46 Short “Just A Liability”
All right, let us forget for a brief moment that the name of the band involves a number. The new age punk rock cliché, if I may say so myself. 46 Short sounds like they should have opened up for the Descendents twenty years ago. Fast and pissed off old school punk that captures that early 80’s sound so many bands attempt to revitalize but fall flat on their faces doing so. Hailing from California these guys know how to set it off. “Just A Liability” is a killer album, which is sure to get the name 46 Short on the nationwide circuit. You won’t find any of that pussy pop-punk sound with these guys. Pure adrenaline packed punk rock with a brass-knuckled punch that’s sure to split your lip. It’s nice to know that there are still some pissed off punks out there willing to offend and not pretend that they care about our scene just because our money is green. (R.I.P. Gorilla Biscuits) Pick up this album and prepare yourself to tell the world to ‘fuck off.’ It’s so worth it. (GoKart Records, PO Box 20, Prince St. Station, New York, NY 10012 gokartrecords.com) - Jersey Jef

A 18 “Dear Furious”
Well, anger still purveys in the young and secluded mind of suburban white kids whose mom wont drive them to the mall. Song two begins with the scream “I FUCKIN’ HATE YOU!” and then we are taken off from there into the heavy sludge rock of A 18 and a collection of angry journals set to angry music. I understand the wanting to get it all out and save yourself the therapy sessions, but won’t this kind of fury wear off real soon? Before you know it you’re kind of happy and on your way, but then you’re locked in a recording contract so you’ve got to spray this music out night after night after night. Then I guess the real anger starts….oh well. In any respect, “Dear Furious” is a good album that reeks of some old style metal and punk while retaining some new style and concord. The tunes are pretty good, nice and gritty with enough flair for even old time metalheads like me to perk up their well-worn ears and say, “Alright…nice job.” It’s just that I feel sorry for kids locked in such a dank room because they can’t get themselves out of their own misery which stems from ignorance and the sprawl of urban blight and unpromising. C’mon lil’ camper! Its gonna be okay! (Victory Records www.victoryrecords.com) - Mark Whittaker

Alabama Thunderpussy “Fulton Hill”
When these boys say “Moonshine Metal” you’d better believe it, man. No one can sock cock the rock better than Alabama Thunderpussy, who hail from Richmond, VA (the name comes from a character in a ‘70s porn flick) and started playing on a dirt floor basement. Now they virtually own the southern fried “stoner rock” circuit and “Fulton Hill” here is the greasy gauntlet slap in the face to us all who dare to disbelieve. “Fulton Hill” is the first album for new vocalist Johnny Weills and he does a smash job of belting out the backwoods vocals and setting the sturdy ass music to flame. The tunes themselves are straight on heavy rawk with punch and guts not found in almost any “heavy” bands these days. The south may not rise again, but until it does, ATP will be our introduction to a world set right by southern hospitality and fishing trips gone awry by bad bait and not enough beer. Not that they sing about such trivial frivolity…not that I’m calling a bad fishing trip unimportant, its just that… well, it’s hard to explain. Just listen up and crank it higher and you’ll get the idea. Hell yeah. (Relapse Records, www.relapse.com <http://www.relapse.com>) - Mark Whittaker

Alexisonfire “Watch Out!”
If you didn’t like Alexisonfire’s first record I very highly recommend checking this out and if you were a fan of their first album then wait until you hear this record. I’ll admit, I am a little biased about this band because I’ve toured with them and they are great friends of mine, but I am completely honest in all of my reviews, and I’ll say that I’ve listened to this record repeatedly since I got it. Alexisonfire do truly capture a sound of their own on this release. The music is super melodic and constantly interesting and creative. George’s screams are backed up by Dallas Green’s beautiful high pitched voice and occasionally Wade McNeil’s lends his more rough sounding vocals to the mix. In addition, the song structure and melodies are miles beyond their first effort. There is so much catchiness in this record that you’ll find yourself walking around for days singing random parts of their songs like the chant “Let’s redefine…” from the opener “Accidents” and “We won’t forget you” from “That Girl Possessed.” Dallas’s singing is much more apparent on this record and almost takes over the leads in a lot of the songs such as “Side Walk When She Walks” and “Sharks And Danger.” Other songs have great messages such as the recent revival of cocaine (“White Devil”) and also how fashion has taken precedence over music to many newcomers of this music scene (“Get Fighted”). Overall, I think this record is great and I’m very impressed with the progression of this band. If you are a fan of any kind of heavier melodic music then check this out.
(Equal Vision Records, PO Box 14 Hudson, NY 12534 www.equalvision.com) - VeganVadim

All Else Failed “This Never Happened”
Fast paced, intense, off kilter hardcore that is intelligent and well written, that’s what you get from Philadelphia's sons, All Else Failed. The first time I heard these guys I really didn’t like them at all, they sounded boxed in and I hated the tough guy posturing vocals, but this time is different. This Never Happened is more focused, better recorded, and the vocals sound honest rather than forced aggressiveness. There is some melodic singing amongst the throat grating yells as well, and while I’m not always into the melody lines, it’s still refreshing to hear. Then, come track five, the band shows a side of themselves that I never thought they could have: quality melodic rock comparable to -but not totally like- early Boy Sets Fire. I was especially surprised by (track eleven) “In Our Defense.” It sounds like a mix of the best sides of Grade and BSF. Vocalist Luke Muir shows that he has a sensitive side opposite his tougher image (falsetto?!?). But, like I said earlier, some of the melodies are a little off from what I normally go for in this kind of music, but they are very good in their own way. I would love to see this band opening for Every Time I Die and Dillinger Escape Plan, they would be more than perfect; and after hearing this record, I believe many other people will feel the same way, far beyond their already rabid fan base. (Abacus Recordings, 2323 W. El Segundo Blvd., Hawthorne, CA 90250 - www.abacusrecordings.com) - Klyjew

Amazing Transparent Man “Print is Dead”
Formed in 1997, ATM is a three piece out of DeKalb, Illinois best described as melodic pop-punk in the same vein as early Blink182. I guess it’s cliché to describe a band that way these days, but if it quacks…This is the third album from these Chicago boys; chock full of catchy, light guitar hooks and “na, na, nas,” it’s an easy pick up for fans of Alkaline Trio. As soon as I put this disc in the stereo I wanted to take it out and get on with my life but here I sit banging on the keyboard in hopes that my duties as a music critic will be fulfilled. Have you ever done something even though you knew it was a bad idea? Like bringing your newly ex’d girlfriend 1200 miles away to your best friend’s wedding in hopes that something drastic wouldn’t happen for it to end badly? Yeah…sitting here listening to this album is kinda like that. In the end it may not matter as it is rumored that ATM have called it quits as of the end of July. (Double Zero Records, PO Box104 Dekalb IL60115 - www.doublezerorecords.com <http://www.doublezerorecords.com>) - Milkman

Anadivine “Zoo”
I think I’ll file these guys into that endless list of bands that are “pretty good, but nothing special.” Anadivine have a familiar sound: quiet to loud indie-ish rock with sort of whiny vocals; not overly whiny (thankfully) but enough to evoke recent memories of certain popular bands. I’m not really digging this cover art. It’s got this sense of desolation that seems forced and isn’t too believable: dark colors, images of lone characters, empty beds. If this is your artistic bag, enjoy, I’m not all about it though. Back to the sound.... This band has much to offer those who are in the mood for something that isn’t shoving music down their throats; in fact, Anadivine are fairly easy to take. I could see putting this on to be background music for studying and partying alike. There are very pleasing vocal harmonies throughout to keep it interesting enough through the formulaic song structure. I’d be interested in seeing the band’s dynamic live. Bottom line is that this is catchy, borderline emo/indie rock done well, and if that’s your thing, check this out. (The Militia Group 1215 N. Red Gum Suite L, Anaheim, CA 92806 - www.themilitiagroup.com) - Klyjew

Anterrabae “Shakedown Tonight”
More like Bad Review Tonight. What the hell is an Anterrabae, anyway? Sounds like some distant planet, or a species of insect. Or maybe it’s the sensory organs of the insect, or the aliens that live on that far away planet. Speaking of sensory organs, my ears are in pain. Seriously, this is fucking garbage. I took one look at the band photo on the album cover and knew instantly what to expect. That’s pretty bad when you can look at a bunch of dudes and know exactly what you’re in store for on the record. Let’s see if you can do it too! Five guys with shaggy black hair, tight jeans, and black button down shirts (with ties, of course!) *buzzer* If you guessed “horrible nu-fashion-core with annoyingly yelled vocals, bad attempts at singing, and generic breakdowns,” give yourself a Barry Horowitz style pat on the back. (Triple Crown Records, 331 West 57th St., New York, NY 10019 - www.triplecrownrecords.com ) - Chris X

A Perfect Murder “Unbroken”
So the press release for this record says that A Perfect Murder “delves deep into the annals of classic metal for inspiration, drawing from Metallica, Testament, and Pantera…flawlessly combining it with Southern rock legends like Down and Crowbar.” OK, now let’s tell the truth, huh? A Perfect Murder strikes me more as Hatebreed (especially the vocals) with a more blatant metal influence. Instead of Hatebreed’s “verse, chorus, verse, chorus, breakdown, chorus” formula, they follow “verse, chorus, verse, chorus, Southern riff fest, breakdown, verse, chorus, solo, verse chorus.” Lest you think I am tearing this band apart, that couldn’t be further from the truth. I like this a lot. I’m just saying, whoever wrote their press release needs to either return to the land of the realistic, or actually listen to the bands he is comparing A Perfect Murder to. I’m sure they are influenced by all of those bands, but for Jamey Jasta’s sake, just say they’re a metalcore band putting a new twist on the genre, not only would that be more accurate, it would sound a lot more interesting. Because I’ll be damned if they sound anything like Crowbar (fuck, I WISH!). Bottom line is, if you like it heavy and are sick of the same old tired shit; give this a spin. As a final note, Karl Buechner of Earth Crisis/Freya fame makes a guest vocal appearance on “No Truce.”(Victory Records, 346 North Justine St Suite 504 Chicago, IL 60607 - www.victoryrecords.com) - Chris X

The Arsons “Bridges Down”
If you haven’t heard of The Arsons by now, you surely need to reconsider your worth on this planet. This East Coast four piece literally dropped my jaw a few years back when I heard their Chunksaah Records debut. Fast and hard yet melodic; hardcore punk at its finest. With ex-members of Black Train Jack, Token Entry, Grey Area and Warzone, how can you possibly go wrong? The Arsons are back with their sophomoric release and continue to pummel me with their winning ways. This album doesn’t knock your teeth out the way “Whole Life Crisis” did but the crucial, essential elements of a kick ass hardcore punk album are still present. Not to mention the fact that all 14 tracks come equipped with a foldout insert, signed and numbered by the band itself! WOW! For real though, The Arsons seem to piece it all together on this album and have found a true identity. The Arsons blow a refreshing breeze up your ass at a time where every new band on the scene tends to sound the same. (Mad At The World Records, PO Box 20227 Tompkins Square Station, New York, NY 10009 - www.matwrecords.com) - Jersey Jef

Atreyu “The Curse”
When a mild mannered Goth buddy of mine found out I was reviewing the new Atreyu he said, “Oh yeah, I like those guys.” It went for one of my metalhead friends, “I heard the new album rocks,” he told me. Even some indie rock folks get into these kids; mainly because they don’t exactly fit into either subgenre and aren’t threatening enough as to be extricating from their listening audience. In any respect of all of this rigmarole, “The Curse” is a fine album and a good follow up to Atreyu’s first outing and they sound much more confident. Combining metal with some spooky elements whilst never straying from the possibilities of radio play, the five boys do a swell job of switching riffs and ideals at a moments notice within the realm of keeping the same idea and beat together. Using both scream and smooth vocals, “The Curse” moves like a well-groomed ghost through a well lit, cobwebbed hallway, making its way towards your girlfriend’s room and striking a pose for all the cameras. It’s an anguish that comes from wanting to look so good and get all the glory but hating yourself for feeling this way. The struggles of fame and Hollywood (hence the name of the band…think “Neverending Story”) come crashing in and all you have is a sad clown cowering in the corner. Rock on… (Victory Records, www.victoryrecords.com) - Mark Whittaker

Audio Karate “Lady Melody”
If you’re getting tired of lame pop-punk, bad metal or needlessly aggressive hardcore…Audio Karate is here to help with a glimpse into what can really be done within the genre. Hailing from Rosemead, CA and formed in 1995, AK plays smart punk rock that is a half step different from the generic punk that seems to overwhelm our scene. Thankfully devoid of any filler, Lady Melody is the follow up to their debut 2002 release, Space Camp and was produced by Bill Stevenson (Descendents/All.) The songs are well crafted with Jason Camacho’s lead guitar providing a sturdy backbone. That, along with Aruturo’s vocals, which provide enough emotion to fuel a 747, make this a solid release that obviously had some thought put into it. The track arrangement, thoughtfully arranged by Stevenson, takes you on a nice ride of highs and lows while staying extremely cohesive as a whole. (Kung Fu Records, P.O. BOX 38009, Hollywood, CA 90038 - www.kungfurecords.com <http://www.kungfurecords.com>) - Milkman

August Burns Red “Looks Fragile After All”
Christ-core that isn’t preachy and explores other issues (including those dealing with girls of course), I’m already impressed. The band opens tightly with the screams perfectly timed to the music, breath-shred, breath-shred. At first, the vocals are a bit distracting as it sounds like the singer is about to cough, what he’d be coughing up I’m scared to find out, but as the album progresses speaking parts are brought in and there is a greater focus on more varied musical work. Now, ABR are definitely not kidding with the hardcore, they are judd-ing and breaking down like the best of them, but miraculously, it’s not at all boring. They haven’t broken any new ground, but the fact that they are able to keep this album vibrant is an achievement of its own. This isn’t very distinctive, it is certainly formulaic, and very safe-they take no chances and stay on the straight and beaten to a pulp narrow path, but it does resonate somehow. For a hardcore album to make me want to see a band live, and not the other way around, there’s gotta be something special. Whatever their hook is, I’m in. (CI Records, 739 Manor St, Lancaster, PA 17603, - www.cirecords.com <http://www.cirecords.com> ) - Erika Owens

Bats And Mice “A Person Carrying A Handmade Paper Bag Is Considered As A Royal Person”
I got my first Bats And Mice record at the last 400 Years show, and I thought that EP was really good. Then, a couple of years ago, I got their first full length record and was pretty disappointed. Considering it was a somewhat different lineup I just thought the songs were rather plain and not as interesting as those first 3 from the first EP. Then I got really into Ben Davis’s solo stuff and was pretty excited on another Bats And Mice record to hopefully reverse my opinion of the band. Well here it is, complete with another new line up and one of the worst record titles/covers I’ve ever seen. As for the record itself: let’s just say they were the Spin Doctors of the early 90s - they were pretty good, but did anyone really care? The songs aren’t bad per se, but they’re definitely far from good or memorable. Plus it’s only a four song EP and the first song is instrumental. So if you’re a fan of Lovitt stuff, which I usually am, then you might be into it, but for the most part I’d say it’s just pretty boring indie rock and instead you should check out either Ben Davis’s solo stuff or Sleepytime Trio. (Lovitt Records, PO Box 248 Arlington, VA 22210 www.lovitt.com) - VeganVadim

Bensin “Leave Your Mark”
Obviously influenced by Blink182, Bensin plays a played-out brand of pop-punk (a genre definition which rarely includes actual punk, in all truth). They sing about “stupid stuck up girls”, jocks in high school, and how they pass out on their kitchen floor. In their defense, they are very tight and surely logged many practice hours in someone’s basement. The band has been together for 6 years and it’s a safe bet to assume that the only thing that has improved in that time frame is their guitar interplay and predictable vocal harmonies, because no progression is found in their lyrical content or overall sound. The most offensive track is “Pop Star,” a Good Charlotte rip-off about rich ‘pop-stars’ that name drops Michelle Branch, Avril Levigne’s “Complicated,” Paris Hilton, American Idol, and Survivor. It’s the stupidest thing I have ever heard: they describe conventional pop-song construction, including modulation, laid-on strings, hip-hop beats, and how they use the same chords for the whole song, with the irony being that all of their songs use this exact construction. And then they belch at the end of the song. It’s pathetic. PS: before Bensin, they were known as Dinkus 9. Spare me. (Search and Rescue Records, P.O. Box 8260, Ann Arbor, MI, 48104, - www.searchandrescuerecords.com <http://www.searchandrescuerecords.com>) - Thumper

Bitter Bitter Weeks Revenge
The formula is simple. One man + one guitar + some loneliness + a friend’s passing + a new and unjust war = an album choc full of acoustic protests and heartbreaks delivered with spine chilling sincerity. Bitter Bitter Weeks is actually the alter ego used by notable Philadelphia producer Brian Mctear when he moves from one side of the boards to the other. While he has spent many years now helping other musicians achieve their goals, he finally booked some time for himself in his studio to finish his second full length and if you enjoy Elliot Smith or even early R.E.M., this record is for you. Though there are a few upbeat pop songs like the standout “Kings,” most of this record carries a dark tone throughout. If I haven’t made it clear enough, this is a good record and Mctear knows his sound well enough to make it shine on this record through his strong production skills. (My Pal God Records, 47 Hardy Drive, Princeton NJ 08540) - Greg T.

