September CD Reviews (in alphabetical order)

A BURNING WATER
WE CAN SEE THE SKY FROM HERE
NEGATIVE PROGRESSION RECORDS
Lead singer Brian Link is, for better or worse, giving Santa Cruz, CA's A Burning Water their tags. Mr. Link's vocals leap from the shrill screams of The Blood Brothers' screamo style to the sweet emo concerns and thoughtful angles. Ash Moore (guitar), Jordan Peterson (drums), and Gideon Naude (bass) are amazing musicians. Their musical ideas are outstanding and impressive. The music is worth the price of admission. Mr. Link's vocals may turn you off if you are not a fan of his style. WE CAN SEE THE SKY FROM HERE is a straight-up solid disc. Some of the highlight moments include "The Instrumental" (which is a modern take on '70s jazz fusion), "This Is a Test", and "These Ruins". A Burning Water could very easily be next week's big deal. WE CAN SEE THE SKY FROM HERE is a solid modern disc. -H. Barry Zimmerman

ANCHORAGE
THE HAND POINTS TO YESTERDAY
SELF-RELEASED
A concept album based on the movie SOMEWHERE IN TIME, THE HAND POINTS TO YESTERDAY is a four-song EP taken from their already recorded full-length. The concept is interesting enough, being discussions on time travel and relationships. Musically, this can be called an emo-rock opera. The basic, whiny, and boring vocals of most emo/pop-punk bands are at the forefront…meaning there's not much variation. Much like the vocals, the guitars and drums don't offer much in the way of creativity. For the most part, the guitar plays around with clean, melodic notes, the bass simply serves as another background instrument, and the drums have only a few interesting fills. Although Anchorage have their boring, redundant moments, the fact that they are attempting an interesting concept album helps push their energy and mood to a level above their peers. -Norberto Gomez, Jr.

BEATNIK
VIVA! APOCALYPSE
ECOVOX RECORDS
"Should they die in the struggle for oil / Should they die on foreign soil / Well, maybe they should toil / So we all can have cheaper oil." I can go on and on and on with the mediocre political lyrics of Beatnik, but that verse sums up most of it. As usual, the problem with politically-driven albums is terribly trite lyrics, boring musicianship, and a sense of the disingenuous. Beatnik's expression is what is called "sonic folk": simple acoustic guitar holds everything together, while some electronics wail in the background and the rhythm keeps on hitting. Each track is a repetitive work with no major changes or surprises and boring hooks. The vocals sound like a terrible attempt at mixing Roger Waters and Bob Dylan (of course) and come out sounding like a nasal asshole. I'll admit, though, that it's much more interesting hearing the calm anger of Beatnik as compared to the angst-driven, pissed-off whining of more recent anti-Bushers. -Norberto Gomez, Jr.

BLAKE BROWN
HARBORING SECRETS
SELF-RELEASED
On this full-length, Blake Brown unleashes a flurry of unrestricted emotional outbursts as told through colorless mid-'90s post-punk. Sure, the extra-fast picking is here, as are the occasional visit from the acoustic strings and all the clean guitar confessions you could ever ask for. The problem lies in the way that this album drags itself across 40-odd minutes, until the listener feels as though they themselves just dealt with a lifetime of emotional issues on top of their own. This is not a pain that I personally wish to feel very often, if at all. Perhaps if songs such as "Let the Sun Burn" and "Undertones" were edited down from their extensive lengths (the former clocking in at nearly eight minutes), then this album would have a more comfortable time spent in the listener's head. Take with 10 to 12 glasses of wine (or however many it takes for you to pass out). It's easier that way. -Zac

BLEED THE DREAM
BUILT BY BLOOD
WARCON ENTERPRISES
BUILT BY BLOOD is filled with diversity, from hard, fast guitar and drums complemented by screaming vocals to bouncy catchy tunes with well sung lyrics. "Broken Wings" is probably one of the most powerful songs on the album, the band took one of the lyrics from the song to name their album, BUILT BY BLOOD, which just proves they already knew this song was destined to be great. The whole album is dedicated to the memory of their drummer Scott, who sadly passed away before he got a chance to accompany the group on Warped Tour. The band is doing their best to keep his memory and his work alive, which shouldn't be hard at all considering their talent. If you're a fan of Bleed The Dream you'll love this album, or if you're just a fan of melodic hardcore and haven't heard Bleed The Dream yet do yourself a favor and pick up a copy of this release and check them out at www.bleedthedream.com. -Manda-Dex-Punk

BLESSING THE HOGS
THE TWELVE GAUGE SOLUTION
GOODFELLOW
Blessing the Hogs is a punishing quartet featuring incomparable heavy-music producer guru Billy Anderson in its ranks on vocals and guitar. This San Francisco juggernaut slay through 13 tracks of dropped down madness, menacing vocals, and outright musical chaos. With a resume as impressive as Anderson's production credits (Unsane, Sick of It All, Melvins, Neurosis), you can only imagine what kind of unsettling metallic offering this band brings to the table. As vicious as you can stand, yet rich in thunderous melodies a la Mastodon, songs like "Let's Play Doctor…Kevorkian" and "Son of Sanford" move with the viscosity of hot magma off an exploding volcano, while tracks such as "The Carrier" pack the wares of Today is the Day, old school Korn, and Eyehategod into an explosive powder keg, THE TWELVE GAUGE SOLUTION exhibits the band's penchant to push the extreme envelope in ways you'd never think possible. Easily one of the most forward thinking heavy bands gracing the scene today, Blessing the Hogs maniacal melding of stoner, sludge and grind metal denotes yet another landmark release from Anderson; only this time, he's predominantly on the other side of the control board. www.goodfellowrecords.com -Mike SOS

CAPTAIN BRINGDOWN AND THE BUZZKILLERS
FEEL GOOD TUNES
SOCK HOP
This Texas ska-punk band is a seven-member tour de force. The band's frantic and furious energy makes for lively and dynamic music on this, their first full-length release.
-Tom "Tearaway" Schulte

CLOSET MONSTER
WE REBUILT THIS CITY
UNDERGROUND OPERATIONS
I bet that even as I type the angry anarchists in this feisty ensemble are in their combat boots ready for the when the revolution comes. Music like this makes people shatter large windowpanes at Starbucks.
-Tom "Tearaway" Schulte

COFFINBERRY
FROM NOW ON NOW
MORPHIUS
The latest from Coffinberry lets us in on a little secret: it's possible to make imitative music so spectacular that the listener forgets whom the band is trying to replicate in the first place. Sure, this is not the most original or aspiring music you and I have ever heard, but when it's done so well, there's no room to complain. Coffinberry plays indie rock that seems to be derived from the likes of Cursive and Guided by Voices. This home vintage sound is a little bit ubiquitous these days; however, with tracks like "Oh Eloise!" and "What Do You Want to Do?", Coffinberry lets the listener know that they took the extra time to care for their songs, rather than just pumping them out like the rock 'n' roll jukebox bands of today's scene. Visit www.morphius.com for more! -Zac

