October CD Reviews (in alphabetical order)

286
PROFILED
GUERILLA UNDERGROUND PRODUCTIONS
Every few years, music that ruined our eardrums in the early '80s seems to make a comeback. The debut EP from this crazed Southern California quartet is guaranteed to damage them again. This time, it's worth it. The Verry brothers, two blazing guitarists from Argentina, provide the spark behind this modern version of Spinal Tap. Lead singer Adam Joad, when not screaming like AC/DC, is also the host of L.A.'s weekly CIVIL DISOBEDIENCE PROJECT, a political radio show. The powerful speed drumming is provided by Peter Pace, a Berkley College of Music graduate. The Verry brothers also split time with a very serious flamenco band. So why would musicians with such talent play songs that sound like Van Halen on speed? According to the band, it's just to save the world from crappy pop and emo. While verging on the hysterical, this CD does kick some long-haired ass. -Dug

AFTERMATH OF A TRAINWRECK
HORSESHOES AND HANDGRENADES
NEW AGE
Straight-edge hardcore troupe Aftermath of a Trainwreck let 10 tracks of unadulterated aggression loose in about 35 minutes on HORSESHOES AND HANDGRENADES. While the Salt Lake City quintet is far from breaking new ground with their sound or subject matter, they do manage to commandeer the "gargled glass lead vocal meets churning rhythms and massive guitar breakdown" structure well enough on the songs "Junkie Stomper" and "Talk Shit Get Hit" to elicit some soberingly heavy moshpit beatdowns, keeping hardcore and metal enthusiasts alike bruised and bloodied. www.newagerecords.com -Mike SOS

ALLEGIANCE
OVERLOOKED
RIVALRY
As they proved quite adeptly on their debut full-length, OVERLOOKED, San Francisco six-piece Allegiance belt out wonderfully well-thought-out, heavy, aggressive, fast, and feisty hardcore in the vein of bands like Shutdown, Still Crossed, and Comeback Kid. With ample breakdowns, relentless intensity, powerful vocals (neither cleanly sung nor growled, but more of a welcomed perpetual shout), and some nice gang vocals thrown in, OVERLOOKED is a great pure hardcore album, displaying no signs of the metal that so many "hardcore" bands are incorporating into their sound these days. Standout tracks include the trifecta of "On the Line", the excellent "Just Let Go", and "Don't Tell Me". You'll want this whole album on repeat, as it gets better with each listen. A nice inclusion is the angry secret track coming after "Why I Am This Way" (which happens to be one of the best-developed songs on the record). -Janelle Jones

BABY WOODROSE
DROPOUT!
BAD AFRO RECORDS
The fourth full-length CD from this ass-kicking Scandinavian trio is a throwback album of retooled garage classics from the '60s. If you've never heard Baby Woodrose perform, you've missed a classic, mind-bending electric attack reminiscent of Blackmore's Rainbow or even Led Zeppelin in their heyday. On DROPOUT!, the band goes to its roots and records covers of several fairly obscure '60s bands, such as The Stooges, Captain Beefheart and His Magic Band, and The Savages. These covers do more than justice to the original versions, as the band takes these tunes into the new millennium and rocks them so hard you'd think they were originals. We may not be able to wholly recreate the heady enthusiasm of the psychedelic '60s, but if you ever wanted to feel the sweaty excitement and hope of a movement that tried to change the world, this band does a good job of capturing that feeling. -Dug

BALZAC
OUT OF THE GRAVE AND INTO THE DARK
MISFITS RECORDS
After the requisite Samhain-like eerie introductory track, horror punks Balzac get down to business in glorious fashion with the following two bombastic tracks, "zetsubou-no-ano-basho-e" and "season of the dead", two fast, dark, aggressive hardcore punk numbers. Yet, despite a couple of songs akin to these, there are quite a few "sunnier" (ha!), more melodious, pop-oriented punk songs ("inside my eyes", "art of dying")...and, like The Misfits, Balzac slay playing both styles. They also include some fun electro-blast interludes with distorted spoken vocals (the "beyond evil 308" trilogy) interspersed throughout the 22-song compilation (which happens to be executive produced by Jerry Only). At 78 minutes in length, OUT OF THE GRAVE is pretty much for true fans of this Japanese band—or anyone into the fiendish side of punk rock. There's also a DVD packed with goodies (including a short horror film by the band). -Janelle Jones

BETWEEN HOME AND SERENITY
POWER WEAPONS IN THE COMPLEX
RUST RECORDS
This Ohio band formed from two dueling high-school bands and make a sound commonly referred to as "screamo." I don't really see all that much of that in the music—although there is some; it feels a little more poppy to me, but not in an annoying way. BHAS certainly are good musicians, and it would be hard to say that any two songs sound the same. This album is tight, for the most part, in that there are no pieces t that seem there "just because" or because the band was trying to live up to a stereotype of some kind. They seem pretty real to me (and usually I have a decent BS detector). This is a nice mix of punk, pop, screamo, and regular old rock that can be found in all major stores—which is a sign of good management. -Thomas Murray

BROKEN HEROES
I TOLD U ONCE
STREET ANTHEM RECORDS
Though Britain's bitter laborers laid Oi!'s furious foundation decades ago, a dedicated American movement still holds the same ideals: working-class convictions, punk-rock values, similar fashions (smooth scalps, suspenders, steel-toed stompers), etc. Broken Heroes' brand of strident street-punk expresses this sense, these themes, that scene on several levels. Lyrically, songs such as "I Won't Pay Your Way" tell a tale of corporate cupidity and a cutback's baleful consequences; while "Everybody Get Stoopid" gently describes a punk-rock utopia: a battered bar, a bevy of beers, a band singing on stage, and some slam-dancing skins. Musically, songs like "Sick" stagger at wild, wobbly speeds; while caustic roars rise fiercely from bawling bellies above a vicious six-string's clamorous chords. Those '70s skins, their perspectives and purposes, are, perhaps, history, but Broken Heroes has instilled in themselves that essence. -Dane!

BURY YOUR DEAD
ALIVE
VICTORY RECORDS
These guys quickly became a big deal—and deservedly. This album features live recordings from a mid-2005 show at Chain Reaction. The sound quality is very decent, giving the creative listener a chance to pretend he is one of the screaming faces in the audience that evening. "38 RPM" is the song I could not stop listening to. Over and over again I played this track. It's insane how good it is. That being said, I found it a little off-putting and disturbing that the lead singer used his metal voice even when talking to the crowd in between songs...but I guess there is something admirable in that he never feels the need to turn it off. Many of the song titles are after movies, (like MAGNOLIA, EYES WIDE SHUT, TOP GUN, THE OUTSIDERS...). I don't know if this has anything to do with the songs—but who cares? The music is good. I strongly suggest listening to this band. -Thomas Murray

CALDWELL
ACCIDENTAL RENOVATION
INDIANOLA RECORDS
This band's first full-length sounds more like a fourth or fifth CD. The production is as polished as can be. Instruments and vocals are clear and defined, matching one another incredibly well. Gary Marschka and Jordan Leake are in a league of their own when it comes to the guitar parts. Much like most metal bands, their talents exceeds that of those of the other bandmembers. Caldwell claim to innovatively mix punk, emo, hardcore, and metal—and they're right. Emotional lyrics with punk and metal instrumentals and hardcore vocals create a package that is phenomenal down to the very last heart-breaking scream. -Tijana Martinovic

CHRISTINE FELLOWS
PAPER ANNIVERSARY
SIX SHOOTER RECORDS
This is simply gorgeous. PAPER ANNIVERSARY is Canadian Christine Fellows's third record with. I'm sad to say that I haven't heard those earlier works. Transcending any simple descriptive term, Fellows pens exquisite, folk-influenced work with a life of its own. It's original, and the instruments used include accordion, piano, and glockenspiel. At one point I think there was an entire song with either a cat purring or a person snoring in the background. It's a sparse album that never overwhelming but touching and endearing. Certainly this is one that should be heard. It would be a crime to ignore the singer/songwriter talents of Christine Fellows. -David Barker

