MAY 2004 CD reviews (listed alphabetically)

46 SHORT
JUST A LIABILITY
GO-KART RECORDS
So Circle Jerks are still influencing bands, eh? Crazy. That's certainly not a bad thing, seeing how every "punk" band that comes to the attention of kids these days have never heard a single note of theirs. Well, here's one band who has—and is putting it to use. 46 Short is a fresh example of that great, simple, up-tempo excitement that will, hopefully never die. With 14 tracks of straight-ahead punk rock and a hidden track (#46—go figure!) of some classic punk rock puking 'n' flushing, it's good to know the kiddies out there now have something cool to refer to.
-Jasten King

69 CHARGER
TRASH DELUXE!
STARDUMB RECORDS
Coming out of the Netherlands, 69 Charger belts out their own brand of rock 'n' roll that is infectious and in your face. Astonishingly, the album makes you feel like you are at a show watching them play live. The energy is incredible, and it comes through with songs like "Girl" and "Stranded". This album makes me imagine sitting at a bar sipping on a beverage disenchanted, because the last band sucked and then hearing 69 Charger begin to play. Then, to your surprise your foot starts tapping—even if their genre is not your favorite—and then you proceed to have another drink, accompanied by rock 'n' roll.
-Jennifer Moncayo

100 DEMONS
100 DEMONS
DEATHWISH
Meet Connecticut's meanest musical offering since Hatebreed. Just about every review you'll ever read on 100 Demons contains the word "brutal," describing either their punishing sound or the way ears feel after being inches from the speaker on maximum volume during the entire ninth listen. I wouldn't bring it to a Cub Scout meeting or a sorority mixer, but the sound will be at its peak bouncing off grimy basement walls (where the true metalheads live, anyway). Maybe I yawned through the 40-second intro of water dripping on a faint six-string strum, but as the 43rd second struck, the guitars growled and exploded, with the double-bass thundering alongside like a snarling Doberman. Pete Morcey roars out through a sandpaper throat, "I'm outta time / You can't save me." This is "Time Bomb", the first of nine songs that had me banging my head and pumping my left fist out the window as I looked for someone to grab and scream at. The album maintains ferocious intensity all the way through finale of "Never Surrender Virtue". Ah, heavy music lives.
-Thomas Murray

1349
BEYOND THE APOCALYPSE
CANDLELIGHT
1349 is a Norwegian black-metal clan whose sophomore aural attack bludgeons and brutalizes, ultimately scaring the crap out of you. Never mind the facepaint, the spiked wardrobe, and the overall demonic appearance, after just one listen of BEYOND THE APOCALYPSE, you'll think that evil really exists. Slamming over your skull like a satanic steamroller, these nine tracks are a true homage to the salad days of black metal, when riffs and drums pounded faster than hell, as lyrical subject matter praised the devil were spewed forth over it all. Just check the goth-gone-wild pace of "Perished in Pain" or the ominous intensity of "Internal Winter" for proof that 1349's pulverizing program of black metal is quite the evil entity without being contrite or overwrought. Definitely worth a spin to those who dig Cradle of Filth, as well as those who need to be reconverted to metal. website
-Mike SOS

ALBERT REACT
CONFLUENCE & SCRAPES
EULOGY RECORDS
After a couple years, genres become popular and eventually clichéd. Bands jumping on the bandwagon ultimately water it down, forcing everyone involved to search for something fresh. Pennsylvania's Albert React is aware of this fact, and despite being linked to Thursday and At the Drive-In by some critics, they manage to put an original spin on an exhausted genre. The chords will sound familiar, but all in all Albert React is surprisingly fresh, doing their best to avoid the death/fire imagery that has plagued music recently. Songs like "July's Memoir" blend throaty guitars and offbeat drumming with light screaming and elevated vocals to make a hell of an impact. Granted, Albert React has a slant similar to many bands currently sold at your neighborhood record store, yet it is the subtleties that are endearing, and they should not be overlooked.
-AC Lerok

ALL STATE CHAMPION
IS IT NOTHING TO YOU
FIVE ONE INC
All State Champion display all of the faculties of an '80s indie punk band, aptly shown on the outfit's latest, 10-track release. Tracks like "Regret's a Bitter Taste" swirl around like Fugazi meeting At the Drive-In at a Thursday show, highlighting the band's deeply intriguing guitar work and intense screams from far away that lead up to fascinating musical crescendos. This Canadian quartet's seriousness shines through on songs like "Sinking Ship", using dissonant rhythmic rumblings to hammer its point home, while tracks like "Work Is Killing Me" display the band as a unbreakable unit, complete with a driving rhythm and group choral vocals. Emphatic and emotive, IS IT NOTHING TO YOU is bound to sweep you away from the mundane and into the tumultuous yet elegant musical landscape of All State Champion. website
-Mike SOS

ANTERRABAE
SHAKEDOWN TONIGHT
TRIPLE CROWN RECORDS
Without mentioning the press materials that accompanied this record (which should be viewed by everyone as an exercise in self-gratification), I will say that it deserves listening. Anterrabae avoids the typical hardcore structure that has become stale, choosing to drive toward the chaotic, heavy writing style that endeared so many of us to Norma Jean and Every Time I Die. By no means am I drawing a parallel. Whether Anterrabae can measure up to expectations is left to be seen. However, with SHAKEDOWN TONIGHT they definitely put their best foot forward. Tracks like "Clever Shoplifting Tactics" really put foot to ass, combining the best parts of everything we have come to love about hardcore while still maintaining originality. The double-bass on "Ready Set Explode" hits like a fucking truck, a throwback straight to The Black Dahlia Murders. Pick it up.
-AC Lerok

ARIEL KILL HIM
IN THE PYRAMID
EYEBALL
Ariel Kill Him isn't a band as much as it's a songwriter and producer working together as one entity. The project's members hail from Sweden, and the 10 tracks that comprise IN THE PYRAMID display the kind of European pop/rock sound on today's musical landscape. There are a lot of devices used during the recording that give off a larger-than-life vibe from Ariel Kill Him, from the electronic drum beats to the shimmering effects on the guitars and instruments. The songwriting and arrangements sound like an offshoot of Smashing Pumpkins meets Onelinedrawing, as the stark acoustic guitars collide with the technology of the studio quite a bit here, making interesting contrasts throughout the disc. If you like adventurous, very-produced music, then Ariel Kill Him should fit nicely in between your Coldplay and Jeff Buckley albums. website
-Mike SOS

ASKELETON
ANGRY ALBUM -OR- PSYCHIC SONGS
GOODNIGHT RECORDS, INC.
Askeleton's ANGRY ALBUM -OR- PSYCHIC SONGS is a one-man show, Knol Tate, and is primarily created around keyboards, distorted vocals, and anything else Tate can do to slickly engineer his music. Tate also has a brother, Erin, whose percussion contributes to most of the human-meets-robot tracks ,such as "The Future" and "Untitled No. 4". There are a lot of videogame sounds going back and forth, and the beats are often stiff. ANGRY ALBUM -OR- PSYCHIC SONGS is, however, spacey enough to enjoy. It just takes a little getting used to.
-Darren Ratner

AUDIO KARATE
LADY MELODY
KUNG FU RECORDS
As Art Barrios's voice cracks and warps around his words, Audio Karate hits its stride on the line between hardcore and post-rock. The songs are as rage-feeding-catchy as …Trail of Dead and At the Drive-In ever were, and the similarities are welcome—even if the Fugazi adoration is a bit heavy-handed at times. Disjointed song structures and melody consciousness breeds some of the best songs of the band's career and a kick in the sack to a Warped Tour lineup, who'll have a bitch of a time keeping up.
-Rob Macy

AVOID ONE THING
CHOPSTICK BRIDGE
SIDEONEDUMMY
Working the fundamentals seemed to be the theme for CHOPSTICK BRIDGE, but "Next Stop Is the Last Stop" is the apex into a better second half. Deeper structures and interesting riffs and bass lines provide for better songs to carry the deft lyrics of singer/bassist/Boston landmark Joe Gittleman. The blending of his vocals with guitarist Amy Griffin makes for some haunting, X-nodding moments. While the lyrics are not as inspired as earlier material (chiefly provided by Gittleman), signs of a cohesive unit and the willingness to take risks (see the country segue "The Airplane") find the band branching out further in the future.
-Rob Macy

AVSKUM
PUNKISTA
PRANK RECORDS
PUNKISTA is a rockin' fucking album. The brutality and purpose of political hardcore permeates their attack. Lead singer Gunnar is a hard throat singer, like Lemmy with an L.A. hardcore screech. The subject matter is the evils of war, economic power, terrorism, and racism. Hakan (ax), Jorgen (bass), and Pyri (drums) have a thick, on-fire attack. The group is brutal but stays totally in control, rockin' and riffing, tearing it up. My pick for track of the disc would be "State Terrorism". In their home, Sweden (some of the cuts are sung in Swedish), Avskum is a legendary outfit, raising a hard fist since their 1980 formation. PUNKISTA is a great CD. I can't rant enough. A+.
-H. Barry Zimmerman

BELOVED[US]
THE RUNNING EP
SOLID STATE
Mmmm, Beloved[US], the North Carolinian outfit that defies all the limits of hardcore. Combining melody, singing, screaming, breakdowns, driving riffs, and various other elements, the band made an unavoidable impact on the hardcore scene with the release of its EP FAILURE ON. Now, its label Solid State is re-releasing the bands first EP, which was done completely DIY during the band's humble beginnings. Fans who can brag a longer-running devotion to the band will be completely familiar with some songs on THE RUNNING EP, including "Kiss It Goodbye", "The Blue Period", and "The Aftermath". These three songs were downloadable online for a long time, even when hard copies of the EP were hard to find. Now those three, as well as two other songs, are available for everybody to enjoy—which they surely will. Don't be afraid: all the same winning elements to Beloved[US]'s sound were there at the beginning, too. website
-tChow

BLACK DREAM
UNFORGIVING TIMES
ALL RIGHTS FUCKED
The production value for this album is atrocious. The vocals are too low. The drums are too tinny. During choruses, the guitars completely drown out the lead singer. A better production value wouldn't make this easy on the ears, either. The brand of rock Black Dream brings to the table is generic and bland. This is the kind of band who plays shows on the weekend for fun and who play the occasional fair. This is the kind of band that plays in a college dive bar where the patrons are more interested in socializing and getting drunk than the band on stage. Don't waste your time seeking out this release. It's boring and worth ignoring.
-Dane Jackson

BLOOD AND TIME
AT THE FOOT OF THE GARDEN
NEUROT RECORDINGS
The new release from ex-Neurosis bandmates Scott Kelly and Noah Landis is slowly becoming the standard for all things deliberate and dull. From the opening notes, this album moves at a pace that a drugged snail would find lethargic. I thought I was listening to the soundtrack from BANG THE DRUM SLOWLY until the plodding bass kicked in. A guitar player with arthritis and a crippled hand could play the riffs on this disc. This might be considered rock by someone who exists on a diet of reds and Valium, but the rest of the world will sleep through these tracks. There is one "song" where this style works, as Kelly recites some dark poetry over slow, distorted synthesizers. It sounds like Thor meets CLASH OF THE TITANS, but much like The Moody Blues pretentious poems, it works. All in all, a funeral dirge would be considered an upbeat ditty on this album. website
-DUG

BLOODY & THE BASTARD CHILDREN
A TRIBUTE TO BLOODY F. MESS
BLACK & BLUE RECORDS
I have never heard of any of the bands on this collaboration album before I received it in the mail. Now I know who they all are, because I have been playing it non-stop in my car CD player. There are 25 songs on this disk, and you couldn't really ask for anymore. Well, maybe you could. It was that good. If you're a fan of old, fast punk, then this is definitely worth a few minutes (hours, really) to check out. A couple of the songs on the album were a little odd, but hey, I'm odd, and that's what I live for. If I wanted the mainstream shit, I would turn on MTV.
-Ian Wilkins

BLUE SKY MILE
SAND ONCE SEAS
INITIAL RECORDS
To Saves the Day: this is what your latest crap release should've sounded like—complete with the depth of the lyrics, the charming riffs, and even Chris Conley's voice. Their lead singer, Jerry Kansky, IS Conley, but tuned down a couple notches and then some...which equals love. Hopefully for him, though, he won't get into puberty AS he's growing older and keep his voice that way. To Blue Sky Mile: your bio claims that you guys are "providing a common ground between current faves like Thursday, Thrice…and melodic hardcore classics…." Fools! You guys are indie-POP—and you should be damn proud of being the only ones who can pull it off so flawlessly.
-Mabel Lam

BLUE-EYED SON
WEST OF LINCOLN
EENIE MEENIE RECORDS
This album is very mellow and Weezer-like, with several accompanying instruments to create a multidimensional layer of calming sounds. The band exudes an acoustic appeal with some bubbly riffs that make you want to bounce your head from side to side like you are watching the Muppets. The album maintains a sense of tranquility, although it varies it with some upbeat songs. The album has a very surfer-bum feel (whatever that means).
-Jennifer Moncayo

BRIGHT EYES/NEVA DINOVA
ONE JUG OF WINE, TWO VESSELS
CRANK!
Say hello to the first truly split EP. Bright Eyes and Neva Dinova are two completely separate bands—and will remain so, except for on this new EP from Crank! appropriately titled ONE JUG OF WINE, TWO VESSELS. The all-new songs were written both by Oberst and Bellows (frontmen from Bright Eyes and Neva Dinova, respectively). When it came to recording (which they did together in various house basements), they took turns doing guest vocals on each song, while the music was played by members of either band. While this is not only a true collaboration, it is a truly fantastic one. The songs feature elements of both bands, from the indie-rock orchestral tunes of Bright Eyes to the full and warm sound of Neva Dinova. website
-tChow

BROKEN SPINDLES
FULFILLED/COMPLETE
SADDLE CREEK
Many of you indie-rock aficionados may recognize the name of Joel Petersen as the bassist for electro-dance machine The Faint. Broken Spindles is Petersen's solo project. Without even hearing the first note off the new album FULFILLED/COMPLETE, one can predict the synthesized brilliancy the album will contain just from an educated assumption based on the credibility of The Faint. With a complete listen to the 10-song release, it becomes clear that the same electronic genius present in any Faint release is definitely there. It also will open the listeners' eyes to a completely different use of electronics. Broken Spindles first came about as a soundtrack for a friend's video piece, and this origin is completely evident in the new album. The ambient tunes, the occasional haunting vocals, and the heavy use of piano all lend to a very art-film-like feel. website
-tChow

BURN YOUR WISHES/THE AWARDS
SELF-TITLED SPLIT
MILK & COOKIE RECORDS
Two wrongs may not make a right, which can be extrapolated out to: two shitty bands don't make a good record. And that's the lesson learned from this split. Hard-rock, moody emo music may be taking over the world, but that doesn't mean I have to stand for it! Burn Your Wishes are from Boston, and The Awards are from Quebec City. I just don't understand the appeal of their pseudo-emotional power ballads. Do they want my sympathy? Do they want me to rock out? They will get neither! I have no sympathy for them, and I have no desire to move my feet—so I have no use for them.
-chad

BUTANE
BUTANE
DEAF CHILD AREA RECORDS
Butane is all over the place. The songs will be funny/cute, and then the next song will be in your face ready to hook it up. Opening tune "Scooter Club" is a Cheap Trick rocker with lots of fun and "get up and dance" rock ability. Then, track 2, "My Father", is a brutal tune about an asshole dad. I really dig the guitar work of Carmine; he knows a lot of guitar. Butane is a great rock band. A couple of the potential singles are "New Kid", "Sun on My Back", and "Psycho Lunatic" (which is a brick-to-the-forehead rocker). Butane wants to rock your world. Let 'em.
-H. Barry Zimmerman

CADAVER
NECROSIS
CANDLELIGHT
Ah, yes, Cadaver, those death-metal maniacs from the icy lands of Norway. Back to their original moniker (Cadaver Inc. was the tag used for their 2001 Earache disc) and the blast-beat grindcore insanity that made them legends, this band is once again determined to conquer eardrums and nations. While Cadaver Inc. wasted too much time with experimentation and industrialization, NECROSIS is back to straight-up death metal with a nice nod to Hellhammer and Venom (adding out-of-control mania to the mix, of course). It's hard to distinguish one song from the next, as the pace here is completely furious, but it works in a bludgeon-your-annoying-neighbor-repeatedly kinda way. NECROSIS is too sloppy to get serious about, and there's a fitting sense of frolic here (check out the cool death-metal nursery rhyme in "Evil Is Done"). For an unearthly power wank, check out this resurrected Cadaver. website
-Jason Schreurs

CENTRAL CITY TRANSMISSION
INCOMMUNICADO
KAPOW RECORDS
Old-school rock 'n' roll is the first thing that comes to mind. INCOMMUNICADO is a refreshing blend of '60s guitar riffs and multiple genres, ranging from country to punk. This explosive rockabilly band demands notice and full attention, as the tracks break all confines by combining multiple genres and styles to form a unique blend of rock. Guitars barrel alongside the driving drums and melodic tones. There are times Central City Transmission even draws similarities in style from some of today's jam bands. Raspy male vocals are traded off and sometimes harmonized with the mesmerizing female chords. Singer Jacqueline Santillan's vocals are very similar to the new female psychobilly scene while the male vocals are intensely close to Murder City Devils. Classic country and rock 'n' roll guitars deepen the intricate sound as the intense mix of raspy and melodic vocals add to the eclectic mix of genres and sounds. Central City Transmission sticks with no confines and is dictated by no genre.
-Kevin Conway

