL BLADE
In the realm of metal, one note from a guitar riff can determine whether or not the entire riff is good. On THE LAIR OF THE WHITE WORM, newly-added Isaac Delahaye finds this note, as he melodically picks the lead to the opening track, "Nihilism". Had he hit the note a little higher or a little lower, it might have disrupted the mood of the whole album for me, but due to it's success, ...WHITE WORM plays out as a pleasant surprise from these up-and-coming headbangers. Moments on this album are reminiscent of Dark Tranquility's PROJECTOR, and yet other moments are not unlike Morbid Angel. It's a fine release with intense technical skill that is sure to be appreciated by any metalhead.
-Zac

HOTPIPES
THE DEADLY POISON
VACANT CAGE RECORDS
The debut full-length release from this Nashville quintet is a pleasant slice of indie pop. The band does have an interesting sound, a bit like early Mott the Hoople. Some of the best moments on this album are the poignant ballads, like "And Don't Wake Up" and "Fatal Egg", but the band's tendency to break into familiar rhythms and chord structures on the vast majority of these songs makes most of the tunes sound too similar. A few of the song titles-such as "Fartknocker" and the eighth track, " "-are interesting, if not effective. The untitled eighth track, " ", deserves to be untitled, as it is merely a 15-second synthesizer interlude-which begs the question: If the track is just an interlude, why the hell list it at all? For these guys to separate themselves from the indie pack, they'll have to either come up with better gimmicks than untitled songs or write and record a couple of legitimate hits.
-Dug

IAN MCGLYNN
TOMORROW'S TAKEN
BAILEY PARK
Painfully catchy and surprisingly well-arranged, TOMORROW'S TAKEN is one of those albums in which every song is a standout track. Ian McGlynn appropriately uses synthesizers with piano to formulate dreamy pop with a hint of the '60s intertwined with every vocal melody. Upon hearing tracks like "You Might Understand", I began to think about how a good song can truly fix any bad mood. The electronic arrangements share a similarity with that of Xiu Xiu, and the songs themselves are the very stuff that dream pop is made of. If you're into Mae, The Helio Sequence, or even The Postal Service, you'll be swimming in a pool of your new favorite songs with TOMORROW'S TAKEN.
-Zac

ICARUS PLANES
UNTITLED FIVE-SONG EP
ENDEAVOR
Icarus Planes sent a CD to SKRATCH without a biography of the band and with no artwork, leading me to guess the band may be young-which, in turn, caused me to have low expectations of the band's musical ability. Well, I was definitely misled. Icarus Planes have a very innovative sound, containing thrashing guitars on songs such as "This Time with Feeling" and "Theory of Undulation", then transitioning into soft, acoustic ballads with "Scarred" and "Listen to the Rain". Regardless of the style of a given song, each is fueled with raw emotional lyrics. Formerly known as Son of Sam, Icarus Planes seem to be going through some adjustments within the band, as I saw online that the band is looking for a new guitar player. Hopefully the band will regroup and charge on, because Icarus Planes is truly an original band, and it would be exciting to hear a full-length. To receive information on the band, check out WWW.ICARUSPLANES.COM.
-Joe Licavoli

IF MAN IS FIVE
BLOOD IS THE INK HATE IS THE STORY
IF MAN IS FIVE
This is an ambitious, far-reaching DIY release. The group covers a continuum from goth rock to art rock musically, and the vocals (mostly Angela Timon and Brianna Salazar) stretch from a what-you-would-expect sneering snarl to gentle pop styles to a technical soul delivery with a lot of flourishes. All of these disparate elements are imperfectly rendered and only loosely stitched together, but taking in the vision the group is beginning to render makes this band one to watch.
-Tom "Tearaway" Schulte

IMPALED
DEATH AFTER LIFE
CENTURY MEDIA
Impaled is a Bay Area splattercore troupe whose latest foray into the world of metal contains 12 tracks of pulsating metal between outrageous botched-operation spoken-word interludes, which make the punishing riffs on such songs as "Preservation of Death" and "Wrought in Hell" impact that much harder. Produced by ex-Mr. Bungle member Trey Spruance and recorded by metal guru Billy Anderson, this quartet may sound a lot like the early work of Carcass, but that's the intention: Impaled is merely summoning the delectable disgust from the world's foremost gore-metal band, and they channel their blood-and-guts delivery with the skill of a surgeon's hand during the most intricate of actions. Full on and ferocious, yet as campy as the sixth installment of a horror-movie series, DEATH AFTER LIFE is as good of a time as it gets for the grotesque.
-Mike SOS

IMPERIAL
THIS GRAVE IS MY POEM
PLUTO
Imperial is a Florida-based sextet whose malicious attack (sung by two similar-sounding singers) mixes Swedish metal, screamo hardcore, and artsy metalcore, making THIS GRAVE IS MY POEM a very spastic listen. Chaos seems to prevail on tracks like the frenetic "Washed Upon a Nameless Shore"-even during the slower part, where the volatile screaming never stops and leads up to some frighteningly distressed vocals. Imperial's love for disorder is very much apparent, and these guys use it as a weapon effectively.
-Mike SOS

INSTILLED
UNFINISHED BUSINESS
STATE OF MIND
Instilled is the kind of band whose lyrics are highly respectable, emotion is extremely admirable...and musical talent is missing in action. No one can accuse the band of being insincere, but you CAN accuse the band of playing repetitive guitar riffs over sloppy drumming with a lot of gang vocals. They play true old-school hardcore with plenty of breakdowns. Some may be excited by the Ten Yard Fight influence and the fist-in-the-air mentality, but I need a little more to remain interested. Fans of old-school hardcore will definitely eat this one up.
-Zac

