November CD Reviews (in alphabetical order)

7 SHOT SCREAMERS
KEEP THE FLAME ALIVE
HAUNTED TOWN RECORDS
Parents everywhere can rejoice! Your kids have found your old records and fallen in love with the rockabilly genre. So now, instead of bugging your parents with music that according to them is “way too loud.” Throw this CD into your CD player and watch the smiles light up on their faces. Not really. Although this band may have been influenced by a lot of 50s, 60s, 70s, and 80s rock, they’re still punk-rock down to the very last bit of their core. Mike Leahy’s vocals and Chris Powers Jr’s upright bass might make you feel like you’re listening to an Elvis song, but this band’s lyrics are just way too anti-establishment to truly fit in to that genre. It is a nice blend though and definitely worth checking out. This band spent almost five years working to get this CD released, so at least do them that small favor. -Tijana

AGAINST ME!
SEARCHING FOR A FORMER CLARITY
FAT WRECK CHORDS
The word "condoleezza" is Italian for a sweet, musical tone. It rolls off the tongue with such harmony that it's a shame that until now no American musician has put the word into a song. Leave it to Florida's Against Me! and their newest country-punk-whatever masterpiece, SEARCHING FOR A FORMER CLARITY, to do not only the word, but our beloved secretary of state and her cronies the justice they deserve. More clean cut and straightforward than previous outings, Against Me! has matured a lot in the last three years—but this record sacrifices none in political wit and the genre-breaking socially-conscious anthems that made them a Fat Wreck staple. These guys get better with every record. SEARCHING FOR A FORMER CLARITY is no exception. -Brandon Russell

ANTHRAX
ALIVE 2
SANCTUARY
Anthrax gets nostalgic and becomes a reunion act? Sadly, that's how these NYC pioneers of metal, after putting out unquestionably their best work to date with WE'VE COME FOR YOU ALL, have spent much of 2005. With all the original (well, the best-known ones, anyhow) members in tow, Anthrax commemorates this reconvening with the 12-track ALIVE 2. Of course it sounds great, but is it a step in the right direction to reinstitute a lineup from 20 years ago and give it another go-round? That's really up to the fans; but if you have any doubt about how the band sounds, fear not: they still rip with the vigor and virtue that you'd expect from this incendiary act. Let's just hope they get it out of their system and continue breaking new ground—sans the KISS-esque chicanery. www.sanctuaryrecordsgroup.com -Mike SOS

ANTHRAX
ANTHROLOGY: NO HIT WONDERS (1985-1991)
ISLAND
Cashing in on reunion-mania, the boys in Anthrax have chronicled their most popular time with this two-disc set containing all of the best from 1985-1991 (a.k.a. the Belladonna era). Undoubtedly put out to coincide with the recent reuniting of the classic 'Thrax lineup, if you own all of these tracks already, there's really no need to purchase this one. But if you are relatively unfamiliar with the groundbreaking metal act that not only spearheaded the rap-metal trend but also put out some mighty fine metal in the process, then this collection is a great place to start. Let's hope that the band decides to make a move out of this time machine in the very near future and continues to forge ahead and show the metal world how true crossover is done. www.islandrecords.com -Mike SOS

ASMODEUS
DIABOLIQUE ROYALE
HAIRBALL 8 RECORDS
The third full-length release from this Amsterdam-based psychobilly trio is a "hotrod to hell" formula with enough angst-ridden growling to aggravate a graveyard. On DIABOLIQUE ROYALE, the band blazes its way through several upbeat numbers (like "Heel on the Shovel"). Some tunes from the band's earlier career (like "King's Coffin", "Pushin' Up Daisies", and "Halfway to Hell") would make you think this band a one-trick pony. Sure, it helps to have the boys' bad-ass pompadours and enough dark attitude to spook a vampire, but these Dutchmen consistently play the biggest rockabilly festivals worldwide. If the guys weren't great, the band would still be playing gigs at hash bars and windmill raves. Check these scary greasers out. -Dug

BAD MOON MUSIC
EMPIRE
HAWTHORNE STREET RECORDS
This debut six-song EP from ex-members of Chamberlain and Split Lip walks the fine line between melodic hardcore and sonic rock. The New York-based trio's aggressive-yet-accessible tunes echo with the influence of bands like Foo Fighters, Fugazi, and Pearl Jam. Vocalist/guitarist Adam Rubenstein is a dominant force in this enterprise as his gruff vocals and sizzling guitar riffs make up the backbone of this disc. One of the most interesting and catchiest tunes on the disc is the title track, which breaks with the sonic dissonance and actually becomes a bit of an epic saga about the fragility of urban life. There aren't any earth-shattering revelations on this disc, just a talented band writing and playing some quality rock. -Dug

BANANE METALIK
SEX, BLOOD AND GORE 'N' ROLL
KILLER BANANAS
You've got to love a French band that starts out its album with a chainsaw slicing up young girls. This European hybrid copy of Gwar, Marilyn Manson, and Slipknot is an amusing send-up of everything we love in a horror movie. Though my French is rusty, it isn't hard to get a grip on this disc; the bloody knives, disgorged eyeballs, and rotting corpses are universal. These songs are actually pretty good, considering the carnage these comic butchers bring on. This would be the perfect disc for an eclectic Halloween bash or for a party full of sick zombies. You can't expect this disc to provide any melodic insights, but it does bring forth some pretty catchy—and pretty funny—old-school rock. Just don't expect any love songs. -Dug

BEECHER
THIS ELEGY, HIS AUTOPSY
EARACHE RECORDS
Beecher comes out trying to rip your head off in a fairly well put together manner. The first song has everything you’d want from a semi-complicated heavy and fast song that despite frequent repetition in the player, you aren’t sick of listening to. This is an intriguing band that has a few tricks up its sleeve as far as various ways to break up a song and keep each one a little different and distinguished. This is another one of those bands that is NOT made in the studio, their live character and sound is as good or better than the studio version of themselves they present to an audience. –Thomas Murray

BIOLOGY
MAKING MOVES
VAGRANT
The brainchild of Francis Mark (vocalist/drummer of From Autumn to Ashes), Biology is an attempt at melding music and art once again, harkening back to the era of The Velvet Underground. Such ambition is always a breath of fresh air in the music industry and props must be given for his goals...; however, Biology is a complete failure. Rather than using his project to its fullest—as a tool for experimenting with music and ideas that are impossible for his other band—Mark basically creates another uninspiring pop/rock band. There are no moments musically that stick out to me. Guitars are extremely straightforward riffs, the drums are boring, and the bass is BASSically nonexistent. Vocally, we aren't given much to play around with, either. This is perhaps one of the saddest attempts at being artsy that I have ever heard. -Norberto Gomez, Jr.

