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
m