INSTED
LIVE AT CBGB'S
NEW MUSIC REVOLUTION
Insted brought its best game to the hallowed slum known as CBGB for a sultry early summer matinee, and the NYC crowd ate it up. Luckily for these guys, they had the foresight to record the whole endeavor and put it out for everyone to bask in CBGB's awesome sound and the band's triumphant display of fast-paced, old-school hardcore. If you can't get to your local VFW hall or club, this CD is the next best thing.
-Mike SOS

JUGGERNAUT/BBUGG
THE CATO STREET CONSPIRACY
BASEMENT APE
Mogwai is farting dust, Black Dice are too strung out, and Emperor killed itself for being too gay. Thus, no band is currently pushing the limits of sonic capability like France's Juggernaut-those bitches in Hella included. In fact, the urge to dub these sound psychotics the most essential listening on Earth and force everyone-at gunpoint, if necessary-to listen is hard to resist. Combining the strongest elements of the strongest sorts of metal and hard rock (from doom to death to black to speed to grunge), along with almost no vocals, Juggernaut hammer through three sophisticated soundscapes that prove that the apocalypse already happened. Bbugg, another French product, twist and turn through a mélange of Kyuss-type destruction and lyrics wailed in French. CONSPIRACY, like all revelation, should be handed out free on street corners.
-jack.

KAADA/PATTON
ROMANCES
IPECAC
ROMANCES is yet another side project from the warped genius of Mike Patton, who has teamed up with Norwegian noisenik John Kaada (known for juxtaposing genres of music into a potpourri of sound) to create this nine-track opus of oddities. If you're familiar with Patton's obsession with the music from cinema noir or his more avant-garde work with Fantomas, then this disc is a lot easier to listen to-and, in fact, seems to be a logical direction for him to take. Kaada's rich instrumentation and atmospheric musical landscapes gel exceptionally well to Patton's versatile vocal patterns, giving tracks like "Pitié pour mes larmes" the luxurious luster that only these two pioneers could. Unsettling, engaging, and unusual, ROMANCES is a captivating listen to both new ears and old fans alike.
-Mike SOS

KASH
BEAUTY IS EVERYWHERE/KASH
SICK ROOM
This is a compilation of the first two EPs of Italy's Kash, which are engineered by Steve Albini. With that said, there is nothing original or interesting going on in the entire compilation. An attempt at melding an electronic pedal-driven guitar feel with aggressive rock has already been done and ended up in failure many times over-and Kash is no exception. The spoken-word feel of some of the tracks really convinces me that these guys are nothing more than a group of Italian kids who still haven't gotten over their old At the Drive-In records. I'll give them props for at least trying. For more info, visit www.sickroomrecords.com.
-Norberto Gomez, Jr.

KIDS NEAR WATER/AMERICA IS WAITING/THE COALFIELD
SELF TITLED
FIREFLY RECORDINGS
Three bands and two continents on one release. At first, there is apparently little that connects all three of the bands, but there IS a common thread: they are all trying to tweak the post-hardcore landscape. In five-minute opuses, Kids Near Water experiment and sway from catharsis to quiet. The strong political tone of America Is Coming is filtered through dissonant, dancey beats that demand the listener's attention and sweeten the propagandist's dose. Germany's The Coalfield clumsily close the split with three tracks that sway like Kids Near Water but sound much more confused than consciously experimental. It took this foreign release to introduce me to Texas boys America Is Coming, but their three songs alone make this split worthwhile.
-Erika Owens

LET IT DIE
STICK TO YOUR GUNS
SPOOK CITY
Featuring ex-members of Hatebreed (don't worry, they're still friends), LET IT DIE is about as straight-up and brutal as hardcore music can get. These boys waste absolutely no time with drawn-out passages or bridges, instead focusing on heavier-than-gravity breakdowns and driving verses. Each song flows into the next through thick intensity and heavily distorted guitars with more crunch than a bag of chips. Let It Die sounds like Terror and Hatebreed without stealing too much from either. www.spookcityusa.com
-Zac

LUXXURY
THE DRUNK EP
OMEGA POINT
Luxxury play this shit they call "disco-noir," a tremendously trendy guitar-driven electro-pop emanating from the dregs of the San Francisco club circuit, a scene that hasn't produced anything worth listening to in ages. Luxxury dress well, sing about having sex all the time (though more than likely they get laid about as often as anyone else), and sound like Roxy Music minus the theatrics of Eno and Ferry or Black Box Recorder without the well-mannered apprehension so charmingly endemic to English breeding. It's all really, really straightforward here, and luckily there's no mystery or enigma to interest the listener or confuse the simple fact that Luxxury is cooler than you and I, so it doesn't matter whether their music is good or not.
-jack.

MALSTROM
OBLIGATED BY OBSCURITY
SELF-RELEASED
Malstrom is a relentless metal band from Queens, NY, whose five-track offering supplies hearty hooks without being predictable and a left-of-center heaviness, which allows the band's overall vibe to fall somewhere between Voivod, In Flames, and Clutch, with a good smattering of Bay Area thrash metal for good measure. Exposing a black-metal background on "Expire", this quartet sneakily shifts into a hyperspeed metal solo Dave Mustaine would endorse that ultimately bows down to a Swedish metal guitar run. How's that for genre-jumping? Malstrom is pretty damn good at it, and their love for the many facets of metal seeps through convincingly on OBLIGATED BY OBSCURITY.
-Mike SOS

THE MASS
CITY OF DIS
CRUCIAL BLAST
"Avant-garde" only begins to explain the musical offerings of this eclectic Bay Area act, whose eight-track release is a free-form, unfiltered view of musical genres colliding. The Mass succeed in blowing your mind with a hearty dose of mathcore, jazz, grind, death, black, punk, and indie rock, usually all in one rapid-fire procession and led by a saxophone, giving songs like "Trapped Under a Ice" a wonderfully enigmatic feeling. These songs are long, full of surprises, and sometimes require some deep thought, so consider yourself warned-especially if the sound of vibrato horn-playing grates your nerves. But, if you can appreciate Candiria, John Zorn, and Frank Zappa as much as you do Napalm Death and Dillinger Escape Plan, chances are that this disc will fit in nicely into your adventurous collection.
-Mike SOS

