October 2004 CD reviews (listed alphabetically)

7 - 10 SPLIT
KILL THE MESSENGER
NEW SCHOOL RECORDS
7- 10 Split is a stupid name for a really excellent band. The part of the band's music that is metal-flavored is the best slice. KILL THE MESSENGER is full of thrash and death-metal moments, including well-thought-out explosions, good timing ideas, and ripping execution. And then the chorus will be emo, that emo singing style of holding notes out in a specific soft kind of way. And the chorus also being sung in a bit of a round or intertwining vocal parts. Since 7 - 10 Split didn't do any all-metal songs, every song sucks and every song rocks. If you are into the Oprah rock that is emo (telling your sad sad story?boohoo) with metallic, thrashing rock, get in line to love 7 - 10 Split. Emo sucks. Drop dead or get therapy.
-H. Barry Zimmerman

AMERICAN LUXURY
SELF-TITLED
NO LABEL AVAILABLE
It's okay to call American Luxury a "nice" band. That's because their self-titled album is just that?nice. It sometimes teeters on soft rock rather than emo, especially with simple rhythms combining with healthy doses of piano and guitar. The rhythms, however, do become wonderfully off-kilter, and the lead singer has strong vocal chords. The piano is the finest instrument on this album, breezy and comfortable on songs such as "Falling to Pieces" and "How Can I". Bottom line: American Luxury is good candlelight rock.
-Darren Ratner

AMITY
AMOR VINCIT OMNIA
HELDWITHIN RECORDS
Los Angeles-based Amity are a punk band with spunk. This five-track EP is a cool example of what many fans experienced this summer through the 2004 Vans Warped Tour. Speedy rhythms, anxious-sounding vocals, and blitzing guitars are what the EP relies on. And with tunes such as "Paralysis by Analysis", and "Deja Blue" carrying as much force as they do, it's almost impossible to not be engulfed by their emotion.
-Darren Ratner

ANADIVINE
ZOO
THE MILITIA GROUP
Inside the CD case, there is a small note that a portion of the proceeds of this record go to St. Jude's Hospital. Donating money to such a worthy organization without anchoring it to rhetoric is all too rare and really makes Anadivine stand out. Unfortunately, that's all that sets them apart. I don't know if monotheism includes a singular sound belief, but they are faithful to the Christian indie-rock formula. The album is derivative, but it's far from a monolithic Christcore chunk. There is a rather large variance from screaming to strumming and keyboards to hand claps, but Anadivine never sound like anything more than a The Juliana Theory cover band.
-Erika Owens

ANGER REGIMENT
ACES AND EIGHTS
BRIDGE NINE
A very solid instrumental intro had me dreading the vocals for fear of my buzz being ruined. The lyrics are vague and homely, giving the impression that they were written on a napkin in a Denny's somewhere?which is fine, in the lonely, broken musician sense; but there is not a whole lot to identify with. The last song, "Step Off", has some fun things going on with the bass drum. I played it about six times in a row for my sorority neighbors who were having a giggling convention outside. I am sure they appreciated the opportunity to expand their musical horizons with Anger Regiment and my speakers propped on the window sill. I bet they describe me as the guy who listens to that loud, screaming music and sits in his tangerine tree crying and drinking Johnny Black.
-Thomas Murray

ANGRY FOR LIFE
SHARKS AND ROACHES
VINEHELL PRODUCTIONS
Angry for Life's SHARKS AND ROACHES screams out with passion from the opening guitar riffs of "Ashes" and doesn't stop until the album is over. With this album, you get straightforward punk rock filled with social and political commentary. The band keeps things interesting with tempo changes throughout. There are also a few slower songs, such as "High Life". My only real complaint about this album is some of the vocals. When a band showcases two singers, you tend to lean towards one or the other. It just so happens that I like one of the singers better. It has nothing to do with the band's abilities, though. This is a very solid and enjoyable record?never mind of my personal preferences.
-Dane Jackson

BLACKOUTS
HISTORY IN REVERSE
K RECS
Blackouts were an '80s Seattle post-punk band that most music aficionados have never heard of...until now. HISTORY IN REVERSE is just that: an anthology of the band in reverse chronological order. The album opens with Blackout's last recordings (which were produced by Al Jourgensen (three Blackouts would later join Jourgensen in Ministry)) and flows backwards through some highlights from their six-year stint. While this may not be the most impressive lost gem you're likely to hear, it is a great find, so go scold your hipster friends because the only blackouts they know come from excessive drinking.
-Jude Ruiz

BLOODTHIRSTY LOVERS
THE DELICATE SEAM
FRENCHKISS RECORDS
The second full-length release from this Memphis-based collaboration of artists is a deep, resonant album that establishes the songwriting duo of David Shouse and Steve Selvidge as a premier force in American music. The eight songs on this album vary from electronic-tinged folk to a sound similar to Pink Floyd during THE WALL era. Shouse (ex-guitarist and vocalist of The Grifters and Those Bastard Souls) has found a kindred spirit in Selvidge (ex-member of Big Ass Truck). Kevin March of Guided by Voices also plays drums on several tracks on the album. Shouse has a slightly nasal English inflection in his voice that makes his lyrics pure magic on this album. The only real misstep here is the final track, "Medicated", in which Katie Eastburn of Young People sings lead vocals. It's nice to have friends join in the recording process, but occasionally it can detract from the album as a whole.
-Dug

BLOWBACK
LIES
STRING BREAK RECORDS
Littered with Bush-bashing and anti-war sentiment, LIES is a seven-song EP of simple protest music with 1980s hardcore stylings. Songs such as "Fuck War" and "Johnson" sound a lot like early Black Flag, only this time the Bush in question is the -resident, not the VP. Although I'm sure Blowback's heart was in the right place, LIES comes across a bit too preachy for the average listen but a bit too simplistic for the politically savvy among us. Let's just hope for our sake that these guys live in a swing state.
-Mathew Siblo

BOXER REBELLION
S/T
CREEP RECORDS
Listening to the Boxer Rebellion S/T album was extremely refreshing for me. It's been so long since I heard a straight-up punk-rock band that actually knew what they were doing. Boxer Rebellion draws strong influences from Bad Brains, Bad Religion, and even Jawbreaker to produce a very well-constructed punk sound. The music is tough but very catchy and carries a lot of potential to start the rebellion they're looking for. The guys touch on politics with lyrics like "Blood for oil, concrete for soil, it's a long road ahead and we can't turn back." Go to and look for the Rebellion on tour soon.
-Zac

BURNING SKIES
MURDER BY MEANS OF EXISTENCE
LIFEFORCE RECORDS
Burning Skies' have a problem with human existence, emo, sexual perversion, and anything else that pisses them off. Doesn't that sound great? For metal fans, MURDER BY MEANS OF EXISTENCE will be a winner on those grounds alone. The thrashing guitars hit hard enough to jolt your system, and there are always some Pantera and Napalm Death influences writhing around.
-Darren Ratner

