Anarbor- “The Words You Don’t Swallow”

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Often times an album loses momentum with every song that just doesn’t quite cut it. Quickly you discover that what you had hoped for isn’t happening and there are only a few songs you actually like. It’s similar to channel surfing endlessly hoping to find something that can maintain interest but nothing will. Yea that sucks, but want the good news?

Sparks quickly turn to fire as Anarbor knocks each song out of the ballpark with consistent hooks, dynamic choruses and sing-along style lyrics. Alright, you may not be caught dead singing along to music you like but you get the idea. Almost seductive in nature with a powerful pop rock sound that’s mesmerizing The Words You Don’t Swallow takes off immediately and never misses a beat. It all begins with vocals that are powerfully smooth, polished and bolstered with enough edge and harmony to keep your ears perked. Lead vocalist Slade Echeverria’s sound is also defined through his ability to transition between catchy choruses and verses in a seamless manner. The background vocals create the extra brush stroke that really pushes several of the songs onto the verge of perfection as they’re not overdone, or over powering. And, the harmonies are a treat to the ears. But leave out the vocals and you’ll find that the music is still potent.

Excellent bands aren’t carried by one aspect but everything working in tandem. Anarbor understand this in The Words You Don’t Swallow and have constructed music that doesn’t only accompany awesome vocals but makes ever song that much better to listen to. Think about it. If you can only focus on a small aspect of a band you like, the momentum dies quickly. However, if you’re in tune to each instrument and the vocals your experience will likely continue and an album will retain its value. The drumming, guitar and bass writing is insanely catchy, not too complex and easy to follow. Each instrument shows its core value and importance leaving you to say “damn these guys are good”. And, you can listen to each song again and again and find several different aspects to enjoy.

Anarbor’s The Words You Don’t Swallow is not your typical band with a ho-hum sound. Theirs is defined by music that utilizes each member and instrument to their utmost ability creating a sound that’s fun to listen to. [By: Andy Rajan]

Rating: 5/5
Release Date: April 20, 2010

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And Hell Followed With- “Proprioception”

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Satan hates Earache Records. Why? Because they sign bands who are more frightening than him? Look at And Hell Followed With and their follow up release Proprioception for example, (the title should continue “Kicking Satan’s Ass and Making Him Cry in a Corner”) whom are taking the thresholds of death metal into places many bands will seek and not accomplish.

Proprioception is a concoction constructed from five masterminds that will take your mind and body straight to a heightened metal overload challenging your eardrums to keep up with the deathcore/grindcore infused beats of drummer Billy Noffsinger, horrific screams and growls of lead singer Nick Holland and gut wrenching guitar power houses Pat Hahn, Kyle Mcilmurray and bassist Andrew Tate. Intense is simply and understatement. Description almost won’t suffice. But we’ll give it a shot. Think switching from the tempo of a death march to that of a maniacal schizophrenic who’s been deprived of his medication for one day too many and you’ve got an idea.

Noffsinger throws in more beats per minute on the snare and bass drums (known to drummers as bpm) then you’re metronome can handle (well not quite but it will be high). His fills are equally as fast and tempered to perfection. On par with the likes of Derek Roddy (ex Hate Eternal), John Longstreth (Origin) and George Kollias (Nile), Noffisinger is a drummer to pay attention to if you’re interested in knowing what it takes to be a pro in this genre.

Guitarists Hahn, Mcilmurray and bassist Tate keep everything beautifully sadistic laying each track in layers of perfected distortion. There’s also some soloing, plenty of breakdowns that will cause whiplash and enough solid rhythm action to keep each song as potent as the next.

Spewing terror from his lungs Holland puts has more range in the type of screaming he does than most. At times he’s hardcore, at other’s he sounds like the arch angel of death and in between he’s downright bloodthirsty. No ladies you won’t find yourself humming his tunes.

And Hell Followed With’s Proprioception brings to you the true sounds of death so don’t take them lightly. [By: Andy Rajan]

Rating: 5/5
Release Date: June 29, 2010

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Centaur Noir- “Rock the Hall”

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This is one of those times when you wonder what in the world was going through the artist’s mind when they decided to make an album. If they’re trying to be creative this might not be the best route. Sure there are different genres for different pallets but sometimes one still finds them wondering who actually enjoys this?

Centaur Noir’s Rock the Hall effectively rocks nothing. It’s monstrously monotone, uninteresting and mashes genres that don’t mix vary well (at least not in this case). According to the band’s MySpace site, the music is classified as electro acoustic/folk/rock (what the hell is that anyway?). But if that’s not all telling it gets better…’err actually worse. Many of the songs sound like a simple loop of the same melody going over and over in midi format. Remember those simple cell phone ring tones from what seems like an eternity ago? Those are in midi format. Except some of them actually sounded cool (well the Halloween one did anyway).

In the case of Rock the Hall not only are the song structures self-destructing but there’s no single element that can pull anything up by the bootstraps. The guitar riffs are as dull as hearing someone stroke the same three chords over and over no matter what type of effects are used. Other noises inserted throughout sound like desperate attempts to give depth to and already lackluster album. Furthermore what appears to sound like synthesized drums might really be the samples that were tossed by a techno artist gone wrong? And, the vocals have the least amount of melody you’ll possibly hear minus some of the American Idol tryouts. Nope, there are no hooks, choruses or rhymes that will excite any of the senses. Don’t expect the odds to increase because there are fourteen tracks either. The only guarantee is that you won’t find a one hit wonder here.

In the case that you’re thinking about listening to something new and exciting play it safe and skip this. Only if by some chance you’re tripping of an acid hit you may be in for a joyous surprise, otherwise you’ll be safe sticking with what you know works and won’t piss you off. [By: Andy Rajan]

Rating: 1/5
Release Date: May 12, 2010

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Of Montreal -”False Priest”

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Kevin Barnes, the lead singer and apparent life force behind the avant-garde, hipster, dance-pop collective Of Montreal, must be a heck of a dude to talk to. I wonder if he can even sit still to have a conversation because if the band’s latest album, False Priest is any indication- homeboy has quite the manic energy. False Priest is a chaotic and jumbled glimpse into Barnes’ psyche, coupled with completely wild and unhinged dance music for the hipsters in the cheap seats and teeny boppers in the front row.

“Coquet Coquette” is a hell of a good pop song- romping and stomping. It’s a damn good time aided by great vocals from the eccentric and eclectic Janelle Monae, who I had really only known because of her funky hair styles. But the girl can sing and Barnes uses her very well in the tune.