MERCENARY
11 DREAMS
CENTURY MEDIA
A poignant, symphonic intro to Mercenary's latest effort, 11 DREAMS, made this album cool to begin with. Even better, the band uses the symphonics throughout the album! Okay, so it's no secret that metal and classical have been pals for years, but it's great to see more bands taking advantage of the kinship. 11 DREAMS boasts some solid death/thrash atmospheres that push metal energy to the last drop. Keyboards and other instruments make their way in to give the album a nice 1980s vibe. Vocalists Mikkel Sandager and Hans Andersen have some rousing vocal chords. Overall, 11 DREAMS is a must-hear.
-Darren Ratner

MICHAEL COLUMBIA
THESE ARE COLORED BARS
ALABASTER/GALAPAGOS4
Dylan Ryan and David McDonnell masterfully compose a moody amalgam of influences through their contrast of the synthetic and organic. Synthesized, pounding drum and bass and haunting vocal loops interact exceedingly well with the rich feel of saxophone, clarinet, and violin (to name a few of the other sounds). A wonderful instrumental soundtrack to any day of melancholy, THESE ARE COLORED BARS is drenched with the sweet experimental feel of Brian Eno and other geek synth gods of the past. For more info, visit www.michaelcolumbia.com.
-Norberto Gomez, Jr.

MOUTH OF THE ARCHITECT
TIME & WITHERING
TRANSLATION LOST
Mouth of the Architect is a trippy heavy outfit from Ohio whose four-track disc clocks in at over 40 minutes. One of those tunes is only five minutes long, so be prepared to be floating around for a while-a good, long while, in fact, as "A Vivid Chaos" takes us on a caravan to the surreal existence where Pink Floyd meets Isis in some remote realm of the metal spectrum. With swirling, overdriven rhythms and sweet guitar melodies over a sonic symphony, this quintet's ability to keep the pace mid-tempo and the beat hypnotic (e.g., "Heart Eaters") is what you'll come back for, but you'll get lost inside the sinewy groove of "The Worm".
-Mike SOS

MYSTECHS
SELF TITLED
OMEGA POINT
It is hard to explain the strange musical phenomenon that is the Mystechs. Emil Hyde and Nick Dye are the two main creators of this strange and magnificent band, which combines a plethora of music styles, from ridiculously weird hip-hop to pogo-stick, romping rock. The band seems fearless in mixing up music styles while creating a danceable rock record. There are many hilarious tunes on the band's sixth release, including "Rock and Rolled Killed the Eskimos", "O Canada", and the tough-guy classic, "Deadly Style". Mystechs music relies heavily on originality, which this group definitely has, yet the music can get somewhat annoying after a few songs. Even though the music can get a bit exasperating, for someone who wants to try something different and interesting, check out Mystechs new offering.
-Joe Licavoli

NINE
KILLING ANGELS
DEATH WISH
Although it's not really my style, Nine's latest effort accomplishes every goal that it sets. This includes brutal choruses wielding fist-raising power and brash guitar riffing in the vein of Shadows Fall. Holding on to that bit of old-school thrash, the boys of Nine take part in anthems for your daily life. Standout tracks include "Euthanasia" and "Anxiety Report". The bass of this album will make tremors in your bedroom, so watch out. There are more than nine reasons to buy this record.
-Zac

OPEN HAND
YOU AND ME
TRUSTKILL RECORDS
I think someone locked the band Open Hand in a room and forced them to listen to Incubus, Queens of the Stone Age, and The Killers. Otherwise, I can't explain how Trustkill put out a record that basically embodies everything that has been on mainstream radio for the past three years. Aside from being unoriginal, this record is very good. The musicianship is tight and the vocals superb. This is definitely a top-notch release, except that it sounds like a mixture of the aforementioned bands. If you're into progressive rock, check out the new Open Hand album.
-ADF

OVERKILL
RELIXIV
SPITFIRE
The veritable thrash New Jersey clan Overkill have returned with RELIXIV, proving to everyone that they're still able to grind out the old-school thrash and speed-metal antics that have kept them on the metal radar. Though at times the quintet (fueled by founders Bobby Blitz and DD Verni) don't always hit the mark and sometimes come off as a bit of a retread, the 10 tracks featured here mix vintage Overkill wailings (both vocally and guitar-wise) with hearty helpings from the glories of classic metal's past. From the Sabbath-y breakdowns located in "Love" to three-chord, Ramones-esque stomping in "Old School" to the type of shreddery you'd expect from these guys on the rapid-fire "A Pound of Flesh", Overkill unleash their patented assault with enough twists so that the band's greeting from the gutter hasn't worn out its welcome quite yet.
-Mike SOS

PATRICK WOLF
WIND IN THE WIRES
TOMLAB
The sophomore full-length release from British electronica-folk wunderkind Patrick Wolf is the kind of album that should have been a soundtrack to David Lynch movie. If you've never heard of Wolf's debut, LYCANTHROPY, you'd be surprised at the strange and wonderful things he can do with a ukulele and a laptop computer. The music on this album is at times haunting, disturbing, and beautiful. The only artists comparable to Wolf are unique and quirky legends such as Eno, Bowie, and Bjork. Check out his Website at to get a few free downloads and a taste of the enthusiasm of his fans. This may not be commercially-viable music, but it is the music that will stand the test of time and may launch him into the pantheon of musical genius.
-Dug