CAST ASIDE
THE STRUGGLE
DEATHWISH RECORDS
When it comes to straight-ahead hardcore, you either cut the mustard or you don't. More often than not, factors such as sincerity and passion will push a listener one way or the other in regards to a band of this ilk. Cast Aside tend to fall into the in-your-face category of abrasive hardcore, like Embrace Today, Terror, and Hatebreed (an increasingly common comparison). While it is hard to pan something as straightforward as this, it is also equally as hard to get extremely excited, as this is standard fair, pissed-off hardcore that tends to be easy to forget when you listen to things back to back. In any case, Cast Aside hold up the flag of straight-edge hardcore, and do it proudly.
-Ray Harkins

CHAMPION
PROMISES KEPT
BRIDGE NINE
Sure, straight-edge hardcore is a dated genre, but so are punk, metal, and pretty much every other style of underground music. The trick is finding bands that can elaborate and improve tried and tested genres, add a little twist here and there, and do it with their hearts pulsing and convictions firmly grounded. Champion are a straight-edge hardcore band that do it right and do it with flair. They master speedy mosh parts, shouted gang-along vocals, uplifting lyrics, and have a screamer who can really belt it out. Fans of Gorilla Biscuits, Minor Threat, and SS Decontrol will be all smiles here. What is it about Vancouver and great hardcore bands? Strain, Blue Monday, Reserve 34, Champion?. Keep 'em coming!
-Jason Schreurs

DEADSOIL
THE VENOM DIVINE
LIFEFORCE
This one's been floating around the homestead for awhile now, me putting off a concentrated listen due to the preconceived notion that they may be "just another metalcore band." Well, lookee here, this isn't nearly the type of metalcore I was expecting. Nary a skinny tie, spiked-up mop-top, or eyeliner pen is in sight; instead, we get ex-members of Night in Gales, Six Reasons to Kill, and Copykill cranking out thick-neck grooves ? la Hatebreed, Stampin' Ground, or The Haunted. Damn fine listening here, if you can handle the sameness as the album wears on. Perfect for those late nights or early mornings where it feels like your body is ready to shut down and go into a deep, perhaps everlasting hibernation.
-Jason Schreurs

DE LA VEGA
INNOVATION
FUNK FACTORY MUSIC
I can sum this entire album up in one word: fun. De La Vega is essentially a funk-driven rock band. The songs on this album blend rock music with funk, hip-hop, reggae, punk, and pop. The closest bands I could compare this music to would be Red Hot Chili Peppers and Fishbone. My favorite track on the album is probably the title track, but I like how the band shows off their diversity in the more mellow, and acoustic "Someone Else". This album is definitely for those of us who are open for different music and the experience of learning about a great band.
-Dane Jackson

DENIM AND DIAMONDS
STREET MEDICS UNITE!
BLOODLINK
" Street medics unite! / We got to fight the good fight! / We got to fight the good fight!" That is precisely was Denim and Diamonds attempt to do in yet another great release from Bloodlink Records. Nowadays it takes a lot to make electronic-driven music interesting. The Faint are a great example of just how it can work. Denim and Diamonds are another. Even ballsier than The Faint, D and D use some of the most intense beeps and blips ever heard, along with a very original delivery of distorted vocals and '80s new-wave wackiness. Overall, a bit of cohesiveness and direction is lost through the experimentation. For more info, visit conglomco.org/denim.
-Norberto Gomez, Jr.

DERRINGER
A ROCK AND ROLL TRAGEDY
ZERO VELOCITY RECORDS
Okay, the final track of this album (track X?gotta get those Xs in somehow) is "The Untitled End". Hopefully that helps to illustrate the level of creativity Derringer has brought to the hardcore mish-mosh. The voices are grindy, the music is simplistic punk, and the melodramatic silences and movie-quote conclusion do nothing to improve the situation. Once again, smushing together elements does not create some bold new offering?it just dilutes the entire sound. Shout-alongs help to bring in the audience and mask the mess in the background. With just a little focus, Derringer could create something people would actually listen to and not just scream over.
-Erika Owens

ENGINE DOWN
SELF-TITLED
LOOKOUT
Yet another modern rock album that attempts to be a little more "dreary" in their delivery with darker guitar melodies and full, emotional vocals. Unfortunately, there is nothing new or interesting to say of this band/style, except that the drumming is probably the strongest aspect of the entire album. That does not make it anything special, but the emphasis on creating a full wall of sound on each track is admirable. For more info, visit www.enginedown.com.
-Norberto Gomez, Jr.

ESCAPE GRACE
S/T
CITY OF HELL
Escape Grace plays aggressive hardcore music with a few elements of punk and '80s metal thrown into the mix. They could best be described as similar to The Hope Conspiracy and ForeverIRise. They hail from Gainesville, FL, and have been playing together since 2001. This EP is probably a good indication of the music that will be on their full-length, which they are due to begin recording soon. This is definitely for fans of fast hardcore and aggressive lyrics.
-Zac

EVERGREEN TERRACE
AT OUR WORST_HAND OF HOPE
Evergreen Terrace are masters at mixing all things brutally heavy (e.g., hardcore, metal) with some melodic elements here and there, yielding a schizophrenic style showcased wonderfully on AT OUR WORST. This album is compiled of five ferocious and feral live tracks recorded in 2003 in their native Jacksonville, FL (they even put their own heavy-handed spin on Smashing Pumpkins' "Zero", which can be found on the band's other recent release, WRITER'S BLOCK on Eulogy); an unreleased track, "You're Entering a World of Pain" (which was originally meant for inclusion on the band's 2002 full-length BURNED ALIVE BY TIME); and, appearing at the tail end of this release, their out-of-print four-song demo from 2000 (which, apparently, the then-fledgling band were selling in sandwich bags). AT OUR WORST should hold over Evergreen Terrace fans quite nicely until the band's next LP of all-new material comes out.
-Janelle Jones

FU MANCHU
START THE MACHINE
DRT ENTERTAINMENT
Orange County, CA's Fu Manchu rock a fuzzed-out and wah-freaked Sabbath meets Bad Wizard brand of hard rock. As a unit, Fu Manchu is brutal. START THE MACHINE is one of the best albums of '04, a perfect disc in lots of ways. No bad seconds, no bad ideas, no bad executions. The disc begins with mid-tempo thunder joined by slow, roving feedback working its way up the beat. And then, boom, the evil main lick of "Written in Stone"?powerful. The big surprise is track 7, "Out to Sea", a groovy, trippy instrumental. The fact is that Fu Manchu is one of America's great hard-rock acts working today. START THE MACHINE is a must-have disc. Big evil guitars rule.
-H. Barry Zimmerman

