Acid Mothers Temple Mantra Of Love
HAHA. Ok, I have no idea why I got this CD to review. Acid Mothers Temple are a new age jam band. This CD is 2 tracks, the first one being 30 minutes long and the second one being 15. All I can say is that they are from Japan and remind me of that guy from Serendipity that plays the snake charmer. I hope you know what I’m talking about because otherwise you can not possibly comprehend how funny this music is. Get Mantra of Love if anytime in the next year you are moving to the Far East and plan on living in the rainforests or riding camels through deserts in Africa.
[Alien8 Recordings - www.alien8recordings.com <http://www.alien8recordings.com>] - VeganVadim

All Out War “Condemned To Suffer”
All Out War was always a favorite of mine, and it has been quite some time since they released a new record. Needless to say, I had very high expectations. Not only were they met, but Condemned To Suffer blew me away. You know what you’re getting with All Out War. Slayer riffs with Mike Score screaming about how the human race is evil and is going to burn for eternity for ruining the world we live in. Lyrically, that covers eleven of the twelve songs on this record. The other, "Hypocrites of the Revolution,” attacks the tribe of fakers known as the "hardcore scene" and their packaged rebellion. I love it. The lyrics on this are so unbelievably pissed off and bitter, I listened to this and the new Slapshot over and over again for 3 weeks straight (not stopping to write my reviews, which is why they are late; apologies to my editor), and I’m surprised I haven’t killed anyone yet. (Victory Records, 348 N. Justine St., Suite 504, Chicago, IL 60607- www.victoryrecords.com <http://www.victoryrecords.com/>) - Chris X

All Rights Reserved- "Remind Me To Burn These Pages"
One of the newest additions to local label PumpkinEater Records, these four Jersey kids’ 5 song EP is evocative of the newest wave of so-called “emo-rock.” I must admit that I hate the word emo, because it really means nothing. But because this entire generation feels the need to use the perfidious word to classify bands into certain genres such as emo, screamo, punk-emo-rock, rock-punk-emo, emo-punk-rock, and emo-alternative, I am forced to utilize the word in my reviews to help the unsuspecting Wonkavision reader (who has unknowingly stumbled into the black hole known as the review section) better understand the sound of a band. On a side note, I was exploring purevolume.com the other day and came across a band that described their sound as “emo-hip-hop.” I believe jerking-off would better prepare this “emo-hip-hop” band for their non-existent music-turned-adult-film career. However, the same thought did not cross my mind when listening to Remind Me To Burn These Pages, as the guitar work on this EP is very creative, concomitant with Bob Dawson’s quality drum work. Is it weird that Dawson reminds me of James Vanderbyk? He was in Dawson’s creek wasn’t he? I can’t remember. Regardless, look for All Rights Reserved to be releasing a quality full-length in the near future. (Pumpkin Eater Records, PO Box 144, Iselin, New Jersey 08830) - tubby

An Albatross We Are The Lazer Viking
This is my absolute favorite eight minute/eleven song CD/EP so far this millennium. Shit, in my whole life. Kids, this is a total hardcore punk screamfest, but with a twist; this set prominently displays keyboards as the main lead instrument(s). Yeah, there are some guitars too. Listening to these guys is like being force fed Mr. Bungle on speed with Jon Lord of Deep Purple playing the keyboards while on peyote. Every tune is different, and none of them waste any time. Ever go to a traveling carnival’s freak show with Devo, Danny Elfman/Oingo Boingo, or Brainiac after having too much sugar and asthma medicine? Here’s the aural equivalent. I wish I could give you more information, but I listened to this at least eleven times to write this much. If I tell you more, it will actually take longer to read the review than to listen to this gem of a CD, and that just ain’t right. This is an abbreviated mini-epic of astounding proportions. Do yourself a favor and pick this up, but for eight minutes, it better not be too much moola. (Ace Fu - www.acefu.com) - Renrag

Ann Beretta “Three Chord Revolution”
When I fist saw that I had received the new Ann Beretta album to review I was completely psyched! I was a huge fan of their previous releases on Lookout! and was salivating at the opportunity to hear yet another kick-ass album from this Richmond, VA trio. Unfortunately, moments after listening to the first track I had to eject the disk to confirm that it was actually Ann Beretta and not some other disk that got mixed-up in the shuffle! What the hell happened to these guys? It sounded more like a revolution of The Beach Boys than some three-chord portrayal of punk rock. The crunchy, raw tunes and husky, yet heartfelt, lyrics that once marked this band’s style have been overthrown with cheesy, poppy, Simple Plan sounding garbage! I will admit, there were brief moments and portions of the album that rekindled that passion I once had for the old Ann Beretta, but for the most part it left me feeling completely and utterly disappointed. Just when I expected Ann Beretta to take that next step and produce an album that would blow my mind, they chose to dive right into the demoralizing realm of today’s new idea of “punk rock,” led by the likes of Yellowcard and Story of the Year. (Union 2112 Records, 78 Rachel E., Montreal, OC, H2W 1C6, Canada - www.unionlabelgroup.com) - Jersey Jef

Antifreeze “The Search For Something More”
Ahhh, pop punk, my guilty pleasure.... Hailing from Appleton, WI, population 67,000, these four guys love cheese. Tim Crowley, vocals/bass, has just made me feel old: I was reading an interview and he states Weezer, MxPx and Jimmy Eat World as his influences. All I can say is “wow!” I'm not slighting him for it, just…wow. For a band discovered, produced and managed by Kris Roe (The Ataris) and released on Kung Fu Records, it definitely seems fitting. So, keeping those facts in mind imagine their sound; yep, you got it…pop-punk, rock, emo - with the faintest scream here and there. Unfortunately, I don't find much depth or originality on this album, but I'm not in much of a poppy mood at the moment. It just seems that there isn't any added value here. If you're already a fan, then you'll love the disc, but I don't see this winning over any new fans, at least no one over the age of 16. A video was produced for their song “Pointless Emotion” and has been submitted to MTV, MuchMusic, Fuse and a few others. It can bee seen at the Kung Fu website. (Kung Fu Records, PO Box 38009 Hollywood, CA 90038 - www.kungfurecords.com) - Milkman

Ariel Kill Him In The Pyramid
“Sounds like the Doves, Sigur Ros, Cold Play, and Radiohead” stated the press release accompanying this album. Not so much: those would be the bands that a musician who wasn’t all that good would compare himself to. You know the guy: you say, “Dreary, shoe-gazing, dream-pop, mope rock? Oh really? What do you guys sound like?” And then he says, “Radiohead” and you beat him up with his own clichéd hypocrisy on a stick. AKH aren’t British though; they’re Swedish, and I don’t know what that means other than Dave wears eyeliner and lip gloss. His makeup offends me in the same way his music does: he’s trying too hard. If left to his own devices as a singer/songwriter, the boy might have a shot, but on In The Pyramid he tries to tackle too much in the name of “musical growth”: the electronics seem ill-fitted and the female vocals that break with desperate soprano attempts seem forcedly so. The most natural position for Lehnberg to be in is either completely stripped down (in the musical sense, you kinky bastards) as seen on “Less Beat” or imbued with powerful rock: “Not Today, Not Tomorrow,” the album’s highlight, is the most successful song because it finds Lehnberg concentrated on the formulation of the song as a whole, not just on the song as a base on which to lay unnecessary effects and computer blips. (Eyeball Records, PO Box 1653, New York, NY, 10009 - www.eyeballrecords.com) - Thumper

As Tall As Lions Lafcadio
This is a surprisingly good record from a band that is most likely going to be lumped into the emo/post-hardcore genre but really doesn’t belong there. A myriad of influences ranging from Brit-rock, to early 120 Minutes artists, to ‘80s arena rockers are present and accounted for, but their inspiration is subtle as the band maintains a general rock-with-hints-of-emo sound. I shit you not though, “96 Heartbeats” sounds just a bit like Steve Perry (Journey) fronting The Church, and though on paper that might sicken you, it’s probably my favorite song on a CD full of great sounding songs. “Silhouettes/Silhouetting” not only has a Brit-rock feel to the title but also has a Brit-rock feel to the music, kind of like Coldplay but without the grey clouds. And the quick pace of “If I’m Not Out Burning” is a real eye-opener after the dreary (yet nice) one-two punch of “The Carousel” and “Acrobat.” As Tall As Lions has done an honorable job of mixing genres and should appeal to more than just the emo kids. (Triple Crown Records, 331 W.57th St. #472, New York, NY 10019 - www.triplecrownrecords.com) - Chip Midnight

Atom And His Package Hair: Debatable
I’ve read about this act for years, and until now have successfully avoided it. Ironically enough, this is my first actual exposure to him and just happens to be a record of his last live performance ever. It’s growing on me in a creepy, but friendly way. The tunes are short, and almost every one has an introduction, which ups the attention level and helps you to understand what he’s going on about. Some of my fave tunes are: “The Metric System,” “Shopping Spree,” “If You Own The Washington Redskins You’re A Cock” and “Me And My Black Metal Friends.” Musically, it’s an adenoidal version of Weird Al Yankovic, only with original tunes instead of parodies of pop hits and a home made electronic “package” which functions as a/the band. Twenty seven tracks later, I’m blown away and wondering why I didn’t pay attention earlier. This package includes a DVD of the same performance. Everybody else, well, you know you gotta have it, so just get it. (Hopeless - www.hopelessrecords.com <http://www.hopelessrecords.com>) - Renrag

Audio Learning Center “Cope Park”
Early 90’s grunge nuts might feel a twinge of recognition from the sounds on this second disc by Portland’s Audio Learning Center. And obsessive grunge completists will have memories flooding back to them by the opening notes of “The Neverwills,” as I did while lying in bed listening to Cope Park playing on my headphones. I just couldn’t shake that the singer here sounded exactly like the guy from Pond, a second-tier grunge band from Portland who put out two amazing albums in ’93 and ’95 respectively. So I had to leap out bed and reference the included materials. Sure enough, this is Chris Brady of Pond’s new band! Not only that, but there’s also a guy from Sprinkler (another story for another time) in this band too. What we get is thick, spacious sounds that lie somewhere between the angular discord of Fugazi and the enveloping atmosphere of Radiohead. It’s a pretty killer rock disc that demands and deserves a lot of patience, and it’s got just enough grunge residue to please those who care about such menial things 12 years after the Pacific Northwest explosion. Okay, I’m a freak -- so sue me! (Vagrant Records, 2118 Wilshire Blvd., Santa Monica, CA 90403, - www.vagrant.com) - Jason Schreurs

Aveo “Battery”
They’re from Seattle! They must drink coffee! They must like rainy weather! It sure as hell sounds like they do. The first track, “Newton and Galileo,” reminds me of Chris Isaak and is elegant and moody. William Wilson’s vocals are clear, perfectly elevated at the right moments, backed by supple drumbeats and chords that sound like brushed steel. “Desert and the Great Divorce” has the same sanitarily sultry appeal to it, with an intro that would fit perfectly on the “Lost In Translation” soundtrack. Aveo punches it up on several tracks, pulling The Shins through the gloomy clouds of “empty sex” and nodding towards Morrissey in the hallways, but they end up in a large, navy blue colored room that they never seem to escape. Perhaps that is why I can neither gush about the band nor criticize them all that harshly; they have an alluring appeal, and when perfectly executed on a dimly-lit stage, could probably make a few 20-something girls weak in the knees. Still, they’re stuck, and while it is in a pleasant, faintly pulsating depress-fest, it’s difficult to say whether there is any hope that they’ll progress towards an impressive conclusion. Oh, and “Aveo” means “I desire” in Latin, but you already knew that, didn’t you, my sweet, sad lover? (Barsuk Records, P.O. Box 22546, Seattle, WA 98122 - www.barsuk.com <http://www.barsuk.com>) - Thumper

Bagheera Twelves
There HAD to have been a fuck up somewhere. No WAY was I intended to review this album. What the hell is this? Bagheera is a male/female duo from St. Louis who had no other friends and decided to get together one night and start playing dull ass lullabies about “space and time travel, electronic redemption, and the promise and fear of scientific endeavor.” That shit is quoted from the press release! Does that sound intriguing to you? Me neither. I had to take a double dosage of caffeine stimulants to make it through all 13 grueling tracks. While their voices work and sound well in unison the bullshit they are singing about just bores me. The music sounds like something you could create with the “auto” button on your first Casio keyboard. You know that button you would push and you would think you were actually making kick ass music when the machine was actually doing it for you. To put it bluntly, this sucks. For shits and giggles though log onto their website at bagheeramusic.com and see pictures of them dressed as elves and role playing Lord of the Rings. I like the movies too, but dressing up like Frodo Baggins and poking my girl’s ass with a toy sword isn’t my idea of an exciting Saturday night. (Asian Man Records, PO Box 35585 Monte Sereno, CA 95030-www.asianmanrecords.com) - Jersey Jef

The Banner Your Murder Mixtape
If someone said, hey, Beck, what’s the stupidest way to open up a record? I would say…hmm, a sound clip from Night of the Living Dead. Ooooh, that’s all scary n’shit. If you’re going to use a clip from that cinematic masterpiece, at least use a good one. “Jesus goddamn holy living shit! What in the name of Jupiter's Balls are you doing out here alone little lady? <http://www.moviequotes.com/fullquote.cgi?qnum=63625>” The Banner has succeeded in voiding themselves of any sort of credibility within the first 10 seconds of their album. On the third track, entitled “Sometimes They Come Back,” another skillfully placed clip from Aliens has been inserted for effect. This band is so unoriginal that I can’t even fathom why they have gotten this far. For every zombie-loving, death and blood obsessed crappy hardcore band, there must be 500 other ones somewhere in New Jersey that are just dying to play the Church. My favorite part is the disclaimer on the back page of their blood-spattered insert: “These songs are fictional and aren’t a veiled threat to anyone living or dead. Seriously”. Well, I’m glad that they cleared that up. - El Beck

Beloved [US] “Failure On”
Solid State currently has a few rabidly popular acts that have been able to achieve success and critical acclaim in spite of (or possibly because of) their Christian faith. Beloved are not quite as brutal as some of their label mates, but they’re able to be faithful without being condescending Bible beaters like their popular comrades. While many people may be turned off by all the God talk, that added element in their lyrics and energy is refreshing when compared to lots of the vapid crap out there, whether you’re Christian or not. The music is also a refreshing change; it’s a screaming/singing partial hardcore combo that actually works. Many of the songs begin with the singing and then build up to the breakdown where the energy rises and the growling gets you to your feet. This give and take keeps the heaviness from being too overwhelming and the light touches from being too tiring. “Allure” eases the album into a relaxed ending, but the final track “Insult to Injury” throws it all back and ties it up with a brutal bang. Beloved continues to perfect a mix, which many other groups fail at, with an intensity and devotion that allows them to surpass any definitions and shine in their own rocking way. (Solid State Records, P.O. Box 12698, Seattle, WA 98111, www.solidstaterecords.com <http://www.solidstaterecords.com> ) Erika Owens

The Berlin Project “The Things We Say”
The things we say, huh? Well I hope the Berlin Project is prepared for the things I’m about to say because I thought this album fucking sucked! For starters, there is a typo on the cover of their album! I know, you’re thinking “but Jef…that’s pretty cool, isn’t it?” No, it isn’t for these guys! The sound quality on this album is awful. It sounds as if this was recorded in a cave or something. There is a weird echoing throughout and the snare drum sounds like the head is about to come off. The vocals are plagued by a crackling sound, almost as if your speakers are blown. For the most part, this Pittsburgh five-piece sounds like they are just coasting along on this record. I don’t feel any energy whatsoever and the songs just seem to run into one another without any distinction or evolution from one to the next. They sound like The Used after consuming about 200 qualudes each. It’s almost as if they are on the cusp of something great but are content with settling for less. With a bit more aggression and heart these guys might produce something worth listening to, but for the meantime I’ll pass. (Orange Peal Records, PO Box 15207, Fremont, CA 94539-www.orangepeal.com) - Jersey Jef

Between The Buried And Me “The Silent Circus”
MetalCore is that scream extreme between the metal and me…I mean, hardcore. Actually, its formula can be devised from math and emo as well, but will never deviate from the anguished souls of white kids abroad. Between The Buried And me are at the top of the slope here and grace us with tortured vocals and tight, and I mean TIGHT, licks. The Silent Circus continues its lair beneath the thorns of reality and delves us deeper into the reaches of Hell and back, and forth, and so on. This isn’t the kind of screwtop metal we all know and enjoy on a decent night out at the pub or friend’s house, this is the grind core of many a collected bonecrusher. It means to destroy all and any who fall beneath the crushing wheel of death metal guitars and guttural groans, intricate orchestrations and subjects manning the helm of abstract loneliness, outcast seminarian, and the perils of not having your mom drive you to the mall. For those interested in such subjects, Between The Buried And Me are one of the best and obvious. To supply you with all of this in lieu of therapy or burning the town to cinders is a happy choice since things aren’t really this bad; it all rests in the mind of those who choose to notice and who choose to just know.
(Victory Records, 346 N Justine Suite 504, Chicago, IL 60607 - www.victoryrecords.com) - Mark Whittaker

Birds of India American Egg EP
This is what Miranda Sound would sound like if they were from Arizona rather than Ohio. Birds of India, like Miranda Sound, have a strong indie rock guitar sound, falling somewhere between the heaviness of Chavez and the spastic nature of the Dismemberment Plan with a hint of The Promise Ring in the vocals. They’re label mates of area favorites Metroplex, The English System and Up Up Down Down Left Right Left Right B A Start, and fit rather appropriately along side these bands. Like Miranda Sound, there appears to be some sharing of vocal duties, although only Jason Ei is listed as a vocalist. Either Ei’s vocals are being double-tracked or one of the band members isn’t being given credit for his contribution. Regardless, it all sounds good and the shared vocals are a nice touch on this EP, particularly on the standout track, “Pins & Needles.” Birds of India doesn’t fall into the trap of trying to fit in with any of the current trends (emo, garage, etc) and their straightforward indie rock sound is comforting to listen to. (Limekiln Records, PO Box 4064, Philadelphia, PA 19118 - www.limekilnrecords.com) - Chip Midnight

The Bitter Life Typecast “A Greater Love is Still Unknown”
The Bitter Life Typecast’s brand of emo differs from the rest of the herd in that it picks up a distinct British influence from the usual suspects of groups like The Cure, and The Smiths. These four tracks never really rip and shred, they are slow brooding numbers tinged with darkness and vulnerability. Though this influence helps to differentiate, the group still retains many of the trademarks of the overcrowded genre, mainly whiny off key vocals, and a tendency for melodrama. This is unfortunate because the freshness of the group’s approach is often times overshadowed by the staleness of its execution. While the potential is there, for now at least, Bitter Life Typecast is unable to move past the realm of average. (Outreach Records 1182 Gravel Pike Hereford, PA 18056 - www.outreachrecords.net)- <http://www.outreachrecords.net)-> Dan Williams

Black Print Movement
What is it about boys that they like to scream? I just don’t get the screamy thing. I grew up with Ian MacKaye and Henry Rollins screaming in my ear, and this may be the old man coming out in me, but it’s just not the same anymore. This is full-on scream-at-the-top-of-my-lungs all-the-time kind of screaming. There are tons of bands doing it right now and I’m not sure why. Even Quicksand did the ‘appeals-to-young-boys’ screaming thing in a more tasteful way. So I’m going to put aside the fact that I don’t “get” that and move ahead with this review. This EP is your typical ‘screamo’ BS that’s out there right now but I definitely dig this much more than most of what I have heard. The first few songs are kind of beat but the last two “Cruising Down the Nile” and “When I Fall Do You Feel It?” really save this EP. They have much more melody (especially in the vocals) and they break away from your typical chug-chug guitar crap. Lyrically there is a fair amount of wanna-be poetic shit like “I drown deep into this fall” but there are also a few gems like “Minneapolis winter day is never as cold as you.” (Quincy Shanks P.O. Box 3035, St. Charles, IL 60174 www.quincyshanks.com <http://www.quincyshanks.com>) Wally Peters Jr.