Black Cross “Widows Bloody Widows”
This is not exactly a “new” Black Cross record. Besides being a clever take off of a Black Sabbath record title, this CD is a collection of old outtakes, 7 inch recordings and other various unreleased tracks, some dating back to when they were still named Black Widows. The sound quality isn’t always that great, but the band’s signature jagged hardcore style remains very much the same as it has existed over the years. Lead vocalist, Rob Pennington’s strong yell seems to have stayed pretty much on the level, gaining intensity and more melody in later years, but it’s all good. The last track, recorded in a garage and copyrighted 1981 is pretty hilarious, and I think the guys in the band know that. There really isn’t too much else to say about this release; it’s pretty much exactly what I expected it to be, and I mean that in a good way. I think this would actually be a good record to get people into this band that have not yet heard them, as there is a pretty good mix of material. I’m not sure this was a necessary release, but I like it anyway. For those who haven’t had the joy of witnessing these guys live, please do. I’ve only seen them once, but they put on a show I’ll never forget. (Initial Records P.O. Box 17131 Louisville, Kentucky 40217 - www.initialrecords.com) - Klyjew

Blueprint Car Crash “Rhetoric of a Marionette”
So this is my last review for this month and so far I’ve reviewed 3 really great records. What are the chances I’ll like this last one? Slim to none. Just looking at this album I can see that it has “Pretentious Emo BS” written all over it. Artwork, album title, band name… this record doesn’t have a prayer. Pretty boy emo is the worst, and that scrEamo stuff is not far behind. If it’s emo, even if I like it I’ll tell you I hate it just because that’s what I do. To all you 22 year olds out there: Your generation blows and your music sucks ass. So what about Blueprint Car Crash? They fucking rule…and that, my friend, is an understatement. They get it. No wait, they got it. They did what bands like Thursday only wish they could do. (Well, besides putting out something listenable.) They combine a current sound with everything that’s great about the DC sound of old, the Chicago/Louisville sound of the mid-nineties and even some jazz flavor to spice it up. Either these guys are brilliant and are going to be huge or I just don’t get you damn kids. (The Miltia Group, 1215 North Red Gum, Suite L, Anaheim, CA 92806 - www.themiltiagroup.com) - Wally Peters Jr.

Brandtson “Send Us A Signal”
I’m not sure when Brandtson became Jimmy Eat World, but they pull it off remarkably well. This album has so many hooks, so much brightness, and so much inviting and accessible music that it’s ready to become a summer staple. This is recommended for those with a jones for emo and indie rock, but always craving good accessible rock tunes. The group reworks an old song, “Blindspot,” to make it a standout alongside “Escapist,” “C’mon Facista” and “Over And Out.” The group is able to be sincere without being too schmaltzy and accessible and poppy without becoming annoyingly repetitive and stupid. The album’s got bite and pop and it’s a hit. (The Militia Grou,p 1215 North Red Gum, Suite L Anaheim, CA 92806 - www.themilitiagroup.com <http://www.themilitiagroup.com>) - Dan W

The Briefs “Sex Objects”
“Everything happens for a reason.” This phrase is what cheers me up when things don’t go my way. Last night I brought this record to the counter at my local record shop, pulled out some crumpled bills from my pockets, and realized I didn’t have enough loot, so I left empty handed, feeling blue. This morning I got the record for free from my Wonka Vision friends. See, those are words of wisdom! Much like those positive thoughts, The Briefs have an uncanny way of putting a smile on my face, from ear to ear. They are pathologically cool. That is to say that they just can’t help it. “Sex Objects” is no better nor worse than their previous two albums. It is a continuance of the fun, the fury, and the fake cockney accents that those “in the know” have come to love. Watching the Briefs is like seeing The Vibrators, Eater, or any of those brilliant 1977 British punk bands before they became grandparents. When our grandchildren start exploring the nostalgic sounds of 2004, don’t be surprised when they bleach their hair and start emulating their quirky, peroxide blonde heroes. To be brief on The Briefs; A+! (BYO Records, P.O. Box 67609 Los Angeles, CA 90067 - www.byorecords.com) -Toothless George

Call Me Lightning The Trouble We’re In
What can I say? I got this CD and was very excited to pop it into my player for two reasons: the first one being that it is a Revelation records release, the second one being that the press release compared these three gentlemen from the Midwest to another trio from San Pedro California, The Minutemen. While the Minutemen were one of the most influential, creative, and unforgettable bands in American punk rock history, CML is not. Imitation is only the most sincere form of flattery when the imitation is good. The only redeeming quality of the record is that the enclosed artwork in the CD book is hilarious. Sadly, it would probably require you to buy the record if you ever wanted to see the cheeseburger godzilla surfing on a wave of skulls or the 3-headed bear/butterflies. No thanks to the Revelation crew who has disappointed, yet again, which leaves me asking the question, What the Fuck happened to you guys???!!!! (Revelation Records - www.revalationrecords.com) - Greg T.

Candiria “What Doesn’t Kill You…”
These boys from New York have always been a few steps ahead of the game and the new album proves that they still want to draw the line in the sand and boast, “Go ahead…cross it.” Candiria have the balls to combine heavy metal ethics with jazz, true power and fury without sounding as if they bought the hard rock rulebook and decided to follow the guidelines. “What Doesn’t Kill You…” is a fine example of what a “band” should and could be. They run the gamut of their genre, which is metal, but let the influence of punk, jazz, prog and electro come in to round it up and shoot us out with clearer eyes. If anything, it’s the tightness of their sound and attitude that comes forth and can impress almost anyone in almost any cult of music fandom. Man, they even kind of tread on the grounds of reggae for a bit. Now, don’t expect some wild world beat album here…. this is a heavy rock album. It’s just…. oh never mind. You’ll have to hear it for yourself. (Type A Records, 130 W42nd Street, Suite 909, NY NY, 10036) - Mark Whittaker

The Casket Lottery “Smoke And Mirrors”
The Casket Lottery is a band I was always aware of but never really got into, and for good reason. Far more people have done this far better. I admire the effort and I’m sure that their friends coo over the acoustic versions of these songs, but by and large Smoke And Mirrors lacks any characteristic that would distinguish it from any other third-on-the-roster-out-of-five-at-a-college-rock-fest-circa-2002 type band. “On The Air” is blandly rambling until the line “wide-eyed and wondering” opens up the song in a, dare I say it, tone softer than most bands sounding as such but pushes the song into “my dad’s coupe has a moon roof and we’re riding along looking at stars on the way back to my place to watch a movie and by watch a movie I mean make out but there are some heavier chords in this song so I’m not soft, oh no, I’m not soft, baby” territory. They pull a similar trick on the following track, “Ten Years,” where they slow it down, presumably to let the singer push his hair out of his eyes and look supercute. The title track has reverbs over a boppy (but not too boppy) bass line and strained vocals…like you didn’t see that coming. (Second Nature Recordings, P.O. Box 413084, Kansas City, MO 6414 -, www.secondnaturerecordings.com <http://www.secondnaturerecordings.com>) - Thumper

Cast Aside “The Struggle”
Richmond, VA’s Cast Aside follows heavy hardcore formula number one to an exact tee. Chug chug, breakdown. Lyrics about hardcore pride, straight edge pride, being edge, breaking edge, getting betrayed by “friends,” you know the deal. They use the word “fucking” multiple times in every song to reinforce the important part of the lyrics, to show you they really mean it, just in case the message isn’t getting through to you without the profanity. This sounds a lot like Buried Alive, so if you’re into that sort of thing, or Terror, Hatebreed, or any of those bands, pick this up for sure. This certainly isn’t groundbreaking or terribly original by any means, but it’s light years ahead of the rest of the pack as far as listenability. This one’s a keeper for sure. (Deathwish, Inc. address - www.deathwishinc.com ) - Chris X

Chomsky “Let's Get To Second”
From the opening keyboard riff (ala Baba O'Riely) of "Light" to the final seconds of the video game inspired guitar licks of "Circle," Chomsky kicks my ass. Sounding like a clash between early Joe Jackson and The Cars, Chomsky does something that all the other electro-Weezer sounding bands don't... write good songs. I mean, really good. There ain't a dud on this record. It reminds me of that terrific record The Faint did before they became a bunch of art school losers who are too good for everyone. I hate to get all one syllable, three-word sentence with you but my pathetic attempt at journalism would just taint the subject matter at hand. Chomsky is good. (Aezra Records, 14040 North Cave Creek Road, Suite 110, Phoenix, AZ 85022 - www.aezra.com) - Wally Peters Jr.

Chronic Future “Lines In My Face”
Check out this concept! Hard rock coated with hip-hop lyrics and undertones! Four guys with different musical influences and upbringings coming together to form a melting pot of radical sounds! This hasn’t been done 600,000 times before, has it? Just what we needed - another Limp Bizkit or 311 plaguing our radio waves in an attempt to finally bridge the gap of musical genres. In all actuality, however, this album really doesn’t suck too badly. I know, I was surprised as well. The opening track is featured on my EA Sports MVP 2005 Baseball, Playstaion game, which I love, so they get automatic points for that. The album tends to be a bit overproduced at times but for the most part the songs have a steady flow about them. Chronic Future doesn’t exploit the fact that they bring different cultural influences to the table. The transitions from one sound to the next are successful where other bands of this school tend to leave you thinking, “Is this the same song?” I hate to use the hybrid theory on bands but I’m going to do it anyway because I love being hypocritical and pissing you off. Chronic Future = New Beastie Boys + Hoobastank. (Interscope Records, 2220 Colorado Ave, Santa Monica, CA 90404 - www.interscope.com <http://www.interscope.com>) - Jersey Jef

The Code “Rhetoric Of Reason”
Marc Defiant and his band of rebels deliver a great new EP divided equally into a punk rock/hard core hybrid and ska-core. “Know Your Enemy,” the disc’s opening track, is just plain badass! It’s my pissed off, aggro, driving song, but it’s more than just that. It’s got really thoughtful lyrics too. “If we don’t act on our ideas/ Then they’re just words we sing…” Hell yeah! These boys nailed it on the head. That’s the biggest problem I’ve had with many political bands- good slogans, but no actions. Collectively, they have strong opinions, but instead of whining about them, like a lot of other bands, they are trying to do something about what they are singing. For example, this year they have been involved with Punkvoter (www.punkvoter.com <http://www.punkvoter.com>) and other like-minded organizations in support of their cause to get the youth out registering to vote. I’m assuming they’re not voting Republican! The secret track is a remix of the second song, done by King Django. Imagine a typical rap remix from the 80’s, minus the wicky-wicky, and tone-deaf vocals, put it to ska beats, and you’ve got it. It’s not the best part of the record, but it’s still pretty cool. (Jump Start Records, P.O. Box 10296 State College, PA 16805 - www.jumpstartrecords.com) -Toothless George

The Comas “Conductor”
What was that line from Jerry McGuire? “You had me at ‘hello…” The Comas had me from the opening few seconds of the first track on their third release, Conductor. The swirling bumblebee buzzing coupled with the acoustic, almost flamenco-style, guitars that start “The Science Of Your Mind” has to be among the most memorable intros I’ve heard this year. And that’s all in the first 15 seconds. Fortunately, the rest of the song, which mixes the early ‘90s alt-rock mystery of Jane’s Addiction with the pseudo jam-band flavor of Blind Melon, doesn’t disappoint. The album, a response by Andy Herod to a breakup that shattered his spirit and soul, is full of desperate yet cathartic lyrics, though this album isn’t the one you want to throw on when attempting to slit your wrists - it’s too damn fun and engaging, particularly the grungy “Invisible Drugs,” which is reminiscent of the band Helicopter Helicopter, and the Sparklehorse-like dusky ballad, “Dirty South.” Producer Alan Weatherhead (Sparklehorse, Mary Timony, Nina Persson) did a wonderful job capturing the feelings that Herod was releasing through his music. Just make sure to stick around until the CD finishes because the Neil Young and Crazy Horse-style unlisted track that ends the CD is amazing. As an incentive for people to buy the CD rather than download it, the CD features a bonus DVD movie starring Dawson’s Creek actress Michelle Williams. Graphic designer Brent Bonacorso brings to life the music of Conductor in this experimental film through a mixture of live action and animated sequences. (Yep Roc Records, PO Box 4821, Chapel Hill, NC, 27515 - www.yeproc.com) - Chip Midnight

Confuse Your Idols A Tribute To Sonic Youth
Any kid who hit high school and above in the late eighties and early nineties probably at least knew who Sonic Youth were and respected their status as underground heroes. Others fell wholeheartedly in love with the group and considered themselves part of the daydream nation. Most of the bands on this compilation fall into the second category. Sadly, even though the heart is in the right place, it doesn’t necessarily mean that the music will follow. To put it more harshly, most of these bands and their interpretations of the music would make Sonic Youth sad. Many of the groups went the straightforward approach and just covered a song note for note. The standouts here were New Grenada’s cover of “Eric’s Trip” (I like the punky girl vocals) and Elf Power’s cover of “Kotton Krown.” Other bands opted for the more challenging and interesting task of putting their own signature on songs by rearranging them a bit with varied results. For instance, Tub Ring’s swing version of “Kool Thing” sounds like it might be a kool idea, but it’s not. Congratulations are in order for KY Prophet for their pseudo hip-hop version of “Making The Nature Scene.” It may not be perfect, but at least they tried something a little different. Overall, this record really doesn’t add anything to the legacy of Sonic Youth. I’d much rather listen to the real thing. (Narnack Records, 381 Broadway 4th floor/suite 3, New York, New York 1001 3- www.narnackrecords.com) - Greg T.

Copeland “Know Nothing Stays The Same”
A vase of tulips is all that graces the cover and insert of this album. Inside the cover the flowers are drooping; a simple, but loaded image. Promising, but sad, and entirely too “emo.” That picture made me rather hesitant. Well, as I was so busy overanalyzing the cover art I missed that it is cover art for a cover album full of five of everyone’s favorite ballads. Phil Collins, Carly Simon, Berlin, it’s a retro adult contempo fest, but damn, did I sway and sing right along. Aaron Marsh brings a sincerity and immediacy to each song that just isn’t there when you hear it after the 30-second-motor-mouth car ad on the radio. He emulates the originators softly, especially in “She’s Always a Woman” where he adopts a bit of Billy Joel’s signature tone. The singing is accompanied by lush piano and strings, which support and focus the haunting crooning. These are definitely covers, the original work is completely intact and Copeland just injects them with a new energy and indie slant, with no illusions about taking ownership or overshadowing. Pretty songs, comfortable key, and lovey dovey lyrics, the pain…er, the enjoyment, doesn’t get much purer. (The Militia Group, 1215 North Red Gum, Suite L, Anaheim, CA 92806, - www.themilitiagroup.com <http://www.themilitiagroup.com> ) - Erika Owens

Death Threat “Now Here Fast”
I don’t know why I don’t like Death Threat. They’re genuine guys, they’ve been around, they have great lyrics, and they play REAL hardcore and still manage to put their own, original spin on things. Yet I have never been a fan. I don’t know what it is, but I just can’t get into them. Unbiased review? You bet your white belt! Like I said, they take the straight up hardcore formula and put their own unique sound to it - hard, yet melodic, with Aaron’s trademark gruff vocals. Kids new and old will eat this stuff up. Awesome lyrics (penned by dudes who have been around long enough to have a realistic perspective on things) to sing along to, coupled with some good mosh parts. This is everything I could ask for in a hardcore band today. So I don’t know why I’m not into it. Not my cup of chai I guess, but I have nothing but respect for these guys and wish them the best. Support this band, and maybe you’ll like them better than I do. (Triple Crown Records need address and website) - Chris X

Deep Enough To Die “My City Of Ruin”
Some people flick boogers at the wall to see which ones will stick. Others throw pencils into the ceiling, watching for a pattern to appear. Other people enter the studio and screw around with every popular element till they hit ten songs and call it a day. Element number one: Godawful lyrics. We are beckoned into the “City” with the epiphany “I set myself on fire, cause I heard that love was warm.” Wow, first song and you know you are in for some heavy soul searching. Later, in “One More Time” we are warned “…this is not a love song, this is my tread mark on your shirt.” As the embers of love cool we get acquainted with element number two: screaming. Obviously screaming is instant scene points. Plus, screaming obscures bad lyrics while pushing the emotions through the roof. ‘Cause clearly, people only scream when really crazy stuff is going down. This screaming is supported by the ever popular element number three: hardcore-lite. Hardcore-lite brings the scream+sing into the equation, with a few errant jud-juds, and anything else loud and messy. Mess, blood, charred vocal chords, Deep Enough To Die have it all, if you like booger inspired albums that is. (DressedTto Kill Records, P.O. Box 24716 Philadelphia, PA 19111, - www.dressedtokill.org <http://www.dressedtokill.org> ) - Erika Owens

The Delgados “Universal Audio”
The Delgados have been releasing consistently good records for close to 10 years now and Universal Audio may be their best yet. In fact, I would say that they get better with each release. This album seems to be much more on the raw side than the last release, Hate, but tracks like “Come Undone” highlight the layered, almost orchestrated songs of the previous albums. Those tracks however lie in stark contrast to the folk rock of “Get Action!” and “Sink or Swim” and the total pop highlight of the album/would-be modern rock radio hit (if such a thing existed) is “Everybody Come Down.” The Delgados have definitely turned a corner with this record and it is definitely a pleasant shift. My only concern is that I don’t end up missing The Delgados of old. Think New Pornographers but from Europe and with a lot more to offer, or maybe Rilo Kiley when they were good and not such a caricature of themselves. (Transdreamer Records, P.O. Box 1955, New York, NY 10113 - www.transdreamer.com) - Wally Peters Jr.