CHINA WHITE
LIVE CHEAP CD
MALT SODA
The first of Malt Soda's LIVE CHEAP CD series (only five bucks!) showcases China White, the late-'70s hardcore punk band from Huntington Beach, featuring live cuts from numerous shows (including one from the Whiskey in '81) and then two reunion shows with original members vocalist Marc Martin, bassist James Rodriquez, guitarist Frank Ruffino, and drummer Joey Ruffino from '02 and '03. And what's cool is that the "reunion" shows sound just as raw and infused with youthful vigor as the set taped in '81. Also included are some early demos and videos. Some of the standout tracks are "Live in Your Eyes", "DangerZone", "Solid State", and the urgent, chaotic instrumental "Anthem". Word is they're recording a new album due out this summer.
-Janelle Jones

CHRISTOPHER R. COELLO
YOU. I AM YOU
STICKFIGURE RECORDS
Sounding like early-'90s Rephlex or modern-day Planet-Mu, breakbeat specialist Christopher R. Coello concocts a coldly calculated world of skittish breaks and tinny beats throughout YOU. I AM YOU. While he occasionally recalls glacial-patrons Boards of Canada and Plone, Coello's got an ear tuned to melody, and while it's not always the most engaging listen, he's crafted YOU. I AM YOU with enough twinkling melancholy to beautify even the darkest of nights.
-Jason Jett

CLASSIC CASE
IT'S BEEN BUSINESS DOING PLEASURE WITH YOU
SELF-RELEASED
The debut EP from this New York-based quartet is (as Bono would say) "fucking brilliant." With former members of Glassjaw, Blankface, and Sound of Speed, it's obvious these guys have honed their musical chops to a sleek, razor-thin edge. With tight lyrical harmonies, blistering guitar, and unique songwriting that spans the alt-rock genre, this band definitely has what it takes to become the biggest thing to hit CBGB since The Talking Heads. There are far too many bands on the market today that sound alike and couldn't write a creative tune to save a life, but Classic Case is the real deal, with rock that reaches for the stars and pulls down a couple of galaxies. The six songs on the advance EP copy I received actually have one extra tune, "Buildings", that is not on the five-song EP available from the band's Website. Check out this terrific band at website .
-DUG

COLONIAL EXCESS
LIFE AT THE BOTTOM RUNG
CEREBRAL STUDIO
The surrealist cover art of LIFE AT THE BOTTOM RUNG would lead to you believe there's some crazy, possibly Elephant 6-inspired madness housed within its walls...but boy, would you be wrong. Rather than mow you down with celestial waves of psychedelica, Colonial Excess bore you to tears with repetitive, sample-based works that plod out halfway through their paltry run times. It's not a complete loss, however: the jazztronic "Branding Iron" is mildly amusing, a genteel amalgam of Miles Davis cool and boho revivalism.
-Jason Jett

COREY LANDIS
FEAST OF SCRAPS
URBAN MYTH RECORDINGS
Born on the day Elvis Presley died, Los Angeles-based singer/songwriter Corey Landis joins the ranks of great troubadours like Warren Zevon and Tom Waits with his debut solo full-length. All 11 songs were recorded at home, mastered by Landis, and picked up by the Canadian indie label Urban Myth Recordings. The accompaniment consists of keyboards, the occasional guitar, and once in a while some overwrought percussion. The real instrument is Landis's voice, as he belts out semi-comic lyrics that would be poetry if they didn't rhyme. Well, maybe the hidden track, the "I Will Fuck You" song, wasn't very poetic, but great songwriters are few and far between. The only real drawbacks to this disc are Landis's own overproduction of some of the songs and a few of the scratchy background noises. Like troubadours of old, his dark, ironic lyrics work best against a minimal background of the lone piano or a single acoustic guitar. This is an artist who can dominate any small venue and who should be recording gems like this in a much better studio than his living room. website
-DUG

CRIONICS
HUMAN ERROR
CANDLELIGHT
As I was listening to HUMAN ERROR, I got a great feeling because I heard traces of Dimmu Borgir's old days within the mix of speed picking and blast beats. One of a surprising number of great metal bands to come out of Poland lately, it appears Crionics is wasting no time with the usual metal songwriting techniques and is instead combining the wonderful synthesizer work of Waclaw Borowiec with the interesting guitar play of Michal Skotniczny into a band great for fans of Yattering and Behemoth.
-Zac

DESCENDENTS
COOL TO BE YOU
FAT WRECK CHORDS
Descendents are like a fine wine or piece of cheese, because they only get better with age. Unlike most bands who start to gradually suck, with COOL TO BE YOU, Descendents release an album that is just as good—or even better—than any of the band's other releases. The songwriting is a bit more mature now, dealing with issues like death and politics—plus, the toilet humor and songs about love that any Descendents' fan has grown to appreciate also make an appearance. This may be a bit premature, but I have no problem calling COOL TO BE YOU one of the best five albums of the year. These guys have been around so long for a reason. Pick this disc up and listen to them school some of the younger kids in the scene.
-Dane Jackson

DESOTO REDS
HANGLIDE THRU YER WINDOW
FLOATING MAN RECORDS
Welcome to the wacko world of Desoto Reds. HANGLIDE THRU YER WINDOW truly epitomizes the word "alternative," carrying on such circus-act tunes such as "Hot Air Balloon", "Allowed Loud", and "Howells and Jowells". This isn't much of change since the group's PREPPY FREAKOUT VOL. 1 and VOL. 2. With so many crazy synths and sways, tweaks and twangs and clashes and clangs going through it, it's surprising Ringling Brothers doesn't pick this up. HANGLIDE THRU YER WINDOW is not a bad album, just…interesting.
-Darren Ratner

DIRTSHAKES
RETURN TO BOOMSFEELDELIAH!
VALUE RECORDS
This album is a CD anthology of their previous vinyl recordings. It also includes eight videos for your computer. The videos are pretty cool. They're like German stock footage from the '60s of, like, go-go girls dancing in front of machines. There's also some live footage of the band. Dirtshakes are from Germany and have played shows with The Supersuckers and Groovie Ghoulies. Dirtshakes are really good. They remind me of The Ramones and Mudhoney, more or less. And they cover The Angry Samoans. They just seem to really understand rock 'n' roll, and they bash it out, and they're great. "Black and White" is a really good song. I recommend checking them out.
-chad

DISMEMBER
WHERE THE IRONCROSSES GROW
CANDLELIGHT
Well, as far as far as true and pure Scandinavian death-march metal goes, this is pretty much the culmination of it right here. Dismember has been around since 1988, and they have constantly proven themselves as the metal veterans that they are. Truthfully, there isn't a whole lot to say about the album. If you own any other Dismember albums, you'll know they're not breaking any new ground—but it doesn't matter, because it's the sound that fans have grown to love. So if you're in the mood for heavy, crunching guitars, tough vocals, and insane drumming, pick up WHERE THE IRONCROSSES GROW.
-Zac

ENSOPH
OPUS DEMENTIAE ET IN DENIGMATE
CRUZ DEL SUR
Ensoph is weird. To begin with, they wear dresses and gas masks. Second, they're from Italy—a country practically devoid of creative production over the last 50 years. And they have a flautist. And they play "gloomy avant-gardism" (or so says their Website). OPUS DEMENTIAE is their first international release. Don't be fooled: it's not groundbreaking. A dark hodgepodge of cheesy industrial schmaltz, electronic annoyances, and some not-so-heavy heavy metal with a vocalist that sounds more like Tom Jones than Glen Benton of Deicide, OPUS leaves the listener feeling like Cradle of Filth might actually be the great band they claim to be. It's the kind of synth-laden bullshit that Europe's been shitting out for years now, and I'm sick of it. Recommended for masochists looking for a good night alone or fans of the new Amorphis crap.
-jcak

EVERGREEN TERRACE
WRITERS BLOCK
EULOGY RECORDS
Cool idea, awful execution. This is a cover album of mainstream stuff from the '80s and '90s. I like the idea that they are covering stuff they probably actually listened to 10 years ago and not playing the punker-than-thou, how-obscure-can-we-get game, but that's about the only positive point. Evergreen Terrace's growl/scream is maintained, which does not work with the songs they've chosen to cover; it only serves to completely throw off the timing of the songs. Thankfully, in the background there is a supporting vocalist singing, which allows the songs to be recognizable. Not only does the pop filtered through hardcore not work, but the butchering of the songs also extinguishes any heart in the original material, especially with "Sunday Bloody Sunday". The last song is an original—and the only track that doesn't emanate cross-genre discomfort.
-Erika Owens

EXODUS
TEMPO OF THE DAMNED
NUCLEAR BLAST
The band that taught you the "Toxic Waltz" and gave us the most inspirational version of "Low Rider" since Cheech and Chong have returned on the scene—undoubtedly, skeptics will say, to cash in on the current wave of the revival of metal. Yes, we're speaking of the Bay Area thrash unit known as Exodus. Yet, if you think the band is just calling this album in for the sake of a reprise, think again. The quintet's latest, 10-track studio offering (the band's first in 12 years) is a scolding surprise, as tracks like "War Is My Sheppard" and the twin guitar assault of the title cut are indicative that these forefathers of the extreme haven't lost a step when it comes to writing thrash metal anthems with balls and bite. Tracks like the riff-a-licious "Culling the Herd" and the churning "Sealed with a Fist" as proof that these guys have not only still got it, but they've raised the bar when it comes to producing breakneck thrash metal. TEMPO OF THE DAMNED displays a band that has retained metal's crisp crunch and aren't afraid to unleash the relentless assault on the metal masses. website
-Mike SOS

EXTERNAL MENACE
THE PROCESS OF ELIMINATION
DOCTOR STRANGE
Raw, blistering sounds from Scotland attacking and bringing the rise of old-school punk back on the map! External Menace will grab you by your throat and insert their guitar chord directly in your ear, letting the sounds off of THE PROCESS OF ELIMINATION permeate your dilapidated brain. This 1998 re-release is a necessary addition to punk-rock junkies! Although the track titles are somewhat typical and lacking originality (e.g., "This Country", "Don't Conform", and "Society"), each song stands on its own in creating a brilliant interaction with old-school punk (think early GBH, DOA, and The Ruts) and new-school motives. Listening to this CD reminds me of how much I love true, raw street punk, rather than that screaming montage that has flooded the scene. Bust out your '80s studded jacket and grab some paint. Add External Menace to your collage of punk greats. website
-Courtney Riot

FEELING LEFT OUT
ONCE UPON A TIME
LLR RECORDINGS
Northern New Jersey's Feeling Left Out have a good thing going with ONCE UPON A TIME. It looks as if this duo takes some random Pink Floyd experimentalism (which is quite clear from the opening intro's ticking clock and radio static) and blends it in nicely with emo acoustics. The album has a solemn feel to it, but it remains fevered in its emotional delivery and overall arrangement. ONCE UPON A TIME makes Feeling Left Out a twosome worthy of some spotlight. Hell, the album drew me in from the get-go.
-Darren Ratner

FINAL WORD
FOOLS LIKE YOU
INDECISION RECORDS
I'm not going to mince words here: this record sucks. Each track sounds identical to the one before it. The lyrics are chanted, which is just annoying instead of delivering the effect the band is looking for. There is no subtlety. There is no talent. I am glad it was only five songs, because if it were any longer I would have cut my headphone cord straight in half. I can't even make a joke out of it—it just blows.
-AC Lerok

FLOWERS IN THE ATTIC
S/T
REPTILIAN RECORDS
It's hard for me to really define this six-song EP as music; it's more like noise and distortion. This group from Baltimore tries unsuccessfully to come off as a crusty throwback hardcore/punk band. Instead, Flowers in the Attic leaves the listener confused and wanting more. The guitar work is monotonous and droning. The singing (by vocalist Rebecca Burchette) is more like a weak attempt to sound as tough and as hard as possible. The way the vocals sound on this EP, it almost sounds like Rebecca is going through agonizing pain. Whatever. Regardless of my personal feelings, Flowers in the Attic claim to be an authentic throwback to early punk bands like Born Against and Spitboy. So, if you like that stuff, you might like them. I, on the other hand, don't.
-Dane Jackson

FOR STARS
… IT FALLS APART
FUTURE FARMER RECORDINGS
This is a pleasant, sweet, and low CD of atmospheric indie pop with vocals so restrained that they're nearly whispered. It is a dark and mysterious journey wrought with emotion etched out in the stark lines of sparse arrangements. Somewhere, out there in a land of lonely nights, this album is right now burning itself into the soul of someone tortured and alone.
-Tom "Tearaway" Schulte

FRANKLIN FOR SHORT
IN THE DARK
STEREO TYKE RECORDS
This trio has a great sound that fuses electric guitars and drums with an acoustic guitar to create a pseudo folk/indie rock hybrid. Not only are the songs on IN THE DARK arranged with precision, but they're also extremely poppy and catchy. Plus, unlike most albums that have one or two great songs and filler, IN THE DARK is filled with one infectious tune after the other. My only complaint is that, at times, the drums become hard to hear. Other than that, Franklin for Short's IN THE DARK is flawless. This is for fans of both acoustic music, as well as for fans of music acts like Ben Kweller, Modest Mouse, and Frank Allison and the Odd Sox.
-Dane Jackson

FUCKED UP
EPICS IN MINUTES
DERANGED
> From the opening chords of "Color Removal", you can feel the punk rock ooze from the pores of the five humans which comprise Toronto's Fucked Up. Straying from the mall-punk motifs and instead getting real, ugly, and really ugly, EPICS IN MINUTES isn't for the kids who get their hair colored at Supercuts and wait with bated breath for the next Offspring record; Fucked Up is for the angry, desolate, and mistreated youth who need to vent all of the frustrations of having your eyes wide open for the very first time. This 21-track collection chronicles the outfit's brief yet potent career and includes demos and a live radio gig that shows the band's bravery in sharing an unfortunate outing. If you enjoy smash-mouth punk rock like Zeke and The Bronx, you'll find Fucked Up interesting enough to warrant a few listens. website
-Mike SOS

GIVE UP THE GHOST
YEAR ONE
BRIDGE 9
Give Up the Ghost is one of the East Coast's brightest hardcore bands today, and as we look back on the outfit's career—thanks to the 16-track retrospective YEAR ONE—we see how this crew developed. Included in this collection are GUTG's two out-of-press EPs, plus a kick-ass cover of MC5's garage-rock classic "Kick Out the Jams". If that's not enough seething hardcore for you, then check out the exclusive three-track live offering taken from the BBC (that's in England, people). YEAR ONE is a must for fans who have just latched on to the infectious venom Give Up the Ghost spew forth. And if you adhere to the old-school hardcore mentality, this release is a must-have. website
-Mike SOS

GRAVY
FOURTEEN
ROCKWOOD
Gravy's bouncy rock delivery smacks you in the face with cleverness from the opening lines of "Girlfriend", where the lyric proclaims that the band "got a drummer, but he wants to sing." From there, this NYC quartet's straight-ahead, pull-no-punches brand of rock stays the course by laying down the perfect amount of riffs and heartfelt emotions to knock a few beers back and shoot some pool to. Tracks like the garage rock flare of "Anatomy" and the sad and lonesome feel of "Hollow Place" run the gamut of what goes down at the local watering hole on any given Friday night, speaking out to Gen Xers in Anywhere, U.S.A. Gravy also display the kind of solid spirit found in the bands like Cheap Trick and Soul Asylum, and even though this outfit can easily be lumped in with tepid acts like Three Doors Down and Matchbox Twenty by possessing similar rock posturing, the hard rocking zeal found on tracks like "New Home" and "Find It" is unmatched by the band's peers, giving Gravy the edge over the usual leftovers. website
-Mike SOS

GRUBSTAKE
GHOSTS OF ARKADELPHIA
NINE MILE RECORDS
Encompassing the quirkier and lo-fi moments of Pavement and Jon Spencer Blues Explosion, Grubstake lay down some very interesting songs on their sophomore release GHOSTS OF ARKADELPHIA. Grubstake's sound is a unique perversion of the blues that is commendable and validated through their grass-roots approach and gritty, dirty lo-fi sound. Most of the songs are fuzzed-out dirges that sometimes take on a hypnotic quality and occasionally employ eclectic instruments, such as accordions, tape loops, and pianolas. The few rocking moments on the record (like "Ballad of Sharon de Paygne") tend to hop like a good Blues Explosion freak out without Jon Spencer's over-the-top wailing. The only dull moment here is the carnival fun of "Circus Song".
-Wally P.