Blue Sky Mile Sands Once Sea
Perusing the thanks section of liner notes can often offer a glimpse into the background of the band, from bands they revere or have toured with to gratitude towards community members; it’s a good place to start. Now, like many bands, Blue Sky Mile don’t thank God (or whoever) in the notes, but their sound makes that a curious exemption. The lyrics aren’t praisey, but the sound of the record definitely has a Christian coffee shop feel; eager and fast paced with a metallic, produced resonance. It’s not live, or grainy, or acoustic so Sands Once Sea is definitely not coffee shop in that sense, but it is personal and poetic, relying more on inflection and allusion than screaming and swearing. In this adolescent, angsty way, the music is inviting. The songs are constrained by their simplicity though. Whining and pleading grabs onto your ears, and the bass drives the songs, but the few chords and pedestrian beats keep the songs from exploring beyond youthful wonder. Angling guitars attempt to delve deeper, but just become a distraction, which is evidence that Blue Sky Mile should just stick to what they know. Their honesty is endearing and the peppy songs in the secular-spiritual vein are a polished package readymade for that post high school crew. (Initial Records, P.O. Box 17131 Louisville, KY 40217, www.initialrecords.com <http://www.initialrecords.com> ) -Erika Owens

Books Lie Hall Of Fame Of Fire + Singles and B-Sides
The energy behind hardcore is one of its strongest selling points. It’s hard to deny, ignore, or place on the back burner the screaming, sweaty, passionate embrace of a hardcore band that simultaneously brings you into a close camaraderie of similar values and pushes you away with volume and anger. Books Lie stays with the former camp without neglecting the latter one. Their insistent drum and bass lines are repetitive in the best way: they formulate a comfortable, hard-hitting foundation that keeps your head nodding rhythmically and forces you to concentrate on their lyrics. “Bread To Steal” is one of the most notable tracks and proclaims: “It’s about time we put our heads together: turn off the TV, write a book, read it to me. It’s about time we put our heads together,” and, “It’s about time we get our friends together. Drink some beer, smoke some weed, build a bomb, blow some shit up. It’s about time we hang our heads together, get down on our fucking knees and smash some shit against the ground.” Whew! Now I know you straight-edge kids out there might not like some of that middle stuff, but the combination of almost adolescent irresponsibility with cognizant creative impulse is undeniably attractive. (Level-Plane, PO Box 7926, Charlottesville, VA, 22906 - www.level-plane.com) - Thumper

Brazil A Hostage And The Meaning Of Life
Sure, lauding a “pastiche” of sounds you rarely hear on indie rock records (such as violin bows on guitar strings) sounds great; you should definitely respect a band for taking risks and trying new things. Fine, great, but Hostage doesn’t sound groundbreaking; instead, it comes off as bombastic. The nasal vocals lead the sonic fugue, which leaves the other elements drifting about in a murky mass. Each instrument gets a brief showcase, but beyond that momentary revelation, the instruments fuse together with only a scaling guitar consistently intelligible. It sounds like the singer is at center stage with the rest of the band bellowing like an impenetrable cloud of patchouli out of the pit. The whole orchestral organizing may have worked for Metallica, but Brazil is no Metallica and the attempt just comes off as arrogant; more “look at me” than “listen to me.” Hostage is not bad, no, that would be too easy; it’s just too much. Too much fog, too much façade, and not enough unity. The singer and the musical accompaniments are too disjointed, as is the central band and additional instruments, which makes what could have been a beautiful, po-mo creation an errant ball of noise. (Fearless Records, 13772 Goldenwest #545 Westminster, CA 92683, www.fearlessrecords.com <http://www.fearlessrecords.com> ) - Erika Owens

Break The Silence Near Life Experience
There aren’t enough bands that still play fast, melodic punk (not hardcore) out there. Break The Silence make me feel proud to like this kind of music again. The melodies soar and contrast nicely with the harsh screaming. There are times when the screaming is overdone, but I don’t think the overall effect is ruined. It’s like Rise Against with a rawer sort of scream, and it’s no wonder since Break The Silence features Mr. Dan Precision (Ex-guitarist of 88 Fingers Louie/Rise Against). The music is tight, not overly technical, but complex in the right parts. Most bands don’t realize the difference between being interestingly tech and just writing unnecessarily confusing, stupid sounding parts. I think the screaming will get on some listener’s nerves while making other’s really like the band. However you think, giving Break The Silence a chance would be very beneficial to your musical depth, and your record collection. By the way, the At The Gates cover is kind of a throw a way, but I guess it’s cool enough.
(Hopeless Records, P.O. Box 7495, Van Nuys, CA 91410 - www.hopelessrecords.com <http://www.hopelessrecords.com>) - Klyjew

Califone Heron King Blues
Ben Masarella and Tim Rutili are the backbone of Heron King Blues, the latest album on which the Califone open door recording policy brings former Red Red Meat bandmates and other friends through the studio. Once again the motley group has created an album that reveals itself as a completely unforced mix of eclectic avant-garde folky blues. Opening with simple and sincere acoustic guitar and banjo, the album floats with a dreamy affect that, through the following tracks’ electronic loops and instrumental showmanship, never waivers in its heady ebb and flow. On “Sawtooth Song A Cheater’s Song,” the interplay between swaying acoustics and computerized loops plays out to the fullest - when melded, the fading of delicate plucking is seamless, as a repetitive drumming/chanting hum takes precedence. The only track begging to be questioned as bizarre in this mix is “2 Sisters Drunk On Each Other,” a subdued funk tour de force that somehow still works. Lyrics throughout are also mostly on the strange side, begging to be debated as either cryptic poetic brilliance or incomprehensible jumble. Either way the words are pretty, sad, angry and inspired, a favorable complement to a soundtrack of such reined manic depression. (Thrill Jockey, P.O. Box 08038, Chicago, IL 60608 - www.thrilljockey.com) - Amber Blankenbiller

Cannibal Corpse The Wretched Spawn
BORING!!! Even amongst the blast beats, the searing guitar licks, the gutter spew and the overall massacre that Cannibal Corpse seems to purvey, The Wretched Spawn feels like an almost self-parodying album. I found myself both laughing and groaning through this whole disc. Can’t you just picture it? After all these years, the boys are just sitting around the kitchen table, tapping their pencils on blank sheets of paper, looking at themselves and going “Okay…well, we need a lyric here. Something really…gross. How about, um…’I pissed in her maggot filled asshole?’ Yeah. That’s good! Really shocking!” Then they just sleepwalk through the extreme death metal, put out another banned album, tour and repeat. You can only do so much of this sort of fantasy violence drek before you begin to wonder if there is indeed anything else out there worth wasting your time on. Unless these guys actually believe in this stuff and then…whoa. Relax man. It’s just a comic book! But I guess they have a fan base and have some cash in the bank so there you go. A job you can kinda sink your teeth into…your bloody, vermin ridden, rape searching, ugly, dull, and permanently humorous in its own guise teeth. Next…!!!
(Metal Blade Records, 2828 Cochran St, PMB 302, Simi Valley CA, 93065-2793 www.metalblade.com) - Mark Whittaker

The Capillaries “Overnight Lows and Daylight Savings”
From the title it’s easy to figure out this won’t be a fun listen, but that’s not the point, is it? The vocals are in the higher range, and sound plaintive and forlorn without approaching the annoying screech of emo. “Modern Dress” is an update of the Beach Boys’ “In My Room” while slow building “Genius” is grunge for the now generation. In fact, it’s the best track on the disc, featuring guitar squall not heard since the late great Dream Syndicate. The drums are always upfront, and the drummer sounds like he wants to bust out, making a big difference in the way this band comes across. “All The Birds Away” rocks well, and may be the rowdiest tune here. There’s also an untitled Xmas track. Overall, not a bad release, so give them time to develop some, but it’s just not rocking enough for me. (Water And Power Recordings - www. thecapillaries.com) - Renrag

Capture the Flag “Start From Scratch”
Capture the Flag has come to rock, simple as that. This three-piece from the suburbs of Detroit has been around for just over 5 years. Did they just say parakeet? The press kit says, "Imagine Bad Religion or Dag Nasty... with Eddie Van Halen playing guitar!" Ha! That made me chuckle the first time I read it. I hope it did the same for you. CTF is also said to have the stamina of Lifetime and the raw hooks of the Descendents…sure, if they say so. I would not have chosen those words, but I'll roll with it this time. Funny thing is that after a listen, hints of Eddie Van Halen circa 1982 are present. Think “Pretty Woman” or “Diver Down.” This runs so close to being the cock-rock of yester-year it's silly. But that really is what gives it its charm. CTF pulls it off much the same way that Coheed and Cambria does sans the Getty Lee vocals. (That comparison is so cliché, I know.) This sound (post-hardcore, 80's metal guitar driven rock) irks some people these days, but for the time being, "I'm feeling it." (Go-Kart Records, PO Box 20 Prince St. Station New York, NY 10012 - www.gokartrecords.com) - Milkman

The Catheters Howling… It Grows And Grows
Another “The” band releasing their 3rd full length record, which happens to be the second on the notorious Sub Pop label. It would be easy to lump these guys in with The Vines, The Hives, The (insert clever name here), but these guys do a decent job of bringing the rock. Interesting dirty guitar riffs lead every song on this record and the vocals are annoying in the same way that has made The White Stripes a household name. If you’re into this kind of thing, these guys are worth checking out. As for me, I’m as sick of the new rock as I am of emo at this point. Sorry guys. [Sub Pop Records, PO Box 20367, Seattle, WA 98121-www.subpoop.com] - Greg T.

Challenger Give The People What They Want In Lethal Doses
This release is easily the most refreshing disc I have heard all month. Challenger is comprised of a few members of Milemarker but doesn’t sound anything like the aforementioned band. Challenger, a talented, stripped-down three-piece, absolutely rocks. According to the band members, Give The People What They Want In Lethal Doses is an attempt to recapture the spirit of early hardcore that seems to be wholly lost these days. I would rate their effort as an ear pleasing one, way above the pack in every way. The ten tracks on this record are solid rock from back to front with a definite nod towards newer bands like the Hot Snakes mixed with any of the old Jawbox records. Simple but catchy guitar riffs abound and the lyrics here aren’t just about last week’s girlfriend. However, the one break up song on the album, “Brand Loyalty”, cleverly loops in samples of guys and girls telling one another the line we have all heard before: “You’re great but it’s never going to work out between us.” This made me feel like I was in my early 20s all over again, but in a good and honest way. This may just be the old punkers’ feel-good record of the year. (Jade Tree Records, 2310 Kennwynn Road, Wilmington, DE 19810- www.jadetree.com) - Greg T.

Circle Takes The Square As The Roots Undo
I’ve seen this band a couple times now and didn’t really like them live but this is the first time I’m hearing any of their recorded material. Robotic Empire went all out again on the packaging and it’s pretty fucking cool. It’s basically a cardboard fold-out case with a little slit to close it up with all over full color print. So, onto the music… I must say my first impression was correct. I don’t see anything special about this band at all. They play a very screamy, noisy hardcore. There’s some Majority Rule and You and I influence for sure, but nowhere near as good, creative, or memorable as those bands. The vocals (male and female) get pretty annoying real fast. Once in a while you’ll notice a clever and original sounding part, but the songs are just cluttered with individual parts rather than real song structures so the entire record becomes completely monotonous and forgetful to me. There’s a pretty cool acapella choir-type part at the end of “Non Objective Portrait of Karma.” If you’re into the usual Robotic Empire / Level-Plane / Witching Hour type stuff, check this out.
[Robotic Empire, PO Box 4211 Richmond, VA 23220 - www.roboticempire.com <http://www.roboticempire.com>] - VeganVadim

Clann Zu Black Coats & Bandages
This starts slow but sure; from somber to anguished, from shy to loud. “There Will Be No Morning Copy” is a perfect example; kind of like Gomez meets The Dream Syndicate, this six minute epic grabs me every time. “From An Unholy Height” is another six minute stunner, displaying such influences as: Nick Cave & The Bad Seeds, The Pogues, Velvet Underground, and Gallon Drunk. Mostly though, it’s a slow, sad record, and very well executed at that. They hail from somewhere about North Melbourne, Australia and show a strong tendency to sway towards rootsy, Olde English seafarin’ melodies. I have to tell you that the cover and package artwork holds my attention; a black & white surreal version of a surreal movie, The Nightmare Before Christmas, with pumpkin headed skulls on stick-limbed bodies, sailing on stormy seas and other stuff that would take too much space to describe here. A terrific rainy day listen. (G7 Welcoming Committee - www. g7welcomingcommittee.com) - Renrag

Close Second S/T EP
This is a four-track EP from four lovely young gentlemen from the Netherlands. The cover art on this one is almost the same as what you saw on Elliot Smith’s second full length, a fact that tipped me off to the fact that these guys probably wouldn’t be all that original musically either. While this record isn’t so bad, I have to say that I am glad that they didn’t decide to send me a full length. Each of these four songs sound so much like any other emo/pop punk offering that they all seem to blend together into one. The singer alternates between singing and whining and the music sounds a bit like Farside from back in the day or their buddies Gameface. The biggest problem I have in listening to this is that Close Second aren’t even a close second to any of the bands that they are emulating. I imagine these guys are still in high school, perhaps college, and this band might get them girls. If so, good for them! However, they will never be as big as Blink182, unless they are super cute like Blink182, and I doubt that. No one is as cute as Blink182. (Self released. De Valune 44, 5431ax Cuijk, Netherlands - www.closesecond.com) - Greg T.

Comeback Kid Turn It Around
This record receives my vote for worst cover art of the past few years, hands down. Let me help you out on this one: a picture of a guy with a bleeding chest, holding his own heart in his hands might be some form of social commentary, I don’t know. All I do know is that it’s ridiculously clichéd and the cover alone would make me not want to listen to this; but, since I have to write 200 something words on it, I guess I have to. As long as we’re on the topic of things being played out, the music and especially, the vocals on this record are really derivative and for the most part, pretty weak. While the breakdowns are, of course, crushing and some of the more melodic moments are decent, the vocals kill it for me. Except for a certain few, I’ve never been a big fan of the youth crew yell -not scream- style of vocals. If the guy could sing a little it would greatly improve the feel of the music. Also, I know that hardcore is supposed to have its lyrics steeped in personal revelations and discussing discontent with modern society, I just wish that bands like this would say who or what they are talking about; Comeback Kid’s pronoun usage is out of control. My opinions aside, this band keeps getting bigger every time I hear about them, so maybe that means I could get some good store credit selling this?(Face Down Records, P.O. Box 477, Sun City, CA 92586 - www.facedownrecords.com <http://www.facedownrecords.com>) - Klyjew

Cordalene S/T
Philly's own Cordalene kicks out the jams with some power-pop, upbeat indie rock. The sonic territory they tread is hardly new or even all that innovative, but they do it pretty well. These five tracks are eternally spunky and peppy, and undeniably retro. They spend equal time referencing the rock and roll of past decades in the UK as they do American power-pop. They capture the California sunshine of a band like Phantom Planet just as much as they capture the melodies and pop songwriting of a group like Big Star. Their energy and enthusiasm is refreshing and adds a spark to this group that might otherwise be considered just an average pop band. So all the youthful enthusiasm and energy sets Cordalene apart from other bands in the genre, especially on songs like "Imaginary" and a cover of a Burt Bacharach standard, "My Little Red Book.” (Manic Pop Thrill, 834 Ellsworth, Philadelphia, PA 19147) - Dan Williams

Cougars Nice, Nice
I like my horn-infused punk ‘n’ roll complete with slick vocals, in homage to the greasy’50’s rock sleaziness of the whole concept. Where the Cougars might have taken to heart the good word of Rocket From the Crypt, shouty vocalist Matthew Irie and company kick up the Unsane influence a little too much and the horns end up sounding out of place, even completely irrelevant at times. As saxophonist Jeff Vidmont and trumpeter Mark Beening blow jazzy ska lines over the hard rocking barrage of two guitars, bass, drums and an acceptable use of synth, it’s hard not to imagine that these hornmen are just two guys who were friends of the band, who wanted to be in a band, who subsequently joined the band just to be in any band. Their talents don’t add anything to this music and, unfortunately, distract from the heavy rock the Cougars formulaically play best and should probably stick to - in other words, up the hardcore ante. This isn’t a groundbreaking melding of genres folks, it’s a mishmash of sounds served up incoherently. (Go-Kart Records, P.O. Box 20, New York, NY 10012 - www.gokartrecords.com) - Amber Blankenbiller

Crime in Stereo “Explosives and the Will to Use Them”
I usually am a sucker for melodic hardcore, but something about these guys just turns me off. I don’t like how the vocals switch between yelling and singing. The singing is usually better than the yelling, but there were quite a few times when I cringed at off key melodies. The incessant gang vocals don’t really help too much either; they seem to be inserted just for the sake of having them there because it’s “hardcore.” Maybe they realize that the singer can’t really hold his own? Musically speaking, this is pretty good stuff. Some songs are carried by the ultra catchy guitar riffing, but sometimes they completely ruin the song. Many of the songs could easily be turned into pop-punk anthems if there was a whiny vocalist; this is one of those bands that, if someone didn’t tell you it was a form of hardcore, you wouldn’t know. While I might not enjoy much of what these guys are putting out, I must say that they are still a pretty good band in the sense that they are very tight and in tune with each other and you can sense a good musical relationship among the members. The drummer is quite fun to listen to and I always smile at the high pitch sound of his snare when it is not mixed with other instruments. If you’re a fan of melodic hardcore, these guys could be your next favorite band to sensitively mosh it up to. As for me, I’ll be giving this CD to a friend hoping he/she will like it more than I do. (Blackout!, 931 Madison St., Hoboken, NJ 07030- www.blackoutrecords.com) - Klyjew

Damage Control What It Takes
Why do bands like this put out CDs? There is absolutely NOTHING new you can do with generic youth crew hardcore. The reservoir of creativity dried up in 1988 for that genre (actually, that entire reservoir was used on Start Today, and everything done since has been worthless). In other words, there really is no reason for bands like this to exist. Enough already! Maybe they didn’t get the memo in Norway, I dunno. (Livewire Records, PO Box 007, Mendham, NJ 07945 www.livewire-records.com) - Chris X

Danko Jones Born a Lion
Damn, this is one of the finest records I have ever heard. It’s a motherfucking intense record dripping with sleaze, sweat, headbanging guitar riffs and energy--lots and lots of ENERGY. Danko Jones takes the cocksure attitude of David Lee Roth, mixes it with New Bomb Turks power chords and The Hives groovy rhythm section for an altogether explosive output. Jones, who looks like the evil twin of the Fine Young Cannibals singer, writes about the standards - woman and rock n’ roll - and he’ll tell you all about both, sometimes in the same song. For instance, in “Play the Blues” he lets you know that the only way to learn to play the blues is to get yourself a woman. He very quickly proves that he’s the guy that all men want to be but the kind of guy that all men keep their girlfriends far, far away from. Though he doesn’t know all the right moves and he isn’t the flashiest dresser, he has learned a thing or two from the guys on the block and can get any woman he wants (“Lovercall”). It’s mean. It’s lean. It’s Danko Fucking Jones and it’s time for you to fall under his spell. (Simba Recordings, Long Beach, CA - www.simbarecordings.com) - Chip Midnight

Darediablo “Feeding Frenzy”
The first chords of Darediablo’s Feeding Frenzy ring out as heavy, syncopated and somehow completely danceable. All of my lowbrow sensors are primed for some blue-collar-born-in-the-sticks lyrics about beehive hairdos and hot rod rallies ala Southern Culture on the Skids or classic Cramps. It’s a slight disappointment when, not farther than the second track (and after I open the press release), I realize this trio of New Yorkers prefers the music to do the talking, which is, after a few spins, a very good thing. Feeding Frenzy is nothing less than a ‘60’s psychedelic metal maelstrom grooving at some jive-ass hoedown. Jake Garcia’s adept guitar combination of low-end riffs and whining solos, paired with the systematic untimeliness of Chad Royce’s drumming, could have left Feeding Frenzy feeling like just another math-y stoner rock trip. Luckily for them, Matt Holford’s unlikely keyboards throw what could have been a very formulaic album into a completely new dimension. From a surly take on the ‘ole ballpark pipes throughout “Dark Horse” to the unmistakable au-go-go vibe of “The Rig,” Holford’s organ hangs in the twilight zone as these spacey, jangly grooves soar above the most solid rock fundamentals. Did these men just create the “next big thing"? (Southern Records, PO Box 577375, Chicago, IL, 60657 - www.southern.com) - Amber Blankenbiller

[Daryl] Uneven Surfaces
[D-rippy A-lternative R-ock Y-ou’ll L-oathe.] Does that explain it? If I tell you that it was produced by the same guy who did the White Stripes would I have to go any further? The White Stripes reference might even be a tad esoteric, so I will elaborate. These guys sound like a copy of the Pretenders from the early 80s, except Chrissie Hynde is absent and the singer of Men Without Hats has replaced her and he is trying his best to sound like Bruce Springsteen. Having been a part of the 80s generation the first time it came around, I can tell you that it wasn’t all that great, despite what you may think. All of these keyboard-driven Flock of Seagull rip-off bands leave me feeling a bit flat. [Daryl] is actually pretty talented and I suppose I should be happy that they are not playing emo, but Uneven Surfaces is far from anything that I think the average reader of our fine publication here will care about. I predict that this CD will do straight to VH1 with that new Phil Collins release, which is exactly where they both belong. (Idol Records, PO Box 720043, Dallas, TX 75372- www.Idol-records.com) - Greg T.

Ben Davis Aided and Abetted
Ben Davis gets around. Musically that is. From Sleepytime Trio to MileMarker to Bats and Mice to Ben Davis the solo artist, Ben Davis has been around block. Up for consideration tonight is Ben Davis’s second solo effort entitled Aided and Abetted. I believe the album title is a pun on the fact that the musicians line up card reads like an all-star team. (Plus a few bench warmers!) Normally the whole solo artist side project thing bores the hell out of me and it always comes off as kind of self-righteous. It seems like everyone is out to prove they are some kind of John Lennon or capitalize on the success of their proper musical outlet. Whatever the case I definitely warmed up to Ben Davis and his melancholy affair. I can’t really think of a good point of reference for this record and that quite possibly is a good thing. The album tosses back and forth between pretty and delicate ditties like “Old and Played” and more rocking numbers like my album fave “Underdawg.” No matter what tempo the whole album comes off somber and depressing partly due to the buried and mumbled vocals that are layered on top of dark melodies and arrangements. The album is not without its duds but overall there are enough cool guitar hooks and guest vocals to keep things interesting. (Lovitt Records Post Office Box 248 Arlington, VA 22210-9998 - www.lovitt.com <http://www.lovitt.com>) Wally Peters Jr.

Days Like These Charity.Burns.Green
Charity.Burns.Green? I thought it was envy. Who gives a shit? This band is pretty cool. While they’re young in age, they seem to be mature in their ability to write songs. “One In One Thousand” displays their capability of making catchy choruses while keeping their breakdowns and verses hard and energetic. Fans of bands like Finch will definitely like this 11-song full-length. And if you’ve heard other Lobster Records’ bands and enjoyed them, you will probably like Charity.Burns.Green. On a side note, I hate nothing more than horribly recorded music, and this, my friends, was mastered by Mark Chalecki (Capitol Records) himself. Don’t know who he is? Neither do I. But he did a stellar job, and deserves a creepy man hug. The artwork is also pretty cool. I don’t think you care. I don’t know what else to say. Goodbye. (Lobster Records) - Tubby

Decibully City of Festivals
Upon first listen this record flopped for me. The recording was not very warm sounding and the mix of all the eclectic instruments seemed to trip over itself. For someone who pays attention to that kind of crap it just killed it for me. That coupled with the fact that I couldn’t figure out where this band was coming from musically, I just couldn’t figure out where to start with this review. All I knew was that the band was comprised of ex-Promise Ringers whose names I didn’t recognize. All of that changed once I hit “Skipping Over The Good byes.” All of a sudden it clicked. I don’t know why. I don’t know how. It just did. Upon further listening I came to love much more about this record. At its weakest the record borders on an Alt Country vibe that reminds me of a less pretentious Lullaby For The Working Class but at it’s best (which fortunately is more often the case) the record’s smooth ‘70’s pop flavor is clever, infectious and surprising very original. Lines like “Thrown like a lover’s stone flat and smooth… I’m gone” over some of the best Rhodes/Wurlizter piano riffs I’ve heard since the ‘70’s brings out the warm fuzzy feelings I’ve often associated with great records like Steely Dan’s Can’t Buy A Thrill. I can’t wait to hear what this band does next. (Polyvinyl Record Co. Post Office Box 7140 Champaign, IL 61826-7140 - www.polyvinylrecords.com <http://www.polyvinylrecords.com>) Wally Peters Jr.