PEPPER
LIVE DVD
VOLCOM ENTERTAINMENT
My first experience with Pepper was its latest Volcom album, IN WITH THE OLD. On the band's new DVD, they play a handful from that record, as well as tracks from previous albums. As far as live DVDs go, LIVE rivals the Kung Fu series in quality. The people who put together this DVD filmed with multiple camera angles, which gives the at home viewer a different perspective of the whole live experience. At times, the camera got close enough to clearly see sweat roll off the bass player's forehead. The whole vibe of a Pepper show is also translated well. The band's music is essentially groovy dance music (à la Sublime), with reggae thrown in for good measure. The viewer is treated to not one but two Pepper sets recorded live at Hollywood's Troubadour. Besides that, you get tour managers, girls in bikinis, a Hawaiian backdrop, and special guests such as a member from Bargain Music. In the special-features department, you get a couple music videos and featurettes. While the DVD menus are animated and fun to watch, the special-features section would have been better if things were labeled for easy access. Overall, though, this is a good alternative if you can't catch them live.
-Dane Jackson

PHASM
HATE AT FIRST SEED
THE END
Phasm is a French metal troupe whose nine-track endeavor contains all of the guttural nuances and disturbing imagery metal has to offer. Falling somewhere between the horror-movie shtick of splattercore and the rhythmic structures of black metal, tracks like the war anthem "Devoured Tenderness" have the slow crawl of Entombed built inside a song tailor made for a band like Bathory, while the band goes gonzo at the end of the album with a rapid-fire death-metal version of Motorhead's "Dogs". Doomy, crustily eerie, and forebodingly heavy, HATE AT FIRST SEED has a lot of interesting twists and turns that will keep metal fans on their toes.
-Mike SOS

RAMESSES
WE WILL LEAD YOU TO GLORIOUS TIMES
THIS DARK REIGN
When a band features two ex-members of English doom-rock clan Electric Wizard and boasts the production work of doom-rock guru Billy Anderson, you can expect the new project to crush skulls. Such is the case with Ramesses, a trio whose four tracks of sludgy, metallic doom are hypnotically churning. From "Witchampton", a nearly nine-minute tour de force of ferocity, to the eerie, dirge-like, processional "Black Domina", the syrupy sludgefest created by Ramesses will give fans of the evil side of rock much to rejoice over. Glorious times, indeed.
-Mike SOS

RAT CAT HOGAN
WE'RE BICOASTAL
SKROCKI
It's probably no surprise to those familiar with the music of Rat Cat Hogan that I bring up the name of Death Cab for Cutie as a similar sound. The melodic and generally minimal music with angelic and effortless vocals make the comparisons to DC4C obvious. However, Rat Cat Hogan has a playfulness in their lyrics and vocal delivery that hints more at the pop irony of the legendary They Might Be Giants. Unlike DC4C, Rat Cat Hogan creates far more interesting changes and shifts in their music. In fact, like a movie with a beginning, middle, and end, WE'RE BICOASTAL plays like a large movie, each song serving as an individual scene. Songs like "Business Trip to Portland" also hint at some Bright Eyes influence. A very well-produced and -executed album. For more info, visit www.skrockirecords.com.
-Norberto Gomez, Jr.

RED LETTER M
SELF-TITLED
SELF-RELEASED
This SoCal quartet has forged a brilliant "six-song" debut with this release. Though not very long, the disc does clock in at 30+ minutes, so it technically would not be considered an EP. I guess one way to make a disc look longer than it is would be to start with track 2-like this band did-and then go all the way to track 7. All four members of the band were previously in the excellent and energetic ska outfit Codename: Rocky-although you wouldn't know it by the neo-prog extravaganza that this release is. Blistering guitars are paired with slam poetry and memorable choruses to give this album the feel of Tool on steroids. For a self-released disc, the production values here are nothing short of incredible. The songs seem a bit too eclectic to garner radio airplay, but any guitar fan should love this gutsy release.
-Dug

REGENERATOR
REGENERATED X
ARCHETYPE MULTIMEDIA
Just so I'm very clear, I must state that I'm not extremely fond of much music that can be described as techno or goth. REGENERATED X just happens to be the latest effort from this self-proclaimed techno-goth duo. The group is comprised of Patrice Synthea on vocals and keyboards and Wrex Mach contributing programming, vocals, synths, guitar, and more. They have drawn influences from the likes of Depeche Mode and The Psychedelic Furs and have attempted to blend various genres together, including electro, synth pop, goth, and new wave. Throughout REGENERATED X, the contrasting female and male vocals control the mood of most songs, leaving the listener with emotions ranging from soothed to sinister. Overall, if you are into vivid electronic music, then this should probably be in your collection.
-Anthony

REQUIEM AETERNAM
PHILOSOPHER
I CORP
Requiem Aeternam is what some would describe as a thinking man's metal outfit, as this South American (by way of NYC) act bases its lyrical content on the works of philosophers, as they churn out avant-garde metal that sounds like the amalgamation of System of a Down, Opeth (from which former members came from), and Death. Technically blissful and strangely intriguing, guitar virtuoso fans and extreme metal followers alike will be able to appreciate the entire eight-track collection for its beautifully-arranged cacophony, as well as for its shredding guitar tactics. Requiem Aeternam is already a huge outfit in their native country, and while they will probably be shunned by the mainstream, the thirsty underground metal scene should embrace this disc with open arms.
-Mike SOS

SALEM LIGHTS
SECRET CISTERN
DOLLAR RECORD RECORDS
Probably the most rockin' album I've heard in all of 2005, SECRET CISTERN is a pure form of what rock 'n' roll used to be. With every track, it is difficult not to rock your head. And now that the use of "rock" has been overused to describe Salem Lights, maybe a better description of their music would be comparisons to The Ramones and Cheap Trick, but with a slower tempo. Yet, the record is not without fault, as much of the music becomes draining. One could easily grow bored if they are not a huge rock enthusiast. Either way, I'm happy to have SECRET CISTERN as part of my collection now.
-Luke Skywalker