On record, Of Montreal only consists of three members- each taking their turns at a variety of instruments; mainly Barnes who is listed as playing guitar, bass, piano, drums, synths, and programming in addition to singing. The live band is eight people strong with a lot of the members contributing parts to False Priest. This is circus music- the kind of music that is best helmed by few instead of many, but best presented in mass numbers- so kudos to the band for making this happen.

I was initially put off by this album, but after several repeat listens, each one getting louder and louder, I found myself humming the tunes and thinking about it later. It’s an infectious album, but not in the traditional pop sense because initially, the songs aren’t all that inviting. Right off the bat they’re confusing and muddled. But sticking with them, they start to make sense. The chorus of “Enemy Gene” is a great example of the hidden gem quality this album has. I didn’t realize how pretty the vocals were until about the fifth go around.

And ultimately I never fully appreciated this album until the sixth or seventh go around. And while I don’t know if the album has any of the unique staying power of some of those great pop albums, I do know that with great tunes like “Hydra Fancies,” it’ll definitely be stuck in my head for some time. [By: Ryan O’Connell]
Rating: 4/5
Release Date: September 14, 2010

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Order of Ennead- “An Examination of Being”

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While there are those that enjoy listening to music that leaves them feeling euphoric, mellowed and happy there are some of us that just want it served on platter with no bullshit? We’re not looking to hold up lighters and wave our hands in unison. No! We want circle pits, flesh wounds and thrashing bodies. Welcome An Examination of Being with your devil horns and all of your hellish dreams may come true.

Built on elements of death metal, black metal and thrash, Order of Ennead has brought us a headless feast dripping with fresh blood and raw meat. If you wanted something kosher then this isn’t for you. But if darkness is your light and all that is grotesque your beauty then let the games begin. You’ll be greeted by tormenting blast beasts, demonizing vocals and shredding a la carte.

What would death metal be without some heavy duty blasting? It’s a damn near expected attribute if you’re to be a player in this genre. Sure one may choose a straightforward no double-bass no snare blast style but doing so is foolish unless the skill simply isn’t there. For you technical junkies out there, there’s no gravity blasting going but that doesn’t mean the drummer is lacking. His playing is heavy as hell and his tempo change-ups and speed enraged fills keep the drumming right on par.

If you’ve ever pictured the archangel of sin screaming his ass off this is potentially how he might sound. He’s not here to sing lullabies, recite nursery rhymes or make you feel all warm inside. He’s here to tear shit up, spit lyrics like venom and let you know how he really feels. Yes, this is how the lead vocalist sounds and it’s fitting, typecast and done well. Of course if you were expecting something different then you shouldn’t be listening to death metal in the first place.

The beauty of great metal is great shredding, dynamic soloing and electric guitars that bellow out all kinds of distorted symphonies. An Examination of Being has all of these present, check marked and ready to come at you as quick as you can take it. There’s no doubt that you’ll hear thrash induced riffs with enough strength to put you into a coma and bring you back into a state of violence. You might even hurt your fingers stroking the air in the process.

Tell the demons that haunt you I said hello and bring them a taste of An Examination of Being.

Rating: 4.5/5
Release Date: April 23, 2010

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War of Ages- “Eternal”

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Some years ago I had the opportunity to see War of Ages, who was one of the opening bands for Throwdown. Not familiar with any of their music, I was quickly impressed with their stage presence, superior sound, and song writing capabilities. Never would I guess that the opportunity would arise to review the fourth album in the saga Eternal.

A Christian metalcore super group whose life circumstances have contributed greatly to this record according to their MySpace site myspace.com/warofages, there’s currently very few albums packing as much emotionally driven energy into a release as Eternal. It’s loaded with lyrics about life’s hardships and struggles but with an eye toward staying positive through faith in God. Whether or not War of Ages is in line with your belief system, the lyrics are so powerful you would be doing yourself a disservice not read some of them. But how convincing is hearing about awesome lyrics if the music can’t live up? These guys have simply got making music down to a science.

Dueling guitarists Brannon Bernatowicz, Steve Brown and bassist TJ Halford inject more grindingly low breakdowns and raw amp energy than you can possibly digest in one take at the album. This is why you’ll find yourself listening to Eternal many more times than you ever imagined. Grounded in a foundation that consists of roaring rhythm guitar that’s every bit as dynamic as the lead guitar makes every song a solid winner. And for all you lead guitar pleasure seekers you’ll hear plenty of authentic solos melting the airways around you. The goodies aren’t all out of the bag yet either.

Brothers Leroy Hamp (vocals) and Alex Hamp (drums) do more than make Eternal a viable contender in a world flooded with hopeful metal musicians. Leroy screams with enormous conviction making you feel like you can just about see the fire in his eyes and feel the pain in his heart. The drumming is vibrant, churning with the force of a locomotive whose blowing steam like there’s no end in sight. He’s a hard hitter that knows how to over indulge you in strong armed back beats and smashing cymbal hits. Yet it’s uncluttered and clean as well. The only thing missing are your ears embracing Eternal.

Not only should Eternal rank as one of the top albums of the year but you should also go check out these guys if you ever get the opportunity. You’ll enjoy the experience. [By: Andy Rajan]

Rating: 5/5
Release Date: April 13, 2010

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Wrench in the Works- “Decrease/Increase”

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Silence is no longer your best friend. Sure you can remain a recluse despising everything and everyone around you. Lest you decide to change your mind and venture out into the world, Wrench in the Works will be there every step of the way to kick your ass and keep you going. After all how are you going to change without a little blunt force trauma?

A masterful combination of elements of metal and hardcore, Wrench in the Works newest release Decrease/Increase is an uncompromising jaw clenching composition of musical brutality. It’s hard-hitting purity that’s devoid of crazy electronic additions of cluttered sound effects and nu-metal chaos. Yet it’s injected with plenty of pulsating, fist pumping, windmill kicking breakdowns to appease the critical naysayers who have little faith in up and comers. Think tempo change-ups boosted with adrenaline injected drumming and vocals belted out with unfettered destruction. What’s this you’re mom’s in the kitchen breaking dishes? Surely this isn’t from the hysteria she’s feeling listening to your speakers blaring the next best band tearing the world apart. No. How on earth could that be possible?
Certainly there are several reasons why.

While there’s power in numbers there’s also power in one, precisely a dynamic lead vocalist with the ability to shred his microphone into pieces from the sheer ferocity belting out of his throat. His voice is filled with monstrous rage and induced with enthusiasm in a hardcore-metal sort of way. Backed by a guitarist and bassist whose chord combinations and distorted riffs strike with the force of a sledge hammer the aura is terrifyingly enjoyable. No you won’t hear any Dime bag Darrell type shredding going on but this isn’t the style Wrench in the Works is going after. Theirs is an ambience of unrestrained frustration articulated in powerfully constructed songs that can be played over and over. And, while there’s an element of simplicity in the composition of the guitar and bass this is far from negative because of the melodies heard.