Derringer “A Rock And Roll Tragedy CD”
The true rock and roll tragedy is that some poor kid bought this CD with the last of his lunch money, because he really loves Derringer, and the damn thing won’t even play in his CD player! Thank God I didn’t have to buy it, ‘cause I’d be fighting someone, and I’m not kidding! I get cranky when I’m hungry! (Zero Velocity Records, P.O. Box 108 Baintridge, PA 17502 - www.zerovelocityrecords.com) -Toothless George

Dillinger Escape Plan “Miss Machine”
Since 1999, we’ve all been waiting (not so patiently) for a new full length from Jersey’s finest: The Dillinger Escape Plan. You know what to expect, right? Blazing speeds, mind boggling time signatures, and more musicianship than you can throw a folding chair at. It’s all here in Miss Machine. But wait, something seems not quite the same! That’s Dillinger’s trademarked sound alright, but there’s some other voice leading the charge. Ladies and fat Goth kids with Slipknot shirts, listen up! This is Greg (the new singer) and he will now be pummeling your senses with the voice that should have been fronting this band since day one. I thought he was great live, but this is even better; he’s got that same dead on scream that Dimitry had but, unlike past efforts from the band (minus the Patton EP), Greg’s voice can mold and change, his tone can move from high to low, screeching to low growling. And then, Dillinger throws out even their own rulebook, adding singing to the mix; and not just any singing, melodic, powerful singing. Most of the melody is set to jilted, Nine Inch Nails styled, creepy songs, thrown expertly in the midst of the stuff you would normally expect from the band. These are the songs you always knew Dillinger was capable of, but never seemed to do. Miss Machine gives you all the technical glory of Calculating Infinity while adding a new level to the band’s sound. Unexpected melodies and harmonies find their way in between the expected structured chaos, leaving you at the end of 99 tracks (there are eleven songs but the CD goes up to track 99) feeling that you have never heard this style done this well, and may never again... till their next CD at least. In addition, the cover art looks like a modern day, technological Dali Painting, adding another dimension to the awesomeness of this disc.(Relapse Records, P.O. Box 2060, Upper Darby, PA 19082 - www.relapse.com <http://www.relapse.com>) - Klyjew

Down To Earth Approach “Another Intervention”
Pretty boy emo rock, oh how I loathe thee with your fake, snotty vocals and peppy schoolyard riffs. You make me dance when I don’t want to; sing along and crack a wide smile when I feel like moping. You… complete me. Oh god, naw, seriously, this is solid pop/emo from New York’s Down to Earth Approach that, like all albums of this ilk, gets you all worked up for two or three songs and then, like coming off a sugar high, just brings you down for the next seven or so. Crank “Triple Black” at a high school prom or some illicit bush party and someone’s getting laid, guaranteed. It’s a killer pop song with those perfectly saccharine sing-sung vox and the breeziest guitar lick this side of early Saves the Day. But, like I said, once we get into the meat of Another Intervention, my back starts to hurt, the head starts to lull, and the eyelids feel heavy, as if Mr. Sandman’s yanking on them with his tiny pick-axe… Huh, wha… sorry, what’s going on again? Oh ya, Down to Earth Approach. Some pretty, emo rock pop shit. (Vagrant Records, 2118 Wilshire Blvd., Santa Monica, CA 90403, - www.vagrant.com <http://www.vagrant.com>) - Jason Schreurs

Dynamite Boy Self Titled
This is a self titled release, but it is certainly not a debut. Dynamite Boy have been at this for a while, and they know what they are doing-solid pop punk, and that is not a bad thing. Sometimes you just need to sing along with “real life is such a Monday” and Dynamite Boy provide that outlet. In a few minutes Dynamite Boy are able to encapsulate a tinge of insecurity or concern about a girl in a way that is fun to sing along to and full of empathy. Musing that “I’m so unsure of what I’d say to you, if you’d listen” is something we’ve all done, and now it’s a song! The lighthearted tone to these songs is key. No blood or retribution, just over analysis and wonder. There is even rhyme time with “Zap, you’re it/My life is full of shit.” It’s those compact, clever lyrics that make Dynamite Boy endearing. They try out the yelling and loudness, but it’s just hollow and even the quieter tracks lack heart. Dynamite Boy’s spirit and success lies with those pop ditties that happily dominate the album.(Fearless Records, 13772 Goldenwest St. #545, Westminister, CA 92638, - www.fearlessrecords.com <http://www.fearlessrecords.com> ) - Erika Owens

Endicott “The Words In Ink Don’t Lie”
The Words In Ink Don’t Lie, Endicott’s debut LP, is a mess of a record that exposes a young band struggling to find direction. Though there are obvious influences, some of which I fear to mention (Finch) in the same paragraph as Equal Vision Records, it is not these influences that hamper Endicott’s success. The problem lies in the band’s inability to follow what makes them standout - Charles Cure’s vocals, and instead giving us the same hackneyed riffs, lyrical content, and song design. The fact that all of this is coming together under a label that is ubiquitous with underground A&R (see Converge, Time in Malta and American Nightmare/Give Up The Ghost) is even more frustrating as it invites questions like, “What role did Equal Vision have in Endicott’s final product?” Regardless of whether or not EVR is on the right path, when Endicott is on its game it clearly has a unique feel, as sampled on tracks like “Ransom Note,” “Death Sentence,” and “The Black Anniversary.” These songs standout from the rest of the effort based on the simple fact that they fail to sound like the bastard children of Finch and At The Drive-In and instead sound like Endicott, a unique and progressive act that, potentially, could round out the sound of EVR’s roster.
(Equal Vision Records, P.O. Box 38202, Albany, NY 12203 - www.equalvision.com) - Alexander Karghe

The Estate “Four Fuckin Songs”
Little Stevie knows his shit. Touring with Springsteen and whacking with Tony Soprano gives someone serious credibility and now he has a radio show and garage rock contest along with a lot of insight into music. Little Stevie’s advice is to start as a cover band. Cover bands may have lost their luster, but they really do serve a vital purpose as a proving ground and practice opportunity for aspiring rock stars. The Estate should have heeded his advice. Instead of outright covers, they just lift a few rifts. Is that The Offspring I hear, a little Sunny Day? They play diluted, guitar driven indie rock, but it’s the lyrics that really need some help. A good piece of advice would be that insane exaggerations including blood and knives do not equal awesome, emotionally charged lyrics. “Take this knife from my bleeding spine” is just plain over the top, but really, it’s to be expected. The album opens with “my wrist’s still hurt from everything” and the melodrama does not relent. Four Fuckin Songs closes with one stripped down, but still saccharine filled, live acoustic track. It’s live, but without any individual authenticity, just like the entire album. (Brokenglass Records, 1688 Fairway Dr. Jamison, PA 18929, - www.brokenglassrecords.net <http://www.brokenglassrecords.net> ) - Erika Owens

The Exit “Home For An Island”
Sophomore slump! What does a band do when their first full-length is a critical smash with magazines and fans alike? If you’re The Exit, you take the low road to second-record suckdom. I adore The Exit, even if they were a bit ostentatious when interviewed by Justin and myself a few issues back, “New Beat” was one of my absolute must-have, must-play, must-blare-loudly-on-my-way-home-from-high-school-during-warm-days-of-my-Senior-year CDs of 2002. Home For An Island is one of the more disappointing CDs I have ever listened to. The songs are indistinguishable from each other, the reggae and punk influences are diluted to only a few measly bongo taps and listless drumming, and the passion is completely sucked out from Jeff Darosa’s voice. Ben Brewer takes the lead on “Back To The Rebels” and I actually like the line “It seems like when we get something special, they buy it up and sell it back to the rebels,” only it is incredibly hard to believe such pseudo-disenfranchised punk lamentations when they are embedded on a hopelessly bland CD. If this is maturity, then fuck it. Bring back the exuberance and honesty of “New Beat” or I’m no longer listening. (Some Records, 345 7th Avenue, 24th floor, New York, NY, 10001 - www.holidaymatinee.com <http://www.holidaymatinee.com>) - Thumper

A Faith Called Chaos “Forgive Nothing”
“Forgive Nothing” passed my first test of album reviews; I didn’t want to immediately use it as a Frisbee! However, the next thing that came to mind was Motley Crue meets Godzilla. This six piece from Dallas grew into a post hardcore rock band form its early metal roots…thank God, at least we don’t have another shitty metal band to deal with. The omnipresent scream/sing combo is found on every song and is oddly coupled with Mick Mars (guitarist from the Crue, duh) solos. This makes for an interesting listen but since I’m not the biggest fan of this style, it doesn’t really butter my bread…let’s be honest, it doesn’t even get the bread out of the bag. And at some points it actually makes me laugh out loud. Hopefully playing Warped Tour this summer will convince them that this sound is dead or soon will be. Interesting how a band gets listed on Warped shortly after signing to Volcom, isn’t it? Musically, it’s tight and well produced and the solos, while somewhat comical to me are enjoyable and certainly will be to the guitar heads out there. (Volcom Entertainment, 1740 Monrovia Ave, Costa Mesa, CA 92627 - www.volcoment.com <http://www.volcoment.com>) - Milkman

The Fall The Real New Fall
I imagine that most Wonka Vision readers have never heard a Fall song even though they have been playing for longer than most of you have been alive; 27 years and counting. These guys were gigantic in the early punk scene of the UK back in the late 70’s and early 80’s and then fell off the map due to poor records and turmoil within the band. A few years back they decided to give it another go, but haven’t had the same impact they once did. This record was originally released last year in the UK under a different name. This domestic release adds two new songs, along with a completely stripped down version of the original songs, giving this album a less produced feel that more accurately represents what the Fall used to sound like. Mark E. Smith sounds more and more like Lou Reed these days, which isn’t bad. The music is slower than it used to be, but the Fall still rock like the scene innovators they once were and still are. Give this a chance if you want to know your roots, or simply buy one of their older and better records to fully understand why these guys were so important. (Narnack Records, 381 Broadway 4th floor/suite3, New York, New York 10013 - www.narnackrecords.com) - Greg T.

The Fight “Nothing New Since Rock ‘N’ Roll”
The Fight is a prime example of the darker side of the punk-music business. That the punk scene, commercially at least, is a stagnant and unfortunate source of continued sexism and machismo is relatively obvious. Just take an inventory of your punk, oi, and hardcore records and you will undoubtedly find no abundance of women. For this reason The Fight’s latest record, Nothing New Since Rock ‘N’ Roll is apparently being distributed by some unknown punk label, Repossession Records, as opposed to its former home, the paramount of P.C., Fat Wreck Chords; which is quite a shame, considering how good this new record is. Across 14 tracks The Fight’s There’s Nothing New … proves that the 16 and 18 year olds who put out the Home Is Where The Hate Is EP two years ago have matured as songsmiths - though older tracks do make up part of this full-length - and are poised to take over the world. “JB’s,” “Can’t Be Bothered,” and especially “Karaoke Star” are all gems. There’s Nothing New Since Rock ‘N’ Roll is punk that is true enough to its roots, in this case Frenzal Rhomb, that the sugar coated production allows it to be a contender for the elusive mainstream audience while staying in touch with its base.
(Repossession Records- -www.repossessionrecords.com) - Alexander Kargher

First Class “Somewhere In The Grey”
According to Nietzsche, “Love is a state in which a man sees things most decidedly as they are not.” It’s a good thing that I don’t “love” this band, or you couldn’t trust a word I said! First Class plays very fast. Their CD has first class production. Their harmonies are first class, as is their drummer. Why then, don’t I “love” them? First Class is a little too radio friendly for me to get into. I imagine little 13-year-old alternative girls screaming for them, but I’m not 13 or a girl, last time I checked! With the “right” management, I could see the sale of little First Class dolls doing really well. Jello Biafra wrote, “There’s something I don’t like about a band that always smiles.” I have something to add to that: There’s something I don’t like about bands thanking God! God doesn’t give a shit about your music. Bible thumpers chose gospel as the sound of Christianity a long time ago. Now they have to live with their mistake! God has no place in Rock N Roll! Do not dismiss me as a heretic- I merely feel that one should not overstep his/her bounds! God bless Satan! (Johanns Face Records, P.O. Box 479164, Chicago, IL 60647 - www.johannsface.com) - Toothless George

The Freeze “Freak Show/Crawling Blind”
This band from the Boston punk/hardcore scene has a career that has spanned 20+ years and has had their share of trials and tribulations ranging from social phobia, panic attacks, kleptomania, multiple chemical dependencies, felony convictions, intermittent agoraphobia, early onset Alzheimer’s, brain tumor, and even pedophilia (the guilty band member was kicked out.) This album is a re-release on Dr. Strange Records of two albums that self-admittedly showcase the mental instability of lead singer, Cliff Hanger. The first album on this CD is “Freak Show,” originally released in 1995 on the German label, Lost and Found. It has been described as their 18 song return to short and fast music with their usual, “lyrically-unusual” topics. “Crawling Blind,” the second album on the CD was the second of five releases on Lost and Found was unheard of in the states until now. The sound is old fashioned punk rock with that classic Brit sound mixed in. I’ve yet to really sit down and sink my teeth into this one but without a doubt I’ll dissect this and hopefully shed some light on my own mental instabilities. (Dr. Strange Records, P.O. BOX 1058, Alta Loma, CA 91701 - www.drstrange.com <http://www.drstrange.com>) - Milkman

The F-ups S/T
The almost-rebellious-but-not-quite name of the band says it all: this young “punk” band from the suburbs of Minnesota may have punk rock intentions, but the result is a pop punk album that doesn’t sound entirely different from Good Charlotte or New Found Glory or any of the other contemporary pseudo-punk bands. Because the F-ups’ sound is so generic, and has been heard a million times before, it’s hard to say anything good about this record. The lyrics, for example, are anything but original. Case in point: “Screw you/ screw you/ and so I say screw you” (from “Screw You”). In all fairness, “Screw You” was apparently the first song front man Travis Allen wrote, and he was 13, so one cannot expect a masterpiece. However, this juvenile songwriting begs the question, why even include this song on the album? Did they run out of material? To make matters worse, the rest of the songs are not much better; at least they were repaired and Pro-tooled by the high-profile producer (sarcasm, kids). The CD follows the formula for a typical young band’s debut: throw together everything you have and hope it flies. In this case, the F-ups’ eponymous album does not fly. It will make you cry for the alleged death of punk and want to run home to your Ramones albums. (Capitol - www.capitolrecords.com) - Becki Carr

Gamit “Antidote”
Gamit has been through major changes since it’s inception in 1995, the only constant being lead singer/guitarist Chris Fogal who has kept the dream alive through multiple line-up changes. I’m glad to see that he kept the band going long enough to release Antidote, a really sweet sounding rock album that has a broad appeal to fans of all sorts of guitar-heavy music. At times, Gamit reminds me of latter day Jawbreaker (Dear You-era) with songs like “Never Before Noon” and “Born and Raised Afraid,” while at other times they showcase a more pop-punk (with an emphasis on pop) side that kind of reminds me of bands like Ultimate Fakebook and even Green Day. Based on the band photo on the CD jacket I was expecting a whiny emo band or an angry post-hardcore band. I’m very pleasantly surprised that I didn’t hear evidence of either on this great album. (Suburban Home Records, P.O. Box 40757, Denver, CO 80204 - www.suburbanhomerecords.com) - Chip Midnight

Gatsby’s American Dream “In the Land Of Lost Monsters”
Awesome band name. Clearly someone in the band read the book jacket as the preeminent theme of The Great Gatsby is indeed the American Dream. Well, this provides quite a setup. Gatsby is respected because of its contribution to that ongoing discourse and aligning yourself with a novel of that caliber is really pretty gutsy. Unfortunately, the musical incarnation falls far short of such great cultural heights. Beyond the intellectual shortfalls, the album isn’t exactly sonically engaging either. The first two songs are your typical overproduced bottom tier radio rock ditties. Then, GAD brings out the big, personal guns. You can just see the rock star with the bad dye job and girl haircut pulling up the bar stool, hunkering under the spotlight, and serenading the bar skanks with the “slow song.” THE slow song just for her, the girl with the cami as a shirt and cut off jeans to her butt crease, barely covering the ravages of daily draft beer encounters…and on the final track he even invites her to snap along. Of course that is all anyone would be capable of contributing after downing the case necessary to get through the whole show till their intimate set or this entire EP. (LLR Records #199 1566 W. Algonquin Rd. Hoffman Estates, IL 60195, - www.llrrecords.com <http://www.llrrecords.com> ) - Erika Owens

GBH “Cruel & Unusual”
I remember hating these guys a lot more. I forget what album that I heard before, but I do remember that it flew a lot further than my warped Christian Death record. Gosh, I sure do like breaking stuff! The average listener might not know that almost half the album is cover songs, because they only give credit on the little fact sheet that they sent to W.V. The only cover I actually recognized was “No!” by The Rezillos, which is pretty good, but not as good as the original. When is a cover ever better than the original? The other half of the album is just live versions of previously recorded tunes. Generally speaking, I’ve never liked the live versions of songs, with the exception of Evilive!, but since my old GBH record is shattered, I have nothing to compare these versions to. This is a great CD for any of you blue collar workers to make your day go quicker. I’m bringing it to my shop! Last night I complimented the guy that painted the album cover. He told me that he also painted an alternate cover for a Japanese version of the same record. Start hunting completists! (Idol Records, P.O. Box 720043, Dallas, TX 75372 www.idolrecords.com) -Toothless George

The Ghost “This Pen Is A Weapon”
When Brian Moss sings/screams, “This is an exorcism! This is an exorcism!” on “Exorcism In The Key Of A Minor” it certainly sounds as if he’s purging the demons from his soul, though in the world of post-hardcore rock, the lyrics seem a bit cliché. Despite the fact that I can’t remember a specific band that uses these same lyrics, I’m sure it’s been done before, as it’s an easy way to explain why you are screaming. It’s like the emo kids singing, “You’re breaking my heart and now I’m crying,” or something equivalent. Though this song is pretty standard post-hardcore fare, the band does an admirable job of staying away from cookie cutter rock on the nine songs that make up its sophomore release. The listener is challenged song after song as The Ghost strays from what is expected and instead delivers interesting time changes, unusual distorted vocals (“The Skin We Shed Has Stories To Tell”), and even an Irish-sounding chorus (in “Mad Max Was An Amateur”). The lengthy “…And Now For My Disappearing Act” has the ebb and flow of a Mogwai song but it never quite reaches the rumbling hurricane sound that the Scotsmen create. The Ghost is definitely headed down the right path with the album closer, “We Shall Persist.” I’d like to hear them do more of this arty and sophisticated stuff and less of the angry-man rock. (Some Records, 345 Seventh Avenue,, New York, NY 10001 - www.some.com) - Chip Midnight