COL. KNOWLEDGE & THE LICKITY-SPLITS
FALL IN LOVE ALL OVER AGAIN WITH…
ALIVE RECORDS
Col. Knowledge & The Lickity-Splits is a long-named band with a firm handle on pop music history. I can't remember the last time I heard so much keyboard work on one album. Some of these tracks sound like throwbacks to the '60s, whereas others reach all the way back to the '50s. "Comin' on Fast" comes off like a early but less angry Elvis Costello, whereas "Delightfully" is graced by a Prince-y falsetto lead vocal. This work mostly sounds like fun and games, but then it gets a little serious toward the end. "No Man's Land" is straightforward electric guitar rock, and "Storm Clouds" is built upon strummed acoustic guitar. Neither track contains the band's usual party organ or plain lyrics about love and romance. Nevertheless, you'll likely fall in love with Col. Knowledge & The Lickity-Splits' wonderfully retro-rock sound—whether the group's being temporarily serious or not. -Dan MacIntosh

CORDOVA
LIE UNTIL IT BECOMES THE TRUTH
LIMEKILN RECORDS
I can't stand EPs. I think that they're the new form of human torture. You find an awesome band like Cordova, play their incredible CD, and 20 minutes later you're sitting there in silence wondering what just hit you. Here's what: you were just blown away by James Alex Snyder's whisper of a scream crooning. This boy has some serious emotion behind some not so serious lyrics. I don't know about the rest of you guys, but whenever I listen to this CD, I get a very happy feeling in my poor, shattered emo heart. So stop being emo and start dancing—along to this CD, that is. -Tijana Martinovic

CURL UP AND DIE
THE ONE ABOVE ALL, THE END OF ALL THAT IS.
REVELATION RECORDS
I've seen this Vegas foursome terrorize some of the smaller San Diego venues. There is certainly no lack of energy and emotion in their music—and that was just stuff from their first album. Now, a slightly matured sound comes in the package of this 11-song collection that sounds incredible at high volume. For me, certain hardcore music is like staring into an abstract painting for long periods of time: you let it mesh with your own issues. CUAD is one of these bands. The album art is creative and strange, giving the listener a chance to try and sing along with the lyrics, which can be difficult to follow at times but worth it, being intriguing and poetic. -Thomas Murray

DEFLESHED
RECLAIM THE BEAT
REGAIN
Swedish metal trio Defleshed are somewhat of an unknown quantity in the U.S., but RECLAIM THE BEAT seeks to raise the awareness of this pummeling powerhouse. The 12-track offering conjures up some meat-and-potatoes extreme metal bursting with hearty chunks of thrash metal's speed and precision and death metal's ominous overtones. Songs like the relentless "Chain Reaction" and the supercharged cover of Motley Crue's "Red Hot" cry out for pumping your fists and banging your head with gleeful abandonment, while the crushing evilness of "Under Destruction" will leave you gasping for air. If you're looking for something wicked yet refreshing, RECLAIM THE BEAT is an album that will satisfy. www.defleshed.de -Mike SOS

DISCIPLE
DISCIPLE
EPIC RECORDS
Disciple has been around for 10 years, made six albums, toured America and Europe, and won many awards. Disciple has taken the music of Warrant and Extreme and added some Linkin Park sound bites. There is no question that Disciple's members are all expert musicians. And lead singer Kevin Young is a really great vocalist. He has real authority over the notes, while maintaining an edge. Very ballsy. The hair-band influence on Young gives him the ability to be sweet or beautiful, leading right into his aggression. But Disciple is a hair-band at heart. I guess there are some Dokken kids out there—and you guys should all run and get Disciple. Otherwise, let this one go. -H. Barry Zimmerman.

DIVIDE THE DAY
PRETTY GIRLS WITH UGLY BOYS
PLUTO RECORDS
Southern California's Divide the Day is a great combination of styles. Mike Patterson (guitar), Billy Haig (bass), Jeff Metajaw (guitar and keyboards), and Mike Hernandez (drums) spend their time being super clever, intense, playing the groove, and rockin' out. This is very good. But Patterson is also adding the screamo/muffle cry, which is the new black (by which I mean boring). But there is main vocalist Joe Nichy, who has a very sweet tone and a nice sincere quality. Divide it all up, and Divide the Day has produced a good disc. PRETTY GIRLS WITH UGLY BOYS is a 100% modern rock disc with potential to go all the way. -H. Barry Zimmerman

EMBRACE TODAY
WE ARE THE ENEMY
DEATHWISH
Embrace Today's latest release finds the straight-edge Boston quintet as seething as ever. Yet despite the 12-track sojourn's undeniable undercurrent of brutality, there's a sheen of majesty to songs like "The Immortal" and the dynamic title track that sets this band apart from your average chugging hardcore crew. Almost sounding if Hatebreed merged with Pantera, WE ARE THE ENEMY transcends clichés and stands out as an album whose metallic melodies, scornful screaming, bestial breakdowns, and ominous hardcore ruthlessly jump for your jugular without regret. www.deathwishinc.com
-Mike SOS

EXTOL
THE BLUEPRINT DIVES
CENTURY MEDIA
Looking for adventures in metal? Then Extol's stunning new release is just the album you need, as this 13-track barrage of jaw-dropping, genre-hopping, mature savagery will convert even the most stubborn of metal fans who think they've heard it all. Pushing boundaries (much like Opeth, but with their ears a little more open to the mainstream), songs like "Gloriana", "Void", and "From the Everyday Mountain Top" display a band whose unmistakable Norwegian roots are contorted in ways never before heard, yielding the type of provocative listening experience reserved for bands such as Faith No More, Neurosis, and Melvins. Staying heavy yet straying away from formulaic compositions, Extol's latest album is a rousing work of a band unafraid to go the extra mile. www.centurymedia.com -Mike SOS

FIN
I MISS THE MESS
SELF-RELEASED
The debut full-length release from this L.A.-based emo-pop quartet is a brooding introduction to a band that is sure to raise more than a few eyebrows. With a sound that vacillates between Radiohead and Coldplay, this band has come together with a sound bristling with passion and intensity. The tracks are at times ambient, anthemic, and pop-oriented. While the band has only been together since 2004, its exclusively West Coast shows have been sell-outs, with a loyal following developing for the band. Perhaps the only real miss on this deliciously dark album is the second track, "So Now Why?"—the song the group considers its best chance for a #1 hit. This band is much better suited doing what it does best: bringing forth a gloomy, British-influenced catalogue of atmospheric tunes. All in all, this is a terrific debut. -Dug

FIRE WHEN READY
AS THE SKY STARED DOWN WITH ANGRY CLOUDS
REIGNITION
Not sounding terribly different than fellow emo-rockers Coheed & Cambria, Saves the Day, and Thursday, Fire When Ready's latest album is an exercise in guitar sensibility. Purely driven by the stringed electric instrument, most tracks feature the switches between clean and electric; while singer Brandon Musa belts like an alternate Daryl Palumbo. Fans of the genre will likely gobble this up, as each song is carefully crafted to feature all the emotional stop-and-go traffic one would desire—along with the patented Warped Tour hooks made popular by Thursday. Check them out at www.myspace.com/firewhenready to get some samples. -Ringo

FIVE BOLT MAIN
VENTING
ROCK RIDGE
Five Bolt Main's VENTING is a textbook example of an album that would have sold a million copies had it been released just a few years before it was. The band plays radio-ready nu-metal with the perfect amount of edge and skill to win them numerous fans—that is, if they had written it while nu-metal still dominated KROQ. It's unfortunate, as this band most likely would have ranked up right against Godsmack, Puddle of Mudd, and System of a Down, but I fear it might be too late for them, even with instantly catchy tracks like "The Gift" and "Slip". I'm sure that songwriter Chris Volz's work will be appreciated by those still into the genre, but the mass appeal of it has worn off. If the aforementioned bands intrigue you, then I would highly recommend hunting this album down. -Ringo

GANG OF FOUR
RETURN THE GIFT
V2
All you little girly fans of Franz Ferdinand, Bloc Party, and the like, bow down, 'cause daddy has come home! After over 20 years Gang of Four have returned in all their influential glory. The aptly-titled RETURN THE GIFT finds the band re-recording 14 of their seminal hits: "To Hell With Poverty", "I Love a Man in a Uniform", "Damaged Goods", etc. Even though GO4's sound has been ripped off over and over and over again, they prove that these sure aren't just damaged goods. Legends never die. The songs prove the importance of their brand of dance-punk with dirty yet playful guitar riffage and sex-drenched, angst-ridden vocals like a cross between The Crass and Duran Duran. The biggest difference this time around was the opportunity to give the drums their due, and the result is a more in-your-face drum and bass ready to spank the shit out of their unruly children! For more info, visit www.gangoffour.us. -Norberto Gomez, Jr.