BITTER TONGUES
CLOVIS
UNITED EDGE RECORD
"United" and "edge" are my two favorite concepts in the scene, mostly because they are such amazingly good ideas in theory and completely dismal failures in practice. Unfortunately, CLOVIS inhabits the vast middle ground between amazing and dismal (which bounds most of hardcore). They have a clever bio, reference revered bands (e.g., Fugazi, Quicksand), and have perfected the middling mix of punk speak-singing, hardcore growling, and dreary instrumentals. Since the band pokes fun at being one of "roughly 8,392 other independent band[s]" from Austin, it appears that they are aware and embrace the middle ground of mediocrity. And that's cool, because there are thousands of fans more than willing to meet them there. -Erika Owens

BOUNCING SOULS
LIVE AT THE GLASSHOUSE DVD
KUNG-FU FILMS
How could anything with, by, or even ABOUT the Bouncing Souls be anything but amazing? It’s very simple, it can’t be, and therefore, this is one marvelous DVD. LIVE AT THE GLASSHOUSE is filled with some amazing footage from The Glasshouse, but it doesn’t only contain a great stage show (like the lead singer out amongst the crowd during “Hopeless Romanic” laughing and having a good old time), but it also has some great bonus features such as extra live footage of the band rehearsing someplace in L.A. and a trailer of another DVD of theirs you might have heard about, it only won an award, DO YOU REMEMBER? Anyway, if you like, love, or just want to check out the Bouncing Souls, you certainly can’t go wrong with this. –Audiophile

BUCKET FULL OF TEETH
IV
LEVEL PLANE RECORDS
Bucket Full of Teeth has produced a seamless disc that flows through disturbing chaos to tranced-out soundscapes to total freak-out rock to screaming hardcore. They create music that mimics life itself. If what's going on in a given moment while listening to IV disturbs you, just wait, as it changes (and naturally). There are rumors that this is the last Bucket Full of Teeth disc. Regardless, if you dig anything from Blood Brothers to Lightning Bolt, IV is for you. -H. Barry Zimmerman

CALVIN JOHNSON
BEFORE THE DREAM FADED
K RECORDS
Having done time with Beat Happening (one of Washington State's most acclaimed indie bands), Calvin Johnson knows better than to put out something that's sub-par. BEFORE THE DREAM FADED is Johnson's second solo effort, and, as always, he's avoiding convention. The 10 tracks are filled with a slew of guest musicians, including Warren Lee and Devin Welch of The Chromatics, Phil Elverum from Mt. Eerie, and Y.A.C.H.T. member Jona Bechtolt, just to name a few. The record ranges from minimal instrumentation (such as on opener "When Hearts Turn Blue" and "Red Wing Black") to the cacophony of an entire band (as heard on "Rabbit Blood"). Interesting stuff...but I won't lie and say it's the most accessible record I've heard this year. Johnson's vocals are definitely an acquired taste, somewhere between those of Tom Waits and Nick Cave; but BEFORE THE DREAM FADED proves to be a solid release. -David Barker

CATS AND JAMMERS
PROPOSE TOAST
SCOTCH HELL RECORDS
With track titles like " Get Your Ya-Ya's Out", "Spitball", "People Are Stupid", and "Jesus Was a Jew", it's no surprise that Cats and Jammers are a fun-loving band with a straightforward pop delivery, old-school punk riffs, and drums reminiscent of The Ramones, and influences from 1950s pop songs. The vocals are very immature and many times off key. This all adds up to a nerdy punk aspect that is searching to be as tight and special as the nerd-rock gods, They Might Be Giants. Unfortunately, other than their humor, I ain't getting shit else. -Norberto Gomez, Jr.

CONCOMBRE ZOMBI
DAYLIGHT COMES
HAIRBALL 8 RECORDS
You are a back-seat passenger riding through Texas. The acid is starting to take over. As you cross into Mexico, the sun is disappearing. You notice that the car is being driven by wild-eyed, criminal strangers looking for trouble. Concombre Zombi's DAYLIGHT COMES would be the perfect disc to be playing. It's a perfect psychobilly disc, pure and cohesive. Some of the best of the best are "Honeymoon in Hell", "Evil Machine", and "The Ripper". Concombre Zombi is waiting for you to get in the back seat. Do it. -H. Barry Zimmerman

DAIKAIJU
DAIKAIJU
REPTILE RECORDS
Daikaiju is a surf rock band from Huntsville, AL, yet many of its song names sound like Japanese Godzilla movie titles. Daikaiju is the Japanese word for "giant monster," so I'm sure you can guess what the title "Daikaiju Die!" means. Guitar-centric surf-rock music is the overall aural theme here, but this four-piece also embellishes this in multiple instances. "Farewell to Monster Island", for example, begins with mid-tempo reggae; "Incognito" is spiced with rockabilly swing; and "The Daikaiju" has an Italian flavor to it. Even if you don't like surf music, this CD is almost worth it for its song titles alone. It's hard not to giggle at tracks called such things as "Attack of the Crab Women" and "The Trouble with Those Mothra Girls". Additionally, band member pseudonyms are also a hoot, (e.g., guitarist Secret Asian Man). -Dan MacIntosh

DEMANDER
DEMANDER
TRIPLICATE RECORDS
Already likened to The Breeders by way of tracks written around strong, thudding bass lines while post-punk guitar attitudes waltz around, Demander have a strong, straightforward, tight pop sensibility with a creative bent. There are some fun hooks—specifically, when guitar and bass take over (e.g., "Wicked World") and utilize their strong sense of melody and playful style. Vocally, though, there seems to be a lack of energy or emotion mirroring—so much so that at times you wish you could yank the female vocalist and make her surprise you with a yelp here or there. I want to hear some Frank Black growls or some Crass I-don't-give-a-fucks. Without them, the energy of the music seems to remain sheer unactualized potential. -Norberto Gomez, Jr.

DIE YOUNG
MARS RETURNS
DIYFS
I haven't experienced a more demented and dogmatic approach to music since Cannibal Corpse. When music this bad comes along, it really makes one wonder what possibly could have happened to the band that would make them hate life so much. Judging from the lyrics, a few therapy sessions might be in order for these guys to get over their seriously deep-rooted anti-church issues. With a drawing of a priest holding a gun to someone whose head is buried in holy water and with lyrics like, "The benevolent upright Father is just a filthy priest in heat," it doesn't exactly make you want to rock out in joyous unison. They've got the DIY ethic, with their photocopied lyric sheet/poster and cheaply-produced album, but the talent side of things could use a serious rebirth. -Sarah Conway

DIMBULB
TRIP HAMMERS
ANTI-MUSIC RECORDS
What we have here is a posthumous release by a Midwest band that combines the ferocious guitar, rock-out tendencies of old-school doomers like Sabbath with a penchant towards raunchy psychedelica and I-don't-give-a-fuck grunge attitude. The drums are strong and dark, the guitar riffs are dirty and ear-splitting, and the vocals are deep and pissed-off (varying from nearly hardcore aggression down to playful name-calling). Nowhere, though, does TRIP HAMMERS offer us any real surprises. The album is entirely "what you see is what you get"—and that is straightforward, aggressive tracks with largely repetitive rhythms and beats, making for a somewhat boring set of tracks. Each instrument plays its role quietly, never once having the spotlight shine. -Norberto Gomez, Jr.