Defiance “Nothing Lasts Forever”
Opening with a scream that could have come from the victim of a hemorrhoid lancing, this disc offers a healthy mix of mid-tempo and fast songs. The loud crunchy guitars are more than adequate to disturb the peace. The energy of the drums is sure to get the kids moving, and the anger in Gibby’s voice is bound to incite some sort of fight; perfect if you want to piss off your parents, or scare your dog! Defiance is yet another anti-authority, gutter-punk band that preaches to an angry choir of 15-year-old youths who buy every line. The political lyrics are vague at best, and offer no solutions to the problems that are addressed; “I don’t want your government/ I don’t want your law/ I don’t want a place/ in your shit society…” Though most of the shouted vocals could be easily mistaken for gibberish, I admittedly would have sung along to every word when I was younger. As a post-teen, I see the band as mere slogan chanters who will never change a thing, and probably won’t even try. Surprisingly, they only mention “beer” once on the CD, in a thank you song, “Cheers,” dedicated to their friends. (Punk Core Records P.O. Box 916 Middle Island, NY 11953 - www.punkcore.com) -Toothless George

Descendents Cool To Be You
Oh my brothers and sisters, it has been far too long! The Descendents are back! After a few anxious listens, I can honestly say that this is getting up there as one of my favorites of their numerous releases. It is naturally more in the vain of their most recent; Everything Sucks (one of my all time favorites). The music is rockin’ in that same Descendents fashion and the vocals are wonderfully catchy, with back-ups by none other than Chad Price of All fame. You’ve got to love that Bill Stevenson has yet to get tired of playing the same basic beat for every song, and always does a really awesome job of it. Lyrically, this one is pretty good. It’s not Everything Sucks caliber, but it’s good in its own way. Milo did pen a song about your ass being torn up by spicy food; that’s always been an important, under discussed topic. I think the song “Mass Nerder” is a good follow up to “I’m Not Punk,” from their previous record, Milo Goes to College. Milo assures annoying punk purists and scenesters that he will “…kick their asses in class, gonna get good grades.” This record is a very worthy addition to an already illustrious punk career, so you should definitely own this. Long live The Descendents! (Fat Wreck Chords, P.O. Box 193690, San Francisco, Ca 94119-3690 - www.fatwreck.com <http://www.fatwreck.com>) - Klyjew

Despistado The Emergency Response EP
The first thing to know about the boys in Despistado is that they are from Regina, Saskatchewan in Canada, which is reportedly the coldest place this side of the Arctic. These kids have been in the dark and bitter cold, completely isolated, for most of their lives and yet they explode sonically with the sun-drenched energy of a California punk band, only smarter and dancier. Plus, they lack the banality that the suburbs often inspire in hopped up punksters. Yes, Canada has reared its wonderful musical head again, and while Broken Social Scene and Alexisonfire have been getting noticed for the last year or so, Despistado is only now catching on. This may have something to do with the fact that the band has only been around for about three years, but let’s not quibble. Jade Tree picked them up and they’ve descended from their snowy peaks to rock your socks off. The second thing you should know about the boys in Despistado is that they know what they’re doing. They go retro, swing back into punk, do some mathy, angular guitar work and even call up the ghosts of Fugazi and At The Drive-In at some points. Dagan Harding’s vocals are at times frantic and spastic while retaining a frankness that smacks of sarcastic dissidence, evident on the EP’s lead track “A Stirstick’s Prediction.” The fantastically titled, “Can I Please Have An Order Of Girl With A Side Of Confused” displays a darker, less-playful sound, yet still retains the combative dual guitar work that makes listening to this EP interesting and engaging. The full-length is going to be killer: I guarantee it. (Does Everyone Stare? Records, PO Box 35004, Edmonton, Alberta, T5K 2R8, Canada - www.doeseveryonestare.com) - Thumper

Dialog Cet “Konsumera Era”
Sweden’s Dialog Cet is capable of mixing genres and influences just enough to claim a sound that is quirky and undeniably unique. They switch from being a jamming instrumental band to some post rock noise group bent on volume. The influences stretch from Fugazi, to Sonic Youth, to Modest Mouse, and even some classic rock goodness thrown in. The music is almost entirely instrumental, with just an occasional distorted monotone vocal shout sent through the mix. While sometimes the sound can be difficult and abrasive, they switch styles around too much to be displeasing for more than a moment. The tightness of the group is its biggest asset; they can stop and start and change rhythm without hesitation. Though the group has many positive aspects, this isn’t exactly for everyone. The sometimes inaccessible weirdness of the disc will prove a hindrance to some. But those who can’t get enough of the post-rock jamming and experimental freak-outs of groups like Unwound, or Fugazi’s instrumental moments, will be pleased. (Carcrash Records, P.O. Box 39 46221, Vanersborg, Sweden - www.carcrashrecords.com <http://www.carcrashrecords.com>) - Dan Williams

Dimension Zero “This Is Hell”
Oh man…those crazy Swedes with their penchant for “most aggression in music.” And when it comes to death metal, they hold nothing back! Dimension Zero is the new band from ex-members of In Flames and Marduk and is a speed train of aggro men gone loco and the proof that they too can make the most...oh you know what I mean. This Is Hell is a grim outlook on a grim world done with an authority and demeanor that only true incarnates of sadness and beer can make paper airplanes out of. The tunes are beyond headbanging, they just might crane your neck to such an angle that you’ll watch it fall to the floor and roll past the pit as the thrashing maniacs use it as a kickball or toss around much like big beachballs at stadium rock shows. But the 5 boys here don’t sing about Satan or killing or killing Satan. What I can gather from the song titles and lack of lyric sheet is that they like to embrace a more overt use of looming doom. Instead, they sear the lines of hate and cut umbilical cords into your subconscious and let you eat your way out. Tunes like “Blood On The Streets” and “Killing My Sleep” take the head of the thrash metal class and let us all in on their tyrant little secret: “This is HELL! So get me a guitar and record contract quick!” (Century Media - www.centurymedia.com) - Mark Whittaker

Disfear “Misanthropic Generation”
I was the wrong reviewer to send this record to. I can't stand this kind of fast Swedish metal, I find it unbearable. Regardless of my musical preferences, I do have to say that this is an intense record. The instrumentation is pretty brutal and the production is great. My main complaint is with the singing. I am a fan of a lot of screamy bands, but none that do it like this guy. It just bores me because it all sounds the same…like a dog barking. The lyrics and their song titles…like "Demons, Demons, Demons" and "Never Gonna Last"…are really stupid. I would like this band a lot more if every word didn't sound exactly like the last. I would also like this band a lot more if they were an instrumental metal band. (Relapse, P.O. Box 2060, Upper Darby, PA 19082 - www.relapse.com ) - Erik Aucoin

The Distance Your Closest Enemies
The absolute first thing that came to my mind when I popped this record into my car stereo was: Slayer-Undisputed Attitude. Monotone screaming and a fairly inept band of sub-par musicians playing music that doesn’t need to be reworked. TSOL, GBH, Minor Threat and the Stooges have covered the bases that these Connecticut natives have so ineffectively tried to recreate. No matter how angry you SOUND, it can’t make up for the lack of true ferocity. I won’t even get into the lyrics; let’s just say that the bomb-threat kid in high school could just as easily have written this stuff. The Distance puts an unnecessary spin on hardcore-punk that I don’t understand and don’t particularly care for. This record is uninteresting and will be lost on those whom it targets. Minor Threat could bury this band in their backyard and grow some mighty tasty tomatoes.

Ee Ramadan
Bedroom hush-rock ie: not rock at all but sometimes pleasant and perky. The arrangements are mostly mid tempo, with the occasional louder part set in the middle of this re-issue. It’s well produced, but I wish this band moved a bit faster. In the promo literature it mentions “torrential washes of noise.” I have my hearing checked by an audiologist every year and lemme tell ya, I hear just fine, but I don’t hear anything at all fitting that description here. Imagine James Taylor or Cat Stevens bummed out on Seconals and the woes of being famous. No, you shouldn’t imagine that, forget it. Don’t get me wrong, this is pleasant enough, but I can’t handle pleasant or nice or sentimental. I wanna rock dammit! So, this goes to my trade in pile, my only regret being that I have to provide the jewel box. Yawn. Oh well. (Asian Man - www.asianmanrecords.com) - Renrag

The End “Within Dividia”
Ok, so this CD is based on some kind of concept that involves a house named Dividia and all it’s inhabitants. It’s also captured in a distinctly “film noir” atmosphere, so they say. That all sounds really cool and whatnot, but I just want to hear some good, technical, ultra heavy (sometimes grindy) music, Ok guys? Apparently it is more than ok with The End. This disc is a heavy landscape of building tension followed by a devastating release and highlighted by rapid-fire rhythms, lightning fret-board work and an aurally scarring vocalist who brings it all together. There are many bands pushing the limits of what is considered proper time signatures and these guys do not disappoint on that front. I wouldn’t say they stand out as new innovators of the technique, but they do a damn fine job of making my head spin here and there. Amongst the more brutal songs lay many quieter, discordant, textural build-ups that comprise some of my favorite parts of this CD; it’s good to get that kind of mix without it being boring, an accomplishment that many bands of this genre seem to have trouble with. Listen up for the fun bass solo in song five. After listening to this a few times I really would like to see what these guys are like live. I hope they can convey the same intense, unresolved sort of emotion that the CD does a good job of capturing. (Relapse Records, P.O. Box 2060, Upper Darby, PA 19082 - www.relapse.com) Klyjew

Ensign “Love the Music, Hate the Kids”
I’ve never liked Ensign in the past and this record isn’t changing my mind. I’m glad that they are so grateful to their influences that they deemed it necessary to release a document of all the songs they have covered since their conception as a band, but listening to this was a fairly painful experience for me. Ensign says in the liner notes that maybe they can turn kids on to some good music that they never heard and has helped shape Ensign as a band. Maybe that is why they did this, so kids will say “Jesus, that was awful. The only way to recover from the pain of listening to this is to get the real stuff, so I can cleanse my ears and soul.” Ok, ok, I’m being pretty rough on this record. Let me digress and move onto the more redeeming qualities; recording wise, it’s actually pretty good. It’s good and raw, reasonably tight and it does make me want to actually hear some original songs from bands I am not familiar with, mostly because no one could possibly have a worse hardcore/punk rock voice than Ensign vocalist, Tim Shaw. I guess I understand why they released this record, but to me, it pretty much ruins the future fun these songs could have made for at future shows. They should have left the covers for that setting. (Blackout!, 931 Madison St., Hoboken, NJ 07030- www.blackoutrecords.com) - Klyjew

The Evaluation “We Built The Gun That Causes This Unending Fear”
Clearly these are clever, clever art boys with a penchant for heavy rock and cynicism. The Evaluation aren’t all that scary to begin with. They’ve got this nasty looking pistol on the cover of the CD and the album title suggests that maybe they are all about fear and guns, but I don’t think so. Their irony and manic approach leads me to believe they are above that and want to entice you to attend shows and buy a t-shirt. The music itself is dirty tuned down alt-rock with drum rolls for beats and breakdowns that simmer in drug hazed glee, but the intention here is hard to find out. And maybe I just found it out by stating this. With song titles such as “The One Thing John Grisham And Wal-Mart have In Common”, “The 8th Is No Longer The 8th. The 8th Is Now The 10th Thanks To You Our Fearless Leader” and “Grabbed And Pulled And Hurt My neck in 1988” lets us all draw our own conclusions, and for that, this band has done their job to leave it up to the imagination and wit to get through this album and maybe more to come. The best part is that the three boys here want us to dance. I like that. Not like “bling-bling” kind of booty dancing or rave kid till dawn type of struggle…just moving along and getting into it. Again, points for the clever kids at charge here. I had a good time with this CD. Maybe you will too. That is if you have an imagination….
(Lujo Records, 3209 Jennie Dr, Morgan City, LA 70380 - www.lujorecords.com <http://www.lujorecords.com>) - Mark Whittaker

Evening Other Victorians
Evening is a relatively new band from San Francisco and a breath of fresh air to an otherwise stale genre. A diverse yet unified sense of influences, ranging from Built to Spill, My Morning Jacket, Interpol, David Bowie, Sonic Youth, Blonde Redhead and Radiohead, shapes Evening into the sonically palatable band that they are. I feel like the more I listen to this record, the more I’m going to like it and probably become slightly obsessed with. It’s exciting to hear a band’s debut be so smartly written because it means that they are either going to have to top themselves or fall apart, and that is an ideal position for a band with this much potential to be in. Each member of Evening has had over 10 years of individual experience creating music, which helps explain all of this albums idiosyncrasies and why it doesn’t sound like a debut. This is a must have record, find it and love it. Oh, and as if the music wasn’t enough to ramble on about, their layout is outstanding! One of the most artistic and original digi-pack layouts I’ve ever seen. Evening, you can do no wrong. They’re like, so awesome that like, I just really think they rock, tee hee. - El Beck

Fall Out Boy- "Take This To Your Grave"
This Chicago pop-punk quartet’s increasing popularity may have propelled MTV University to put their video for “Grand Theft Autumn” in constant rotation. For those of you that don’t have the pleasure of drinking room temperature, Milwaukee’s Best beer on a regular basis in an effort to decrease your reservations of talking to some stupid sorority slut with fat tits, MTV University is the music network’s mediocre attempt of complying with college students’ need for quality music (and by quality I mean Clay Aiken, Justin Timberlake, and Ruben Studdard). If you’re thinking to yourself “I hate that song ‘Invisible’ by Clay Aiken,” you are either homophobic or dislike cute southern boys with the perfect amount of sass. What does all this mean? I don’t know. But I will say that Fallout Boy’s recent full-length Take This To Your Grave has a few very catchy numbers, including “Homesick at Space Camp” and “Chicago Is So Two Years Ago.” This LP will definitely be a success for these nice young men. In a related story, I saw these guys play about six months ago and I must concede that Andy Hurley is one of the hardest hitting drummers I’ve ever seen in this genre of music. And it wasn’t the only stick he was beating on if you know what I’m saying. Andy, you’re filthy…I miss you.
(Fueled By Ramen Records PO BOX 12563 Gainesville, Fl 32604 ) - tubby

Fear Before The March Of Flames Odd How People Shake
Fear Before The March Of Flames offers an interesting cocktail of Hardcore, Punk, Metal and Emo. There are the screaming breakdown parts, the melodic back ups, and the metal riffing. These seem to be the trademarks of most every song on the album. The formula has been done with increasing regularity lately, but Fear Before The March Of Flames thankfully offer something different than your Hopesfall, Grade and everything else. This group is more rocking, and frenetic. This album’s 12 tracks play out like a succession of rapid punches in the face, delivered with just enough love and sensitivity that the bruises don’t sting too bad. For someone who likes his/her music intense with a touch of melody, pick it up. (Equal Vision Records, PO Box 14, Hudson, NY 12534 www.equalvision.com)- <http://www.equalvision.com)-> Dan Williams

Feeling Left Out “Two to the Chest to Remember, One to the Head to Forget”
Many times on Feeling Left Out’s website it is declared that FLO will be together forever...I just wonder if that’s enough time to improve upon this cringe inducing debut. The album opens with the rhymey ballad “Enough About Me,” a song about chatting, yes, chatting on the Internet. This introduction is in no way amusing or endearing, it’s just sad and pathetic. Unfortunately, it turns out that these feelings don’t dissipate until the album is over. Other songs explore pressing issues like gravy fries, the telephone, and unicorns. FLO sounds like the type of tripe on adult contemporary radio or spewing from the speakers at Starbucks. In this “boys and their guitar” genre the vocals are often the most important component, and here the lead singer just sounds like he’s eternally out of breath. I wouldn’t dare disgrace any of the other stripped down acoustic artists by likening FLO to them, but they do take a stab at that personal, direct style. It was quite a task to make it through all 14 songs. The lyrics are blasé, the vocals are annoying, and despite any artistic desire, they fail at the emotional boy style. This is open mic night fare only. ( LLR Recordings, 1566 W. Algonquin Rd, Hoffman Estates, IL 60195, www.llrrecords.com <http://www.llrrecords.com> ) Erika Owens

Find Him And Kill Him Cut Them to Pieces
Short, fast, loud and full of scathing social commentary. Brutally honest, uncompromising and angry. No pretentious image, no elitist fashion and no god damn keyboards. Find Him and Kill Him remember and remind us what began 25+ years ago as a reaction to all the nonsense society was and continues to shove down the throats of free spirited kids everywhere. Hardcore, as it stands today, is on the cusp of acceptance in the mainstream due to the ideology of appearance over substance. Thankfully, Find Him and Kill Him's Cut Them to Pieces thrives on the essence of hardcore and the result is a stinging blend of West Coast thrash and skatepunk. With an average song length of 45 seconds, the band is reminiscent of Left For Dead, Infest and a more controlled Charles Bronson. FHAKH's sound embodies all the best elements of hardcore including its thrash-fueled blast beats, blazing no-nonsense riffs and in your face vocals including "Let's Put The End In Friendî which challenges the ìkidsî to question the validity of unity in our beloved scene. As a 30 year-old punk it was a pleasure to review Find Him and Kill Him's Cut Them to Pieces and get a refreshing reminder of how I felt at 15 and what has kept me going after all these years. Die Mall-core die! (Happy Couples Never Last Records PO Box 36997 Indianapolis IN 46236 hcnl.com) BiLL

Firewater “Songs We Should Have Written”
Covers albums tend to disappoint, like a new episode of The Simpsons that turns out to be a clips show. It’s tough to turn out an entire collection of songs you didn’t write without the renditions sounding either pretentiously mediocre or butchered beyond recognition. Songs We Should Have Written, the fifth release by NYC outfit Firewater, is a covers album that will, by default, face criticism from skeptics even before first listen. It’s a very eccentric mix of tunes; from Johnny Cash to Frank Sinatra, an admirable undertaking. Songs We Should Have Written shines in its moody and visceral states, but takes a dive on Firewater’s tripped out take of the traditional “This Little Heart of Mine.” The painfully psychedelic tune feels out of place, even against the bubbly “The Beat Goes On” (Elysian Field’s Jennifer Charles as Cher is gritty pop perfection). The album’s very otherworldly, very Firewater renditions of the slower, more mysterious tunes, especially Robyn Hitchcock’s “I Often Dream Of Trains” (sounding very Daniel Higgs and Pupils-esque here) and Tom Waits’ “Diamonds and Gold” (singer Tod A.’s gruff and rambling croon is a spot-on impression) make Songs We Should Have Written undeniably genuine, perhaps a first in the covers genre. (Jetset Records, 67 Vestry St., New York, NY, 10013 -www.jetsetrecords.com) - Amber Blankenbiller

Flatus Crashing Down
Hmm, a band named after intestinal gas…sounds like a winner to me! Oh wait, I just read the press release on these guys and it says they’re yet another pop-punk band. Shit, just what we need. Actually, these guys aren’t half bad, plus they’re from Jersey! They play the usual three-chord tunes and have a faint Bad Religion vibe to them with melodious vocals and diverse lyrics that actually say something. There’s a little bit of something for everyone here. Flatus recognizes the fact that pop-punk is hitting the mainstream and being watered down to an insulting state as implied on the track, “Radio Hut.” They also express their alcoholic tendencies, which I admire most, on “Shots.” If you have the integrity to include my inspirational heroes and model citizens like Samuel Adams, Jose Quervo and Jack Daniels in your lyrics then I’m all ears! Oh, and did I mention that this album was produced by Sal Villanueva of Taking Back Sunday fame? I will allow the obligatory moment for all you emo guys and girls to sigh. To sum up Flatus: think of Blink 182 before you could buy car air fresheners with their sexy faces on them at the Limited Too.
(Black Pumpkin Records, PO Box 4377 River Edge, NJ 07661-4377-www.blackpumpkin.com) -Jersey Jef

Folly Insanity Later
“Converge” is the first band and word that comes to mind. The band comes up at once due to the notable metal influences of this band, but the general term comes up because of Folly’s convergence of musical genres. There’s some punk rock, some hardcore, some Convergeish metallic stuff; then, there are some totally unneeded ska parts. That’s right, I said ska. The mix is just too much, especially since the vocals are, pretty much, all screamed, with hardly any melodic singing to help out. The gang vocals don’t help, fellas, it’s just pathetic hoping, hoping for some sort of hardcore context that just isn’t applicable, or good in any sense. I’m trying to be nice with Folly, but my patience has worn through. Creativity is sacrificed here, in an effort to be creative. Does that sound confusing? Yeah, well, so is this record, and not in a good way. And, seriously, scrap the clean tone indie/emo parts, it’s just dumb. I’ve realized now that I don’t have to be nice so screw it, this band is terrible. Please, guys, quit Folly and join good bands that are worthy of the apparent talent you have. For listeners: Stay far away.
(Triple Crown Records, 331 West 57th St. #472, New York, NY 10019 - www.triplecrown records.com) - Klyjew

From First to Last Aes-thet-ic
What is exactly is the definition of a generic band? To me personally it would be a band who A) follows the latest musical and stylistic trend in any given scene, B) mimics other more successful bands in said genre in an attempt to replicate their recognition, and C) neglects to live up to any promising expectations placed upon them because of their lack or originality. From First to Last is at the forefront of that very specific definition. Let’s dive into some of the lyrics, shall we? “You used to be my angel, but now you’re more like the devil” and “Tear my eyes right out; I’d rather see you without them anyway,” seem to illustrate my point nicely. The music backing these sentiments is your typical pop punk with singing/screaming in the same vein as The Used, Midtown, Glasseater and about 5 billion other bands out right now. Call me jaded or call me an asshole but this shit is just the worst kind of music being generated right now and will be forgotten as fast as it becomes popular. I await that day of execution while sitting at home listening to Propagandhi and reminiscing about better times. (Four Leaf Recordings, 275 McKinley Drive, Masric Beach, NY 11951 - www.fourleafrecordings.com <http://www.fourleafrecordings.com>) - VeganVadim

Garageland Last Exit to Garageland
Phone rings: G: “Hello?” SM: “Hello is Garageland there?” G: “This is Garageland.” SM: “Garageland this is Stephen Malkmus the former lead singer of the indie rock band Pavement.” G: “Awesome! We really love Pavement. Did you call to ask us to open up for you on your next tour?” SM: “Uh, actually no… I called to ask that your band stop writing songs that sound like b-sides from the Pavement catalog.” G: “Oh… I see.” SM: “Yeah you see the thing is…” G: “Hold on Stephen that’s my call waiting.” SM: “Well make it quick because this call to New Zealand ain’t cheap.” G: “Hello?” FB: “Hello is Garageland there?” G: “This is Garageland.” FB: “Garageland this is Frank Black… Black Francis… of the Pixies.” G: “Oh… Did you call to ask that we stop writing songs that sound like the B-Sides from the Pixies back catalog?” FB: “No, I called to ask if Garageland would open for the Pixies reunion tour.” G: “Seriously!” FB: “No, I’m kidding. Knock it off before I come to New Zealand to kick your ass.” (Foodchain Records 6525 Sunset Boulevard 4th Floor Hollywood, CA 90028 - www.foodchainrecords.com <http://www.foodchainrecords.com>) Wally Peters Jr.