GO IT ALONE
THE ONLY BLOOD BETWEEN US
RIVALRY RECORDS
THE ONLY BLOOD BETWEEN US is a kick-ass hardcore disc. Go It Alone is full of fury, spit, and screaming-down-your-throat attitude. THE ONLY BLOOD BETWEEN US is their debut full-length CD. Some of the songs that float to the top of the heap for me are "Water Finds It's Own Level" (sic), "Flatline", and opener "Cold Winter". Go It Alone has delivered. And, the band has cool stickers too. Go and invest. -H. Barry Zimmerman

HANK JONES
SATURDAYS OF THUNDER
UNDECIDED RECORDS
There's a certain attitude hardcore bands have to live up to to be tougher than the next guy. These rules don't seem to apply to Hank Jones on their newest release, SATURDAYS OF THUNDER. Don't get me wrong, though: it's filled with hard-hitting, balls-to-the-wall rock with unmercifully harsh vocals. Those vocals from the mouth of Mike Torti are consistent throughout this effort and bring the lyrics to life with emotion and power. Normally, non-stop screaming would bug me to the point of turning it off and never going back again, but that didn't happen with this album. The guitars produce simple but exact riffs that generate a feeling of pure adrenaline. SATURDAYS OF THUNDER comes off as an honest account of what this band is about: music minus attitudes and egos. www.undecidedrecords.com -Matt Edmund

HOGNOSE
EL SOMBRERO
ARCLIGHT RECORDS
I have no fucking Earthly idea what Hognose are going for on this album. First off, album art of hogs in cowboy clothes and song titles like "Weedbilly" give the impression that this is some sort of rockabilly act. At the start, they do seem to be just that, with strong, slick, rocking guitar that has a very vintage appeal. However, the rest of the album goes from this sound to something resembling a really lazy and shitty Judas Priest by way of the vocal delivery and cheesy '80s metal riffs and penis-size-proving solos. Worst of all, most of the tracks clock in at more than five minutes (with "Muffin" being nearly nine!), which simply draws out their already-boring and confusing music. On and on the torture goes, clocking in at nearly an hour! No cohesiveness and no clear concept or original sound leads to very depressing and earache-inducing work. -Norberto Gomez, Jr.

IN FLAMES
LUNAR STRAIN/SUBTERRANEAN
REGAIN
At the forefront of the Swedish metal brigade is In Flames, one of the most visible and popular bands from the region . The re-release of their first two albums from 1994 and 1995, LUNAR STRAIN and SUBTERRANEAN, marks the first time in the U.S. that the band's entire catalog is available. For those familiar with the band's current Ozzfest-friendly sound, these albums may be a bit surprising at first, as they express a more raw-sounding band, especially vocally, as current lead singer Anders Friden didn't join the fold until 1997. The band's staple, flavorful fretwork, is still greatly featured, and the relentless metal template that In Flames helped to create is here in all of its early glories—especially on LUNAR STRAIN, where current Dark Funeral throat Mikael Stanne mans the microphone and leads the punishing procession. If you want to bone up on your Swedish metal history or are interested in the early works of an influential metal troupe, these re-issues are essential. www.candlelightrecords.com -Mike SOS

INSTANT CAMERA
ALIVE ON DEPARTURE
WALL TO WALL
Instant Camera's debut brings to the listener a new-new-wave album that really isn't all that new. The typical allusions to The Cure, Duran Duran, and new-wave pioneers New Order are all present and accounted for, but with the most important element missing: substance. The tremendous lack of songwriting essence and originality is filled up by the usual synthesizers and buzzing guitars. The band seem determined to write music as if it were still 1987. The result we receive is 10 single-length tracks determined to butt heads with the next Interpol offering. A small revision in their style-driven technique could allow these boys to focus their technical talent (which is apparent) on songs with that extra energy that we music fans need. -Ringo

JACKSON UNITED
WESTERN BALLADS
MAGNIFICIENT RECORDS
Riding high on the merit of his main project, The Foo Fighters, guitarist Chris Shiflett has released WESTERN BALLADS, a collection of catchy California pop/rock songs that he had been writing over the past few years. The strongest point of this album is that it sounds very little like The Foo Fighters, proving that Chris wants to and can do his own songs with just as much skill as Grohl displays in the Foos. "All the Way" and "Fell Into" seem to be the standout tracks, both with gripping chord progressions and feel-good melodies that remind one of Pavement and former Shiflett group No Use for a Name. Very much worth your time and money, this album is guaranteed extended rotation for its joyous teenage characteristics and lasting refrains. -Ringo

JOHNNY COCK AND THE NUTS
TEAR YOU A NEW ONE
BITCHSLAP
After some deep analyzing of TEAR YOU A NEW ONE, it's safe to guess that California's Johnny Cock and the Nuts isn't a serious rock band like Coldplay, but instead a tongue-in-cheek punk rock band whose bathroom humor, three-chord assaults, and sneering lead vocals have all the charm of an unruly third-grade classroom. This 26-track tour de force contains a full studio release and a complete live show (taped on the night of the birth of the lead singer's son—how's that for punk rock dedication?!). Mixing the wares of NOFX, Dead Kennedys, and Suicidal Tendencies, this disorderly trio's penchant for stirring the pot and bringing the party back to punk rock is their best trick. www.bitchslaprecords.com -Mike SOS

JUSTIN EVANS
ALLUSIONS WITHIN
SELF-RELEASED
The song writing on this album is a bit simple, with very basic rhyming lyrics, but it's not half bad. Again, I've heard a lot worse. Once my Music Business teacher told me that for every hit song you write you write 100 duds, so get use to it. Unless you've already written well into 200 songs, chances are.every song you write isn't going to be the absolute best in other people's eyes. I really enjoyed track 7 off of this album, "Now We Stand", it was a decently written song with some nice tunes to back it up. Throughout this album you can hear Justin trying to reach a softer, gentler side of himself, but when it comes down to it; his best songs are the ones where he rocks out. -Audiophile

LOSERS BEAT WINNERS
SELF-TITLED
SPAT! RECORDS
The debut album from this Nashville-based trio was born out of frustration with the country roots of their hometowns. While all three musicians have toured and performed behind such legends as Rosie Flores, Hank III, and Robert Plant, none of the country/rock mainstays satisfied these troubled young men. So the creative outlet to vent a clever, quick version of '80s punk was formed with Losers Beat Winners. The sound is vintage Husker Du meets The Descendents, as the boys grind out punk/pop gems one after another. The 12 songs on this disc all clock in at three minutes or less—the perfect length for a band that performs 12 tunes in its 30-minute sets. There's nothing ground shaking on this disc, but it's obvious that the band is having fun with this music. In this case, the good times are infectious. -Dug

MATT POND PA
SEVERAL ARROWS LATER
ALTITUDE
Hooray! I had been watching this band for the past several years, and I always knew that singer/songwriter Matt Pond had it in him to put out a record that defined him as a songwriter—and he most certainly does so with SEVERAL ARROWS LATER. This is the kind of record that makes you smile upon first listening to it, with its jingling guitars layered over harmonious and somber pop (not completely unlike Death Cab for Cutie and The New Amsterdams). Album opener "Halloween" is the strongest song that Pond has written. The dreamy qualities of this album prove that indie pop still has a long life ahead of it and shows no sign of slowing down. I wouldn't be surprised to see tracks from here picked up by THE OC sometime soon. I can see Summer kissing Seth already! Don't miss out! -Ringo

MDC
MAGNUS DOMINUS CORPUS
SUDDEN DEATH RECORDS
An acronym in frequent flux, MDC has assumed several meanings since the early '80s (MILLIONS OF DEAD COPS and MULTI-DEATH CORPORATION being earlier aliases/albums). In 18 truculent tracks of political punk, singer Dave Dictor spits loosely-laid lyrics at spontaneous speeds, preaching (predictably) against the government, punk-rock posers, police, and pop culture with the finesse of a high-school sophomore. Gashing guitars tear against a brazen bass in "Going Nowhere Faster Than You" as a determined Dictor spouts tales of drug-fueled times as if he's delivering a dramatic address. "Timmy Yo" pretentiously decries the scene's "sellouts" sans passion, as if Dictor's arhythmic rhymes were read unrehearsed from some gnarled notebook. Though the able band supplies a spirited soapbox, the speaker blares bluntly, blandly, losing his listeners. -Dane!