DRAMARAMA
EVERYBODY DIES
33RD STREET RECORDS
Founded in 1983 by John Easdale, Dramarama achieved mainstream radio popularity with its mega hit, “Anything, Anything (I’ll Give You)”, which was released in 1985 and cited by KROQ as its most requested song in the station’s history. The group released several albums, one of which included the near hit, “Work for Food”, but broke up in 1994. Easdale released a solo album in 1998. Now three of the original members have reunited and released the group’s first album in 11 years, and it’s well worth the wait. The 11-track CD features songs with thoughtful, moving lyrics, really tight, driving beats, and taut guitar work which is at times sizzling and at others lyrical in its simplicity. Many of the songs are about death, yet manage to be quite cheerful nonetheless. In fact, the title track opines that the reason nobody comes back after they die is because life after death is so great. My personal favorite, “Physical Poetry (A-B-C-D-1-2-3)” features swirling psychedelic guitars and an infectious chorus and sounds like it could have been a major hit from 1966 or ’67. The disc is also distinguished by the variety of songs included; not one sounds like any of the others. I’m so glad these guys are back! -tekolote

DRAUGAR
WEATHERING THE CURSE
MORIBUND
Is Draugar a cross between Dracula and a jaguar? By the bleak yet muscular sound of WEATHERING THE CURSE, the answer just might point to yes, as this corpse-painted individual's eight-track interpretation of black metal has all of the malevolent elements in place to convincingly summon the evil. Layered guitars, pushed-back vocals, and a plethora of doom-laden melodies advance this disc to the top of the "don't touch if you're feeling on the brink" list, as the feelings of despair and impending doom are hard to shake after a sample of "Sold/ Tortured Old Soul" or "I Come as a Curse". www.moribundcult.com -Mike SOS

DRAWN AND QUARTERED
RETURN OF THE BLACK DEATH
MORIBUND
Gargling vocals and blast beats aplenty are staples of Seattle's Drawn and Quartered's nine-track assault of your headspace, as this bloodfeast is as nasty as death metal gets. Brimming with blistering guitar work and subliminal melodies underneath the maelstrom of metal, tracks like "A Forest of Gore" meshes the wares of Cannibal Corpse and Nile so well that you might think the two bands had joined forces. The best attribute these merchants of the macabre have is that they know how to groove as well as they grind, keeping the mood foreboding enough to properly build up cranium-cracking crescendos on tracks like "As Fools Fall" so that you will be begging for mercy. Horns up—this one rocks. www.moribundrecords.com -Mike SOS

FEAR MY THOUGHTS
HELL SWEET HELL
LIFEFORCE
German metalcore mongers Fear My Thoughts get all Swedish on y'all with a 12-track homage to At the Gates. On HELL SWEET HELL, this quintet pull all of the aforementioned's tricks out of the bag for maximum headbanging, complete with ripping twin guitars, death-rock vocals, and the kind of intricate compositions bands like Children of Bodom and Soilwork are known for. Using the synths for added darkness, this crushing clan may not be the most original act on the block, but Fear My Thoughts pull off the visceral viciousness rather well. www.lifeforcerecords.com -Mike SOS

FEDERATION X
RALLY DAY
ESTRUS RECORDS
Federation X's RALLY DAY does not sport a well-mastered sound; however, the melodies did bring about toe-tapping, which pleasantly surprised me. Their raw rock tunes could be a good opener for a Ramones/Rob Zombie headlining tour. With their ferocious vocals ,Federation X is definitely worthy of radio play. The raw guitar, slight electronic vibe, and metal flair give this album spark and punch. -Aimee Curran

FIGURE OF MERIT
VATIC
EARACHE
File Minneapolis noiseniks Figure of Merit under the broad extreme metal genre, as this pummeling quartet let loose eight tracks brazen with massive amounts of dissonant feedback and hardcore attitude. Tracks like "Arrow to the Sun" lock the listener inside a hypnotic groove underneath a bed of cacophony, while "This Will Not Save You Anymore" combines nuances of doom metal and hardcore to come off like Mastodon meets Snapcase. For an intriguing experience full of crashing instruments and jagged structures, Figure of Merit's brutal barrage succinctly delivers. www.earache.com -Mike SOS

FISSION
CRATER
NAPALM
The two-man tandem known as Fission also play together in Vintersong, and they further an already solid bond on the 11-track CRATER. This disc teeters on the progressive side of the metal spectrum, yet never endorses the genre's excessiveness. Instead, the duo twist and turn thrash-metal riffs, electronic effects, and majestic metal passages where other bands noodle, creating a fresh sound whose unbound energy and unorthodox nature are greatly appreciated on tracks like "Catastrophe Consumer" and the Deep Purple-meets-Black Label Society (by way of Fates Warning) stomper "Mind Vortex". Progressive without pretense, CRATER is a disc for fans of bands like Grip Inc. and Dark Tranquility. www.napalmrecords.com -Mike SOS

G-STRING
BAD MOTHERFUCKERS
HAIRBALL 8 RECORDS
If you think that France is full of pussy types, get a load of G-String. They tackle many styles, from psychobilly ("Rape Your Soul"), straight-down-your-throat punk ("Suicide Rock"), reggae-punk à la The Clash ("Down with the Cops"), and more. BAD MOTHERFUCKERS is an excellent, powerful, tough, and musical disc. This French trio could be good for your music collection, as well as your view on international relations. G-String is a super-talented band, and BAD MOTHERFUCKERS is the perfect title for this album. -H. Barry Zimmerman

GEMINI FIVE
BABYLON ROCKETS
DEADLINE
Technofied hair-metallers Gemini Five portray the trash-rock persona with ease on the quartet's 12-track offering, with throaty lead vocals à la Michael Monroe and semi-poppy hard-rock choruses on tracks like "Poison Envy" and their routine cover of Dead or Alive's "You Spin Me Round (Like a Record)" that belong in the time machine set back to Sunset Strip-era Los Angeles. This Swedish treat, heavy on the sizzle and short on the steak, try their damndest to help you rock out with your cock out, even when they try too hard to impersonate Bush on tracks like the inappropriately-titled "Hardcore". www.cleorecs.com -Mike SOS

GRIDDLE
TURNING VIOLET
YOUR PERMANENT/TURKEY LEG RECORDS
Listening to TURNING VIOLET brings to mind all the amazing bands that Dischord Records and Washington, D.C. have provided over the years. There's a similarity to The Dismemberment Plan, but Griddle is more radio-friendly than that. The vocals are superb, the songwriting is outstanding, and the musicianship follows suit. An undeniable pop element is at play, but the music transcends that of typical power-pop. Not to underestimate what the band's label is capable of delivering, but it's beyond me that this band isn't more well-known. TURNING VIOLET pulls off being groovy, interesting, and memorable by changing it up in each song without losing any focus. In the end, Griddle proves to be funky pop that isn't afraid to both experiment on some levels and turn entirely to cater to the average music fan. -David Barker