HALIFAX
A WRITERS REFERENCE
NO MILK RECORDS
The first track on this CD, "Sydney", documents the loss one feels when a loved one dies; but from the combination of melodic chords with basic one-two punk drum beats, you wouldn't guess that a eulogy lies beneath the trendy pop-punk beats. Sounding similar to Finch or Rufio, Halifax takes emotional lyrics and a listener-friendly harmony to produce a promising CD. The only catch is that their sound is incredibly trendy right now, like trucker-hat trendy. In keeping with the traditions of trendy emo out there, I bobbed my head to the beats and even sang along with the "hey hey" choruses, proving that yes, this is a catchy and altogether good CD...but hopefully next time we hear from Halifax, they will have let their talent grow past the trend and perhaps into a CD we don't have to hide (behind the Blink 182, of course).
-Carley Charpentier

HARKONEN
DANCING
INITIAL RECORDS
Sharply punctuated by chaotic wails, Harkonen's latest EP, DANCING, gives you a small dosage of their grungy talent. They display a "talent" to churn out repetitive beats all too frequently. Really, if they had a video featuring hot booty-dancers shakin' it so fast that you forget how boring their music is, why, they could easily rise to the status of J Kwon's "Tipsy". To give them some credit, though, the monotony is briefly interrupted by "I'm Taking the Hydroplane to Bellingham", a serene interlude that will make you hella kurr about them.
-Mabel Lam

HASTE THE DAY
BURNING BRIDGES
SOLID STATE
BURNING BRIDGES is your textbook metalcore album—but this is not a bad thing. We have heard it all before. So what? This quintet from Indianapolis has created an album stuffed full of flawless duel guitars, catchy sing-alongs, and well-placed breakdowns. Haste the Day comes off as if they aren't trying too hard to fit any particular genre. The tracks "American Love" and "Breaking My Own Heart" are particularly effective, in the sense that they feel sincere, not just more carbon-copy metalcore love songs we hear so much these days. The only problem I had with this album is the fact that it might be a little too heavy for those who want it melodic and too melodic for those who like to keep it heavy. But if you are looking for something in the middle, BURNING BRIDGES is a good place to start.
-Darren Davis

HELLOGOODBYE
EP
DRIVE-THRU
So much, but so little to say about this five-song EP from Huntington Beach natives HelloGoodbye. Having recently been signed to the ridiculously successful pop-punk label Drive-Thru Records, anybody can make well-founded assumptions as to what HG will sound like. They actually might surprise you a bit, though. There are definitely the same poppy, addictively catchy, and appealing melodies present, but this time they are achieved mostly through synthetic or electronic mediums. With beats entirely comprised synthetically, sounds completely foreign to the organic realm, and a voice that sounds almost unearthly it is so ethereal, one may wonder how the band performs live! But they pull it off. All of Drive-Thru's bands seem to blow up (and they most certainly go pop), but it's arguable, especially in HelloGoodbye's case, that this attainable success is well-deserved. website
-tChow

HERE KITTY KITTY
THIS IS BROKEN
LORELEI
Here Kitty Kitty is a punk-rock trio comprised of two chicks and one dude whose 11-track release scolds the audience with female angst and punk-rock brevity. Sounding like The Donnas after they got dumped, HKK use its three-chord stomp wisely, spewing venomous diatribes over minimalist riffs that illicit bouncing and group choral shouts. Showcasing no shortage of hooks, tracks like the straightforward march of "Unfriend" and the apathetic celebration of "Birthday" manage to stick in your head long after the riffs whiz on by, while the fitting cover of The Runaways' "Do You Wanna Touch" ends THIS IS BROKEN on a high note, truly encompassing Here Kitty Kitty's playful punk-rock punch. website
-Mike SOS

HIERONYMUS BOSCH
HAVIN' FUN, SOUNDIN' GOOD
SELF-RELEASED
When I started reviewing music a few years ago, I never thought I'd hear a surf-rock band from Brooklyn. Well, now I have. These three guys from Brooklyn offer up some garage rock with undertones of surf rock with HAVIN' FUN, SOUNDIN' GOOD. I'm not sure how much fun the band is actually having, but after listening to this eight-track opus of surf rock, you will be. This album is catchy, very poppy, and easy to listen to. I could see a song like "Borg Warner, Four-on-the-Floor" find its way onto a Quentin Tarantino movie soundtrack. If you're afraid this album will only be filled with surf-rock goodness, then check out "The Movie Director". That track adds elements of Blur, The Doors, and garage rock. If you're intrigued with this band, you can listen to their entire album for free at cdbaby.com" target="_blank">website.
-Dane Jackson

HILLSIDE VILLAGE
CLICHÉ FOR THE AGES
STAY AT HOME RECORDS
I can't for the life of me figure out why this band decided it would be a good idea to start off this CD by desecrating The Cure's "Lovesong". I give them points for rearranging it into a punk song; but still, there are certain songs you just don't fuck with. Hillside Village are a quartet out of East L.A. that kick out some competent punk tunes mixed with some metal guitar licks. Hillside Village show a bit of a melodic side on tracks like "Causes & Effects" and the title track. Otherwise, this is pretty up-tempo stuff. See hillsidevillage.cjb.net" target="_blank">website .
-Jude Ruiz

HOLDEN'S CATCH
HOLDEN'S CATCH
GET AROUND
Holden's Catch is a Chicago-based quartet whose musical leanings fall somewhere in the Avail/Hot Water Music/Samiam category, where the music is a distinct blend of subtle yet furious punk rock; and the band's chops have just in much in common with Husker Du as they do Social Distortion. While the melancholic mixture of songs like "Efficient Fixation" have got a semi-British rock stomp on them, the overall feel of the six-track release is likened to a pot full of water just about to boil over from being on the stove too long. Holden's Catch may take a while to warm up to, as the meaty guitar meanderings and atmospheric rhythms won't wallop you from the onset, but once a few tracks seep in your system, you'll feel the dreamy anguish that songs like "Sudden Destruction" delivers firsthand. website
-Mike SOS

HOPE AND SUICIDE/EMMANUEL.7
SPLIT CD
PROTOCOL 1
The first five songs of this CD belong to Hope and Suicide, a quartet featuring current members of Bloodlet. If Botch and Hopesfall were to have a love child, Hope and Suicide would be it. Tracks like "Minimum Wage Playboy" exemplify some strangely catchy guitars and decent vocals. I was definitely surprised by their final track, "Life in the Dirt Rock City", for it dabbled rather unexpectedly in somewhat of a '90s-rock sound. The first thing I noticed about Emmanuel.7 was that they were much more energetic than the previous band. The songs were a blur of Converge-like timing and questionable melodic vocals. Nothing stood out about E7. The tracks sounded the same from one to the next, except for maybe "Folsom Prison Blues", a Johnny Cash cover, which actually worked. If you are into melody, mathcore, or mayhem, fork out 10 bucks for this album.
-Darren Davis

HUMBLE GODS
BORN FREE
SUBURBAN NOIZE
Humble Gods, like most infamous punk bands, have been through its share of hard times, but the recent barrage of death and controversy seemed to have marred the momentum of this long-running LA punk outfit. The band may be deterred by these setbacks, but they remain undaunted, shown via the release of BORN FREE, a 17-track indication that Humble Gods are ready to deal with the unfairly dealt handthe best way possible; musically. Ripping through anthemic numbers that serve as inspiration for the downtrodden and underappreciated while embodying the spirit of the unsanitized punk bands of the '80s mixed with the radio friendly stroke of songs like "Fools Paradise" and "Rescue Me", Humble Gods have found solace by turning to creative forces to exorcise its demons, and in turn, have made a punk record with a sense of purpose. website
-Mike SOS

IN DUE TIME
BACK TO BASICS
STRIKE FIRST
I'm not sure of your tolerance level on moshy hardcore, but mine's pretty fucking low sometimes. It's funny, though, because it totally depends on your mood at the time. I listened to In Due Time's BACK TO BASICS this morning and thought, "What a waste of perfectly good male hormones this is!" But then I slap this puppy on after a hard day of life struggles, and it's really speaking to my suppressed testosterone. This shit makes me want to grow some muscles and get sweaty. Find me a workout bench and some steroids, because I'm primed and ready. The lyrics are incredibly clichéd and done one gazillion times before, but they're perfect listening for my new exercise/kickboxing regimen. Bands like In Due Time really make me wish I was a tough guy without a care in the world kicking sand into some scrawny guy's face. BACK TO BASICS, motherfucker! Respect, compromise, domination, dishonor, and God—it's all here. website
-Jason Schreurs

INSOMNIUM
SINCE THE DAY IT ALL CAME DOWN
CANDLELIGHT
As if there weren't already enough amazing bands to come from Finland, add Insomnium to the list. This melodic death-metal band has somehow written a purely original and wildly entertaining album without jumping from the death and progressive metal genre. The riffs are wildly melodic, and guitarist Ville Friman demonstrates a masterful control of song structure and an unbelievable gift for riffs that bring me back to the glory days of In Flames—and there's more depth to this band. I simply cannot praise this album enough. Metalheads everywhere will eat this one up, so don't miss out.
-Zac

INSTED
PROUD YOUTH 1986-1991
INDECISION RECORDS
Another record for the hardcore completist, PROUD YOUTH features 44 songs from this defunct group of Orange County natives. In their prime in the late '80s, Insted was one of the most prominent positive-message straight-edge bands. This collection of two full-lengths, an EP, their original demo, and five previously-unreleased tracks shows that among classic hardcore acts, the band is still valid, if not highly valued.
-Casey Clague

INVALID
MONSTERS UNDER THE BED
DEMO
When reviewing CDs, I try not to be superficial about things like laser-printer-generated business cards, CD-R demos with select songs from an upcoming release and 30-second song clips, demo surveys, bios that read like junior-high-school biographies on Theodore Roosevelt, street teams, and Geocities Websites. However, all of these half-assed, pathetic attempts at promoting the band and acting "professional" are excellent metaphors for the music. Cheap, lame, and trite. The same old suburban pop-punk band with a bad name and even worse logo writing homogenized songs with clichéd lyrics, and guitar solos that sound like lessons from a Mel Bay book. COME ON! Punk rock is not about going through the motions and trying to make all the right moves, it's about pissing off your parents, rejecting conventional thinking, flipping the bird to pop culture, and fucking having fun!
-Wally P.

JENOAH
MORNING IS WHEN JENOAH WAKES UP
DRIVE-THRU
I'm really confused, but I really like it! The first track off of youthful four-piece Jenoah's new Drive-Thru release begins like an At the Drive-In song. As the song progresses, '80s catchy pop melodies, short-lived screams, and '60s twanging guitars are all introduced. My first impression: What is this?! It gets even better with each song. Some hearty rock 'n' roll riffs are utilized, poppy harmonies are ever present, but always there is an inventive design. You would think that a new Drive-Thru artist would equal all the well-known ingredients for the next big thing, but no: Jenoah proves that Drive-Thru is just really good at picking out winning artists. There are so many uniquely eclectic and definitely singular elements present in Jenoah's sound that it would be impossible to categorize this band into any other title than really good. Find out for yourself at website.
-tChow

JOHNNY ACTION FIGURE
SELF-TITLED
19 NORTH RECORDS
I instantly take a disliking to their main vocalist Brendan Fullman, who has that nasal, whiny, Jordan of New Found Glory tone. As I review CDs, I often jot down words that strike me in the head (like their bouncy beats). The one phrase I got from the track "Victory" was: "everybody go pogo time." Pogo to the gut-wrenching, calling guitar riffs and the answering vocals. This is truly one of the CDs you review where you pray you'll barely make the word-count minimum, since, well, "suck" is just about all you can say.
-Mabel Lam

JUANA MOLINA
TRES COSAS
DOMINO
There's no good way to argue that Argentina-by-way-of-Los Angeles singer/sound architect Juana Molina isn't doing something right. In fact, she's doing just about everything right. Molina, who keeps a roof over her head engineering free-flowing and empyrean sound capsules, has turned a substantial number of industry heads with her subdued and celestial aural arrangements. 2003's SEGUNDO received the praise of ROLLING STONE and THE NEW YORK TIMES, and it was named by ENTERTAINMENT WEEKLY as the best world-music album of 2003. And now, just when Molina thought things couldn't possibly get better, her latest collection of atmospheric and electric shoegaze is receiving a standing ovation from SKRATCH. (It's all downhill from here, Juana.) Although comparisons to Sigur Rós are inevitable, they're not entirely accurate. As TRES COSAS wafts high above the clouds, it transcends genre—not to mention worldly critique and comparison.
-Dave Kargol

KETTLE CADAVER
A TASTE OF BLOOD DVD
HORROR ROCK RECORDS
Well, I can honestly say that this was the most disturbing and horrifying thing I've ever watched. If you get your kicks by watching a guy put fishhooks through his mouth, staple himself, nail his penis to a piece of wood, cut himself open, fight his audience, commit bestiality with a dead coyote, tear a house apart, and show you around his private estate (complete with 10-foot chainsaws), then this DVD is exactly what your collection has been missing. I'm not sure as to how exactly this man was able to do all these things—or how he was even inspired to come up with the ideas for it—but regardless, I believe you should buy this just so you can say you've seen it (if not for anything else). I now lead a different life.
-Zac

KHOLD
MORKE GRAVERS KAMMER
CANDLELIGHT
How hardcore is Khold? So hardcore that this Norwegian black-metal troupe don't even bother to translate its doom-laden lyrics into English. And let's not forget the Godflesh-meets-Bathory musical stance the band takes, a style that may sound a tad disjointed at first, yet really accentuates the bleak, cold feelings the band embodies. Evil, foreboding, and surprisingly mid-tempo (a device which ultimately gives Khold its edge), it's the after-effects of the driving "Dod" or the bone-chilling atmosphere the title track lays down that will frighten the listener more than anything else. website
-Mike SOS

KILLER DREAMER
SELF-TITLED
KAPOW
What an oddity this band is, sort of like a mix between horror punk (AFI, Nerve Agents, Pitch Black, etc.) and late-'80s crossover—not always with the best of results. Moments of Accused-like glory rear their pug-ugly heads sporadically in these 14 songs, leaving me tickled and giddy...but they are too few and far between. When this band stays weird and incomparable, the listening is good. When Killer Dreamer delves into boring, three-chord punk splooge, well, the listening ain't quite as good. Still, as noise-fests like "Gorgomoth" hit the ground running—complete with Blaine Cook (by way of Brian Johnson) shrieks and snarls—it's pure, raunchy bliss. website
-Jason Schreurs

KILOWATTHOURS & THE RUM DIARY
SPLIT
SPANGMAN RECORDS
This is a shoe-gazing indie-rock East-meets-West split CD that features four tracks from Brooklyn's Kilowatthours, four tracks from Cotati's (a small town outside S.F.) The Rum Diary, and one track with both bands. Both of these bands create some spaced-out rock tunes that might appeal to fans of My Bloody Valentine, Three Mile Pilot, or Mogwai. The Rum Diary's best moments come on pulsating (this group performs with two drummers) tracks like "The Electroencephalograph" and "Memory Controls". Kilowatthours get in touch with moody, melodic side on tracks like "Poolside" and "Letting Go". This is a lovely waste of time from two gifted up-and-coming bands. You can stream the album on kilowatthours.com" target="_blank">website/#.
-Jude Ruiz

KYLESA
NO ENDING EP
PRANK RECORDS
I truthfully have absolutely no idea where this band was going with these four songs. Each track would almost sound as if it was about to go somewhere, and then it would turn around again and turn into something completely different. I did not enjoy the contrast of the high screams vs. the low gutterpunk-type screams, nor the very basic guitar work. I can't really compare them to any other band, because I simply have not heard another band quite like them. My only advice to you would be that if you're into somewhat experimental music with an influence based on metal, you might want to check these guys out. website
-Zac

LANGHORNE SLIM
THE ELECTRIC LOVE LETTER
NARNACK RECORDS
Inevitably, Langhorne Slim's brand of offbeat, Brooklyn anti-folk will receive only positive press from critics too quick to toss him into the discount bin of "musical genius"—which really means that he's too weird for most to understand. However, the best criticism I've yet to hear regarding Slim's debut, THE ELECTRIC LOVE LETTER, comes from a friend who listens to Incubus: "This guy needs singing lessons." But more to the point, Slim's urban hootenanny sounds like it comes from the vaults of Elephant 6. He mixes portions of bluesy bluegrass, neo-hippie psychedelica, and a snotty punk spirit to create music charmingly reminiscent of Skip Spence's long-lost underground classic OAR without being overtly derivative. If he can lose the eccentric genius pretensions, one gets the impression that Slim has at least one great song coming, if not a great album.
-jcak

LE CONCORDE
CONCORDE
SPADE KITTY RECORDS
Singer/songwriter Stephen Becker reveals his talent for crafting smooth pop songs on CONCORDE. Becker and his band expand on the sound of their many '80s pop influences, including Prefab Sprout, Psychedelic Furs, and The Dream Academy. The inclusion of piano, harmonica, and saxophone sections develop a new dimension for several songs, keeping the listener attentive. Many indie-rock acts today have an abundance of straightforward pop melodies but a scarcity of complementing musicianship and multifaceted structure. Lush tracks like "People Moves" and "Parallel Lives" show you that Le Concorde are one of the bands that don't fall into that category. Getting toward the end of the disc, I notice a purity and innocence that subtly resonates through virtually every song. It's just a pleasant, reflective sound that leaves you with an optimistic feeling.
-Anthony

LE SCRAWL
EAGER TO PLEASE
LIFE IS ABUSE RECORDS
Germany's Le Scrawl shell out some interesting freak-out grind and manage to put their own unique stamp on it by fusing ska and jazz choruses, even throwing in a little metal. Le Scrawl even throw in demented covers of some De La Soul, Terrorizer, Chic, and The Exploited (although you may not notice immediately, as the songs have had some extensive reworking). Perhaps you're raising a brow trying to figure how they pull this off—and pull this off well, mind you. Well, that's something you just need to hear for yourself. Check lifeisabuse.com" target="_blank">websitefor mp3s.
-Jude Ruiz

LESS
COVER, PROTECTIVE, INDIVIDUAL
FCC
Dark acoustic guitars fill each track of the second album from Less, COVER, PROTECTIVE, INDIVIDUAL. The sorrowful acoustic guitars that are very similar to that found in much of Latin music are accompanied with soft yet wounded vocals. Poetic and unsettling lyrics can be found in several tracks, as is seen in "Motionless": "I recognize these scars from bedsores, not from whips / From lying, not suffering at all / The wind blows and it uproots the trees / Bodies blow like glitter in a breeze / You can dance or you can try to hide / But I know which way I'd rather die." Now, you probably won't be popping this album into your stereo while laying out at the beach discussing fashion tips, or probably not even when you are pumping iron at the gym while pondering what's for dinner—but that's okay. This album is rich, mysterious, and sobering, much how life can be at times.
-Anthony