MESHUGGAH
CATCH THIRTY THREE
NUCLEAR BLAST
When you speak of metal bands that have carved their own niche, Meshuggah is one of the first acts that come to mind. The progressively punishing quartet's latest exercise in raising the bar is CATCH THIRTY THREE, a blistering assault unlike any on the scene today. With the innate ability to hypnotically suck you in with off-kilter rhythms and esoteric structures while pile-driving your skull with an ungodly sonic crush of the deepest low-end metal madness on the market, Meshuggah are quite possibly the most technically sound metal band on the planet, always striving to further their experiments of mechanically-inclined metal. This brand of severe music is sometimes hard to grasp for the layman, but for those ready to travel to new realms and push boundaries, Meshuggah is the band to hit up. www.nuclearblastusa.com -Mike SOS

MIKE PARK
NORTH HANGOOK FALLING
SUB CITY
Mike Park doesn't know the meaning of the world "failure," and NORTH HANGOOK FALLING, the second solo effort from the Asian Man Records owner/operator, is the proof. Once again promoting an anti-racist and pro-peace agenda, Park fuses his lighthearted humor with a discussion of serious political issues, especially those concerning his homeland of Korea. This time Park has employed the services of Chicago jazz indie quartet Colossal, making the album a more fleshed-out, cohesive venture than 2003's FOR THE LOVE OF MUSIC (which was, for the most part, just a man and his guitar). This album isn't more rocking, but the additional instrumentation lends depth to Park's soft strumming and mid-range vocals. Catchy, smart, and clever, this is Mike Park in top form. -David Barker

MUNICIPAL WASTE
HAZARDOUS MUTATION
EARACHE RECORDS
This record came as a real surprise. On first inspection of the album art, I thought I might be listening to a crappy garage band, but truly, HAZARDOUS MUTATION is a piece of art. With a fabulous metal intro, the first track explodes into a true hardcore album. Metal riffs are placed in songs throughout, but the overwhelming presence of hardcore punk is most apparent. You can check out Municipal Waste on tour with Converge this November. I speculate that Municipal Waste puts on a great show. -Luke Skywalker

NODES OF RANVIER
THE YEARS TO COME
FACEDOWN
Sioux Falls, SD quintet Nodes of Ranvier return with a 12-track release that falls in line with much of the contemporary metalcore on the scene today. Packing a wallop laden with melody and bruising rhythms alike, "The Dawning Age" is a track that old-school thrashers and new fans can enjoy equally, while the title track is armed with a demonic vocal style that sounds like the merger of E-Town Concrete and older Avenged Sevenfold and rocks out with unabashed intensity. Leaning towards the more commercial side of heavy music, THE YEARS TO COME is a great addition to those who are digging both their older brother's thrash albums and the current crop of heavy bands fortified with melodic musings and anthemic choruses. www.facedownrecords.com -Mike SOS

NORTH LINCOLN
TRUTH IS A MENACE
NO IDEA RECORDS
The second full-length debut from this Michigan trio is a fast-paced 12-song manifesto that questions the American dream. With a plethora of tunes that ask questions and don't necessarily provide answers, the band often comes off like Brando in THE WILD ONES. "What are you rebelling against?" asks the pretty barmaid. "What've you got?" answers Brando. But the one thing Brando didn't have was some catchy pop-punk tunes with a biting edge. The songs do a fine job of capturing the existential crisis of manic depression, with its cyclical mood swings, alcohol and drug dependence, and constant search for the meaning of life. There is one tune on the album, "Jeane", that actually has the line "Go buy every single Smiths record you can find!" listed as the lyrics instead of the actual lyrics. Like The Smiths, North Lincoln does a fine job of walking the fine line between depression and redemption. -Dug

NUMBER ONE GUN
PROMISES FOR THE IMPERFECT
TOOTH & NAIL RECORDS
How badly I wanted to love this album. Flipping through this month's selection of albums I was to review, PROMISES FOR THE IMPERFECT got me the most excited. Sadly, the album did not meet my expectations. Tracks like "We Are" and "Who You Are" stand out from the rest. Number One Gun's latest work is not all crap, but just not extraordinary. My sentiment is summarized in a quote by John Malkovich from ROUNDERS: "Just like a young man, coming in for a quickie. I feel so unsatisfied." -Luke Skywalker

NUMBERS
WE'RE ANIMALS
KILL ROCK STARS RECORDS
It's Moog synthesizer appreciation time as we take a listen to the newest album from Numbers. The use of this unappreciated instrument is the driving force of WE'RE ANIMALS. Its eclectic sound mixes a brilliant use of rough guitars, as if aiming for a garage sound, while undertones of the Moog top it off with a very experimental, electronic ambient sound. There is a lot of Devo-influenced material here (e.g., "The Fuck You Garage"). The lead vocals from Indra Dunis (who is also the drummer) remind me of Bjork, especially on "Beast Life". This album grew on me each time I popped it into my stereo. It's subtle but driving sound left me very, very impressed and wanting more. Numbers are currently in the middle of a nationwide tour but are to return to West Coast in November. www.numbersmusic.com -Matt Edmund

OLD TIME RELIJUN
2012
K RECORDS
December 21, 2012, is the end of the world according to the Mayan Calendar, and this record is what it's gonna be like...according to vocalist Arrington de Dionyso. This is his foresight spewed in throaty screams à la Nick Cave at his most preacher-like (think Birthday Party) and Tom Waits at his most morbid. The Armageddon is delivered by minimal, brooding tracks driven by strong, doomy drum and bass and backed up by raunchy, demonic guitar. Overall, 2012 plays off like a Blue Explosion! album written and recorded in the pits of hellfire and brimstone! This is humorous and energetic old-time relijun, a sermon wherein the end of the world is damn interesting. For more info, visit www.krecs.com. -Norberto Gomez, Jr.

OXFORD COLLAPSE
A GOOD GROUND
KANINE RECORDS
I am a sucker for a different-sounding voice. It just makes you stop for a second and wonder how someone could actually sound that way. It's awe-inspiring...and sometimes totally annoying. This New York trio seems to bounce back and forth on that thin line. At times they make you scratch your head and wonder why would anyone in their right minds want to sound like that. At others, however, you just get dazed and lost in their chaotic, unrefined music. So jump off the bandwagon and join this fresh indie band for a wild, magical ride. I did. -Tijana Martinovic

PITTBULL
THE VERY WORST OF...
DISCONNECTED RECORDS
THE VERY WORST OF... is a compilation of six years (1989-1995) of work by Detroit's Pittbull. It's well over an hour, 22 tracks, and lots of out-of-print material and never-released gems. Pittbull is hardcore mainly due to the lead vocal style of Mikey. The band is a straight-up aggressive, rockin' machine with good ideas and the balls of a wild street dog. THE VERY WORST OF... is a great disc. It is brutal and serves as proof that this band that never got the props that they deserved. They're a bad-ass band that lovers of intense hard rock will dig. The disc is full of highlight moments. I really enjoyed the live cuts. Very cool. THE VERY WORST OF... is a necessary evil. Your sweaty friends will love you. -H. Barry Zimmerman

PRO-PAIN
PROPHETS OF DOOM
CANDLELIGHT
The resilient hardcore metal band Pro-pain continues to trudge on with PROPHETS OF DOOM, the quartet's 12th release. Refusing to bow down to the music-industry machine, this fiercely independent troupe bring their brand of punishing low-end mayhem back with a discernible wartime theme. Tracks like the head-stomping "Hate Marches On" and the groovy thrash of "Operation Blood for Oil" have got the vintage Pro-pain wallop with a slab of social commentary thrown in. Three chords and the truth? It has served this NYHC-inspired outfit for over a decade...and they've come back stronger and more meaningful than ever on PROPHETS OF DOOM. www.candlelightrecordsusa.comn -Mike SOS