GENERAL RUDIE
TAKE YOUR PLACE
STOMP
Barring the fine opener, "Shelter", on the initial few tracks of TAKE YOUR PLACE, General Rudie sound a rather generic ska outfit with a highly skankable, happy style. Not bad by any means, but not exceptional, either. However, they significantly raise the bar with the fourth track, the darker, reggae-tinged "Listen This", which truly ushers in the goodness. From here on in we get glorious, TURBO-era Pietasters soul and traditional ska with songs like the cool, mellow "Risky Business", "Addicted", and the superb "Danger Cat", scattered amongst spirited, energetic, well-arranged compositions. The pinnacle of the record comes with "Blame Yourself", an intoxicating jazzed-up ska piece with a brilliant interlude that highlights the keys and brass section, and the quicker, slick "Failure". In the end, this 13-track album will please the most discerning of ska connoisseurs with its excellent mixture of styles and tones.
-Janelle Jones

GOD LIVES UNDERWATER
UP OFF THE FLOOR
MEGAFORCE RECORDS
God Lives Underwater is like a technoish alternative rock band?you know, the type of music you'd never want to listen to on purpose but which seemed to have infested the radio five years ago. This album was produced in the wake of David Reilly going bankrupt, having his fianc? die, and his own battles with heroin addiction, so I suppose we have to allow for the fact that his head wasn't in the right place and that that's why this album sucks so much. But at the same time, why is he putting out shitty records when his life is obviously a wreck? Silly man! No one likes your music that much. Fix your life up...and then you can bore us with your awful music!
-chad

HALFACRE GUNROOM
WRECKED
DEATHWISH/ICARUS
Coming right out of Memphis, Halfacre Gunroom has put together a very interesting display of alternative rock with a heavy emphasis on country. The songs are extremely dark within their country sound, and the lyrics are quite melancholy. To get an idea of the album, check out my favorite song, "Dirty Yankee Punk Rock Girl #2", a sad tale about a trashy girl. If you're a fan of Wilco, Johnny Cash, and Hank Williams Jr., it wouldn't hurt to look for this disc.
-Zac

ILL EASE
THE EXORCIST
TOO PURE
Brooklyn-based photographer/musician Elizabeth Sharp's solo project, Ill Ease, is a far cry from her days as drummer for the indie band New Radiant Storm King. Sharp plays all the instruments and records all the vocals on this nine-track album. The retail disc contains a five-track bonus disc from her vinyl-only GREATEST TITS EP. Unfortunately, her back-up skills are too evident on this disc, as most of the songs are dominated by bass and drums. Her soft voice seems to work well with this material, though there is a sad lack of any type of lead guitar. With titles like "Winter in Hell", "You Look Like Hell Tonight", and "Walking Catastrophe", it is a safe bet that this isn't feel-good music. But the sparse and simple melodies do sound appropriate on much of this material. Sharp is a talented photographer whose works are in New York's Museum of Modern Art. It's a lot easier to be a solo photographer than a solo musician.
-Dug

IN MEMORY
IN SO MANY WORDS
DOUGHMAIN RECORDS
Stutter-stop emo kids In Memory have actualized the formula of At the Drive-In dumbed-down for the Thursday nation. With passion and angst their sole ingredients, they fail to realize any original moments that Finch, Brand New and dozens of others haven?t mined in the last year (if not months). Their tight rhythms and nimble guitar lines work their damnedest to charm any listener, but the vocals do more for the over-all product than anything (especially carrying lines like ?I?m not satisfied with being anonymous anymore?). Scatty moments and breathy chirps show more pop attention than most of their contemporaries. The band shows potential to carry the torch if the screamo-emo-whatever flame isn?t extinguished by boredom and a lack of creativity genre-wide.
- Rob Macy

LAST OF THE FAMOUS
THE MUSIC OR THE MISERY
FOUR FIVE SIX ENTERTAINMENT
Last of the Famous are from New York and Sweden. While the band Shelter was on tour in Europe, they met some rockers, and they got together and started Last of the Famous. They play poppy hardcore/straight-edge music. I think they're really boring and dull, but that could be because I had to get drunk and eat a cheeseburger before I could safely allow myself to listen to straight-edge music without the fear of subliminal messages corroding my mind! Isn't that a terrible thing to say? I'm such a jerk! But don't they seem awfully preachy? Well, the truth is that I can't understand their lyrics...but I'm just assuming! Like I said, I'm a jerk. I apologize! The music is so dull, though, that I have no interest in deciphering the lyrics.
-chad

LEFTOVER CRACK
FUCK WORLD TRADE
ALTERNATIVE TENTACLES
The third disc from NYC punk/ska/hardcore outfit Leftover Crack is their first on Alternative Tentacles (with the Biafra stamp of approval) and produced by Big Black and Rapeman axeman/vocal weirdo and producer of a giant percentage of the best albums of the last 20 years Steve Albini (big big stamp). FUCK WORLD TRADE is a brutal and artful album. There are passages where Leftover Crack sound like a typical genre band. The group seems to have fun in the ska sections. In fact, they give their all to each style. Albini's minimal strings and nice and neat touches throughout work like a charm. FUCK WORLD TRADE is an attack upon the fascism?mainly focusing on Bush. My favorite song is "One Dead Cop", which is a hardcore pop song. FUCK WORLD TRADE is a great 21st-century rock album.
-H. Barry Zimmerman

LIARS ACADEMY
DEMONS
EQUAL VISION
" Trying to make sense out of this instrument Trying to make a sound that's interesting." These lyrics from the album opener, "Microtron", shows Liars Academy at its most interesting in this audio chronicle of probing self-exploration. At points such as this, the band is comparable to Elvis Costello as indie rock. The Costello part is good, but the indie-rock part is generic. While this may be the most mature Liars Academy album yet, the group has to opt for something less formulaic to truly "make a sound that's interesting."
-Tom "Tearaway" Schulte

LOVE EQUALS DEATH
4 NOTES ON A DYING SCALE
POPSMEAR RECORDS
Love Equals Death consists of members from Tsunami Bomb, Loose Change, and 26 MPH. I don't think there's anything that special about them. If you like Tsunami Bomb or like AFI or bands with that sound, you'll dig them, I suppose. Don't you want more bands in your life that sound exactly similar to each other? Can you have enough of that in one lifetime? I think not?so start stocking up! If you want a better description of their sound, turn in your thesaurus to the word "boring." 4 NOTES ON A DYING SCALE is just a four-song EP put out to support Love Equal Death on the national tour that they're on right now.
-chad

MATT COSTA
MATT COSTA
VENERABLE MEDIA
This five-song EP from Huntington Beach folk phenom Matt Costa is a welcome change of pace from the ubiquitous alt-country folk that is sweeping the industry. With a nod to Donovan and Van Morrison, Costa has created a whimsical world of retro-folk. Music like this is both timeless and addictive. These are the types of songs that haunt the subconscious as you walk down an empty street, look out across a lonely horizon, or reflect on the things that might have been. The low-key, sparse instrumentation of these tunes (usually just acoustic guitar, light drums, and a bass) puts the focus on the songwriting?which doesn't get much better than this. Costa is an incredibly talented and mature musician for his 21 years. Currently, he is working on his full-length debut in the Orange County studio of Tom Dumont from No Doubt. If Costa can produce a coherent album as wonderful as this EP, he'll be the best thing to come out of Orange County in a long time.
-DUG