Hanalei “We Are All Natural Disasters”
I admire musicians who can play the whole field and compose entire songs while also providing almost all of the instrumentation. Brian Moss, the beautiful mind behind Hanalei, is truly gifted. This album is enchanting from start to finish. Reminiscent of The Postal Service and the Notwist, We Are All Natural Disasters is an album with conviction and spirit. This folk-rock indie record took only one week to record which may have actually benefited the outcome. At first listen, it will make you smile. At second listen, it will make you think, and after the third, you’ll realize that this is a record you will not take out of your stereo for a very long time. I strongly advise all who read this review to go out and FIND this album, it will make you feel simply good and reinstate your belief that music is meant to be felt as well as heard. I guarantee you that disappointment knows nothing of Hanalei. Oh, one more thing…Puff the magic dragon lived by the sea, and frolicked in the autumn mist on a land called…fuck, what was it again? (Record Info???) - Brian Beck

Hazen Street “Hazen Street”
Members of H20, Madball, New Found Glory and the legendary Cro-mags come together to form what is known as Hazen Street, a side project if you will. Is it just me, or is it essential now to have a side project? Everybody’s doing it. Anyway, I have to be honest…as a huge fan of the NYHC scene this album wasn’t what I anticipated it to be, but was still good nonetheless. The music is very radio friendly and, dare I say, ‘pop-punk’ sounding, but the lyrics will blow your mind! Songs of strife, growing up on the streets, coping with the loss of friends and family - the content remains the same as it always has with these hardcore legends. The approach, however, is definitely new. Some people will blast this saying “It doesn’t sound anything like Madball or Cro-mags.” Doesn’t that defeat the purpose? I mean, why would you do something that sounds just like Madball under a different name when you can just do Madball? Those who dive into this album expecting to hear the same sound as the members have brought us in the past will surely be disappointed. Those who go into it with an open mind will be pleasantly surprised. (DC Flag Records www.dcflagrecords.com <http://www.dcflagrecords.com>) - Jersey Jef

The Hentchmen “FormFollowsFunction”
With the recent crop of Jet-like specimens currently ruling the airwaves, it’s nice to see that a band can still hail from a garage that doesn’t come fully equipped with luxurious foreign cars. The Hentchmen have been revitalizing the garage rock revival for about twelve years now, at a time when most members of The Vines weren’t even able to grow facial hair. Complete with the sleazy pomp and swirling Fasifa organ that exemplify the genre, The Hentchmen recognize their roots and lovingly admire them, unlike the majority of their contemporaries who often seem to forget that there was rock music recorded before 1978. The most impressive part about FormFollowsFuction however, is the fact the band is able to take a notoriously monotonous style of music and create an entire album that’s worth listening to. From the wailing guitar of “Mike In The Middle” to the fuzz-pop perfection that is “Waterer Down,” The Hentchmen aptly prove that they have more than just the same old trick up their sleeve. Oh, and with all Will Ferrell references aside, “Thief On Bicycle” is one impressive illustration of how devastatingly effective the rock cowbell can be. I got a fever, and well, you know the only prescription.
(Times Beach Records, 118 East Seventh St., Royal Oak, MI 48067 - www.timesbeachrecords.com) - Matt Siblo

Hilliard “{Inside} Out”
Are you sick of the recent garage rock explosion? Are you sick of all these New York and Detroit bands that pop up every two seconds promising to be the next big thing? Are you sick of greasy, waif boys in tight pants and ill-fitting t-shirts? Yeah, I am too. From the first note of The Strokes’ first EP and from the first time I saw Meg and Jack in their matching outfits the whole scene was uncomfortable and unwelcome. Enter Hilliard. All that stuff you like about rock guitars, attitude-laced vocals and raw in-your-face songs without the pretentious baggage. This is what so-called “garage rock” is all about, a bunch of misfits getting together to bang out barred chords over driving bass lines and frantic drumming, all topped with pissed off lyrics about girls who have done you wrong. 27 minutes, 9 songs, 8 reckless rockers, 1 pretty ballad for the mix tape to the girl you like and 1 guitar tone. Perfect every time. (Self-released - www.hilliardband.com) - Wally Peters Jr.

Hot Cross “Fair Trades And Farewells”
This CD is not as good as “Cryonics”. I’m sorry. Now that we have that over with…Hot Cross is the Great Unexpected Band, or the Unexpectedly Great Band, or the Band of the Great Unexpected. They always toy around with new textures and transitions, from abrupt to interwoven; basically, they do whatever they want and it mostly works. With Fair Trades And Farewells they demonstrate their unnerving capability for constructing engaging songs; Hot Cross CDs are not intended to be background music. However, the boys get a tad lost in their noodling on “Prepare/Repair,” and “Solanka” is just an awful song, from Billy’s whining refrain of “dolls and shells” to the augmented vocal harmonies that unfortunately appear mid-song. “Two Cripples Dancing” is the most interesting, and, yes, unexpected inclusion to this six track hodgepodge: it seems like Hot Cross just wanted to prove that they could write a pretty song. It opens up with a lush, fuzzy guitar chord base overlaid with simple, repetitive guitar picking: no words, just…oddly enough…a beautiful soundscape. It leads seamlessly into the closer “Consonants,” a standout track to an otherwise “eh” album. The noodling that soured on the opening track combines with several vocal stylings and solid drumming resulting in a multi-faceted presentation that represents all the good parts of Hot Cross’ inventive tendencies. As an endnote, the layout and artwork are fantastic: metallic blue on matte black that is very “Metropolis”-meets-Chelsea-Hotel. (Level Plane, address needed - <http://www.level-plane.com/hotcross>) - Thumper

Hot Water Music “The New What Next”
I’ve probably annoyed the hell out of fellow Hot Water Music lovers the past few weeks with my downright refusal to totally embrace their latest, The New What Next. Sure, it may be a disc that needs to grow on you, and, in fact, it has done just that with each successive listen. Also, at least one member of the band (bassist Jason Black) has insisted that this record requires more patience than other HWM offerings but that we will learn to love it. Still, something sits dormant on this CD, an unfettered boredom beast that sometimes rears its ugly head around track two or three, makes a real charge at pulling us into the doldrums during the reggae-tinged “The Ebb and Flow,” and then mysteriously poofs into a cloud of smoke for the last three or four rockers on here. Sure, opening atmosphere piece “Keep It Together” starts things off brilliantly, the mid-tempo genius blast of “All Heads Down” is among this band’s best, and the quick punch of “Poison” and “Giver” displays the band we love in full throttle, but I still have intermittent trouble latching onto the rest of this spotty album. Other times, I’m just loving it. So it’s mood music, for sure. (Epitaph Records, 2798 Sunset Blvd., Los Angeles, CA, 90026 - www.epitaph.com <http://www.epitaph.com>) - Jason Schreurs

J Church “Society Is A Carnivorous Flower”
J Church has been around forever and has about 6,000 releases out. This is probably the two hundredth release on No Idea, and of course, it’s an EP. Unfortunately, I never really cared about this band so I don’t have any of their other 6,000 releases to compare this to. I’ve got to say though, that after being a band for 6,000 years you’d think they’d be the tightest band ever, but this is not the case. I guess, in a way, I can look at this release with some respect since I guess they just don’t care enough to make a spectacular recording and are content to just play sloppy punk songs. I saw them play with Propagandhi many years ago and remember thinking they weren’t anything special, but also not thinking they were sloppy or anything like that. Speaking of which, what the hell is up with the song “210” and “Austin’s Shitty Limits?” These are track 4 and 6 on the CD respectively, and are both equally horrible. I seriously thought they were a joke. Anyhow, I guess if you’re into J Church then you might want to check this out?! Otherwise, I’d recommend getting any Propagandhi or Lagwagon record instead.
(No Idea PO Box 14636 Gainesville, FL 32604 - www.noidearecords.com) - VeganVadim

Karate Pockets
Geoff Farina is one of the most talented individuals to ever come out of the post hardcore scene. His tenure in the scene of indie punk/rock has accorded him some sort of instant name recognition and attention for any project he undertakes. With Karate, Farina isn’t alone in skill for crafting songs, as every member of the band has received formal music training at the collegiate level. This band started as a D.C. area emo-Dischord clone band. This being their 7th full-length release, the band has grown musically and intellectually. They now sound more like Steely Dan than Hoover or the Crownhate Ruin. Only brief glimpses of the band they once were can be found here, such as the beautiful song “Cacophony” or the slow and dreamy “Alingual.” The rest is a more upbeat, leaning towards jazz-rock with hooky bass lines that would make Mike Watt jealous. (Southern Records - www.southern.com) - Greg T.

Keane “Hopes And Fears”
Keane are like Coldplay, but rock even less. They are British, and they play music that you might like if you let your guard down long enough for the bittersweet pop songs to take hold. Armed with a set of drums, a piano, and a velvety voice, this British three piece is currently taking over England, and dominating the pop charts. Statewide success has yet to take root. The piano pop of “Everybody’s Changing” and “Bend And Break” are ready for major rotation on every station from Lite FM to Top 40. Even though they come close to majesty on a few tracks, the group can’t shake some tendencies to write bland love songs that are crafted well but are ultimately trite and empty and way too much like Coldplay to come close to originality. So while not entirely brilliant, many tracks are apt to become guilty pleasures. (Interscope Records, 2220 Colorado Ave Santa Monica, CA 90404 - www.interscope.com) - Dan W

Kill Verona “Trauma”
I was pretty much ready to dismiss any more bands who use the word “kill” alongside a woman’s name (trust me, they’re out there), but Philly’s Kill Verona survive the pre-listen toss based on an inviting digipack and band photos that don’t annoy the hell out of me. But, wait a minute, is one guy wearing one of those goofy fur-lined coats? Okay, I didn’t see that… anyway, the five tracks on Trauma are pleasing to the ears, semi-rocking emo with plenty of dynamics (you hear that Leaving Rouge? Dynamics! Dynamics!). This is the kind of band you actually seek out when choosing that day’s walking tunes for the ol’ portable CD player. Guitar intricacies hung on a razor-sharp wire, drums hit just a little louder than they need to be, impassioned vocals that sound like they are coming from the gut, not the crotch; it’s all here. Kill Verona remind me heavily of some of the better Deep Elm bands. Yep, you heard me, time to wise up to this. Effectively breaks the curse of bands with names that suggest doing bodily harm to a female. (Livewire Records, PO Box 007, Mendham, NJ 07945, - www.livewire-records.com <http://www.livewire-records.com>) - Jason Schreurs

Lamb of God “Ashes Of The Wake”
I have been anticipating this release for quite some time. What we have here is basically As The Palaces Burn part two, as it picks up right where their last record left off. This, of course, is not a bad thing. I can’t believe this is on a major label. Epic Records seriously has no business putting out anything this good. I can see the suits in their corporate offices right now, “Oh yeah, this right here has hit single written all over it. Quick, get these guys a tour with Disturbed!” What are they thinking? Chris Adler’s drumming, and the guitar duo of Willie Adler and Mark Morton continue to be the highlights of this band’s music. If you’re a fan of Lamb of God, you know what’s in store. Pure American metal, with some of the hardest breakdowns you will ever punch people’s faces to. Throw in a couple of guest solos by Megadeth’s Chris Poland and Testament’s Alex Skolnick, and you’ve got yourself a headbanger’s ball, pun cheekily intended. Wonk wonk! (Epic Records address - www.epicrecords.com ) - Chris X

The Lashes “The Stupid, Stupid EP”
The old idiom "What's in a name?" perfectly reflects the clumsy, but all too accurate title for the Lashes' debut EP. Delving even deeper into the already well-worn territory of sweet keyboard pop, The Lashes grin and pose their way through your standard practice “Pop Song”(in quotes becaus it’s an actual song title on the EP) but after The Stupid Stupid’s scant 13 minutes of monumental cheese, you’re likely to have had enough. Musically, The Lashes fit in nicely with the current lot of second rate west coast party types desperately trying to sound like The Cars ala The Format and The Killers, but to their credit, the band also displays some vacant posturing that has become a distinct attribute of the East Coast. What diversity! So, with all that the boys lack in musical talent and creativity, (look no further than the subtly titled “Death by Mixtape”) it should be known that The Lashes do find redemption in their keen fashion sense and pretty boy good looks. One mustn’t look any further than the entire insert or the band's website to get a heaping helping of Teen Beat inspired pics from these Myspace-ready looking gentlemen, complete with strategically messy hair and pre-cut vintage jeans. How absolutely fab! Ultimately, I don't know what's more baffling about The Stupid Stupid: the fact that it takes six members to create such routine sounding pop-rock or the fact that a record title that we can only assume was meant to be funny can end up describing the music so well. (Lookout Records, 3264 Adeline St., Berkeley California 94703 - www.lookoutrecords.com) - Matt Siblo

Leaving Rouge “White Houses”
Throw this in the steadily growing, never-to-be-listened-to-again pile. On this five-song EP, Leaving Rouge meander through some melodic emo rock that, if you squint your eyes enough and shove enough cotton into your ears, might remind you of Mineral or The Gloria Record. Vocals are strong, and the playing is pretty damn solid in the grand scheme of things, but here comes the “but.” I found myself bored almost to the point of tears at times; the songs here take pride in swelling and building, but don’t seem to go anywhere. Not only that, but there’s no real pay-off after the four or five minutes of each bout of smooth, pretty emo; the tunes just sort of roll over and die. I dunno, maybe I’ve been spoiled by a steady diet of hard, fast, loud lately, but this band has a serious lack of dynamics going on. Maybe ex-Small Brown Bike bassist Ben Reed (who just joined this band) will infuse a shot of something, anything to get Leaving Rouge going. Count me out though; my faith is weakening by the day. (Greyday Productions, PO Box 2086, Portland, OR 97208-2086, - www.greydayproductions.com <http://www.greydayproductions.com>) - Jason Schreurs

Letter Kills “The Bridge”
Hmm…I don’t really know where to start with this band. They definitely picked the wrong producer to work with. Jim Wirt is the asshead behind soulsuckers Hoobastank and that miserable song, “The Reason.” If I could go back in time and send these guys to Ross Robinson, the mastermind behind the emotional brutality of Glassjaw, I think they might be fucking great. They’re basically an overproduced run-of-the-mill-everbody-sing-along-to-our-catchy-chorus Island Records wannabe punk-rock band. Think an American Hi-Fi, Bad Religion, Yellowcard clusterfuck. I don’t want to go into too much detail because they don’t really have any detail…they’re what I like to call an ‘on the surface’ rock band. Sorry guys, but you need to amp up the truthfulness in your music and dive face-first off the bandwagon (hopefully into a briar-patch) if you want any sort of credibility. You know how after you eat an orange flavored popscicle, and then you take a drink of water? Well…Letter Kills is the musical equivalent to how that tastes. (Record Info???) - Brian Beck

Liars Academy “Demons”
There are two types of god-awful. There is “they don’t know any better” god-awful which is also divided into two categories. The first category is usually made up of young males who try very hard to emulate popular music, often failing miserably. They go through all the motions of being a band but they don’t realize that they are just being derivative and lame. Need I mention the emo scene that currently plagues us? The second category is for knuckleheads like Puddle of Mudd who are just idiots and don’t know it. Then there is the second type of god-awful, the “they should know better” god-awful. The Liar’s Academy falls into this category. Signed to a legitimate independent label, perfectly capable of playing their instruments and recorded by a respectable engineer there is no excuse for just how bad they are. The music is so trite and uninspired and the lyrics make me want to stick a fork in my eye. To me there is no difference between this and Hoobastank. Except maybe that I’d prefer to listen to Hoobastank. (Equal Vision Records, PO Box 38202, Albany, NY 12203-8202 - www.equalvision.com) - Wally Peters Jr.