Coming from the perspective of a drummer (myself), the man behind the sticks in Wrench in the Works takes drumming to a whole other level. His fill orchestrations are excellently executed with no sound space to spare. His speed and precision are well rehearsed and he proves that he has what is necessary to take him and the band to higher places. There’s plenty of double bass and blast beats to go around so dig in.

The only thing left is for you to go ahead and check these guys out. [By: Andy Rajan]

Rating: 5/5
Release Date: March 16, 2010

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Mutemath – “Armistice”

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Recorded at the band’s home studio in New Orleans, Armistice is a heavily blended (dare I say watered down) concoction of Maroon-5-meets-The-Postal-Service-whine-pop. The record is full of distorted, multi-layered sounds that mix sort of well with Paul Meany’s Mr. Nice Guy vocals. But the songs lack cohesion, not to mention a true statement that stands out. Outside of “The Nerve” and, perhaps, “Burden”, the album’s bookends, the music is buried under Meany trying to be Adam Levine, which is certainly not a very nice thing.

“Our goal is to embarrass the first record, that’s what we’re trying to do here, and I think we’re on point to pull it off,” Meany says about Armistice. While such ambitions aren’t exactly Herculean, there are glimmers of promise emanating from these, at times, manic-weathered tunes. The band finds itself caught between the age-old rock band conundrum of trying to be accessible while also trying to preserve artistic vision. Mutemath’s first record was known for its post-rock experimentation, which is also certainly present here. But the attempts are mostly grating, like the worst kind of nouveau electronica. There is no harmony. Least of all in the disjointed vocals of Meany, who, like he sings on “Burden”, “just can’t hold it together.”

Closing the album by getting a little Jungian on us, Meany laments that “The devil is not the nature/That is around us, all around us/But the nature that is within us all.” While his lyrics are sound, the delivery is off. [By: Sean Phelan]
Rating: 2.5/5
Release Date: August 18, 2009

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Discover America – “Future Paths”

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Although this album is called Future Paths, songwriter and vocalist Chris Staples seems stuck in the past – a slightly maudlin review through the narrative eyes of a tangled and nomadic psyche. The music is hinged on low-key, laconic, Tweedy-like laments of suburban, druggy malaise, e.g. “1979”: “You made a promise to yourself/To stay insane/As you sat in the corner/Watching things around you change.” The lyrics, while not great poetry, do make for some interesting short stories.

Besides “1979”, “When You Are Young”, a track that could use a major infusion of raucous noise, “A Lock of Samson’s Hair” and “Brighton Beach”, the one song that shows some real musical and lyrical diversity, are highlights. In fact, about half of these tracks need a major infusion of raucous noise. The trip through Staples’ America is too sleepy – where is the anger, where is the torment, where is any kind of emotion outside of apathy? Even dreams don’t come in monotones. The soundscapes are banal.

While Elliott Smith proved his genius writing this type of music, Staples’ voice simply doesn’t carry you through the peaks and lowlands the same way Elliott’s did. The songs, while engaging, are far too monotonous to give this album more than a couple of listens. [By: Sean Phelan]
Rating: 3/5
Release Date: April 20, 2010

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Solomon Burke – “Nothing’s Impossible”

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If a man who has been in the music business since the dawn of rock ‘n’ roll (more than half-a-century) tells you that nothing’s impossible, you better believe him. After a Hall of Fame career during which he has bellowed such immortal classics as “Cry to Me”, “Everybody Needs Somebody to Love”, and “Tonight’s the Night”, Burke, who is revered across genres and generations, would seem to have little left to prove. But like every great artist who understands the divine nature of his gift, it isn’t even a question whether he will continue proving it till his dying day.

The liner notes recount a touching story about how Burke came to collaborate with late, great producer, Willie Mitchell, for this record. Mitchell, who is best known for his work with another gospel-bleeding icon, Al Green, courted Burke for over three decades trying to get Big Sol to come to his studio in Memphis. The visit finally became a reality after Burke made a fortuitous sojourn to the River City for some barbecue. The two hit it off instantly, “like kids on a playground”, and the music bears the fruit of their soulful, familial kinship. “Oh, What A Feeling”, “It Must Be Love”, and the title track are all challenges to the listener’s mind to follow the heart. Mitchell’s strings still have the signature of Green’s greatest records, and Solomon’s voice is as strong as ever.

“I feel the presence of his spirit all over this album which is amazing,” Burke says, in eulogy of Mitchell who passed this past January. “I see a lot of things I never saw before. I didn’t understand the song ‘You Needed Me’ until the day of his funeral. I sat in the church and I understood that we needed each other at that point in time. I needed to reconnect with someone…who could say to me that just because you’re 70 years old doesn’t mean that you can’t sing like you should sing or want to sing. Use what God gave you. It was such a great message to keep going forward and to keep your dreams.” [By: Sean Phelan]
Rating: 3.5/5
Release Date: September 21, 2009

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Uriah Heep – “Celebration”

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As one of the most popular bands of the early 1970s, Uriah Heep built their audience on a heavy organ and guitar-driven sound, with David Byron’s Lord Byronesque vocals soaring like a Tawny Kitaen-less David Coverdale into the rafters. After this initial stint of popularity, the band lingered on to become a cult favorite in Europe, somehow managing to be the first Western band to play in Soviet Russia and selling 30 million albums worldwide. Through numerous lineup changes (only guitarist Mick Box remains from the band’s founding five-some), the ever-non-obsequious Heap (Master Copperfield?) is still going strong, as evidenced by their fortieth-anniversary Celebration.

This CD is largely a set of re-recordings from the band’s early years. There are only two new tracks among the fourteen songs, which will probably come as more of a relief than downer for the band’s longtime fans. While essentially functioning as a royalty-oriented greatest hits record, it is interesting to see how vocalist Bernie Shaw gets on with the old (as in David Byron’s) material.

Among the tentative highlights, “Gypsy”, “The Wizard” and “July Morning” showcase some fine musicianship. But in truth, for those old heads who still actually care about this band, this music is crap. While I tend to like the sound of the organ in rock ‘n’ roll, the band’s song-craft reminds one of Tenacious D without the tongue in Jack Black’s hilarious cheek. These guys make Def Leppard sound like Led Zeppelin. [By: Sean Phelan]
Rating: 1.5/5
Release Date: April 13, 2010

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Thee Silver Mt. Zion Memorial Orchestra-“Kollaps Tradixionales”

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Thee Silver Mt. Zion Memorial Orchestra are not a reggae band. Their music is not reggae and despite the cover art and initial feel of the album’s packaging, Kollaps Tradixionales is by no means a reggae album. Instead, the album is eclectic noise music from the vast northern wilds of Montreal. It’s Canadian hipster anarchists! It’s a collection of musicians throwing notes and sounds around like horseshoes. I certainly wouldn’t recommend starting your day with this album, but I also wouldn’t suggest finish it with it either.