COMEBACK KID
WAKES THE DEAD
VICTORY RECORDS
Co-produced by Black Flag/ALL/Descendents' drummer Bill Stevenson, WAKE THE DEAD is a fantastic, powerful, and highly musical disc. Winnipeg, Canada's Comeback Kid is a very talented group, with mucho balls laced with melodic ideas and interesting timings. Drummer Kyle Prefeta is a one-man drum camp. The guitars and bass are a three-headed thinking animal. Founding member and vocalist Scott Wade is in your face with an understandable talking intensity. Some of the best cuts of this near-perfect disc are "Partners in Crime", "The Trouble I Love", and "Falling Apart". WAKE THE DEAD is a bad-ass disc, and Comeback Kid is a double-great band. I suspect that this group will be around for a long time to come…if talent matters. -H. Barry Zimmerman

CRIMSON SWEET
EAT THE NIGHT
SHAKE IT RECORDS
This CD could be one of the dirtiest secrets in the music industry. With nasty, harsh, bad-ass frontwoman Polly Watson growling out the vocals, this New York City quartet trashes their way through their sophomore album in a style that would make Patti Smith and Joan Jett proud. The music isn't pretty and the mix is anything but "sweet," but the energy that bleeds through the speakers on these tunes is enough to make you want to spit beer onto a crowded, sweaty moshpit. The album was produced by Martin Bisi, who also produced for Iggy Pop and The Ramones. Though Crimson Sweet isn't in the same glam-rock class as Mott the Hoople or the original Sweet, the band does crank out some pretty infectious slop on this disc. Next time I'm drunk and looking for a fight in NYC, I'll definitely check this band out live. -Dug

CRITERIA
WHEN WE BREAK
SADDLE CREEK
Criteria frontman Steve Pedersen is the epitome of a passionate rock 'n' roller. This guy left Duke Law School and ended up in the recording studio, not a law firm. It's a slight misfortunate, however, that this passion only resulted in a supremely mediocre record. WHEN WE BREAK has only trace influences of the superb post-punk brought to us by Fugazi and Sunny Day Real Estate and instead contains large chunks of sub-par elements brought to us by performers such as Thursday and Strike Anywhere. Saddle Creek has arguably put out some of the best records in the past eight years or so, but Criteria's WHEN WE BREAK falls under the same category as labelmate lightweights Sorry About Dresden and Son, Ambulance. Take it from this writer: don't shell out your cash until you've previewed this one. -Zac

CURSIVE
THE DIFFERENCE BETWEEN HOUSES AND HOMES
SADDLE CREEK
Tim Kasher and his fellow Cursivites (or is it Cursivians?) have compiled a collection of rare and unreleased Cursive material recorded between 1995 and 2001. From opening track "Dispenser" (which sounds almost like the next AMERICAN PIE theme song) to closer "I Thought There'd Be More Than This", Cursive manages to venture beyond borders that this writer thought limited them. Cursive's post-rock endeavors have been hailed by critics in the past years, so it's only natural that some of their lesser material should be exposed so that we can all see the wizard hiding behind the curtain. What we find is that Mr. Kasher is the genius here, and this man's songwriting is showing no signs of slowing down. Hard-core Cursive fans need to spend time with this record, but new Cursive listeners might want to check out THE UGLY ORGAN first. -Zac

CUT SHALLOW
WATCH IT CAVE IN
BASEMENT RECORDS
Throughout the history of rock, every so-called movement (e.g., hair metal, grunge, etc.) has been destroyed by saturation. The newest group of blind followers are the emo wannabes. This group of followers all sound so similar that it is hard to tell one from the other. Cut Shallow is one of these million groups that are striving to be in the middle of the largest pack. This three-piece can clearly play their instruments, but their ideas and style is photocopied. If you are an emo junkie who can't wait to hear the latest clone, WATCH IT CAVE IN is a decent clone disc. Go get it and knock yourself out. -H. Barry Zimmerman

DARK FUNERAL
DE PROFUNDIS CLAMAVI AD TE DOMINE
CANDLELIGHT
Swedish death-metal forefathers Dark Funeral are renowned around the world for their impressive albums and mammoth sound, and the clan's first-ever live album captures the mayhem masterfully. DE PROFUNDIS CLAMAVI AD TE DOMINE is the title for the 15-track evil endeavor, a blast-beated, throat-ripping, riff-roaring effort that finds the band in South America churning out all of their wares to a rabid fan base. The best part of the disc? The end, when the traditional soccer chant is added to "Dark Funeral" after three "ol…"s, a sign that this monstrous metal unit and their tumultuous tunes have gone far beyond global. www.candlelightrecords.co.uk -Mike SOS

DAMAGE
VELOCITY
DAMAGE RECORDS
I have mixed emotions on this album. VELOCITY is a well-produced piece that I think possesses a radio-friendly, Alice in Chains-type sound. However, fault lies in their melodic choices for each song. I found myself finding it hard to distinguish between each of them, as they all sounded the same. The vocals are good, and there is obvious range that is not being utilized to it fullest extent. Good material for touring and experience, but far from something worthy of an MTV audience. -Aimee Curran

[DARYL]/BLACK TIE DYNASTY
PRESENTS BLOODY BASIN
IDOL RECORDS
This is a collaborative split EP between Ohio's [DARYL] and Forth Worth new-wave revivalists Black Tie Dynasty. However, collaboration doesn't necessarily mean creativity, and this set of songs lacks much interest. Black Tie Dynasty is perhaps too hell bent on the label of "new wave." "The Letter A" is an all-out rip-off of The Smiths vocally and lyrically, while musically we are tortured by boring repetitive guitar chords and uninteresting bass and drums. [DARYL] have very shitty guitar riffs and hooks almost identical to those of Blink 182 at their height. And the dreariness just drags on with their repetition and lack of energy. Overall, this EP is a very poorly-recorded work. Both bands find themselves nowhere near their creative potential, and their performances are highly lacking. -Norberto Gomez, Jr.

DEAD HEARTS
DEAD HEARTS
STATE OF MIND RECORDINGS
Dead Hearts is a brutal machine—a five-piece, tight-as-hell, rocking machine. The music is hardcore with a big rock 'n' roll nucleus. Lead singer/screamer Derek is leaning through your speakers with his intensity. DEAD HEARTS is eight raw tunes in almost 15 minutes. Some of the standout moments of this A+ disc are "Bright Lights, Burnt City" ("Inside this city's limits / You'll have dreams but you'll never live them / So light a match and watch it burn"), "Deeper Shade of Dull", and "Small Town Tragedy". There is lot to relate to on DEAD HEARTS, and lots of hostility. Dead Hearts is a powerful group with legitimate complaints. Kick it up and kick 'em down. -H. Barry Zimmerman

DEW SCENTED
ISSUE VI
NUCLEAR BLAST
German metal machine Dew Scented may sound a bit more Swedish than you'd expect, yet this blistering 12-track release righteously secures its place as a solid hunk of hostile metal from the rabid "Processing Life". Much like fellow countrymen Kreator, this quintet knows how to pound out punishing riffs like "Turn to Ash" with pummeling precision. The stunning percussive attack throughout ISSUE VI is a must-hear for metal drummers worldwide. Mixing the wares of The Haunted, Arch Enemy, and Lamb of God, Dew Scented's crippling, chaotic take on the new wave of thrash metal is yet another blistering release for ardent metal fans to acquire. www.nuclearblastusa.com -Mike SOS