The Locust “Follow The Flock, Step In Shit”
First off, this CD is square-shaped, so don’t expect to play it in any CD player. It won’t fit into front-loaders, even the ones with the little circular indents for three-inch CDs (it’s square, see?). And it sure as hell ain’t going into your computer (one way to stop downloading), unless you want to try forcing it into your flash card reader, although I strongly discourage that. Once you find a CD player with a circular stump to sit this on, like, say, a CD walkman, the little 3-inch square thingie spews out the insane insect grind that has made these San Diego kooks infamous. This is actually a re-release of an early-era Locust split with the amazing and now dead-funct Jenny Piccolo, except we get one extra Locust voiding and no JP songs… weird. So, all told, it’s three wind-milling bouts of psychotic noise mania from the bugmen, over and done in three minutes, and then good night folks, drive the Mothership home safely. Yes, it’s a square-shaped, three-inch, three-minute CD… just another entry in the perverse contribution The Locust has made to underground music. (Three One G Records, P.O. Box 178262, San Diego, CA, 92177 - www.threeoneg.com <http://www.threeoneg.com>) - Jason Schreurs

Lords “The House That Lords Built”
Loud, fast and good: Lords deliver quickly and effectively without bogging a listener down with elaborate breakdowns, time changes, or unnecessary volume twiddling. How fast do they play, you might ask. Let’s put it this way: the CD was finished by the time I drove to the grocery store and waited in the car while a friend got a soda. He got back; I was on Track 1 again. Upon hearing Lords he dubbed them “a more eclectic and eccentric version of Cougars.” Quite correct. The Lords play on Gibson guitars, Marshall amps and pawnshop drums…they’re those guys. They’re loud without being brash or grating. I sincerely hope that the singer doesn’t play the guitar because I bet he’d put on a bitchin’ live show. If you’re looking for scene cred I know that R5productions recommended this band in one of the many e-mails I received from them in the last month or so and I was like, “Hot damn.” Hailing from Louisville, Lords round out the genre that I predictably associate with bands of the Elliott nature by inserting a good, frenzied smack of speedy, punky metalcore. The choice track is “Sermon On The Mount”: multiple singers howling, “So preach on brother till the mountains fall” absolutely guarantees massive, enthusiastic stage crushing singalongs at their shows. (Initial Records, P.O. Box 17131, Louisville, KY, 40217, -www.initialrecords.com <http://www.initialrecords.com>) - Thumper

Lucida Self Titled
Lucida plays that jangly bouncy indie pop, with a slight garage rock influence. It’s overall very wholesome and safe. The music is meant to be infectious and pleasing, but it could easily have the exact opposite effect. All the upbeat melodies, and the thin, slightly off key voice have a tendency to be so overly sweet that they are grating. A perfect example of this is “It’s A Shame.” Fans of uber pop groups like Ultimate Fakebook, Cordalene, and Tangiers might dig Lucida. All others wary of the sweet shimmer of perky indie pop are wise to stay away. (The New Beat, 3100 Sevier Ave Knoxville, TN 37920 - www.thenewbeat.net <http://www.thenewbeat.net>) - Dan W

MC Lars “The Laptop EP”
In perhaps a great scheme of irony MC Lars has crafted an anti-marketing anthem that sounds suspiciously like it should be used in a Pepsi commercial. This opener, "Igeneration," uses a sample of "American Hearts" by Piebald, and unleashes MC Lars and his brand of laptop-white-boy-hip-hop-emo-pop upon the world. It's a new twist of genre mashing but it essentially calls to mind the great white hopes that have come before, everyone from the Beastie Boys, Atom and His Package, MC Paul Barnam, and The Bloodhound Gang. It can be sharp like on the opener, but the novelty has difficulty sustaining itself. I'll pass on most of the disc including cringe worthy cuts like "Mr. Raven”. Edgar Allen deserves better. (Side Cho Records, 1215 North Red Gum, Suite L Anaheim, CA 92806 - www.sidecho.com <http://www.sidecho.com>) - Dan W

Mezzanine C-14 “He Keeps Silent And Sacrifices Himself”
From the jarring hardcore guitars to the shrill vocals there is loads of naked aggression and raw fury exploding throughout Mezzanine C-14’s release, He Keeps Silent and Sacrifices Himself. If at times the band comes across as unapproachable and perhaps even unlistenable, it’s not because of the sounds their instruments and voices make, but rather because the intensity is set to maximum overload - and the results are similar to the feeling you might get when someone close to you suffers personal tragedy. You want to reach out and hold them, offering up words of wisdom and consolation but, at the same time, you don’t want to encroach upon their personal space and in some cases even avoid making eye contact because you can’t even begin to understand what they are going through. Listening to this album is akin to the latter situation - it sounds too personal, too severe for you to even comprehend, like, “Please don’t get too close because I might catch the pain you’re going through.” However, what Mezzanine C-14 has succeeded in is reminding listeners of the chaotic passion that bands like Jesus Lizard, Shellac, and Unsane delivered ten years ago - you won’t be able to sing along with the nearly indiscernible lyrics but you’ll feel the pounding in your chest, in your arms, in your legs. (Break Even, PO Box 42469, Philadelphia, PA, 19101 - www.breakeven.org) - Chip Midnight

Misery Signals “Of Malice And The Magnum Heart”
Oh look at the artsy album title. [sarcasm] This one ought to be good [sarcasm]…*returns to computer screen forty three minutes and ten seconds later* Yeah, this is exactly what I was expecting. You herbs who think bands like As I Lay Dying, Norma Jean, and Zao are heavy (and good, for that matter) will eat this up. Just don’t eat too much of it, you might bust out of your tight girlpants and break the buckle on your white studded belt. See, I care about your well being. But yeah, like I said, 43:10. You can listen to it while you’re doing your hair and squeezing into those jeans. That’s about how long it takes, right? Nu-metal finally died, when is this genre going to follow suit? Please hurry, I can’t take much more of this slop. File under: garbage. (Ferret Music, 167 Wayne St # 409 Jersey City, NJ 07302 - www.ferretstyle.com ) - Chris X

Travis Morrison “Travistan”
After The Dismemberment Plan finished what felt like the longest farewell lap ever recorded, lovers of disjointed, brainy, funk induced D.C. post-punk let out a collective sigh. Who would satiate their needs, they wondered? Fear not, college radio enthusiasts! Travis Morrison has decided to soldier on by his lonesome and the fruit of his musical loins is Travistan, a collection of smart little ditties produced by none other than heavyweights Chris Walla and Don Zientara. While Travistan doesn’t waver too far off from The Plan’s musical gene pool, it’s more than obvious that these songs are distinctly Travis’ solo efforts and not old songs lingering on the cutting room floor. Long gone are the days of the Plan's intricate noodling, as Morrison now seems much more content on delivering gleefully simple keyboard effects over his brand of off-kilter, high brow musings. Always one for diversity, Travistan plays like a succession of great ideas that are executed with varying degrees of success. For instance, the recurring theme of “Get me off of this coin A-D” might have sounded like a clever concept at its’ time of inception, but there's no denying that this four song collection are of the few on the record that suffer from a flagrant violation of solo work indulgences. However goofy and misdirected his end result might sometimes wind up becoming, it's this lovable pretension that makes Travistan such a fun listen and why Morrison himself is such an admirable figure in the world of indie rock. He may not be re-inventing the wheel, but there's no denying that Morrison can still kick out the jams when he wants to.
(Barsuk Records, PO Box 22546, Seattle, WA 98108 - www.barsuk.com <http://www.barsuk.com>)
- Matt Siblo

The Moviehouse Arcade “The Poly Sci EP”
If nothing else, The Moviehouse Arcade has balls. Not only is this a quasi-conceptual CD, but one fourth of this EP is a Stones cover. As the full title of this release (The Prologue to Chapter Three: The Poly Sci EP) suggests, this EP apparently contains a recurring character from previous Moviehouse Arcade releases. The first half of the EP is great and reminiscent of Koufax’s Social Life, beginning with “GOP,” a song that is totally sexy with cunning lyrics like, “Estrogen is my new drug/ I’ll never get my fix.” “Kinesthetic” is almost equally good, with a strutting bass line. At the second half of the EP, though, you hear a not-entirely-destructive cover of “Miss You,” but please (and I’m not even a huge Rolling Stones fan) - don’t cover the Stones unless you can do it phenomenally. In an effort to show even more testicular fortitude, they add a fourth cosmic-dance-party-turns-lullaby “epic” song that is eleven minutes long and a complete departure from the rest of the EP. The recurring character idea is not a completely clear concept, and the entire CD seems like kind of a half-hearted attempt at…something. All in all, I think the Moviehouse Arcade are talented but have yet to even near their potential. Hopefully Chapter Three will move them a bit closer. (The New Beat, 3100 Sevier Ave., Knoxville, TN 37920 - www.thenewbeat.net) - Becki Carr

Only Crime “To The Nines”
Talk about a hardcore punk all-star band. Russ Rankin of Good Riddance lends his trademark scream to this, while Aaron Dalbec (Bane, Converge) mans the axe, and drummer extraordinaire Bill Stevenson (I shouldn’t even have to list his pedigree, but for you new jacks, he played in bands you might have heard of called Black Flag, Descendents, and All) sits behind the kit (and turns the knobs in the production studio as well). I’m gonna be an asshole and not give the other two dudes their proper due…just because I can. Needless to say, I had VERY high expectations of this release. Unfortunately, they were not met at all. It basically sounds like Good Riddance lite, whereas I was hoping at least for Good Riddance on steroids. Booo! See, if this was better, I’d have printed the names of the other two guys in the band. Write better songs, and when I review your second record, I’ll give you your props. Deal? (Fat Wreck Chords, PO Box 193690 San Francisco, CA 94119 - www.fatwreck.com) - Chris X

The Out_Circuit “Burn Your Scripts, Boys”
Somebody somewhere probably really loves this band. They are like a less sci-fi Pinback or a slower Dismemberment Plan or a sadder Death Cab for Cutie. The problem with this is, without the sci-fi or the speed or the mild happiness, the music just isn’t very exciting. Not exciting as in, “Woo! Let’s dance!,” but exciting as in, “Hey! This music is pretty good! I don’t think I’ve ever heard anything like it before!” The album picks up a bit, rhythm-section-wise, on “Cut From Our Own Dust” and continues to be slightly more tolerable on “Glasgow.” Three of the songs, including the opener “We Will End,” and the ultra-sleepy closer “Phantom City Skyline,” are over six-and-a-half minutes long, and those of us with ADD just can’t cope. Halfway into the third song, if you aren’t yawning, you will like this album. On the other hand, if you are looking for a pleasant musical experience that incorporates acoustic and electronic shoegazing, check your current CD collection: there is most likely something better than this already in there. (Lujo Records, 3209 Jennie Dr., Morgan City, LA 70380 - www.lujorecords.com) - Becki Carr

Outlie “Companions To Devils And Saints”
Companions to Devils and Saints is the debut album from Outlie, fronted by guitarist Luke Pabich of Good Riddance fame. Apparently Pabich feels very strongly about being able to express himself in ways that he typically couldn’t in GR; Outlie gives him the freedom to fuse punk, hardcore and rock in a way that wasn’t really possible with his other band. Originally formed as a three piece, they later added another guitarist after the recording was complete. The “rock” aspect of their sound comes on a little heavy at some points and seems like it will keep me from really getting into this album. Maybe it’s just a little too radio friendly, and it’s a shame that I have to say that because I think it’s clear that isn’t what Luke intended with this project. Stick to the first half of the album and you can’t go wrong. It starts off with a great kick but like a teenager having sex for the first time it loses steam after about 16 minutes and trails off into a whiny sputter for the last four or so songs. (Porterhouse PO Box 3597 Hollywood, CA 90078 -www.porterhouserecords.com <http://www.porterhouserecords.com>) - Milkman

The Partisans “Idiot Nation”
The Partisans have been on the scene for over 25 years now and somehow managed to fly under the radar of the European punk revolution that occurred in the late 70’s. While not as well known as their counterparts- The Sex Pistols and The Clash, they still managed to bring forth that original punk sound. However, The Partisans show their wear and tear on Idiot Nation. Fans of whiney European punk might enjoy this album, but for the most part, I found it to be rather bland. Although any punk band with members named Gustav and Magnus deserves some props. The album just bounces back and forth too much for my liking. One song gets me pissed off and pumped up while the very next track makes me feel like I should be rockin’ my tight leather pants and Bon-Jovi hair. Think of a combination of Cocksparrer and Duran Duran and then you will have a better understanding of what The Partisans bring to the table. The Partisans get an A for effort and for ‘keeping it real’ as long as they have, but musically, I have to give this album a C. (Doctor Strange Records, PO Box 1058, Alta Loma, CA 91701 - www.drstrange.com <http://www.drstrange.com>) - Jersey Jef

Paulson “Variations”
Has it become cliché yet to open up your record with an atmospheric instrumental track that attempts to heighten the album’s drama? It’s damn close to overdone, but this does not deter Paulson from having a go at it. With patience dwindling the group’s next song, “A Great Pretending,” gets right to the point, and is the disc’s strongest cut. It opens with some sharp riffing and stuttered drum beats. However, even this song, like the rest of the album, flirts with melodramatic tones and sounds like some unholy mesh of modern rock, nu-metal, and post-hardcore. That’s the downside of Paulson’s style- it’s often insipid and pandering. In its favor the members are able to put together some nice hooks. As a whole album, it’s mixed results, but the group has the chops to craft a single to be gobbled up by the masses. (Initial Records, P.O. Box 17131, Louisville, KY 40217 - www.initialrecords.com <http://www.initialrecords.com>) - Dan W

Pigmy Love Circus “The Power Of Beef”
Not even the drummer from Tool can save The Power of Beef from being an uneven mess of redneck riffs and immature shock tactics. Like Gwar without the costumes (or just the Dave Brockie Experience), Pigmy Love Circus do their best to assume and completely transform into the beer-bellied, truck driver persona. Not sure what the point of all of this is unless it’s pure satire, but something tells me no one is smart enough to fake this kind of redneck-ery (except maybe Nashville Pussy). Out of control guitar solo squeals emit from swelling bar-tab guitar riffs, thumping pool cue drumming, and a bass sound just perfect for last call. Vocals sound like some mongoloid harassing you on the CB. For a beer blast and a bang against the nearest concrete slab, this works out just fine. Myself being the sober and non-self-mutilating type, it just sort of had me feeling that “ya, whatever guys” vibe in a heavy, heavy way. Oh well, this should be just dandy for those looking to release their inner trailer park slob. (Go-Kart Records, PO Box 20, Prince Street Station, New York, NY 10012, - www.gokartrecords.com <http://www.gokartrecords.com>) -Jason Schreurs

Pilot Round The Sun “Metro Sessions”
My suspicions are that Pilot Round The Sun probably do the DIY circuit, playing makeshift venues to audiences comprised of kids whose record collections are filled with records by post-hardcore, post-punk, and emo bands. It’s not a bad scene to play or a bad crowd to run with, though if Pilot Round The Sun is hoping to reach a wider audience, they certainly could cross over to the alt.rock world where they’d be embraced with open arms the way the underground Smashing Pumpkins did when they released Gish to the unsuspecting mainstream in 1991. From the get-go, the West Chester, Pennsylvania band explodes out of the speakers with a dissonant and bombastic sound. The swaggering “Had We Had” shows some Cure-like groove while being a song you can (sort of) dance to. Sean Hoots’ nasally, pinched voice brings drama to slinky songs like “Lines 1 Thru 6” that wrap around your legs before building to a feverish pitch. “Keeping Up With You” and “Diction” are more sublime and seductive than the first two tracks on the EP and owe a debt of gratitude to the second-generation Jeff Buckley-influenced bands (like OURS and Remy Zero) that mixed the tragedy in Buckley’s voice with angstful guitars and bubbling rhythms. (Limekiln Records, PO Box 4064, Philadelphia, PA, 19118 - www.limekilnrecords.com) - Chip Midnight

Pinback “Summer in Abaddon”
I’ve never really listened to Pinback. Prior to this review, if I had to guess, I would have told you that they probably sound like some Chicago-ie, mathy, kinda jazzy band with a hard edge. I probably would have told you that if I heard them that there is a good chance I’d like them, but really, I have enough Tortoise, June of 44 and Aerial M records. About the only thing I would have gotten right is that they have a Chicago-ie sound. Not hard, not edgy, not mathy, hardly jazzy, and mostly, not remotely like the aforementioned bands. Where those bands thrive off of experimentation, dissonance, and/or angular rhythms, Pinback mostly works around the structured song format complete with very subtle hooks and even a more subtle beauty. I don’t want to give the impression that this is a straight up pop record, ‘cause its not - it is something much more artistic than that. Pinback has the ability to build atmospheric layers of sound that culminate in infectious rhythms that do more than test your ability to think outside the box. They make you think but they also give you an almost tangible prize for listening…a song. With that said, I am extremely impressed with this record and this band. Definitely a band I will be looking into further. (Touch & Go Records, P.O. Box 25520, Chicago, IL 60625 - www.touchandgorecords.com) - Wally Peters Jr.

Pistol Grip “Tear It All Down”
“There is no time like the present to procrastinate!” Perhaps that’s why it took me so long to get this review to the editor. Oops, my bad! My bad, indeed! I should have reviewed this CD first! Every now and then my judgment is clouded by what I’ve heard in the past. I heard from some idiot, that these guys sucked, so I wasn’t too excited to give them a listen. I have no idea what the basis for that statement was. I can say nothing bad about Pistol Grip. They exemplify the true sound of the streets. Their anthems will surely stand the test of time. With influences deeply rooted in the soil of working class Oi, and good ol’ rock n roll; Tear It All Down screams the pain and anger of a hard life. Side Note: I went to F.D.R. skate park today and blasted this CD through my friends’ kickin’ car stereo. He had his hatch back and doors opened so we could hear it while we skated! The music helped to pump my adrenalin, and made me skate faster and harder. The only time that session sucked was after the battery in the car died! (BYO Records, P.O. Box 67609, Los Angeles, CA 90067 - www.byorecords.com) -Toothless George

Planes Mistaken For Stars “Up In Them Guts”
I would never have expected to say this, but the first half of Up In Them Guts is background music: the songs all sound the same and bleed into each other despite the fact that they tackle the taboo lyrical terrain of incest and abuse. For a band whose live shows are always energetic and frenetic such an unmoving start is disquieting. Yet the boys redeem themselves towards the middle. “Dancing On The Face Of The Panther” is exceptional: it’s insistent, layered sound showcases driving guitar tempos and rhythms, has several distinct sections to the song, and is the perfect length at 4:23. Followed perfectly by “Say Not A Word,” a sensitively growling assault with amazing guitar work, the second half of the CD improves considerably upon the first. “No Prize Fighter” is also commendable and the drums on “Bastards” fit seamlessly. PMFS faces the gritty, dirty part of life, filled with bloody predators, reminding us that they are hard enough to take on what confronts them. The only problem with this frontal attack is that they often lose their creativity: while the middle section is satisfying, the last song slips back into that predictable familiarity, once again fading into the background. Plus the acoustic intro reminds me of Staind which is not a good thing. This release should have been an EP: include the evolutionary progression of the band’s sound and drop the shit we’ve already heard. (No Idea Records, P.O Box 14636, Gainesville, FL, 32604, - www.noidearecords.com <http://www.noidearecords.com>) - Thumper

The Power And The Glory “Call Me Armageddon”
Jacob Bannon runs Deathwish, Inc., so it comes as no surprise that he would release his own band’s material. Call Me Armageddon is the follow-up to 2001’s groundbreaking Jane Doe, but unfortunately doesn’t live up to its standards. In fact, it’s kind of…. wait a minute, this isn’t Converge? Well stick a finger in my butt and tickle my prostate, I have been bamboozled! Power and Glory, huh? Remember back in the late 80’s, the WWF tag team of that name? Hercules Hernandez and Paul Roma…talk about a lost cause. Yeah, how about when WCW ruined the great name of the Four Horsemen by naming Roma as one of them? Give me a break, that dude was a career jobber. Whoever was doing the writing and booking at that time should be hung. Naming that jabroni into the greatest wrestling stable of all time makes about as much sense as putting out a record by a band that sounds just like your band. (Deathwish, Inc. address - www.deathwishinc.com ) - Chris X