The album opens with Japanese desert fighting music- but not from the fight scenes. It is opening credits music and fits because the album has a score-like vibe to it. It’s not alone in it’s madness. The liner notes are very specific; noting that everybody sang on the album. The first song’s vocalist is melodramatic, slightly punk rock, and a few blocks south of on key. This is big music, befitting of the long band name and confusing album title. I suppose that this is just a confusing band. Their website has a Frequently Asked Question section. But it only provides questions- no answers.

I suppose if Orchestra is part of your band name, then you can bring in as many fellas and ladies in as you want. At times, the band seems to be massive with rich and dense parts that build and build up. But there are also soft and gentle parts- vocals and a horn or vocals and some strings. I can only imagine the basement or living room that this album was recorded in was pretty wild and that candles and decorative rugs were intrical to the recording process. As intrical as red wine, hockey and batteries were.

There is no doubt this is a big album; an album born of grand aspirations to deconstruct what we all consider normal music and make something lively, new and fresh. But there is doubt on how listenable this album is and after listening to it once, if I’d ever want to do so again.

Doubtful. [By: Ryan O’Connell]
Rating: 1/5
Release Date: February 16, 2010

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The Pack A.D.- “We Kill Computers”

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Although The Pack A.D. sounds like it should be featured in the movie, Nick and Nora’s Infinite Playlist, mixing seventies rock with electronics and weird voice phasers, I will say that Maya Miller and Becky Black have a lot of balls for a band that literally lacks in them. Their latest album, We Kill Computers was self produced and to be honest, they did a damn good job of doing it. The brand of music is not exactly my cup of tea, but let’s go over some of the finer points throughout the album.

First of all, Becky Black’s voice rules. Not many girls can pull off being the vocalist in a grungy garage rock band, but her voice is something old and new to the sound all at the same time and it pairs quite well with it. There is nothing delicate about her singing style or the music, and it has a sound all it’s own. Her guitar playing is nothing to be overlooked, either. Belting out classic sounds in songs such as “1880,” Black shows her ability and her overall feel for the rock and roll sound they have adopted so easily. Drummer Maya Miller, not only keeps the time, but also keeps the pace with her partner in crime, Becky Black, by keeping a unique handle on the drums. Although she may not be the best drummer in the world, her style is unique and goes perfectly with the style being played.

Maya Miller and Becky Black are an undeniably perfect matches when it comes to music, and seem to have a strong connection that shines through their songs. For a band that consists of two people and two instruments, they are churning out hits in their genre. I don’t necessarily think that this album will single handedly be the resurrection of seventies rock, but if it ever does come back, I will say that it definitely did it’s part. [By: Dave Quaile]
Rating: 3/5
Release Date: April 27, 2010

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David Ford – “Let the Hard Times Roll”

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Let the Hard Times Roll is the third album from British singer-songwriter Ford. The album features heavy, lyric-led tunes in the tradition of British protesters such as Billy Bragg. Ford plays nearly every instrument on the recording in addition to writing all the string arrangements and designing the artwork. The songs comprise the three walls of a creative young mind which finds an outlet through Ford’s voice.

Among these songs, “Panic” is a genius, piqued-nerved, steamroller of catch-phrased slam poetry to a nice rising piano and xylophone, that will make your head spin trying to keep up with Ford’s rambling angst. “Waiting For the Storm” slackens the tempo, with a country-styled guitar and vocal delivery, picking up on the emotion felt by so many in our helpless age: guilt in the face of history’s unfulfilled promises for salvation. “I’ll be the one to take the fall/For all these sorry sons of bitches all/And clutching at the shortest straw/A martyr without a cause/Just waiting for the storm,” Ford sings with an erumpent understanding of the workings of birds.

Just when you think he may go the way of Conor Oberst, and become obnoxious with his discontent to the point of making you want to punch your laptop on “Surfin’ Guantanamo Bay” and “Nothing At All”, Ford pulls back the reins and eases you home gently with “Meet Me In the Middle”, a hop-a-long moper, and “Hurricane”, an apt juxtaposition of the ideological histories of Great Britain and America.

Winston Churchill once said, “If you’re not a liberal at twenty, you have no heart; if you’re not a conservative at forty, you have no brain.” While there is no doubt which side Ford now favors, he would do well to understand that even Bob Dylan was good for only one or two the-world-is-outside-of-me diatribes. “Shake the foundations and rattle the walls”, sure, but realize that it’s going to collapse on your head the same as his. [By: Sean Phelan]
Rating: 4/5
Release Date: April 20, 2010

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The Jump Offs- “S/T”

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How many great bands need to come from an area for it to be considered a musical hot bed? I’d say at least five. But if it were only two, I’d say the Jump Offs put Honolulu, Hawaii in the running. No longer just the place where surf crooner Jack Johnson is from, our fiftieth state is also home of the manically wild, alternative, geek rock, pop/punk five-piece band, the Jump Offs. The band’s debut album on Oregon’s Contrast Records, originally released in 2009, is lamely self-titled, but that is the only bland and lifeless part of an otherwise great album and a wild new band.

Each Jump Off tune comes with a great bounce to it, accompanied by sharp, razor-like guitar parts. The guitars are the punk rock surfers on the beach, the vocals are the more skilled and classy surfers and each song ends up having a day full of some quality waves and rad rides. I like the group vocals, they make the songs sound strong and full. There is nothing overly complicated about the Jump Offs, their songs are straight forward rocket ships of dance rock energy. The rhythm section is incredibly tight, locking in firm grooves underneath the massive group vocals, guitars and keyboards. It’s what the Killers might sound like if they were less Vegas and more lonesome desert and what Brit pop might be like if it spent more time in the East Village of New York drinking PBR’s.

“Coliseums” is the first great song, frantic and upbeat- never once letting up. It sets the tone for the album, which also fails to ever really let up. Things slow down a little on the dreamy walking music of “Stories of Your Stereo.” “Rest” and “After Party Conversations” are also great tunes- both fine examples of gritty and street-wise pop.