DISCLAIMER
THE AIRBAG'S LIPSTICK KISS
DESICCANT RECORDS
I'm reminded here of (dare I say?) Syd Barrett. There are a lot of psychedelic shakes, blips, beats, and whimsical vocal deliveries of lyrics like, "There's a pile of broken-necked angels below my window / Their kamikaze raids won't le me sleep / They give way to grim hallucinations." However, the sometimes-electro package of tracks like "Fixing a Hole" is balanced evenly with the organic feel of rock-out tunes like "Wrong for the Right Reasons Is Still Wrong" (which sounds like it was recorded in the same studio The Animals entered in the early 1960s). The eclectic nature of this album is never boring, with acoustic-leaning material to electronic robot whines and fuzzed-out guitar riffs. Chris Willie Williams, the Unreliable Narrator, is perhaps the future of the singer/songwriter genre itself, injecting new life into an already overdone category through his disregard of conventional standards. "Please! Pardon Our Progress," he yells. -Norberto Gomez, Jr.

DIXIE DIRT
PIECES OF THE WORLD
SELF-RELEASED
This is an extremely melancholy piece of work. Driven by quiet, simplistic guitar melodies; slow, calculated drumming; bass lines that hauntingly weave in and out; and the somber, angst-driven crooning of vocalist Kat Brock, PIECES OF THE WORLD begins slow and depressing. There is a dark, driving sadness that permeates the album (much like the sorrow of Joy Division). However, the intensity picks up during cataclysmic tracks "Sleep Part I" and "Sleep Part II". Overrun by Arabic guitar styling and stronger distortions and melodies, the instrumental "Sleep Part I" is a full-on psychological attack, a battle against the demons of regret—a battle that finds a new positive path within "Sleep Part II", when suddenly Brock's female vocals explode out of the darkness in a very dynamic fashion, taking control of the depression and leading the album on to a positive conclusion (like the sing-along "Dance Song"). -Norberto Gomez, Jr.

DOPPLER, INC.
NU INSTRUMETAL
FAVORED NATIONS ENTERTAINMENT
Doug Doppler, a prot…g… of guitar virtuoso Joe Satriani, hopes to create a new, exciting genre in rock called nu instrumental. The goal is an amalgamation of the best elements found in nu-metal bands (like Korn) with old-school metal (e.g., Metallica) and instrumental artists like Steve Vai and Satriani. Doppler, along with co-producer Pete Karr, successfully melds these genres into a surprisingly tight, easy-to-listen-to package. The track "Wicked" shreds with dynamic riffage and solos, easily combining the elements of instrumental metal and old-school metalheads; while the use of vocoder (human voice electronic simulator) adds the element of electronics used widely by nu-metal bands. The totally funked-out guitar rock of "Bumpin' Grind" adds some nice sex appeal to this energetic album with its nearly porno-music stylings. But overall it may be that such an album is a lost cause, with the recent death of nu-metal, as well as the continued struggle of metal acts. -Norberto Gomez, Jr.

DR. HOURAI
POST APOCALYPTIC NIGHTMARE
ANGRY PENGUIN RECORDS
This punk/metal band is going to blow you away. There's no other way of putting it. They are everything screamo wishes it could be, hard, fast, loud, melodic, interesting and original. Screamo can kiss these boys asses though, it has nothing on them. At times there is no other way to describe their music but to call it melodic noise, and I dig it. All the tracks blend together into one long, yet amazing song for the most part, I honestly can't tell where one song ends and where one song begins unless I'm looking, there are no pauses or breaks, one song just bleeds into another and shifts perfectly. Reading their track listings though kinda makes sense of all of that, they don't have "songs" they have a prologue, a chapter one, two and three with multiple parts tracks to each. If only I could understand the words a bit better, I bet it's one of the greatest stories ever. -Manda-Dex-Punk

DR. NEPTUNE
PRELUDE TO FIRE AND RAIN
SELF-RELEASED
Dr. Neptune is reminiscent of early '90s punk, one of my favorite eras of punk rock (besides the '80s and '70s of course). With vocal styling similar to that of Rancid and music similar to every early good punk band you can imagine, there's no way a punk couldn't enjoy this album. Though the artwork of this album is rather girly (along with the handwriting on the track listings on the back) it has enough balls to make up for it. The opening lines on "Help Me Help You" made me laugh, "To hell with what the people think". Well I'm glad you don't care what people think or what the future brings, but I think you're good, and I look forward to listening and reviewing another of your releases in the future, really. -Manda-Dex-Punk

EMPTY SILOS ECHO WAR
INNER WORKING MECHANICS OF A FAILED CONSTRUCT
ROK LOK RECORDS
Ever discover a band or album that you just can't recommend to everyone due to the fact that it's a bit too "different" for mass acceptance? After listening to INNER WORKING MECHANICS OF A FAILED CONSTRUCT, it's safe to say this album is "different." This disc will take you on a roller-coaster ride of emotions. One second you get suckered into a false security with a soft harmony filled with almost subsonic sounds, and the next second you are being slammed about by harsh vocals and heavy guitars and drum beats. This album is also quite versatile, as evinced on "We Share a Frequency", with its funked-out guitars and catchy lyrics. If you have an open mind to eclectic music, I'd say check it out. You will either love or absolutely hate this album. www.roklokrecords.com -Matt Edmund

EPICA
WE WILL TAKE YOU WITH US
THE END
Symphonic metal maestros Epica's grandiose offering WE WILL TAKE YOU WITH US sounds like the merging of Lacuna Coil, Opeth, and Evanescence, as this collective of Holland's finest have re-released their debut with a few added bonus tracks here. On the nine-track offering, a smattering of hard-rock nuances and orchestral devices collide, creating a huge sound capable of overtaking Broadway at any given moment. Hell, Epica even throws in a cover of "Memory" from the famous musical CATS for good measure. If you'd like some female-fronted heavy metal with a penchant for melody laden with symphonic glory, Epica is your dream disc. www.theendrecords.com -Mike SOS

FLOTSAM AND JETSAM
DREAMS OF DEATH
CRASH
Flotsam and Jetsam is probably best known for being the band Metallica plucked bassist Jason Newsted from after Cliff Burton's tragic death, yet the tumultuous Arizona quintet has also had its fair share of success. On the comeback release DREAMS OF DEATH, the old-school thrash assault of "Straight to Hell" and the prog-rock styling of "Bathing in Red" work effectively on opposite ends of the spectrum, showcasing the outfit's versatility quite well. While the songs are on the money, the shoddy production values, as well as the band's well documented inability to stay as a cohesive unit, work in tandem against DREAMS OF DEATH, tarnishing an otherwise solid offering. www.crashmusicinc.com -Mike SOS