SCENTERIA
ACT OF AGGRESSION
CANDLELIGHT
Swedish thrash-metal outfit Scenteria sound a lot like many of their fellow countrymen's bands melded into one conglomerate (almost like an At the Haunted of Bodom). Layered with keyboards, furious guitar riffs, demonic vocals, unremitting drumming, and a patented metal seal of approval from the Swedish government, tracks like the merciless "Circle of Fear" and the Slayer-esque intro to "Dead Point of View" aren't the most groundbreaking, but they rock so damn hard-so who cares?
-Mike SOS

SKELTER
BOOMSTICK
SELF-RELEASED
Skelter is a well-versed NYC trio whose 10-track album is a versatile display of the band's love of rock music. From the tongue-in-cheek romp of "Suffolk Girl" to the down-and-dirty, Stones-esque "Hideaway", BOOMSTICK finds the band teetering between refined and raw, a move that supplies the album with a good flow. The driving guitars on "First Rays of Sun" fade nicely to the charming acoustic track "Summer of Our Lives", while the post-punk feel of "Roll It Over", sounding as if it was emanating from a dorm room in the early '90s, yields to the jangly elegance of "Fade". Skelter's latest offering is a rootsy rock record that juxtaposes the fervor of indie rock, the majesty of Oasis-style Brit rock, and the bite of college punk à la REM in its early stages, making BOOMSTICK a CD suitable for kicking back to on a starlit evening.
-Mike SOS

SLEDGEBACK
PEOPLE'S CHOICE
SILVER RECORDS
This album had the potential to be good based on the first track, "Pants Off", but it quickly fizzled out by track 2, "Push Me Away". The problem is simply that this rock band is just too repetitive. Lead guitar, rhythm guitar, bass guitar, and drums continually play the same thing. It gets even worse when background vocals come in with something different to break up the monotony-and eventually even THEY become monotonous with repetition. By track 4, I was so bored that I actually turned on talk radio for entertainment. I would say give Sledgeback a chance, but I have my critical reputation to uphold, so I have to recommend that we all pass this one up.
-Luke Skywalker

STACIE ROSE
SHADOW AND SPLENDOR DEMO
ENCHANTED RECORDS
The soulful voice of singer/songwriter Stacie Rose tugs at the heartstrings. That's pretty impressive, given that with only two tracks-here being "High as the Moon" and "Consider Me"-it can be pretty difficult to assess an artist's true ability. As a demo for her new album SHADOW AND SPLENDOR, Rose proves to have a charming, almost country crossover style that's becoming popular within the mainstream. "High as the Moon" is the better of the two tracks, carrying a gentle but hookish melody. It's not hard to see it becoming a hit single.
-Darren Ratner

SUCKAPUNCH
SUCKAPUNCH
SELF-RELEASED
Suckapunch's six-track release is as straightforward as an up-and-coming hardcore band on a tight budget can muster. Spirited and direct, songs like "Hostile Times" have been written by almost every band when they first start out; but it's that undying passion (as exhibited on the sloppily-recorded but heartfelt Biohazard homage "Die for This") that makes this CD worth a few spins.
-Mike SOS

SWEETHEART
ART IS DEAD IS DEAD
THE PERPETUAL MOTION MACHINE
Sweetheart is a post-hardcore band whose four members are self-proclaimed art nerds-which perfectly describes why the band's rather disjointed six-track sermon flows with the ease of a stroke of a brush. Chock full of dissonant yet memorable musical passages and laced with luscious jam-band prowess, this Kent, OH-based quartet showcase a knack for writing powerful riffs that collide with contagious choruses, all while maintaining a strong level of cleverness and ingenuity. If you dig screamo or today's brand of punk rock, Sweetheart is right up your alley.
-Mike SOS

THE CURTAINS
VEHICLES OF TRAVEL
FRENETIC RECORDS
An interesting mesh of musical tidbits is what turns San Francisco's The Curtains into a decent act. One can definitely sense the effort in forming something "unique" on this album. At times, it feels like too much to handle and you ask yourself what the point of this is. But throughout the bleeps, blops, and array of rhythmic jaunts, The Curtains keep your attention with off-kilter notes and herky-jerky arrangement. Probably good for an indie flick soundtrack.
-Darren Ratner

THE DELAYED
LOSING MY MIND
SELF-RELEASED
The Delayed is a Texas quartet that relies on flashy fretwork, mod punk-rock vocals, and hard-edged '80s metal melodies on its eponymous five-track release. Sounding like a cross between AFI, Junkyard, and Millencolin, songs like "Broken Dream" have got a bouncy feel and a Warped Tour band vibe; while the Van Halen-esque intro on "The One" displays the group's musicianship. While the band could use a few fresher lyrical concepts, its brand of Tex-Mex punk-rock showmanship (displayed on "Grab Your Guns") has enough firepower to propel the outfit to brighter tomorrows.
-Mike SOS

THE EXPLOITED
HORROR EPICS
SOS RECORDS
The Exploited is one of the greatest punk-rock acts that ever strapped it on and tore it up. This reissue of HORROR EPICS is a look back at the power of punk before the corporations moved in. This is The Exploited angry and gigantic and nasty and mean and fucking awesome. Wattie's vocals sound like a man in mid-swing in a fight in the middle of a war for his life. Wattie is a soldier and a god. Wayne (drums), Karl (guitar), and Willie (drums, guitar) are so powerful, like a tank busting out your eardrums. This isn't punk for kids; this is the real shit. Featuring two bonus tracks, HORROR EPICS is a pure, classic punk-rock album. If you don't have this disc, you can't really call yourself a punk. See how it's done for real. The Exploited rule the fucking universe.
-H. Barry Zimmerman