INCHES
LES SAVY FAV
FRENCH KISS RECORDS
Les Savy Fav is my FAV! Despite the fact there are 18 tracks on this album (plus a killer DVD), Les Savy Fav keeps me yearning for more. Since 1995 the band have released three full-lengths, as well as one EP, but INCHES is the one album the band has been working on since their inception—which is one reason of much this release is so amazing. INCHES is the documentation of the young band's ambitious evolution into the art of music, from oldest material to the present. The DVD includes highlights their dynamic live shows. This Brooklyn quartet brings a new meaning to art-rock, while tossing in heavy bass lines, crashing cymbals, and keyboards that get you dancing. INCHES is out now on bassist's Syd Butler's very own French Kiss Records, an amazing label which encourages artistic freedom—a perfect home for the implausible Les Savy Fav.
-Michelle your Belle

LIFE IN PICTURES
SONGS FROM THE SAWMILL
LIMEKILN
On Life in Pictures' five-song EP, the Arizona five-piece offer up some quality chaotic hardcore replete with intricate dueling guitars, sick drum work, and crushing breakdowns interspersed throughout (see "Red Fall" for a taste. It even boasts a nice little grindcore growl in there amidst the constant screamed vocals). And when coupled with the band's thought-provoking socio-political commentary (as exemplified on "An Aging Monolith", a song comprised of lyrics calling us to action against "death and destruction" caused by "this beacon of injustice and hate" that is the "corporate state," rallying us to "tear it down again, set us free […] from your church, from your state […] from your gods, from your masters [...] Break the chains that confine our lives"), SONGS FROM THE SAWMILL becomes even that much more impressive and essential.
-Janelle Jones

LIL' POCKETKNIFE
PANTS CONTROL EP
NARNACK RECORDS
The S.F. trio known as Lil' Pocketknife specialize in kicking out some old-school hip-hop-flavored rhymes set to disco/hardcore/electro dance beats that will make you want to get up off your feet. Just check the robotic vocals on "5'2"" which comes complete with Atari videogame sound effects and a chorus that boasts "I'm 5'2" and I can conquer you." The disc also features some fabulous artwork from Karen Richter (whom you hipsters may know for her pop-art graphics in The Joggers' "Hot Autism" video). You can find some great mp3s at narnackrecords.com" target="_blank">website.
-Jude Ruiz

LINDSAY SMITH
WERE YOU PROM QUEEN?
FRUITBAT
Believe it or not, Lindsay Smith's engaging album title has a purpose, and it's not to duel Courtney Love for pole position. This classically-trained vocalist actually campaigned for the aforementioned role of prom queen during her high-school years, an event in her life that shapes WERE YOU PROM QUEEN? quite a bit. Ironically enough, tracks like "One Fish, Two Fish", "Apples Red", and "I Don't Like Drinking" of this 13-track endeavor have a light, free feeling, almost like a high-school dance soundtrack. Yet underneath all of the melodic rays of sunshine lie a sardonic wit, a powerful folk rock voice, and some snappy tunes. While from a passing listen you may hear snippets of soothing sounds of Natalie Merchant and the pop sensibilities of Lisa Loeb, there's worlds more going on behind the scenes of this pseudo-folk rock-meets-'80s pop album that requires a keen ear and a sharp sense of humor to appreciate. website
-Mike SOS

LISA DEWEY AND THE LOTUS LIFE
BUSK (BELLA UNION/KITCHEN WHORE)
KITCHEN WHORE RECORDS
The fourth full-length release from San Francisco-based folk diva Lisa Dewey and her backup band the Lotus Life, is full of muscular, female-fronted pop in the vein of Tanya Donnelly and Belly. Though her original songs all start out as folk numbers, the addition of the backup band turns the tunes into dreamy, ethereal melodies that seem to float across one's consciousness. Some of the finest moments on the disc are Dewey's incredible, dubbed backup vocal harmonies. In a live show it would take a trio of backup singers to do what she does on the album. The only real weakness in the album, the similarity of the 10 songs, is also, in a way, one of the album's strengths, as the songs seem to blend together like a hazy memory of a long afternoon. (Dewey is also the owner of Kitchen Whore Records, a West Coast indie label that specializes in unique, uncompromising artists.) website
-DUG

LITTLE FEAT
KICKIN' IT AT THE BARN
HOT TOMATO RECORDS
Someone shoot me now. I don't like apple pie for dessert, and I don't like it in my CD player. Sure, they're very talented and important to a lot of fans, but in 2004 it's simple, scary honky tonk, people! With lyrics like, "I need a night out on the town" followed by a dueling squeezebox and violin solo, I start to picture DELIVERANCE and men squealing like pigs. I ran screaming for as far as I could from the country fair for a reason. This is America at its most evil. Please make it stop!
-Jasten King

LIVING THINGS
RESIGHT YOUR RIGHTS EP
DREAMWORKS
A lot of bands use that old "I'm cool and love The Stooges" card to the end of the road but never deliver. Now, for once, someone has, and it actually shows. Here's an honest version of Iggy with a modern addition of...well, balls. Picture KISS as tough as they were in those comic books…but with a whole lot of balls. Keeping each song pounding and different from the next, Living Things deliver rock 'n' roll in the gritty, evil way it was meant. With Steve Albini behind the tables to get it as swampy as possible, turn it up to 11 and start growing your long, black hair back.
-Jasten King

LOCAL PANIC
THE LEMUR CHRONICLES
SELF-RELEASED
I appreciate honesty. The fact that in their bio Local Panic states that "although the band has been together for six years you might have noticed how little we've accomplished" scores major points with me. These kids are slackers, but at least they KNOW they're slackers. With that, they deliver half-inspired skate punk in the vain of early Pennywise, only with about a quarter of the talent, urgency, and potential that made that band such an incredible force in the '90s.
-FLINT

LUBRICATED GOAT
THE GREAT OLD ONES
REPTILIAN RECORDS
Lead vocalist Stu sounds like a 40-year-old man who has smoked way too many cigarettes. The music is very basic rock 'n' roll, with the occasional grungy/punk twist. Apparently, the band has been touring since 1986, but I've never heard of them, nor has any of my friends. The music is very in your face and recorded in a way that gives it a very garage-rock feel. The sound and name make them the perfect band for a fraternity party.
-ADF

MACHINE HEAD
THROUGH THE ASHES OF EMPIRES
ROADRUNNER
Machine Head's career has come full circle, as the band's latest release is a highly touted return to the band's epic sound. THROUGH THE ASHES OF EMPIRES finds Rob Flynn and company making a comeback to the bruising metal assault that gave the Bay Area band its greatest notoriety, thanks to the band's rekindled approach to songwriting and Colin Richardson expert mixing skills. From the opening drum blasts of "Imperium", the fiery delivery that the outfit sorely lacked in its previous endeavors roars back with a vengeance. Tracks like the momentum-gaining "Days Turn Blue to Gray" showcase the visceral brutality and heavy-handed hooks that made Machine Head one of the more successful metal bands in the '90s. Yet, these songs display a more mature and reflective side of the band. It's those kind of musical realizations that pop up all over this 10-track release, along with Flynn's lyrical exorcisms on "Left Unfinished" and "Descend the Shades of Night", that make THROUGH THE ASHES OF EMPIRES the best Machine Head record to date and allow the outfit to definitively stake claim to the top of the metal realm again. website
-Mike SOS

MAGGI, PIERCE AND E.J.
MAGGI, PIERCE AND E.J.
MAGGI, PIERCE AND E.J.
This post-folk duo has a warm, upbeat sound with an occasional dash of funk. The trio varies its vocal arrangement among the tracks, which keeps things fresh and interesting. (Maggi far and away offers the superlative vocal presence.) This is an excellent CD for a game of Hacky Sack out in the sun with your friends. There is also a nod to the hot jazz revival sound here, as on Scott Young's "Jaded", which recalls early Squirrel Nut Zippers. Then the band swings into solid AAA songwriting with the doo-wop pop of the hip-hop flavored "Mr. Moon". This is the fifth album from the group. They generally go with colors instead of names for their albums, so this is the "gold album." website
-Tom "Tearaway" Schulte

MARC SEAL
4-SONG DEMO
website
Never has a man been more baffled by a review before this one. I sat down, pressed play, and instantly got dizzy. It could have been the four previous days of drinking, but that didn't seem to affect me earlier. The reality that I'm listening to a "guitar virtuoso" play his "compositions" just, well, hurts. Weak, formulaic, well-trained suburban mediocrity is far from impressive to me. This is Journey rock for a new generation of stupid people.
-FLINT

MITHRAS
WORLDS BEYOND THE VEIL
CANDLELIGHT
Mithras is an English death-metal outfit whose 13-track offering has all of the makings of a mighty force in the extreme music realm. Ambient interludes capture a surreal feeling, like the uneasy calm before the storm, anticipating the brutality that follows. And follow it does, as this progressive quartet meshes its savagery with sounds that soothe so well that it sounds as if two separate bands are performing on one disc. If you're a big fan of Nile and its musicianship, chances are you'll truly appreciate the artisan style meets gripping chokehold that the music of Mithras bestows on you. website
-Mike SOS

MODEST MOUSE
GOOD NEWS FOR PEOPLE WHO LOVE BAD NEWS
EPIC
Modest Mouse, Isaac Brock's main band, has added a guitarist and a new drummer, but the members' amazing rapport is undamaged, and the music is as brilliant and fresh as ever. This is 45 minutes of a band fully in its stride and committed to its art. A bit surprising is the lack of even a single song that meanders in that breathtaking MM way. Perhaps that's because this album is (seemingly, at least) their most Cure-influenced ("The View" bears some resemblance to "The Walk"; the drum sounds and pipe-like keys are reminiscent of those on THE TOP; "Float On" (maybe my new favorite dance song) is something Robert Smith would've written had he woken up in Brock's reality)—although they sound nothing like The Cure. Also present are some expected ghosts (most notably of Pixies, as on the percussive and incredibly fun "Bury Me with It"). But as well as MM can incorporate influences in a wholly original way, their uniqueness also breeds songs that seem to come out of nowhere, such as the touchingly compelling "One Chance". And, as always, Brock shows himself to be the most complex lyricist there has ever been (sample: "All them eager actors gladly taking credit for the lines created by the people tucked away from sight is just a window from the room we're bound to. If you find a way out, oh would you just let me know how?"). Additionally, this release boasts MM's most involved arrangements to date, from Brock's multiple background-vocal overdubs (further showcasing his unorthodox self-harmonizing (again echoing Smith)) to incorporating The Dirty Dozen Brass Band to input from recent tourmates The Hackensaw Boys and The Flaming Lips. Modest Mouse is absolutely everything I like about music, and this album is pure Modest Mouse.
-Greggory Moore

MONDAY'S HERO
LOVE CARRIES AN AXE
LUCID RECORDS
As a movement, emo is dead, but these bands keep inexplicably popping up everywhere. Since most emo bands possess about as many distinguishing characteristics as a headless John Doe in the county morgue, critics and fans are left to sort out the differences in the most boring way possible: by listening to their music. Chicago's Monday's Hero is the latest offender, and their unfortunately-titled debut, LOVE CARRIES AN AXE, will undoubtedly impress those rebel-rebels obsessed with Jets to Brazil and The Get Up Kids (i.e., bands that all sound the same). Here's the boring story again: four losers band together in their dorm to whine about how terribly slightly interesting punk chicks treated them in high school. It's the heart and soul of rock 'n' roll wrapped in a striped sweater and faded jeans.
-jcak

MOWER
MOWER
SUBURBAN NOIZE
Mower is an explosive quintet from San Diego whose metallic rap rock attack is, believe or not, as real as it gets. The outfit's latest 13-track release is a slamming showcase of chugging guitars and aggressive melodies with hook-laden choruses that are sure to stick in your skull long after the CD is out of the player. Despite Mower utilizing many of the current and tired techniques of the rap-rock genre (such as the dual sing/scream effect) the difference between Mower and any generic band signed to a big label is that Mower's music is sharp, grating, and ultimately, way goddamned heavier than anything these flavor of the week clowns can muster. Check out the neck snapping "Wrestle With The Pig" or the frenetic pace of "Snitch" for proof. Yet there's comedic elements within Mower as well, deliciously displayed in between songs, when they get a few of the band's "friends" to explain the song's titles or go off into drunken diatribes. In short, Mower's music cuts through all the crap that is usually associated with bands that rap while rocking and instead leaves you with crushing riffs, heavy hooks, and above all, a kick ass vibe. website
-Mike SOS

MUTE
SLEEPERS
MILK & COOKIES RECORDS
Is this a Christian band? (Thanks, Ronnie.) If you go to the Website website, the first thing you notice is that they are looking for a new guitarist. I say they should look for a whole new band. On the cover it says "melodic punk"; it should say "moronic punk." A bunch of stupid drum beats followed by some really lame guitar riffs makes for a really bad album. Look at the name of the CD itself, because that is what it will make you do: sleep. Only thing cool about this album was the packaging, so way to go, press.
-Ian Wilkins

NO HOLLYWOOD ENDING
IT'S ALL A NIGHTMARE
NO MILK
Oh no. This is the worst thing I've heard since Horse the Band. Totally ludicrous post-pube metalcore with sound effects and Casio wanks. Gang shout-outs and relapses into melodic skateboard punk (of all things) only confirm how stupid this band is. What the fuck are they thinking? "Hey, dudes, let's all throw our favorite band names into the middle of the jam space, paste them together, and come out with the shittiest possible combination!" Just imagine The Blood Brothers, Death by Stereo, The Locust, Fearless Records' crap of the week, and Hot Hot Heat melting into an enormous ball of dung. And they have the audacity to claim this will appeal to Maiden fans! You have to be joking! Any self-respecting banger would beat the shit out of these wankers as soon as they pulled into the heavy-metal parking lot wearing their fur-lined jackets. Fuck me for even being in the same room as this piece of garbage. website
-Jason Schreurs

NUMBER ONE FAN
COMPROMISES
PAT'S RECORD COMPANY
Everything about this young indie-pop outfit from Appleton, WI, from their sound to their lyrics, can be summed up into a few words: innocent, approachable, fresh. Their sound is poppy, but not without depth and is characterized by steady drums, melodic guitars, and youthful but skilled vocals. Each layer of the songs combines complexity and talent to comprise simply catchy tunes. The lyrics showcase this innocence, approachability, and freshness (such as on the first track, "Come On": "Don't be afraid of it / Falling in love"); but they also display an unexpected wisdom and maturity (as in "Nothing Will Change": "Don't go away yet / I haven't felt this dead in years / This room's full of people / With drinks in their hands / And nothing but nothing to say"). There's a complexity resonating in this band's youthfulness, which definitely calls to be discovered by dozens of soon-to-be fans. website
-tChow

OPPRESSED LOGIC
ONES THAT CONTROL
BLAZING GUNS RECORDS
In a time of ever-increasing harmonies, melodies, and trucker hats, I was beginning to lose hope that true punk rock would survive the trends. Let's all give Oppressed Logic a big round of applause for surviving the bullshit. Simple screams and group shouts layered on top of hard drum beats and screeching electric guitar riffs make for one hell of a CD (not to mention the carefully selected movie quotes separating each song). All in all, I would say this CD served more as a breath of fresh air and a reminder that punk is a lifestyle, a cause, and one hell of an artform. I would say everyone go out and get this CD and go to their shows—but chances are you would all contaminate it.
-Carley Charpentier

OWNERLESS DOG
SELF-TITLED
SELF-RELEASED
This seven-song EP from San Francisco-based Japanese indie ban Ownerless Dog, is a disc without a country, an album without a soul, or perhaps, a band without a vision. I love sushi, samurai, premium ginjo sake, and all things Japanese…except the huge crop of garage-style rock bands that sound like The Vines singing unintelligible English/Japanese/French lyrics to their weak offerings. To their credit, Ownerless Dog does have one okay song on this disc, an alt-rock anthem titled "Hello Stoner", where the band actually does play some entertaining comedy-rock for about a minute-and-a-half. There are a few good guitar licks on this album, but the overall impression is of a band trying to imitate bad American rock bands from the '60s and '70s. It would be far better for a band to sing in their native language and maybe take a cue from some homegrown music than to rehash crap that was tired when it came out here 30 years ago. On the bright side, they do look pretty cool in their press photos, kind of like an Asian surf-punk band.
-DUG

OXFORD COLLAPSE
SOME WILDERNESS
KANINE RECORDS
They're smart, they went to NYU; they're cultured, they met in London, and they're actually able to transcend any masturbatory art-rock, Anglophile tendencies. At first they sound like Q and not U, complete with "woo woos," but they have less of a Dischord punk edge and more of an NYC "the"/indie band sound, yet they make you want to dance. What? Exactly. It's a kinetic onslaught. With or without vocals, the unremitting drumming and quizzical chords maintain a beat that is frenetic yet clear, and one sure to result in relentless rump-shaking. An indie band from NYC that stands out without essentially being a cover band? That's something special.
-Erika Owens

P36
FALLEN HEROES
SELF-RELEASED
On P36's second album, the guys look within for much of the lyrical subject matter. Extremely insightful and introspective, many songs deal with pushing on and persevering despite hardships and the cruelty of life, as on songs like "Speed Bump" and the interestingly-titled "Tomorrow Was the Worst Day of My Life". In contrast, the extremely emotional "Knight in Dull Armor" is quite melancholy, depicting the narrator as full of pain and kind of hopeless. As usual, there's the requisite brokenhearted love song, "Slot B", but luckily P36 don't dwell on uninteresting, now-clichéd topics like this. These guys do show potential with their melodic brand of punk, as they're young, sound pretty genuine, and seem like admirable songwriters. While FALLEN HEROES isn't horrible, I do believe P36 can hone their skills even more within the next couple years and come up with something that shows just how good they can be.
-Janelle Jones