MARK MALLMAN
MR. SERIOUS
BADMAN RECORDS
Ironically titled MR. SERIOUS, Mark Mallman is a '70s piano-rock revivalist who is most known for playing his 26.2 hour song "Marathon" on live TV and subsequently losing his voice for three months. Apparently, Mallman's live act is sometimes mistaken for a live comedy show, but he takes his musicianship seriously. MR. SERIOUS is somehow a mix of Joe Cocker and Elton John, but with a Southern Baptist aura to it. "Still Wasted" and "Anesthesia" are my two favorite songs from the album, perfectly blending piano pop with aggression. This album is entertaining, if nothing else, so give it a chance.
-Zac

MELVINS/LUSTMORD
PIGS OF THE ROMAN EMPIRE
IPECAC RECORDINGS
Once you get past the haunted-house intro to PIGS OF THE ROMAN EMPIRE (think creaking doors and a tolling bell), be ready for a new dose of The Melvins. After 20 albums, you'd think the creative ideas would take a minor slide. Not for The Melvins. This time they've collaborated with the ever-dark Lustmord, giving PIGS a whopping dose of metal and industrial style. Tracks such as "Toadi Acceleratio" and the 22-minute 29-second "Pigs of the Roman Empire" feel like you're stepping into a sordid dream or drug-induced nightmare. They sway between hard-chord rock and a horror flick. Great album, but trust me, don't listen alone.
-Darren Ratner

MENOMENA
I AM THE FUN BLAME MONSTER!
TEAM CLERMONT
It's been a long time since I've listened to an album and wanted to shake the band members' hands right afterwards. Menomena has produced an amazing display of shockingly unique and outrageously groundbreaking songs that awoke my ears from their bored slumber (due to some of the drivel I've heard recently). The songs are truly unclassifiable, as they blend rock, jazz, and electronic styles into partially improvised songs. Yet the album remains very listenable, as order is maintained throughout the songs, with fantastic vocal arrangements to accompany the already so intriguing music. Open-minded fans of experimental indie rock will appreciate this album, which was recorded using a program designed by band member Brent Knopf himself. And if the music wasn't reason enough to buy this album, the fact that it comes in a full flipbook case should help make your decision for you.
-Zac

NEVEA
DO I HAVE TO TELL YOU WHY I LOVE YOU
EULOGY RECORDINGS
This Southern California sextet has created a mildly interesting debut album that blends catchy hardcore, emo, and some screamo backing vocals that sound like Bela Legosi with a stake through his throat. The soaring melodies and techno keyboard backing would be entertaining, if they weren't overcome by the comically overdone backing vocals. At most times, it sounds like the Cookie Monster with a bad cold shouting out the Budweiser ad, "Waz up?" There is some nice, sophisticated album art on the CD sleeve, some good poetry in the lyrics, and some good music on this disc; unfortunately, it is all wasted by the guy with the bleeding tonsils. Most people will have trouble listening to this all the way through even once.
-Dug

NOODLE MUFFIN
REGIME CHANGE
FYOOG STATE RECORDS
The latest release from Los Angeles's insane comic artists is an epic release of staggering proportions. With 20 tracks of Bush-bashing madness and at least five extra hidden tracks, this album ranks with some of the all-time greatest off-the-wall albums. It is the third full-length release from this band?but by far the most important. With a release date of 9/11 and a powerful political commitment to rid the world of their least-favorite dictator, these young men have stepped to the front of the furor over the impending election. All proceeds from the album are being donated to charity, and the entire album can be downloaded for free at . The music sounds like a hybrid of The Beastie Boys, Frank Zappa, and The Barenaked Ladies. Perhaps the most surprising item on this disc is the lead vocalist?George Bush himself! Join the fight, download the album, and save the world.
-Dug

NURAL
THE STRUGGLE CONTINUES
SELF-RELEASED
Take a little bit of the Lost Prophets and Story of the Year type sounds and mix it with a little bit of a progressive rock sound, and that is how you can best describe L.A.'s Nural. For a self-released effort, these kids did a very nice job. They managed to keep my attention on their five-song EP with their elaborate guitar work. They implement a ton of unusual time signatures, which offset the catchy melodies of the music. The pace of the EP is very swift, but they slow it down on the song "Spotlight", which gives you a nice breather. The recording quality is somewhat poor; and for the technical sound these guys are trying to pull off, a cleaner, more-produced sound would fit better. A nice touch to the EP was including a well put-together music video of a track that doesn't appear on the EP, "Tension".
-David Walter

OFER
SHORT STORY LONG
BIG WHEEL RECREATION
Why is there such an influx of hippieish '60s rock lately? Everyone seems to want to travel back into the time of free love and rock 'n' roll. The Thrills have it taken care of, so (I hate to say it) there's not much room left for anybody else. This is especially true when it is as hackneyed as Ofer's SHORT STORY LONG. Ofer is short for Ofer Moses, the singer/songwriter behind the album. I guess if you like that kind of thing that you should definitely check it out. www.ofermoses.com
-tChow

ON OUR OWN
NOW AND FOREVER
PERFECT VICTIM RECORDS
Does anyone else find themselves scratching their head when it comes to the stereotypically tough-guy hardcore bands that are so pervasive in our scene today? Granted, this is something that has obviously been around for quite some time, but this certain style is reaching a groundswell. Where does On Our Own fit into this equation? I would break it down to be a more thug-influenced Hatebreed. It retains the stomp that bands of this nature are known for and seems very content with the fact that they will stick around that general area. Tough lyrics with an even tougher delivery; it sounds like the singer swallowed glass and decided to sing with the glass still lodged in his throat. To some, this may be the new gospel, but I can easily file it in the forgettable pile.
-Ray Harkins

OUTBREAK
YOU MAKE US SICK
BRIDGE NINE
15 tracks (in as many minutes) of hilariously sarcastic hyper-hardcore from Outbreak, all wrapped up in a nasty package with help from producer Don Fury (Judge, Youth of Today). Don't play this one around the kiddies or elderly, because every song features at least three "shits," four "fuckings," and a half-dozen "fucks." Taking the piss out of pretty much every facet of the hardcore scene?and life in general?these guys don't care about anything other than pure expressions of rage and pent-up frustrations. Total scream therapy here, the band nailing rapid delivery chops once thought reserved for bands like Neighbors, Tear It Up, and Limp Wrist.
-Jason Schreurs

RANDOM
SELF-TITLED DEMO
VALOR ENTERTAINMENT
I hated this record the first time, when it was called Story of the Year. To make a long story short, you could basically superimpose these songs on any Story of the Year release, and I doubt people would notice the difference. Apparently, originality and creativity mean nothing to the kids in Random. Punk-rock beats mixed with both pop and hardcore sensibilities make for one crappy EP.
-ADF