GOLDEN CHARIOTS OF MARS
GOLDEN CHARIOTS OF MARS
MAGNETIC SEA SOUND RECORDINGS
The debut full-length album from this Minnesota quartet features one of the most pretentious names in the business. The music is also pretentious…but pretty damn good, too. With haunting female vocals soaring over a steady rock beat, the band captures a psychedelic vibe that is taken up several notches with the use of a Hammond organ, a Felgemaker pipe organ, and a theremin. While the album opens with several slow, spacey songs reminiscent of Morcheeba, the later tracks are pure, gritty rock that sounds amazingly like the L.A. band, Mary's Danish. This is an incredible first album from a band with a boatload of talent and potential. The album art is great and the songs are pure. It's probably best to check this band out now before a major label signs the band and ruins it all. -Dug

GOLDRUSH
OZONA
BETTER LOOKING/TRUCK RECORDS
I've said before that there's nothing I appreciate more than a hard-working band, and Goldrush is exactly that. The men in this band have founded their own record label, built their own recording studio, and organized their own festival in Oxford, England. Fortunately, with this rigorous schedule, they still find time to make aspiring indie-rock music. OZONA embodies the kind of feather-light indie rock made popular by the likes of Pavement and Travis. The standout track, "Jupiter", is a refreshing glimpse at mid-'90s pop/rock stuffed with enough hooks to satisfy you for good. This kind of dorm-room rock shouldn't go unnoticed, as it will be the perfect soundtrack to your sunny days. -Zac

HORNA
ENVAATNAGS ENOS SOLF ESGANTAAVNE
THE END
Finnish black-metal troupe Horna takes the traditional approach on this eight-track offering, of which the song titles and lyrics are all in Finnish. While this may detract purists who seek to understand every word sung, the sheer underground rawness of tracks like "Vala Pedolle" and its minimalist molten melody make for a fine listen when yearning to thrash about. Like most in the genre, this corpse-painted sect (who've been around since 1993) keeps the vocals high-pitched and screeching and the rhythms low and pounding, while the guitar riffs are flexible and fluid, setting the tone and commanding the pace of the tracks with vicious execution. Exploring more grooves than most, Horna's latest sojourn into sacrilege is ripe for the death-metal fan looking for unadulterated aggression. www.theendrecords.com -Mike SOS

ICE BIRD
MAGNITUDE
FLYING SQUIRREL RECORDS
I don't know what to say about this album. Poorly produced? Indistinguishable lyrics? The bio says that Ice Bird is a breath of fresh air to a smoggy city full of "I want to be a rock star band." Hmmm. This album really didn't do much but bore the fuck out of me and make me wonder how many copies are going to make it in the dollar bin at Amoeba. MAGNITUDE left me ice cold and irritated that time was spent listening to muted, spindly guitar, mediocre drumming, and crappy vocals. I feel like I should appreciate it for its uber-indie underground sound, but that's just not happening anytime soon. -Aimee Curran

IMPALED NAZARENE
DEATH COMES IN 26 CAREFULLY SELECTED PIECES
THE END
Impaled Nazarene has decided to celebrate its career with this 26-track live endeavor spanning the outfit's 15-year run. This Finnish act has successfully bridged the gap between punk rock and black metal, never better than on "Armageddon Death Squad" and "The Endless War" live, as witnessing the furious firepower of both genres working in cahoots is truly captivating. Live albums are usually not this thrilling—but then again, most bands aren't as intriguing as Impaled Nazarene. www.theendrecords.com -Mike SOS

INTERNATIONAL BUSINESSMEN
THE FORMULA
RUMBLE GULLEY RECORDS
Seattle's International Businessmen have one overwhelming problem: they have a heavy case of identity crisis. In the course of 11 tracks, this band's sound jumps from political punk ("Rooski Salute") to Hoobastank-meets-Trapt rock ("The Horror") to No Use for a Name-influenced pop-punk ("846"). There is nothing wrong with diversity and switching up styles…but for the fact that these guys are not good at any of them. The few highlights come from the poppy songs such as "Summerz Gone" and "Drifter", but these alone are not enough to save the album. If International Businessmen could decide on one genre to embrace and work on becoming acceptable at it, then the group might be able to design a winning formula of its own. -Jeff Srack

KILLWHITNEYDEAD
SO PRETTY SO PLASTIC
TRIBUNAL RECORDS
Released way back in February, SO PRETTY SO PLASTIC has had a good six months to make an impact on the music world. Many critics have praised the album for its epic sound of metal infused with (as one reviewer wrote) "dirty ass rock 'n' roll." Renowned for their sampling of quotes from movies and television, Killwhitneydead make use of any type of media, as long as it conveys a frightening image or contains a curse word. Some might assume this overshadows the music (which is completely true in their remix album, SO PLASTIC SO PRETTY), but the five-piece ensemble from Arizona still do a decent job of focusing on their music. Killwhitneydead excels in drumming and metal solos but fails to sell their music as a whole. It's tough to say why music critics have so much admiration for this album. -Luke Skywalker

KRIS HOLLIS KEY
THE RETURN OF BOY HOWDY
STICKVILLE RECORDS
From the late '70s to the late '90s, Kris Hollis Key was an owner and producer of first Sunset West Studios (Oklahoma) and the Studio 12 (Hollywood). The music is a lively blend of country rock and rockin' blues that tends more toward Tom Petty than The Fabulous Thunderbirds. Responsible for almost all bass, guitar, and vocals on this album, Key often throws in some big bass lines right up front that summon to mind a Junior Brown sound. As makes sense from Key's background this is a very produced, polished album of good songs that would be better loosened up and delivered with more soul. www.stickvillerecords.com
-Tom "Tearaway" Schulte

KULT OV AZAZEL
THE WORLD, THE FLESH AND THE DEVIL
CRASH
Florida has been well-known for producing some of the most sick-ass metal ever heard, and you can add the blasphemous blastbeats of Kult ov Azazel to the long list. Produced by Hate Eternal's Erik Rutan, this quartet's nine-track offering of suffering hails Satan in the most notorious of ways with speed metal's riffs, death metal's screams, and black metal's unholy rhythms. While the right-wingers are clutching their chests, Kult ov Azazel is laying down some seriously Satanic stuff that bridges the gap between Dimmu Borgir and Emperor. www.crashmusicinc.com -Mike SOS

KWDMF
SO PLASTIC SO PRETTY
TRIBUNAL RECORDS
A remix album of Killwhitneydead's recent work, it's difficult to categorize SO PLASTIC SO PRETTY. With over 40 movie and television quotes throughout this album, it's a challenge to take seriously. After listening to the first track, "Whatever the World May Bring Mix", you're left wondering, "Is this a joke?" Musically, the songs are fun, but the overuse of sampling is just comical. In only one song does the sampling—of Spider-Man saying, "And this, like any story worth telling, is all about a girl"—seem appropriate. -Luke Skywalker