PUBLIC ACCESS
FLEECED.
POCKETFUL OF CHANGE RECORDS
The third release from this upstate New York quintet is a hard-rocking ska album in the vein of Reel Big Fish...not exactly cutting-edge material in 2005. I've always loved ska, and the harder the better, so I couldn't help but appreciate the edgy rhythms on this six-song EP. Whether a band fronted by two saxophone-playing vocalists can get a fair shake in this day and age is yet to be seen. The boys score big points with the lyrics on these tunes, as nearly every song slams the corporate interests that dictate what music we listen to. But it begins to sound like someone whistling in the graveyard, as the band lowers expectations by lamenting the loss of the ska scene and telling the listener that he's a sellout and won't like this stuff because the suits told them not to. Ska doesn't have to apologize for anything. -Dug

QUEEN + PAUL RODGERS
RETURN OF THE CHAMPIONS
HOLLYWOOD RECORDS
Wow, just wow. Who would have thought Queen would be back? And that Paul Rodgers, the lead singer of Bad Company, would become their new lead singer? It's mind boggling and AMAZING! I'm not the biggest Queen fan, I wouldn't like…kill for them or anything (although I think my mother and aunts would), but Paul Rodgers does a great job, he almost sounds like Freddy (R.I.P.) in a few of the songs, I don't see any Queen fan or any fan of decent music hating this, actually, I see the opposite, I see them LOVING it! I'm not the biggest fan of live recordings, or live recordings done in front of a large obnoxious audience, but this one is great. What else would you expect? It's FUCKING QUEEN! -Audiophile

RIC OCASEK
NEXTERDAY
SANCTUARY
Some musicians have an undeniable pop sensibility that will more than likely allow them to continue writing carefully melded pop gems until the day they die. Ric Ocasek is known mostly for his work with The Cars, but even after The Cars crashed, he proved to be one of those rare musicians (like Paul McCartney and Robert Smith) who will never stop writing good songs. On his first solo album since 1997's TROUBLIZING, Ocasek blends the tracks together smoothly with sharply-produced drum machines, signature new-wave guitars, and more pop hooks than most bands could ever dream to squeeze into one album. While no individual songs stick out, each effort seamlessly follows the one before it with the kind of musical perfection that only a legend such as Ocasek could consistently execute. Fans of pop from the '70s and '80s should have no trouble digesting this one. -Ringo

RITUAL CARNAGE
I, INFIDEL
OSMOSE
Japan's answer to bands like Forbidden and Destruction is the long-running metal troupe Ritual Carnage, whose latest release is a 12-track album determined to put your neck in traction. Performing with the fires of '80s thrash and death metal in the forefront, the dual guitar attack flawlessly executed on burners like "Thirst for Blood" will reel you back to the glory days of the Bay Area and Tampa scenes; while the progressive transitions and unstable rhythmic patterns of "Do Not Resuscitate" sound like the perfect homage to Death. Wielding the power and fury of the predecessors of the extreme-metal genre without plagiarizing or bastardizing anything, I, INFIDEL is an unwavering display of technical metal that fans clamoring for the sounds of the old school should take note of. www.theendrecords.com -Mike SOS

ROSES ARE RED
CONVERSATIONS
TRUSTKILL RECORDS
Whenever you've given up on emo, there's always that one band to come out that gives you hope again. Nobody's perfect, and this band is far from it, but given some time, I think that we could be looking at the next big thing. The lyrics are like most emo lyrics: sappy and inventive. Singer Vincent Minervino has some truly awe-inspiring parts on this CD. Unfortunately, there aren't enough of them to make this CD something that goes above and beyond your average emo band. The instrumentals, however, are superb. The Gordner brothers are the perfect duet, with creative guitar riffs and solos that complement each other to the T. Kevin Mahoney's bass is probably the most outstanding part on this CD, although Michael Lasaponara's drums aren't too bad, either. If you don't feel like buying this CD now, make sure that you do get the next one this band puts out, as I'm predicting it will be worth the wait as this band develops and cleans up its production. -Tijana Martinovic

SENTENCED
THE FUNERAL ALBUM
CENTURY MEDIA
Finnish death-metal troupe Sentenced have decided to call it a day on their latest release, the aptly-titled THE FUNERAL ALBUM. This 13-track disc finds the quintet saying goodbye with dollops of depressing mid-paced metal like "Her Last 5 Minutes" and sometimes picking up the morbidity on melodic death marches such as "Vengeance Is Mine". Despite the album's rather somber overall tone, it doesn't match up to the band's previous cold-hearted endeavors, making it a bit of a disappointing swan song. Nonetheless, THE FUNERAL ALBUM's melancholic meanderings are a fitting parting shot for a band fascinated with the art of dying from the get-go. www.centurymedia.com -Mike SOS

SHOTS FIRED
SHOTS FIRED
SIGNATURE TUNE
I had trouble deciding what this trio from Kansas City sounded like or what the music made me think of. That is probably due to the fact that this is less heavy and overbearing than most of what I listen to. This album is certainly more hipster and low-key than I am used to. They are compared to Husker Du (which I have never heard in my life), as well as Quicksand and Fugazi (which never sit in my CD player). As far as this album goes, there were songs I liked more than others and some songs I seriously despised. Basically, I found some of it to be annoying and disagreeable, like questionable Mexican food: sometimes it just isn't right. -Thomas Murray

SILVER
WHITE DIARY
BAD AFRO RECORDS
They say you shouldn't judge something by its cover, and it's true—especially in the case of the debut album from Norway rockers Silver. By the looks of the cover, I was expecting a horrid Guns N' Roses cover band. I found instead a decent mix of straight-ahead rock with influences ranging from early punk to glam rock. There is nothing out-of-this-world amazing about this release, but there is also nothing too terribly wrong with it, either. Its sound is quite poppy, with catchy vocals and riffs, and it's put together quite nicely. I would say that Silver played it safely when it came to making this album, with a mix of tunes that don't stray too far from a mainstream sound. For what it's worth, WHITE DIARY proves to impress within its boundaries but is far from exceptional. www.thesilverband.com -Matt Edmund

SIX LETTER WORD
SIX LETTER WORD
SELF-RELEASED
On first listen, Six Letter Word's five-song demo could be mistaken for a release by a mediocre emo cover act. Unfortunately, the band's completely unoriginal sound is all its own doing, as these five "new" recordings are just the result of a band copying its influences. Musically, they take a little Thursday and mix it with some Movielife to create something we heard over and over again. Lyrically, it gets worse. The band blatantly rips off song concepts and themes from Taking Back Sunday. And if I hear another emo act talk about slitting a body part for love, I'm going to lose it. Seriously, who do these guys think they are, Picasso? I have a six-letter word for this act: talent. You can return when you get some of your own. -Jeff Srack

STRATAGEME
RECESSION
JUDAH RECORDS
Stratageme is tough act to describe. Led by David Vine and helped by Megan McDuffie on keyboards, synthesizer, and vocals, RECESSION is a seven-song mixed musical bag. There's an instrumental titled "Apologies to Jon Bates", but also "Artichoke Hearts", a long one with punkish vocal segments. Vine adds many keyboard sounds to his mix, including the prog-y section that stands out during "James vs. the Reds". Vine wrote the music and words to all of these tracks, with the exception of "Asia Minor", which features McDuffie's lyrics. Although there is nothing specifically jazzy here, one still supposes that jazz has at least subconsciously influenced Vine's music. You can pick it up during moments of "Apologies to Jon Bates", as well as in a few other sections. But rather than being a "recession," there is actually a whole lot of progression going on with Stratageme. -Dan MacIntosh

SUBMARINE SCREENDOOR
COME OUT SWINGING
SELF-RELEASED
How can a punk release NOT be sick as shit when your mail influences are some of the best punk bands EVER? Sighting bands like Rancid, Anti-Flag, Propagandhi and Bad Religion as their inspiration this thrash-punk is awesome. It's loud, it's fast, and it's full of lyrics I can't understand (but still enjoy I'm sure). It kind of reminds me of one of my local favorite bands, Bullet Treatment. Ah I love those guys. I'll admit to it, I'm a fan of gutter-punk, but I still shower so don't give me that look or wrinkle your nose. If you're a fan of similar music you'd probably enjoy this band too. –Audiophile