PAINT THE TOWN RED/RISE AND FALL
WEAPONS
JTTP
Two tracks each from two bands that hit hard. I want more. But I was so impressed by this four-song compilation that I was going to take some string and wear this disc as a necklace. Unfortunately, I already used all my string tying my roommate to the mailbox last weekend. Belgium's Paint the Town Red have been rebuilding the spirits of a down-and-out audience since 2001. Their two-song offering had me deeply ashamed of every accomplishment that's ever been done easily, feeling that the only things worth having are achieved through struggle. Bravo. Rise and Fall is a gift from Munich, Germany. It takes a trained ear to decipher the lyrical growl in "Running Out of Time" and "Give and Take", but once you do, it's worth the ringing ears. Full-bodied questions arise, such as "Where do we go when we've burned every bridge?" and "How can I believe in this world when I've seen it all fall apart?" Look for both full-length albums to be released August 16th.
-Thomas Murray

PARANOIDS
THE PARTY'S OVER
UNSIGNED
Take mod (Kinks), glam (Sweet, Bowie), and top of the line pop melody mastery and rub magic on it, and you got Damon Larson (ax, vox, and songwriter) at the wheel of a fab group, Paranoids. Damon's voice is a little David Bowie, Alex Chilton, Tyson Meade, and a new voice, strong and cool. Not to say that Paranoids is a one-man gig. Bass player and vocalist Jonathon Marquez is picking the low end brightly, and his vocals mold and lead and make the whole work of higher quality. Elliot Kiger (drums) is a pounder with grace and panache. I love bands that sing about being in a band, so, my favorite singles are "Record Store" and "Rock and Roll Toy". The title song is a classic. THE PARTY'S OVER (a five-track EP) is double fab terrif super.
-H. Barry Zimmerman

PECCADILLOES
THE AWFUL TRUTH
SELF-RELEASED
Peccadilloes are a punk rock group from Las Vegas. This album is just a four-song EP, and it's alright. It isn't that spectacular or anything. It sounds like it was recorded fairly cheaply. The vocals sound too loud. I can't imagine it selling in stores or anything. I imagine it's mostly to sell at their shows...so I don't know why they'd want me to review it. Maybe to see their name in print? Hello! They sound like Minor Threat musically with female vocals. I'd check them out live if I got the chance. They have a full-length album coming out in the fall.
-chad

PETER DISTEFANO
GRATITUDE
SANCTUARY RECORDS
My first thought when I pressed "play" on this CD was that this guy's sound is a lot like Jane's Addiction—which is definitely a good thing. With a little further research, I realized that Distefano was once a guitarist for Porno for Pyros (the Jane's Addiction offshoot). On GRATITUDE, Distefano exhibits his own individual talents and musical tastes while holding on to many of his Porno for Pyros influences. This sober album mixes California beach pop with synthesized vocals and screeching electric guitar riffs to ultimately produce a damn good record. It hits store shelves in early May, so make sure to check it out.
-Carley Charpentier

PIEBALD
ALL EARS, ALL EYES, ALL THE TIME
SIDEONEDUMMY
I didn't care much for Piebald when they were relevant, and I can't say much has changed now. It's still four dudes constantly evolving their sound to what's current and fronted by a dude with a slightly awkward singing style that I just can't get into. Not charming and forgivable like Tim Kinsella, not damn awful like that guy from Thursday, just slightly awkward. In a nutshell, this record captures the low points of three bands that I enjoy: J Church, Jets to Brazil, and Ben Folds Five. Just picture DRAMA OF ALIENATION-era Lance singing with ORANGE RHYMING DICTIONARY-era Jets to Brazil accompanied by the now solo Ben Folds on piano. It's not bad, just not interesting. The record comes off as so bland and generic that it seems harmless, but over the course of the album it begins to feel unwelcoming, like an inferior substitute for something familiar and accepted.
-Wally P.

PRO-PAIN
FISTFUL OF HATE
CANDLELIGHT
At first listen, I hated this album, no question about it. These New York metalcore veterans had done nothing for me. I put the album aside. Then two weeks later I decided to give FISTFUL OF HATE a second chance, and it grew on me. Pro Pain is violent, simple, and more core than metal. While their lyrics can sometimes come off as corny, it is always refreshing to see an older band come back after a hiatus and still be pissed. I found myself sheepishly singing along to tracks like "Can You Feel It?" and "Cut Throat". With lyrics like "So, are you sick of me yet? / Because I'm sick of you, too," how can you not find it in you to shout along? Although FISTFUL OF HATE might not be for everyone, it will be enjoyed by those who like it mid-tempo, heavy, and pissed off.
-Darren Davis

PROBOT
PROBOT
SOUTHERN LORD
This may be the metal album of the decade—and the funny thing about it is that it comes from an artist you'd never expect. Dave Grohl, best known as the drummer for Nirvana, head honcho of Foo Fighters, and everyone's favorite hired gun (just ask Queens of the Stone Age and Killing Joke) has compiled an 11-track metal album that brings real metal back into the spotlight. Grohl's pet project is an ambitious endeavor, picking up where Black Sabbath's Tony Iommi's latest solo work left off. Grohl wrote and arranged some kick-ass metal tunes, and, much like Iommi, farmed out the vocals to some of metal's luminary vocalists. The end result is a crushing album that reads like a who's who of metal: Cronos (Venom), Max Cavalera (Sepultura), Lemmy (Motorhead), Mike Dean (COC), Kurt Brecht (DRI), Lee Dorrian (Cathedral), Wino (The Obssessed, Spirit Caravan), Tom G. Warrior (Celtic Frost), Snake (Voivod), Eric Wagner (Trouble), and the majestic King Diamond lend their talents to one of the most engaging metal releases in recent memory. A must-have for any self-respecting metal fan, Probot hits all sects of metal and may garnish Grohl the respect he richly deserves as a true musical genius. website
-Mike SOS

PROOF
S/T
PIDGEON ENGLISH
It has never ceased to be amazing when a band can combine the organic honesty of simple instruments and the complex layers of synthetic sounds. It is truly a daunting task to undertake, but when a band achieves this elusive goal, it makes for a truly interesting and impressive album. Proof is one of those bands. Though their album may not combine the levels of organic and synthetic sound as innovatively and brilliantly as others who have pursued the same idea, it does hold its own amidst similar artists. Similarities can be drawn between American Analog Set, as well as other under-appreciated indie-rock acts. Warm, resonating rhythms, tumbling drums, and a monotonous vocalist all combine to make a likeable sound. website
-tChow

PSYOPUS
IDEAS OF REFERENCE
BLACK MARKET ACTIVITIES
Psyopus is a Rochester, NY-based quartet whose static structures provide sonic salvation for those who crave experimental metal. IDEAS OF REFERENCE liberally borrows from bands like Candiria, Dillinger Escape Plan, and Mr. Bungle, yet the guys in the band strive (and succeed) to go a step further by making the extremes a bit more extreme than expected. For example, take "Death, i...", a jazzy improv number from the onset that turns itself into a screaming, chaotic speed-metal grindfest. The rest of the nine-track album follows suit, as Psyopus throws convention out the window and meshes the craziest parts of extreme metal together for an uneasy yet undeniably interesting listen. website
-Mike SOS

QUARTERLIFE CRISIS
FORGET THE TIME
DEMO
Quarterlife Crisis are a young band from New York. They sound similar to a new commercial rock band like Thrice. The album consists of thundering drums that never cease and guitar riffs to match. The vocals go in between yelling and a rap-type rhythm. Many of theirs songs are dark and discuss one of life's many problems. They possess an immense amount of energy that is always respectable and noticeable on the album.
-Jennifer Moncayo

RAG MEN
RAG MEN
EULOGY RECORDINGS
If you are a fan of Hatebreed or Madball, then don't even finish reading this review—just go out and buy Rag Men's new album. Yeah, it is that good. It's not punk, it's just some hard-core "walk into a bar and beat the crap out of some people playing darts"-type of shit. I have heard of a triple-bass on a drum set, but is it possible to have a quadruple-bass? Is it possible to keep my eyes from bleeding when I hear "Insomnia"? Well, hell, I don't care. All I care about is you going out buying this CD so they can go ahead and make another one album, and then another one. Rag Men have four members in the band, and I am sure they all met in a prison break. Go to their Website websiteand check it out.
-Ian Wilkins

READ YELLOW
RADIOS BURN FASTER
FENWAY RECORDINGS
Read Yellow got their deal at Fenway through the Peter-to-Jesus of grunge, Chris Novoselic. This MA four-piece has merged the new way and the cool way. On a lot of fronts, Read Yellow sound typical of mid-tempo, tough-man-in-black-T rock, but then they add a little of that Boston scene eccentricities (à la The Cars and The Pixies), and...well, man, you got something worth listening to. Some of the candidates for highlight moment include "The Easiest Part of Surveillance", "Model America", and "Modern Phobias". Read Yellow could be next year's breakout band. Keep your eye on the college kids with the loud guitars. RADIOS BURN FASTER could be the start of something big.
-H. Barry Zimmerman

REVENGE SF/DJ SHITBIRD
WELCOME TO THE PARTY
NARNACK RECORDS
One faithful night in San Francisco, members of Coachwhips and Numbers (to name a few) got together, seemingly got trashed, and recorded an album under a ridiculous name. Seemingly, the band was trying to recreate an album that would document just how much fun a mix of drunken debauchery and noodling with various musical instruments could be. Unfortunately, instead of WELCOME TO THE PARTY sounding like a soundtrack to get down to, it plays like joke you seemed to have to be there for to get. Everyone loves songs about partying, but as Andrew WK will tell you, it gets old fast. It's all very fun and kooky, but after a while, who the hell really wants to listen?
-Matt Siblo

R'N'R
THE INFAMOUS AND NOTORIOUS
MANIC RIDE
THE INFAMOUS AND NOTORIOUS is a melting pot of '80s hardcore punk and '70s thrashing guitar licks, finding R'N'R aiming their tuneful guitars and to a mass crowd of diverse souls. With the lyrical and vocal approach screaming hardcore and the delightful guitar complexity replicating the AC/DC style, R'N'R are one of those bands that are shockingly overlooked. This 10-track CD has a little something for everyone. From the hardcore enthusiasts to punk-rooted fanatics to long lost rock 'n' rollers to metal headbangers, you won't be disappointed. Allow yourself to enter a new spectrum that is best stated as R'N'R. website/rnr
-Courtney Riot

ROBOTS IN DISGUISE
SELF-TITLED
RECALL RECORDS
What is better than two British girls singing smooth synth-pop songs? The answer is: two British girls singing smooth synth-pop songs while Chris Corner of Sneaker Pimps programs the drum machine. Sounding like something straight off of a movie soundtrack, Robots in Disguise provide very ambient and melodic songs that will get you humming along. Sharing similarities with Azure Ray and Rilo Kiley, Robots in Disguise still manage to carve out a unique British electronic sound.
-ADF

RUE
SELF-TITLED
SELF-RELEASED
What the world doesn't need now is another fashionably questionable, female-fronted modern rock act...yet, that's exactly what Rue deliver on this self-titled EP. They've got good intentions, but if the history of rock 'n' roll has taught us anything, it's that good intentions are enough to drown a band in their own mediocrity. Think Heart, only smarmier and without the killer hooks, and you're getting close to what Rue's shoveling.
-Jason Jett

RUNAWAY ORANGE
THE CUTTING ROOM
NO MILK
A good emo record will give you that feeling in your gut when the deranged, heartbroken singer recites that line that you swear was written for you. Runaway Orange's THE CUTTING ROOM has no such moments. I did not believe a word this quartet from New Jersey said, plain and simple. While tracks "It Can't Be Me" and "Darkened Nights and Night Lights" were somewhat catchy, the remainder of the record is fluff. I was particularly confused on the track "Heartache to Heartache", where the vocalist, who sounded decent throughout the album, crashed and burned into some nasally, whining three minutes. For the most part, THE CUTTING ROOM is not terrible, just uninspired.
-Darren Davis

S'AINT WILLY
MEAT
KAOM.com" target="_blank">website
If Jimmy Buffet was more redneck than beach bum and found inspiration in Pabst and pork rinds instead of margaritas, he might make an EP like MEAT. The opening track, "All of God's Creatures Are Delicious with Beer", is a blast of an arena-rock anthem for the carnivorous. Luckily, it is the only song of its kind on the CD, as the novelty of it surely wouldn't last any longer. In sharp contrast to the first, the remaining three tracks sound like drunken sing-alongs performed by an uncle at some family event. To S'aint Willy's credit, though, he is far more musically-inclined than the average drunk uncle, as all of the songs featured are richly layered and marked by his clever wordplay. Not bad for a guy in a neon purple wig.
-Casey Clague

SCEPTIC
UNBELIEVER'S SCRIPT
CANDLELIGHT
What instantly grabbed me about this album is that Sceptic has produced extremely fast and abnormal metal songs without becoming just another grind or blast-beat band. With UNBELIEVER'S SCRIPT, they have proven that metal is far from dead in Poland. My favorite track is easily "Shapeless Entity", which is about all you could ask for in a thrash-metal song. I'd recommend this one for fans of Misery Index, Extol, and even Krisiun.
-Zac

SHARKS AND MINNOWS
THE COST OF LIVING
TWO SHEDS MUSIC
THE COST OF LIVING is the third album from Sharks and Minnows, who are quite fond of creating some jolting pop tunes. A lot of this album has that David Bowie jolt, though, where the songs come at you with just enough power to make your head turn but are never overbearing. "Saint of Anything" is my favorite track, soaking chords for what their worth in a 1-2 beat while shoving some cool riffs inside. THE COST OF LIVING is simple, honest, and never pretentious. You might even call it…pleasant.
-Darren Ratner

SHOCKWAVE
THE ULTIMATE DOOM
TRIPLE CROWN
Masked madmen Shockwave remind me of Long Island's own lunatics, my boys Two Man Advantage. These guys, like Two Man, have "alter-egos," utilizing mysterious monikers. Bet rather than playing old-school punk and singing about the finer things in life (like hockey and beer, as in Two Man's case), Shockwave play brutal hardcore and abide by a lifestyle rooted in the old TRANSFORMERS cartoon. Their press release summarizes their "purpose" well: "Shockwave is using hardcore as a tool to mix toys, music, and theatrical humor in order to have a good time." That's the funny part: because the music is so goddamn heavy and oppressive, you'd think the band are really pissed about SOMETHING; but because they don't pertaining to the real world, the apocalyptic lyrics citing "doom," "oblivion," and "war" can be taken with a proverbial grain of salt. If pummeling hardcore without the seriousness sounds enticing, check out Shockwave.
-Janelle Jones

SIGN OF ONE
SELF-TITLED DEMO
SELF-RELEASED
Hey Sign of One, Slipknot and Incubus called, and they want their musical styles back. Just when you thought the nu-metal fad was over, another lame band releases a demo. If you're into Limp Bizkit, Korn, Incubus, Papa Roach, and Slipknot, then Sign of One has created the perfect album for you. If you are not into nu-metal, then Sign of One can't even pay you to listen to this generic album.
-ADF

SINGLE FRAME
WETHEADS COME RUNNING
VOLCOM ENTERTAINMENT
In the background of some over-budget sci-fi movie, you can hear something like Single Frame. Oddball brainiac moments combine with twisted minimalist key and guitar work, all while free-jazz drumming and abstract lyrics throw random choruses and verses and free-style and Christ knows what. At once dark and goofy, WETHEADS COME RUNNING's 20 tracks would seem excessive if it weren't for inspired moments like "Post Daydream Forecast Endeavor", "Mod Style'68", and "Spacedust and Handcuffs". The ability to delve into the abstract without losing the concentration of the melodies makes for an esoteric headphone masterpiece.
-Rob Macy

SINOMBRE
CURVES OF SIRENS
FIRECODE CORE
On CURVES OF SIRENS, the San Francisco-based Sinombre establishes a sense of balance between tranquility and despondency in the time it takes to bake a pie. These 10 songs can be both melancholy and lulling—often simultaneously—although branding them as "soothing" can, at times, be more than a small stretch. Here, pensive orchestrations cascade with an operatic beauty and remain calm and collected, while maintaining a sense of sedated mournfulness. "Radio" is a slow-building crescendo into somber cloudiness, and "If Found" is a glistening lullaby of muted horns and beautifully sung words. The augmented guitars of "Swallowtail" simply beg for Cancer Conspiracy and Elliott comparisons and occasionally break the volume threshold by at least a few notches. The rest of the record might be what Mineral may have sounded like if they had stayed with us throughout the years and taken on a female vocalist. Visit websiteand prepare to get your gloomy groove on.
-Dave Kargol

SLEEP STATION
AFTER THE WAR
EYEBALL RECORDS
New Jersey's Sleep Station have developed a reputation for making artful concept albums. Take their last album, HANG IN THERE CHARLIE (their homage to an astronaut's panicked isolation) or their VON COSEL EP (based on a morbid real-life 1930's doctor/patient TB love triangle). So it comes as no surprise for Sleep Station to paint a picture in the form of a soundtrack of a movie that's never been made. The concept of this album follows one soldier's story as the focal point, occasionally providing some outside context with songs of hope and longing. Some songs stand well on their own, such as the vaguely familiar sounding "After the War". Sleep Station have sound that falls somewhere between Wilco, Grandaddy, or R.E.M. Check out their Website sleep-station.com" target="_blank">websitefor interesting stories on the band's concept albums and mp3s.
-Jude Ruiz

SOUNDS LIKE VIOLENCE
THE PISTOL
DEEP ELM RECORDS
Sounds Like Violence are from Sweden, and they have a gritty rock sound with heart-wrenching lyrics. The vocals are high-pitched and screaming, and you can feel the anger and depression as the vocals mesh with a hard, angry, dark rock. The album can be related to an angrier and a more indie-rock Alkaline Trio. Their sound would fit nicely into college radio or mainstream rock play next to some of the other emotionally-charged rock bands.
-Jennifer Moncayo