LORENE DRIVE
ROMANTIC WEALTH
LOBSTER RECORDS
I wanted desperately to hate this band based shallowly on the nearly poster-sized picture of them standing around in a field grinning like idiots, but I have to remember that promo is part of the whole package. This band is really something. All sorts of emotions, levels of musical intensity, and sound are touched upon in a manner that doesn't suggest some half-assed collage. This Southern California quartet deserves every bit of positive recognition that they get. They tour regularly, and I plan on shaking my ass in the middle of the next nearby mosh pit that swells to their sound. Apparently, they were on the Warped Tour. I foolishly missed that show this year. I've been doing a lot of sleeping, and the new Madden just came out…You understand. -Thomas Murray

LIFE IN PICTURES
BY THE SIGN OF THE SPYGLASS
CLOCKWORK/PLUTO
Life in Pictures, a band who play exceedingly urgent and hectic metal-tinged hardcore replete with superb screamed vocals (happily with nary a clean line in sight), absolutely slay on BY THE SIGN OF THE SPYGLASS. In these very pages I praised their previous EP, SONGS FROM THE SAWMILL (and can totally understand why they've sold out of its initial pressing), and I have no complaint whatsoever with this, their first LP, which keeps the listener enthralled from beginning to glorious end. Speaking of the end, the final track, "The Last of the Blind Man", is an exceptional epic (in scope as much as length). This track is just brutally powerful, with a major highlight being the two-minute machine-gun, pounding drum section that gives way to crazy instrumentation and vocals from what seems a chorus complemented by the lead singer's screams. Ah, but this isn't really the end, as they add on a little bonus with their crazy rendition of Misfits' "Devilock". …Janelle Jones

LIFE IN YOUR WAY
IGNITE AND REBUILD
INDIANOLA RECORDS
10 tracks of pretty brutal, straight-up hardcore that stems from a steadily ascending Connecticut hardcore scene. The cover art is among the most impressive I have seen lately—and that includes the stuff I actually pay for. IGNITE AND REBUILD is the follow-up to the band's 2003 debut. Although I enjoyed most of the album, some songs tend to get lost and drag on like a conversation with a cokehead on the way down. Some of the tracks could be shortened and tightened up; other than that, the energy is true and impressive. The music gets Dillinger Escape Plan-hectic sometimes, but that can be good, if controlled properly—and Life in Your Way does it the right way most of the time. -Thomas Murray

LINGUA FRANCA
GRAND PIANO
ACUTEST RECORDS
Outside, a box office buzzes, while within the theatre an excited audience assembles and settles in seats. Suddenly, the crimson curtain rises, revealing a stage and strange scenery. A bass bustles behind the pattering percussionist, and the theatergoers straighten to attention. Flint's Lingua Franca construct such sensations by combining somber songs—dark, delicate, and full of finesse—with script-like descriptions and dramatic mannerisms, making GRAND PIANO a postmodern musical. Initiating the narrative, "A Kind of Dancing" is sinister and stable as it stumbles beside bumbling bass lines and six pristine strings plucked with precision. "Murder/Mystery" musically mimics its own morose and meandering thematic manner. The story itself seems a bit blurry, but it builds to a sullenly strummed conclusion where walls, scenery, and set collapse chaotically and a curtain closes. Though the slightest sliver of self-importance is implied in something so grandiose, GRAND PIANO deserves a vivacious ovation. -Dane!

LUPUS
BAND NOT AS SHOWN
CRUSTY RECORDS
Vancouver, BC's Lupus will make the politically-correct among us's head explode. BAND NOT AS SHOWN (which has one of the most clever disc covers of all time) is a funny-as-hell disc for the super insensitive. There are songs about the "War on Drugs" ("Doug Drealer" ("The army of scum / The army of losers / The army of pigs can drink my cum")), Kelly Osbourne ("Fatty Osbourne"), the war in Iraq ("America Loves War" ("They need their oil / Like a hooker needs a crackpipe")), S.T.D.s ("Wear a Condom"), and many more. BAND NOT AS SHOWN is a fantastic disc (for what it is). Lupus is busting their ass to entertain you. The music incorporates many styles, including punk, country, ska, pop, and rock. BAND NOT AS SHOWN is a hoot. Get this one, turn it up, and give yourself room to roll on the floor laughing. -H. Barry Zimmerman

MERCURINE
WAITING FOR ANOTHER FALL
HEADS ON STICKS
With atmospheric keys, echo-driven guitar, synth drums, and airy female vocals, it's obvious that Mercurine are attempting to evoke the power of '80s goth-fathers like Bauhaus and Joy Division. This is all fine and dandy, but there is much to be desired here. The vocals lack both variation and interesting lyrics. No melody gets stuck in your cranium for an extended period of time. The same can be said with the instrumentation. Nowhere am I caught on a hook. Drums, bass, guitar, and keyboard atmospheres are repeated throughout most tracks to the point of boredom. A driving bass drives most of the tracks, while the keyboard atmospheres seem to be used mostly as filler. Mercurine's best moments can be heard in "Gone Too Far", a Skinny Puppy-like ditty with dark, whispery vocals and straight-up old-school industrial synth melodies. -Norberto Gomez, Jr.

MINUS THE BEAR
MENOS EL OSO
SUICUDE SQUEEZE RECORDS
On their Myspace page (www.myspace.com/minusthebear), they describe their sound as, "ting ting ting ting, ting ting, ting ting ting ting." But there is a lot more than just "tings" to this second full-length release from Minus the Bear. What you will experience within this album is a great balanced mix of mid-tempo rock with a rock-solid electronica foundation. Those "tings" could come from the high-strung chords of guitarist David Knudson or the futuristic, tweaked computerized sounds of Matt Bayles on electronics. Knudson's guitar seems to be the driving force of the band, along with the impressive and emotional vocals of Jake Snider. The laid-back beat and mellow vocals on "El Torrente" definitely makes it track one of my favorites. This album is worth checking out. -Matt Edmund

MISTRESS
IN DISGUST WE TRUST
EARACHE
Did you ever wonder what a cross between Entombed and Hatebreed with shards of Cathedral would sound like? Well, wonder no more, as the British quintet Mistress has beaten you to the punch on the outfit's 10-track collection. IN DISGUST WE TRUST is the name of this crusty low-end monstrosity, and with song titles like "Fucking Fuck" and "Happy Ever Disaster", you can expect a range of metallic blasts that vary from heavy to really heavy to painfully heavy. If you're looking for a disc to wreak havoc to, allow the lads in Mistress to assist your thrashing by providing a more-than-ample soundtrack of groovy down-tuned mayhem. www.earache.com -Mike SOS

MODERN LIFE IS WAR
WITNESS
DEATHWISH INC.
Modern Life is War is aggressive, pissed; and WITNESS, the band's second disc for Deathwish Inc., is a rockin' collection of songs. But Modern Life is War is not a great band, and this is not great music. And lead vocalist Jeffrey Eaton is not a great vocalist. But I don't think that's the point. The point of WITNESS is to testify, to stand up and scream, to bare the fist and display the rage. Modern Life is War do that very well, with intelligence and volume. The best song on WITNESS is "D.E.A.D.R.A.M.O.N.E.S.", where Eaton screams (not like a metal screamer, but rather like a hardcore party-dude), "We're all dead Ramones"—which I interpret as meaning patriots or symbols of rock—which Modern Life is War is. WITNESS is a solid effort that deserves props. -H. Barry Zimmerman