SWEATMASTER
SONGS WITH NO WORDS
BAD AFRO RECORDS
The second release from this Finnish garage/grunge trio consists of two new tunes and six covers. There are cover songs of Minor Threat, Misfits, and The Modern Lovers on this disc, all hyped up with snappy confidence and the lo-fi rock treatment. Like with labelmates The Darkness, you're never really sure if this is a Spinal Tap moment or if these guys are as intensely serious about these tunes as it sounds. The two original tracks, "Song with No Words" and "Dirty Little Things", are provided as a preview of the next full-length from the band. The band's press release claims the title track is a "tango," but if it is, it's a tango like no other. Their original music sounds a lot like early White Stripes and The Hives. Sweatmaster does this style as well as anyone; but to separate themselves from a burgeoning pack of similar bands, this band will have to come up with a full new album of killer original music. -Dug

TEN 33
NIGHTMARE ON GRACE STREET
BLOOD AND INK RECORDS
A superior hardcore punk album released this past July, NIGHTMARE ON GRACE STREET had me headbanging throughout its entirety. Ten 33's second full-length is put together in a solid format, mixing genres from metal to emotional rock 'n' roll with fluid transitions. The highlight occurs in the final track, as the band records an impromptu interview with Bill, a redneck who appeared on their last album. This five-piece from Richmond, VA, hope to be touring to a city near year and are hoping to be voted to play Cornerstone 2006. -Luke Skywalker

THE AGONY SCENE
THE DARKEST RED
ROADRUNNER
The Agony Scene's sophomore effort is a savage, soul-crushing slab of metalcore with dashes of devious death metal, as this Oklahoma quintet pull out all the stops to sonically beat the hell out of you. From the jackhammer drums that rip through your speakers on the title cut to the blistering Swedish metal guitars found on "Screams Turn to Silence" to the sinewy rhythm and venomous vocal hiss of "Scapegoat", this relentless 11-track affair is as close to a metalcore classic as you can get today. With as much brutality as memorable hooks, THE DARKEST RED's multitude of strengths make this album a definite purchase for fans currently wearing out their Killswitch and Unearth discs. www.roadrunnerrecords.com -Mike SOS

THE BLOODY IRISH BOYS
DRUNK ROCK
SICK SAD RECORDS
Though the name suggests some bar-brawling band of fiddle-fisted, accordion-carrying, Guinness-guzzlin' boyos from Boston with wearily-sung songs, pub-battering bagpipes, and a manhandled mandolin, The Bloody Irish Boys is a proud Celtic soul's solo project. DRUNK ROCK, a fusion of Irish folk and rampant punk-rock rowdiness, is shameless shamrock 'n' roll. Songs such as "Drink, Drink, Drink", "Beer Is Good, Beer Is Great", and "Pass Out on the Floor" specify a favorite subject that's referenced redundantly throughout the album. Though these songs sound similar to those on other Irish-rock records, some strange exceptions exist. Besides the singer's sourly slurred lines and some distorted strumming, the band's broad, interesting instrumentation is a clunky keyboard featuring fabricated fiddles and mechanical mandolins. These 13 tracks are carefully-constructed, structurally sound songs that, if performed by a bona fide band of bar-brawling bastards, would receive several raised pints of recognition. -Dane!

THE DETROIT COBRAS
BABY.
BLOODSHOT RECORDS
The first thing you need to know about The Detroit Cobras is that this is not a songwriting band. In fact, BABY. includes only one original song, "Hot Dog (Watch Me Eat)"—the first original song they've ever put on an album! But this approach is not such a bad thing, because lead vocalist Rachel Nagy is a fine soul shouter; and the group chooses excellent material. When you see names like Allen Toussaint and Bobby Womack in the writing credits, you know right away that the band has good taste. Although Nagy sings lead the most of the way through here, she at least allows Greg Cartwright and Kenny Tudrick to add a little male perspective during "Insane Asylum". The group even includes Meg White (of The White Stripes) in its video for "Cha Cha Twist", which is also included here. -Dan MacIntosh

THE ESCAPED
SELF-TITLED
TKO RECORDS
Albums by bands like The Escaped pose some poignant questions concerning punk's purpose. Is it a musically-motivated movement, meant to rouse revolution in an unimpressive industry impelled by big-business's pursuit of profit; or an aura, an air, something ethereal that surrounds the scene's sound? This six-song salvo is, musically, a melody-less mess. As viciously shouting vocalists spout punk-rock rhetoric—alternating so that both blatantly similar-sounding singers can contribute—drum fills fumble, stumble, and stammer behind the band. Darkened with distortion, the guitars growl, hammering harmonies against one another aggressively, supplying a solitary sense of flimsy stability. The Escaped's "loose, loud and fast" philosophy reflects an unremarkable mediocrity—though their intent, it seems, isn't melodic mastery. Maybe their music is a mere means to another end. Is it okay that this is a clumsy, clamorous collection plastered with weary power-chords so that the attitude and apathy that "punk-rock" implies is successfully expressed? -Dane!

THE EVAN ANTHEM
SENS
MONO VS STEREO
Known for whiny vocals and utterly naïve lyrics recalling their mistreatment while in high school, emo finds itself winding down as a force in the music world. The Evan Anthem is labeled as the recent incarnation of the near-dead emotional-rock movement. A little less whiny, better lyrics, and more thought-out structures by bands like The Evan Anthem shows the maturity of the genre. There IS variation in the vocals (though nothing close to ballsy); and in songs like "Vegas", we find the instruments working nicely within an almost danceable track. Moments of Death Cab for Cutie vocal harmonies, and a patient understanding of mood and melody are also essential features of SENS. However, the mood stays somber throughout, without many eye-openers or jaw-droppers. This is part of the last hurrah of a dying genre, and the almost effortless feel of SENS seems to be saying, "We give up." For more info, visit www.theevananthem.com. -Norberto Gomez, Jr.

THE FRANTIC
A STORY OF BETRAYAL AND LUST
SELF-RELEASED
This is anything but frantic. Starting off with a guitar ripping off Stone Temple Pilots' "Sex Type Thing" (which was a rip-off of Danzig's "Twist of Cain" to begin with), A STORY OF BETRAYAL AND LUST is nowhere near as grandiose as the title would suggest. This is very radio-friendly pop/rock at its most uninspiring. The vocal delivery is not creative; and as go the vocals, so goes the music. With straightforward song structures with boring guitar riffs and uninspiring drums and bass lines not worth remembering, The Frantic stubbornly chooses to be redundant in a world full of worthier bands for your friendly neighborhood SKRATCH reviewer's time and effort. Therefore, for more info, visit www.the-frantic.com. -Norberto Gomez, Jr.

THE GLOW
THE GHOSTS ARE OUT
BANKSHOT!
It's a wonderful thing when a band manages to successfully merge two normally contrasting ideas. The Glow does so by infusing the pop sensibility of Elvis Costello with the punk-rock soul of Richard Hell and Iggy Pop. With glowing organs and shining refrains, THE GHOSTS ARE OUT is an album that never lets the listener feel too down about songwriter Ben K.'s gin-soaked tales of heartbreak. Elements of ska-rockers The Specials occasionally poke their head in here, providing for an album that is diverse. I will admit to being caught a bit off guard by this release, as the album's gloomy street cover seems to be the antithesis of the band's musical mission. Fans of anyone from Rancid to Booker T. and the MGs will find this release more than just suitable. -Ringo

THE HIGH DIALS
WAR OF THE WAKENING PHANTOMS
RAINBOW QUARTZ
Psychedelic indie rock will never go out of style, and The High Dials understand its ingredients precisely. WAR OF THE WAKENING PHANTOMS is the Canadian quartet's sophomore release, and while the album cover might be reminiscent of The Beach Boys' SMILEY SMILE, The High Dials are more like The Zombies on ODESSEY AND ORACLE, though without the vocal harmonies. Abounding in lo-fi's breezy hooks and instrumentation, while including saxophones, mandolin, and banjo, WAR OF THE WAKENING PHANTOMS isn't just an excellent second effort, but it also functions as a cleverly-written ode to the better days of pop music—all while simultaneously maintaining a modern edge. -David Barker