THE MATTOID
ETERNIFINITY
CLEFT MUSIC
This six-song release from Finnish throat singer The Mattoid and his Nashville backup band is a good introduction to a strange but endearing style that is like very little else on this planet. The Mattoid sings in a resonant basso-profundo-style that makes most of these tunes sound like something out of Disney's JUNGLE KING. His shaved head and Mephistopheles-like goatee give him the look of a demon that might have gotten lost in America. Luckily, he hooked up with a label, Cleft Music, that isn't afraid to put out some experimental rock. At times this sounds like some kind of Scandinavian experimental rock à la Wesley Willis with a Casio, but when it works-as it often does on this release-this music is appealing. The Mattoid calls his music "Sango". I don't know what the hell that means (maybe sick tango?), but he might have hit on something interesting here.
-Dug

THE MIGHTY NIMBUS
THE MIGHTY NIMBUS
CANDLELIGHT
The Mighty Nimbus is everything you'd ever want in a doom-rock band and then some, as the outfit's eponymous debut (featuring card-carrying sludgesters from Alabama Thunderpussy and Sixty Watt Shamen) tread those murky waters of stoner rock and doomy sludge without trepidation and with a good sense of their whereabouts. Going as far as feeling comfortable enough to go "Drinkin' on a Pile of Skulls" on track 4, the band's unabashed spirit, coupled with earth-shattering riffs (like the ones found on "Broken Hoof"), have enough weight to make you hold your head up and salute them. Utilizing the slow and low technique with mammoth results, the death metal-esque demonic growl of "Born Too Late" and the piano and acoustic guitar interlude "Fenrir" may be a bit more adventurous than most. However, that only can help tracks like the groove-laden, doomy riff rock of "Raising the Mammoth" rock that much harder.
-Mike SOS

THE NOTHING
COMA POEMS
IN AT THE DEEP END RECORDS
Leeds, England's The Nothing is a fury-ous four-piece, and COMA POEMS is a seriously rocking slice of the dark side. They are led by Martin W. Undead's mean guitar work (Mr. Undead is a total bad-ass) and the demon screams of lead vocalist Jamie Far-Hell. The themes are gothic, and the song titles are funny (I'm not sure if it's on purpose), such as "Coffin Sex", "What Do You Expect Us to Do, Rob a Graveyard?", and "Dracula Would Mosh to The Nothing". The music structures are well thought out, with some wicked time signatures and bone-crushing breaks. I would have preferred the disc to be longer (it's a mere 27:20), but outside of that, COMA POEMS is an angry death-trip worth every demon dime.
-H. Barry Zimmerman

THE NANCY SCHOOL
FANCY TITLE FOR A PART TIME JOB
SELF-RELEASED
The Nancy School isn't a Sally Struthers-endorsed degree mill, but an eclectic hard rock band from Indianapolis whose nine-track release is chock full of avant-garde hard rock that sounds like it stems from heavy exposure to System of a Down, Incubus, and Faith No More. As quirky as they are heavy, these guys have songs titled "Midshindeep" and "Bite of a Sandwich", and both will make you wonder what the hell were they thinking. The Nancy School isn't above breaking into a jazzy bass groove or a sinister thrash-metal movement at any given moment, which ultimately gives its brand of progressive-tinged art rock a captivating feel. Check out the Mr. Bungle-esque craziness of "Envy of Movement" as a benchmark for these audacious authors of audio bliss. Chances are that if you dig heavy music that goes beyond the lowest common denominator, you'll fall in love here.
-Mike SOS

THEORY OF A DEADMAN
GASOLINE
ROADRUNNER RECORDS
If you are dying for a band that sounds like a faster and harder Nickelback, you can rest assured that you have found one. GASOLINE is filled with typical MTV rock and even more typical lyrics. Now, this doesn't mean that these guys are necessarily untalented, it just means that they are unoriginal. To be frank, I have problems reviewing unoriginal music, because I feel like I am repeating myself. Back to the music. To sum this up, if you like basic drum beats, hard-rock guitars, and unimaginative lyrics, then go pick this up.
-Anthony

THE PLOT TO BLOW UP THE EIFFEL TOWER
LOVE IN THE FASCIST BROTHEL
REVELATION RECORDS
If you like The MC5 and The Locust, you'll probably really dig this album. With LOVE IN THE FASCIST BROTHEL, this San Diego punk band has quite possibly put out the most unique album I've heard so far this year. The band blends fury, distorted vocals, noise, and erratic saxophone to create a nice little hybrid of indie, punk, jazz, and unadulterated insanity. While the band has a very modern sound, after listening to the album, I'm starting to realize they're a throwback to old-school punk, in the sense that the music will probably be out of the mainstream's comfort zone-which, in my opinion, is a good thing. This album may take more than one listen to grow on you, but stick with it, because it'll be well worth the wait.
-Dane Jackson

THE SLOW POISONERS
MELODRAMA
ROCKTOPUS! RECORDS
Comprised of two men, Andrew Poisoner and Fox Trott, The Slow Posioners are an indie-rock band from San Francisco. Andrew takes care of the vocals, guitars, and piano, while Fox Trott plays drums and percussion, bass, keyboards, guitar, and backup vocals. While listening to MELODRAMA, I quickly realized how much imagery surfaced in my head. I envisioned myself in a circus or a bar in the West somewhere. (I don't know how much that helps describe the album musically, but...) Andrew Poisoner and Fox Trott have definitely created a style of their own, fusing old-school rock 'n' roll, country, and I don't know what else. Initially, this album comes off as bizarre, but as the tracks progress, I find myself nodding my head in unison with the often unorthodox harmonies. MELODRAMA is indeed strange, but in an intriguing and creative way.
-Anthony

THE THIEVES
THE WHITE LINE EP
LIQUOR AND POKER MUSIC
This rock 'n' roll trio from Oxford, England, captures the style and stance of bands like AC/DC and The Who on this guitar-heavy five-song EP. Unfortunately, the opening track, "You've Got It Easy", sounds disturbingly like the Bowie tune "'Heroes'" with different lyrics stuck in. The other tunes on the band's self-recorded EP have a great and classic-rock sound. The production values are terrific, and the band obviously knows how to play. The band's Website claims the band has over 70 original songs, but only four make it onto this EP. The "fifth" track, "Video Killed...", is listed as a track but is not on the disc-a real big mistake on a debut EP. The members of this band look and sound like rock stars. Now, if the guys can just get together and put some music out, we might have something.
-Dug