The Prisoners Dilemma S/T
I haven’t really heard that much from Indianola Records sans Evergreen Terrace and One Fifth. This release is the first for California’s The Prisoners Dilemma, and it shows. When the CD first starts out, it gives off the impression that it’s going to be some pretty chill rock stuff, but of course, they have to ruin it by throwing in the ever-so-popular-right-now metal pop punk bullshit. Some of the parts in the songs are ok, but then they get absolutely ruined by an unnecessary breakdown with screaming or an over-the-top “emotional” singing part. Overall, I’d say there is zero originality in this release, but I can see the band getting better if they try to find their own style and not try to copy every other band ever. A lot of the stuff reminds me of earlier Keepake, so if that’s your bag then you might want to take out the garbage.
(Indianola Records, 815 Gornto Rd., Valdosta Ga. 31601 - www.indianolarecords.com) - VeganVadim

The Ratchets Self Titled
I hate that a lot of bands nowadays rely solely on the Internet to indoctrinate the impressionable youngsters to their holy gospel. This CD doesn’t come with a lyric sheet, and doesn’t even mention who the hell is in the band. It sounds like that guy, Blake, from Jawbreaker singing, but I won’t be sure until I look it up online. The Ratchets, from New Jersey, describe their music as a rock n roll, punk, reggae fusion, but I think they left out a very prominent element, surf! Their opening track, “Naming All The Wolves,” is a straight up surf rock song, except it has vocals. Once again, they don’t include a lyric sheet! Damn it! I need stimulation on multiple levels! The second tune sounds similar to The Cure’s “Boys Don’t Cry,” to the point that I wonder if they used that song as a building block for theirs. This is an EP that I foresee myself listening to (and enjoying) from time to time, when I’m bored of whatever I’ve been listening to, but I don’t think it is “heavy rotation” material. OK, after checking out their website, I can confirm that their singer is not Mr. Schwarzenbach! (Chunksaah Records, P.O. Box 974 New Brunswick, NJ 08903 - www.chunksaah.com <http://www.chunksaah.com>) -Toothless George

Rehasher “Off Key Melodies”
Three-chord pop-punk played at fast speed with strong melodies. It’s a boilerplate description that, unfortunately, applies to far too many bands including Rehasher, a band comprised of members of Less Than Jake, Army of Ponch, and Savage Brewtality. There is nothing particularly wrong with this style of music as witnessed by the success of the Warped Tour and the strong emergence of Hot Topic stores at all of the area malls around my house but, I have to ask, where is the originality? Where are the truly catchy songs that make you want to listen to a CD over and over again? The ten songs on Rehasher’s debut are interchangeable with songs by thousands of other bands out there, which, I suppose, is a good thing if this is the kind of music that gives your life meaning. For me, it’s a case of heard one, heard ‘em all. The cover of David Bowie’s “Suffragette City” is really the only song that I’ll bother listening to again. (No Idea, PO Box 14636, Gainsville, FL 32604 - www.noidearecords.com) - Chip Midnight

Remembering Never “Women And Children Die First”
For a band that penned an entire album with tangible and precise prose detailing the murdering of ex-girlfriends, Remembering Never has certainly made an about-face, title excluded, on Women And Children Die First. Not only has the band decided to cover the last record by the almighty Christian metal-core band, Norma Jean, and avoided redoing another Poison the Well LP, but it has become decidedly political, attempting to espouse a number of beliefs upon the listener, which the following three points deconstruct. Firstly, Peter Kowalsky, you do not have the capacity to advise your audience on what is moral; something that is easily grasped from the lyrics on She Looks So Good In Red. Secondly, please be creative as a band. This means lyrically, musically, and conceptually. Finally, pick-up a Strife, Snapcase, Sick Of It All, Agnostic Front or Gorilla Biscuits record and then accept the fact that the bands pooled together to blame for the death of hardcore includes your own band, Remembering Never. Metal-core is not hardcore. If it were, it would be called hardcore. Final count: 3 for the reviewer, 0 for Remembering Never. But, since I want to try and be a bit more fair and balanced than the rest of the media touting that moniker: Women And Children Die First, has enough double bass for the Slipknot “Maggots,” enough non-linear segments for the Converge sect, enough crooning for the screamo kids, and just enough pathetic whining in the lyrics to comfort the moping wallflower types.
(Ferret Records, 167 Wayne St #409, Jersey City, NJ 07302 - www.ferretstyle.com) - Alexander Kargher

The Rescue Phone Numbers
Man oh man, this is a seriously rockin record. The vocalist alternates between coarse scream and emo styles with the greatest of ease; the band just chugs and wails, changing pace and rhythm at a second’s notice. This band is about as heavy as you can get while still incorporating some semblance of melody here and there. The opener, “The Windshield As A Lover” is a solid example of emo-core. So is “Hallmark Card For Heartbreak.” I can never understand the lyrics on this kind of record but it still sounds cool. George Fullan produced, engineered and mixed this twenty one minute slab of aggression and he did a damn good job. He’s got their sound down pat, using dynamics, shift changes, and lots of guitar overdubbing to create a mini aural nightmare. Even with only six tracks of pure anguish, this is something all you kids should check out before it becomes impossible to acquire. (United Edge, P.O.B. 342 Dalmeny, SK s0kle0 Canada) - Renrag

Ricanstruction “Love + Revolution”
Ricanstruction provides us with radical Latino, punk, hip/hop, funk, and reggae from New York City. A smashing together of styles that might lead you to think this would be scattered and unfocused, but it’s not. The styles mesh and the transition between an aggressive cut and a more subdued dub influenced number is seamless. The leftist collective manages to convey anger and frustration while coincidentally making some solid music. What usually happens is that a band will get one and not the other, but this group has given both equal billing. Ricanstruction do an honorable cover of Fugazi’s “Suggestion,” appropriately redone with female vocals. Some impressive guests are scattered throughout the disc including Vernon Reid of Living Color. And just in case you thought they were fucking around they bring in Chuck D on the opener to spout some rhymes. This is a disc for fans of Warsaw Pack, Bad Brains, and Rage Against the Machine. (Uprising Records, P.O. Box 490, Laguna Beach, CA 92652 - www.uprisingrecords.com <http://www.uprisingrecords.com>) - Dan W

Omar A. Rodriguez-Lopez “A Manual Dexterity - Soundtrack Volume 1”
For those who don’t know who this guy is, you need some new records in your collection. Omar Rodriguez-Lopez is the very talented guitarist of Mars Volta and the former guitarist of At The Drive-In and De Facto. I was really looking forward to hearing this record, and it was half and half of what I expected. If you were a huge ATDI fan and weren’t so into Mars Volta then you probably will not like this, but if you are into Mars Volta this is definitely worth checking out. Not to say that this is hardly like Mars Volta at all, but I just think people who are into them are open to all kinds of experimental music and noise with melody (if that makes sense). Most songs on this record are instrumental but showcase a wide range of different musical styles, a la Mars Volta. The first song with vocals (“Deus Ex Machina”) is in Spanish and sounds like a traditional Mexican dance number, complete with horns and bongos. The only other song with vocals is the last track, “The Palpatations Form a Limit,” and Cedric Bixler sings on it. It’s such a tease because it makes me crave hearing the new Mars Volta EP that’s being mixed right now. I’d say this record is more background music because most of the tracks don’t really have song structures or anything like that. It’s more kinda just jamming, however, it’s still worth listening to because of the amazing creativity, great musicianship and because it will broaden your appreciation for other types of music.
(Gold Standard Laboratories, P.O. Box 65091, Los Angeles, CA 90065 - www.goldstandardlabs.com) - VeganVadim

S “Puking and Crying”
I once saw a band called Carissa’s Weird at SXSW and was completely mesmerized. I was desperate to know and hear more of this band, but alas, they disappeared. So when I found out that Jenn Ghetto, co-founder of Carissa’s Weird, had a solo project called S, I was elated and hopeful. Puking and Crying begins with a beautifully modest acoustic tune, “5 Dollers,” and when the engineer chimes in to ask to “take another pass” at the piece, it sets a self-deprecating tone. As the album progresses, Ghetto seems to add more and more electronic blips and drum loops, but they thankfully enhance the experience instead of desensitizing the listener as some electronic music will do. S’s songs are dark and haunting…the kind of songs you want to hear while you’re curled up in the fetal position in bed on a rainy Saturday morning. One could potentially compare the music to Ani (on “Falling”) or Portishead (on “The Last Song”), but the truth is, after naming a thousand influences, the most prominent thing you hear in the songs is Jenn Ghetto trying to resolve her inner struggle. Simple yet complex, this album gives me a warm-blanket feeling I haven’t had since Belly’s Star. (Suicide Squeeze) - Becki Carr

Safety In Numbers “In The Key Of D”
I’ve never heard Safety In Numbers before but apparently it is comprised of members of Hot Rod Circuit. I absolutely hate Hot Rod Circuit, but of course was willing to give this a shot. What did I find? I found another shitty, shitty “rock” record. When the first song kicks in it doesn’t actually sound too bad, but even before the first song is over it gets really tiring. Even though the songs are within the 2-3 minute mark, they are so repetitive that they make Hatebreed sound creative. The singer’s voice is so annoying. I didn’t get a layout with the record but it sounds like there might be more than one singer on this record and if that is the case then they are both really bad. The only song that kind of caught my ear was track 9 which has a female singer. I really hope this band doesn’t become a full time project so I don’t have to hear them again. Looks like I have a CD I can finally swap with the worn out CD on my CD clock I made in middle school.
(Triple Crown Records, - www.triplecrownrecords.com) - VeganVadim

Scatter The Ashes “Devout/The Modern Hymn”
A “Hymn” on a punk rock record label, hmm. No, Scatter The Ashes aren’t preachy, but they aren’t punk either. The “Hymn” is a strong clue though, just glancing over the song titles there is a clear theme here. “Hour Invocation,” “Hour Benediction,” “City In The Sea” may all sound a little sermon-like, but don’t worry, the sound is not that starchy. The album opens with a garage rock sound enhanced by some screams, which still retains this ethereal quality. At first, the sound is even a little dancey, some jerky moves shot through a D.C. filter make a very engaging opening. After pulling you in, the record escorts you through a multifaceted trip. There is an electro element present throughout that serves to distance the band and cloud the vocals. It’s like the screen between you and the priest that allows secrets and stories to seep through. “Citadel” exemplifies Scatter The Ashes’ approach; it’s deceptively simple, with lots of layers including keys whizzing throughout, which lure you in and then embrace you. The restraint present in much of the album is gloriously conceded in “White Actress” where STA shout, jump, and tear up the pulpit. This may not be mosh pit fodder, but it is saucy, smart, and bitingly spiritual. (Epitaph Records, 2798 Sunset Blvd. Los Angeles, CA 90026, - www.epitaph.com <http://www.epitaph.com> ) - Erika Owens

Shadows Fall “The War Within”
Man, these guys rock. Serious, almost old school thrash that bangs your head against the stage like you never did…well, you have before. But what I’m getting at here is that Shadows Fall brings the metal to the masses and grind us all a new hole in the process. Amongst the speed mania, they take enough gumption to close it off with an actual melody or insert a facet of euphony in the songs to give the listener a grade up from the dull head rot dope metal that we seem to be imbued with as of late. The only problem I have with this band is the vocals, which consist of a typical guttural yelp in the grand mélange of the thankfully almost dead “nu metal.” This kind of tunage deserves a bit more class. But what do I know? Kids today…. I mean, sure, they have the tattoos and the basketball shirts so I guess they fall into that street cred formula of metal. But the music is so cool I was just hoping that they could make it even more smooth so as to rough it up to a new level. But that’s just me. You? You may just adore this. I did. Except for the screaming. Uh huh. Done with that.
(Century Media, 2323 W. El Segundo Blvd, Hawthorne CA, 90250 - www.centurymedia.com) - Mark Whittaker

Matthew Shaw “Ghosts In The Concrete”
Taking a cue from both Jimmy Tamborello’s and Marc Bianchi's (of Her Space Holiday fame) love of laptop induced confessionals comes Ghosts In The Concrete, an impressive debut from singer-songwriter Matthew Shaw. Immediately Shaw’s voice should strike fans of this genre vaguely familiar, as his approach at time recalls such mope rock heavyweights as Pedro the Lion’s David Bazan with a hint of Blair Shehan of Knapsack/The Jealous Sound fame thrown in for good measure. Undoubtedly, an admirable list of influences, but all of these comparisons might leave you wondering what exactly it is that distinguishes Shaw from his much more famous predecessors. For starters, considering that Ghosts In The Concrete is only Shaw’s debut LP, he exudes a certain maturity that nearly none of these aforementioned acts showed so early on in their careers. Shaw’s downtrodden lyrics are complimented by the often times hauntingly mechanical instrumentation, creating a sometimes bleak but incredibly potent mix of vivid imagery and emotion. Even more impressive is the fact that the vast majority of instrumentation performed on Ghosts In The Concrete is attributed to Shaw himself. While the lyrical content of Ghosts In The Concrete hints that Shaw has suffered a dreary past, if he continues to make records like this one, I think he’ll be cheering up sometime in the very near future.
(Burning Building Recordings!, PO Box 17798, Seattle, WA 98107 - www.bbrecordings.com <http://www.bbrecordings.com>) - Matt Siblo

Signal Lost “Children Of The Wasteland”
Fantastic! A chick-bassist in a pretty decent punk band. What the hell is that other one? The Distillers or something, right? I don’t know…I hate them because they butchered the Spiderman theme song, fuckers, but Signal Lost is actually pretty good. They aren’t great songwriters and they can’t really play their instruments very well…but since when was punk about any of that? They have the right attitude and I bet the live shows are fairly impressive. The bassist/vocalist, well, her name is Jasmine, just like in Aladdin. Do you trust me? I dunno, but your band is alright. Children of the Wasteland is an album for those who love girl-fronted punk bands. They are better than most, but alas…still not that great. I envision legions of ugly girls adorned in garbs of black with buttons pinned all over their Dickies brand messenger bags sweating and singing along to lyrics like “To whom it may concern/Knock me out put me down drag me to the floor/I do these things to myself so I can feel no more.” Buy it if you fit said description. (Record Label) - Brian Beck

Since By Man “A Love Hate Relationship”
The last time I heard these guys was what seemed like a pretty long time ago with their previous record, We Sing The Body Electric. I didn’t like them then, and I’m not that into this four song EP, either. On the plus side, their sound has evolved and became way more discernible and cohesive than before. I could see this growing on me if I gave it enough of a chance (which I probably won’t, since I’m a dick). It’s definitely catchier, but the screaming is still moderately annoying. Luckily, most of the vocals are more of an aggressive talking with the scream only coming out here and there. The obvious pitfall of this is that the vocals often come across as that haughty, “sassy” sort of thing that people usually associate with annoying dance or grind bands. Also, should I like the electronic linking part between tracks two and three more than either song? Probably not. I’ll say this: this is a good EP with well put together, semi spastic heavy rock that could easily be enjoyed by many, many people; and the production is rockin’ thanks to the golden fingers of Death By Stereo’s own, Paul Miner, as head engineer. I think this band is just not me, which is fine. Please get this and form your own opinion because I think this EP has a lot of potential appeal. (Revelation Records, P.O. Box 5232, Huntington Beach, CA 92615 - www.revelationrecords.com) - Klyjew

Small Life Form One
The liner notes state that these loops (no songs here) were designed to be “listened to simultaneously while looped” (huh?). The instruments used include: “melodica, trumpet, trombone, voice, Chinese cymbal, floor tom, Vera pulsar (via radio telescope) [what the hell is that?], and wind organ.” It’s as boring as watching shit dry out. Even Louie the cat hates it (he low-walked very quickly out of the stereo room). Do you enjoy listening to fucking whales moaning you to sleep from one of those “soothing sound machines”? If so, you may like this. I tried out my noise canceling headphones to ward off the offensive sounds of this CD, and they did a great job. I even turned my stereo up loud and I still couldn’t hear any of this drivel (you should buy a pair of them!). If you’re into modern DJ-ing, this might come in handy sometime, but probably not. Pass by this like it’s the latest avian-borne flu, please. (Amerse - www.silbermedia.com) - Renrag

Small Towns Burn A Little Slower Self-Titled
I can almost guarantee that if these guys were from my hometown or friends of mine, I would be lauding them every chance I got and wondering aloud why they hadn’t gotten any label interest yet, as they seem to be a prototypical emo-rock band along the lines of Further Seems Forever or even older Promise Ring. Unfortunately, even though drummer, Sean Carey, personally thanks Def Leppard in the CD booklet, I can’t say much more about them than, “If you’ve heard one emo-pop band with overly dramatic lyrics and sweeping guitar changes that pull at your heartstrings, you’ve heard them all.” That being said, there obviously is an audience out there for a band like Small Towns Burn A Little Slower and you should expect to hear more from these guys in the future, whether you like this style of music or not. (Rise Records, PO Box 135, Roseburg, OR, 97470 - www.riserecords.com) - Chip Midnight

The Snake The Cross The Crown “Mander Salis”
The Snake The Cross The Crown was born out of two Alabama brothers probably looking for something to do in their middle-of-nowhere home. Caught somewhere between Jeff Buckley and Radiohead, The Snake The Cross The Crown put forth an impressive debut full length. The Radiohead/Buckley vibe is starting to wear thin on me but these guys pull it off. I’m much more interested in the acoustic numbers like my fave track, “A Brief Intermission,” but who knows, if they weren’t delicately placed between the emotional charged rockers they may seem less interesting. Most of the aforementioned rockers are solid songs ranging from the weaker, but still enjoyable, “The Laughing Man” with it’s Lennon inspired chorus to the stronger tracks like the quintessential The Snake The Cross The Crown experience, “Echolalia.” (Equal Vision Records, PO Box 38202, Albany, NY 12203-8202 - www.equalvision.com) - Wally Peters Jr.