THE JONBENET
THE PLOT THICKENS
PLUTO
Some people (the overly P.C. and retarded) are not down with this Houston band's moniker. I think it's awesome, a fine homage to the murdered kiddie beauty queen. It may not be the most "tasteful," but that gives it charm. Anyway, THE PLOT THICKENS, The Jonbenet's Pluto premiere, compiles their first two self-released EPs⎯a split (here, "Chapter II") and FIVE STORIES RETOLD ("Chapter I"). The eight tracks show a band playing edgy, creative, jarring hardcore with time changes galore and vocals that, upon first listen at least, are a bit disconcerting. I wasn't digging them too much, but after a couple listens, their weirdness (they're of a high register. The only person I can liken them to is the singer from The Peechees (though The JonBenet's Michael Murland throws in a ton of screams)) grew on me and supplement nicely the abrasive and chaotic instrumentation in which they're enveloped. -Janelle Jones

THE KALLIKAK FAMILY
MAY 23RD 2007
TELL-ALL RECORDS
This is a work of pure mood, focused on creating an entire wall of sound through subtle electronic drones, minimal beats, haunting samples of tolling bells (e.g., "Bells in Bergamo"), and angelic female hums. Reminders of Brian Eno and his synthetic moody tinkering are obvious, as is the use of more organic instruments. Minimal acoustic arpeggios in "Guitar I" and "Guitar II" against the multi-layered atmospheres cause a subtle conflict that bands like Air and Radiohead (on KID A) have conquered to the point of perfection. What The Kallikak Family do, however, is mastermind a far heavier presentation through their instrumental tracks, each one leading successfully to the next, creating a flowing composition in the sense of John Cage and his masterpieces. Conceptually, MAY 23rd 2007 tells the story of various days in the life of one man all leading up to his death—in essence, a soundtrack to one man's life. An experimental and brave effort in our supposed A.D.D.-infested world. For more info, visit www.tellallrecords.com. -Norberto Gomez, Jr.

THE KNIVES
SKIN FLICKS
CRITERION RECORDS
What a sexy, sexy band. Sexy. And their song "Skin Flicks" off of their album sharing the same name is sexy as well. Why do I keep saying sexy? 'Cause they are! And their music just oooozes sexy. Moving on from their sexiness, The Knives album SKIN FLICKS is a very well recorded, well produced, well written, and well played piece o' punk rock to listen to. If you're ever in L.A. and you want some sexy, sexy punks to watch, check out The Knives, or if you just want some bitchin' music, look no farther than this album. -Audiophile

THE NEW FLESH
PARASITE!
MAELSTROM
I'm having trouble discerning whether The New Flesh intended the production quality of PARASITE! to be an artistic part of their style of noise/metal/punk, or if it's merely the result of a low recording budget. These nine songs aren't necessarily bad, but the fact of the matter is that the production is so poor that you can only really tell that The New Flesh would be nuts in a live setting. Unfortunately, this album is barely listenable. It's a sludgy blast of feedback overload, the lyrics are hardly audible, and the music becomes a whirlwind of nausea-inducing chaos after a few minutes. Maybe that's what The New Flesh had in mind all along. -David Barker

THE PLANET THE
YOU ABSORB MY VISION
5RC
Part progressive rock in the vein of Rush (with atmospheric keys), part electro-clash with cascading drums, noisy melodic synthesizer, and wacky guitar fun, The Planet The are most definitely a band that plays off their eclectic sound. The title track is without a doubt the shining gem of the album, a perfect pop song in the band's own brand of robot-like, paranoid vocals to chaotically danceable drum and bass and distorted keyboards. The somewhat humorous track "Please Don't Kill Myself" hearkens back to the sense of detachment made famous by early Gary Numan and The Tubeway Army of the late '70s by way of semi-naive vocals and a strong minimal, industrial sound that is more about the overall delivery than aggression. This is another tastefully playful and experimental album from underground nobodies that's worth your every listen. For more info, visit www.5rc.com. -Norberto Gomez, Jr.

THE SEX RAYS
THE SEX RAYS
SELF-RELEASED
The Sex Rays is a unique and very special outfit. The group is playing with brass theatrics and a style that's as ballsy as you please. This album, the band's second (the first was APOCALIPSTICK NOW on Bazoom! Records), reminds me of Rocky Horror meets The Cockettes in a heavy-metal fantasy. In other words, THE SEX RAYS is fun and ready to be blasted loud. Featuring three lead singers and many former members of The Punk Rock Orchestra, The Sex Rays has produced a four-star disc. Some of my very favorite tracks are "Lolita Backwards", "The Beast Inside the Babysitter", and "God Save the Sperm". I love The Sex Rays. And anyone who wants to laugh while rocking out will, too. -H. Barry Zimmerman

THE SHOWDOWN
A CHORUS OF OBLITERATION
MONO VS. STEREO
The Showdown is an outfit who have their fingers on the pulse of the new wave of American metal movement. On the Tennessee natives' 10-track release, you'll hear a flurry of Swedish-influenced guitar runs (such as the ones heard in "Iscariot" and "From the Mouth of Gath Comes Terror"); furious vocals sounding like a cross between Lamb of God, Testament, and Shadows Fall; and a plethora of headbanging rhythms and raging drum parts that display the band's understanding and love of the metal genre. While the market may be saturated with a lot of bands doing basically the same thing, A CHORUS OF OBLITERATION exhibits a band who do a little bit of everything very well—a characteristic that puts them high on the list of new metal bands to explore. www.monovsstereo.com -Mike SOS

THE SUSHI CABARET CLUB
LIVING ON MOUNTAINS
SELF-RELEASED
The second full-length release from this unsigned quartet of expatriates from Nagoya, Japan, is a knockout. With anthemic choruses, acoustic ballads, and hard-rocking radio-friendly hits, this band has what every manager looks for. Unfortunately, good managers are on short supply in Japan. Lead singer David Wallace is Scottish and sounds like a cross between Van Morrison and Springsteen. The rest of the band hail from England, Australia, and America—truly an international effort. The 10 songs on this disc are almost too slick, with a sound similar to Train, Live, or Boston's Celtic wunderkind Jabe. While the songwriting is good and showcases this group's substantial musical talent, the real thing that separates this band from the pack are Wallace's stellar vocals. Hopefully these guys can find a label to buy them plane tickets to L.A....or they might spend the rest of their careers playing in sushi bars. -Dug

THIS IS ME SMILING
SELF-TITLED
THE VINYL SUMMER
From the various animal silhouettes adorning the disc to the beautiful harmonies and pop chops on their self-titled debut, it's apparent that This is Me Smiling exemplifies the word "cute." The Chicago quartet displays a knack for catchy, endearing songwriting influenced by artists ranging from Elliott Smith and Ben Folds to Saves the Day and Air. These 13 songs are a testament to undeniably memorable music that bridges the gap between indie rock and radio-ready pop. Fans of Hey Mercedes, The Stereo, Motion City Soundtrack, and even The All-American Rejects will appreciate what this album brings to the table. If this is indicative of the days to come, This is Me Smiling has a future bursting with sunshine. -David Barker

TODD
PURITY PLEDGE
SOUTHERN RECORDS
This is straight-forward, aggressive hardcore rock, which means nothing but ripping guitars, thudding drums, and chugging bass lines. This becomes redundant and monotonous without any ballsy attempts at surprising the listener. The same way a track starts is pretty much how it ends—which is boring. Vocally, as one would expect in aggressive music, there is not much difference from the redundancy of the instruments. Being hardcore music, the vocalist feels that he must stereotypically do the whole throaty, yelling thing on every single track, with no attempt at variation. This leads to a VERY boring, been-there-done-that CD only worth a 15-second listen at the beginning of every track and then a swift throw into the trash. With track titles like "Cracker Jack Asshole", "Sharon After Prom", and "Butler's Portion", the band must have a sense of humor. However, if so, it's lost by their very unintelligible vocals. For more info, visit www.southern.com. -Norberto Gomez, Jr.