HORSE THE BAND
THE MECHANICAL HAND
KOCH RECORDS
If the Super Mario Brothers formed a metal band, it would probably sound something like this. Horse the Band brings us an interesting mix of hard rock laced with synthesized sounds that remind me of the endless hours spent playing Nintendo as a kid. The music is hard and fast, and the lyrics are loud but really hard to understand. This album also reminds me a bit of bands like System of a Down. At times, the keyboards border a Van Halen sound and provide a different sound not found in today's mainstream hard-rock scene. In the end, THE MECHANICAL HAND is a truly original album that isn't afraid to be different-sounding than the rest of the music out there today. It's odd sound kept me amused...but didn't blow me away. -Matt Edmund

HOTROD BOOGIE
LAST TRAIN TO CHUCO
BROKEN BONEZ RECORDS
This seven-song EP of original yet traditional rockabilly fare is a pleasant throwback to the days when nobody wore seatbelts and everybody smoked. With tunes like "Hot Rod Anthem" and "Go Cat Go", you might expect to hear the same riffs and rhythm that bands like Big Bad Voodoo Daddy and The Cherry Poppin' Daddies revived in the late '90s. You won't be disappointed. The band rips through these tunes with the gusto of a sailor on shoreleave. While nobody will tout this CD as cutting edge, nobody who likes swing or rockabilly will take it off the jukebox. I can think of a lot worse things to do on Saturday night than cruising around in my '55 Chevy with a belly full of beer and this disc on the radio. -Dug

JACK ENDINO
PERMANENT FATAL ERROR
WONDERTAKER RECORDS
What happened in the '90s, stays in the '90s, right? Apparently not. Jack Endino, known for producing and recording bands like Nirvana, Soundgarden, Mudhoney, Hot Hot Heat, and about 250 other bands takes a seat on both sides of the mixing board for his first solo album since '92, PERMANENT FATAL ERROR. One would think that having a roster of experience like that would mean that talent runs in Jack's veins; unfortunately, all it seems to mean is that Jack Endino knows how to produce a quality-sounding mediocre record that's semi-reminiscent of the early-'90s phase so endearingly referred to as "grunge." Sadly, what seems to be an honest effort at a decent album isn't much more innovative or creative than the band that always played in the high-school talent show back when flannel shirts and long hair could pass for talent. -Sarah Conway

JOHN DUFILHO
SELF-TITLED
GLURP RECORDS
This is the first solo effort for Dufilho. On this album, he takes on the task of writing, producing, and recording all the music on his own—not to mention playing all the instruments. The music is a mix of quirky mid-tempo power pop. It's clear to see that Dufilho has brought a lot of influences out on this disc, as he uses a lot of electronic loops and silly yet catchy lyrics. I loved the fact that one second you feel as though you are listening to a rough demo album and the next he hits you with a lush stereo soundscape. The one thing I took away from listening to this album is that there are still musicians out there who are talented enough to take their music and do what they wish with it. It's honest music that stays true to Dufilho's intentions as a musician. -Matt Edmund

JOHNNY SIZZLE
METAMORPHESIZ
CRUSTY RECORDS
This rock-star diva drag queen has made me remember why I hate listening to the radio. You’d never hear her/him on it. I love love LOVE this CD. Upbeat and acoustic songs force you to start dancing around. Crazy, fun lyrics force you to start smiling. You can tell he/she had sooo much fun recording this CD because you will have just as much fun listening to it. Find a way to get this CD…you’ll be thanking me later. -Tijana

LA DESCENTE DU COUDE
L'INDECENCE DU COUP
DARE TO CARE RECORDS
It seems like the influence of post-hardcore acts like At the Drive-In and Swedish revolutionaries Refused has only now tinkled into Montreal. The melodic guitar that builds up into shredding aggression, rackety, busy drums, and driving bass all loan themselves well to this genre. Yet, unlike the aforementioned bands, La Descente lack dynamics musically, instead presenting straightforward, unsurprising tracks. Vocally, we are given what we have come to expect, meaning high-pitched screeches varying from the spoken word to insane punk angst (what I suppose would be deemed screamo) with a social consciousness. However, the only interesting part of these vocals is that they are entirely in French and that the jargon sometimes sounds like a mouthful of mashed potatoes (e.g., "Bam Bam"). -Norberto Gomez, Jr.

LACRIMAS PROFUNDERE
AVE END
NAPALM
Lacrimas Profundere bring their self-professed "rock 'n' sad" music out again on the 11-track AVE END, a melancholic sojourn whose piano-led pain and goth-rock dynamics put the band in prime position along side Lacuna Coil and Paradise Lost as masters of the mopey metal. Heavy and brooding throughout the entire album, a feeling of desperation is especially apparent in the low-register vocals—the factor that ties everything together on this disc. Well-textured yet simplistic, tracks like the driving synth rock of "Amber Girl" and the heavy guitar churn of "Evade" showcase two major pieces of a crew that succinctly melds aggression and sorrow. www.napalmrecords.com -Mike SOS

LATTERMAN
NO MATTER WHERE WE GO…
DEEP ELM RECORDS
Latterman is from Long Island so it's really no surprise that NO MATTER WHERE WE GO… could be another Taking Back Sunday. The album is well executed, with passionate vocals and drums with conviction. However, their sound is nothing new or innovative. Definitely a good addition to any emo/rock collection, but lacking any pizzazz. -Aimee Curran

LUGOSI
EDWARD 40 HANDS
HANGOVER RECORDS
Lugosi's image leaves a lousy first impression. The title of this six-song EP, its amateurish album art (featuring a passed-out person with 40-oz. bottles strapped to his hands), and the names of its songs (specifically "Last Call" and "Born to Booze") are all seemingly conceived with the ingenuity of an alcoholic adolescent. Despite this, EDWARD 40 HANDS is a punk-rock release more melodic, intimate, and honest than one might think. Almost a melancholy confessional, "Born to Booze" is sung with clarity and conviction as The Professor—Lugosi's singer and lyricist—describes overindulgence as a decision with delicate consequences. Though strummed in pop-punk's standard "four-chord" fashion, the restless guitars in songs like "Bottom of the Bay" craft more complicated, less predictable chord patterns that bounce around busily like an eight year-old with ADHD. -Dane!