REDEFINING SCENES 2
FINGER RECORDS SAMPLER
FINGER RECORDS
Could punk rock pay the bills? Well, no, but REDEFINING SCENES 2 could play out like a punk rockers wet dream...unless you punks don't care for some of these bands or you already have most of these tunes, in which case this compilation would prove useless. This sampler features tracks from Dek, D.I., Firecracker 500, Unit F, Outlie, CH3, The Rolemodels, E Nada, Electric Frankenstein, and Lightweight Holiday. Highlights come on tracks from Narcoleptic Youth, The Circle Jerks, Broken Bottles, and El Centro. My biggest beef with this sampler is that every other song has that "whoah-ohh" chorus. I used to fucking love those choruses, but, as with masturbating to the same Alyssa Milano photos for years, it just kinda gets old after awhile.
-Jude Ruiz

REEVE OLIVER
SELF-TITLED
THE MILITIA GROUP
After a spot on the 2003 Vans Warped Tour and touring with Yellowcard, San Diego power-pop rockers Reeve Oliver may think they still have something to prove. The proof is in the music, as the band's self-titled debut proves they're a terrific trio. There's nothing bad about this record, with tracks such as "I Want Burns", "On the Floor", and "Yer Motion" being unbelievably catchy. The guitars and bass are solid, and Sean O'Donnell's voice is gentle yet gutsy. Reeve Oliver may have more to learn as far as diverse songwriting, but it's all good. You should love these guys.
-Darren Ratner

ROBOTNICKA
SPECTRE EN VUE?
BLOODLINK
Revolutionary French electro-rebels Robotnicka attack audio through their amazing, powerful commentary of the post-industrial world of "BIDIP-BIP? DIP-BIDIP!" In a world of robots, airplanes, computers, etc., they delve further into the postmodern crisis The Flaming Lips opened up for us in "Yoshimi Battles the Pink Robots". Catchy synth melodies, thuddy punk bass lines, and the paranoid wail all do their job by sucking the listener into this hidden world of today/tomorrow. This is the future, and I like it. If you are a fan of Clinic and other similar art-punk surgeons, then this is a must. For more info, visit robotnicka.org.
-Norberto Gomez, Jr.

RYAN'S HOPE
THE TRIALS OF RECESSION
DOUBLE ZERO RECORDS
These guys really lack an identity and personality, and they spend all the time on their full-length THE TRIALS OF RECESSION trying to find it. Ryan's Hope can't decide if they want to be a pop-punk band or a hardcore/metal band in their songs, and the flip-flopping back and forth on this album gets tiring. Combine their lack of identity with songs that sound all the same, and you get a below-par album. The only song that sounds different and stands out is the closing track, "Midnight". The rest of the songs are really deficient in terms of diversity and originality. Better luck next time, guys.
-David Walter

S
PUKING AND CRYING
SUICIDE SQUEEZE
S is the long-awaited solo project from Seattle's Jenn Ghetto (ex-Carissa Weird), who could be the little sister who steals all of your good records and listens to them alone in her room...or your bitch-whore of an ex who steals all of your good records and listens to them with her new love. PUKING AND CRYING expresses these dualities. Through 10 tortured tracks ,Ghetto explores shyness and aggression, at once both begging and demanding while slickly-produced Radiohead-type beats support clumsy lo-fi guitars and vocals that wander through time breaking both syntax and hearts as well as any Will Oldham song. This could be Trans Am meets Edith Frost at a Le Tigre show, or maybe she's the girl all those super sad Bright Eyes songs are about. In any case, PUKING is as easy to like as it is difficult to classify.
-jxk.

SENSES FAIL
LET IT UNFOLD YOU
VAGRANT
The latest band in a long line of screamo surfaces with another CD in a long line of mediocre-yet-capable collections of (you guessed it) screamo. Capable, clean vocals are interspersed with the crazy background screamy guy that all of these bands employ. Like a lot of screamo merchants, it's hard not to think about these guys slogging away in the pop-punk scene before they heard their first Refused or Thursday CD. And really, I'd be hard-pressed to name a song that stood out from the rest (although repeated listens could very well glean me a fave track or two). Safe, palatable tunes here, eying up a spot on the airwaves amongst a sea of screamo.
-Jason Schreurs

SHOCKS OF MIGHTY
TWO STEPS FORWARD
DARK HORSE RECORDS
I'm up for discovering great reggae bands, and with Shocks of Mighty, I've just discovered another one. This California six-piece offers up an old-school reggae vibe with modern sensibilities. The band's new album, TWO STEPS FORWARD, showcases everything from dub to rocksteady to dancehall. If you're a fan of all forms of reggae, Shocks of Mighty is essential for your collection. While I was really digging the entire album, they also show off their musical ability with instrumentals like "Move It". Every track on this album will make you want to dance, from "Working for Babylon" (which has a very strong roots feel) all the way to more upbeat tracks like "The Number". The band's dub offerings are also on par with stuff that you would hear from Lee Perry. You won't be disappointed with Shocks of Mighty if you're a true fan of reggae music.
-Dane Jackson

SLATER
SELF-TITLED
FORK IN HAND RECORDS
Boston quartet Slater are proud people. After five years and three other releases, the band looks to revamp what was previously a pop/rock sound into something more experimental. They've done the job with this self-titled effort. "History" is one of the standout tracks, with crafty beats, echo, and crispy guitars. "Ritual" is another good example, melding together sickly-sounding chords with bouncy, punchy beats. All in all, for Slater, mission accomplished.
-Darren Ratner

SOCIAL DISTORTION
LIVE IN ORANGE COUNTY
TIME BOMB RECORDINGS
This year is going to be a great year for Social D fans. First, you've got this live DVD?the band's first ever live DVD?then you've got a new release and a tour. I could almost die a happy man. The quality of this DVD is great. While some of the stage lighting distorts the colors at times, the entire style and feel of the DVD makes me want to see Social D live in person again. There are a few stylistic elements to this DVD that also enhance it. Sometimes, the frame slows down mid jump, so you can see Mike Ness in all his glory. At times, the picture changes from clear and in color to grainy with gray tones. It's all in good taste. Everything is done to enhance the live experience. Some live DVDs cut out the band's interaction with the crowd, but we get it all with this release?and since Mike Ness is such a good storyteller, it's well worth it. The band go through highlights of their whole career and even throw some new tracks in for good measure. While I expected tracks like "Ring of Fire" and "Bad Luck", I was surprised with the decision to leave off "I Was Wrong". Oh, well. Also, the special features are great: you get interviews, photo galleries, and a featurette or two. This is essential for any Social D fan.
-Dane Jackson

STAND AND FIGHT
TOGETHER WE WIN
BRIDGE NINE
Anyone who has heard of the Boston hardcore band Ten Yard Fight may recognize the vocals of their ex-lead singer Wrench, who now does the crooning for Stand and Fight. Despite the fact that most of SAF is from Southern California, Wrench's East Coast influence bleeds into the music like a red sock in a load of tightie-whities. This album is insanely fast and aggressive. I was so fond of it that I decided to point the speakers out the windows and blast the music at the world outside. The normally chipper birds were scared shitless and silent, and my dogs fought each other during the entire 14 songs...which I put on repeat and then took a nap in the other room.
-Thomas Murray