SOUTHERLY
EXPRESSIONLESS
DHARMAKAYAMUSIC
One-man musical force Krist Krueger presents EXPRESSIONLESS, six brooding songs for the lovelorn. Much like David Bazan's, Krueger's is not just a sadness of the broken-hearted but also of the world-weary. The music of Southerly has the power to take the listener to dark recesses (if they aren't there already), while Krueger's voice has the ability to lead them back out of it. EXPRESSIONLESS is written like this kind of journey. The first three songs are a trip downward, while the fourth and fifth are bright and optimistic. The final song could be interpreted either way, giving the story an open-ended feel, where the final sentiment can only be determined by the listener's state when the album began. While most EPs act as teasers for an upcoming record, EXPRESSIONLESS is much more than that, with a focus and affect almost exclusively reserved for full-length albums. For this achievement, Kris Krueger has earned himself a pedestal in the indie-rock singer/songwriter pantheon.
-Casey Clague

SPLIT HABIT
PUT YOUR MONEY WHERE YOUR MOUTH IS
DOUBLE ZERO RECORDS
Split Habit sounds like a hundred other pop-punk bands that are getting airplay on "alternative" radio stations, having videos shown on TRL, and are on the lips of the teens buying concert T-shirts at Hot Topic. For kids who haven't spent years and years listening and absorbing every recorded Weezer and Jimmy Eat World song, Split Habit is probably a breath of fresh air, though songs like "City Girl" and "One Hundred Dollar Guarantee" are merely updates of songs that aren't even 10 years old. And why, dear God, why does EVERY pop-punk band have to cover a song from the '80s? Sure, it's fun to listen to once, but Split Habit's cover of Hall and Oates "Maneater" really doesn't improve the original, other than adding edgier guitar riffs. Yawn.
-Chip Midnight

STEREO TOTAL
OH AH
KILL ROCK STARS
Since 1991, Kill Rock Stars has specialized in the brash and the eclectic. This release from Stereo Total is no different and undoubtedly on the eclectic side of the spectrum. OH AH consists of 20 songs mostly about sex and romance, written by a German guy and sung in five languages. Even if the vocals were in English, the sound would still be unmistakably Eastern Euro. Very campy, very kitschy. Lazy drumming and minimalist drum programming, sultry female vocals, and "chicken-scratch" guitar are combined in a way that should be very pleasing to the pseudo-chic. Yet regardless of its eccentricity, it should not be altogether displeasing to the rest of us.
-Casey Clague

STEREO TOTAL
MONOKINI
KILL ROCK STARS RECORDS
First off, I must take a moment to thank the Kill Rock Stars label for re-releasing Stereo Total's albums stateside. Now that their music is accessible, Stereo Total should be selling millions of albums...but perhaps they are just too eclectic and too clever for their own good. Hailing from Berlin, the duo of Francoise Cactus and Brezel Gorina floss their unique penchant for making music that is altogether sexy, humorous, and melodic. Originally released back in '97, MONOKI offers up some electro ("Ach Ach Liebling"), punk ("Aua"), and French pop ("Supergirl"), as well as the techno-inspired "L'Apparell A Sous", the Japanese poppiness of "Und Wer Wird Sich Um Mich Kummern?", and the rockabilly-/garage-rock-flavored "Lunatique". So, basically, if you like music, pick this. (And for added fun, pick up their other albums, MUSIQUE AUTOMATIQUE and OH AH.)
-Jude Ruiz

STILL CROSSED
LOVE AND BETRAYAL
INDECISION
Straight-edge hardcore troupe Still Crossed follow the creeds which will set them free on the band's 12-track endeavor, LOVE AND BETRAYAL, very well—so well, in fact, that the metalcore introduction found on "Lines in the Sand" and the Sick of It All-meets-Shutdown breakdowns on tracks like "Faded" and "For Old Time's Sake" sound fresh and new when offered by the quintet. While the standard straight-edge, preacher-on-the-pulpit delivery is very much apparent, it's almost warranted by the dynamic music underneath the band's message. Chugging and screaming like there's no tomorrow, Still Crossed's visceral hardcore will have you windmillling for all the right reasons. website
-Mike SOS

STREET DOGS/THE DENTS
" ROUND ONE"/A SPLIT CD
ABBEY LOUNGE RECORDS
Abbey Lounge Records is located on Beacon Street in Bean Town. This is a Boston project. The first half of this four-song sampler is Street Dogs. Street Dogs' singer is former Dropkick Murphy's Mike McColgan. This punk rocker/fireman sings with authority. Street Dogs is in your face with blue-collar zeal and muscle. But in the end, I thought their sound was a bit typical. The Dents were rocking with original, cool, and snotty vocals from bassist Michelle Paulhus and rhythm axstress Jen Rassler. The sound is more art-school cool than alleyway tough. The Dents' second song, "Mental Defective", is sweet, cruising, hot-day rocking.
-H. Barry Zimmerman

SURF
THE RED LEAVES RUIN
FIVE AND DIME RECORDS
Taking a moment to imagine oneself as the patient on the cover of this album may save the time of actually listening to the music. Chances are that this album will have you feeling as though your heart has been surgically removed against your will. This band certainly has a unique sound. Sometimes, a new sound is met by the open arms of a trendy sub-culture sprout searching for a sound to call its own. At other times, a new sound will struggle and flop around the stage like a catfish on a dock, eventually dying and rotting, forgotten. The strides taken by this band to stand out are unnecessary—or annoying, at best. Maybe I just didn't get it, but nothing seemed to go together. I would not buy this album and cannot (with good conscience) recommend that you do. The album title is clever, though, a little play on words/double-meaning for us to ponder while forcing the screwdriver in and out of our eardrums.
-Thomas Murray

SYSTEMS OFFICER
SELF-TITLED
ACE FU RECORDS
The solo debut of Pinback member Armistead Burwell Smith IV (a.k.a. Zach) is an upbeat five-song EP that has a vaguely '80s feel to it. With catchy tunes that sound like a cross between Brian Eno and The Buggles, ABS IV has come up with a dreamy style that will serve him well on the alternative/emo circuit. In spite of the bouncy music, the theme of this CD couldn't be much darker. Every song deals with sinking, submersion, smothering, falling, and heading for a stairway leading down. This is a great first effort, but the true test will be a full-length album that doesn't become another Morrissey death march. website
-DUG

TEAM SPIDER
BUSH BUSH BUSH
INDEPENDENT RELEASE
Okay, I'm sorry, but I can't help but start laughing. Is this supposed to be funny? Coming from Manhattan's cable-access team, there's a good chance I'm right. After hearing "Bush, Bush, Bush / Bombs, bombs, bombs / Dumb, dumb, dumb / The Constitution" a thousand times in the opening, I now can't get this joke out of my head. From there it goes to a confusing Misfits cover to some nursery rhymes to a conga jam—all mixed with a muffled political agenda. I don't know where to go with this, and I have a feeling they don't, either. Let's just say it's one of those "so bad it's good" things. A good laugh.
-Jasten King

TEXAS THIEVES
FORCED VACATION
SUPERSPEEDWAY MUSIC
San Francisco's Texas Thieves remind me of why I started liking punk in the first place. This band reminds me of my beloved D.I., with song titles like, "Trash on the Beach", "Crucifixes Are for Kids", "Dying of Stress". The band is seasoned cool and hammer hard. Foz's vocals come across like regular guy snarling in a cheese-eating grin disguise. The music is simple and comfortably loose with spells of rocking like a hurricane. FORCED VACATION is a sweet punk-rock finger and wedgie. I love this disc.
-H. Barry Zimmerman

THE BLAM
CAVEAT EMPTOR
SELF-RELEASED
These days, super hip New York bands seem to be sprouting out of the boroughs like stalks in a cornfield. That's why it should come as a surprise to precisely no one that The Blam, being both super hip and from the Big Apple, appear to be riding the straight-away (Parliament Lights first) into all sorts of great things. Their 2003 self-titled debut inspired kind words from ALTERNATIVE PRESS and NME and enjoyed a mini-stint as the fourth most-added college radio record in the U.S. of A. The 10 songs on CAVEAT EMPTOR blend the minimalist garage-fuzz of The Strokes with the sass of Stellastarr* and an abundant breath of fresh air. "Caveat Emptor" flaunts ringing guitars and warm distortion, and the blissful pulse of "It's Not Personal" is charming in all the right ways. It probably couldn't hurt to snag this independently-released disc before it gets swallowed up by Sony Music and becomes a collector's item.
-Dave Kargol

THE BLINDING LIGHT
THE ASCENSION ATTEMPT
DEATHWISH
Nowadays, it's either the Westside or the East Coast who throw out the essential hardcore bands out there. No one really lays down that scene anymore in the Midwest...until you find out that The Blinding Light exists, anyway. Their style within a single song can fluctuate anywhere from grinding guitars to cynical, melodic breaks (particularly in "Hydrant"). As for their lyrical style, they ditch the insightful poetic lines and go for the short and sweet. (Well, they stretch out every word when they sing, so yeah, it would have to be short.) Otherwise, the CD would be 42 hours and 31 minutes instead of 42 minutes and 31 seconds.
-Mabel Lam

THE CAPSULES
SOMEONE FOR EVERYONE
URININE RECORDS
The sophomore full-length release from this Kansas trio is an ethereal treat, as Julie Shields becomes the Midwestern Dolores O'Riordan. Shields's beautiful, overlaid harmonies actually outdo The Cranberries for most of this disc, as the band ties together velvety hooks to create a sonic wonderland. Melodic vocals, soaring synth-guitar, and mellow acoustic guitar dominate the 11 tunes on this album. Since playing its first show in 2000, the band has toured both Europe and America, been featured on MTV, and played the Lollapalooza side stage. With an album as strong and consistent as this, it is hard to believe The Capsules will be on the side stage much longer. website
-DUG

THE CHIEFS
HOLLY-WEST CRISIS
DOCTOR STRANGE
We're on a roll this month with good wholesome punk rock 'n' roll! Orange County has graced us with a variety of heart and soul, but as it seems old-school punk rock is one of their strongest points. The Chiefs latest release, HOLLY-WEST CRISIS, is a collection of every single recording they've ever done (yeah, a whopping 13 tracks!). Still, they are both effective and powerful. This is a perfect example of what it was all about. Forget that pop-punk, emo-ridden devastation we've had to endure and sink your teeth into pure old-school punk rock 'n' roll. If you like GBH, Blitz, and other classic icons, The Chiefs' HOLLY-WEST CRISIS will captivate your musical taste buds in a refreshing way. website
-Courtney Riot

THE DIGITAL KILL
SELF-TITLED
This six-song demo begins as raw as it is dark. Simply, a category of "schremo" would not justify the complexity and intricacy that is placed into each of these six- to seven-minute tracks. Moody vocals and intricate guitar riffs span the entire album with instrumentally strong and eerie interludes. Each song is a linear story that has a long build-up to an emotional finale with gut-wrenching screams and crashing high hats. The emotional rage that pours from the normally moody vocals is as agonizing as it is intense. The Digital Kill has Radiohead-like tracks and progressions with a punk and schremo edge that comes off as raw and boundless. These eclectic tracks are defined by involved guitar riffs, pounding drums, driving bass lines, and emotional vocals. This demo demands attention and instills emotion with a moody edge that is very unique.
-Kevin Conway

THE DISTANCE
YOUR CLOSEST ENEMIES
BRIDGE NINE
I must say that I'm impressed. Bridge Nine has a history of putting out quality releases, but The Distance is cut above even the upper-echelon B9 bands. Driving guitars and intense vocals push this CD from its crucial beginning to its brutal end. Aggressive hardcore punk that doesn't follow in the standard formula is such a rarity today that the only drawback to this CD is its staggeringly short running time: six tracks, all under two minutes. That, my friends, is called blue balls.
-FLINT

THE EVAPORATORS
RIPPLE ROCK
ALTERNATIVE TENTACLES RECORDS
Here comes a Canadian band featuring members of The New Pornographers, The Smugglers, and Cub. To put it simply, this CD comes off as second-rate pop-punk. Many of the guitar riffs on this album sound like they could be on any The Queers album(s). If you're into bands such as The Mr. T Experience and The Queers, then The Evaporators will be your new favorite band. Otherwise, this album is, at best, a lackluster of intensity and talent. The band should definitely stay in Canada.
-ADF

THE FEATURES
THE BEGINNING
THE FEATURES
This debut EP from Sparta, TN, band The Features has hard indie-rock bookends in the title track and album closer "The Way It's Meant to Be". The inspiration on these could be some Pere Ubu, but hard indie rock of all flavors is rarely interesting now that so much of it has been produced. The four central tracks are refreshing throwbacks to early '60s pop. The Kinks-influenced "Bumble Bee" and the other bright, retro-pop gems are fun, smile-inducing examples of the legacy of the Elephant 6 collective sound.
website
-Tom "Tearaway" Schulte

THE FIREBIRD SUITE/THE FIREBIRD PROJECT
ARCHIVES
LUCID RECORDS
This is a re-release of a couple EPs and an LP recorded pre-2000 by seasoned vets The Firebird Suite/Project/Band. The individual songs, despite their early release date, carry a freshness that appealed to me straight off the bat. The vocal tracks are sometimes spoken aggressively, giving a vibe much like Modest Mouse's "The Stars Are Projectors". On the whole, The Firebird Suite/Project/Band is very reminiscent of Modest Mouse, often reminding the listener of THE MOON AND ANTARCTICA. Considering the period in which the tracks from ARCHIVES were recorded, this is not surprising. The tracks are very obviously eight-track recordings, recorded at intervals on the road. At any rate, ARCHIVES is worth a listen—yet it leaves something to be desired.
-AC Lerok

THE FUNCTIONAL BLACKOUTS
S/T
CRIMINAL IQ RECORDS
Listening to The Functional Blackouts makes up for the fact that I wasn't old enough to enjoy the punk movement in the late '70s. This self-titled masterpiece makes me proud of Midwest punk. Because of bands like The Functional Blackouts and Clone Defects, there is hope for music. Within this full-length from these Chicagoland punks, you'll get tons of attitude, tons of treble, tons of noise, and tons of inventive music. Instead of ripping off a genre or era and calling themselves "throwbacks," the guys in The Functional Blackouts have effectively created an album that will soon be a classic in its own right. If given the right exposure, this album could become very influential to other bands.
-Dane Jackson

THE GOOD LIFE
LOVERS NEED LAWYERS
SADDLE CREEK
Almost everyone has heard of the indie-rock powerhouse Cursive, but have you heard of Cursive's frontman's just-as-impressive side project, The Good Life? If not, here's your chance to score scene points. Started as an outlet for the un-Cursive songs written by Kasher, The Good Life quickly established its own solid sound. The new EP, LOVERS NEED LAWYERS (due out May 18), is a precursor to the full-length expected in late summer of 2004. Just about the only resemblance to Cursive evident on the EP is Kasher's recognizable voice. Other than that, the sound is much more mellow than Cursive's, as well as poppier. Some synthetic elements are also present, with heavy use of keys with an organ-like sound. With themes like alcohol and divorce, the general feel of the EP is disillusioned, combining these cynical themes with poppy tunes. It is a must-have for any indie-rock aficionado. website
-tChow

THE GOONS
NATION IN DISTRESS
REPTILIAN RECORDS
With NATION IN DISTRESS, The Goons effectively capture the spirit of bands like Dead Kennedys and the Danzig-led Misfits. Hell, Serge even resembles Jello and Glenn a tad. Don't let the comparisons to DK and Misfits confuse you. The Goons take the essence and spirit of the bands from that era and add better production value. With this album, nothing's sacred. Serge Goon touches on everything from American excess to war and politics. If you like listening to quality punk rock that has more to do with content and passion than image, then NATION IN DISTRESS needs to find a place in your collection. These guys haven't been around since 1994 out of luck. They're great, and this Drew Mazurek-produced album furthers the band's greatness.
-Dane Jackson

THE HONORARY TITLE
ANYTHING ELSE BUT THE TRUTH
DOGHOUSE
Somewhere in between Chris Carrabba's poppy love songs and Rocky Votolato's raw candidness exists Jarrod Gorbel gentle honesty. Gorbel plays acoustic guitar and various other instruments under the moniker of The Honorary Title, and his first full-length on his new home Doghouse is entitled ANYTHING ELSE BUT THE TRUTH. The first track, "Frame by Frame", was well-chosen, as it appropriately sets the tone for the entire release with its warm ambience, its unassuming lyrics, and Gorbel's unforced, genial vocals. Gorbel uses both acoustic and electric guitar as the foundation for all of his songs, but there is also an evident proficiency on various other instruments, such as drums that ably sustain the simple beats, occasional piano parts that perfectly complement the melodies, and strong bass that adds a certain attitude to each song. But the spotlight is on Gorbel's voice, which remains constantly simple and strong throughout each track and is capable of amazing feats. website
-tChow

THE HURT PROCESS
DRIVE BY MONOLOGUE
VICTORY
Ever since Thursday left the label and Taking Back Sunday have endured internal strife, Victory Records have been searching for the next huge crossover success. The Hurt Process, a sextet hailing from the U.K., may just be that band, as DRIVE BY MONOLOGUE, the outfit's debut, 10-track offering, combines the sounds of today with the fresh musical perspective that allows this group to fit on any bill. While a twin vocal assault (one clean and one screamo) coupled with the dynamics of emo employed on tracks such as "This Piece" may on paper seem trite, when brought to life, the vigor displayed on "Opinion" and "Last Goodbye" proves that these guys are the real deal. With a healthy smattering of Thursday, Lostprophets, and Grade in tow, The Hurt Process share the aforementioned band's traits by presenting the ability to get heavy, get emotional, but most of all get off on being able to make it all work in a cohesive manner. A supercharged melodic ride that fans of anything on the Warped Tour will surely embrace, The Hurt Process should be a band you'll be hearing more from in the future. website
-Mike SOS