MACHETE AVENUE
THE FIRST CUTS
CONQUER THE WORLD RECORDS
This Canadian duo has the acoustic/indie/folk genre nailed and if that’s not enough they’ve thrown some emo in there as well. Melancholy piano and guitar combined with throaty vocals create a package that is bound to leave the first (or second or third) cut in your heart. Songs of disappointment, hardship, and heartbreak; this could be THE CD to kill yourself to. I’m joking, of course. It doesn’t matter whether you are suicidal or not, you will love this CD and everything about it. From the understated CD insert (that surprisingly does not feature the band’s member trying to look as hot as possible) to their cover of Cindy Lauper’s song “Time after Time”. This band is one in a million…maybe even billion. -Tijana

MANIC HISPANIC
GRUPO SEXO
BYO RECORDS
I answered the phone the other day. I’m thinking it’s another collect call from my ruco. See, he’s back in the carcel, ‘cause he can’t seem to keep the probation happy. But it was my homegirl, Lupe, calling to tell me that my favorite band, Manic Hispanic, has a new CD out. I like those vatos, ‘cause they tell it like it is, whether they’re talking about the chorro (which is funny unless it’s happening to YOU), the pinta, lowered rides, or the jura. And they put it all to classic punk rock tunes. This time, los vatos locos put their stamp on songs by Green Day (“Welcome to Paramount”), Fear (“Big Chorizo”), The Weirdos (“Stuck in the Banos”), The Crowd (“Lowered Machine”) and more. And The Vibrators’ cover, “Lupe, Lupe, Lupe” is the story of my love life – collect calls and promises to do good and never go back to the pinta again. In addition to the lyrics being so funny you’ll laugh your cojones off, the band is really tight, with some rocking guitar and great vocals, which isn’t a surprise, since these vatos play in big time, famous bands, when they’re not doing the Manic Hispanic thing. Check it out, homes! -tekolote

MILES AWAY
SELF-TITLED
BRIDGE NINE RECORDS
Do you know what the difference between Miles Away and any other mediocre punk-rock bands is? The members of Miles Away are Australian. That being said, there is no reason to pick up this album, unless you have a strong desire to own everything that comes from the Outback. Clocking it at a blistering 23 minutes, the only positive that comes from the 10 tracks on this CD is that they are short. Run-of-the-mill hardcore is mixed with the occasional metal riff to create an album that sounds like one long, grueling track that would be best used as a torturing device by the military. At least the band's name is fitting, as everyone should stay miles away from this release. -Jeff Srack

MONARCH
MONARCH
POP FACTION
Monarch impress with their 10-song debut full-length. They have a definite metal edge and vocals that evoke the spirit of ex-Grade vocalist Kyle Bishop with that alluring gravelly, growled style. Just a few highlights: "Bars & Graveyards" absolutely SLAYS. It's all over the map, commencing with 20 seconds of slow, threatening, sludgy goodness topped off by foreboding growls that seamlessly gain momentum, climaxing at the maniacal one-minute mark when Monarch let loose with ferocious force and full-on speed, only to regress back to that FANTASTIC fleeting sludge passage before ending it with a hardcore feel. Meanwhile, the more bouncy—but still brutal—"Harlot" is also a standout. And words cannot describe "Last Song" (which happens to be third-to-last)…but we shall try. An instrumental, it's slow, sad, depressing, tragically beautiful.... Only towards the end is more power introduced, making the final moments both intense AND affecting. -Janelle Jones

MR. PLOW
MAD PLOW DISEASE
SELF-RELEASED
MAD PLOW DISEASE is 18 offensive and funny songs from jackass Mr. Plow, who is setting a new standard for low-brow comedy. MAD PLOW DISEASE appeals to the absolute bottom-of-the-barrel personality type. (I have some friends who loved this disc.) Mr. Plow is not trying to produce a great art—he's being funny for his people (the jackasses). Take this disc with a grain of salt, and it is good stuff. Some of the better song titles include "Crackhead Momma", "Officer B.J.", "Bitch Slap Me Face", and "I Wanna Fugly". beenplowed.com -H. Barry Zimmerman

NEW ENGLAND ROSES
FACE TIME WITH SON
DOGPONY RECORDS
"Indie" music comes in many flavors. Some is unimpressive pop played by boys with bad haircuts. Some is progressive and pushes our limits as listeners. And some—including New England Roses—is poorly performed and disguised as something else. Written between Le Tigre tours and BARR albums (of which members JD Samson and Brendan Fowler are part, respectively), the songs on FACE TIME WITH SON sound like seconds have been spent on their construction. Some are satisfactory, but barely. A playful-sounding synth underlines the trio's voices in "Candy (Version)", as each repeats an assigned line of lyrics. "Kids in the City" features both female singers, who bark energetically at one another. But most, like "Blood Blood Blood", lull clumsily, out of both tune and sync with the strokes of guitar that stumble behind. Of course, because it's identified as "indie," this inaccessibility and musical immaturity is excusable, even justified...right? -Dane!

NEW MAXIMUMDONKEY
SPIRIT OF THE DONKS
MAJESTIC RECORDINGS
At first listen, I thought this was nothing more than pop central with no substance, originality, or creativity. However, as every great reviewer does, I listened to the entire album more than once. And yes, it is full on pop/rock, but it's also something else: fucking WELL DONE pop/rock. Wonderful creative moments like the reggae breakdown in "Good Time" are evidence of this. Throughout are other moments of pop perfection, as the use of infectious claps, vocal hooks, fun harmonies, songs of love and shooting the shit (like "Sex Offender") keep the good times rolling. Such crisp and fun delivery blurring the lines of being JUST pop and being something unnamable can only be done by a band close to mastering their craft. -Norberto Gomez, Jr.

NOTHING LESS
HERE GOES NOTHING
ALCATRAX RECORDS
Nothing Less is a cute sounding pop-punk band with some bouncy-poppy tunes. It’s light and fluffy and I could definitely see masses of teeny-boppers loving everything on this album – from the first track “You Make Me” with its swung choruses to their final song “North Coast Love Song” about someone’s devoted girlfriend. It’s really cute. –Audiophile

POPSTAR ASSASSINS
MODERNE
TRIANGLEBULLETLINES
A mellow compilation of rock ballads, MODERNE is a good album to relax to. I wouldn't recommend this while driving or operator heavy machinery; but if you're in the mood to smoke drugs or have a sexy time, then this could be the album for you. This 11-song record includes very artistic liner notes with the feel of construction paper that will be especially sensational after downing a pocketful of ecstasy. Perhaps MODERNE is only valuable during those strung-out times. Sorry, straight-edge kids, this is not for you. -Luke Skywalker

RUMBLESEAT
IS DEAD
NO IDEA
"Wow" is the first response on hearing this record by Chris Wollard and Chuck Ragan from Hot Water Music. This album of re-released and rare unreleased songs is simply a delight to listen to. Mixing punk and folk, Rumbleseat utilizes acoustic guitars and the harmonica. A majority of the songs are pleasant to the ears; but when bassist Samantha Jones includes her vocals for duets, you can't help but cringe. Her voice comes off too whiny to be anything near as enjoyable as when Wollard and Ragan sing. I recommend listening to the first five tracks and last six. Avoid the rest. -Luke Skywalker

SCARS OF TOMORROW
THE HORROR OF REALIZATION
VICTORY
California crushers Scars of Tomorrow have learned a few new tricks since A ROPE TIED TO THE TRIGGER, but thankfully they've retained that ferocious hardcore firepower. Sharing the stage with bands like Norma Jean and Atreyu (whose lead vocalist Alex appears on "The Hidden Grudge") has given THE HORROR OF REALIZATION a leaning towards the melodic end of the metalcore spectrum, while production work courtesy of Matt Bayles undoubtedly shaped songs like "SSNova" to embody the more avant-garde heavy side. Leaving room for ambiance amongst the aggressive assault of tuned-down guitars and unsettling rhythms, Scars of Tomorrow's prevalent new attitude is ambitious and always forceful, even when the 11-track endeavor sounds a bit forced. www.victoryrecords.com -Mike SOS