The Gay You Know The Rules
Yes! A perfect pop record! Not quite Tiger Trap’s Puzzle Pieces or Tuscadero’s Pink Album but definitely the best pop record I’ve heard since Wolfie’s ‘99 release Where’s Wolfie? A sugar coated blend of K Records ‘twee’, Kindercore’s ‘pop’ and Teenbeat’s ‘edge’ this almost all female band has crafted some truly wonderful tunes that over the course of the album throw at you everything in their pop arsenal but the kitchen sink. From up tempo pop gems like “Opulent Canine” with it’s quirky accordion breaks to the “bop bop ba da’s” of the mid tempo classic “Fishin’ Jim” this record has it all. In what can almost be called the album’s “Ballad” I reveal in the opportunity to sing along with a hokey line like “Let Your Light Shine!” I may even dare to suggest that this record is better than the highly praised recent release from The Gay’s contemporaries The New Pornographers. If you like fun pop records than you need to get down with The Gay. (I was dying to say that.) (Mint Records PO Box 3613, Vancouver, BC Canada V6B 3Y6 - www.mintrecs.com <http://www.mintrecs.com>) Wally Peters Jr.

Get Fucked S/T
Consisting of Jamie Getz (Turmoil, Lickgoldensky), Alex T. (Lickgoldensky), Eric McMannis (Lickgoldensky, Tornado of Knives), Chris Smith (Neil Perry, The Now, Welcome the Plague Year), and Dave Turtzo (The Now, Tornado of Knives), Get Fucked is yet another band entangled in the ex-members craze. Chris enlightened me early on about the cardinal rule in Get Fucked: it should not take more than five minutes to write any one song. True to story, three of the eight tracks found here were written during one practice the night before the band recorded them. Taken this fact into account, this record isn’t all that bad. It is very noisy and screamy, and sounds a lot like Lickgoldensky. Go figure. There also some distinguishable Deadguy overtones. I’m assuming that most kids who were fans of the previous bands that Get Fucked members were involved in will definitely pick this release up, even if just for the “ex-member” status I mentioned before. All kidding aside, this is not a bad EP by any means, although it’s not necessarily as good as their other bands, admittedly. Oh yeah, did I mention all the vocal tracks for were recorded in a closet with no set lyrics? (Level-Plane PO Box 7926 Charlottesville, VA 22906 www.level-plane.com <http://www.level-plane.com>) - VeganVadim

Glass Casket “We Are Gathered Here Today…”
Hmm, yet another band doing the 1,000-mph change-up metalcore thing. This time it’s a swank looking five-piece from North Carolina, a state that has also spawned the equally mind-numbing Between The Buried And Me. I’m not exactly sure why clean-cut boys feel the need to play this fucking insanity-core all the time, but here we are again in choppy riff, bludgeon-mania purgatory. Granted, Glass Casket (formerly known as Gadrel) is one of the better acts tossing off this attention deficit metalcore. At the very least, they seem somewhat conscious of what makes a memorable song; some space to move and some air to breath right before another bout of audio strangulation/asphyxiation. Like most metalcore albums, all nine songs on We Are Gathered Here Today run together in one seemingly endless blur, so I’m hard-pressed to pick highlights or lowlights. Sit me down with “Fearfully And Wonderfully Made” and “Scarlet Pain And Gasoline” and play them back-to-back 20 (hell, 30) times and I probably still wouldn’t be able to tell them apart. If a 37-minute, affluent white boy exorcism is in order, look no further. Again, you’ll find me huddled in the corner, grasping for something with a simple hook. (Abacus Records, 2323 W. El Segundo Blvd., Hawthorne, CA 90250,- www.abacusrecordings.com <http://www.abacusrecordings.com>) - Jason Schreurs

God Forbid Better Days
God Forbid come along and shake it up just enough for folks in the metal family to rear their long haired heads and exclaim “Wait a minute…what’s this?” Taking tracks from past masterings such as speed metal, and mixing it up with a Meshuggah and Dillinger Escape Plan style of power, these New Jersey boys abstract the glory, aggression and authority that few can actually handle. On top of all that noise, they can actually write a decent song and include lyrics that are at times dour, but usually on the path of self-discovery and rejecting the norm. Sure, I guess you can use the term “metalcore” here and there with this album, and even past albums of God Forbid, but initially it goes a little beyond that and takes a stand with real honed licks and ripped up beats to infuriate and delight. They even procure some of that “nu metal” stuff here and there…but don’t worry! It’s not enough to make you sick and hit the fast forward button. Better Days is an oftentimes gloomy record filled with intensity, but I came out of the experience feeling as if I had discovered something new in metal, and myself in general. Maybe it was just the gas I was huffing. Or maybe I was right all along.
(Century Media Records 2323 W. El Segundo Blvd, Hawthorne CA, 90250 www.centurymedia.com) - Mark Whittaker

The Good Life Lovers Need Lawyers
Tim Kasher’s voice is suited for the blistering howl and emotional breakdown of Cursive’s tortured songs. For a stripped down, more indie and alt-country effort it can be a bit of a roadblock. Such was the case with The Good Life’s (initially Kasher’s side solo project, now a fully assembled group) earlier releases. Kasher’s creaking and cracking voice is thankfully toned down on this effort and the results are pleasant. He’s taken less of the “drunken tormented singer” approach and comes off more like a traveling troubadour, dropping wisdom and attitude. “Entertainer,” is something like a reworked Billy Joel vignette, delivered in classic cynical style. It’s upbeat approach and melody is deceptive in contrast with its self-deprecating lyrics; words of the protagonist. The title track begins with Kasher crooning as some sort of pseudo-drunk hipster lounge singer. Even with its sad and defeated lyrics the record still manages to bop and bounce. It’s almost like Kasher has found a way to have a good fun time creating unhappy and dark songs. Musically, the songs are undeniably upbeat, while lyrically they still paint the sadness and let downs of life. It’s quite an interesting approach, one that allows for this album to stand up against some of Saddle Creek’s best output. (Saddle Creek, PO Box 8554, Omaha, NE 68108-0554 www.Saddlecreek.com <http://www.Saddlecreek.com>) - Dan Williams

Grabass Charlestons The Greatest Story Ever Hula’d
Gainesville, Florida, a city widely renowned for its college football, gater wrestling and incestuous rednecks. This is the last place in the world you would expect to find a kick ass, punk rock trio ready to set your fucking ass on fire, huh? Well, look no further my friends because the Grabass Charlestons deliver! Raw and downright dirty sounds straight out of the swamp filled with catchy riffs and melodies. Take that and top it off with addictive, scratchy vocals and I’m sold! This three piece doesn’t fuck around and goes straight for the jugular with 13 tracks including a Tom Waits cover of “Cold, Cold Ground.” Grabass Charlestons have been compared to the likes of Dillinger Four in the past (no, not the metal guys...the OTHER Dillinger band). However, Dillinger Four never got me in the mood to gather up the boys and drink until we piss our pants, forget our names, and wake up in a hostel on 83rd street with a bunch of Germans (woops). A definite must for any wild, drunken, punk rock, orgy or even for those solo evenings when you feel like downing a bottle of Jack and forgetting about the world and everyone in it. Cheers!
(No Idea Records, PO BOX 14636, Gainesville, Florida 32604-www.noidearecords.com) - Jersey Jef

Gunmoll Board of Rejection
There should be a sign as you enter Gainsville, Florida that says “Home of Post-Hardcore Emo Bands with Gruffy-Voiced Lead Singers.” Okay, so maybe that’s a stereotype and the only band that I can think of that is actually from Gainsville and has a gruffy-voiced singer, besides Gunmoll, is Hot Water Music. However, if I didn’t know any better, I could easily confuse Gunmoll’s sophomore release, Board of Rejection, with a Hot Water Music album, and that’s not such a bad thing. Gunmoll also counts Jawbreaker and Leatherface as influences and you can hear the reflection of those bands in songs like “Less Than You Hoped For,” “Song #2” (which is not a cover of the Blur song of the same name), and “Couples Skate.” The band - Mike Hale (singer/guitarist), Derron Nuhfer (bassist; ex-Less Than Jake) and Jon Marburger (drums; ex-I Hate Myself) - makes quite a boisterous racket for being a three-piece with melodic power chords, thunderous bass, tight drumming and the previously mentioned gruff vocals. Gainsville, Florida, you’ve spit out another good one. Now get that sign erected! (No Idea Records, PO Box 14636, Gainesville, FL 32604-4636 - www.noidearecords.com) - Chip Midnight

Harkonen Dancing
I saw some other review liken Harkonen to The Jesus Lizard, and while I hate to write this based on another’s review, that’s a fairly apt comparison…I think. I never got into The Jesus Lizard that much, but this is fairly reminiscent of them. It pretty much has that whole Amphetamine Reptile/Sub Pop mid-90s post-hardcore feel to it, so if that’s your thing, go for it. Personally, that’s not my bag, so I’d be hard pressed to tell you if this is good or not. (Initial Records PO Box 17131 Louisville, KY 40217 www.initialrecords.com) - Chris X

Daniel G. Harmann The Lake Effect
Slow, depressing, it even put the cats to sleep. Yet it’s not all bad. This is a nice attempt at pulling some pages from the songbook of Elliot Smith or Nick Drake and making an album of your own. This record is comprised of quiet, whispering tracks that had me thinking of Dave Matthews for some reason. If I was feeling really shitty and it was raining outside I think I would really enjoy listening to this CD. Overall, this disc is filled with very pretty songs that are haunting in ways that stick to the inside of your head. However, this is not recommended listening for those who just got out of a rocky relationship because it just sounds too sad for its own good. Track 7, “Fade In/Fade Out” is a good example of what I’m talking about; layered male and female vocals over a very plain piano line that reaches a crescendo halfway through and slowly fades out again towards the end and back to silence. [Post 436 Records, 12511 Ringwood Ave. Orlando FL 32837-www.post436records.com]-Greg T.

Heads vs. Breakers Apathy Is the New Black
And Heads vs. Breakers is the new Lifetime. But before we get into that, I’d really like to know exactly what breakers are and why they are fighting heads. Seriously, what’s their beef? Now then, on to Long Island’s best dancers…They have a song called “Going Back In Time To Kill Bands We Like” and let that serve as a warning to Mssrs. Yemin, Wagenschultz, et al, that if these dudes get a time machine, they’re fucked. So yeah guys, watch out, ok? In the interest of giving a fair review, I’ll go on record as saying that these guys do the whole Lifetime thing REALLY well, and it’s an enjoyable listen, even if it does get kinda old after a few songs. (New Day Rising, PO Box 1383, Miller Place, NY 11764 www.newdayrising.org) - Chris X

Heidnik Songs From The City Of Brotherly Love
Heavy, heavy, heavy. Did I mention that these guys are really heavy? Yeah. Anyway, Heidnik is a metal band from Philly (duh) who have been making a name for themselves around the scene for some time now, and they deserve whatever acclaim and fans they have accrued. They play brutal, technical metal that will break the backs of unprepared listeners while greatly pleasing (and maybe just leaving a flesh wound in) previous fans. Noisy grind stuff is also in great abundance, and the mix is flawlessly executed. This drummer has one of the fastest, mind numbing blast beats I have ever heard. The first song, “Two For Flinching,” is the perfect intro; it blazes maniacally through different metal landscapes and gives a great look at what is to come with the rest of the EP. My only complaint: I need more songs. I know that the band has a full length, and other material, released before this five song EP, but I like this newer stuff a lot more. Oh, before I forget, I’m sure Philly appreciates the sentiments, guys, but the cover art for this is pretty bad. The colors are reminiscent of vomit and the design is less than eye pleasing. It’s ok, though, the music is awesome enough to carry it off. I do like how the CD itself boasts that this disc contains music from “the greatest rock and roll band in the world.” Keep it up, fellas! (Watch the City Burn, 717 Brighton St., Philadelphia, PA 1911 - www.watchthecityburn.com) - Klyjew

Hero Pattern Cut You Out
Let’s get one thing straight to start with: this is an old album. These guys originally recorded and released it themselves back in September of 2003. This is just a bigger label’s re-release of the same material at a later point in time. Still, you’ve never heard of Hero Pattern and the band hasn’t been around that long, right? There’s a perfectly reasonable explanation for that: Hero Pattern isn’t that good of a band. One of the reviews on the press release made me laugh hard enough that I had to share it with the masses: “Hero Pattern play modern power pop with a raw Elvis Costello-gone-emo-edge”. I won’t mention where this description came from because I don’t like embarrassing people, but whoever wrote it must smoke literary crack for breakfast, lunch and dinner. “Elvis Costello gone emo”: what the fuck does that mean? The real deal is that this record is college rock crap. Stay away. Nice sleeve drawings though. (Lonesome Recordings PO Box 15297 Boston, MA 02215- www.lonesomerecordings.com) - Greg T.

Hewhocorrupts Master of Profits
Considering we live in an age where the corporate swine behind the RIAA is suing 12 year olds for downloading their favorite Britney Spears song, you really have to appreciate the IL based experimental, hardcore influenced grindcore of HeWhoCorrupts. Why you ask? Well, if you couldnít already tell from the title of this CDep, Master of Profits, allow me to explain. The layout of Master of Profits is a parody of Metallica's Master of Puppets, arguably one of the greatest metal albums of all time (of course their recent efforts and actions totally ruin the argument). Even the song titles smack Metallica across the face with hysterical names like ìSellíem All,î ìRide The Limo and my personal favorite One Million Dollars. Aside from the Metallica humor, HeWhoCorrupts must enrage the elitist grind community with their songs eclipsing the minute mark and beyond-a definite no-no, unwritten rule in this scene. Erratic time changes, screamy (not very guttural sounding for grind) vocals, blistering riffage and the true highlight of the band-ferocious drumming-should keep HeWhoCorrupts on the map for quite some time to come. (Forge Again Records PO Box 146837 Chicago IL 60614 forgeagainrecords.com) BiLL

Himsa “Courting Tragedy And Disaster”
“A single theme unites…the quintet: Pain.” Thus reads the press release for the band at hand here. Aww… and I have a pretty good idea what kind of pain they are courting: that of losing a fine ass lady. Yes. All throughout this release, there are tunes like “Kiss or Kill,” “Loveless And Goodbye” and “A Girl In Glass” and images of a pretty girl next to some guy whose face has been burned out of the picture. Oh, poor little hardcore souls that are suddenly denied the promise of sex and holding hands at some Kate Hudson flick. Still though, Himsa rocks, and not just in the total headbashing way. They take their time and play us old styley metal with enough new flair and care to deepen the wounds of aging mullets and those guys down at the Gas N Sip holding fort through the graveyard shift. Amongst the clangs of helldriver guitar debris and throat ripped open vocals, Courting Tragedy And Disaster comes across clean and mean; a rock hard, stage diving machine. Its got enough balls and ideas to throw a lot of other likeminded bands in the ring and have them come out fighting. As a long time metal fan, I hear strains of the NWOBHM (New Wave of British Heavy Metal, i.e. Maiden, Priest, etc) which made for grins among the pulls of anguish I felt on this record. The tunes are good - no doubt my longhaired and gloomy buddy. Go with that, just stay away from any real love relationship. Stick to the zits and Internet porn, you’re better off according to these guys! (Prosthetic Records, 11664 National Blvd #413, Los Angeles, California 90064 - www.prostheticrecords.com) - Mark Whittaker

Holiday Rain No Sound Like The Present
This CD has some really terrible artwork. Normally I just don’t care but this shit is bad. I think the band was shooting for something but they really did some damage here. Between the fonts, the name of the band and the cover photo I swore I was getting into some Black Metal stuff or some spin off of ENYA. Gripping the arm rest I popped this baby in not having a clue what to expect. Well I won’t say I was pleasantly surprised but I was definitely surprised. Under this cover was extreme lo-fi, indie-pop in the flavor of GBV and Beulah. Not bad and definitely an enjoyable listen but it didn’t stick with me and I got bored somewhere along the way. No real memorable hooks or choruses. However, it was refreshing to here a fairly well executed “lo-fi” record. In this day and age you don’t get that too much anymore. (Serendipity DODQ P.O. Box 2041, New Britain, CT 06050) Wally Peters Jr.

The Honor System Rise and Run
The first time I heard The Honor System was a few years back in my friend’s car and I didn’t really think much of them at that point. After hearing this record however, I’m curious to go back and check out their older stuff so I have something to compare Rise And Run to. Hailing from the breakup of the Broadways, this Chicago-based four piece writes some pretty interesting music. It is hard to say exactly what it sounds like but it is pretty upbeat and unusual rock, maybe something akin to Fugazi with a hearty dash of the Alkaline Trio’s energy. For the most part, the lyrics are well-written but sometimes lack the catchiness of the song structure and just get lost. I feel like if The Honor System’s vocals were a tad bit more dynamic and not sung as monotonously as they appear on this CD that this band would sound much better. I’m definitely interested in seeing them live because I feel like this might be a band that is much more fun to experience in person than merely listening to them perform on record. Check out the song “Paper Idols” : to me it’s the standout track on the record. (Grey Flight Records, PO Box 720595, San Jose, CA 95172 - www.greyflight.com <http://www.greyflight.com>) - VeganVadim

The Hurt Process Drive By Monologue
As was explored in the last issue of Wonka Vision, there is a certain system to the creation of a mix tape; a mix tape guide, not an album guide. The Hurt Process missed the memo. This album follows the mixtape system. It starts strong, but not too strong; a nice rock opener with a punk edge. The next song takes it down a notch, starts out quietly, gives you a chance to get acquainted with the tape, I mean, record. “White Butterflies” successfully keeps the listener attentive as it strays from the rock conventions in favor of circular sound movements and some screaming, while remaining subdued. Of course song three must take it back up, in this case, with a lot of sound, but without any pizzazz. As is typical of the album the simple, essentially pop ditties, are obscured by guitars with no force and lackluster drum work that leaves a hollow, confused sound. This confusion is also echoed in the layout of the record; there is no continuity. The songs are manic, within a stringent spectrum, which is more representative of a poorly conceived mix than the effort of a single band. (Victory Records, 346 N. Justine St, Suite 504 Chicago, IL 60607, www.victoryrecords.com <http://www.victoryrecords.com> ) - Erika Owens

Inside Five Minutes Seven Song EP
About the time this CD made it’s way into my hands this band had broken up. So I suppose some kind of eulogy is in order and who better to give one than me, some over-opinionated jerk who knows nothing about this band! So let’s get started. Eh hem! Inside Five Minutes, and their variety of rock and roll was taken from us much much much too soon. Hailing from Detroit and sounding every bit like a motor city band should and putting shame to their over-hyped brethren that water down the hard edge reputation of Detroit with their glossy “tough” look, yes I am talking about Kid Rock, White Stripes and The Go!, Inside Five Minutes leave behind Seven Song EP. An EP with a sound that harkens back to a time when the term grunge was relevant but not yet used at the dinner table. And even further back to a time when Ozzy Osbourne was more than just a puppet for MTV and he was actually scary! And picking up where the Jesus Lizard left off, Inside Five Minutes leave seven songs that I dare you to listen to alone and in the dark. These songs lay in the murky depths of something not evil but just uncomfortable. Ladies and Gentlemen, Inside Five Minutes are gone but danger, even if it is only for a few spins, has returned to rock and roll. (Down Peninsula Audio 663 Prentis - #2 Detroit, MI 48201 - www.downpeninsula.com) Wally Peters Jr.

Elgin James For Carol
Elgin James has lived a hard life and this is apparent in his weathered voice and desperate lyrics. His debut album is autobiographical, recalling the days of his youth where his reckless ways landed him first in juvenile hall and then set him on the streets without a place to live. “Dead at Fifteen”, “Runway Song,” and “Screaming Silence” are upbeat rockers that recall the folk-punk sound of bands like The Replacements, Soul Asylum and Thelonious Monster, but the lyrics tell harrowing true stories that Westerberg, Pirner, and Forrest could only pretend to have experienced. James landed in my hometown (Columbus, Ohio) for a little while and sings about it on “Ohio,” though even it doesn’t sound like it was a good experience: “But I gotta go / Gotta get out of Ohio,” James laments. There is no real resolution point, no point where James turns the corner and happens upon good fortune, but at the very least he is able to mask his pain with some good-sounding music. If you miss the music put out by labels like Twin/Tone and SST in the mid-80s, check out For Carol and vicariously live through some of James’ pain. (Lonesome Recordings, PO Box 15297, Boston, MA 02215 - www.lonesomerecordings.com) - Chip Midnight

Jersey Generation Genocide
So I get my goody bag of albums to review and the first album I see is this band called Jersey. Well, you can imagine how the anticipation dripped off of my tongue and the eagerness corrupted my mind. These guys MUST be the shit, right? I mean, they named themselves after a state that has the best fucking pizza (2nd to NYC), the most beautiful shores (take away the syringes and used tampons), and the nicest people that could ever inhabit a region (okay, so I’m stretching it). Bottom line is that you would expect the same grittiness and attitude that makes Jersey what it is to be reflected in the music of a band called- Jersey. Well, I hate to say it, but this was a let down. The music is okay and the songs are decent but nothing really grabs me by the balls and squeezes them here. It’s like listening to One Man Army without the army, Madcap without the mad. There just seems to be something missing. Where is that pissed off Jersey sound at? It’s polite punk rock to put it best. Jersey? Are you kidding me? More like, uh, Maine.
(Universal Records, 1755 Broadway, New York, NY 10019-www.jerseyrock.com) - Jersey Jef

Jupiter Sunrise “Under A Killer Blue Sky”
Sometimes I wish Weezer never existed. Yeah, they gave us a couple of good albums, but they also made it okay for punk bands to be pop bands and pretend they are metal, and therefore can be directly blamed for pure shee-ite like Jupiter Sunrise. Under A Killer Blue Sky is so ditzy and saccharine sweet, it’s almost impossible to take it seriously (and I’m still not sure whether I’m supposed to or not). Geeky vocals, dullard songwriting and weak delivery are what put this band in the coffin for me. When they bust into a full-on Iron Maiden guitar solo, I can’t dig their grave fast enough. Allow me to rant: Pop bands need to be simple, understated, catchy and fun. The last fucking thing they need to do is launch into a heavy metal guitar solo. That just kills the mood dead. Bands need to have a clear vision of who they are and what they want to be. So you’re a pop band, then be a pop band. You’re metal? Grow your hair and carve a pentagram into your forehead. Enough of this satirical pop/metal shit! You are not wanted here! Thanks a lot Weezer! End rant. (Undecided Records, 7460 NW 127th, Terrace Parkland, FL 33076, -www.undecidedrecords.com <http://www.undecidedrecords.com>) - Jason Schreurs

Karmella’s Game What He Doesn’t Know Won’t Hurt Him
As far as I’m concerned, Sarah Shannon is the benchmark for female indie-pop singers and the ones worth listening to, whether they realize it or not, sound an awful lot like the former Velocity Girl singer. Katie O of Baltimore, Maryland’s Karmella’s Game is one of those starry-eyed vocalists who can light up a room with her sweet vocals the way Shannon did in the early ‘90s. Mix the vocals with the bouncy keyboard-centric pop numbers on this debut EP and you’ve got a winning recipe for a really playful CD to listen to this summer while playing volleyball on the beach with your friends or driving around with the top down in your dad’s convertible. “Not the End” features some nifty harmonies and starts off on a slowburn before becoming a mouthful of activated Pop Rocks. It showcases all the strongest elements of the band’s sound - videogame-soundtrack style keyboards, delicious harmonies, and a foot-tapping tempo. After the four upbeat numbers, Karmella’s Game slows the tempo down just a bit on the EP’s final cut, “Crazy Girl,” a song that I can see Molly Ringwald contemplating life to in a late ‘80s teen dramedy. (Speedbump Records, 2604 Fait Avenue, Baltimore, MD 21224, www.speedbumponline.com) - Chip Midnight

Kill Your Idols/ Crime In Stereo S/T
Kill Your Idols always fell into the category of bands I’d heard of, but never actually heard. I understand now why most of my friends like them. KYI echo the energy and nostalgia of 1980’s New York hardcore while simultaneously remaining current. First Unitarian Church of today or Unisound of yesteryear? As I close my eyes, I can’t figure out where I’m imagining their packed show. In either scenario, I see an all-ages crowd jumping around and pointing fingers with as much passion in their physical movements as the lyricist demonstrates in his poetic writings! Crime in Stereo is the perfect compliment to KYI. They are more melodic, yet somehow the last from KYI (though a Sheer Terror cover) flows seamlessly into the first by CIS. “It Ain’t All Hugs and Handshakes,” a song about the futility of a day job, is without question the pinnacle of the CD. The catchy guitar riff that dominates the song sounds more like something heard on a pop punk record, but does not damage the hardcore spirit of the band. If either of these bands are as good live, as they are on this disc, they should tell off their bosses and quit their day jobs! (Blackout! Records, 931 Madison Street Hoboken, NJ 07030 www.blackoutrecords.com) -Toothless George

LaGuardia Welcome to The Middle
LaGaurdia are kind of hometown heroes to the great city of Philadelphia that we here at Wonka Vision like to call home. The band is made up of 4 decent guys who are good musicians and, deservingly or not, got more than their fair share of breaks. Luckily for them they were able to turn all of that into a major label deal that spawned this, their debut record. The record is wonderfully recorded and the songs are well executed and perfectly arranged. On paper this is a great record. The only problem is that it sounds like the greatest hits collection to the modern rock radio of the ‘90’s. And that alone makes everything else about the band and this record pale in comparison. “Duct Tape” with its vocal break over a lone guitar that is thrust into a frenzy by a Moon-esque drum fill was destined to be an alternative radio hit in 1996. There are a few moments where the band pokes through with something vaguely original and refreshing (showing more than a glimmer of hope) but mostly the record resembles Bends/Computer era Radiohead with contributions from Billy Corgan on lead vocals. Pepper that with a little Flaming Lips and a dash of “Grunge” and you have Welcome to the Middle. Truer words were never spoken. (Universal Motown Records Group 1755 Broadway, New York, NY 10019 - www.universalrecords.com <http://www.universalrecords.com>) Wally Peters Jr.