MONKEY PAW
HONKEY KONG
4 ALARM RECORDS
Chicago's Monkey Paw has made a weird rockin' disc. Four of the 14 tracks were produced by the legendary knob-turner Steve Albini. HONKEY KONG is full of discord and drugish angst and coolness. For a three-piece, Monkey Paw covers a lot of audio space. Lead vox and axeman Eric is a compelling artist. His guitar and vocal tones are the persona of Monkey Paw. He is the key. HONKEY KONG is a disc you can turn on and listen to without thinking, "Let's skip this one." It's all good. Some of my favorite moments are the super catchy "Fool Me Twice" and the disc opener, the weird and strained "Love for Sale". Monkey Paw is a real find, and HONKEY KONG is a real sweet disc. -H. Barry Zimmerman

MOURNING MAXWELL
OUR COLLECTIVE VOICE
SELF-RELEASED
This is my favorite Mourning Maxwell releases, probably because it comes with acoustic bonus tracks of the other songs on this album. I love it when songs can be played just as well acoustically as they can be electrically, if it can't be played acoustically and still sound similar to the electric version you depend too much on effects and not enough on talent, but that is certainly not the case for the wonderful indie/alternative music of Mourning Maxwell. Every time I listen to this album two things stick in my head, the first would be the chorus of "A Million Things All at Once" because it's just plain beautiful, and the other would be a line from the song "Nothing Says…", "Well nothing says I love you / Like that razor blade pressed between your lips" for the simple reason of OUCH. Despite these boys love for bloody lips, you should check out their music and get a copy of this album yourself, www.mourningmaxwell.com. -Manda-Dex-Punk

MOURNING MAXWELL
SELF-TITLED
SELF-RELEASED
This is the second release from Mourning Maxwell and is just as good as their first album. These Arizona indie/alternative rockers filled this five song disc with catchy rock music, that (to quote something off their myspace page) even your grandmother would like. That doesn't make them un-hip or boring, quiet the opposite, this is music anyone could appreciate and enjoy. At times it's mellow enough to accompany you to the sweetest of dreams yet bouncy enough during other times for you to rock out to while cruising around town. My favorite song off of the album would have to be the last one, "Let That Tussin Soak in Boy", it's so unusual now of days to hear a rock song written in 3/4's time, why, you could probably waltz to it! Oh wow, I just excited myself, do yourself a favor and check Mourning Maxwell out on the web at www.mourningmaxwell.com while I find a waltzing partner! -Manda-Dex-Punk

MY EPIPHANY
MIRABILIA
EYEBALL RECORDS
It's hard to describe MIRABILIA. At times, you sense a pure rock sound, while at other times you hear a hint of chaos. Still, it is safe to say that this album is an enjoyable experience. The vocals are very well done, and John Swingset's talent is displayed in "The Veteran", as he repeats, "Oh my God, we've lost so much / Oh my God, will they let us go?" The 11-song record includes many tracks that overuse a synthesizer, which exemplifies the songs' repetitiveness. Still, this record has easily the most attractive liner notes I've seen in a long time. They got that going for them, at least. -Luke Skywalker

NEW BLACK
TIME ATTACK
THICK RECORDS
Slap-happy and energetic, the latest from New Black is really nothing more than the result of a bad fight between The Yeah Yeah Yeahs and Q and not U. The squealing synthesizers and buzzsaw guitar rhythms were created by their predecessors and are only replicated here. Whether you would prefer to label it post-punk or noise rock, it's mostly dreary. Most tracks, including "Nothing Scares Us" and "Big Haus", have certain lyrics repeated to the point where the listener does not enjoy remembering them but feels brainwashed. Sadly, this band has the technical skill and talent to add strong songs to their musical canon; however, they lack the ambition to take the chance on something greater than they have created. See you in the dollar bin. -Zac

NURAL
THE WEIGHT OF THE WORLD
HOPELESS RECORDS
A simple, circular symbol featuring an honorable "H" decorates Nural's notable debut. But because Hopeless is famous for releasing reputable punk-rock records, a pissed population will surely shout, "Nural's not punk!" Claiming no such classification, Nural's songs span a poppy, pleasant spectrum. "The Root of All Evil" and "Forgive Me" are passionate piano-based ballads sung with sincere, expressive spirit. Rigorous guitar riffs (comprised of colorful, crunchy chords) thrust others (such as "Not Guilty" and "Tension") forward at torrid tempos. THE WEIGHT OF THE WORLD's 12 airtight tracks match mainstream radio's "modern rock" mannerisms, rather than the raw rock 'n' roll propensity present on HOPELESSLY DEVOTED TO YOU. In an exciting exception, "The Curse", chunks of chugging guitar and lean, limber leads drive a dramatic melody down into intimately lulled lows and fast-paced peaks. THE WEIGHT OF THE WORLD is an unusually-labeled album, but it packs an "un-punk" punch. -Dane!

ONE OF THE LOUDEST TRAGEDIES EVER HEARD…
SITUATION NOWHERE
WEDGIE RECORDS
With a name like One of the Loudest Tragedies Ever Heard, one might expect to hear the most dramatic, soul-shattering walls of sound (a la Godspeed! You Black Emperor) ever! However, that can't be further from the truth. Think Social Distortion vocalist Mike Ness having sex with Vince Neil (after his plastic surgery makeover on VH1), put it together in a sort of pop-punk fashion, and you have some of the worst vocals I've heard in some time. Now, to their credit, they are far more creative musically than most semi-pop-punk acts of today (e.g., New Found Glory and Jimmy Eat World). Here we have some nice, pounding drums, creative changes and hooks, melodic guitar arpeggios reminiscent of some '80s fun, and aggression when necessary. And humor finds its way into SITUATION NOWHERE. The best part of the album is the energy that runs throughout…but it's not quite enough to keep this listener interested. -Norberto Gomez, Jr.

PATIENT ZERO
SEEMINGLY SO…
SELF-RELEASED
Though technical and talented, patientZero seems stylistically indecisive. SEEMINGLY SO…'s instrumentation is interesting, though these individual instruments seem to steer their sound in several diverse directions. Pleasant piano plunks (clear and kind) babble beside strident distortion, playful pops of palm-percussion, and busy bass lines that amble humbly behind the band. The sum is something authentically alternative that flip-flops from terrific to flimsy. As a bold and robust piano rumbles behind an axe's sinewy scratches in "and sold…", singer Christopher Sarvak's voice soars vehemently. In such strong songs (e.g., "Why Believe"), the band members manage to turn directional disparities into intricate, colorful compositions. The weaker songs only try to. An appealing piano is pushed aside in "To the Inhabitants of America" by a galling guitar—clean but caustic, like Lysol—and melodically mismatched lines of insipid political prattle. patientZero's stylistic instability is both a blessing and a bane. -Dane!