SEND MORE PARAMEDICS
THE HALLOWED AND THE HEATHEN
HELLBENT
Prepare for a vicious onslaught of crusty punk metal courtesy of British sickos Send More Paramedics, whose 14-track release channels Slayer, SOD, and Misfits in a way that maintains the band's unique identity while unmercifully beating the hell out of you. Featuring chugging guitars galore, screams in every pitch and range, treacherous bass lines, and top-notch percussion, THE HALLOWED AND THE HEATHEN tackle dark subject matter and bleak imagery with the skill of an All-Pro linebacker, subjecting your ears to some of the best sing-along beatdown tunes heard in a very long time. If you like your music heavy and a little gory with hearty chunks of NYHC, thrash metal, and sludgy punk, this is a must-have album. www.iatde.com -Mike SOS

SHORTIE
WITHOUT A PROMISE
EARACHE RECORDS
I saw this album at Hot Topic, on the listening station. Do what you want with that. Well this is a curious collection of pain disguised as pleasantry. There is confusion and heartbreak in the lyrics, but Shortie is not whiny about it. Their music reflects the swells in emotion involved in losing someone or never having anyone at all. You must hear the drums on track six, called “The Way Things Are”, the beat rocks. The guitar varies from rocking out heavy and almost overpowering, to gentle accompaniment throughout the album, it is nicely balanced though. There is a DVD along with the CD, it is interesting enough to recommend watching. Some studio tips are revealed, such as how to use dual amps to make guitars more metal. There are also live bootlegs, which can expose how a band really is, for they can not hide behind studio effects. Shortie actually sounds like a riot in an enclosed area, I’d go see them. –Thomas Murray

SOCRATIC
LUNCH FOR THE SKY
DRIVE-THRU RECORDS
Ladies and gentlemen, we have a new contender for debut of the year! LUNCH FOR THE SKY is the stunningly first-rate CD by New Jersey's Socratic that is so original and mind-blowing that words cannot explain the joy this record brought me. This is the music Elton John would have made if he was born in the '80s; raised on Ben Folds Five, Queen, and Jimmy Eat World; and smoked an ungodly amount of weed. Call it piano-rock, call it emo, call it pop, call it green eggs and ham—but whatever it is, Socratic is exceptional at it. With 14 beautifully-crafted songs that are impossible to categorize and impossible not to like, this album is for anyone who loves music, whether you think you're punk, emo, indie, or even if you love classic rock. So stop reading my ramblings about this album and find out for yourself why Socratic could very well be the future of music. They're that good. -Jeff Srack

SONNY VINCENT
SOUL MATES…
CARGO RECORDS
It's odd that Sonny Vincent has dedicated his CD to philosopher Noam Chomsky, especially considering this music's raw power. Vincent channels the vocal spirit of old-timers like Richard Hell, then spits out his thoughts over Social Distortion-influenced grooves (especially on the track "Time Bomb"). Vincent's voice is much smoother than Mike Ness's (but then again, who doesn't have softer vocal cords than that old gravel pit?). On the slightly funky "Concrete Poetic", Vincent is heard doing a swinging David Lee Roth impression. And musically, "Chopping Block" hearkens back to the fast and furious early punk rock of X. Five bonus cuts are also added to this CD's "regular" 12 songs. A particularly strange one is called "Oriental Actors". It features Asian-accented actors speaking atop the sounds of a lot of stuff breaking. Such weirdness aside, however, SOUL MATES… is primarily inspired hard rock. -Dan MacIntosh

TERROR
LOWEST OF THE LOW
TRUSTKILL
Well, this is where it all began—album-wise, that is — for much-respected L.A.-based hardcore act Terror. And Trustkill has done a primo job with the re-release of 2003's LOWEST OF THE LOW (originally released by Bridge 9), adding three bonus tracks ("Out of My Face" is killer; "Can I Say" is a Dag Nasty cover) and 10 more tracks from a show in Tokyo to the already vicious, straight-up hardcore album. Also of note are the liner notes, which feature some interesting commentary from the band about each of the nine tracks from the original album. So, basically, if you're a hardcore fan and for some reason never obtained LOWEST..., definitely pick up this beefed-up reissue from one of the scene's most vital players. It's inexcusable to make the same mistake twice. -Janelle Jones

THE BLOODY HOLLIES
IF FOOTMEN TIRE YOU…
ALIVE
The Bloody Hollies have a bloody good rock history pun for a name. Better yet, they create a beautiful noise. IF FOOTMAN TIRE YOU… is packed with urgent, angry, and generally emotional songs. In fact, the song title "We're So Anxious" succinctly sums this band up. Vocalist/guitarist Wesley Doyle leads this restless pack through some moments where they come off like Iggy Pop and other sections where they sound like a sped-up, latter-day version of The Rolling Stones. Doyle's vocals are Jack White (The White Stripes), swanky during "Dirty Water". The group revs up the chugging guitars New York Dolls-style on "Raised by Wolves". It's also easy to warm up to "Right Between the Eyes" simply because its scratchy electric guitar work makes it sound like old The Seeds records. So to The Bloody Hollies we say: let it bleed! -Dan MacIntosh

THE BOOK OF LISTS
RED ARROWS
GLOBAL SYMPHONIC
The blurry guitars and moody vocals make RED ARROWS a must-have CD. The first minute made me look for their next stop in L.A. Their simple melodies effortlessly flow, standing out from today's mainstream music scene. Listening to this CD is like standing in a huge warehouse listening to everything echo under twinkling Christmas lights and cause ripples in your beverage. -Aimee Curran

THE DREADFUL YAWNS
SELF-TITLED
BOMP! RECORDS
It's time to slow things down with this self-titled disc from The Dreadful Yawns. This is their first full-length album to be released on Bomp! This title ended up hitting me like a fresh breeze with its Southern folk sound and country twang. The lyrics have a bluegrass feel and are simple but stellar throughout. I was impressed with the use of harmonica and steel guitar on tracks like "You Sold the Farm" and "Get Yourself Back Home". This album hints at influences ranging from Bob Dylan to The Grateful Dead but remains unique to The Dreadful Yawns original sound. I'm still taken aback by the fact that SKRATCH is reviewing music like this. It's fresh, and its different sound is a nice change from the hard punk-rock music I'm used to hearing. -Matt Edmund