Local H What Ever Happened To P.J. Soles
As if we needed further confirmation that Nirvana was an amazing band, along comes Chicago’s Local H doing that Nirvana sound 10 years later and it sounds just as ass-kicking as the first spin of Nevermind. This two-piece make a ton of noise (the guitarist has one of the most intense pedal setups ever) and have always been compared to the N-band but, then again, they’ve never made an effort to change their style. If it’s not broken, don’t fix it, and this rules! “California Songs” is like the most sarcastic Pixies song mixed with “Sliver” and (did I mention?) it’s done entirely by two dudes. And we’re not talking a one-trick pony here either as things tend to develop, peak and dip throughout the course of these 14-songs, climaxing perhaps with the pretty rocking (but not as metal as I’d hoped) “Heavy Metal Bakesale.” Okay, What Ever Happened To P.J. Soles is not all brilliance as some of these songs come off like desperate attempts at radio play. I hate to say second rate Everclear, but there you go, I just said it. Put the first three songs on though and crank it; guaranteed you’ll be looking for the tattooed cheerleaders and striped cardigans. Fuck ya! (Studio E, www.studioerecords.com <http://www.studioerecords.com>) - Jason Schreurs

Long Since Forgotten Standing Room Only
Mediocrity is the worst. Bad stuff can be a lot of fun, either in creatively tearing it apart, or enjoying the spectacle, but mediocre - no fun to be had there. There are only so many ways you can say something is "ok," and only so many times you can tolerate listening to it. Standing Room Only is hopelessly mediocre. It sounds like so many nameless records before and after. The caution is audible. Sure, it's respectable, even aww worthy, but it also takes no chances, which results in a very boring effort. Questions about self-identity and mystery are probed in the lyrics and inject a little energy into the whiney relationship realm. The most upbeat energized song is unfortunately, only 40 seconds long, but its presence in the middle of the record serves as a little caffeine boost. Near the end there's a hint of something more interesting too, as "The Language of Nature" presents a nice mix without being too pedestrian. After thirteen songs none really deviate from the heavily entrenched path, and due to this formulaic approach there’s nothing exciting to remember except that the past 45 minutes have passed with a few chords and some crooning. (RocketStar Music, P.O. Box 54108, Redondo, WA 98054, - www.rocketstar.com <http://www.rocketstar.com> ) Erika Owens

Madcap “Under Suspicion”
With influences like the Buzzcocks and the Clash, it is of no surprise that this Southern California quartet’s third album is a refreshing blend of reggae, old school punk and 80’s rock. Songs redolent of The Ramones, Rancid and Operation Ivy show this band’s compassion for reviving the recently declining “punk” scene. In fact, after listening to the album’s title track, I checked the liner notes to see if Tim Armstrong made a guest vocal appearance. However, it was the voice of one, Johnny Madcap (It’s like soooooo punk rock to replace your last name with your band name---I’ll feel like an asshole if his last name really is Madcap). I also must have missed the memo that said “you’re not punk unless you wear suits with pins…and don’t even think about forgetting your Chucks.” Enough about Madcap’s fashion, they look better than me anyway. Under Suspicion definitely does an awesome job of blending different kinds of music together. If there’s one thing I look for in a band, it’s there ability to show variation in their songs and not just regress to a monotone, repetitive style. This full length absolutely does this with their superneat blend of reggae, punk, rock, punk-rock, teenage-angst-let’s-go-walk-around-the-city-with-my-girlfriend-and-I’ll-write-a-song-about-it rock, dress-like-The-Clash-in-the-London-Calling-video rock, the never-say-die…….okay I’ll stop cause this band is good. (Victory Records, 346 N Justine Suite 504, Chicago, IL 60607 - www.victoryrecords.com <http://www.victoryrecords.com>) - Tubby

Make Believe S/T
Make Believe, aka last year’s Joan of Arc on tour, hammered out this cheeky 5-song EP because the quartet wanted a record to “speak for itself” and to “shake whatever connotations the band name Joan of Arc had acquired.” The resulting EP of jangly math-pop opens with “We’re All Going To Die,” a jumpy song of ironic politico fury (“All the heavy metal songs are good when they say never surrender/All the patriotic modern country hits are good when they say be patriotic/Because patriotism is critical”). And so goes the remainder of the Make Believe EP: the “bizarro guitaro” work of Sam Zurick is paired perfectly with the spastic stylings of Nate Kinsella on drums/Wurlitzer and Bobby Burg on bass and capped by the yelping croon of Tim Kinsella. The musical dementia of Make Believe might not be received as much more than a twisted carousel of rock in the vein of Owls or Friend/Enemy (check “Temping As A Shaman”), but it’s an attention-grabbing ride. Gratuitous breasts of a dead woman mourned over on the cover can’t help but sell a few records either. (Flameshovel Records, 1658 N. Milwaukee, #276, Chicago, IL 60647 - www.flameshovel.com) - Amber Blankenbiller

Marathon Songs To Turn The Tide
Songs To Turn The Tide is the debut album of a 5 piece outfit from Rochester, NY. They play political post-punk/hardcore; any band that dwells too heavily on politics is always suspect to me. The following comes straight from purevolume.com: "Central NY state energy hardcore sincerity melody political insight punk awareness music good." Yes that about sums it up. If I was closed minded I'd call them Commies, but instead I'll just call them enlisted soldiers in the Justin Sane army. Yeah, they hate Bush, they hate the war, they hate the commercial version of beauty, but I guess that’s better than singing about a broken heart or space aliens. The vocals seem eerily reminiscent of Mark Guttermouth, which is ironic to say the least considering the content of each band’s lyrics. I honestly won’t use this disc for a frisbee or coaster, but it certainly won't make its way into the crucial CD section, although for many Wonka readers, it surely will. (Red Leader Records, PO Box 20836 Park West Finance Station, New York, NY 10025 - www.redleaderrecords.com) -Milkman

Hannah Marcus “Desert Farmers”
Hannah Marcus plays an artsy folk/rock hybrid that sounds like a ‘60’s singer/songwriter take on old timey music with Bikini Kill lyrics. Marcus and company, including members of Godspeed You! Black Emperor, play deceptively simple piano, guitar, violin, contrabass, vibraphone and drums. This foundation is then paired with heavenly vocal harmonies and a myriad of studio tricks that effectively add to the depth of the album. Though at times wavering, Marcus’ voice is strong in its unabashed integrity. Pure and honest, her singing seems to come from the soul in a performance reminiscent of Wildwood Flower by late country royalty, June Carter Cash. On such earthy vocals, Desert Farmers sweeps like a lullaby. Yet like so many notable folk tunes of yore, Marcus’ pretty songs aren’t light-hearted ditties. The songstress tackles such foreboding material as mothering an illegitimate child and unrequited love. She poignantly sings of angels and airplanes, and like another ethereal singer and eclectic songster, Andrew Bird, borrows text from established poets for lyrical content. Two tracks, “Purple Mother” and “Canon” are based on literature by author Rick Moody, while William Ross, a nursing home resident, penned the heartbreaking “Beloved." Marcus adds an intangibly beautiful texture to these already moving works in an overall bittersweet collection of songs. (Bar None Records, PO Box 1704, Hoboken, NJ, 07030 - www.bar-none.com) - Amber Blankenbiller

The Mars Volta “Live”
I don’t know too many bands that can get away with releasing a live CD that is only four tracks yet, boasts a running time of 42:11. Come to think of it, I don’t know any. I think this record does a good job of documenting the musically adventurous nature of the band, in all their jamming glory, but it just doesn’t hold my interest. There is however, no denying the masterful work each respective participant displays on his instrument. Cedric’s voice is so high on this recording (even higher than the full-length, at times) that it almost hurts to hear him. The guitar work is stellar, though; Omar remains one of my favorite guitar players out there. Despite that, it comes down to this: if I want to hear this band, I will put on the full-length. They did a good job on this recording and it is definitely something worth hearing for fans of the band, but it just strikes me as an unnecessary release. No harm done, though. Keep up the good work there on your planet, fellas. (Universal Records, 1755 Broadway, New York, NY 10019 - uwww.universalrecords.com) - Klyjew

Maxeen S/T
My normal daily routine: wake up, masturbate, shower, cook a bacon-egg-and-cheese (egg over-easy), eat the bacon-egg-and-cheese, and then check the mail. However, one warm evening this past April would skew the monotony of my laziness---I received a package from the infamous Justin Wonka. I like him, so I ---opened it. The manila envelope’s contents were as follows: the spring issue of Wonkavision Magazine and five new CD’s to review. After pleasuring myself to pictures of various Wonkavision editors (whose names will go undisclosed---Kristen, I miss you), I figured I’d give some of these bands a listen. The first CD that caught my attention was this debut full-length from Maxeen. The reason: the girl on the cover is as hot as the pink color in the band’s 80’s style logo. So I thought to myself, “Tubby, a girl this hot wouldn’t have sex with you in the 80’s, even if you were wearing a pink tuxedo. The least you can do is listen to this.” Let’s just say Maxeen hasn’t left the CD player in my 1995 Nissan 240 SX, fully equipped with a Overhead Cam and Dual Exhaust. This trio mixes styles of pop, reggae, punk and 80’s rock to distill a sound as unique as singer Tom Bailey’s voice---and hairline. I don’t want to sit at my computer all day describing what they sound like but I will say I can hear some influences from artists such as The Police, The Pixies and Rancid. Everyone I showed this to has thoroughly enjoyed it. There’s a simple solution for those who don’t: go fuck yourself. I award Maxeen five gobstoppers out of a possible five. (Side One Dummy Records) - Tubby

Mute “Sleepers”
In a word, tragic. In 197 words: This is gonna be a tough one. This album could easily disappear off the face of the earth without anyone caring (unless they were from "Ka-beck"…Quebec, duh). Fast paced melodic pop-punk with standard 4/16 drum time and 2/12 bass lines. Just kidding, I totally made that up; I do not even know what that means. What do I look like, a classically trained musician? The singer’s voice is so annoying; you can just tell that he's French. Mute is that band that is playing before the band you kinda wanna see that's playing before the band that you really came to see. As if listening to this wasn't insulting enough, it's a fucking CD-R and one that won't really play on my stereo. So I'm forced to listen to skips and pauses throughout the entire recording. Listen up labels; I understand that you want to get the promos out as soon as possible, but have a little consideration. If I go to a car dealership to test drive a Cooper Mini, I don't want the sales man to show me a Ford Focus and tell me it’s the same thing. Did that make any sense? I'm not entirely sure it did either. (Milk & Cookies Records C.P. 48058 Quebec, Qc Canada, G1R 5R5, www.milkandcookiesrecords.com) -Milkman

Naked Aggression “The Gut Wringing Machine”
Wow…Naked Aggression? At first I thought this was a new one from the old school punk rockers, established in 1990. However, after some research I came to find that The Gut Wringing Machine was actually set to release in 1998 but was halted due to Naked Aggression guitarist Phil Suchomel’s untimely death (the result of an asthma attack), which later resulted in the bands split. What you get on this album is no fucking around, raw, in your face, punk rock. Kirsten Patches puts other wannabe female punk rock vocalists to shame. Fuck you Courtney Love! K.P. will kick your wannabe, dead-husband coattail riding ass! The music is fast, heavy, and loud. The lyrics are amazing and full of pissed-off aggression fueled by anti-government sentiment and disgust at corporate greed (even though you can’t understand a god damn word…but that makes it even better). When you listen to this album you feel like you belong right back in the early punk movement of the 80’s when the music was all that mattered and wasn’t overshadowed by who had more piercings or the cooler Hot Topic skull studded belt. (Rodent Popsicle Records, PO Box 1143, Allston, MA 02134 - www.rodentpopsicle.com) - Jersey Jef

Name Taken Hold On
I’ve done reviews for Fiddler Records bands in the past, and I must admit I tend to enjoy them. Hold On, an 11 song full-length from this California quintet, is no different story ladies and gentlemen. Although it could be categorized as “emo-rock,” I’d have to say this band definitely brings more of the “rock” than the “emo.” Anyone who has ever read my reviews before (which most likely excludes you and anyone who has ever purchased Wonkavision Magazine) knows that I hate the word “emo.” So let’s, for the sake of argument and the fact that you and I will never actually meet, say that this band is rock without a shitty singer like Nickelback’s Chad Kroeger. It took me a couple of days to listen to this entire record for the sheer reason that the first few songs are so well-written. Guitarist Blake Means looks as though he means business. Play on word? Didn’t like it? Neither did I. But don’t let my pathetic attempt at a laugh or snicker out of your piehole take away from Name Taken’s ability to write quality songs. I’ll give Hold On three and a half gobstoppers out of five. Good job kids. (Fiddler Records) - Tubby

No Choice Dry River Fishing
I like this album for its classic start. These political punkers from the UK begin with a sound bite from George W. followed up with a song that rips on him and Tony Blair for being nothing more than power hungry capitalists with little or no concern for the actual people they are “saving.” Whether or not you agree with their ideas, this album is full of opinions about the screwed up world we are living in at this moment in time. It’s quite refreshing to hear political punk from overseas, it makes me long for the Clash, but oh well. The music on this record is very straight forward three chord pop punk with some nice ringing melodic breakdowns thrown in here and there to keep it all interesting. It reminds me of bands like Face to Face and Husker Du although the heavy British accent on the singer makes him sound a bit like Blake from Jawbreaker. Not a bad combination really. Ultimately a very listenable cd that grew in listening pleasure with each repeated playing. Worth a few bucks if you got it or maybe just download a few songs, like track 10, “Come My Hour” to find out if this band is for you. [No Idea, PO Box 14636 Gainsville, FL 32604-www.noidearecords.com]-Greg T.

No Motiv “Daylight Breaking”
No Motiv has been together as a band for 8 years; however, “Into the Darkness” is only the third release from these Vagrant boys, which begs the question: what have these guys been doing the whole time? Certainly not progressing musically in leaps and bounds. Being the first band to ever sign to Vagrant, it seems almost demeaning for me to say No Motiv sounds “general” or that they “lack originality” because perhaps they had a part in originating that sound in California circa 1995? Hypothetical ruminations aside, this CD didn’t do anything for me. The packaging is slick, the music is tight, the harmonies are close, and everything sounds very well-rehearsed, even the emotion. “So tell me anything, but just don’t tell me we’re moving on. Nothing can change the way I feel about you,” Jeremy Palaszewski laments on “Grey Notes Fall.” For a band that has been around for so long, they appear to me as an “intro band”: one that someone who had never heard anything of this type of music would find palatable. However, I can’t help but look towards No Motiv with disdain: I get it. The world is a treacherous place and you’re upset, but you are expressing it in the same stagnant way that hundreds of bands have and will continue to express it. Add an “e” to your band name, break some new ground, and attack some new issues, something. Make me feel like this is your passion, not your profession. (Vagrant Records, 2118 Wilkshire Blvd, PMB 6, Santa Monica, CA 90403 - www.vagrant.com <http://www.vagrant.com>) - Thumper

Number One Fan Compromises
I don’t like Wisconsin. Milwaukee? Garbage. Green Bay? Where is it and why do they like cheese so much? I mean, it’s one thing to enjoy a string cheese snack every so often, but to wear a hat resembling an over-sized piece of Swiss is an entirely different (and quite pathetic) story. So it is of no surprise to anyone that in its 156-year tenure as a “state,” Wisconsin has failed to produce anything worthy of our attention---until now. This, my fellow cheeseheads, is why Number One Fan is number one on my list. Compromises’ catchy intro track entitled “Come On” exhibits Nicholas Ziemann’s ability to change the sound of his voice with varying melodies, as well as unexpected guest appearances from Josh Engle and Joe Loehnis on organs and strings, respectively. Songs like “It’s Happening” show that this band knows how to write music and play well together, as Michael Ziemann has some pretty nice guitar licks, especially during their breakdowns. Fans of Jimmy Eat World and the Reunion Show will definitely enjoy this debut full-length. Plus, Justin Perkins of Lookout Records’ Yesterday’s Kids produced it! We can only hope the Ziemann brothers don’t fight like Liam and Noel Gallagher of Oasis, because then Wisconsin is really fucked. (Pat’s Record Company) - Tubby

On the Speakers S/T
We all have those albums we wish we could play to everyone we know. We wish we could make them hear what we hear, the beauty, the anger, the magic contained within one 5 inch compact disc. I’ve got a few of those albums that will hold a special place in my heart. Most are long gone. Creeper Lagoon’s Take Back The Universe And Give Me Yesterday, was one of those records. It sizzled, and it popped. It was true rock and roll, no irony, no pretense, just amazing and catchy rock. Ian Sefchick, main singer/songwriter of Creeper Lagoon, has struck out on his own, formed a group and self released On the Speakers’ debut. The expectations were high, and for the most part they were met. It continues with the straightforward melodic rock that made Creeper Lagoon’s last full-length so sharp. The only departure is that the new group is still attempting to find the magic. The songs are all above average, but fall shy of amazing. Of six tracks there is no “mix tape” moment, no song that shines completely above the rest. While On the Speakers should be praised for its consistency, it fails to reach that transcendent moment Creeper was often capable of. Regardless, the kinks will be worked out, and On the Speakers is a promising start that leaves me anxiously awaiting more. (www.onthespeakers.com <http://www.onthespeakers.com>) - Dan Williams

Passion sic semper tyrannis
As Brutus was about to stab Caesar, he said, "Sic semper tyrannis!,"--"Thus always to tyrants!" On March 15, 44 BC Caesar was murdered. He was killed inside the Senate's meeting place and died in front of Pompey's statue. From this historical event you can discover the foundation from where the lyrics on Passionís debut CDep, Sic Semper Tyrannis, were spawned. Passion play metallic, at times epic, hardcore influenced by Coalesce, Converge, and Botch centered on scene betrayal. We are surrounded by kids that are more concerned with how they look than what they say, from the opening track, Let This Be The Death Of Me, provides the evidence that these five kids from Philly have no fear in wearing their hearts on their sleeves. Passion certainly bring the chugga-chugga and manage to do so minus the pretentious overtones found in so many bands playing this style of music nowadays. Passion's debut strikes a nerve and demands attention but the question is can they progress/develop their sound to make them stand out of the crowd like the aforementioned comparisons. (Watch The City Burn 717 Brighton St Philadelphia PA 19111 watchthecityburn.com) BiLL

Pattern Is Movement The (im)possibility of Longing
Pattern Is Movement is a group of Philadelphia locals that has created an interesting and noteworthy new album. It begins with “Non Servium” a vaguely eastern influenced song that is enchanting. I feel like it’s music for shoegazing snake charmers. The most obvious influence is Sunny Day Real Estate, specifically the textured and haunting prog-rock tendencies SDRE showcased on How It Feels To Be Something On. What certainly helps with this comparison is lead singer/ guitarist Andrew Thiboldeaux’s often ethereal voice and great range. However, what sets Pattern Is Movement apart is its tendency to lean towards ambience and the post rock style of a group like Mogwai. Call it indie emo post rock, or post-hardcore ambient if you want, but mostly you can just call it good. It’s a surprisingly fresh self-released album that is daring, nervy and unsettling in a good way. (Noreaster Media, 2406 Phillips Dr, Alexandria, VA 22306-www.patternismovement.com <http://www.patternismovement.com>) -Dan Williams