And these dudes are from Hawaii? It almost feels like a trick, because you’d think they were either L.A. dudes or maybe a new college band from Boston. They’re not a Seattle band, but they could have honed their skills in a burnt out warehouse in Detroit, Philly, or Washington D.C. It just seems so strange because of the band’s energy, it seems energy born from despondency- but nothing about Hawaii calls to mind anything close to that. Apparently these dudes are from the Hawaii where they don’t shoot postcards and film travel shows. [By: Ryan O’Connell]
Rating: 4/5
Release Date: October 17, 2009

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The Library is on Fire- “Magic Windows, Magic Nights”

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I was pretty impressed with this album off the bat, and then became more impressed when I found out that the band created it in just over two weeks. Noisy, fast and catchy is a dangerous combination and The Library is on Fire has crafted each one of those aspects carefully in just the right ratio into their songs. The trio based out of New York has found a good sound to grow from and delivers on their first release, Magic Windows, Magic Nights.

Produced by Todd Tobias, former member of Guided by Voices, the band put together fifteen tracks that range from lo-fi tape recordings and live shows in New York City. Mixing the raw energy of music stemmed from such artists as Archers of Loaf, with the pop sensibility of singer Steve Five, the band is the perfect combination of noise and catching melodies. Throughout the album, the band conveys songs of pain, loss, and an overall frustration, Considering that all songs were written by Steve Five, who had just recently lost a good friend, you can chalk the pain up to most of the songs being written about that. Songs such as “I Miss You So Much, It Hurts So Bad,” and “Gilding the Lily” portray a man jaded from the loss he has been faced with and reflect the overall message of the album.The music on the album, is heavy hitting and very well written. Although it is noisy at times, it is very well orchestrated. “Cinematic Idea,” is a great example of one of the bands more noisy songs, melding together to form something catchy and musically enriched.

The fifteen song collection put together in two weeks are, well, impressive to say the least. The fact that three guys can come together and produce something in that little amount of time and have it be so good makes me feel like an absolute waste. It took me two weeks to write that sentence. Magic Windows, Magic Nights is a good example of why this hard working New York noise band will be catching a lot of recognition over the next couple years. So far all I have really heard about them is how they had Todd Tobias produce their album, but something tells me that before too long, I will be hearing more about their music and less about their producers. [By: Dave Quaile]
Rating: 3.5/5
Release Date: March 2, 2010

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Sean Hayes – “Run Wolves Run”

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Sean Hayes’ is a unique voice – a voice less beautiful than it is convincing. On Run Wolves Run, the sixth album from this soulful San Franciscan, he seems to be calling on a certain female to settle down to pasture with him, if only for a night/eternity. Permeated by acoustic guitar, reggae- and jazz-influenced backbeats, with equal parts repetitiveness, this is a great album for summertime. Flowing, floaty vocals on “When We Fall In”, invoke the opening which is ours to explore. Hayes crafts a lyrical world where what’s down is up and where what’s fair is fairest.

“Open Up a Window” conveys much of the emotive imagery to be counted on for the rest of the record: “Open up the window/Let the night in/There’s a warm wind….” Warm feelings are indeed bestirred by Hayes’ vocal wand and subtly nuanced guitar-playing. His lyrics are nothing short of biblical, e.g., “Boy born naked/Dropped into the water/Swimming to his father/One not another/Girl born naked/Dropped into the river/Mother giver/One not another”, on “Me & My Girl”. “Garden”, “One Day The River”, and “Stella Seed” also extrapolate that the aforesaid “certain female” may in fact be God!

In a digital world where everyday a little letter of our lives is taken from us –since we are dying everyday – the final hour when we cease to exist does not of itself bring death; it merely completes the death process. Hayes, like a white Bob Marley, takes it upon himself to re-alphabetize the way: “You are of the wind/You are of the sea/You are of the sky/They cannot hurt thee/Born of the sun/Born of the waves/Roll thunderous one/Rise and change…, ” as he sings on “Stella Seed”. Sort of like Willem Dafoe’s character Elias in “Platoon”, Sean Hayes reminds that, even though dead, we can all be reborn beautiful inside.

So love your wolves, ladies. Please, please, please, pretty please. [By: Sean Phelan]
Rating: 4/5
Release Date: March 2, 2010

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Screaming Females- “Singles”

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At the risk of sounding sexist, (personally, I think it is a matter of taste) I will say that I could never get into all that many bands with a girl for a lead singer, with the exception of Nico, but that might have to do with the fact that her voice is deeper than mine. Anyway, Screaming Females, is one band that perpetually reminds me that there is room on my i-pod for a female front man. Yes, it is an oxymoron, I know. There is something about Screaming Females that sets them apart from your typical girl band; for starters, they are by no means “Girly”.

The album may be named Singles, which is usually a collection of the bands most memorable songs, or in a more mainstream band, ones that you would hear on the radio. Singles, however, is more of a collection of 7” records the band has recorded over the years. This is a plus for those of you who don’t have the interest or money to get yourself a record player and some vinyl, because now you won’t have to miss out on these gems. For those of you used to the sound of their much more laid back “Power Moves,” be prepared for a whole other side of this New Brunswick trio. The six track album depicts a much younger, aggressive band.

It is actually disgusting how good Marissa Paternoster is. The evidence of this shines through in the first track “Arm Over Arm,” where she belts out screaming guitar riffs and catchy hooks. Let’s not the forget the help she receives from fellow band mates, King Mike and Jarrett Dougherty, providing the perfect rhythmic background for this rock and roll deity. The band shows their talent progressively through the entire work, providing five outstanding originals and one really bad ass cover of Neil Young’s, “Cortez the Killer.” Although it is only six songs, I highly suggest adding these songs to your collection and witnessing the raw talent of Screaming Females. Who knows, if you are anti-female singers in rock groups, maybe they will help change your perspective on the matter. [By: Dave Quaile]
Rating: 4.5/5
Release Date: February 9, 2010

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Jesse Malin & the St. Mark’s Social – “Love It To Life”

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Jesse Malin sounds like a poor man’s Ryan Adams – just one of many parallels you can draw concerning the two country/punk-influenced New York singer-songwriters. Malin’s debut The Fine Art of Self-Destruction was produced by Adams. Malin’s career trajectory, like Adams’ after Gold, has stalled to an extent due to failure to make music that blows up the pigeonhole. And the two have even collaborated to form a band, The Finger, which released two EPs collected into the album We Are Fuck You.

Somewhat predictably, Love It To Life has songs filled with good urban energy for rambling hipster walkabouts along the riverside, preferably not in long-sleeve flannels and stovepipe jeans, (for fear of armpit pooling and leg cramps), mixed with tears-in-your-beer, evening cry-alongs. Scripted, yes, but also sincere. Malin is not quite the talent Adams is, who, in spite of his rep, is actually quite diverse. But such comparisons are ultimately unfair (not to mention cheap excuses for critical thought), even though the dudes are kinda beating us over the head with it.