THE JOHN STAMOS PROJECT
NORTH AMERICAN ALL-STARS
KNOCK KNOCK RECORDS
With a Ramones T-shirt, a pair of Chuck Taylors, and Operation Ivy, Green Day, and CALVIN AND HOBBES stickers all on the cover, The John Stamos Project can be judged by their cover. NORTH AMERICAN ALL-STARS has the dumb-ass Ramones impression down to a T, and the less-than-inspired (or distinctive) lyrics take the concentration more towards dumb-ass than The Ramones. Good guitar undertones separate them from the class, but Sum 41 are still the cream of the Can-Am punk kid movement. Remember to blame Canada when you finish vomiting.
-Rob Macy

THE JUDAS CRADLE
TOO BAD THEY'RE ALL DEAD
EULOGY RECORDINGS
This album is just like a roller coaster. There are times when it just kicks ass, then there are those other times when it takes a serious dip and makes you want to piss in your pants. You might think you have heard some hard shit in the past with bands like Cannibal Corpse or Death, but none of them could even come close to these guys. It is a five-piece band with nothing but mind-ripping lyrics and guitar solos to match. With influences like Slayer and Iron Maiden, you can here a tinge of the '80s. The first song on the CD starts of with a fun guitar solo, and you think, Okay, this is sweet. Then you bite into the apple and you find the razor blade dipped in LSD. Website is website. You should go check them out if you have the chance.
-Ian Wilkins

THE M'S
THE M'S
BRILLIANTE RECORDS
Well, The M's are certainly talented musically, but that doesn't mean they're very good. They just come off as too pretentious for me. They act like they deserve to be famous because they know how to tune their guitars. They are from Chicago, and their singer has Marc Bolan/T. Rex envy. Musically, they sound like top-40 rock. I can't exactly put my finger on why I dislike them so much, but I think it's because this band is probably going to be shoved down our throats on the radio, and I know there'll be no escape from it. It's alright at first, but I never want to hear it again. But I know it's decent enough to get multiple plays, and I won't be able to handle it. Stop them now, before it's too late!
-chad

THE ORPHANS
EVERYBODY LOVES YOU WHEN YOU'RE DEAD
UNITY SQUAD RECORDS
Instead of tracking each instrument separately, you're essentially hearing a live set on EVERYBODY LOVES YOU WHEN YOU'RE DEAD. That's not a bad thing, especially in The Orphans' case. After listening to this album, it's clear the band's strong point is their live show. Not only does vocalist Miss Jenny have a captivating and haunting voice, but she leads the band like a ringmaster. Also, recording the album the way this California punk band did makes the experience sound more authentic for the listener and not forced. You can tell by listening to the album that the band genuinely put their best foot forward with this release. Genuine music by genuine people—it doesn't get any better than this. Think The Germs with a female singer, and you're a bit close to The Orphans' sound.
-Dane Jackson

THE ORPHINS
DROWNING CUPID
GOODNIGHT RECORDS
Atlanta natives The Orphins kick out disco/post-punk set to catchy bubblegum-pop keyboard riffs that'll get you dancing in a hurry and will give fans of Hot Hot Heat, Go Go Go Airheart, or Le Tigre reason to rejoice. The Orphins flirt with many different styles and genres, complete with abstract lyrics, as in the excellent new wave-ish "Chinese Prom". Other highlights include "Camp Cryotop" and "Monochrome". So get off your ass and find out for yourself: mp3s at goodnightrecords.com" target="_blank">website.
-Jude Ruiz

THE PIECES
S/T
BENCHMARK RECORDS
About a quarter way through the opening track "That's Why It Is", my brain started churning over this band The Pieces. Their recognizable sound was reaching back to the library of my musical knowledge that was just old enough to still be filed with card catalogs. I check the years 1989-93 under "Boston indie pop," and I pull out the references of The Lemonheads, Blake Babies, Antenna, etc. Taking a glance over the one sheet, I was not surprised to read that two-thirds of the band had some kind of incestuous tie to the above-referenced bands. The Pieces S/T release stands on its own against the albums that blazed the trail over 10 years ago, but I often find myself questioning if my acceptance of this band is merely just a side-effect of my nostalgia for a sound I loved dearly in my college years.
-Wally P.

THE PLOT TO BLOW UP THE EIFFEL TOWER
IF YOU CUT US, WE BLEED
HCNL
And just when I thought I couldn't handle another punk/hardcore experimental band, The Plot to Blow Up the Eiffel Tower came my way. If anyone is familiar with the artists remotely related to the Three One G label (known for their predominantly grindcore lineups), these kids fall right into that category. It's a cross between The Locust, Blood Brothers, and their own influential breed of punk mayhem. But they differentiate themselves from this crowd by intertwining a more intense approach musically and vocally. Rather than screamy, high-pitched vocals and pounding, scratchy guitar, The Plot to Blow Up the Eiffel Tower provide a sufficient edge of audio havoc. Oddly enough, there is a jazz-related sequence that flows through this three-track EP. It's definitely not a new sound—but then again, what is these days? The only thing I can conjure up is that they would put on one hell of a live show. website
-Courtney Riot

THE SPITS
ZZZ
DIRTNAP
Homemade costumes, cheesy keyboard overlays, and Misfits-esque barrages are just some of the many tricks up this trio known as The Spits sleeves—and man, do they have an arsenal. Imagine The Ramones, Devo, The Misfits, and the neighbor's kid's band jamming out in a frenetic, robotic, and always subhuman way, and you've got the essence of this nine-track punk-rawk funfest, complete with sing-along choruses (like the one found in "Nuclear Bomb") and driving riffs that will make the floor shake like it's 1979 on tracks like "Don't Shoot". Injecting some of the unpredictability and silliness that punk rock has lacked lately, The Spits are a whole lot of fun—and, if nothing else, a great escape. website
-Mike SOS

THE SPOOKY KIDS
LUNCH BOXES AND CHOKLIT COWS
UNIVERSAL
Ever wondered what Marilyn Manson sounded like in the early days? Well, thanks to a won lawsuit, all of you freaks out there no longer have to endure the drama, as former member Daisy Berkowitz (a.k.a. Scott Putesky), guitarist and producer, has cleaned up the aforementioned tracks in question and released the sought-after music under the band's initial moniker, The Spooky Kids. The result, the curious crowd inquires? Basically, what you'd expect a foundational Manson record to sound like. Touches of glam metal collide with slabs of industrial, as all of the weirdness (both musically and lyrically) you'd expect from a derivative of what now is known as Marilyn Manson remains intact. Despite what the press junket says, there's a whole lotta grunge going down here, too, which, when crossed with the dashes of goth rock swirling about, make The Spooky Kids an interesting listen for Manson fans that want a little taste of history. website
-Mike SOS

THE VINDICTIVES
UNPLUGGED
TEAT PRODUCTIONS
This beautiful acoustic album from veteran Illinois punkers The Vindictives really shows how age and experience do wonders. Nine musicians worked together for three consecutive weekends to cover 10 originals from the band's 14-year career and four classic cover tunes for this disc. The songs are done softly, in an emotional vein that leaves a chill on the speakers. The addition of a pan flute, chimes, xylophone, and violin give this music a dream-like feel, like sinking in a dark lake. The covers, from Sinatra to Rodgers and Hammerstein, are enough to make this album worthwhile, but the re-recording of the band's past tunes in a new vein put this one over the top. website
-DUG

THE WILLOWZ
THE WILLOWZ
DIONYSUS RECORDS
The Willowz has the cools. The trio is featured in the ultra hip flick ETERNAL SUNSHINE OF THE SPOTLESS MIND, and they just completed working on a video with super cool Michel Gondry. This self-titled debut sounds like garage gone geeky cool. Axemen and vocalist Richie James sings like a cross between The B-52's Fred Schneider III and T Bone Burnette. His style is happenstance artiness, which is the style of the band. Jessica Reynoza (bass and vocals) is just doing all of the right things. Her input as a singer is minimal, and Kim Dill cool. The Willowz is the newest product of the school of The Velvet Underground. I love the songs "Meet Your Demise", "Something", and "Keep on Looking" only slightly more than I love all the rest. THE WILLOWZ—very cool.
-H. Barry Zimmerman

THE YOUTH CLASS
THIS IS WHAT I REMEMBER
SELF-RELEASED
Unsure of what to expect from a Midwest band inspired by Modest Mouse and Nirvana, I popped the CD in and let them give it to me. What I got was a heavy amount of talented instrumentals and a medium dosage of vocals belting out troubled lyrics. The influences behind The Youth Class are apparent through the range of styles scattered about their tracks. With Cobain-like screams in the second track, "Something Foreign", and their indie side shining through on tracks like "Kelly Warner", The Youth Class offers the listener a wide range of sounds to pick and choose from. The sound is fresh. While they are definitely talented, the music is raw and definitely has room for growth.
-Carley Charpentier

THIS HOLIDAY LIFE
THE FALLOUT
DARETODREAM RECORDS
This Holiday Life are from San Diego, and they're awful. They sound like U2 and Switchfoot and Coldplay—just the worst of the worst. I was at the dentist, and he was going to pull some of my rotten teeth out, and he was like, "I'm gonna inject some novocain now." But since I have a fear of needles, I was like, "Can you just play this record instead?" And he was like, "Okay." So my brain was just as numbed as a syringe full of novocain by listening to this. But now looking back, I think I would have been better off facing my fears then putting myself through the terrible torture this band is capable of forcing on one's ears. Avoid them at all costs!
-chad

TIKI DEVILLE
100% FUNCTIONAL
DEMO
Tiki Deville are a three-piece from Los Angeles formerly known as Uncle Tiki. They describe themselves as a "psycho voodoo rockin' roll jam band." The vocals sound like a low-pitched growl with forceful guitar and drum to back up their persona. They sing about evil, whiskey, gin, and heartache. The vocals are strong and embody the noise of evil (and there's a song title, "Prime Evil", too). At times the band and the vocals sound like Metallica and Misfits. Interestingly, they cover Misfits' "Skulls". The cover begins poorly, sounding like bad karaoke, but it soon progresses as the vocals take charge and do the song justice.
-Jennifer Moncayo

TINER, PHILLIPS, SCHOENBECK TRIO
BREATHE IN, FEED OUT
PFMENTUM
This is a challenging listen...and, frankly, one that I just don't understand. The trio—Kris Tiner (trumpet, flugelhorn, piccolo trumpet, reeds), Noah Phillips (guitar, electronics), Sara Schoenbeck (bassoon)—plays contemporary jazz that, to me, actually sounds rather dated. Growing up in the late '70s, I remember watching bad science-fiction movies on television, and the weird music that was meant to be both mysterious and frightening in those movies sounded an awful lot like the music that this trio creates. At times the trio seems to be playing the same song, while at other times it sounds like each member recorded their part at a different time without hearing what their partners had done first. Why somebody chose to send this record to SKRATCH is beyond me, as I can't imagine very many readers would be hip enough to even give this a try.
-Chip Midnight

TRAUMA
SOLIDARITY
STRIKEFIRST RECORDS
This CD was more of an experience than anything else. The beats are fast and kept my head spinning. Surely the screams express a deep-felt trauma of growing up in Riverside, CA, but other than that, there was no real reason for me to come back for more. Don't get me wrong: these guys have talent, and I would recommend that screamo fans check them out...but the appeal for me isn't there. The creativity on the track titles is impeccable. "Birds Have Wings and So Do Angels" must have taken a toll on the brain to come up with. Perhaps it's the dizzy, spinning feeling I get from the sound, but Trauma left me with nothing but that: trauma.
-Carley Charpentier

TWENTY YEAR FIX
AUDIO NOVOCAINE
INVAUDIO
Have I heard this somewhere before? Maybe the term "pop-punk" says it best. The songs remind me of being healthy and carefree, doing jumping jacks in a sunny field while wearing a bright blue sweatsuit with something clever written across the behind. The thing is, I am wearing a spiked bracelet. This San Diego trio lays down an offering of 10 tracks that would provide a suitable soundtrack for some pre-college, house-party drama or a future movie like CAN'T HARDLY WAIT 6 or some other teeny bopper/"growing up is hard"/feel-good hybrid. Twenty Year Fix is a band on the rise, not designed to twist your morals and ideals, but rather to get your foot tapping, pelvis thrusting, and your arm around the cute blonde sitting next to you. I didn't find it terribly repetitive, but then again, I wouldn't go ahead and give it "a league of its own" status, either. It is just "good."
-Thomas Murray

UGLY BUZZARD
UGLY BUZZARD
UGLY BUZZARD MUSIC
I think this band redefines the meaning of being lame. They look like backyard wrestlers. One has long, straight hair covering his face; one has this menacing mustache and stocking cap; and the third has a bad three-piece suit, with the top button undone just enough to let his chest hair stick out. Their image is brilliant! They're even wearing Looney Toons T-shirts during their concerts, which is priceless! I don't think they realize how big of goons they are! Their bio repeats over and over how much mainstream commercial potential they think they have. This means: If you're a record executive, they're not above sucking your ass if you give them the time of day. Well what else can I say? Oh, yeah, their music: it sucks! Motley Crue meets Ted Nugent in the wrestling ring.
-chad

UNHOLY GHOST
TORRENTIAL REIGN
OLYMPIC
Unholy Ghost did a lot of things with this album...but one thing they failed to do was impress me. The riffs may be very powerful, but we've all heard them before on other death-metal albums. I won't deny the fact that the band has talent, especially in the department of speedy playing, but perhaps they should have taken a month longer in the songwriting process to add a few unique touches to the album rather than keeping with the normal death-metal clichés. I do enjoy the production of guitarist Jerry Mortellaro's solos, however, even though the clean and swirling sound they showcase are contrasting to the recording quality of the rest of the songs. website
-Zac

VARIOUS ARTISTS
2004 SAMPLER
OLYMPIC RECORDS
Here we have a comp from one of the leading Cookie Monster metal labels. 13 tracks of incoherent screams, disjointed double-bass drum percussion, and really bad guitar solos. Of the 13 bands showcased here, not one is distinguishable from the next. I've always wondered A) who makes this tripe, and B) who in God's name likes it? I mean, the fact that Jungle Rot has been around for at least five years is a little disheartening, because that means that someone is actually BUYING their records. This is a harsh reality for me.
-FLINT

VARIOUS ARTISTS
BRING YOU TO YOUR KNEES
LAW OF INERTIA
I suppose it was only a matter of time before some genius came up with the idea of having a bunch of hardcore bands cover Guns N' Roses songs and then compile them on a disc together. The result, however, was a few bars below what I had hoped for. The songs turned out to be more humorous rather than good covers, despite the bands' original intentions. However, I will say that Dillinger Escape Plan's version of "My Michelle" is just about the best thing I've ever heard. Time in Malta's rendition of "November Rain" isn't too shabby, either. I won't push you to buy this, unless you need one more thing to add to your GNR collection. But the Dillinger cover alone might be worth it.
-Zac

VARIOUS ARTISTS
EENIE MEENIE RECORDS SAMPLER VOL.003
EENIE MEENIE RECORDS
This L.A.-based indie-rock label delivers yet another intriguing compilation that features two songs apiece from nine bands. Irving shines on the ultra-catchy "I Can't Fall in Love". From Bubblegum to Sky applies a Japanese pop aesthetic on "Sign the Air". If High Water Marks come across as Apples in Stereo's sister on "Good I Feel Bad", that's because this band features Hilarie Sidney (of Apples in Stereo), as well as members of Preston School of Industry, Palermo, and Von Hemmling. The disc also features tunes from The Faraway Places, Pine*AM, Seksu Roba, Blue Eyed Son, Gravity & Henry, and Dj Me Dj You. Check eeniemeenie.com" target="_blank">websitefor some ass kicking mp3s.
-Jude Ruiz

VARIOUS ARTISTS
HIGH VOLUME: THE STONER ROCK COLLECTION
HIGH TIMES RECORDS
This compilation was put together by Bobby Black, who works for both HIGH TIMES magazine and the record label with the same name. And this certainly isn't your mom's stoner-rock music. The Beatles and The Grateful Dead won't be found here. In fact, no one you recognize will be found here! This compilation is 14 tracks of groups I don't think I've ever heard of before. The one group I did recognize was Corrosion of Conformity—and they're certainly not a good enough reason to pick this up. In fact, if the rest of the album wasn't so bad, I'd say avoid it because of them alone! All the groups here are in the heavy-metal genre, it seems. If anything, this album is just a novelty to impress your stoner friends. "See, dude, now I can read HIGH TIMES while listening to HIGH TIMES while getting high!" "Wow! Awesome, man!" But if you really wanted to impress your friends, you'd buy an album that actually rocked and didn't suck.
-chad

VARIOUS ARTISTS
LOCATION IS EVERYTHING, VOL. 2
JADE TREE RECORDS
As Jade Tree approaches its 15th birthday, we find them releasing a new sampler highlighting all that the label has to offer. Granted, Jade Tree's roster has seen some stronger incarnations over the years, but one thing always remains the same: Jade Tree has always been able to vary their lineup just enough to avoid being pegged into any sort of discernible style or trend. While everything in these 21 tracks falls underneath the increasingly meaningless "punk" moniker, few labels can boast the diversity of everything from the babble rap of Cex to the chaos of From Ashes Rise. And if all this diversity doesn't strike you, the double dose of David Bazan should put you over the edge. Not only is there an unreleased demo version of "I do" from Pedro the Lion's forthcoming ACHILLES HEEL, also included is a remarkably dead-on cover of "Rapture" by Jonah and his Onelinedrawing.
-Matt Siblo