THE EVIL QUEENS
FIRST IT BOILS, THEN IT SPILLS
ADDISON RECORDS
Despite my fear that this might be one of those foreign metal bands with a fixation for evil, death and fantasy, I listened to this CD. Boy was I pleasantly surprise, mostly because The Evil Queens are NOTHING like the previously mentioned bands. I mean with a name like The Evil Queens…well, you know. No, they’re a band with Red Hot Chili Peppers Funk, Fu Manchu’s musical mindset, mixed with classical punk ethics and a metal heads musicianship, and a traditional flat out rock style. And it’s all very pleasant, and it’s all very first-rate, and this CD is still in my CD player, I can’t bring myself to remove it. -Audiophile

THE FALLOUT PROJECT
HOPES & ROPES
DARE TO CARE
Quebec hardcore mavens The Fallout Project's six-track offering supplies ample amounts of dissonance for the avant-garde heavy-music follower. Going deep à la Neurosis, this quintet spins intricate webs of spiraling rhythms, sprawling riffs, and angst-ridden vocals that not only hypnotize but seep into your subconscious without warning. Grab the pills and have a ball with this one, kids, as HOPES & ROPES is the perfect soundtrack to bug out to. www.daretocarerecords.com -Mike SOS

THE FUGUE
MYSTERIOUS ANIMALS EP
RIYL RECORDS
It's difficult to listen to something with an open mind when the production is so blatantly poor. The good side of that, though, is that instead of hearing how much money the band spent to have their record overproduced, you get to hear what the band really sounds like. Somewhere between the early progressive garage practices of Fugazi and the experimentalism and recklessness of Fear Before the March of Flames, The Fugue offer up a raw-sounding, spazzmatic, intense EP via skittish guitars, wailing vocals, and chaotic noise. Their music incorporates elements of style and sincerity to create an upheaval of emotion, noise, and creativity that any fan of innovative rock can appreciate. -Sarah Conway

THE HOLLOWPOINTS
THE BLACK SPOT
DISASTER RECORDS
As its name seems to suggest, THE BLACK SPOT is neither pristine nor polished. Imbedded in each track is the kind of grit and grime that burrows beneath fingernails, that stains undershirts permanently, that impels itself into pores and reappear days later as a blackhead. Belching predictable politics, songs such as "The Black Spot" and "The Sickness" are propelled by a grubby bass guitar and riffs of unrefined, dirty distortion. "The Sky Turned Black" and "Hooks and Sink-Her" (which describes the downward spiral of an "outsourced" employee) are more subtle, specific, successful lyrical assaults. These tracks—still gritty, still gutsy—are better structured. Though The Hollowpoints haven't written an amazing punk-rock record, "Rope's End" is a sign that something significant lies within them: guitars snarl and growl, drums are pummeled, and passionate and pressing coarse cries tell a startling story. -Dane!

THE PALE PACIFIC
URGENCY
SIDECHO RECORDS
Simple guitars with quiet melodies; soft, angelic keys; not much in the drum and bass department; and sad, monotonous vocals sum up The Pale Pacific musically...This is just too subdued and boring for its own good. I understand the nice, quiet mood and not much variation in the intensities are all going back to the flavor of Death Cab for Cutie. But, just like DC4C, the lack of surprises leaves an extremely bland product. One listen and you don't find yourself asking for it again. The best moments are when the band does let loose—even if for just a few seconds—like the more upbeat track "Identity Theft", which is driven by danceable surf guitar and a pounding drum line, but these moments are much too few to save the album. -Norberto Gomez, Jr.

THE READYMEN
SELF-TITLED
JUMP START
Never one to pander to trends, I couldn't care less about what the current rock de rigueur is. I listen to what I like, not what's "cool." Yeah, I still break out the ska sometimes. So what? Whether it be old classic Two Tone in the form of The Specials or The Selector, the soulful goodness of Pietasters, or the ska-punk of Against All Authority, Mustard Plug, and Link 80, it's all good. Anyway, with The Readymen's early discography now available on one disc (the band existed from '92 to '98), we get some very cool ska-punk in the vein of Op Ivy, Assorted Jellybeans, and Link 80—definitely mostly consisting of edgy, super-fast blasts. And the band really shine on the more hardcore fare (like the GREAT "No Trust"); and when they get down on the ambitious, reggaefied four-minute opus "Waste Away" (which appropriately closes out the disc). -Janelle Jones

THE REAL MCKENZIES
10,000 SHOTS
FAT WRECK CHORDS
The whiskey-swilling, bong-toking Scots/Canadians bust out another set of bagpipe driven punk rock tunes, and not a moment too soon. Because there’s no one else that sounds like these lads. 10,000 SHOTS is the band’s third full-length release, and it’s first on the Fat Wreck label. It matches the high spirits of its first release, LOCH’D AND LOADED, which was missing on OOT AND ABOOT, its second album. This time around, the majority of the songs are covers of traditional songs, which the lads speed up considerably. Yes, even “Comin’ Thro’ the Rye” will make you want to slam a shot, not to mention your neighbor in the pit. The original tunes are energetic and feature tongue in cheek lyrics, as in “I Hate My Band” and “Best Day Until Tomorrow”, the latter of which advocates keeping a positive outlook when facing a firing squad. Now that’s punk rock! You’ll also appreciate the fine musicianship here, especially the rock-influenced guitar work. Definitely a party band or a band to lift your spirits when you’re having a rough day. Buy it or stuff it under your kilt and abscond with it, because you HAVE to get this disc! -tekolote

THE RIBEYE BROTHERS
BAD BALLADS AND CAUTIONARY TALES
TIMES BEACH RECORDS
The second full-length release from this swamprock garage band is a throwback to some of the best bands of the '60s (like The Seeds or The Zombies). Singer Tim Cronin and drummer Jon Kleiman (both ex-members of Monster Magnet) have hit upon a sound that echoes early The Doors, complete with vocals that sound eerily like a countrified Jim Morrison and keyboards that sound like Ray Manzarek. Nobody told The Ribeye Brothers they couldn't be the greatest basnd ever. This album definitely kicks some swampy ass. -Dug

THE SASS
BLEACH BLONDE
RIGHT EYE RECORDS
This is the perfect album for the man in his late 20s who wishes that Third Eye Blind would regroup with a new, crappier singer, write songs devoid of hooks and melody, and add a keyboardist to fill out the awful sound. If this person does exist, then he should be the only one with any reason to pick up the debut from Columbus, OH's The Sass. The 12 songs on this album all have their own sound. Too bad they all sound like someone else. The majority sound like Brand New if they released B-sides of the songs that they wrote when they were shit-drunk. Lead singer James Witt has a voice completely lacking emotion and a tolerable key—which makes you wonder why he is even in the band, since he doesn't write the songs (guitarist Nicholas Manos is to blame for this). If you still feel compelled to pick up BLEACH BLONDE after reading this, then obviously you have a real need to punish yourself and everyone in listening range. -Jeff Srack

TRACK THE CURSE
THE NEW LAND
SPINS GOOD
Track the Curse is an outfit that sounds like two completely different bands on THE NEW LAND. One side uses an unfittingly gruff vocal sounding more like a growling Florida death-metal act, while the other opts for a more West Coast punk-rock vocal vibe, as the band trudges through a bastardized concoction of splattercore, black metal, and three-chord punk stomps. On this 11-track offering, this quartet aim for the lowest common denominator of rock, keeping it at gut level throughout tracks like "Serpentine City" and "Reaching for the Lost". If Cannibal Corpse hooked up with Hot Water Music, this would be the result. www.spinsgoodrecords.com -Mike SOS