RAMESSES
THE TOMB
INVADA
British doom-mongers Ramesses return with a thunderous three-track offering whose sludgy residue leaves your ears begging for Q-Tips. Produced by heavy-rock guru Billy Anderson, this trio meticulously pours on the syrupy riffs and dollops of droning down-tuned rhythms in an aural avalanche. And if that's not enough for you, the bonus track changes the pace and provides some acid-rock flashbacks inside of the cavernous cacophony. If you're a doom freak, you need to get this disc on the double. www.invada.co.uk -Mike SOS

ROBERT SKORO
THAT THESE THINGS COULD BE OURS
YEP ROC RECORDS
Perhaps the best part about reviewing music is the ability to discover talented new artists—and this one is a real find. Singer/songwriter Robert Skoro is an incredibly gifted performer who constructs beautifully touching pop songs in the vein of Bright Eyes, Death Cab for Cutie, and The Shins. With personal lyrics that reflect on love, growing old, and friendship using the utmost detail, this 24-year-old is destined to be the talk of the indie scene for years to come. Songs such as "China", "I Was Blonde at Age 4", and "Hungry Ghost" exhibit a man who truly has a brilliant touch with words. THAT THESE THINGS… is a CD that sparkles from beginning to end and is easily one of the best records of the year. -Jeff Srack

RORY BREAKER
THE PEEP SHOW
DINO ROCK RECORDS
This is so-so indie rock with high, nasal vocals. The best thing about the album is the art theme, which plays on "peep show" as a stage entertainment form and those molded marshmallow chick concoctions people eat around Easter. My advice is to find this in the store, get a chuckle from the package, then move on.
-Tom "Tearaway" Schulte

S.L.A.
SONIC LOVE AFFAIR
DOLLAR RECORD RECORDS
Snot drips like honey off the debut full-length album from Sacramento's sassiest garage band, S.L.A. The quick, catchy tunes from these dive-bar rock stars are like The Stooges or Flamin' Groovies with a young Mick Jagger out front. The band has been together since 2001, but it took a great producer, Chris Woodhouse, to finally capture the band's pissed-off live sound in the studio. There's no slow music on this disc, just songs with titles like "Panther Piss", screaming electric leads, and a driving punk beat that will drive most listeners to the bottle. Lead singer Dylan Rogers exudes that rarest and most valuable of rock-star qualities on these songs: unadulterated hate. His sneering delivery would be comical if it didn't sound so fucking cool. I'll be the first in line to catch these assholes live when they hit a dive bar around here. -Dug

SOMERSET
PANDORA
PUNKNEWS RECORDS
You expect a lot of things on the debut album from a group of guys from Minneapolis who aren't even old enough to buy a beer, but definitely not sophisticated lyrics, political insight, and a batch of melodic hard rock songs matched with nice vocal harmonies. The album art is the first thing that grabs you with this disc. The ancient Roman artwork on the cover looks more like something you'd see on a Smashing Pumpkins or Pink Floyd album than here. The tasteful, well-designed lyric booklet is also something you don't see with beginners. The songs on this disc tend toward an aggressive rock sound with lots of guitar and lyrical hooks. While there may not be a radio hit here, the tunes are catchy and show a lot of promise for newly-formed Punknews Records' future. -Dug

STAPLE
OF TRUTH AND RECONCILIATION
SAVVY MEDIA SOLUTIONS
Staple's sophomore album possesses the speed and power to label it hardcore. They call it post-hardcore, which suggests melodic accompaniment to the audible expression of frustration and pain. Choruses and mostly sung, not screamed, like in From Autumn to Ashes or It Dies Today. I'm not saying that Staple is at that level, but structurally they are similar. I'm not saying I don't like this album, but awful, clich…d poetic attempts are my pet peeve, and these characters are occasionally guilty of this. But there are some great lyrics here, too, and their sound is quite worthy of people paying hard-earned money for their music (and perhaps to see them live). -Thomas Murray

SUB-DIVISION
THE PRIMOS
HARD SOUL RECORDS
The debut EP from this Mexico City-based quartet is a strange and alluring trip through an alternative music universe. Featuring twins Amira (f) on vocals and Amed (m) on guitar, along with cousin Yamil on drums and Samper on guitar, the band has created a sound that is its own genre, a strange '80s post-punk/electronica mix. With synthesized vocals that sound like The Flying Lizards, Sub-division captures a raw, seething energy that should become a dance-club staple. The songs are dominated by powerful bass lines and surreal keyboard effects. The only thing more independent than this band's sound is the group's fiercely independent ethic. In huge, bold letters across the bottom of the band's press bio are the words "FUCK CORPORATE FAKERS—SUPPORT TRUE INDIE MUSIC." Gee, I hate it when you can't tell how a band really feels about the suits. This disc also includes three CD-ROM videos. -Dug

THE BLACK DAHLIA MURDER
MIASMA
METAL BLADE
Hailing from the murder capital of the United States, Detroit's The Black Dahlia Murder's aural onslaught is a veritable wall of sound for 10 tracks that clock in at over 30 minutes. No strangers to the Swedish metal sound, MIASMA continues their love affair with At the Gates and the like with surging guitars, siren-shrill to disturbingly growled vocals, and a flurry of drums that really accentuate the entire collection. Tracks like "A Vulgar Picture" and "Miscarriage" melodically maul your senses, while "Flies" find the quintet at its most beautifully brutal. If you appreciate the second wave of Swedish metal and a relentless metal assault, MIASMA is an album to check out. www.metalblade.com -Mike SOS

THE CARDINAL EFFECT
RED LIGHT CAROUSEL
TRIBUNAL
It seems The Cardinal Effect have a bit of a Deftones thing going on, what with their love of melding really heavy, aggressive metallic/hardcore parts with lighter, bordering-on-beautiful melodies (as displayed on songs like "The Afterparty") and the Chino Morenoish-sounding clean vocals. Basically, this is the formula for the first four songs?undoubtedly the best offerings on the album. Check out the awesome bass and hypnotic, melodious vocals of "Red Light Carousel" and the catchy choruses of "Fistula" and "Cottonstar". But after these notable tracks, things pretty much go downhill, as the songs drag, sound uninspired, and leave the listener feeling rather disinterested. And that's nothing compared to how one feels whilst listening to "Press Your Eyes", a disturbingly abysmal, "heartfelt" crooner that's made worse by the reliance on drum-machine beats. It's supposed to be a tender, affecting song, but in reality comes off as laughable. -Janelle Jones

THE DIVINING
REPRISAL
DRESSED TO KILL
This five-piece outfit from Philadelphia took the Darkest Hour template and ran with it, creating their version of Swedish metalcore by way of America. Showcasing solid chops on tracks like "Beyond the Point of Return", this bunch of upstarts are no slouches in any department, especially when it comes to laying down some mean guitar solos. Nine tracks of unadulterated metal is what REPRISAL delivers, albeit very derivative of the countless other bands emulating the bastardized Gothenburg metal sound. Undaunted, The Divining's wailing guitars (as in "Final March" and "Forsaken by the Light") show that this burgeoning group has the wares to give bands like Killswitch Engage and Shadows Fall a run for their money. www.thedivining.com -Mike SOS

THE JUAN MACLEAN
LESS THAN HUMAN
ASTRALWERKS
"Don't stop! / Alright! / Give me every little thing!" raves the addictive robotic vocals in the standout track "Give Me Every Little Thing". LESS THAN HUMAN is the most paranoid and grooviest era of the Talking Heads (e.g., REMAIN IN LIGHT), with its minimal chants and teeth-clenching synthesizer madness crossed with the ass-shaking fat beats and energy of P-Funk, the internal musings of Air, and the mood weaving of Kraftwerk rolled into one massive ball of pure fucking electronic enjoyment! Here we have bass-driven, experimental ditties like "Tito's Way" (think Air on crack) that automatically induce one to dance the Robot. "Why can't you see / What you're doing to me?" cries a robot on "Love Is in the Air", a melancholy love song filled with flutes and grooves that offers a glimmer of hope. An amazing piece of work which expresses the need for affection and connection in a world filled with dejection and disconnection, this is the official album for the contemporary lover. -Norberto Gomez, Jr.