VARIOUS ARTISTS
NARNACK RECORDS SAMPLER #2
NARNACK RECORDS
This is an excellent way to explore the Narnack catalog. The sampler begins and ends with the heavy garage sound of Coachwhips (very reminiscent of Dan Melchior). The track from D.J. Shitbird & the Ultimate Party Machine is lo-fi techno that could have been lifted from Quintron's ARE YOU READY FOR AN ORGAN SOLO? The loose, noisy instrumental jam from Hella also stands out. Revenge has two demo versions here of lo-fi, noisy electronica-rock with vocals, but the arrangements are insubstantial and the recording quality low. These tracks fade from the mind very fast. Part & Labor has a good, fast-paced instrumental track ready for highway driving in "Good Morning Black Eye". Any decent sampler offers pleasant discoveries, and the cool thing to find here is Langhorne Slim. The damaged country rock has the loony charm of Daniel Johnston without the formulaic failures of Jandek.
-Tom "Tearaway" Schulte

VARIOUS ARTISTS
NEO JAPAN SERIES: NEO SOUL
TOFU RECORDS
If LOST IN TRANSLATION taught anything, it's that the Japanese have a distinct concept of what is cool. That, and they love Americans. So, while Hello Kitty and karaoke haven't quite made the trek across the Pacific, our crappy disposable R&B has. The NEO SOUL sampler displays some painful to listen to material, but the hilarious bilingual slow jams are perfect for working your way to a happy ending with that special someone…apparently. Perhaps now is a good time to reevaluate the concept of the ugly American now that a once vital, respectable, and proud people have been turned on to R. Kelly.
-Rob Macy

VARIOUS ARTISTS
RISE UP: HARDCORE ‘03
FIGHT FIRE WITH FIRE
Aside from the lame, melodic, out-of-place pop of Last of the Famous, RISE UP is a more than decent comp with some impressive under-the-radar hardcore bands from all over the country that are worthy of attention. Some of the standout offerings (in no particular order) include the opening scorcher “Indestructible” from Never Surrender and the following track, Coalition’s angry tirade against poseurs “You’ll Never Know”. Face the Enemy offer a good one, “Third Degree”, which ends with a slam-inducing breakdown, while Deathstar’s “Die to Remain” has real shoddy production but is tough as hell (probably the toughest, meanest, gnarliest of the 18 tracks (and that’s saying a lot). The ferocious “I’ve Had It” from RNR and Comeback Kid’s “Lorelei” are both stellar, and Where Eagles Dare rip it up with “Good Times”, an awesome (if mateurish) finale with sing-along choruses. Overall, an extremely Satisfying comp.
-Janelle Jones

VARIOUS ARTISTS
SHITE 'N' ONIONS VOLUME 1
OMNIUM
Oh, bloody hell! This is NOT the comp you wanna hear if you have an irrational fear of Irish folk-infused punk like me. Thus, I cannot be unbiased when reviewing this EXCRUCIATINGLY long (22-track, 65-minute) record. My mind started reeling, and hallucinations and epileptic fits seemed to be on the horizon. However, I looked within for strength and listened to the album in its entirety. The outcome? Only Neck's "The Star of the County Down" managed to pique some interest, but perhaps that's because it's the "Busta Hollywood Mix" (I don't know, either!) and wasn't very "folky." All respect to Shane MacGowan and The Pogues, but…this is rough. Now, if you LIKE this stuff, it's a wonderful comp, and don't listen to me, 'cause I know naught about what makes a "good" Celtic-punk song...and, as narrow-minded as this sounds, I intend on keeping it that way.
-Janelle Jones

VARIOUS ARTISTS
SOUNDTRACKS FOR KISSES, TRIPS, AND HITS: A FUTURE APPLETREE COMPILATION
FUTURE APPLETREE
When I was young, I was a big fan of compilations where I got the chance to hear new music from bands that I might not be aware of, but this particular one did not incite my ignorant interest. I got incredibly bored listening to Future Appletree’s artists, The Marlboro Chorus, Tenki, Driver of the Year, The Vow, Roman Castles, Seth Knappen, and Chrash. Much of the music on the label reminded me of Beck, whom I recognize as a good artist but don’t pursue listening to. I fell asleep to this compilation, which makes me glad that I stopped buying comps long ago and that I didn’t gamble and purchase this one. Oh, and the dang album cover is in indecipherable cursive, making it difficult to know what I’m listening to.
-Luke Skywalker

VARIOUS ARTISTS
SPIN THE BOTTLE: A TRIBUTE TO KISS
KOCH RECORDS
This KISS tribute album features an assortment of rock-band gurus such as Dee Snider from Twisted Sister, Tommy Shaw of Styx, and Lemmy Kilmeister of Motorhead singing and playing KISS songs. Each KISS cover has its own style and spin on a classic song, which adds another level or dimension to a song that you may have heard a million times before. If you enjoy KISS and find the idea of other rockers whom you may also adore rocking out to KISS, you may find this album quite the treasure.
-Jennifer Moncayo

VARIOUS ARTISTS
SUMOSONIC 22
DIESEL-U-MUSIC
How can you deny an effort with the slogan, “It might blow up, but it won’t go pop”? It will be very hard to, as Italian fashion company Diesel releases this compilation of a variety of up-and-coming hip-hop, rock, and electronic artists. Diesel decided to put together a board of industry insiders to headup Diesel-U-Music, a showcase for breakthrough talent. For their 2004 series, artists such as The Postal Service, The Shins, Moving Units, Automato, Ambulance, and countless others take part in this unique opportunity to gain substantial recognition in the fiercely competitive music world. This particular release features songs from DNTEL, The Fiery Furnaces, and Prefuse 73, in addition to a remix of “Such Great Heights” by The Postal Service. It’s a truly energetic and impressive compilation of innovative talent. website
-tChow

VARIOUS ARTISTS
S/T
WHITEROOM RECORDS
If you're staunchly convinced that quirky electro-pop is the hottest shit since instant oatmeal, good grief, does Florida's Whiteroom Records have some goodies for you. Here, four artistic collectives are coaxed onto the main stage with nary more than a carrot and a glowstick, and they answer to the titles of Scott Marino, Curisau, Arthurs Chair, and Beeps and Tones. Judging by the 13 servings of timidly pulsating electronic sound salad that are dished out on this inaugural album, the heat is starting to break in the Sunshine State and it is slowly and furtively affecting the local food and water supply. In plain English, it is causing folks the feel an irrepressible urge to scratch the old funk itch. Although the under-the-table ambience of Curisau is best classified as modern new wave, the glitch-infected art of the majority this compilation's other contributors is buoyant and crotchety. Noodley no-wave meets new wave in a drug-induced coma.
-Dave Kargol

VARIOUS ARTISTS
THE FIRST COMPILATION
BLUNTFACE RECORDS
For being a compilation, the music mix is not cohesive in the slightest. The only consistency is that all the music is a disappointment. This music really does nothing for me, besides perhaps giving me the migraine I acquire by the end of the day. Luckily for me and the rest of the listeners out there, Bluntface threw in a few rocking tracks. Track 5, “Fountain” by Skintrance, was a sort of eclectic, new-wave rock song, which freshened up the hardcore mix. Another somewhat different yet refreshing sound came from Teiousekkai, a Coheed and Cambria knock-off. The CD begins with hardcore tracks from Senseless Mutilation and slowly merges into synthesized hard-rock dishes from bands like Evil Sex Party. Bluntface may have worked in a decent song or two in the mix, but all in all, we can only hope THE FIRST COMPILATION is the last.
-Carley Charpentier

VARIOUS ARTISTS
THE NECESSARY EFFECT: SCREAMERS SONGS INTERPRETED
EXTRAVERTIGO
Talk about underground. Imagine releasing a tribute album for a band that never even released an album. Seems a bit strange, no? Well, The Screamers are that kind of genre-breaking outfit, and THE NECESSARY EFFECT is the album that pays homage to the seminal pre-1980s Los Angeles (by way of Seattle) underground cult crew. This 29-track release contains bands that, like The Screamers, are far from household names-and that’s the way it should be. After all, chances are that if you heard of this band or even were into this band, you probably wouldn’t appreciate bands like Sum 41 covering one of its tracks. Noisy, disjointed, and very left of center (many of the bands and solo artists paying respect don’t even use a guitar-much like The Screamers), The Screamers are an acquired taste; but if you enjoy music that is artsy, dissonant, and way underground, check this twin-disc collection out. website
-Mike SOS

VARIOUS ARTISTS
THIS IS HOW I KILL MY TEARS
DEEP ELM RECORDS
I always complain about how hard it is to find quality indie rock, but Ironically enough, I found it in my mailbox this month. THIS IS HOW I KILL
MY TEARS is one of many compilation discs released from Deep Elm Records.
Boasting such bands as Sounds Like Violence, Desert City Soundtrack, and
Burns out Bright, Deep Elm prides themselves in providing and promoting “quality independent recordings.” I would have to agree: these tracks are fabulous. With each band providing two tracks for the compilation, the listener gets a good sense of what to expect from Deep Elm Records. Ranging from indie/garage rock to screamo-emo, the bands exhibited on THIS IS HOW I KILL MY TEARS have found a place in my heart and my CD collection.
-Carley Charpentier

VARIOUS ARTISTS
THIS IS YOUR ESTABLISHMENT
LORELEI RECORDS
While this comp may not get as much exposure as ROCK AGAINST BUSH, Lorelei Records hopes to usher in some social change of their own with THIS IS YOUR ESTABLISHMENT. The proceeds of this comp go to the Center for Constitutional Rights to aid their efforts in advancing the rights given to us by the Constitution. Overall, the list of bands is an impressive one. The comp uses big names like Yellowcard, Good Riddance, and Glasseater to draw people in. Then, after listening to the heavy hitters, you're treated to acts like Schatzi, Dynamite Boy, and Slick Shoes. Overall, this is a decent comp; but since it's for a great cause, I recommend it.
-Dane Jackson

VICE DOLLS
DIE TRYING
CROSSCHECK RECORDS
About three tracks into this record, I felt like vomiting-not from the constant death imagery or the nailed-down bloody body used for cover art, but rather from the terrible noises coming from my headphones. Instead of screaming, or even singing, the female singer, just kind of shouts the lyrics, which are laden with constant references to death and growing up.
The cadence of the female vocalist never changes, similar to the constant overuse of the guitarist’s overdrive. Everything runs together, making my stomach knot up from pure nausea. By the musical trifecta that was “American
Dream”, “Modern Guns”, and “Killing Words”, I was ready to boot.
-AC Lerok

WALLS OF JERICHO
ALL HAIL THE DEAD
TRUSTKILL
Power-driven. The core of all cores. They rip out all the tired stereotypes of hardcore, metalcore, grindcore, thrashcore, and incorporate only the best in this third album of theirs. If you’re even thinking about scenesters with jet-black hair pasted down on halfway across their face, get it out of your head. In fact, you’ll have no problem doing so with songs such as “Fixing Broken Hearts”, where the spasms of the riffs correspond perfectly with the vocal jerks of lead singer Candace Kucsulian and will leave you either shaking your head in disbelief or banging your head.
-Mabel Lam

WASP
THE NEON GOD
SANCTUARY
WASP has always been known to push the boundaries of metal ever since Blackie Lawless burst on the scene and raised the ire of the PMRC. Conversely, the band has yearned to be on the course to create a grandiose offering that stood alongside such works as TOMMY by The Who (a big influence of Lawless). On the band's latest release, the conceptual THE NEON GOD PART I, Blackie and company aim to fulfill both destinies, as the 14-track record explores one young man's journey through loneliness and despair, as he experiences firsthand inhumane abuse, the hypocrisy of religion, the power that sex and drugs wield, the spirit of redemption and its cost, and even go so far as to question the meaning of existence—all to the soaring melodies that made WASP's songs so memorable. The storyline behind THE NEON GOD is a bit dramatized for the sake of being theatrical, yet when put to the score which WASP pounds out, it stands up as a potential (albeit very dark) hit on the Broadway stage. Once again, WASP's body of work, which has garnished everything from praise to disgust, criticism and adulation, will work your brain, seep into your subconscious, and ultimately, stick in your brain for years on end. Look for PART II later on this year; but fear not: this release has enough to keep your interest and intrigue at the highest levels possible. website
-Mike SOS

WE’RE ALL GONNA DIE
GO TO HELL
UNDERDOGMA RECORDS
The story of We’re All Gonna Die is a heartwarming one, with a moral of family and love conquering all that is something that we can all identify with. Taking a cue from such powerhouse brother acts as Nelson and Hanson, brothers Jim and Scott Healey (on vocals/guitar and drums, respectively) formed the band in Boston with their cousin Russ Boudreau on drums. One can only imagine the warm feeling inside that comes from playing music with your own flesh and blood. I’ll bet that once a year they all get together at the nu-metal family reunion and do renditions of “Yankee Doodle Dandy” with Sikk Kimmy (age 8) on the clarinet and Unkle Stu playing a mean accordion.
-Casey Clague

WE RAGAZZI
WOLVES WITH PRETTY LIPS
SUICIDE SQUEEZE RECORDS
The third full-length from this sexy Chicago threesome brings more of the same no-wave antics that the kids go crazy for these days-and I mean that in the best way possible. 11 tracks of sexy, groove-heavy punk with an emphasis on the jive, if you catch my meaning. Singer Tony Rolando’s powerful pipes conjure up comparisons to such heavy hitters as Billy Corgan and Mick Jagger, but with a confident swagger that is all his own. Highly recommended for those with a little sass in their step. Solid.
-Matt Siblo

WHERE EAGLES DARE
TO COME FROM NOWHERE
NEW DAY RISING RECORDS
TO COME FROM NOWHERE is the follow-up to Where Eagles Dare’s debut EP on Endwell Records. Compared to some of the other hardcore bands in the scene, these songs are some of the best songs I’ve heard in a while. The guitars incorporate equal parts technicality with melody, which is a feat not many bands can pull off. The vocals are a pretty high-pitched scream that get a little annoying every now and then, but the music helps to make up for it. Look for a West Coast tour with Strike Anywhere soon.
-Joe Wilson

WIGGUM
BRINGING BACK ‘77
SELF-RELEASED
When it comes to three-chord, anthem-filled punk rock, most of you know what to expect. From the first track on this EP from Southern California trio Wiggum, I was expecting the worst. But, unlike other bands who follow the three-chord punk formula, Wiggum actually has talent. Also, halfway through the EP Wiggum decided to break the three-chord punk mold and show off some of its other talents. “Grandma’s House”, for example, offers up some layered vocal harmonies and intricate guitar work. Wiggum takes the punk formula to new levels with its EP. Worth a listen for authentic punk fans and fans of pop-punk.
-Dane Jackson

WITHIN Y
EXTENDED MENTAL DIMENSIONS
CANDLELIGHT USA
So this is my introduction to the Gothenburg metal scene, and the latest band out of said scene. With dozens of bands packed onto the Gothenburg metal Website (gothenburgmetal.com" target="_blank">website), I seem to be a bit behind the times. If they’re all as good as Within Y, then I have been missing out. When I think of metal, my thoughts go directly to American bands like Sworn Enemy and Biohazard. I had no idea that the death metal from Sweden had actually progressed past the days of Cannibal Corpse and Obituary. When I think of death metal, I immediately conjure up visions of long-haired goofballs trying to swallow their microphones and pouring fake blood all over themselves in a half-assed attempt to be spooky. Within Y has opened my eyes and showed me that Europeans can make decent music.
-FLINT

YES SENSEI
WE WHO TRANSPLANT, SUSTAIN
ROK LOK RECORDS
Take the funky hardcore of The Minutemen and add some escapist sonicness, and you got Yes Sensei (bitchin’ name). The personality of WE WHO TRANSPLANT, SUSTAIN can be summed up in the first three tracks’ titles: “Russian or Retarded”, “Progress Is Dead”, and “Right Shirt, Wrong Band”. Very much like The Minutemen. It stands apart. Yes Sensei don’t come across like posers, they’re just rockin’ the funky hardcore. Very well. This album will get a party started with lots and lots of cool-as-hell moments. The jammy aspects come wrapped weirdly, instead of some hippie blues spawning. It has more to do with Pink Floyd and jazz than Phish. Cool weirdo jams.
-H. Barry Zimmerman

YESTERDAYS TOMORROW
SELF TITLED
This four-track demo features emotional rock 'n' roll with driving bass lines and developed tracks. Emotional harmonies are occasionally intercalated with raw screams and cries. Rock 'n' roll is ever-present during the course of the demo, and sporadic instrumental explosions give credibility to the raw power emitted from the tracks. Yesterdays Tomorrow has a traditional emo scheme, with vocal comparisons to Saves the Day. However, the occasional scream and cry set them apart from typical emo bands, yet those are infrequent enough so as not to classify this as schremo. This demo contains typical indie and emo guitar riffs with emotional vocals. This band is far from unique, but far from untalented. The tracks are well-developed with driving, intricate instrumentals and a truly emotional set of vocals. Overall, this is a talented but typical emotional rock band.
-Kevin Conway

ZILLATRON
LORD OF THE HARVEST
INNERHYTHMIC
When I first picked up this ultra-funky sound orgy featuring ‘70s bass legend Bootsy Collins, I couldn’t seem find enough hands to help me rub my eyes and ears in disbelief. You see, referring to this psychedelic audio trip as “funky” is not much unlike calling Noam Chomsky “smart” (i.e., it’s a rabid understatement). A 20-something suburban white boy like myself may not typically know peas from carrots when dealing with the art of funk; however, my babes, I do know it when I hear it. Zillatron also features guitar-solo wizard and all-around enigma Buckethead, as well as Umar Bin Hassan, who, as a member of The Last Poets, has been credited as the founding father of hip-hop. Spooky, alien-like narration, swirling electro-jams, and slinky bass madness all chip in to actualize LORD OF THE HARVEST as funky and colorful enough to make George Clinton blush and throw in the towel.
-Dave Kargol

» BACK TO TOP