THE VACANCY
HEART ATTACK
A-F RECORDS
A lot of talented people went into making this album. The first group is the band, of course. Besides the guys in the band, Chris #2 of Anti-Flag helped with production, Bill Stevenson did the mixing, and Mass Giorgini did the mastering. With so many great punk minds working on your album, how can you go wrong? Well, the answer is: you can't. I have a feeling that without these guys on board, The Vacancy still would have put out a great album; but I can honestly say that besides being great, HEART ATTACK is the best-sounding album I've heard so far this year. At the band's foundation is punk rock, but as the album progresses, you get exposed to rock, power pop, and even some piano work. The songs are filled with energy and are just as catchy. Musically, The Vacancy is along the same vein as Face to Face and Hot Water Music but with more power.
-Dane Jackson

THIS DAY & AGE
...ALWAYS LEAVE THE GROUND
ONE ELEVEN RECORDS
For some reason, the Lake Erie rust belt is particularly fertile ground for Christcore acts. This is fortunate, because it lets kids get involved with the scene. since even the most overprotective parent cannot say no to a Saturday afternoon praise jam. This Day & Age would easily fit in with those acts, Christian, hardcore, or otherwise. They play a pure brand of indie pop that is refreshing. No pretensions or scene posturing plague this debut release. 13 tracks of schoolboy introspection are pulled off with impressive maturity.
-Erika Owens

TOM MCNALLEY TRIO
TOM MCNALLEY TRIO
PFMENTUM
This is a guitar-led free-jazz trio. The instrumental music is largely loose and sometimes even thunderous. The stand-up bass has one foot in melody and one foot in rhythm, filling out these live-recorded compositions. At times the music displays a hesitancy and lack of certainty that is off-putting, but this is basically a worthwhile side trek into destination out. www.pfmentum.com
-Tom "Tearaway" Schulte

TURING MACHINE
ZWEI
FRENCH KISS RECORDS
No, no, that's Turing Machine. I bet everyone makes that mistake (or perhaps it's just me). Someone obviously began feeding this Washington, D.C. trio a steady diet of instrumental psychedelic and kraut-rock songs at a very early age. Heavily influenced by the likes of Neu! and Can, Turing Machine crank out spacey rock jams that usually clock in well over the seven-minute mark. Hipsters will be keen to the fact that the band features guitarist Justin Chearno of Panthers. When you get a band named after an imaginary machine used in complexity and computation theories, it's expected that you get music that is both precise and complex.
-Jude Ruiz

UNDERSEA EXPLOSION
UNDERSEA EXPLOSION
LSD25RECORDS
This five-song EP starts with three songs mostly in the garage-rock camp with some gothic overtones. It is good, even exciting music at times, but not memorable overall. The last two songs finds the band pulling it back a bit for some rocking soul with a real swinging feel that is not overdone. "Bottom of the River" and a song that would make Joey Mellon proud, "The Trepanator", are catchy and melodic, with the latter, a damaged rockabilly ballad, being the best. www.UnderseaExplosion.com
-Tom "Tearaway" Schulte

UNWRITTEN LAW
HERE'S TO THE MOURNING
LAVA RECORDS
Since I really like Unwritten Law, I tried extremely hard to love this album. It pains me to give one of my favorite bands a bad review, but after listening to HERE'S TO THE MOURNING for over a week, it just can't live up to the discography of great music the band has created. For one thing, the lyrical content of this album just can't live up to anything the band has done previously. Also, the music itself seems almost tame. It's all pretty radio-friendly, with few to no hooks. To put it bluntly, this is pop/rock. Adding to the mere adequacy of this album are the constant-and unnecessary-vocal effects used on Scott's voice, as well as the half-assed song arrangements. There are a few decent tracks on the album (including "Because of You", "She Says", and "F.I.G.H.T."), but overall, it's hard to give HERE'S TO THE MOURNING that many listens when you can look to the band's backlist of excellent albums for your Unwritten Law fix.
-Dane Jackson

URINAL PUCK MINISTRIES
TWISTED TALES FROM THE FALLOPIAN TUBE
SELF-RELEASED
Urinal Puck Ministries may sound like the name of a joke band, but you'd only be half-right after being subjected to the outfit's scolding 14-track release. Blending the best comedic intentions they could muster with a barrage of punk-metal riffs and Gwar-esque chicanery, UPM's mission statement is clear: headbangingly heavy music and sophomoric lyrical content go hand in hand. With song titles like "Poop" and "Dismembered Member" in tow, UPM's frenzied odes to bathroom humor couldn't be backed up better. Hard to take seriously, even harder not to smirk at, these guys have a warped sense of humor; but they also display some stellar musical ability that makes one wonder what they could do with if they shifted to more serious topics than cross-dressing and fart jokes.
-Mike SOS

USURPER
CRYPTOBEAST
EARACHE
The veteran Chicago metal troupe Usurper returns with CRYPTOBEAST, a bombastic 10-track affair that at first glance, many metal fans may take as a joke. After all, anyone who wears spikes and leather and writes a serious song titled "Kill for Metal" surely cannot be for real, right? Try telling that to this quintet, whose Spinal Tap-esque imagery and lyrical content may seem over the top but whose brutal music is not to be taken lightly in the least. Sounding like the soundtrack of a world war, Usurper's relentless twin-guitar assault, when combined with a rhythm section that emits more sonic firepower than gun turrets on an aircraft carrier, is a potent and vicious entity-even if they are singing about campy things like werewolves and the like. Suspend your disbelief for the real and dig out your leathers, because Usurper's crushing blend of black, thrash, and death metal is the best metal escape this side of Manowar.
-Mike SOS