THE NICAEA ROOM
BULLETPROOF BENNY TAKES ON THE YUPPIE BRIGADE
HOLD TRUE
The Nicaea Room is a caustic quartet whose off the wall five-track release keeps your ears on guard and your body in contortions. This New Hampshire unit brandish the kind of vitriolic versatility of bands like Between the Buried and Me, The Red Chord, and Candiria, utilizing jazzy riffs, monstrous breakdowns, death-metal phrasings, and whatever the hell else they get their grubby hands on. What's most surprising about this group is how easy they lapse into a memorable musical passage after blowing your head off with technical savagery on tracks like "Sleeping with the Piranahas". If you're looking for left-of-center aggression, The Nicaea Room is your kind of band. www.holdtrue.com -Mike SOS

THE POPE
JAZZMAN COMETH
WANTAGE USA
Even with a record that sounds as if it was recorded through a wall of mud and stones, ex-Leatherface members Frankie Stubbs and Andy Crighton manage to bless our ears with six of the finest songs in their arsenal. JAZZMAN COMETH represents the direction that punk rock should have taken in 1990, rather than the bubblegum pop we as a society are cursed with today. This sound is crude, with the raw energy of grunge but without the reserved songwriting that plagued the genre. There seems to be a Dag Nasty influence here, as well, especially on "Crazy New Punk in Town". Leatherface fans are missing out if they don't own this fantastic disc. -Zac

THE TEMPLARS
CLOCKWORK ORANGE HORRORSHOW
TEMPLECOMBE
No, rocket science it ain't, but damn if this isn't some great, classic, boot-stomping Oi! in the British tradition from Long Island boys The Templars. Their seminal double 7" CLOCKWORK ORANGE HORRORSHOW (originally on Vulture Rock) gets some nice treatment 10 years after its initial release (this time in CD/EP form on their own imprint). We get five originals (the most awesome being the two leadoff tracks, "Doing the Dirty" and "You'd Better Beware"); a nice little bonus track, "Modern Day Ripper"; and two immortal covers (done quite well), Major Accident's "Leaders of Tomorrow" and Angelic Upstarts' "Teenage Warning". And how can one resist their penchant for all things A CLOCKWORK ORANGE, from the album artwork to droogie Alex's "Singing in the Rain" (as the intro to "Beware"), their mentioning of the old ultra-violence, and of course that "Ludwig van" coda on the title track. Real horrorshow, indeed! -Janelle Jones

THE TRACK RECORD
THE TRACK RECORD
RUSHMORE RECORDS
This five-track EP from The Track Record has all the makings of a successful pop-punk release. It's got the high screechy male vocals and the never-ending saga of young adults and their battle with teen angst. To say it's been done before would be a major understatement. When dissected track by tack, this album comes up way short of being original. The vocals remain high-pitched and annoying though all five tracks, and the musicianship is average, at best. It's cookie-cutter pop-punk sound might catch the ears of those who like bands like Yellowcard or The Starting Line. Although I don't think much of The Track Record's sound, I wouldn't be shocked if we hear from them again in the near future. This whiney drab has staying power that can't be explained. -Matt Edmund

UP SYNDROME
WELCOME TO PHASE 3
REDD PLANET RECORDS
The title of Up Syndrome's new EP refers to the group's ever-changing roster, this being the third incarnation of the band (with the only constant being lead singer Chris Marrs Piliero). Clever, huh? The title is as good as it gets, because this O.C. pop-punk act has little else to offer. We get four generic, bland, boring tunes that the band probably couldn't even pick out of a lineup, including an adequate cover of Sublime's "Badfish". Piliero whines and sings such incredibly juvenile lyrics that they do not warrant printing. To make matters worse, his voice is reminiscent of the guy from Simple Plan. Now, a public-service announcement for all you young bands out there: stop covering Sublime songs. You couldn't possibly make them better, and you're only butchering your heroes' classics. And now you know. Knowing is half the battle. -Jeff Srack

VARIOUS ARTISTS
KISS OR KILL PRESENTS V. II
WAR ROOM RECORDS
This is an awesome album, there's no other way to put it. Want to be jealous of everyone living in L.A.? Pick this album up, you'll hear what we get to see anytime we feel like heading out to The Echo in Hollywood, really good punk music. There are 17 bands featured on this CD, they aren't just bands though, they're KICK ASS bands like Bang Sugar Bang, Midway, Underwater City People, The Knives, The Letter Openers, and just way too many to list on here! There is no one song that sticks out on this album, they're all too good to pick just one to be your favorite. The only difference between KISS OR KILL PRESENTS V. II and the club event Kiss or Kill are the lack of actually tequila shots, shot from a squirt gun, they try their best to emulate it though. This is a must have for everyone, period, it's that good. -Manda-Dex-Punk

VARIOUS ARTISTS
THE NORCAL COMPILATION
AGENT RECORDS
The third annual compilation from Agent Records is a tour de force of 22 unique Northern California bands. The breadth of the compilation is staggering, as is the talent of many of these only slightly-known (outside of the Bay Area) musicians. One of the most memorable tunes on the disc is "Evaporate" from Communique, which moves along with a soft and melodic indie feel reminiscent of The Shins. There is a great track, "Noae Kaedae", from Judgment Day that incorporates cello, violin, and drums on what they whimsically call "string metal." Another interesting track is provided by The Audrye Sessions, an indie-rock group that includes Anton Patzner, the violinist from Bright Eyes. Unfortunately. we don't have enough room here to do justice to this disc. Buy the damn thing and listen to it. There aren't any weak tracks. -Dug

YOB
THE UNREAL NEVER LIVED
METAL BLADE
The ethereal sounds of the doom-rock trio YOB continue to entrance and confound. The latest offering by this Oregon-based clan is only four songs long, but, unlike the work of most doom acts, provides a bevy of dynamic nuances that keep songs like "Quantum Mystic" intriguing and enchanting. Picking up where bands like Sleep left off in pure rock density, Yob's space-rock subtleties, organic attachment to the riff, and mighty use of metallic elements make THE UNREAL NEVER LIVED an album of epic proportions. Colossal and essential, any fan of doom metal needs to add this one to their collection. www.metalblade.com -Mike SOS

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