“Lowlife In A High Rise”, with the lyrics: “If she knew all my sins, would she still let me in?”; and “Lonely At Heart”: “When you’re lonely at heart/You drink in self-defense/When you’re lonely at heart/You hide the evidence” are highlights. The songs, like most of the best alt-Keith Urban-country, grow on you after a few listens, such as “Burning the Bowery” and “St. Mark’s Sunset”. Clever song-poetry and guitars spice up a few of the more flaccid numbers, and there is little doubt that all those pretty, springtime Village girlies will eat it right up.

Let this be a lesson to you musically-inclined scenesters: Wear a nice pressed shirt and tie (and preferably a fedora) for your press appearances, listen to everything Gram Parsons listened to sixty years ago, sing exactly like someone else who has already made it while writing songs about being “fucked up but it’s alright” in fringe environs of New York City, and do a duet/cover version for some dinosaur like Bruce Springsteen or The Clash, and you, too, could be deemed “punk” and/or “critically adored” by your peers. Signed, Hater. [By: Sean Phelan]
Rating: 3/5
Release Date: April 27, 2010

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Libby Johnson- “Perfect View”

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It is not often that I get to say that an album is absolutely beautiful and feel like a straight man when I say it. Libby Johnson’s newest album, Perfect View, is actually my first opportunity, to be completely honest. This album sounds like it should be the soundtrack to any spring spent driving across the country. The cavalcade of musicians featured on the album comes together to form something that is sure to keep you interested throughout the entire album. To mention them all would just about fill my four hundred-word quota, but every song contains someone that was not mentioned previously on the album, with the exception of songs that Libby plays solo.

One thing on the album that blows me away is the feeling of honesty you get out of her songs from the very first note of track one, which is the album’s namesake. A mostly acoustic song, accompanied perfectly by stand up bass and drums played with brushes. There is nothing contrived in the song and it stays that way throughout. Although the album goes through a couple changes in influence, there is never anything forced to fit a mold. Libby Johnson is writing with genuine feelings and musical talent.

Although the album contains different musicians in just about every song, that should not downplay Libby’s musical ability. In songs such as “Blue Dress,” she takes the reigns, playing everything from piano, and keyboards to slide guitars. The entire album is put together beautifully by producer, Daniel Wise, who is also featured on keyboards in “Rare and Beautiful,” and “Being Your Stranger.” The entire album couldn’t be put together any better and each song flows into each other wonderfully, and compliments the previous one beautifully. From the first note of Perfect View to the last picked string of “I Know You Know,” Libby has put together one of the best albums I have heard in a while.

For anyone into slow folk songs, the album is something you will not want to miss in 2010, and although it is still early in the year, I have a feeling that this will be one of the better ones to come out this year. [By: Dave Quaile]
Rating: 5/5
Release Date: 2010

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Reverend Peyton’s Big Damn Band – “The Wages”

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If you’re like me, you probably stumbled on Reverend Peyton’s Big Damn Band through their touring with Flogging Molly or possibly even the Warped Tour. Sure, amongst all the neon-clad pop bands and metal-core breakdowns, a trio of folks playing rural blues on guitar, washboard and drums would have to at least draw your attention. But beyond the novelty aspect of the Big Damn Band, there is a solid blues album to be found in The Wages, full of toe-tapping jams and honest to goodness lyricism.

Lyrically, everything you’ll hear brims with honesty, whether it be socially/politically conscious or not. Touching on bank bailouts and apathy, you can appreciate what is being sung about without having to feel like you need to go learn about it afterwards. And yes, a bit of humor is snuck in about stealing chickens in “Ft. Wayne Zoo” – though it might not hit home hard enough to be as funny as “Your Cousin’s on COPS”.

The Rev’s guitar chops can be appreciated right from the opening of “Born Bread Corn Fed”, as his twangy arrangements wonderfully capture a blues feel without really sacrificing a bit of energy. Throw in Breezy’s washboard rhythm and occasional vocals and newfound member Aaron Persinger’s minimalist drums and you get an enjoyable formula for what the Big Damn Band does – get some part of your body involved in the rhythm. Likewise, The Rev’s vocals are easy enough to decode and easy to sing along with even as you hear their songs for the first time due to the repetitive nature of their songwriting (see “Everything’s Raising”). For some though, the repetition could be the only reason not to enjoy what these guys and gal do, as in some songs certain passages are repeated over and over until it seems like you’ll know every aspect of it.

But the Big Damn Band doesn’t have a problem slowing things down now and then, as tracks like “Redbuds”, “Lick Creek Road” and “In a Holler Over There” show them bringing the tempo down and focusing on simpler rhythms and melodies without sacrificing anything in the long run. Sure, they aren’t quite as catchy as quicker paced stompers like “Everything’s Raising”, but they are good in their own right and provide a break from the usual fare of the band.

The Wages is a solid addition to the Big Damn Band discography, and would be an enjoyable addition to any blues fan’s collection. With their summer plans booked on this year’s Warped Tour, Reverend Peyton’s Big Damn Band have no reason to stop now, and this disc only further proves that.[By: Jason Gardner]
Rating: 4/5
Release Date: May 25, 2010

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Hypernova- “Through the Chaos”

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From the first note of this album, Hypernova grabbed my attention, listening intently to the music and waiting for a singer to chime in that would hopefully keep my interest and fit the music. I was certainly not expecting what I heard, but not in a bad way. The singing was something nostalgic, and seemed to have a hint of an accent, and upon further research, I found out something that had me even more interested than I was before. For those of you like me, who didn’t know, Hypernova is a four-piece band from Tehran, Iran, a place where music of Western influence is completely banned and anything Americanized is generally unheard of. The talent displayed by the Iranian foursome, is nothing short of amazing.

Now that they have, for a lack of better words, fled their country, they have been gaining attention, playing shows in their new home town of New York. Subsequently, being able to play shows without the cover of secrecy is much easier for a band to be noticed. Who knew? As you can imagine, in songs such as “Viva La Resistance” the band tackles many political issues of Iranian repression. In songs such as “With You” they write about subjects such as love and friendship. For someone that speaks English as a second language, singer Raam has an undeniable grasp on the subtleties of the language. The lyrics displayed in the album are better than most American bands that I have reviewed over the last six months, and my hat absolutely goes off to him for it.