STATICA
S/T
DELIRIUM RECORDS
They say you can't judge a book by its cover, but one look at Statica's self-titled record and I knew exactly what I was in for. By the looks of the insert's retro-looking space girl, I knew that STATICA would be filled with spacey keyboards, good old-fashioned California melodies, and a healthy dose of Big Star's punchy power pop. The end result may come across a bit kitschy at points, but Statica's good time grooves go down as smooth as a finely-shaken martini.
-Matthew Siblo

STELLAR
DROWN THE SUN
SELF-RELEASED
Orange County has been reaped bare of potential rock stars for close a decade. Now, late for the dance, Stellar bring their truckloads of ambition and hands-full of ability into an already overcrowded alt-pop arena. Offering little more than sparsely catchy hooks and typically over-worded and under powered lyrics, the record crawls with the familiarity of your 8th grade farewell with all the relevance. Too few and far between are the atmospheric bits, which - along with the lyrics - flail wildly at achieving depth but cease to come anywhere close. Shockingly average.
- Rob Macy

SWEET POISON
YESTERDAY'S SWEETHEARTS
STREET ANTHEM RECORDS
Sweet Poison had put out another album under the name Riot Squad, but have since changed their name. They are from the Netherlands and play street-punk music. They have female backing vocals and add some piano arrangements. I like what they're doing, for the most part. It's something new, but it still sounds really produced, I guess. There isn't any raw energy to their music; it's rehearsed and polished, and it just slides off your ears. It doesn't sound like they're having fun as much as they're trying to make it or whatever. But what do I know? I'm probably wrong. You should check them out if you like street punk that isn't done in the typical fashion.
-chad

THE BEAKERS
FOUR STEPS TOWARD A CULTURAL REVOLUTION
K RECORDS
The Beakers is made unique by the jerky, art-damaged sax-blowing of Jim Anderson. Guitarist/vocalist Mark E. Smith (not of The Fall) goes for a heady, reaching voice that recalls PSYCHO KILLER-era David Byrne. The angular guitar works with the sax in the post-punk arrangements that recall James Chance & the Contortions. This all makes sense, given that this is mostly unreleased material from The Beakers, a group alive from 1980-1981. www.krecs.com
-Tom "Tearaway" Schulte

THE BLONDES, INC.
SELF-TITLED
GO CYCLE MEDIA
This is exactly what we need: another '80s-inspired band ready to Wang Chung tonight. So what differentiates The Blondes, Inc. from a flock of others? Well, this debut was produced, mixed, and recorded by new-wave visionary Richard Lloyd of Television, for starters. This quartet (based out of New York via Nashville) has shared the stage with other up-and-comers, like The Fever and Secret Machines. There is no mistaking that this album is full of hits and misses. The album kicks off with catchy little numbers like "Listen" and "You Got It", thanks, in part, to regurgitated Ramones melodies, but the band's real strengths are evinced in songs like "Stupid Things" and "Tonight". I believe that this band can go into a studio and come out with a much better album. Or perhaps I'm wrong: maybe this is just as good as they get. (And no, none of them are blondes.)
-Jude Ruiz

THE BOMBSHELLS
SELF-TITLED
The Bombshells unabashedly promote '77 style punk rock. The Bombshells regurgitate played-out rhythms from The Ramones, Johnny Thunders, The Replacements, The Sex Pistols, and just about any other punk band rockin' in '77. The Bombshells should try coming up with some of their own chops. This L.A. quartet built a name for themselves from their wild stage shows around the downtown L.A. area . It's not like this album sucks ass: there are plenty of catchy tunes. It's just that, if I wanted to hear these melodies, I would go straight to the sources. Nuff said.
-Jude Ruiz

THE DATSUNS
OUTTA SIGHT/OUTTA MIND
V2 RECORDS
I'm sure many of you garage-rock revivalist have already listened to The Datsuns. This is a very long-awaited release. To many readers out there, this release represents the hope of mainstream stardom that this hardworking band deserves. I hate to be a pessimist, but this album is at best a lackluster representation of the mainstream garage-rock revival movement. The band has a great deal of talent, but for the genre, the group fails at writing catchy hooks and solid songs. Instead of putting together masterpieces, it feels as though the group has thrown a bunch of cool-sounding riffs together to form songs. You may not hear the group on mainstream radio anytime soon, which should inspire you to grab the album, anyway. In case you haven't been listening, radio is horrible these days. If you're looking for that next rocker sensation, then you should check out The Datsuns.
-ADF

THE DELGADOS
UNIVERSAL AUDIO
TRANSDREAMER
If you read the bio that comes along with The Delgados' new release, UNIVERSAL AUDIO, you'll be told in so many words that they are the best thing to come out of Scotland for a long time. That may be true, but how much comes out of Scotland, anyway? The band's sound can be summed up in the following words: pop, indie, easy-listening, boring. The vocals switch back and forth between girl and boy. The band is tight and has a bit to offer, but it's nothing that special. A standout track on the album, though, is "Everybody Come Down".
-tChow

THE DWARVES
THE DWARVES MUST DIE
SYMPATHY FOR THE RECORD INDUSTRY
Goddamn! After "destroying eardrums for over two decades," these guys prove on their latest full-length, THE DWARVES MUST DIE, that they still have enough up their collective sleeve to piss off all those who expect from them a certain sound. Here, this rude and crude band are all over the place, playing industrial (the unparalleled heavy and mean "Fuck Eat and Fuck You Up"), energetic rock 'n' roll (the enthralling opener "Bleed On"), sugary surf/pop ("Salt Lake City"), and?hip-hop, exhibiting a whole new side with songs like the groove-laden "Massacre", a fucking hip-hop "battle rap" about how "lame" some of these punk bands are nowadays. But of course The Dwarves bust out the good old hardcore punk for which they're known ("Dominator", "Relentless", the speedy and insane "Blast"). Undoubtedly, some will be confounded while listening to this record, but those who know good music when they hear it will be pleasantly surprised and quite pleased.
-Janelle Jones

THE KICK
RUMORS?RUMORS?
SELF-RELEASED
The ?press kit? for The Kick?s E.P. consisted of a CD-R and a grey-scale I-Tunes-made label. With the exception of two tour dates scrawled on the disc surface and an e-mail address, you know nothing about them. That understatement was a brilliant contrast to their charming power-pop jumping off the homemade disc. Recalling The Replacements on the wagon, or (eerily) a punked-out Bryan Adams with an ounce of tact and/ or self-respect, each of the four tracks offer a dose of early-90s optimism with the right dose of sneer to show it may all be song-deep. Occasionally perverse, often self-conscious, but always clever, The Kick may be the antidote to modern rock mediocrity.
- Rob Macy