UNSANE
BLOOD RUN
RELAPSE RECORDS
Oddly, the songs run in between tracks. Song one actually runs fifteen seconds before changing to track two, but it is still the same song. The same first song actually runs all the way to track nine. All the songs do this, various increments of time change tracks while keeping the same song. Too bad the music isn’t as creative as the track distribution. It sounds like Ministry, but only the slower crappy stuff. The stuff that sounds like a record not moving fast enough as the distraction in an awkward situation. If you told me that the second song was the exact same thing as the first, I’d believe you. I thought it was funny that track nineteen was the start of the third song, appropriately called “Killing Time”. It was a bit more lively and compelling than the rest, but still didn’t really interest me. There is too much of an old school metal sound hear, without the dirty unwashed grit to back it up. –Thomas Murray

VARIOUS ARTISTS
CAKE BOY SOUNDTRACK
KUNG FU RECORDS
For a low-budget film written by and starring The Vandals' guitarist Warren Fitzgerald, directed by bassist Joe Escalante, and featuring No Use for a Name as the main act throughout the film, it certainly leaves a lot to be desired entertainment-wise. The film was shot on nights and weekends without a crew, and it's obvious when trying to follow the story that it was pieced together over the course of two years. The soundtrack features several bands, including Piebald, Yellowcard, and (of course) The Vandals, leaving the soundtrack quite a bit more desirable than the film itself. The only complaint I have is that the first five songs are all No Use songs, which leaves throws the whole feeling of a "compilation" right out the window. But it could be worse. -Sarah Conway

VARIOUS ARTISTS
ESTRUS KAMIKAZE ASS CHOMP 'N' STOMP CD SAMPLER VOL. 4
ESTRUS RECORDS
As a rule, I hate comp discs—mainly because so many of them have some good stuff surrounded by crap. But Estrus Records has put together a comp disc worthy of your money and your time which will give your remote control some time off. There is not one rotten apple in this barrel. And a lot of these bands deserve your complete attention. Some of the standout bands on this rock-solid comp include The Diplomats of Solid Sound, The DT's, Fatal Flying Gulloteens, and The Fall-Outs. Based on the rocking cool sounds found here, Estrus Records should be investigated and taken advantage of. www.estrus.com -H. Barry Zimmerman

VARIOUS ARTISTS
KICKED OUTTA PURGATORY
HAIRBALL 8 RECORDS
This massive, 29-band psychobilly compilation is the perfect soundtrack for someone who celebrates Halloween all year long. With cuts from well-known bands such as Nekromantix, Horrorpops, and Hayride to Hell—along with tons of lesser-known bands—this is a great introduction to gravity-defying pompadours, fast cars, and loose women covered with tattoos. While the album focuses on songs about blood, death, and rotting corpses, its pretty hard to separate these tunes from their '50s roots and good ol' rockabilly stylings. The majority of the bands are trios with a small drum kit, a stand-up bass, and a hollow-body guitar, thus obtaining a similar sound. Creativity and innovation doesn't really kick in until the second half of this disc with creepy stylings from Deadbolt, Scary B.O.O.M., and Coffin Creeps. -Dug

VARIOUS ARTISTS
PUT SOME PUSSY IN YOUR PUNK!!! (OR ELSE…) VOL. 2
ON THE RAG RECORDS
An album solely dedicated to promote female musicians is something I've never come across, but seeing that this is the second of its kind by On the Rag Records, there must be a market for such music. As an open-minded music critic, I can appreciate female musicians in all forms and genres...but is acceptance of women in punk rock all that problematic? Is it considered sexist and wrong for not liking a band simply because they have a woman player? Sometimes a woman in a band can make music really great—or very poor. With that said, bands like Bang Yer Dead really rock, while others (like The Booty Olympics) are simply awful. Nevertheless, you have to love bands names like Hymen Maneuver and Bitchcat. -Luke Skywalker

VARIOUS ARTISTS
TASTE OF CHAOS
IMAGE ENTERTAINMENT
Never fear if you missed the Taste of Chaos Tour: 15 tracks and a DVD are now available from the international tour of faux-emo's finest. 12 live tracks, three unreleased songs, and a handful of acoustic tunes make this a manic mix. Chaos is a bit strong of a word for some of the most stylized, commodified bands in the Hot Topic biz, but every band approaches its role in the Chaos with unbridled predictability. The Used sound like GlassJaw, Unearth is positively unbearable, lip gloss is a frequent lyrical reference, and whining, chugging, and screaming are never absent for long. If you desire a tour souvenir, this is for you. (If you missed the tour, just be glad for that.) -Erika Owens

VARIOUS ARTISTS
WE REACH – THE MUSIC OF THE MELVINS
FRACTURED TRANSMITTER
While franticly trying to open this CD, all I could think was “Melvins…oh God yes…oh please, oh God.” After opening the WE REACH – THE MUSIC OF THE MELVINS and finally being able to listen to it, I entered what could only be described as post-orgasmic bliss as I listened to track after track of amazingly dead-on covers of one of the most INCREDIBLE bands ever. This CD features some great artists in their own right, such as The Dillinger Escape Plan and Strapping Young Lads. It also features an awe-inspiring combination of CKY and Gnarkill covering “Laughing with Lucifer at Satan’s Sideshow.” Get this CD! -Audiophile

VERSUS THE WORLD
SELF-TITLED
KUNG FU RECORDS
A debut on Kung Fu that boasts some of the big names in punk and pop punk is a solid sign. While the packaging of the CD is decidedly amateurish, with difficult-to-read shadowed text and a drowning Statue of Liberty, their sound is professional. The album opens with a quick, tight intro that is more mid-'90s alterna-rock than punk. "Don't Let Go" sounds primed to be a single for mainstream and college radio alike. Versus the World prove themselves capable on their first effort. Though there are missteps (like "Love Every Scar", with lyrics that include, "I fell in love with every scar on her wrist"), on the whole, VERSUS THE WORLD successfully echoes the days when rock was still on the radio. -Erika Owens

WITH HONOR
THIS IS OUR REVENGE
VICTORY RECORDS
With Honor's first effort for Victory Records is pretty much what I expected from them. Taking the same route as Comeback Kid, the band jumped from a mid-size label to one of the biggest labels in the scene and recorded a much more accessible album that still manages to have roots in hardcore but will appeal to a much larger number of people. THIS IS OUR REVENGE doesn't stray far from With Honor's past, as the songs prefer to be fast rather than heavy. Lyrically, the band displays more intelligence and depth than many of their peers. Once again relying heavily on sing-along choruses, the group succeeds in creating an album that shouldn't disappointment hardcore fans, yet may result in an extended, less scene-oriented following. -David Barker

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