Pelican “Australasia”
Thud! Crash! Smash! I love instrumental metal. Right off the bat, I’ll get the Hum and Isis comparisons out of the way: yes, Pelican has some inkling of these aforementioned bands, but no, they aren’t a carbon-copy of either. There’s something oddly younger, more youthful, and more ambitious about Pelican. “Australasia” continues the thought process Pelican started with their first EP: thick, undulating and endearingly unrelenting, this CD pushes and pulls walls, ceilings and waves of sound through all 6 tracks. However, if you don’t like this type of music, mainly heavy, dense, and loud, then I doubt this is the band to convince you otherwise. Whereas some musicians will merely dabble in sludgy chords or tickle you with droning amps, Pelican goes for it immediately and completely, and won’t trade in their impact for variety. The only moment to come up for air is during the untitled fifth track: acoustic guitars are featured, but in a decidedly clipped fashion. After that, it’s right back to volume; booming and looming to close out the CD with the title track. Pelican is a band that is nothing short of gigantic, a monolith to hardcore roots and grand prospects. (Hydrahead Industries, P.O. Box 291430, Los Angeles, CA 90029 - www.hydrahead.com) - Thumper

Pepper “In With the Old”
“Mucho Gusto. Me llamo Bradley.” Woops, sorry. I listen to this album and I am immediately reminded of Sublime. What the fuck do these guys think they’re doing? I’ve heard of being ‘inspired’ by bands, but to totally rip them off is another story entirely. This record sounds like the lost Sublime tapes. Now if this truly was Sublime then the album would kick ass, but the fact is that it’s 3 totally different guys from Hawaii, who apparently have nothing better to do with their time than perfect the art of ripping off one of the greatest and most innovative bands to ever exist. The result-sucks! For the most part Pepper offers a blend of reggae riffs with some punk rock influenced breakdowns and lyrics about getting drunk and non-stop chilling combined with…oh, who am I kidding? It’s SUBLIME! Enough said. And the worst part is that it’s not even remotely decent! If you are a fan of the whole punk/ska/reggae scene my advice is to stay as far away from this album as humanly possible. It will just piss you off in the end. Unoriginality at it’s finest. The artwork is kinda cool, but that’s all Pepper is getting out of me. (Volcom Entertainment, 1740 Monrovia Ave., Costa Mesa, CA 92627-www.volcoment.com) - Jersey Jef

Phenomenauts “Rockets And Robots”
Phenomenal they’re not (har!), but they are fun as all get-out; from the sexy, illustrated, bondage-suited voluptuous babe piloting a ‘50’s era spaceship gracing the cover, to the karaoke style been-drinking-for awhile lead & backing vocals laid on top of various rockabilly-redneck-surf tunes. I keep coming back to this CD because it always puts a smile on my face. The production is perfectly mid-fi, the vocal performances are amateurish, all the songs are about space travel, the band is tight but playful, and I can tell their hearts are in it. If you dig the Raunch Hands, Gibson Bros., Cramps, Webb Wilder, Dick Dale, and/or The Presidents Of The United States Of America, this is for you. The three closing tracks are live and only add to the happy feeling the previous cuts offer. (Springman, P.O. Box 2043, Cupertino, CA 95015-2043 - www.springmanrecords.com <http://www.springmanrecords.com>) -Renrag

Pig Destroyer Painter Of Dead Girls
The term “grindcore” doesn’t get tossed around enough these days. And if it does, it makes its way through the hallowed halls of geek meth-heads who succumb to the terrors of part time fast food jobs, parents who vote Republican and the sinking feeling that there just “isn’t anything more than this.” That term is both frightening and sad. And when you mix the forms in a mash blender of haze and fear, grindcore metal emerges as the one saving factor of a dying breed of spaz fueled incumbents. Pig Destroyer comes along and takes the side along the other uber fast, uber disturbing members of the ilk race, Agoraphobic Nosebleed, to make you all feel reeeeeeeeeally uneasy and the urge to eat glass and pull your hair out as the world crushes around you and that girl in the back row still won’t go out with you. Maybe it’s the zits and drug habit? Who knows? Who fxxking cares?! Painter Of Dead Girls relies on the fact that it will never actually see the light of mainstream anything, EVER, and takes us all on a blistering ride set for demon glory among the wake of pure adrenalized bliss and hate spawned magnum opus’ for the true believers of machine gun beats and splatter hued guitars.
(Robotic Empire PO Box 4211 Richmond VA, 23220 www.roboticempire.com) - Mark Whittaker

Pilot To Gunner “Get Saved”
From the onset, Get Saved, the second full-length release from New York City’s Pilot to Gunner, rocks with a rare danceability - too many grooves for a full-on slamdance, yet not enough blasé mellowness to keep hands unmoved from the pockets of a shoegazer. Pilot to Gunner’s sound doesn’t alienate the hardcore kids or the emo-philes; vocalist/guitarist Scott Padden, guitarist Patrick Hegarth, bassist Martin McLoughlin and drummer Kurt Herrmann meld the two genres into a completely listenable force for both, heavy on the Dischord sound with a whole lotta NYC attitude. Produced and engineered by J. Robbins (Jawbox, Burning Airlines), Get Saved doesn’t rely on the jangly garage rock guitars everyone’s clichéd lately, but there are plenty of clap-along choruses that will get any tight-jeaned ass shaking to Padden’s raw voiced speak-singing, infectiously syncopated and strangely melodic. While “Barrio Superstarrio” is slated as the album’s first single, the standout track is “Hey Carrier” with its fierce fist-to-air inducing hooks and shout about chorus, seemingly crafted for a stage in front of 300 sweaty kids. Pilot to Gunner like to embark on hellish tours cross-country, and with repertoire like this, it’s no wonder those tours tend to sell out. (Arena Rock Recording Company, 242 Wythe Avenue, Studio 6, Brooklyn, New York, 11211 - www.arenarockrecordingco.com) - Amber Blankenbiller

Pinhead Gunpowder “Compulsive Disclosure”
Side projects have become a vehicle allowing band members to showcase artistic freedom that they would have otherwise been unable to express in their main ventures (Transplants, Hazen St. Lars Frederiksen and the Bastards). However, if you're familiar with Pinhead Gunpowder, you know the apple doesn't fall far from the tree. Made up of members of Green Day, Crimpshrine, Monsula and The Influents, Pinhead Gunpowder formed in 1991 and has a handful of releases under their collective belt. Every few years they grace us with another, and even though the latest is a reissue of sorts, with a few new tracks sprinkled in, it is nice to have it all on one album. The music is catchy, melodic punk rock, with a slight edge - hey, stop making that face! If you like pre-Dookie Green Day, this would be a fun record for you to own. Nine songs in just under 15 minutes…now that's what I like. Short, fast and so, so sweet. This is a proper album, take that however you want, I am sure you'll figure it out. (Lookout, 3264 Adeline St, Berkeley, CA 94703- www.lookoutrecords.com) - Milkman

Pipedown “Mental Weaponry”
The album cover of this CD is very misleading; it had me expecting a gothic industrial band due to the spooky artwork. The first track, in all of its Trench Coat Mafia splendor, reaffirmed my expectations, but Pipedown is not quite that simple. They certainly do touch on the gothic at times, but are in fact the embodiment of everything good about modern hardcore. There are many similarities between Pipedown and AFI, but I don’t want to dismiss them as a cut-rate imitation. They are far too good to get that kind of ridicule. If AFI-101 were an actual class, Pipedown would be sitting at the big desk, grading the assignments. They blend a beautiful balance of screaming and melodic singing to keep the listener interested and on his/her toes. The background vocals are perfectly placed and enhance the majesty of the already excellent songs. Finely, I get to read a lyric sheet that actually is full of intelligence! Not only are the lyrics worth reading, but they also include quotes from philosophers, activists, and authors that are pertinent to each song. Every hardcore fan must buy this record! So, you need a reason? Because I said so! (A-F Records, P.O. Box 71266, Pittsburgh, PA 15213 www.a-frecords.com <http://www.a-frecords.com>) -Toothless George

Preacher Gone To Texas From The Heartland
As the album title suggests, Preacher Gone To Texas (PGTT) are from the heartland, Iowa to be exact. The long, frigid Midwest winters would seem to provide the perfect opportunity for creativity; to tweak the albums that get you through the dreary days and create a new sound. But no, that is not the case with PGTT. Instead, the time was used to perfect a boring carbon copy of breakdowns and growling that can be heard with the same faux fierceness at any local show. “This Instinct Lacks Mobility” is exactly right and an unfortunate portend of their own abilities. The use of a more traditional punk rock, rather than a snarly singer in “Ben Rose” was a nice break from the tough guy wall of noise, but like the rest of the songs, any promise quickly fell apart. From the Heartland is a CD/EP comprised of only five songs, so the attack is quick, but complete. Subtitles explaining the song meanings are also featured beneath the lyrics, a condescending slight at the audience’s ability to glean that, “Losing someone you love brings devastation.” That painfully obvious sentiment is also reflected throughout the album, which reveals nothing but trite core muzak. (Sinister Label, P.O. Box 1178 La Grange Pk, IL 60526, www.sinisterlabel.com <http://www.sinisterlabel.com>) -Erika Owens

Premonitions Of War “Left In Kowloon”
Ouch! These guys hurt. Lots of pain banter and dark nights shrouded in deceit going on here and you’re going to have to buckle up during the ride of Left In Kowloon. Premonitions Of War have been featured on a lot of shows and magazines lately and I guess I can see why. Yowza. It takes dedication and a bleak mind to continue making music like this record after record and tour after tour. It’s a little like Cannibal Corpse. I mean…how do they do it for so long? Not that these guys have been spitting it out for over a decade, but still… You get the point right? The album here is riddled with bullets and minefield disasters and I don’t know if you want to go treading on this kind of unhallowed ground. Or maybe you do! Maybe this kind of hate filled landscape is a better alternative to your crappy job and school filled with teachers that hate you and kids that make fun of you. Either way, you’re going to have to let it out somehow, and the quartet of dour faced men here is trying to aid in that manner. What impressed me the most was the drumming of D. Schoenhofer. I mean, this guy can skin the rolls and machinegun the briskets of aggression like no other. It takes some real muscle and timing to handle this lot, and he does the other boys very, very proud. Plus the song “Black Den” is simply stunning. I played that over and over again. Good luck with this one kids. Don’t forget to wear your helmet!
(Victory Records, 346 N Justine Suite 504, Chicago, IL 60607 - www.victoryrecords.com) - Mark Whittaker

Probot S/T
Bless Dave Grohl’s little heart. He can go from the most influential band ever, Nirvana (duh), to the power antics of the Foo Fighters and then come back around to do a “fantasy high” (as he likes to call it) metal album with all of his heroes from the past. Probot is an amazing feat and a really decent metal album done by a guy you would expect greatness from…but maybe not this kind of cool greatness. As a longtime / lifetime metalhead I was really impressed with the roster of lead singers he gathered to be on this album, which apparently took about 4 years to make. Some of the ones that stood out for me were Mike Dean from Corrosion Of Conformity and Kurt Brecht from DRI, who were two of my personal heroes from the years of skateboarding adolescence. It was also good to hear the strains from Cronos, lead yelper of the massive influential satanic speed metal band Venom, doing an almost evil tune called “Centuries Of Sin.” Yeah Dave…get down with your bad self! Then for the doom and stoner rockers, we’ve got Wino (Obsessed, Spirit Caravan, etc.) doing a fairly fast song and then the amazing Eric Wagner from Trouble who helped put doom metal on the map. We also have Lemmy from Motorhead, Snake from Voivod, King Diamond of Merciful Fate and Tom Warrior of Celtic Frost. Too many to mention right now. This album rocked me hard, man. And stay tuned for the secret song in the end. A certain member of Tenacious D comes up and does a full on heavy metal thunder finger. Yeah…
(Southern Lord Records PO Box 291967, Los Angeles CA www.southernlord.com) - Mark Whittaker

Razor Crusade Are You Wired? EP
It’s amazing what a little adventurous spirit can do for a band’s listenability. Razor Crusade, featuring two ex-members of The Netherlands’ old school hardcore band Reaching Forward, give us six storming hardcore songs that pretty much defy comparison and run the gamut of styles. Whether it be mid-tempo riff-rock a la Quicksand (“There Is No Us”) or rockin’ hardcore with Rocket from the Crypt guitar foolery (“Fountainhead”), these are just two of the many tricks this band can pull out of their amps and bass drums. Thankfully, Razor Crusade steer clear of the metalcore stuff - as they could have easily slipped into faux-metal foolishness -- and stick to riff-based hardcore that is memorable and fun. Sure, some might immediately think of The Refused, what with the screamy vocals and jagged riffing, but Razor Crusade manages to mix it up just enough to avoid coming off like a copycat band. There’s a lot more going on during these six songs than most bands can muster in a handful of full-lengths and it’s that variation that makes this record a winner. (Reflections Records, Spoorwegstraat 117, 6828 AP Arnhem, The Netherlands, www.reflectionsrecords.com <http://www.reflectionsrecords.com>) - Jason Schreurs

The Reputation To Force A Fate
Girl rock should come back. I’m talking a Letters to Cleo, early No Doubt, pre-sell-out Liz Phair explosion! That would be wonderful and The Reputation could jump right on it. The first track on To Force A Fate, “Let This Rest,” sounds like The Anniversary in all their guilty pleasure, windows-down-because-air-conditioning-is-for-suckers glory. However, the next two tracks, “Bottlerocket Battles” and “Follow-Through Time” reek of eighties pseudo-ballads so heavily that I’m left wondering if I should call Pat Benetar and ask her if she wants her Independent Woman Part 0.5 fist shake back. Vocalist Elizabeth Elmore warps her voice to fit whatever music style her fellow band members’ chameleon-like whims dictate, but the genre-hop-skipping makes me wish they would just stick to the girl rock so I could wear my hot pink sunglasses and stick my tongue out at stupid boys. The most successful of these “what are you doing exactly?” endeavors is seen on “The Ugliness Kicking Around,” whose string and piano arrangement has me applauding the band for their artistic experimentation. These kids are certainly talented and TFAF is a good CD, but if they would focus in on one genre (cough, cough, mid-90s chick rock, cough, cough) they could make a great CD. (Lookout! Records, 3264 Adeline Street, Berkeley, CA, 94703 - www.lookoutrecords.com) - Thumper

Rescue “Volume Plus Volume Plus”
Almost everything about this band is cute, from their bespectacled lead singer to the tongue in cheek song titles such as “Yeah Bro, This Is How the Story Goes” and “Fuck Pecking Order.” While the music is not spectacular, it seems sincere. Lyrics like, “We can put our heads together in a non-aggressive manner” resonate, employing American Imagism of the most sentimental, I-have-issues-with-girls variety. They mean it, and I like that, but it isn’t anything new and it isn’t anything memorable. It’s screamo, and it's rock, and it’s clichéd, and I’m over it. Witty track titles and sharp design layout only carry a band so far. The songs are listenable enough, but become downright irritating when heard in rapid succession. For a small band, a double-disk re-release is complete and utter overkill and a terrible PR move: there is no way a favorable review can be had after listening to nineteen, NINETEEN, tracks of pretty straight-forward stuff. Additionally, most of the songs carry a 5 minute-plus time tag, and there is never enough bulk to justify Rescue’s lack of time-restraint. You can tell that they like Finch and probably Braid, they’re being all quirky and adding piano on “Like Spaceships,” and they have some really fantastic volume dynamics and start/stop interplay demonstrated here. But personally, I’d have to see them to believe it, or before these discs merit any serious rotation for me. (Forge Again Records, P.O. Box 146837, Chicago, IL 60614 - www.forgeagainrecords.com) - Thumper

Ritter Six Degrees of Variation
You know that video where Sum-41 pretends to be ‘80s hard rockers? Ritter creates the kind of music you might imagine Sum-41 would make if they took their hard rock roots (Iron Maiden, Judas Priest, Metallica) a little more seriously and their fart-humor, snot-nosed punk rock roots a little less seriously. There are some serious post-hardcore guitar shredders (“Free” and “The Fifth”) on this 6-song Ritter appetizer, along with a few tried-and-true Warped Tour-influenced mall-punk songs (“Monday” and “Always”). Guitarists Justin Fowler and Andrew Rehrig share vocal responsibilities and I’m guessing songwriting responsibilities as well. It’s not that the EP is inconsistent, but there does seem to be two different songwriters contributing songs here of the two styles, I prefer the heavier stuff. (Jump Start Records, PO Box 10296, State College, PA 16805, www.jumpstartrecords.com) - Chip Midnight

Roy Big City Sin and Small Town Redemption
Maybe it is because I am getting up there in my age, at least by scene standards, that I wasn't so concerned that Roy was made up of members from such hardcore outfits as Botch, Harkonen and These Arms Are Snakes. Equally there was no worry when reading other reviews calling Roy's Big City Sin and Small Town Redemption a folk-loving indie rock record. Considering the musical talents of the aforementioned bands, my love for Wilco & Husker Du, and my appreciation for well-written songs, I was confident that I was going to listen to a gem of an album. Big City Sin and Small Town Redemption is full of country-tinged, hook laden pop songs that still manage to maintain some of the math-noise rock elements that their members achieved notoriety playing (not to mention the presence of over-driven guitars at the forefront of most tracks). You can take the boys out of metal but you canít take the metal out of the boys. "Rebel Hymn" and "They Cut the Chord" actually capture one of the more revered characteristics of hardcore-sing-along capabilities ("Whoa-oh-oh"). Roy shows its tremendous range with the acoustic guitar driven "Never Getting Married" and the heart-felt lyrics will put to shame many of the singer-songwriters out there claiming to write provocative ballads. I am confident in stating that Royís Big City Sin and Small Town Redemption is the first nominee for record of the year in 2004 and I think this incredible album is merely a glimpse of things to come from our heavy music graduates. (Fueled By Ramen PO Box 12563 Gainsville FL 32604 fueledbyramen.com) BiLL

Runningfromdharma “If We Don't Speak Before The End Of The World”
I didn’t think I was going to like this, and I know a lot of you read my reviews just because you like me ripping into bands and whatnot, so to my adoring fans, I apologize. Now then…I dig this. A lot. It kinda reminds me of Sensefield with a dash of Boy Sets Fire and Hot Water Music thrown in for good measure. This would make a great soundtrack for a long drive on a summer night. And I can’t believe I just wrote that last sentence. (C.I. Records, 739 Manor St., Lancaster, PA 17603 - www.corruptedimage.com <http://www.corruptedimage.com> ) - Chris X

Sadaharu Anthem For New Sonic Warfare
I like this band a lot, but come on! I’m going to get it off my chest right away: the Refused did the SAME EXACT THING in 1998. No joke, Anthem For New Sonic Warfare is an exact copy of The Shape of Punk to Come. From the title of the record, to the words used (“This is the new sound - rejoice!”), to the same rhetoric about music being stale and doing something different, to citing jazz and blues as an influences along with modern hardcore, this record might as well be called The Shape for the New Sonic Warfare of Sound to Come. Despite this, the music on this record is fucking awesome. I’ve seen Sadaharu on numerous occasions, but only during the last few times have they done anything to move me. The songs on here are much better written and catchier than the ones on the split with Albert React. I think that if Sadaharu toured more and people caught onto their name this band would be successful, but they need to find their own style: if every possible aspect of this record didn’t remind me of Refused I would have liked it a great deal more than I do now. (CI Records, 739 Manor Street, Lancaster, PA 17603 - www.cirecords.com <http://www.cirecords.com>) - VeganVadim

Sanford Arms The Twilight Era
Being a music critic is tough because sometimes you hear a record that just melts your heart and you want the whole word to hear it, yet you know that no matter how many nice words you write about it, the record will probably be lucky to sell a few thousand copies. The sophomore release by Sanford Arms is one of those records. Led by ex-Alcohol Funnycar frontman Ben London, Sanford Arms’ specialty is gentle ethereal music with hushed vocals and the hint of an electronic flair. On one hand, it’s the ideal soundtrack to a long drive through the country on an overcast fall afternoon. On the other hand, it’s the ideal soundtrack for a breezy summer day spent napping on a hammock in the shady backyard. London’s vocals are more like loud whispers and his lyrics reek of desperation and pain and yet there is something comforting and warm in his delivery. Only the piano-driven, mildly upbeat “How Could You Know?” breaks from the beautiful Pernice Brothers/Sparklehorse sound that Sanford Arms creates. (Blue Disguise Records, PO Box 16362, Seattle, Wa 98136 - www.bluedisguise.com) - Chip Midnight

Scars of Tomorrow Rope Tied To the Trigger
I remember getting this band’s first CD on Thorp Records when it first came out and really liking it. I forget exactly what it sounds like, and I can’t find it to compare and contrast, so I’m gonna have to go out on a limb and say that either a) this band took a turn for the worse, or b) I was having a “Chris X Likes Bad Music, What Is He Thinking?” day. I suppose that happens to the best of us. Not that this is terrible, but it certainly isn’t something I’d make a fuss over, and considering I made said fuss over the first album, well… I don’t know. These dudes are from southern California, and they have the whole So-Cal metalcore thing going on for them; you know, if you like Bleeding Through and 18 Visions and all that, you’ll eat this up (just don’t eat too much, or you won’t be able to fit into your tight black girl jeans). They do have their own little sound mixed in with the typical feel of that genre, but again, nothing I’d make a fuss over. So hey, if this tickles your fancy, go buy it. Better yet, buy my copy, it’s for sale.
(Victory Records, 346 N. Justine St., Suite 504 Chicago, IL, 60607 www.victoryrecords.com) - Chris X

Serotonin “Suture Anterior”
I didn't have high hopes for this record. I had heard that these guys were similar to Mock Orange (a band I detest) and while that comparison isn't unfounded, it is kind of misleading. For one thing, this band’s songs are quite a bit heavier than Mock Orange and their songs are also quite a bit more complicated. I actually liked this 5 song EP quite a bit. The band sounds more like a 5 piece than a three piece (thanks to over-dubs). The artwork on this EP is really nice and the recording is also really good. The vocals need some work, but the instrumentation of these guys is amazing. I look forward to hearing more from this band….I think with a little work these guys could put out a stellar full length. (Biofocal Media) - Erik Aucoin

Sex Positions S/T
Admittedly I’ve left the hardcore days of my past behind, but I still like to believe I’ve been versed well enough in the scene to understand a few things about the music. With that said, Sex Positions’ self-titled release on Deathwish starts with a mess of sound and doesn’t get much better. Ex-The Dedication singer Rich Perusi, guitarist Eric Marcelino and drummer Larry Anzoni, along with newcomer Dave Saladik on bass, make Sex Positions a tight enough group, but what they’ve released is predictable noise. The slashing guitars beating you over the head in time with Perusi’s incomprehensible shouting and cyclical bass on the low end, kept in breakneck time by Anzoni’s drums. Unfortunately Sex Positions adds dance club drum and bass in between the first two tracks, followed by more intentionally fucked up electronica between each track on the first half of the album. “Interlude,” a delicate harmonica-infused track (yes, featuring harmonica) only further illustrates the incoherence of this album. I’ll give Sex Positions the benefit of the doubt - maybe without all of the electronic babble and studio magic they put on one hell of a show. Hopefully the nervous energy of this album is put to good use somewhere. (Deathwish, 35 Congress St., Salem, MA 01970 - www.deathwishinc.com) - Amber Blankenbiller

Shockwave The Ultimate Doom
To be quite honest, I have been over and done with the whole “Nu Metal” schlock for, well lets see…since its inception I guess. Anthrax meets Public Enemy was ground breaking, and so was Sepultura’s use of pounding beats and zip tied guitars in their post speed metal phase. But this? This kind of rot comes along now and then and all us metal heads, the REAL metal heads, slap our foreheads and gasp, “Please Gawd…not again!” Then the Shockwave tough guys saunter up donning ski masks and a “lets get this posse started!” regime and succeed only at being a bunch of talentless dudes straight out of high school that enjoy backyard wrestling and political controversy just as much as trick or treating and trying to be the badass kid in grade school. The faux KISS cover doesn’t cover up any tracks at all. I tossed this mother on and let it slide off a bit before I ended up hitting the “next” button on my remote. Every song sounded the same and bored me to tears. Good luck getting into this one.
(Triple Crown records 331 W 57th Street, PMB 472, New York, NY 10019 www.triplecrownrecords.com) - Mark Whittaker

Silent Drive Love Is Worth It
This band features an all-star lineup of ex-members of other hit bands including Bane, Drowingman, and metal stars Dasai. Unfortunately, I can’t say that the potential greatness of all the component parts has equaled a coherent and satisfying whole. If you like any of the three bands mentioned above, don’t be fooled into thinking that this record sounds anything like them. Instead, these young men have made an art rock record that in its best moments hovers somewhere between late Soundgarden and Faith No More. Or to put it in more kid friendly terms, my girlfriend described them upon first listen as a poor man’s Coheed and Cambria. Fitting, in a way, because they are on Equal Vision who may figure that they might get lucky twice and fool hardcore kids into thinking this attempt at mainstream/ new prog rock is something vital that the world needs to hear. [Equal Vision Records, PO Box 14 Hudson NY 12534-www.equalvision.com] -Greg T.