THE MAGNIFICENTS
SELF-TITLED
KFM RECORDS
Our old colonist buddies from the United Kingdom have sent us the gift of a new electro/nu-wave band. Sounding like Devo's little brother, The Magnificents blend post-punk rhythms with keyboard electronica. This is a very fun record, in the sense that this could've very well been an '80s cover band and it would sound the same. If you're into the old sound of bands such as Devo and Talking Heads, our friends from the jolly island may have put out a record that will please you. Everything about this release screams '80s, right down to the cheesy cover graphics. Fun times!
-ADF

THE MATCHES
LIVE FROM THE HOUSE OF BLUES DVD
KUNG FU
This DVD was extremely well done in every aspect. The DVD includes a great live set by The Matches that really does a great job at showcasing their energetic, bouncy live show. The power-infused pop of The Matches is neatly captured with great cinematography. There are tons of camera angles?eight, to be exact. This is the most powerful aspect of this DVD, because the various camera angles give you such unique perspectives. These perspectives give a pleasant feel to the live segment and help keep it fresh. You don't lose interest as you would with, say, a straight-on camera shot for the whole show. The quality of the picture is crystal clear and top of the line. To top things off, the DVD also includes behind-the-scenes footage, band commentary, and a photo gallery, all of which gives you a nice inside look at The Matches. There was a lot of time and effort put into this DVD, and the outcome definitely displays it.
-David Walter

THE PARTISANS
IDIOT NATION
DOCTOR STRANGE RECORDS
I usually get 20 to 30 CDs a month. I normally throw away about 99% of those albums. I kept this one. I am going to compare The Partisans to Swinggin Utters. With a punk-rock background, The Partisans bring the '80s to whatever it is now. It is nice to see a punk-rock band that hasn't put out a new album in almost 20 years still sound just a good as when they first started (namely, in 1978). If you have never heard of The Partisans and you are a fan of the older punk rockers, then this could be a good CD to pick up. However, if you are a fan of The Partisans, then whoopee for you, because this one kicks ass. You can find all of The Partisans records at or go directly to their site at .
-Ian Wilkins

THE POWER AND THE GLORY
CALL ME ARMAGEDDON
DEATHWISH
If I ever find myself being eaten alive by cannibals or sick dogs, this is the album I want going on in the background. The lyrics and song titles are brilliant, schizophrenic, and detached, like the kid who sits in the back of class in all black and never smiles unless someone skins a knee or throws up. You could take the album insert to an open mic and just read off the lyrics with some strategically placed dramatic pauses, and you'd bring home the girl with the dyed black bangs, no problem. TPATG sounds a lot like Converge, which, to some, is a good thing...while others will run full speed back to the "what's hot" section at Sam Goody. To each his own. A few song titles: "Motherfuck John Wayne", "V Is for Vulture", "Fknthndr", "Fknltnn".
-Thomas Murray

THE REGULARS
VEGAS
REBELLION RECORDS
The Regulars are a rockabilly band from Holland. They're attempting to sound like they're from the '50s more so than doing any sort of modern interpretation of rockabilly. Unfortunately, they are so bad that you're better off listening to the original rock 'n' roll artists from the '50s. Gene Vincent or Eddie Cochran?you can't go wrong with them, so who needs The Regulars? Plus, they do the worst cover of "Ring of Fire" I've ever heard. I imagine "Weird Al" Yankovic could give Johnny Cash more dignity in a parody than The Regulars do in sincerity.
-chad

THE SERMON
VOLUME
ALTERNATIVE TENTACLES
The Sermon is playing a The Yardbirds' chaos meets The Stooges' muscle version of garage rock. VOLUME is a serious example of why the rock wouldn't die: it's emotional and dirty and fun beyond belief. Jeff Clave and Matt Gabriel make up one hell of a guitar attack. The tones are fuzzed-out and violent. The rhythm section plays like angry weather on an enormous beat. Some of my favorite cuts include "Tender Sin", "491", and the 12th and final cut, "Hand to Hand". What a noisefest stomp 'n' roll. VOLUME is a disc that should be played loud. The Sermon is delivering essential rock 'n' roll.
-H. Barry Zimmerman

THE SHORE
SELF-TITLED
MAVERICK
The Shore is a tight-knit four-piece alt-rock outfit on Maverick. They have had their fair share of major press in such magazines as TEENVOGUE, ELLE, FHM, and AP. The good reviews are well-earned and accurate. They remind me a lot of Oasis, but a lot more approachable and easy to listen to. The melodies are strong, the vocalist has a great instrument, and the songs really put you in this kick-back, peaceful mood. The sound and instrumentation is full and creates way a truly organic and harmonious sound. I think this album is definitely worth listening to. www.maverick.com
-tChow

THE SNAKE THE CROSS THE CROWN
MANDER SALIS
EQUAL VISION RECORDS
Originally from Huntsville, AL, now based out of Santa Barbara, The Snake the Cross the Crown pull together such a focused full-length debut album that it will make some bands downright pissed and ready to take to the streets. The slightly off-kilter vocals is what keeps these songs on edge (e.g., "Honest Misappropriation"), and the band flirts with alt country on "A Brief Intermission". MANDER SALIS proves a bit difficult to get into at first, but when The Snake the Cross the Crown drops a straightforward pop gem like "Empires", it makes it easy to come around. Remember, kids, patience is a virtue. For those of you who want simple pop tunes, go pick up a Coldplay album.
-Jude Ruiz

THE SPADES
LEARNIN' THE HARD WAY
GO-KART RECORDS
I love listening to non-American punk bands. The Spades are no exception. These guys are from Holland, and they fill their music with Motorhead-inspired guitar riffs. While bits and pieces of the lyrical content are a bit suspect, the intensity and quality of the music more than makes up for the fact that English is probably these guys' second language. If you like hard rock with a slight trace of punk music, then The Spades are right up your alley. There's plenty of good things going on with this album. You've got love songs, anthems, social songs, political songs, and great guitar solos.
-Dane Jackson

THE VISITATIONS
PROPAGANDA
SELF-RELEASED
The Visitations is Davey Wrathgabar (guitar, vocal) joined by the rhythm section from On Montreal, Jason NeSmith and Derek Almstead. On the surface, PROPAGANDA is a political hootenanny standing on the left and pointing and laughing with concern at the actions of Mr. 43 (George W. Bush) and his ilk. Underneath the subject matter (which is handled with humor and insight), there is musicality and a hip beat. Some of my favorite songs are "Questionable Intelligence", "Osama and Your SUV", and "Burn a Flag (4 July)". PROPAGANDA is a cool disc from a cool band. Fight the power and support The Visitations. Protest rock rules?especially when it's this well done.
H. Barry Zimmerman

THE WAXWINGS
LET'S MAKE OUR DESCENT
RAINBOW QUARTZ RECORDS
On LET'S MAKE OUR DESCENT, Detroit's The Waxwings offer up 10 tracks of a unique take on pop music. The melodies are straightforward, albeit slightly distorted. These melodies are accompanied by mostly monotone yet warm vocal harmonies and sparse use of synthesizers. Put all of this together, and it works. At times, the music has a psychedelic feel to it, but on tracks like "On for Tomorrow", The Waxwings offer up some blues, as well. All in all, this is a great album by a great Detroit band. At times, it was almost as if I were listening to a band my parents grew up listening to.
-Dane Jackson