VARIOUS ARTISTS
CORE TIL DEATH III
HEAVYCORE
The tireless efforts of Heavycore have once again spawned a monstrous compilation chock full of the metal that the mainstream is afraid to get behind. CORE TIL DEATH is on its third installment, and this 20-track collection shows no sign of slowing down, as bands like Skitzo, Chainsaw Homicide, and founders Low Twelve keep the topics sick, the music blaring, and the inserted movie sound bites as disturbing as ever. Best name of band and song award from this batch? Beverly Beer Bellys and its speed-metal assault "Drink, Fight & Fuck". If you like things gory, depraved, and heavy, this is a fine primer to find out what's going down in the underground.
-Mike SOS

VARIOUS ARTISTS
IN YOUR FACE TV VOL. 2
SELF RELEASED
This DVD features music videos, skateboarding, snowboarding, skits, and pranks-all in fewer than 45 minutes. What this all really boils down to is an amateur video of some well-to-do kids with too much time on their hands acting a fool. There is music from Escape Engine, Parker Theory, Jinxed, Subseven, Minus 200, Pillar, Dorado Gold, The Yucks, It's Revenge, The Downtown Strutters, and Ultra High Frequency. However, even that might not be enough to hold viewers attention. The skits failed to make me crack a smile, and the liner notes said something about hot chicks, but I failed to see any of those, either. They must have come when I dozed off. I bet these dudes are real popular with all their friends, but to the rest of us, it ain't no picnic. There were also some special features or outtakes, but I don't think I'll be able to brave it through those.
-Jude Ruiz

VARIOUS ARTISTS
ORGANIZED CRIME COMPILATION
ORGANIZED CRIME
Focusing on the heavy side of hardcore, this 13-track compilation features some of the hardest hitters on the scene today. Bands like A. 18, Kill Your Idols, and xDisciplex A.D. are among the bands helping your windmill reach new levels of destruction; while other notable acts such as Sidewalk and The Killer keep the aura of old-school beatdown hardcore alive and ugly as ever. If you're looking for easy listening, look elsewhere; but if you find yourself hankering for a hunk of hostile hardcore, allow the kind folks at Organized Crime to accommodate your hunger for heavy.
-Mike SOS

VARIOUS ARTISTS
PUNKS AND PINTS
STERLING SILVER RECORDS
If you're like me and you're not familiar with the Seattle music scene, then you may want to give PUNKS AND PINTS a listen or two. This comp contains 22 tracks of the best Seattle has to offer. While it's safe to say I didn't like every band on this comp, I did like most of them. Listening to this made me aware of some new bands that I want to look into now. That list includes Fifty Fifty, No Means Yes, Instant Winner, Truce, Sledgeback, and Gutbomb.
-Dane Jackson

VERONA
RUMORED TO WHISPER SUSPCIONS
LUJO RECORDINGS
In the past 10-15 years, Seattle has secured its place on the musical map. While grunge is still what the region is most identified with, current acts from Sub Pop, Barsuk, and their brethren are creating their own identifiable sound. Verona migrated from Bellingham, WA, to Seattle, and their sound strongly bears that Northwestern mark. Like acts such as Aveo and Sunny Day Real Estate, they play a well-orchestrated brand of indie rock centered on atmospheric vocals. No new ground is broken here, but Verona does offer another solid example of the current crop of Northwest talent.
-Erika Owens

VISQUEEN
SUNSET ON DATELAND
BLUE DISGUISE
Seattle-based trio Visqueen's latest, nine-track endeavor is pure pop-punk paradise, as SUNSET ON DATELAND contains all of the sugary sweet melody and catchy choruses you can stomach. Fairing somewhere Cheap Trick, Foo Fighters, and The Donnas, Visqueen may seem light and airy from a casual listen, but when you dig a bit deeper, you'll find some hardened lyrics, some pseudo metal guitar, and (on "A Viewing") some tongue-in-cheek morbidity that totally contradicts the sunshine and fresh-air feel of the music. In short, Visqueen has figured out what Chris Cornell meant by "looking California and feeling Minnesota," except that they've made it into digestible punk nuggets. They are from the same home state, after all-yet another reason to dive into SUNSET ON DATELAND headlong.
-Mike SOS

VREID
KRAFT
CANDLELIGHT
After enduring the death of its lead singer, Vreid (formerly Windir) regrouped and put out KRAFT, an exciting eight-track affair whose musical output varies from the most devout black metal to pure rock 'n' roll fury. This Norwegian band's versatile assault comes equipped with tracks like "Eldast, Utan A Gro", containing all of the nuances that will melt the facepaint off of any unsuspecting metal warrior. Yet, KRAFT displays an experimental side to the outfit that allows the tribe to color outside of the lines for a bit before returning to the smoldering bass lines, enormous drums, and frenzied guitar work of tracks like "Unholy Water". Vreid successfully turned its tragedy into a musical triumph, and any black-metal fan would be proud to crank this beast from their speakers.
-Mike SOS

YYRKOON
OCCULT MEDICINE
THE END
Hailing from France, Yyrkoon's brand of unremorseful metal successfully blends extreme metal's melodic side with the heavy hand of death and black metal, making this 11-track album a metallic triumph. Imagine the brute power of Cannibal Corpse with the melodic prowess of VULGAR-era Pantera mixed with the teeth-rattling ability of LOW-era Testament for an idea of how this quartet pounds out its brand of potent heaviosity. From the sick breakdowns in songs like "Blasphemy" to the masterfully macabre feel of tracks like "Reversed World" to the warlike waves of terror that songs like "Trapped Into Life" bring on, Yyrkoon seem poised to set the metal world on fire with its glorious brand of savage music. If you're searching for the next big thing in blasting metal, Yyrkoon may just be the band you're looking for.
-Mike SOS

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