If I had to compare the band to anyone, I would say they were a lot like the Killers mixed with a little bit of Tears for Fears. No matter who they sound like, the overall story behind this band is enough for me to support them as it is. It also helps that the music and lyrics are worth listening to regardless of background story. Through the Chaos is the first release by the band and I have a feeling this will not be the last we here from our new friends from Iran. [By: Dave Quaile]
Rating: 4/5
Release Date: April 6, 2010

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Eagle Scout – “New Hands”

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“Poppy” is an adjective that occasionally bears a bad aftertaste in its use. For some reason or another, the influence of pop music and its characteristic of catchiness sounds good on paper, but not always in a review. Yet, while Eagle Scout’s gleaming post-punk jamboree New Hands boasts noodling guitars and limber drumming, you can’t deny the addicting nature of the ten tracks this disc contains. Call New Hands what you want, but you’ll have a hard time not calling it damn good.

Balancing the urgency of their mid-west roots and guitar work beckoning the likes of Minus the Bear and This Town Needs Guns, Eagle Scout wraps it all in a nice bow of often an often shiny nature. Who said you can’t flex your songwriting muscles in an upbeat key? “At Arm’s Length” culminates in a gang-vocal-like expression of the title, and is anchored by fantastic drumming that is found throughout the record. A slight ambience can be sensed on this record, as the introduction to “Death Rays” will show. Still, this track bursts with urgency from the guitars and manic drumming, backed with solid vocals once again peaked with a gang-vocal climax.

The grooves don’t stop there though. “The Decay” weaves transcendental melodies through your head, and “Spies Like Us” does likewise – relying on a bass heavy arrangement to induce an almost obligatory dance session. This tendency doesn’t hinder the spectacular fretwork though, as “I Am Your Ghost” keeps a steady, yet slightly jagged beat with dueling guitar melodies to create a luscious track for your ears to feast on. Everything on this album is upbeat and unrelenting, somehow finding a way to convince some part of your body to move along to the angular rhythms found from start to finish.

With a tendency to never really slow down, New Hands makes for an adventurous album across the board. Finding a near-perfect mix of impressive musicianship and infectious songwriting, Eagle Scout might not be a pop act per se, but they sure know how to write like one while refusing to give up their musical chops in the process.[By: Jason Gardner]
Rating: 4.5/5
Release Date: February 16, 2010

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Eddie Current and The Suppression Ring- “Rush to Relax”

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Eddie Current and the Suppression Ring are four Australian dudes that met each other in a Vinyl Pressing factory. If you ask me, any guys that work in a vinyl pressing plant are basically a hipster/punk accident just waiting to happen. At a factory Christmas Party, the band played while singer, Brendan Huntley (now Brendan Suppression) adlibbed into the microphone. The band would later form to become Eddie Current and the Suppression ring, a seventies style punk band with nowhere to go but up. They gained popularity in their country and even worked up enough to fame the U.S. a few times, gaining recognition across the country.

I don’t think all the fame is well deserved considering just about every song on the album sounds exactly the same. Clean guitars played over tumbling drum work seem to be the overall formula of the entire album. The only real difference between the songs is that some are one minute and some max out at six or seven minutes. Some guitar solos such as the one in ‘Tuning Out” just go on a little too long for their own good. If I wanted to hear a jam band, I would go see Dave Matthews or Phish.
It makes sense that the band was formed at a party, because the only way I would ever really want to see them is if I were in tenth grade, shit faced on someone’s back patio. The album is not awful, but it is definitely excessive. The intro to “I’ve Got a Feeling,” literally goes on for a minute straight of the same guitar riff, until the vocals come in and even after that the guitar stays the same for another 32 seconds. It is enough to make someone nuts. Not to mention the twenty minute session of shore sounds at the end of the final track, and title of the album, “Rush to Relax.”

I don’t necessarily find anything exceptional about this album, and I think I would sooner spend my ten i-tunes dollars on the Blue Collar Comedy Tour CD before I rushed over to buy this. However, if you are a fan of repetitive, weird jam punk, by all means, check it out. [By: Dave Quaile]
Rating: 2/5
Release Date: March 16, 2010

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Destinity- “XI Reasons to See”

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At 2am while the world sleeps you’ve just woken to a phantasm. Your memory is bleak, you’re confused and feeling like you’re in a lost state of consciousness. After staring at the ceiling above your bed for some time you realize you’ve just had the worst nightmare in recent memory. As a matter of fact this is just the beginning so don’t say you haven’t been warned. Destinity’s newest release XI Reasons to See will only make them worse so you better get comfortable quickly.

As heavy as the grievous sins weighing on overbearing shoulders, XI Reasons to See lives up to your worst nightmares. Their musical characteristics are inherently death metal and executed with utmost perfection. It’s almost as if the five members from Destinity had a check list when making XI Reasons to See to make sure that they injected as much brutality as possible before releasing this monster to overly zealous ears waiting to unleash criticism. You won’t read about any pitfalls here.

The vocals of Mick are a spitting image of the genre itself which entails monstrous destruction of the voice through hellish growls and deep screams of rage. And, Mick unleashes a nuclear assault on anyone willing to listen, never showing a hint of losing his might. Rhythm guitarist Zephiros, lead guitarist Seb V.S. and Dave on bass bring the pain in more angles than you can think of. The breakdowns are extremely distorted symphonies of every head bangers desire manipulated with plenty of solos (but not so many that you think you’re listening to eighties hair metal). The tuning is low, the riffs vary from moderate to fast and every song contains enough unique chord usage to keep you drooling for more. If you still don’t feel satisfied just keep hitting repeat until you’re ears ring from the intensity or you beat yourself into a comatose state from thrashing. Adding to this fury Morteus on drums and backing vocals will let you know exactly what double bass drumming at the pace of a machine gun sounds like. Forget a few little triplets here and there to give you the illusion that he has skills. Morteus probably has more smoke coming from his feet than a four alarm fire and listening to “Self Lies Addiction” will illustrate this in a few seconds. If you haven’t already given yourself whiplash your fate is coming.

XI Reasons to See is a terror storm waiting to put you through the ropes. You say you like it heavy. Destinity will show you heavy to your grave. [By: Andy Rajan]
Rating: 5/5
Release Date: March 30, 2010 (North America)

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Wetdog – “Frauhaus!”

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From the outset, Wetdog intimates that this is going to be a weird, European-sounding record full of song subjects like “Lower Legs” and “Round Vox[es]”. It is the kind of album that conjures visions of hot, possibly crude-looking German women plucking away at their instruments in torn fishnets and black mascara, like if the female members of The B-52s hailed from Transylvania (or a really bad New York retro shop). Wetdog is in fact a London-based trio of female sound-hounds, whose music rides the thin line between intensely interesting experimentalism and sheer crap.