The Spades “Learnin’ The Hard Way”
Until this amazing album came through my mail slot, I was under the impression that Holland could be summed up, visually, by a little blonde boy sticking his finger in a dyke. I’ve got to get out more! I guess “African American” does not apply to an all black Dutch quintet, so what is the politically correct term for them? Who cares! These ex-convicts call themselves, The Spades! I’m not sure if that is a tongue in cheek reference to their race, or if it is a Motorhead reference. Either explanation is fitting. Together, these guys make up one of the hardest rock bands I’ve heard in a good long time. Even with as much shit as Ice-T stirred up with Body Count, I still think he’d be The Spades little bitch! This is not a gimmick. This is the real thing. I don’t think it’s possible to fake this kind of anger and energy. “I killed mom and dad/ just because I hate ‘em/ Now I’m on my way/ to cut this deal with Satan!” I’ve just found new heroes to look up to! Don’t fuck with The Spades! I guarantee you don’t want to learn the hard way!
(Go-Kart Records, P.O. Box 20 Prince Street Station, New York, NY 10012 www.gokartrecords.com) -Toothless George

Splithabit “Put Your Money Where Your Mouth Is”
I really can’t listen to too much of this ultra cheesy rock, and these guys have more cheese than a stuffed crust, six different cheese pizza. I guess that gives them a cheesy level of eight, or maybe nine? Whatever it is, it’s too cheesy for me; I’m lactose intolerant. They definitely stole more than a few hooks from Green Day and Sum 41’s bait and tackle boxes, and after listening a few times, I’ve come to the conclusion that -unlike Green Day, but much like Sum 41- these guys are just plain annoying. And this is that catchy kind of annoying, the “stuck in your head for hours, makes you want to kill, kill, kill the band that did this to you” annoying. Twelve to fifteen year old girls are going to flip over these pretty boys, but I’d really just like them to shut up. Honestly, this is like little kids music to me; they should have ads on Nickelodeon. Definetly destined for the next Kidz Bop disc. Please excuse me now while I add this to the Frisbee pile. (Double Zero Records PO Box 7122 Algonquin, IL 60102 - www.doublezerorecords.com) - Klyjew

Stranger by Day The Death Of Apathy
Hello, and welcome to Generic-ville: Population every “hardcore” band out right now. Goddamn it! Do these bands realize when they release this shit, how bad it is? This record should have been called The Death Of Originality because this sounds like a combination of every popular band out right now. Actually, right on their press sheet it even says for fans of Thrice, Bleeding Through, Killswitch Engage, Poison the Well, and Thursday. Does anyone else see any inconsistencies there? For example, the first song has a pop-punk part, a metal part, an open chug-mosh part, really bad low and high screaming, and a Zao/Disembodied high squeal and chug part. The end of the second song might already be a Hot Water Music song. Call me jaded, but I just don’t get how so many bands can do this and not get bored? I, for one, am not buying this shit, but if you enjoy Taking Back Sunday or any other crap like that, mixed in with really bad metalcore then you found your fucking CD of the week. Oh, did I mention the artwork is half naked girls fighting with knives? Worst ever.
(Uprising, P.O. Box 490, Laguna Beach, CA 92652 - www.uprisingrecords.com ) - VeganVadim

Stereotyperider “Under The Influence”
I never understood why when bands perform covers they deliberately sound like the originals. Shouldn't you provide a reason to listen to your version rather than the original? Few bands learn this and Stereotyperider is no exception. However, the band's choice of covers is commendable: Quicksand, Fugazi, Archers of Loaf, Descendents etc. Considering the varied scope of the bands covered on this record it's surprising how versatile the band is in sounding like the originals. The best cover is "Jumping Someone Else's Train" originally by the Cure. It’s the lone track with fresh and new life. A welcome and wholly surprising inclusion is "Crush Us All" from Seaweed's terminally underrated Spanaway. Adding to the formula of the covers’ album the group even reinterprets "Where Is My Mind" by the Pixies. Considering how often that's been done, I'm almost surprised they didn't throw in "Knowledge" by Operation Ivy and "99 Red Balloons" to go for the record of most punk rock cover clichés ever on one CD. Overall, it's hard to call this album bad considering they cover some awesome songs. But with very little variance between the originals and the new versions, this record will remain anything but essential. (Suburban Home Records, PO BOX 40757 Denver, CO 80204 - www.suburbanhomerecords.com <http://www.suburbanhomerecords.com>) - Dan W

Stiff Little Fingers “Guitar And Drum”
There is only one reason why after twenty-seven years bands like Stiff Little Fingers are still playing. It is, quite simply, that they are still an awesome band. Most enthusiasts will say their earlier works are much better. I’m inclined to agree, but that is not to say that this record is weak. I think their older songs are just so indelible on the squishies of the brain, that they overshadow this effort. “Guitar And Drum’s” playlist is still packed with the same catchy vocal hooks that you’ve come to expect from these veterans. The lead guitar work, however, seems to have progressed. At times I hear a hint of AC/DC in the solos, but that’s probably just my ears playing tricks on me. My favorite song on the album is “Strummerville,” an ode to Clash City Rocker, Joe Strummer. “Goodbye inspiration/ voice of a generation…” I relate to this song especially because Joe Strummer, along with Joey Ramone, had such an impact on the man I’ve become, and the music I’ve made. Stiff Little Fingers also helped to shape the person I am, but I’m not looking forward to hearing any song titled “SLF-Ville.” Viva La Stiff Little Fingers! (Kung Fu Records, P.O. Box 38009 Hollywood, CA 90038 - www.kungfurecords.com) -Toothless George

Suffering And The Hideous Thieves “Rats In Heaven”
Can’t really call this country now, can we? But it’s got some twang to it. Can’t really call it rock, even though it shakes things up here and there. Alterno-art-country? Is that right? Does that sound okay? I’m not too sure. Anyway, Suffering And The Hideous Thieves is a righteous album filled with sways and jolts of hearty moon music to croon to and abide by. It’s a little hard to take at times with its lonely drones and saddened cries from the vocalist, but then it comes right back to give you a hug and kick you in the butt. It’s sort of a lowbrow hedonist concave of gravelly rockabilly with a rock fusion that stems from too much booze and intelligence. And that’s why I liked this album. I don’t know what to do with it or even how to classify it. Thank Jeebus. It’s sad without being too dramatic and humor prevails in each quirky ditty. Did I just say quirky? Oh man…time to go!
(Lujo Records, 3209 Jennie Dr., Morgan City, LA, 70380 - www.lujorecords.com <http://www.lujorecords.com>) - Mark Whittaker

SUNN 0))) “White 2”
The bleak drone waves of SUNN 0))) are back and again we are tossed into a slow void of feedback, sounds and heaviness that the whole family can nod off to. SUNN 0))) is the heady brainchild of Goatsnake’s Greg Anderson and Khanate’s Stephen O’ Malley, whom often join forces with others in the dredge circuit and make beautiful, um, “music” together. White 2 is the follow up to the equally distant White 1 that came out last year and makes us all quiver with sludge mongering as the 15/20 minute plus ambients cling to your woofers and take heed on the lone scrapes of falling night skies. Sometimes they actually use words, like the elongated heft of “Decay 2 (Nihil’s Maw)” does as Attila Csihar looms over prose from the forgotten “Shrimad Bhagavatam,” an ancient Sanskrit Veda and tones in nicely with the otherworldly views of the sunken fills and empty landscape that SUNN 0))) provides with aplomb and genius. This is not the dance hit of the summer. This is to be enjoyed stoned out of your mind driving through the desert at night or alone and wishing to be abducted by the “Bass Aliens.” It’s all relevant….
(Southern Lord, PO Box 291967, Los Angeles CA, 90029 - www.southernlord.com) - Mark Whittaker

Swinging Utters “Live in a Dive”
Recorded at the Troubadour in Los Angeles, CA on May 25, 2003 this release is the sixth installment in Fat Wreck’s “Live in a Dive” series. Formed back in 1995, the Utters soon caught the attention of the legendary rockers, Rancid, as well as many others in the Bay area music scene. They were snatched up by Fat Wreck Chords in 1996 and released what many feel is one of the best punk albums of the 90’s; A Juvenile Product of the Working Class. It wasn’t long until you could spot the Swingin’ Utters logo on kid’s book bags and note books everywhere…hey, but that’s still better than Good Charlotte! The 23 songs on this album give a good sampling of The Utters entire discography in just around 60 minutes. You needn’t worry about the sound quality as with many other live albums and Johnny (vocals) keeps you amused with his comments throughout the recording. I’m quickly becoming a huge fan of Fat’s “Live in a Dive” series since any title is a great introduction for new fans and a great compliment to an older fan’s collection. (Fat Wreck Chords, PO Box 193690 San Francisco, CA 94119-3690 - www.fatwreck.com <http://www.fatwreck.com>) - Milkman

Switchblade S/T
Ok so this band is from Stockholm, which makes sense because their music is lackluster and completely desolate. They…don’t…do…ANYTHING in these songs. I want to stress though, that I am kind of picky, and I could understand how some people might enjoy this record as background music, kind of like a mix of Explosions In The Sky and HUM. This self-titled record is their 6th release; one 7", a 10", a split with Cult Of Luna, and 2 LPs (both self-titled). The music builds and builds but just doesn’t really go anywhere, which is unfortunate because I think they’d be a much better band if they had a little bit of direction. I do give them credit for doing their own thing and being different…I’m so sick of cookie-cutter bands it makes me want to swallow hot coals, wash them down with some kerosene and light up the world. Fuckin eh…DO SOMETHING SWITCHBLADE!!! You don’t suck, but you aren’t good either. (Record Label) - Brian Beck

Terror “One With The Underdogs”
When a CD comes with a sticker attached that reads “THIS IS REAL HARDCORE,” you better freakin’ listen! The sticker ain’t fooling. If you listen to hardcore and live on planet Earth then you know who Terror is, so no introduction needed, right? Good. Let’s start with the packaging. The CD disc is made to look like a record, grooves and everything. It’s really cool. The artwork is perfect: dark, no nonsense. The insert sports pictures of the band doing what they do live, and that has always been my favorite kind of insert. Not to mention the longest thank you list ever. Musically speaking, these guys are more than true to their word. This disc is full of straight ahead hardcore that is metal tinged, but not metal. Think floor punching and headfirst dives, not that stupid can-can, long, sweaty hair swinging bullshit. The message of the band seems to be the fairly standard “think for yourself and fuck what others think,” but it is with a strength and intensity not usually found in a lot of hardcore. The only problem I have with this is that the production is a little thin sometimes, which the band is usually powerful enough to overshadow, but every now and then the bass is just too quiet and not pulsing enough; same goes for the drums. Overall, though, this record is something that any fan of hardcore, or even just punk rock in general, can get into. I expect these guys to keep growing and possibly becoming the biggest hardcore band around, for quite some time. Even babies and ninety year olds are moshing to this one. (Trustkill Records, 23 Farm Edge Lane, Tinton Fall, New Jersey 07724 - www.Truskill.com) - Klyjew

They Might Be Giants “The Spine”
Somehow listening to They Might Be Giants at 30 years old in 2004 isn’t much different from listening to them as a 16 year-old sophomore in high school. Normally, that might disturb me or at least worry me slightly, but with TMBG it seems fitting. It’s like that children’s book that you always loved as a toddler that sticks with you and eventually you end up reading it to your kids. Dr. Seuss never seems dated to children ‘cause they don’t know any better. It’s just a funny story that flows nicely with its friendly rhyme scheme. The same way each new generation can count on being charmed by Dr. Seuss you can count on a solid release of fun and quirky pop songs from TMBG. Not quite the drum machine pop of yesterday but they haven’t missed a step with their innocent, too light-hearted to be serious but not naïve enough to be coy lyrics and songwriting. If I am lucky, some cute, socially awkward 16 year old girl will give me a mix tape that starts off with “It’s Kickin’ In.” (Zoe Records, One Camp Street, Cambridge, MA 02140 - www.rounder.com) - Wally Peters Jr.

Today Is The Day “Kiss The Pig”
Ugly hate strewn deathcore done by poor suburban white kids wearing ski masks and pointing guns at you. It’s fine for what it is, but I am long over this kind of angst-ridden rock by boys whose parents never hugged or listened to them. Sure, it’s better that they are in a band and make this stuff up for others out there who are feeling trapped, lost and suicidal, but I’m not into it at all and don’t ever feel this way. So there. But lets look at the positive shall we? Okay. Today Is The Day is on the amazing label, Relapse, that harnesses most of the world’s best metal today. Technically, Kiss The Pig is incredible with dropkick beats and changes to impress even the most scarred death metal head or metalcore fan. The artwork is kinda neat. The sun is shining as I write this. Other than that, go kill yourself.
(Relapse Records, PO Box 2060, Upper Darby PA, 19082 - www.relapse.com) - Mark Whittaker

Toxic Narcotic/Misery Split CD
Hats off to Go-Kart for getting two of the best crusty hardcore bands together on one split CD. The trouble here, as is the case with most crustier bands, is the production really sounds like heck, leading me to wonder if perhaps the term Dis-core might stand for “Distortion-core,” not an easy reference to the band that started this whole mess, Discharge (whom both of these bands are currently on tour with). Misery’s stuff is so rough sounding, it just gave me a migraine, despite the songs being pretty raging crust punk with gilded metal overtones. Oh, and their vocalist is really slipping, unless they’ve got a new dude croaking away here. Or the old ripper had a stroke or something? Awful. Faring better (much better, actually) are the always trusty Toxic Narcotic with their machine gun drum sound and those totally unmatchable quad-vocals from all the dudes in the band. Cranking it out for at least a decade now, this band never disappoints. When it’s fast, short, and loud, that distorto-production doesn’t detract as much from the experience. Still, I’d love to see these guys shell out a few bucks in the studio and find out what they’d come away with. (Go-Kart Records, PO Box 20, Prince Street Station, New York, NY, 10012 - www.gokartrecords.com <http://www.gokartrecords.com>) - Jason Schreurs

Twelve Tribes “The Rebirth Of Tragedy”
The word “metalcore” has become so hated in my vocabulary that I stopped using it long ago. When I think metalcore I think of early Cave In, Converge, Deadguy, Botch… stuff like that. For a while metalcore was (and in some ways still is) the trendiest type of music to play (I’m not saying I was any better) and I got burnt out on it really quick. So many bands sound exactly the same, which I guess can be said for bands in any genre. What I always loved about 12 Tribes was they always had a unique sound, even from their first record on Eulogy. Vocalist Adam Jackson stands 10 feet over most “metalcore” singers of the day because a) he can do more than just scream, b) he writes great lyrics, and c) his style is so apparent and unique. This is not to downplay the music whatsoever as the music is just as good. On their first two releases 12 Tribes were more of a technical band, but after a long time, a brief period with a new name, a new label, and a (somewhat) new lineup they are back and better than ever. The songs on this new full-length are a lot more structured, with some really catchy verses and choruses. The guitar melodies are still present in every song and again make 12 Tribes stand out from other heavy bands. The songs are fairly long but even after 10 tracks they manages to stay interesting. The song “Chroma” is my personal favorite; it showcases how diverse Jackson’s vocal styles can be, and the talking/rapping verse part of the song is brilliantly written. This record is for sure one of my favorite heavy records to have come out in a while.
(Ferret Music, 167 Wayne St. #409 Jersey City, NJ 07302 - www.ferretstyle.com) - VeganVadim

The Umbrella Sequence “The Disappearing Line / Athena”
I am keeping this CD in my collection. I am not giving it away, storing it, selling it, smashing it, hanging it on my rearview mirror, or using it for interpretive, avant garde art. For a frequent reviewer of music, this is a fairly large compliment because most CDs, while containing one or two decent songs, end up in the reject pile due to lack of ingenuity, boring song construction, or just plain suckiness. Midwestern electro-discontents The Umbrella Sequence pick up where Ben Gibbard left off in The Postal Service by blipping and reverbing their way to enticing, atmospheric song sequences; omitting traditional lyric, chorus, and bridge outlines, their songs fold over themselves in repetitive motions, forming a sound that is simultaneously lulling and absorbing. Creating texture with a mix of instruments, including moogs and a Wurlitzer electric piano, the most successful combination is the use of a drum machine alongside a live drum kit. While it is catchy, Ryan Rupprecht stays darkly defined with drawn out vocals that echo with despondence. Unfortunately, he also succumbs to the Thom Yorke disease that is plaguing independent music (see also: Muse). Symptoms include extended, sustained notes, strong yet vulnerable falsettos, and frequent interval jumps. The final word: I’m excited to see them if they come around, hopefully with former touring mates Saturday Looks Good to Me. (Ohev Records, P.O. Box 772121, Coral Springs, FL, 33077, - www.ohevrecords.com <http://www.ohevrecords.com>) - Thumper

Underminded “Hail Unamerican”
First off, the title annoys me to no end. Maybe I’m missing the point; maybe that is the point, who knows? I know that I don’t really care, liberal, conservative, whatever…I’m happy in the middle. You know what they say: “Clowns to the left of me, jokers to the right.” On to the music…What we have here is, no, not a “failure to communicate,” or maybe we do? But seriously, this is chock full of energy like a Red Bull and Vodka and begs to be listened to at high volumes. Plenty of gang shouts to keep the kids in the front excited because at the end of the day that is what every band wants, right? Tons of kids killing each other so that they can get close enough to the mic and sing along. Right on cue, “This is where we stand!” everyone now, “fuck you, we’re brave/fuck you, we’re all we need.” I’m laughing out loud right now because I just realized why I kinda like this even though I really don’t. The over zealous approach to gang chants is eerily reminiscent of All Day, a band from the East Bay in the early/mid 90’s. (Kung Fu Records, P.O. BOX 38009, Hollywood, CA 90038 - www.kungfurecords.com <http://www.kungfurecords.com>) - Milkman