TOMMY GUTLESS
DEATH, HONOR, OR GLORY BOUND
STREET ANTHEM RECORDS
The first fact that you should know about Tommy Gutless is that there is no Tommy Gutless: Tommy Gutless is the name of the band. The second fact that you need to know about Tommy Gutless is that the band is an anthem-oriented Social Distortion wannabe outfit. The themes on DEATH, HONOR, OR GLORY BOUND is an Americana experience. This is a real band of flag-wavers. There is absolutely not one original idea or progression on DEATH, HONOR, OR GLORY BOUND—but I don't think that's the point. This is a patriotic parade. So, if you dig that parade, buy it up. Otherwise, let it go. -H. Barry Zimmerman

TORCHE
TORCHE
ROBOTIC EMPIRE RECORDS
Torche makes heavy rock with low-end grooves that tend to drag its songs along like bloated corpses in a bloody war zone. This music is thudding, sludgy, woofer-testing guitar rock. Nevertheless, when "Vampyro" comes along about midway, one hears a poppy hook and a singable chorus! Another break from form is "Fire", which features a Cult-like chiming electric guitar part. But after this brief spurt of light, the group slips right back into its weighty dirge obsession with "Holy Roar", which is yet more base-driven, bottom-heavy music with echoy lead vocals. Lyrically, this band is not subtle, as a title like "Fuck Addict" perfectly exemplifies. About the only wit revealed is the slightly punning song title of "Holy Roar". Torche's music is a little bit like what indigestion would sound like if it were an actual musical style. Who really wants more indigestion?! -Dan MacIntosh

TRANSISTOR TRANSISTOR
ERASE ALL NAME AND LIKENESS
LEVEL PLANE RECORDS
Though I may be the wrong person to review this record, as screamo and hardcore are a rare find in my record collection, ERASE ALL NAME AND RECORD can comfortably find a place on my shelf, because this is impressive work. After several listens, I was finally able to digest the noise coming out of my stereo and grasp the reality that this is a very strong record. Transistor Transistor is a band that has balls the size of grapefruits, holding nothing back while attacking the listeners with a challenging blend of fuzz guitars, astonishingly intense vocals, and a backbeat that rocks and is even funky. Fans of Fugazi, The Blood Brothers, and even Black Flag will enjoy the transition that Transistor Transistor has gone through on an album that is any hardcore junkie's dream. -Jeff Srack

TROUBLED HUBBLE
MAKING BEDS IN A BURNING HOUSE
LOOKOUT! RECORDS
The fifth full-length release from this happy-go-lucky quartet of Illinois natives is a pop masterpiece. With a sound inspired by Modest Mouse and Barenaked Ladies, Troubled Hubble jettisons the dark and ominous and embraces everything happy. With songs like "14,000 Things to Be Happy About", "Safe & Sound", and "Even Marathon Runners Need to Nap", the band creates its own world of clever lyrics matched to poppy indie guitar riffs. Sometimes it's harder to make art that doesn't depress. While comical, these songs are fairly complicated. The band finds room in its energetic music to include violins, violas, trumpets, and Latin percussion. It's like an indie cacophony, as the group mixes these apparently disparate elements into seamless songs with catchy hooks. Though this is the fifth album from this group (the first on Lookout! Records). Look for big things in the future from these guys. -Dug

TSAR
BAND GIRLS MONEY
TVT RECORDS
Attitude oozes out of the latest effort from Los Angeles's own TSAR. This 10-song disc is loaded with catchy, clichéd rock riffs and vocals that at times sound just too sweet for my liking. They seem to be going for a post-glam rock, Sunset Strip hair-band feeling that left me half satisfied (if that). I was not impressed with the lyrical content, which seemed to be thrown together. It's quite easy to name a song and repeat its title over and over again (as in "Straight"). I was impressed with the guitars throughout this album, as they hammer out some hot licks; but the use of echo effects on the vocals become quite humorous and annoying. Although I can say that there is potential here, the clichéd sound left me bored and searching for something else to satisfy my musical cravings. -Matt Edmund

ULTRATONE
PASS IT ALONG
DADORK
I really feel like a big jerk when I am forced to do this, but my journalistic integrity forces me to: Ultratone's PASS IT ALONG might be the most boring album I've heard this year. I'm not trying to be rude, but I can honestly say that my eyes began to close and my neck became weak when I tried to get through this 13-track release. I'm no stranger to easy listening, as I'm a huge fan of lead singer Joe Scheirich's personal picks of Jeff Buckley and Pat Metheny, but this album is simply dreary. Edge of U2 seems to have patented modern guitar delay, and Ultratone is no stranger to using it. The generic songs begin to clump themselves together with little or no definition. I cannot recommend this album to anyone looking for interesting or inspiring music. Sorry, Ultratone. Maybe next time? -Ringo

UNDERWATER CITY PEOPLE
YOU OF ALL PEOPLE
UCP RECORDS
If you're new to UCP, this record will not only introduce you to the most phenomenal new indie band from beneath the waves, but it will prove to your music-snob friends that you actually have taste! Don't let the cutesy cover art and pop sensibility fool you: this album is packed to the gills with bitterness and melancholy, delivered masterfully as heartfelt confessionals rather than whiny complaints. The bait is enviably clever musicianship (think Pixies/Breeders if they were on Dischord Records), and the hook is empathetically lyrical honesty that will touch every shade of emotion your little heart holds. It's some of the best songwriting I've heard in a long time from a band with enough promise to sink a submarine. www.underwatercitypeople.com -Jeff Penalty

VALENCIA
THIS COULD ALL BE A POSSIBILITY
I SURRENDER RECORDS
As countless emo and pop-punk acts continue to burst onto radio and television, it is becoming harder and harder to stand out from the pack. Philadelphia's Valencia has found the key to visibility: great songs. As the newest act to Rob from Midtown's record label, this five-piece has an incredible ability to create memorable tunes that seem fresh yet incredibly familiar. 10 songs that strut with confidence, this ensemble's sound is reminiscent of Fall Out Boy and The Starting Line. With the right amount of exposure and word of mouth, there is no reason why Valencia can't reach the heights achieved by its predecessors. Here's to hoping that Valencia achieves the success that THIS COULD ALL BE A POSSIBILITY warrants, as it is an impressive introduction to what should be a great career. -Jeff Srack

VARIOUS ARTISTS
GENERATIONS A HARDCORE COMPILATION
REVELATION RECORDS
With 16 different bands from all over North America on Revelation Records, listeners get a chance to hear how far the hardcore and punk scenes have evolved. Sadly, by track 6, the music begins to blend together. Even though this album contains only exclusive tracks, it seems like Revelation chose 18 generic singles. Surprisingly, the liner notes are very complete, including not only the band and song title, but the lyrics and lists of band members. This would be a great record to own if you are completely ignorant of what other music is available—or just of what Revelation Records has to offer. -Luke Skywalker

VARIOUS ARTISTS
LISTEN TO BOB DYLAN
DRIV-THRU
I love Bob Dylan, I truly, honestly do. This two disc compilation isn't that bad, I've heard worse. With bands like Socratic, Something Corporate, Steel Train, etc, it does appeal to the younger masses, though isn't as good as the real thing. Then again what is now of days? And how many 14 year olds do you know that would willingly listen to something their parents (wait, is it grandparents now?) would listen to? Only through trickery my friends, would something like this occur. Thank you, Drive-Thru, for tricking stupid 14 year olds into listening to something well written and, in some cases, well played. -Audiophile

VARIOUS ARTISTS
PUNK ROCK IS YOUR FRIEND 6
KUNG FU
Kung Fu Records has put out another spirited punk-rock compilation for befriending a whole new crop of ears with PUNK ROCK IS YOUR FRIEND 6. Opening with the Beach Boys-esque power punk of The Vandals and including bands such as Tsunami Bomb, H2O, Throwrag, and Bouncing Souls, this 23-track collection spotlights some of the best and brightest punk bands that haven't been overexposed to the point of nausea yet still have some notoriety. Bouncy tracks like Audio Karate's "She Looks Good" among the harder-edged punk of Underminded and the uncompromising rawness of The God Awfuls offer up a wide array of punk today, giving this comp a little something for everyone to enjoy. www.kungfurecords.com -Mike SOS

VARIOUS ARTISTS
XROXX ROCKS!! VOLUME 1
XROXX
The blueprint for this compilation is a great idea: an Internet radio station creates a record with unsigned bands in order to get exposure for both the groups involved and the site itself. While it may be a great scheme, there is one major drawback: most of the songs aren't any good. 15 tracks of second-rate emo/punk/ska artists that aren't signed because they don't deserve to be, this compilation is good thought, bad execution. Perhaps volume 2 will have some better artists. If not, then XROXX.com needs to find a better way to promote its station. -Jeff Srack

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