THE WESTMINSTER ABBEY
OH NO, IT'S AN EP!
I SURRENDER
The Westminster Abbey is two guys who have concocted a raw sound hearkening back to the '60s, similar in my mind to The Beatles. Don't get me wrong: they are definitely not as amazing and time-changing as The Beatles are/were; they've just got similar sound. Despite the album being extremely do-it-yourself and the product of just two members, there's not much to impress on the album. If you like The Thrills and other '60s rock, check them out. www.thewestminsterabbey.com
-tChow

TOXIC NARCOTIC/MISERY
SPLIT
GO-KART RECORDS
This came as a total surprise for me, as the label seemed to have folded up shop. From what I hear, they don't answer their e-mails and their phones are disconnected. I guess that putting out a slew of mediocre releases it takes its toll. Fortunately for them, this is not one of them. Misery offer up four new songs of their Discharge-influenced punk rock that has influenced many; and Toxic Narcotic bring up the rear with five new songs of their snotty, Final Conflict-ish attack. This split may go unnoticed, but in the independent punk community, it should be embraced.
-Ray Harkins

VARIOUS ARTISTS
MONTREAL SPIRIT A DARE TO CARE RECORDS FAMILY COMPILATION
DARE TO CARE RECORDS
This album gets the award for most annoying packaging of the year. It's a good thing the music on the album is less annoying than the packaging, or else Dare to Care would be in trouble. This compilation showcases the best of what Montreal has to offer. Some of the bands aren't really from Montreal, but that's okay. There are some recognizable names on the track list, such as Ann Beretta, SelfMadeMan, The Honor System, and The Planet Smashers. These bands will suck you in to buy the comp, but I think the best thing about this comp is discovering the other bands that wouldn't normally get your attention. Because of this comp, there are a few bands I'd like to hunt down. Maybe it could serve that purpose for you, as well.
-Dane Jackson

VARIOUS ARTISTS
MTV2 HEADBANGERS BALL VOLUME 2
ROADRUNNER RECORDS
As compilations go, this one is a pretty good deal. You get two discs?40 tracks?and it's relatively inexpensive. It's only a good deal if you actually like the kind of music that's played on HEADBANGERS BALL these days. This compilation has the expected tracks from bands like Slipknot, Korn, and Drowning Pool. Besides those three bands, the compilation is filled with a very wide variety of bands, both mainstream and more independent (e.g., Dillinger Escape Plan, Avenged Sevenfold, HIM, Probot). This is a very cool release for the metalhead in all of us.
-Dane Jackson

V/A_TO THE BITTER END: INTERNATIONAL PUNK HARDCORE COMPILATION
VINEHELL PRODUCTIONS
The title of this compilation pretty much says it all?but I'll do my best to elaborate. A hefty 29-track collection of various punk and hardcore bands from around the globe, TO THE BITTER END is a smorgasbord of like-minded punk acts all doing their part in trying to up the collective system. It's comforting to know that two-minute songs about hating cops, the government, and good old-fashioned self-deprecation seems to be a universal concept. Maybe it's not such a small world, after all?
-Matthew Siblo

VIVA VOCE
THE HEAT CAN MELT YOUR BRAIN
MINTY FRESH
Sometimes you see a book made into a movie and it's just not the same, 'cause, dang, is it fun imagining those scenes without any directorial prompting. Viva Voce is that great book that you heard of "by word of mouth" from a friend. They are an adorable husband/wife duo, but they don't let you laze around picturing them cooing and arguing over who is cuter. Each song is intricately layered and brings in an array of sounds from a ghoulish Halloween croon to more breathy sultro-pop. Quietly and slowly they lure you in with each note and encouraging word. You're left with a world where it's okay to be complex and use this shimmering template for whatever musings you desire.
-Erika Owens

VOODOO GLOW SKULLS
ADICCION, TRADICION, REVOLUCION
VICTORY RECORDS
The bad-ass vatos from the Inland Empire are back. With a 12-track album that showcases some of the highest energy ska on Earth, sing-along choruses, and an attitude that mixes Latin gangster and carney sideshow, Voodoo Glow Skulls have crafted a new album that demonstrates the band's mastery of street-savvy rock 'n' roll. After playing and touring together for 16 years, it is amazing that this veteran band still has as much power and passion as it displayed in its very first Riverside gigs. Blistering tracks like "Dia de los Muertos", "Disaster", and the title track best display the manic talents this band has always possessed. It's refreshing to find a band that sticks to its roots and improves with age. This album is a must-have for Voodoo fans and anyone else that wants a healthy, high-voltage dose of old-school ska.
-Dug

WHISKEY SUNDAY
WHISKEY SUNDAY
ANCESTOR RECORDS
You know what is better than getting great CDs in the mail? Not getting crappy ones! The album starts off mildly decent, but that all goes down the tubes as soon as the lead singer opens his mouth. If you sound like Glen Danzig when you sing, it might be a good idea not to copy his style, 'cause when people like me review your shit, the first thing I am going to think is: "Damn, this guy is a loser." That's always a bad way to start off an album review. The instrumentals sounded pretty good, but fuck, with as many musicians as are in this world, they ought to be. How hard could it be to play power chords mixed in with a little finger picking? Now, if you feel the need to go to their Website, you can go to www.wedonthaveawebsitecausewesuck.com.
-Ian Wilkins

YEAR FUTURE
THE HIDDEN HAND
GOLD STANDARD LABORATORIES
Definitely not something I would want my worst enemy to have to listen to. How is that for a review? With that being said, this album is one of the worst things my ears have ever listened to. Year Future categorize themselves as "punk," but in my humble opinion, this CD is nothing more than a headache in a plastic case. The drums seem pretty cool, but the lyrics totally kill it. Not only are they completely mumbled, but the parts you can make out don't even seem to be strung together in the English language. Year Future is just another bullshit band coming straight out of bullshit Los Angeles. Good luck finding them on the Web; I had to go through their record company.
-Ian Wilkins

YELLOW SWANS
BRING THE NEON WAR HOME
NARNACK RECORDS
Yellow Swans are Pete Swanson (formerly of Mur*der) and Gabriel Mindel Saloman (formerly of Boxleitner), and their Narnack Records debut, BRING THE NEON WAR HOME, may be as about as easy for some kids to digest as that red pill in THE MATRIX. However, if you've got the stomach for artsy electro-experimental madness, then this should go down with ease. BRING THE NEON WAR HOME opens with a pulsating, LSD-induced track called "Police Eternity", and then reaches its second high point on the title track. With a little help from some hallucinogens, this five-track disc could just come to life. Aphex Twin or Squarepusher this is not...but then again, what is?
-Jude Ruiz

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