The Silent League The Orchestra, Sadly, Has Refused
This band is a side project of Justin Russo, the keyboardist from Mercury Rev, written while he was on tour with them backing their fabulous albums Deserter Songs and All Is Dream. Other indie rock all-stars found on this record are Sam from Interpol on drums and fellow Mercury Rever Sean Mackowiack. Unfortunately, there is nothing very engaging about this piano driven album of boredom rock-my new name for it. At its best moments some of this sounds a bit like the Olivia Tremor Control, but those moments are few and far between. If you need a new album full of slow, sappy rock you should probably just check out the Daniel G. Harmann record I reviewed this month, but stay away from this p.o.s. [File Thirteen Records, PO Box 804868 Chicago IL 60680-www.file-13.com] - Greg T.

Slapshot "Digital Warfare"
You know, a lot of times, after 20 years, you’d think a band would calm down a little. Not Slapshot. In fact, their latest may be their most angry album yet. Seriously, this is the best stuff ever. Song titles like "Had It With Unity,” "Stupid Fucking Kids,” and "Wasted Time" speak volumes about the hardcore scene, and being a bitter old man myself, I can relate all too well. You’d also think that after 20 years, a straightedge band would sell out. Not Slapshot. They cover the Minor Threat anthem of the same name, and it’s just as sincere two decades after the fact. All you kids who think shit (and I stress SHIT) like Throwdown, Norma Jean, and 18 Visions are "sick hardcore bands, bro,” can go fuck yourselves with tactical nukes, but first, recognize that Slapshot are the fucking kings of hardcore. (Bridge Nine Records, PO Box 990052, Boston, MA 02199-0052 www.bridge9.com <http://www.bridge9.com> ) - Chris X

Sleep Station After the War
This is a concept album about World War II, but wait! Come back! It works. Sure, the term “concept album” can be a code word for “crap,” but this album is actually a haunting account comprised of affecting vignettes. The fact that each song is more a short story than a chapter allows the tracks to be seamlessly excised and enjoyed regardless of the placement in the story. Each song so expertly explores its topic that the record is several stories in one, just like the situations that incessantly complicate life. Sleep Station teases these encounters apart and especially in “Caroline, London 1940” summarizes the state. A ballad to bombs and a girl, “Caroline” juxtaposes the war and the ongoing personal saga with cymbals glittering and horns heralding love of life and living. The style of music varies from a military march as the “drums of war roll on” to shimmering pop tracks. Somber strumming tunes accompany the reflection in songs like “Burden To You.” “A Final Prayer 1” features a mobile lullaby and more dreamlike musings, which continue until the album concludes with a soft lullaby and a final goodbye. This ode to humanity is not to be missed. (Eyeball Records, P.O. Box 1653 Peter Stuyvesant Station New York, NY 10009, www.eyeballrecords.com <http://www.eyeballrecords.com> ) - Erika Owens

A Small Victory “The Pieces We Keep”
This six song EP sounds like anything but a debut record. The title track does an excellent job of commencing the EP and establishing their driven style. Track 2 “Hammer Strong” does not veer far from a radio hit with its catchy chorus and attentive guitar rifts, suggestive of the entire EP. While singer Mark Waller’s lyrics are poetic and original, there are times when they are a little trite. However, his melodies are well thought out and executed decisively. If A Small Victory’s upcoming full length is anything like The Pieces We Keep EP, this band will definitely make a name for themselves. They also gave me a poster. It turns out it is actually just an enlarged version of the CD’s front cover, but I suppose it’s the effort that counts, so I’d like to thank A Small Victory’s promotional team for the physically superior version of the CD cover. It makes me feel like more of a man, as it will save me a trip to CopyMax. (Lobster Records, P.O. Box 1473,
Santa Barbara, CA 93102 - www.lobsterrecords.com) - Tubby

Snapcase “Bright Flashes”
Ah, Snapcase…a band that led the charge of the new sound of hardcore in the mid-90s. What the hell happened? They went from putting out a of couple classic records, to being "just there,” to totally dropping the ball. Their last record was called End Transmission, and I wish it was because this band is way past their prime and overstaying their welcome. This release is basically a bunch of songs left over from the last session, thrown together and released under the mistaken assumption that people still care about this band. The first two songs blend into one another, and surprisingly, I enjoy them. Not classic Snapcase by any means, in fact, it sounds more like the End Transmission era than anything else. The band then offers its version of the Helmet gem, "Blacktop,” and if you can get past Daryl Taberski's trademark yelp (if you haven't learned how to do that by now, what are you doing listening to Snapcase after all these years?), it's a damn good cover. They launch into "Skeptic" immediately thereafter, it sounds like it could've come from Designs For Automation, and with this band, a step backwards is a step in the right direction. However, they need to keep walking, as the rest of the original material on this record is mostly filler, and it’s clear why they were left off the last "real" album. This record is rounded out by two Devo covers (good stuff), and a stab at Jane’s Addiction’s "Mountain Song," which is not quite as terrible as Dave Navarro’s wedding being broadcast on an MTV reality show. I’m gonna go put Lookinglasself and Steps on and remember the good old days. Don’t waste your money on this one. (Victory Records, 348 N. Justine St., Suite 504, Chicago, IL 60607- www.victoryrecords.com <http://www.victoryrecords.com>) - Chris X

Some Girls All My Friends Are Going Death
This is punk music for kids with plugs, septum piercings, black hair and sleeves. Going against most of my initial reasons for disliking a band, I have to say that this record has struck some unknown chord within me. Comprised of old demos, 7”s, and new material, All My Friends Are Going Death is basically a Darwinian catalogue of everything this band has done, and that of all of its members former projects. There are tones of American Nightmare and the Locust; shit-fits and all out throat-splitting screams that burn into your ears and sting like wasps. Don’t expect to love this record at first listen, because you won’t. Play it loud, play it when you hate life and when your friends are nowhere to be found, when you can’t justify smashing anything, but you really fucking want to. - El Beck

The Special Goodness “Landairsea”
The Special Goodness is a side project of Pat Wilson from Weezer and Atom Willard formerly of Rocket From The Crypt. Unfortunately, this project rarely gets off the ground and mostly fails to sound as good as either of those groups even at their humblest moments. The sound is pop, with a surprising amount of minor chords thrown in over mid-tempo, straightforward rock. The main fault of the group is the inadequate amount of hooks. On most of the tracks there isn't that melodic lead attention grabber that makes you salivate for more, something Weezer was able to do so well. Wilson's vocals are decent, and his songwriting has potential. "The Big Idea" and "Whatever's Going On" stand apart from most as songs that deliver the right amount of pop and punch. The association with Weezer alone will sell some of these discs, but those looking for a rival to Rivers Cuomo's songwriting prowess might want to try a Rentals album instead. (Epitaph Records, 2798 Sunset Blvd, Los Angeles, CA 90026 - www.epitaph.com <http://www.epitaph.com>) - Dan Williams

Starflyer 59 I Am The Portuguese Blues
Riff heavy radio rock for the Christian set. Supposedly these songs were written in 1997 and then scrapped when the band went in another direction. Ya, they kinda sound like that post-grunge era, maybe similar to The Catherine Wheel or Veruca Salt (but with a dude singing). There’s nothing outstanding here, but it’s solid rock and roll that sounds good at high volumes (although a little dated). Songwriter Jason Martin’s vocals are smoky and smooth, sounding a little like Girls Against Boys if they played arena rock. I could have done without the line, “All praise and glory to Jesus Christ our lord and savior” in the liner notes but, hey, what can ya do? (Tooth & Nail, PO Box 12698, Seattle, WA 98111, www.toothandnail.com <http://www.toothandnail.com>) - Jason Schreurs

The Start “Death via Satellite”
I am so impressed with this nifty ep, I find myself moved to get up and dance my stuff until collapsing from exhaustion, or its twenty four minutes pass (whichever comes first). Aimee Echo provides the vox, Jamie Miller(guitar, snth, vox), Erick Sanger(bass, scream), and Billy Brimblecom jr.(drums, vox), who together make a new-new wave dance pop that is simply irresistible. Aimee reminds me of the girl with the braces fronting X-Ray Specs and Christina Amphllett from the Divinyls (I Touch Myself), switching around with different sounds. I especially love it when she gets breathy and pants. The band is tight and the synths on some tunes add a Cars-like extra flavor. The guitars, oh, the guitars, grab and shake me, sending me to that special place. Bring this to your next party and watch ‘em go. (Nitro - www.nitrorecords.com) - Renrag

Statistics Leave Your Name
Like Dashboard Confessional and Bright Eyes, the initial conception for Statistics started as the musical project of one person. This is the first full length for Denver Dalley, who also plays in Desaparecidos with Conor Oberst. According to the press release, this record and project was made possible due to Oberst’s frequent touring with Bright Eyes. His withdrawal pushed Dalley to write and record his own songs. As with most musical endeavors of the “Omaha family”, this record is diverse in terms of overall sound and genre-description from song to song. The first track, “Sing a Song”, starts with mostly synths and a dancy beat, but breaks into heavy guitars. “Hours Seemed Like Days” is another dancy song which reminds me a bit of Jimmy Eat World. “2 AM” is a slower, clean, electric guitar song with string synths in the background that are reminiscent of Cursive, which could certainly be attributed to the fact that it was co-written by Tim Kasher. I liked the fact that Leave Your Name was released on Jade Tree because it demonstrates the diverseness of this label’s roster and reiterates that you can’t really pinpoint what a band on that label will ever sound like. (Jade Tree Records, 2310 Kennwynn Road, Wilmington, DE 19810 - www.jadetree.com <http://www.jadetree.com>) - VeganVadim

Steel Train “1969”
A genius idea from a genius group of stalwart young men: adding their own twist to six songs from 1969, recording and assembling them onto a single record aptly titled 1969. It is unbelievable that vocalists Scott Irby-Ranniar and Jack Antonoff could hit the absurdly high notes on The Jackson 5’s “I Want You Back” that the prepubescent Michael Jackson made so popular decades before molesting children (I mean taking them to Neverland). We can only hope Steel Train doesn’t have a secret backroom on their tour bus full of dolls and candy. With covers of classics by Crosby, Stills, and Nash, Bob Marley, David Bowie, Creedence Clearwater Revival, and my personal favorite “I Want You (She’s So Heavy)” by The Beatles, this EP is worth checking out if you’re into classic rock. There is also some quality artwork (done by, let me see here, Aesthetic Apparatus) evocative of the year 1969. Compliments to Aesthetic Apparatus for making this CD visually pleasing by using two of Justin Wonka’s favorite things: pastel color schemes and flowers. It’s like soooooooo ’69. (Drive-Thru Records - www.drivethrurecords.com <http://www.drivethrurecords.com>) - Tubby

Stop It! Self Made Maps
Stop It! Is a 4 piece post hardcore outfit from Richmond ,VA. Their bio likens them to hardcore heroes Minor Threat and indie champs Sonic Youth. Neither of which I buy. Not in the least. Their bio suggested a distance from the tag of math rock. I’m not sure why cause that is about the truest thing they could suggest. If I may be allowed, let me try to clear things up by filling your minds with thoughts of Hoover, June of ’44, Drive Like Jehu and even Richmond contemporaries Sleepytime Trio. Maybe I can be the first to dub the term “SouthEastern PostCore.” There always seems to be an abundance of these mathy hardcore bands that borrow heavily from scenes past such as DC, Chicago and Louisville that populate between Gainesville, FL and Richmond, VA. These bands definitely deserve some recognition of their own without the convoluted tags of ill-informed critics or malnourished kids who have no bearing on what has come before them. So enter the era of “SouthEastern PostCore!” It’s doubtful that “Stop It!” with their latest release Self Made Maps will spark a movement so bold as to inspire the next generation of kids to get tattoos of S.E.P.C. crossed through an X (although that would be a welcome break from those stupid star tattoos identifying emo losers everywhere), they do a good job of bringing a solid effort to the table. They never seem to drag out songs like so many of their PostCore peers and the songs are filled with unconventional hooks that make listening to a screamy hardcore record interesting. (Another reason why some many post hardcore bands miss the mark.) Don’t call it a comeback… It’s been here for years… SouthEastern PostCore!! (Robotic Empire Post Office Box 4211 Richmond, VA 23220 - www.roboticempire.com <http://www.roboticempire.com>) Wally Peters Jr.

Subhumans Live In A Dive
Ahh, the ubiquitous Subhumans. You always see some kid at a punk show with their logo painted on his leather or jean jacket, maybe a patch pinned to a bag or to dogpiles. That's cool though because you have to give credit where credit is due. Recorded in April 2003 at a sold out show in Corona, CA, this album features 26 songs that come in at just about an hour. The set list for the show captured here is pretty phenomenal, bound to please pretty much anyone from the longtime fan to the total newcomer. It’s a bit heavy on tracks from the band’s best album, The Day The Country Died, but isn’t that really how it should be? Live In A Dive not only does The Subhumans justice -- it bolsters my opinion of Fat Wreck for releasing it. Whether you've already been bitten by the band's cynical punk delivery or a newcomer, this disc is well worth the cover charge. Let's just hope we get another chance to see the band live -- I definitely won't miss 'em next time around. (Fat Wreck Chords, PO Box 193690 San Francisco, CA 94119 - www.fatwreck.com)
- Milkman

Sufjan Stevens Seven Swans
Seven Swans is the loveliest collection of songs to pass through my reviewer’s door since last year’s Owl & Pussycat release, and even that comparison doesn’t do the subtly brilliant Sufjan Stevens justice in the least. Whereas other artists, contemporaries, visionaries may wonder, “Do I have anything worthwhile to say? Does anyone even want to hear it?” Stevens simply answers “yes” to both questions using quiet, detailed melodies and heartbreaking honesty. Stevens bases each song on banjo, guitar and his own quietly confident voice, sounding both folksy and modern, familiar and strange. Listening to Seven Swans is like reading a poem by William Blake or Robert Frost: we can relate to the back woods, barefoot in the grass, hide and go seek emotional content that Stevens provides us with, but perhaps only in a voyeuristic, envious way. The most impressive aspect of this release is the tact and delicacy that Stevens approaches his blatantly clear Christian beliefs within these folksy soundscapes. He personalizes the dangerously controversial world of religion on a humanistic, reverent level not because he wants us to believe in it, but because he believes in it. It seems that faith, whether it be in the redeeming power of music, the divine spirit, or both, as Stevens shows us, is universal. (Sounds Familyre, PO Box 225, Clarksboro, NJ, 08020 - www.soundsfamilyre.com) - Thumper

Sunshine “Necromance”
Wow, this is rocking! Dan (drums, percussion, keyboards), Martin(bass, sequencers, keyboards), and Kay(guitars, vocals, loops, keyboards) stir up an awesome storm of prog-punk-metal with goth sprinkled all over it. They have that special feel for huge 80’s alternative bands like Gene Loves Jezebel, Comsat Angels, Julian Cope, and more than anyone else, The Cure. Mixed with plenty of metal guitars, rumbling bass and machine gun drums of course, especially on songs like “Punk And Chic,” this new band packs a wallop. Can you imagine over-caffeinated goths who really wish they were in a metal band from outer space? This is what they’d sound like; busy rhythms and beats propel the spaceship, while shimmery, majestic guitars and squealing keyboards run circles around each other, battling for control of the captain’s chair. I’m having trouble not being able to remove this from my CD player. Give me more. (Gold Standard Laboratories, P.O. Box 65091, Los Angeles, CA 90065 - www.goldstandardlabs.com <http://www.goldstandardlabs.com>) - Renrag

Supine To Sit Break Your Indicator
Imagine you are at a geek rock prom. The prom king is the kid with the dorky glasses, the crooked spine, the messenger bag with pins of bands no one knows, the kid that can argue about the imagery of Ginsberg’s Howl as well as he can about the guitar solo on “Buddy Holly.” As he is about to take the ceremonious spotlight dance with his prom queen- a girl who is trying to look like Blondie but who looks more like a character from Dawson’s Creek- Supine To Sit’s “That’s Not A Spot” cues up as the perfect soundtrack to the waltz. Most of Break Your Indicator is like that; a soundtrack to an indie rock John Hughes movie. It’s got the pop and melody in large doses, but it balances this all with large amounts of quirk and technical and unique riffs. What the group manages to do exceptionally well is balance these elements, so well that while the structures of the songs are original and unconventional, the songs never lose their pop tag and accessibility. The group, made up of former members of Sleepytime Trio, Roadside Monument and Pedro the Lion, is certainly one to watch for. You can easily listen to the record on repeat and wait in futility for it to grow tiresome. Supine To Sit have created a nice record for a road trip, prom, party, or any summer activity. (Lovitt Records, p.o. box 248, Arlington, VA 22210-www.lovitt.com)- <http://www.lovitt.com)-> Dan Williams

Surrounded “Safety In Numbers”
You have to hand it to Deep Elm Records, they are a label that is definitely not down with painting themselves into any corners as they try to document the current emo scene. For them, the term “emo” is not a way to pigeonhole themselves, but rather a method of labeling an all-encompassing desire to express oneself through emotional music. No better does this manifesto play out than on Surrounded’s new album, Safety In Numbers. About as far away from emo rock labelmates like Brandston and Benton Falls as you can get, this Swedish outfit creates an atmospheric, dark collection of songs that will be imbedded in your cranium for quite some time. Moody and gut-wrenching, Surrounded start with a minimalist approach and then add layers of texture and emotion to create truly epic songs. With Marten Rydell’s deep, hushed vocals (think Leonard Cohen with a hangover) and the band’s obsession with early Pink Floyd, don’t expect to have your socks rocked, but if melancholy is your name, this is your game. Yet another winner from a label with one of the best track records around right now. (Deep Elm Records, PO Box 36939, Charlotte, NC 28236, www.deepelm.com <http://www.deepelm.com>) - Jason Schreurs

Tabula Rasa The Role of Smith
A friend of mine from Pittsburgh turned me on to Tabula Rasa a long time ago. She was adamant that the band would rock my world. She went as far as to mail me a CDR of some early Tabula Rasa tracks. I listened but couldnít grasp what she confidently assured me was some seriously kick-ass indie rock. Fast forward a few years and I find myself at Irving Plaza to watch Darkest Hour piss off some Anti Flag fans (such an odd tour). Tabula Rasa was on the bill as well and I finally figured out what my friend was talking about Tabula Rasa rock live. With the production of J Robbins, The Role of Smith rocks as well. Tabula Rasa craft creative, thinking mans indie rock that brings to mind a Jawbreaker meets Dischord sound. Using their influences from the post-hardcore and indie rock genres, Tabula Rasa manage to create layered music that at times can be quite complex, thanks mainly to some spacey passages (Just Guns And) and abrupt time changes (Jumping The Shark). My one complaint with Tabula Rasa, which I am confident will develop over time, is the ability of Rob Spagiare's vocals to match the explosive energy of the accompanying music. Tabula Rasa is definitely a band that should be a blip on your radar. Oh, just in case you were wondering, Tabula Rasa is a theory that the human mind is at birth a "blank slate" without data or rules for processing it, and that data is added and rules for processing it formed solely by our sensory experiences. (A-F Records PO Box 71266 Pittsburgh PA 15213 a-frecords.com) BiLL

Ten Foot Pole Subliminable Messages
Wow, another punk band that dislikes Bush. Man, I wonder what the hell that guy did wrong. I think it might be time to update the classic t-shirt design of ol’ Ronnie Regan with a bullet hole in his head. I could make a million bucks, pay off a politician, then get songs written about me and how much of a scumbag I am. Yeah, that would be sweet. Does anyone remember when Ten Foot Pole was on Fat Wreck? Well, 17 label changes later, they're now on Go Kart, what's next, Hell Bent? Typical TFP here, nothing too exciting, but nothing too shitty either. I'm not describing their sound to you because if you don't know, either you wouldn't care or it just doesn't matter. Bassist/Singer Dennis Jagard commented, "The style of the new material is a natural evolution - our new band members bring new flavor to the mix - Mike wrote several songs and Eric can play guitar parts previously unthinkable - but also Kevin and Dennis have honed their skills and experimented a bit. There are some tougher moments - more aggressive vocals and heavier music at times." This album isn’t going to win over any new fans, but the existing ones will be content until the next effort. (Go Kart, PO Box 20 Prince St Station New York, NY 10012- www.gokartrecords.com)
-Milkman

The Thermals Fuckin A
I just bought the new David Cross CD the other day and damn is it ever funny. Well worth your 10 bucks. In the liner notes he pays tribute to the label (Sub Pop) that released the CD by saying, “to the good folks at Sub Pop: you may know jackshit about music but you sure as hell know pre-recorded comedy.” Did I mention that this is The Thermals’ second full length on Sub Pop and it does nothing to make me change my mind about agreeing with Mr. Cross? Another crappy Interpol rip-off band that tries hard to bring the rock energy of Guided by Voices but seems to lack the sincerity. This is boring shit, stay away! [Sub Pop Records, PO Box 20367, Seattle, WA 98121-www.subpop.com] - Greg T.