V/A “Death by Salt: A Slug Magazine Compilation”
Having put together a 21-song local band compilation myself, I know what a laboring project this can be, and the comp I put together was bare bones - no real cover, no real artwork, just a sticker with the tracklisting slapped on a white cardboard sleeve. Slug Magazine put together a massive 3-CD, 70-page full-color booklet, 59-song compilation spotlighting the Salt Lake City, Utah music scene - ranging from the Tom Waits-like odd jazz of Dan Morley to the screamo hardcore of Days of Less. It’s a really well rounded compilation that reflects the bands covered by the monthly music ‘zine. Depending on your musical tastes, there will be some stuff that you really like and some stuff that you skip past on every listen. The bands that I’m going to investigate further after hearing their contributions to Death By Salt include Thunderfist (big guitar rock ala AC/DC with well-weathered vocals), JW Blackout (good ol’ drinking rock and roll with hints of Led Zeppelin), The Switch (sludgy stoner rock with vocal barking like Helmet’s Page Hamilton), and Brownham (lonely, acoustic-driven pop with male/female harmonies). It’s an impressive package for $15 and well worth the investment to check out some bands that, unless you live in Salt Lake City, you’ll probably never hear of. (Slug Magazine, 2225 S. 500 East, #206, Salt Lake City, UT 84106 - www.slugmag.com <http://www.slugmag.com>) - Chip Midnight

V/A “Poor Boy Songs of Nick Drake”
Nick Drake the gone too soon master of reclusive British folk music has got himself a tribute. Known to most contemporary persons (and admittedly how I first heard his music) as the man who crafted the song “Pink Moon,” which was used in a Volkswagen commercial just a few years ago. What you have here is a reworking of his classic songs by jazz and folk musicians. Drake’s best songs, such as “Black Eyed Dog,” “Cello Song,” “Poor Boy” and “Things Behind The Sun,” are redone, but no “Pink Moon”? What gives? Anyway, the output ranges from songs for the coffee houses and frightening lounge versions like the title track, to those that take Drake’s subdued nature to an extreme by creating barely there boring ambience. If you are a huge fan this serves as an accompaniment to a collection full of the original artist’s work. Those who’ve yet to discover Nick Drake, start with his original wispy songs. (Songlines Recordings, 3035 W.6th Ave, Vancouver, BC v6k 1x3 Canada -www.songlines.com <http://www.songlines.com> ) - Dan W

V/A “Punk Rock is Your Friend 5”
Ugh. A compilation. Lucky me! Being asked to review a compilation is like asking somebody how the food is at Burger King. Sure. I love the number 1 meal and the even the Whopper Jr. with cheese. I even enjoy dipping my French fries in the onion ring sauce. But I fucking loathe their Chicken Tenders and think their Angus burger sucks ass. So does that mean I like the food at Burger King? Well, some aspects of it, I guess. The same holds true for this compilation. The title of it pisses me off for starters. Punk rock is my friend? Don’t tell me who my friends are! 29 tracks of disorganized, random punk bands is what you get here. Some songs are good…others suck. OK- here’s the general breakdown. There are some really good bands on the album such as The Vandals, Stiff Little Fingers, Tsunami Bomb, No Use For A Name, and Guttermouth. And then there are bands that I could care less if I ever heard from again. The God Awfuls, Ozma, and The Matches to name a few. One bonus to note is that there are 5 videos on the album that you can view on your computer. So there you have it. Did I mention how much I hate compilations? (Kung Fu Recors, PO Box 38009, Hollywood, CA 90038 - www.kungfurecords.com <http://www.kungfurecords.com>) - Jersey Jef

V/A Redder Records presents... Metaphysics For Beginners
This convoluted compilation won’t play in my CD player at home so, I can’t listen to it while writing about it. Oh well. Instead, I’m darting back and forth between my den and my car trying to transfer my notes into something readable for you, the dedicated reader. This is a sampler from a label I’ve never heard of. The packaging is pretty cool, with cutouts and a cartoon monkey. Kalpana’s “Sic” (version) is a decent take on Pink Floyd underwater guitars melding with Neil Young’s Crazy Horse-style guitar wailing psyche-rock that’s loud, raucous, mean and ominous. Cool and excellent. While From Monument to Masses’ “Conclusions That Don’t Conclude” is a swell instrumental, calling to mind a perfect picnic, Saturday Looks Good To Me’s “Record Store” sounds like a vintage 1960’s pop song. It is like a cross between Petula Clark’s “Downtown” and anything by the U.K.’s late, great Kirsty Mac Coll. Kind Of Like Spitting’s “You Got Served” is disappointing being a lame-o Simon & Garfunkel rip-off. Make Believe’s “Brittany’s Favorite” (version) being nothing more than a slice of a tone deaf band’s tuning up session, hopefully isn’t (her favorite, that is). Hockey Night’s “Tubin’” is so unlike hockey; mellow, meandering electronika; they should be sued for false advertising. I was hoping for something far rowdier. This is as eclectic as you can get, but not enough tunes get me. Listen before you buy. (Redder - www.redderrecords.com) - Renrag

V/A Rock Against Bush Vol. 2
I’d really prefer to stay out of the politics here, but this CD and its “informational” insert make it really hard. I’ll just say this: I feel like the Anti-Bush camp is shoving just as much, if not more, shit down my throat than the Pro-Bushers. Telling me how much I can’t trust the American media doesn’t really command my trust in their newsletter style insert that contains opinions based around loose facts. Whether I share their opinions or not does not affect how I feel about their methods of information and opinion delivery. With that bullshit out of the way, lets sift through the twenty eight tracks of music here and pick out the good stuff. Green Day leads off this political charge pretty well with their signature punk rock and roll sound, followed by an excellent Bad Religion song, “Let Them Eat War.” Now, everyone loves Op Ivy, and putting “Unity” on here might be timely and relevant, but it just feels unnecessary, forced even. Skip ahead to the block of Only Crime, Foo Fighters, and Lagwagon. These guys keep up the rock, and the Foo definitely deliver something unexpected with their old school thrash punk song “Gas Chamber,” further proving that they can do no wrong. After this the CD goes downhill, even with live tracks from Jawbreaker (a favorite band of mine) and The Bouncing Souls, the comp just loses whatever momentum it might have had, despite songs from big names like Hot Water Music and (blah) No Doubt. Yellowcard should be lynched for their worthless cover of a previously awesome Lagwagon song. Skip to track twenty for Sick of it All and then turn this thing off. As for the DVD, the music videos are fun but irrelevant (minus NoFX’s live version of “Idiot Son of an Asshole”), the comedy is mostly funny, though I didn’t like Oswald Patton, and the political shorts seemed so very out of place in this release’s overall lighthearted take on serious politics. (Fat Wreck Chords, P.O. Box 193690, San Francisco, CA - www.fatwreck.com) - Klyjew

V/A “Volcom Entertainment: The Only Constant Is Change”
Fact: there are 46 (forty-six!) songs on this double-disc (double-disc!) compilation of “unreleased and rare tracks” presented by Volcom Entertainment (not Volcom Records, mind you). Opinion: that right there is far too many tracks and if they’re unreleased it was probably because they’re bad. Fact: the layout is terrifically impressive with each disc being textured matte with saturated colors and the insert featuring groovy pictures of musical equipment that look like they are taken by airport security x-ray machines. Opinion: Volcom must have a lot of disposable income because this comp does not warrant that much artistic attention. Standout tracks out of the forty-fucking-six: Rise Against “Obstructed View,” Authority Zero “Broken Dream,” Death By Stereo “Favorite Thing (Live),” and Codeseven “Suggestive” with an honorable mention to C. Aarme for the title “What’s Your Problem Mussolini.” The insert boasts that “the Company’s” intent was “to support young creative thinking not willing to accept the suppression of the established ways” which I am all for, but that language sounds like a wizened yippie sitting on a trust fund instructing the punkster who designs the “Company’s” website. This comp feels slimy to me (maybe it’s a California thing), kind of like how Vans is capitalizing disgustingly on the Warped Tour. Rare and unreleased tracks can be prized additions to any collection, but please, scour this selection before you buy this CD because my gut instinct tells me to stay far, far away from it. (Volcom Entertainment, 1740 Monrovia Avenue, Coasta Mesa, CA, 92627, - www.volcoment.com <http://www.volcoment.com>) - Thumper

The Vice Dolls “Die Trying”
The Vice Dolls come at you with a vengeance on this album and bring with them that classic hardcore sound that has since lost its way in the scene. Die Trying has it all: killer riffs, great breakdowns, appropriately timed back up chants. I mean, what more do you want? Oh, did I mention that The Vice Dolls are fronted by Carrie Nance, a female vocalist? How rad is that? We need more female fronted hardcore bands today. It’s not just boy’s fun, you know! Plus, pissed off girls are such a turn on. Any fan of the old-school hardcore scene should appreciate this band and their sound. The music is fast yet melodic and offsets very well with the lyrical tone Nance provides. The Vice Dolls are currently on the Boston Beatdown tour with such bands as Blood for Blood. I’ve got a hunch that this band is about to take it to that next level and explode. If you are one of those scenesters out there looking for the next best thing in order to impress your friends and earn more scene points…check out The Vice Dolls. (Crosscheck Records, LLC, PO Box 39439, Los Angeles, CA 90039 www.crosscheckrecords.com <http://www.crosscheckrecords.com>) - Jersey Jef

Walking Concert Run To Be Born
I was just wondering the other day what happened to Walter Schreifels after the break up of Rival Schools and like a stork visiting an expectant mother the mailman dropped his new project in my lap via the Wonka Home office. If you’re too young to know, Walter got his start playing bass for Youth of Today way back in the day. He then left that behind to start the legendary Gorilla Biscuits followed by the often imitated Quicksand. After a few years spent in relative obscurity, he blasted out of NYC in 2001 with his new project, Rival Schools. This group took a sharp turn away from the dischord of Quicksand, exploring more radio friendly lands while still retaining some of the trademark heavy riffing from the early days. Having said all that, anyone who is expecting to find anything close to Quicksand with this new record will be sorely disappointed. However, if you do like good, hooky, catchy, pop records that sound more like GBV than Gorilla Biscuits, you’ve come to the right place. I guess hitting your early 30’s affects everyone differently and Walter is no exception. Gone from this record is any trace of youthful angst. Instead, it has been replaced by a couple of guys who probably drank a lot of beer in the studio and had a blast writing this record. The lyrics are lighthearted for the most part, touching on subjects like all the money Walter made in his other bands (yes, he’s obviously kidding) and even the childhood wonderland that was Six Flags, New Jersey. There are traces of so many different influences on this record, like the Elliot Smith/Beatles rip “What Does Your Heart Say” or the island jam appropriately titled, “Calypso Slide.” My favorite track on the record is a bleed out your eyes Pavement-esque pop hit called “Hands Up!” complete with some 80’s style female background vocals. Yeah, punks get old, but some learn to have fun in the process. This is another fantastic record from one of the truest legends that the NYC hardcore scene ever produced. (Some Records - www.some.com) - Greg T.

Mike Watt The Second Man’s Middle Stand
This dude used to be the bassist for The Minutemen: a seminal, important, avante garde, short-song-punk-power-trio from So-Cal. So, what the hell happened here? Apparently only keyboards and drums were used for instruments, plus the Uni-bomber crossed with Pete Townshend right after a stubbed toe croak of Mike himself. It sounds like a fourth string hard/prog-rock band’s lame attempt at fame. Completely lame. Imagine Deep Purple’s keyboardist Jon Lord jamming with an acid drenched Crazy World Of Arthur Brown and Ultimate Spinach (eww). There are a few interesting titles, though; notably “Piss Bags & Tubing,” “Puked To High Heaven,” “Beltsanded Man” and “Pluckin’, Pedalin’, and Paddilin’.” Ultimately, this is a big fat fart towards the face of indie rock, and, I for one hope that Mike Watt rots in some semblance of Hell for making me listen to this crap. Also, the fact that the clueless people at Columbia seem to be so desperate for an indie release that they would put this junk out this tells me they are all tone deaf. They even included an anti-piracy warning on this pre-release. The numbskulls really think anybody would bother to pirate this dreck? Errrggghhh! Burn all your Mike Watt CD’s and records now and boycott Columbia forever. (Columbia) - Renrag

Where Eagles Dare “To Come From Nowhere”
When asked to describe their band in three words, this band form Arizona responded with: “Fast, faster, breakdown,” “Fast punk-rock hardcore,” and “Go fast mosh.” I know how I feel about that and for the sake of the band I hope not too many people share my thoughts regarding those answers. Some may call this hardcore, and to some it may be an accurate description, but being into the NYHC scene myself, I can’t wholly agree with that statement. I think “modern hardcore” is a more fitting description. The guitars are fast, as is the drumming, but overall it just lacks balls. The vocal style of Jaesyn, which comes across as mostly shrieking to me, is most likely what throws me off about their sound. I’ve never really been a fan of it but I’m sure a lot of the new school kids that do that silly shuffle dance in the pit would love it though. In fact, this album is perfectly suited to the girl jean wearing; dyed hair having set that has unfortunately taken over “Hardcore” today. (New Day Rising, PO Box 1383Miller Place, NY 11764 www.newdayrising.org) - Milkman

The Westminster Abbey “Oh No, It’s an E.P!”
Exclamation points! Across the sea band name! Big, bold fonts and black and white cover art! So yeah, from the get go it looks like you’re in for a transcontinental time warp. I’m not going to try to speculate on proper genre classification or influences or anything, garage rock, 60s pop-rock, Brit influence or So-Cal? Who cares, bottom line: it’s fucking good. While tracks like “Oh, No!” definitely do conjure up images of the choreographed chair dancing and malt sipping of movies of anon, the literally physical power of the music transcends any cinematic conceits. Guaranteed-the piano crashing, tambourine shaking, and intimate musings about been there, done that topics such as going to bed with the wrong girl will have your foot tapping, your head shaking, and if you’re so inclined, your rump wriggling. Don’t worry about a saccharine taste wearing off and leaving you with a headache, these two boys make sure you’re hopping and smirking the whole way through. Eight songs is a lot for an EP, but you’ll be left pleading that they “don’t say goodbye” till every strand is exhausted and the malts are all flat. (I Surrender Records, 314 Hyslip Avenue, Westfield, NJ 07090,- www.i-surrender.com <http://www.i-surrender.com> ) - Erika Owens

Yesterdays Rising “When We Speak, We Breathe”
On its bombastic EP, When We Speak, We Breathe, Yesterdays Rising channels the progressive nature of today’s metal, combining full on double bass assaults, guitarmony, and aggressive yet melodic vocals. While it is not the most original effort, When We Speak, We Breathe, has cachet. Instead of treading the same ground as The Used or Converge, Yesterdays Rising takes a route similar to the new All Else Failed record. Rather than layering chug upon chug upon chug, Yesterdays Rising tones down the discordance that bars the masses from most metal with harmonic choruses and vocal arrangements, akin to Atreyu only without the pomp and cheese factor. Setting the tone for the forthcoming four songs, “Our Lucid Dream” is a perfect opening track, instantly throwing the listener into an auditory melee of thrashing guitars, flailing vocals, and sprawling melodies. While “Lets Take Slow Steps,” “Sidewalks Remnants,” and “WWSWB” have difficulty matching the incendiary opening. Aside from some nifty recording tricks and the fact that the songs alone are very solid, it is not until the final track, “This Is My Thought-Crime” that Yesterdays Rising reaches beyond its beginnings and pieces together a truly epic and successful pop-metal song. When We Speak, We Breathe, is an explosive debut that showcases this young band’s potential in a prominent and successful way. Lookout for Yesterdays Rising, because its on its way to the top.
(Fearless Records, 13772 Goldenwest #545, Westminster, CA 92683 - www.fearlessrecords.com) - Alexander Kargher

Zao “The Funeral Of God”
Always one of metalcore’s saving graces, Zao (okay, just in, pronounced Zey-oh) have unleashed what is the latest chapter in their unassuming bid at laying the whole sordid wreck of a genre to rest forever. Nailing everything that metalcore bands can never seem to pull off (catchy songs, interesting vocals, intriguing lyrics, ahem… melody!), this on-and-off again outfit are hopefully here to stay this time. With a new rhythm section in tow, the 11 tracks represented consist of countless unforgettable moments; the dizzying release of “The Last Revelation (The Last Prophecy)” which has to be, hands down, 2004’s best four minutes; nu-metal kryptonite “The Lesser Lights of Heaven,” with a labyrinth riff that will have you looking over both shoulders; “Truly, Truly, This Is the End,” complete with the angelic background vocals that seep into the core of this album; the eight-plus minute lament of “The Psalm of the City of the Dead”; and on, and on, and on… Give me 1,000 more words to pontificate the many ways in which this music moves me. The Funeral Of God, a concept album about a god who turns his back on humanity (and with good reason), is Zao’s masterpiece - pure and simple. (Ferret Music, 167 Wayne St. #409, Jersey City, NJ, 07302 - www.ferretstyle.com) - Jason Schreurs

Zolar X “Timeless”
Yeah man. You think you just put on that film “Velvet Goldmine” and did a hit of acid when you toss this space pup on. Zolar X is an androgynous throw back to Bowie-era glam with space suits, spangly tracksuits, antennae, ray guns and the whole trap of looking the part. I swear, they look like Gary Glitter’s young nephews who smoked a lotta hash and saw aliens coming down on them in the shape of drag queens and bad sci-fi films from like the 60’s, the ones where you see the string holding up the hubcap flying saucer. Have I talked about the music yet? Not really. Why? Because with this kind of music and scene, it’s all about the looks. But the music isn’t bad. It rocks, it rolls and it has the right attitude. Nothing to write home about or dig up the grave of Ziggy Stardust over, but fun enough and hot enough to make even the most spoiled glam star take note and give a decent pouty lip to. All in all, Zolar X is a lot of fun and for that I commend them. I bet they put on an awesome show so stay tuned if they hit your town. If not, put on some glittery astro suit yourself and play a mean air guitar to this. I did. And I’m still explaining it to the cops. (Alternative Tentacles Records, PO Box 419092, San Francisco CA, 94141 - www.alternativetentacles.com) - Mark Whittaker

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