This Beautiful Mess “Temper the Wind to the Shorn Lamb”
This Beautiful Mess is a Dutch band with international distribution, and for good reason. They've been on the Emo Diaries by Deep Elm and covered "Love Song" for an '80's comp, which gives a hint at their style and capabilities, but this album presents their entire thoughtful picture. "Come One, Come All" is an inviting intro that slowly, softly escorts the listener through a crescendo of strength and intensity. The texture of horns and strings provides an interesting backdrop, but the lyrics are enveloping. Short staccato phrases punctuate the parts and mirror the orchestral bedding. "Up the Barricades" pleads to "give me relevancy / give me your ideals and truth over theory" in an almost tangible tone, a resolve which elevates the entire album. The vocals are also confessional and emote the romantic tension that is so intelligently explored through riddles, puns, and other exciting plays on words. “It’s better to go blind / than never go at all” is such a captivating play on the “loved and lost” adage, which typifies the way that This Beautiful Mess explores typical relationship territory, then turns it on its head. In the end, though they are just “waving the white flag” with the rest of love’s victims, these victims have something amazing to share before they go. (Sally Forth Records, PO Box 108, 3640 AC Mijdrecht, - www.sallyforthrecords.com <http://www.sallyforthrecords.com> ) Erika Owens

Toys That Kill “Flys”
My roommate hates this CD! To illustrate the validity of this comment, be advised that he got completely insulted when he read my review of Defiance’s Nothing Lasts Forever, so I think it’s a good rule of thumb that if you like Defiance, you should probably stay away from this record. If, however, you prefer the rock sound coming out of Sweden right now, it is my guess that you will also appreciate Toys That Kill from San Pedro, CA. These ex-members of FYP, with a little polishing, could really give The Hives a run for their money. The lo-fi distorted vocals sound as if sung through an old CB radio, but the rest of the production quality is crisp and clear, which makes for a nice contrast. Ten-Four, Good Buddy! I think I might be a little slow or something, because I don’t understand what the hell they are trying to say with their lyrics. Perhaps they’re being overly metaphoric, or maybe they are just using words that sound cool and have no meaning. The third possibility is that I’m just an idiot. Who knows? What I do know is that Flys is the perfect soundtrack to any indie twist party! (Asian Man Records, P.O. Box 35585, Monte Sereno, CA 95030 - www.asianmanrecords.com) -Toothless George

Transistor Transistor / Wolves Split CD
This split CD contains 4 songs each from New Hampshire’s Transistor Transistor and Massachusetts’ Wolves. The disc starts off with TT, who play a very driven, upbeat, screaming/shouting brand of hardcore. I use the word “hardcore” very loosely because it’s not typical open chug-mosh hardcore, instead it’s a lot more interesting and creative, and I’ll admit that I was pretty impressed with these songs. I’ve seen this band live a few times and heard their last record on Level Plane, and this far surpasses everything they’ve done up to this point. Some of the music is a little reminiscent of Refused, but not to the point where it’s anywhere near a rip-off, and the vocals are pretty similar to the last Since by Man record. My favorite part is the melodic pull-off guitar part at the end of “I am the Goddamn Devil.” Shit’s hot. The 2nd half of the record is comprised of the last recorded songs from Wolves (ex- Orchid). I have to say that Wolves sound pretty similar to TT, so if someone were listening to this record they could mistake the whole thing as the work of one band minus one detail: the TT songs are actually good and catchy. The Wolves songs are not bad by any means but they just do not stick out to me at all. I would say the record is worth checking out just for the first half because those TT songs are pretty awesome. (Level-Plane Records, PO Box 7926 Charlottesville, VA 22906 - www.level-plane.com <http://www.level-plane.com>)- VeganVadim

Up Up Down Left Right Left Right B A Start Perris, CA
I had the pleasure of reviewing Up Up Down Down's debut album And Nothing is #1 for a previous issue of Wonka Vision and found the album to be challenging but accessibly brilliant. Their new EP, Perris, CA picks up right where their debut left off, only the band managed to pick up some style points during the break. The New Jersey based quartet fuse a stronger production with the addition of a strings (cello and violin) that highlight the stand out track off the EP. "Please Come To Me" despite being the shortest song actually foreshadows what could be a progression of Up Up DownÖís future sound. The track teeters with an almost atmospheric emotion only to abruptly stop, leaving the listener salivating for more. The remaining tracks from Perris, CA feature an abundance of tempo changes, hooky guitars and focused vocals. "Down To The Day" and "Come Away" recalls a very Sunny Day Real Estate meets Cursive sound. Up Up Down Down's talent and creativity are boundless and the evolution of their sound has me drooling for what they do next. (Limekiln Records PO Box 4064 Philadelphia PA 19118 limekilnrecords.com) BiLL

Ultimate Fakebook Electric Kissing Parties
To make use of Star Wars references that Ultimate Fakebook would understand when I received the new CD Electric Kissing Parties to review this month I thought it was just that, a new release. Well my first reaction was “cool.” I had enjoyed their first release This Will Be Laughing Week very much. After re-releasing it on a major and the rise of the “ironic metal/rock t-shirt” and “obsession with Star Wars” Emo phase I quickly became bored with ill fitting Motley Crue t-shirts on stupid emo kids who were born when Theater of Pain went platinum and… the rock bands that appealed to them. This is unfortunate for a good band like Ultimate Fakebook but hey what can I say. So here’s my Star Wars reference part. I thought this was a new release but in fact it was a re-release of Ultimate Fakebook’s first record. (I see a trend starting here.) Much the same way that I thought the original Star Wars was the first in a series a movies, I thought This Will Be Laughing Week was Ultimate Fakebook’s first record. What did I know? Anyway, fortunately for me Electric Kissing Parties was much more worth my time then the Phantom Menace. Because hindsight is 20/20 the record feels spotty and not the solid effort that This Will Be Laughing Week would come to be but it is definitely a good first record with a lot of the same qualities that made its predecessor such a good listen. The Star Wars and Glam Rock references seem dated to me but the record was definitely worth a re-release for the benefit of die-hard fans that may have missed it the first time around. (Law of Inertia New York, NY - www.lawofinertia.com <http://www.lawofinertia.com>) Wally Peters Jr.

V/A Bring You To Your Knees: A Tribute To Guns & Roses
Wow, who the fuck was the genius that thought THIS was a good idea? What next? “Walking Around With Your Dick Tucked Between Your Legs: A Tribute To The Gin Blossoms”? Come on! Okay, the bands on the album are kick ass for the most part. Unearth, Eighteen Visions, Death by Stereo, and Dillinger Escape Plan to name a few. Each band tends to put their individual ‘flavor’ on the song, which I respect, but for some reason it just doesn’t gel. Zombie Apocalypse’s cover of “Welcome To The Jungle” sounds more like a train wreck if you ask me. The songs covered on the album are mainly from the first three G n R albums, but some crucial songs are left off. How can you do a Guns ‘n Roses tribute without “Patience” or “Mr. Brownstone?” I want to hear a Trustkill band whistle for 10 minutes dammit! On the flipside, Most Precious Blood’s cover of “Sweet Child o’ Mine” is downright AWESOME! Who would have thought hardcore gang chants of “SWEET CHILD O’ MINE!” would actually sound rad? This album might be worth purchasing just for that track alone. In the meantime, I’m going to wait for the Motley Crue tribute album. Now THAT will rock! (Law of Inertia, 61 4th Ave. #125 NY, NY 10003-www.lawofinertia.com) - Jersey Jef

V/A Rock Against Bush Vol.1
Punk and politics have gone hand-in-hand since, well, the advent of punk rock music. And, even before that, folk and pop musicians found a common voice when uniting to rally against politicians whose views they didn’t share. In the 15 years that I’ve had the right/privilege to vote, I can’t remember another President who has been as out-of-touch with the young voters of America as George W. Bush is. Fat Mike of NOFX and Fat Wreck Chords fame has pulled together a group of bands that want to “express their outrage at - and form a united front against - the dangerous, destructive, and deadly policies of George W. Bush and his administration.” And, though this is a punk rock compilation with some pretty familiar punk rock faces contributing, there are also a few bands that you might not expect to find mixed in with the rest, namely the Godfathers of Industrial-Metal, Ministry, and the cathartic and reflective indie rockers, Denali. Seventeen of the 26 songs on this compilation are previously unreleased (YAY! New tracks by The Get Up Kids, Descendents, and Alkaline Trio) so even if you could care less about politics or are, gasp, a supporter of George W., you can’t walk away disappointed by this release which comes with a bonus DVD of music videos and news footage showing inconsistencies in speeches that the President has given. Oh yeah, suggested retail price is $6!!! As Fat Mike says in the liner notes, “It’s not about ‘let’s be punk rock and hate the government’; it’s about ‘let’s be punk rock and change the government.’” Here’s to hoping that there won’t be a need for a second volume after the November elections are tallied. (Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119-3690, www.fatwreckchords.com) - Chip Midnight

V/A Trustkill Records Blood, Sweat, and Ten Years
OK, you’d think a compilation celebrating ten years of releases would showcase the label’s entire illustrious career, right? Wrong. What we have here is one or two songs from each of Trustkill’s current bands, which really makes no sense considering the title of this record. This comes off more like Trustkill Records’ 2004 Label Sampler. But hey, what do I know? I’ll tell you what I know. I know that this label put out some good stuff back in the day, and neglecting it on the “Happy Birthday” comp is a stupid move. Where is Turmoil? Where is Despair? The only non-current band featured here is Poison the Well, and that’s probably only because of how big they’ve gotten. There aren’t even any unreleased or exclusive tracks included here; everything on this record is available on the bands’ previously released albums. I’m pretty sure that fans of Throwdown, 18 Visions, and Bleeding Through own the CDs already. I’m also pretty sure that fans of Throwdown, 18 Visions, and Bleeding Through are retards with terrible taste in music, but that’s beside the point. Anyway, this CD is a complete waste of potential. (Trustkill Records, 23 Farm Edge Lane, Tinton Falls, NJ 07724- www.trustkill.com ) - Chris X

Victim Of Modern Age Channels Like Capillaries
Victims Of Modern Age play a tight post-hardcore indie rock with urgent, honest intentions. Formerly known as Ponder, the band wanted to change names in 2001 “to something more relevant.” Referring to the latest Victim Of Modern Age effort, singer/guitarist Allen Clements has commented, “The channels that move filthy money through the world are the capillaries that move blood throughout our bodies. Channels are rivers, streams, the US postal service.” Absolutely. It’s with that aggro that Clements sings, reminiscent of a Kevin Seconds sound, demanding on “Anthro-Apology:” “I want to be a victim of anthropology/Our talks are full of cynicism/But we’re out of energy.” Channels Like Capillaries is thick in layers all around; both lyrically and musically, this is a full album of engaging structure. Relying heavily on barraging, repetitive guitars, songs tend to take a while to really get where they’re going. But deft musicianship on out-of-sync rhythms and the more delicate tendrils of guitar work that are occasionally allowed to take precedence keep Channels Like Capillaries interesting on every listen. (Universal Warning Records, 865 Main St., Royersford, PA 19468 - www.universalwarningrecords.com) - Amber Blankenbiller

Volcano, I’m Still Excited! S/T
Low-fi, low maintenance - the new self-titled release by Volcano, I’m Still Excited! is the listening equivalent of vegging out in front of prime time Saturday television programming. With such simplistic guitars, keys, drums, and vocal lines, Volcano, I’m Still Excited! (Mark Duplass, Craig Montoro and John Thomas Robinette III) doesn’t ever really demand too much thought beyond pondering the origins of such a strange moniker. Such a minimalist album creates a listening experience that doesn’t ever really lend itself to any intellectual or emotional stimulation or attachment, which is fine music while driving or trying to fall asleep. That’s not to say this album isn’t endearing - the unpretentiousness of it all actually makes Volcano, I’m Still Excited! an enjoyable listen, from it’s sugary, head bobbing “2nd Gun” to the more subdued moments of the emo-ified (not to mention fully orchestrated) “Byron’s 24th Christmas.” It’s all been done before (kinda Spoon-y, straightforward indie pop in an Elvis Costello sort of way), but who wants to listen to the avant-garde all the time when “cutting edge” tends to sound like crap anyway. (Polyvinyl Records, P.O. Box 7140, Champaign, IL 61826 - www.polyvinylrecords.com) - Amber Blankenbiller

Walls of Jericho All Hail the Dead
After a two year breakup, Michigan’s Walls of Jericho are back with some new members and the same fast metal / hardcore songs. When this record first started I thought it was The Splinter that Shards the Birth of Separation by Zao. No joke, the beginning of the CD is identical up to the pitch of the feedback. If you have followed WoJ from the start, you pretty much know what to expect. Their style doesn’t deviate much at all from the past, so the record features lots of fast, Slayer type riffs that go into open chord breakdowns fronted by the super pissed-off screams of Candace Kucsulain. One thing that I can’t stand about this band is their seeming necessity for including a chug breakdown in every song; “A Little Piece of Me” has a part that is almost exactly like an Unearth breakdown. But nothing could have prepared me for when I got to he chorus of “Revival Never Goes Out of Style,” the “Woahs” in the background are straight out of “Bro Hymn” by Pennywise. What the fuck?!?! Oh, did I mention the artwork is horrid and that they re-recorded a song from a previous record AGAIN. Also, Candace now sings in a few songs and most of the parts sound like they were just thrown in and are on top of screamed parts. Overall, I’d say this record is not terrible, but not so good. Did I mention they ripped off “Bro Hymn”?!?!
[Trustkill Records, 23 Farm Edge Lane - www.trustkill.com <http://www.trustkill.com>] - VeganVadim

We Ragazzi Wolves With Pretty Lips
I like to think I’m pretty versed in my musical taste and knowledge, but there are some bands I just don’t get. We Ragazzi is one of those bands so I apologize beforehand if this review is not very accurate. Suicide Squeeze is a pretty cool label from Seattle because over the years they’ve had a pretty diverse sounding roster, with bands ranging from Minus the Bear, to Elliott Smith, to Hella. This is good because you never really know what to expect with the next release, but nothing could have prepared me for this. We Ragazzi redefine the term “weird rock”. According to the Suicide Squeeze site, they are from Chicago and have previously almost broken up on stage. The band is a three piece consisting of two girls and a guy playing guitar, bass, drums, synth keyboards, and organ. The vocals are sung by the male and remind me a bit of some 80s dance stuff. I guess this music might be considered artsy but I just don’t get it and find it pretty annoying and hard to listen to. Sorry, this is just not my thing.
[Suicide Squeeze Records, PO Box 80511 Seattle, WA - www.suicidesqueeze.net <http://www.suicidesqueeze.net>] - VeganVadim

A Wilhelm Scream Mute Print
I bet these guys get laid a lot with the way they play guitar. Up until the end of 2002, A Wilhelm Scream was known as Smackin Isaiah, at which time they grabbed a new guitarist and shifted their perspective. Their new album, Mute Print was produced by Bill Stevenson (legendary drummer of the Descendents) and recorded at the Descendents owned and operated studio, The Blasting Room in Colorado. They currently have a very aggressive tour schedule and are shooting for 300 dates this year alone, impressive to say the least. I am absolutely in love with this album and praise be to Nitro for releasing it. Some people draw similarities to Rise Against and Good Riddance; I just say “Outside similarities, but they don't feel the same.” Solid vocals backed up by fast moving guitars with catchy hooks and a clean in all the right parts production make this a winner. All songs here are fast and coming in at around 30 mins, the record packs a lot of stuff in here (guitar solos, heavy drums and breakdowns.) (Nitro, 7071 Warner Ave Suite F-736 Huntington Beach, CA 92647- www.nitrorecords.com) -Milkman

Williams Eve “First Class “
This record probably could have been a favorite of mine had it come out when I was in Junior High back in ‘95. These guys sound like a thousand other tough-guy punk rock bands that came before them. They are obviously a Philly punk rock band and sound just like all the others of their ilk. The one exception is a song on the record called "The Dead of Autumn" that actually sounds like a duet with Creed and Stretch Arm Strong…it’s funny. It’s not that these guys suck or anything…I just find this type of music so overdone today that it takes something special to stand out. Unfortunately, these guys don't have that special something and are just boring to me. (Creep Records, PMB 220, 252 E. Market St, West Chester, PA 19382 - www.creeprecords.com) - Erik Aucoin

Yes Sensei “We Who Transplant, Sustain”
What the Hell? That’s the thought that ran through my head after listening to the first track on this record. This is a really weird record. The recording, the art, the songs…everything is weird. The instruments are upfront in the mix and sound great, but the vocals sound like the guy is down a hallway from the mike…and they are often so low that you can't hear them over the music. Everything about it is weird. This band is obviously a rock band but they also use some non-traditional rock instruments like the cello, violin, and glockenspiel. It's actually really cool that they use these instruments and the guitar work is also extremely interesting. I really like this record a lot but I have no idea who to compare it to. This band is something new and interesting, I suggest that you find some mp3s and check this band out. (Rok-Lok) - Erik Aucoin

Young People “War Prayers”
Simply to get myself some indie cred I’d like to like this record, and I’d like to like this band, but I don’t, seemingly for all of the reasons that other people do. While my peers extol the virtues of Young People’s unfettered musical pace and unstructured song styling, I find them to be sloppy, sleepy and boring to the last degree. Katie Eastburn’s voice lacks distinction: it isn’t husky, pretty, nice, dark, hypnotic, jarring, lulling, or even sweet. This isn’t to say she can’t carry a tune, only that she sounds like that kind of girl that made her high school acapella group simply because she could flesh out the rhythm section. Additionally, while other people find her cutesy interplay between singing on-key and then off-key emotionally stirring, I feel it’s unnecessary and just the tiniest bit annoying as hell. The actual music that backs Ms. Eastburn fits her as well as it washes her out: the group sounds like a lackluster jazz ensemble with pop sensibilities, letting horns and buzzing bees pop in for guest appearances on “The Lord.” Sigh, I miss the days of Mazzy Star. (Dim Mak Records, PO Box 348, Hollywood, CA 90078 - www.dimmak.com) - Thumper

Virus Nine “Blastin’ Away!”
I foresee this Medford, Oregon street punk band’s shirts, and canvas patches popping up on all of the spiky-haired kids, replacing the Casualties’ swag, in the very near future. (No offence, Jake!) As an accomplished bass player, the first thing that I noticed when I popped in this CD was that Texas Tim is a completely sick bass player. He may or may not be as good as Matt Freeman of Rancid, but he certainly knows what he is doing. If I ever get the chance to see them live, I’m going to have to shake his hand. This CD actually reminds me a lot of Rancid’s first record, especially the opening track, “Perfect Place.” The only thing I wasn’t really psyched about was the vocals during the choruses. I would have liked to hear some sort of melody vs. the humdrum screaming that typifies every street punk band. That aside, I am pretty happy that this CD went to me, instead of another reviewer. It’s no substitute for Rancid, but it might hold me over ‘til they have another release. (A-F Records, P.O. Box 71266 Pittsburgh, PA 15213 www.a-frecords.com <http://www.a-frecords.com>) -Toothless George

V/A Advanced Calculus Compilation
Recently, a national music publication named Pittsburgh as one of the Top 5 most rocking cities in the nation. So, this CD falling on my doorstep was quite fitting for review: a double-disc compilation of bands from the Pittsburgh area recorded live on WCRT radio Pittsburgh. The station is a freeform station, which means that they can play whatever the hell they want to play, which is very refreshing. It also means that although there are two discs worth of music here, it doesn’t all sound the same and can’t be classified under any one particular genre. Thus, it has a little something for everyone. The bands range from the early D.C. type copycats Blunderbuss, the Alpha Control Group, and Creta Bourzia, to the space noise of Zombi, and the urban hip-hop of Strictly Flow and Beam. This is a very worthwhile compilation to pick up if you like new music from different genres and are always on the lookout for your next favorite band. You just might find one here. (These Bricks Are Mine, 5001 Baum Blvd. Suite 630, Pittsburgh, PA 15213 - www.advcalc.com) - Greg T.

V/A “Rocky Horror Punk Rock Show”
Who the hell thought this was a good idea? Is there that much of a lack of new and ground-breaking ideas that we have subjected ourselves to compilations covering the soundtracks of films with cult followings? So what if people enjoy The Rocky Horror Picture Show? Who cares! Obviously some of us here on the Wonka Vision staff are brutal fans of Willy Wonka and the Chocolate Factory, but we aren’t about to run out and record the Oompa-Loompa’s greatest hits now are we? Perhaps I’m biased since I never really fell into the fad that was The Rocky Horror Picture Show. It’s a shame too because some really great bands appear on this album: Alkaline Trio, Me First and the Gimme Gimmes, One Man Army, The Ataris, Pansy Division, Swingin’ Utters and Tsunami Bomb to name a few. The only song I was truly familiar with from the original soundtrack was Time Warp and the version appearing here, from the Groovie Ghoulies, is pathetically dull and boring. For the most part I guess I just see this idea as a money-maker. I truly love many of the bands that appear on this album, it’s the concept that I can’t grasp. To me, it’s the equivalent of having emo bands cover the Moulin Rogue soundtrack. (Springman Records, PO Box 2043, Cupertino, CA 95015-2043-www.springmanrecords.com) - Jersey Jef

V/A “Serving The Best In Rock & Roll”
The photos on the front and back implied to me that this St. Petersburg, FL release was gonna be an ass shaking gearhead rocker comp, what with the 50’s drive-in setting, cool old cars, and chics with bangs, pigtails and black minidresses with rollerskates. Boy was I mistaken. Now don’t get me wrong, as there’s plenty of genres here to satisfy someone or anyone. Cookie’s “Hell-bound” rocks in a country way like old Wanda Jackson while The Coffin Lids’ “Nite Of The Zombies” is a horror-punk tune that thankfully never gets near the Misfits’ influence. The Cryptkeeper Five do kick ass rockabilly on “Funny Little Thing,” Elvis impersonation and all. Mississippi Leghound’s “Blackjack” is serious hyper boogie. The vast majority of the second disc didn’t grab me, but like I said, there’s stuff here for everyone, including hardcore, emo, power pop, pop punk, and punk punk. Listen before you buy, though. (Peephole Records, 2620 8th Ave. N, Saint Petersburg, FL 33713 - www.peepholerecords.com <http://www.peepholerecords.com>) - Renrag

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