Released late last year in the U.K. and making its way across the Atlantic via Brooklyn-based label, Captured Tracks, Frauhaus! is, like so much coming out of Brooklyn these days, perhaps too hip-sounding for its own good. The music is retro and desultory, filled with weird, incongruous intonations and punky guitars. The songs are mostly of the two-minute variety, which you will certainly consider merciful of the band on a few of the more “eek-huh-hak”-shrieking numbers. “The Man Delivers Papers” and “Wymmin’s Final” are highlights, showcasing Billy Easter’s abstract bass which is often the only hope of piecing Rivka Gillieron’s impetuous vocal phrasings together, (which is not to say that Ms. Gillieron’s voice does not sound very pretty at times, in a Feist-y, Kim Deal-ish sort of way). This is obviously not the Queen’s English!

I would like to tell you that the world needs more of this music, and I’d probably be correct in saying so, but something about this record puts my Gestalt sensibilities on edge. The whole, inexplicably, is less than the sum of its parts. [By: Sean Phelan]
Rating: 2/5
Release Date: November 30, 2009

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Fight the Quiet- “Let Me In”

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You’ve probably noticed that music is separated into different tiers similar to societies. There are the bands at the very top. Then bands somewhere in the middle that are well known within their genre. Finally there’s up and coming bands that are establishing a strong following but still have a long way to go including start ups and cover bands. Fight the Quiet fits into the third category with their third release Let Me In.

Fight the Quiet’s newest release Let Me In is at the mellow end of the rock spectrum with clean vocals, lightly distorted guitars and moderate to slow paced tempos. While the sound is solidly grounded, it’s pretty damn good but not great. Strangely enough it’s hard to say why other than there’s nothing that totally gets your attention. Of course that’s not enough of a reason to stray from mentioning the positives.

Nathan James’ vocals come across as very passionate and harmonious along with his ability to hold notes and vary in pitch. James voice is very smooth and rich but seems to also sound somewhat nasal and stuffy. Though not terrible, sounding slightly nasal is enough of a drawback to hinder the overall sound of his vocals. Similarly, the guitar hooks are pleasant and progress nicely throughout each track but aren’t entirely exciting to listen to. You won’t necessarily be thinking that Nathan, Chris Wargo (lead guitar) or Timothy Dohse’s (bass, backing vocals) riffs are poorly written or that they can’t adequately play their instruments. In fact there are some nicely added solos and change ups in guitar effects that keep Let Me In maintain listenability. But something still seems to be lacking that’s hard to put a finger on. Meanwhile Brock Lefferts’ drumming suits the bill and while he may not be the one to inspire you to pick up your first pair of sticks he adds in ample spice to keep Let Me In going. Although, this isn’t the type of music that gives drummers a chance to show off and it’s arguably tough to make anything stand out.

While you won’t necessarily find yourself disliking Let Me In you probably won’t miss any sleep if you don’t listen to it. Still there’s no harm in taking a minute to check them out to see what you think. [By:Andy Rajan]
Rating: 3.5/5
Release Date: March 2, 2010

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Pantyraid– “The Sauce”

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Ignoring for a moment, if you will, the rather raunchy band/album name combination, Pantyraid’s The Sauce proves a strangely stimulating menagerie of electronic sounds. The first track, “Crunkalicious”, sets the tone. This music is funky, in a rude, I-just-farted-during-sex type of way. The listener half expects a Lil’ John “oooookkkayyyy!” at certain points during the record. It combines elements of hip hop, dubstep and electrocrunk with heavily atmospheric, gravity-laden beats.

That being said, with an absence of vocal tracks, besides a Britney Spears-sounding sample on “Like That” and a handful of other snippets, the songs prove little more than crunk backing tracks that end up making you feel violated in the earlobe. (And anyone who chooses to listen to “One Mo” or “Our Second Chance” can certainly say, like Iggy Pop, that they have “had it in the ear before!”). It is an interesting experiment in sounds by two American West Coast producers, Martin Folb (a.k.a. Marty Party) and Josh Mayer (Ooah), but culminates as little more than that.

The closing track, “Worship the Sun”, ends the space jam with a tribal hymn of East Side L.A. proportions. I.e., picture a drop-top El Camino full of Crip-clad aliens singing a cappella to serpentine muffler beats. Too strange to picture? Well then you probably have no business listening to this record! [By: Sean Phelan]
Rating: 2/5
Release Date: November 3, 2009

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Smile Empty Soul- “More Anxiety”

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Finally seeing the light of day after past record company woes and nearly half a decade, More Anxiety (formerly known as simply Anxiety) is a double-disc delight for old-school fans of Smile Empty Soul. But despite being raw and full of gritty melody, this record embodies the name of the band penning the tracks and ends up leaving you empty and needing more to fulfill your hard rock palate. Sure, this material would have sounded much better in the grand scheme of rock in 2005, but just doesn’t quite fit in right now.

Legend (or wikipedia) has it that Smile Empty Soul had to put this record on hold for various reasons back in 2005, and that factoid only further proves the age of the songwriting here. SES may have been at the top of the world after their hit song “Bottom of the Bottle”, but this record shows a falter in songwriting from start to finish. “Bright Side” feels like it is missing something, even for a three-piece band. The somber “California’s Lonely”, which delicately balances dismal melodies and smooth vocals, is a bright spot early on. This track even transfers well as an acoustic song as a bonus track near the end of the disc. The track that made it out as a single, “Don’t Need You”, is a run-of-the-mill grunge cut, sounding more Nirvana than anything else.

As far as the bonuses are concerned, everything you’d expect from a quote-unquote special edition makes it onto More Anxiety. The DVD features footage from the road and the studio alike, plus a music video to boot. You’ll also get a couple acoustic cuts, which are legitimately great transfers to the acoustic sound – showing these guys didn’t just slap a couple songs to acoustic to have said songs as bonus material. There is even a nicely placed cover of Nirvana’s “Aneurysm”, which excels in bridging the sound of both bands together is a fitting cover choice.

More Anxiety is in reality a chance for SES to release the album they wrote in the form it should have been released following their self-titled debut. It might not have carried the same impact it did a few years back, but for die-hard fans this is a good way to complete your collection, per se. Otherwise, you might just be better off sticking to the rest of the band’s work. [By: Jason Gardner]
Rating: 2/5
Release Date: March 9, 2010

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The Venetia Fair- “The Circus”

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A friend from Boston told me about the Venetia Fair a while ago and sang their praises so much that when I was told to review this album, I could hardly wait to give it a listen. Unfortunately, due to either the hype or the overall redundancy of the album, I was completely underwhelmed. There are a few good aspects here and there, but overall, it was not the life-changing experience that I was hoping for.

Starting off, it seemed like it was going to actually be a pretty good album. Musically, “A Man Like Me,” starts off strong and actually stays that way throughout the song, but it was not a sound that was entirely new. After twelve seconds of being mildly impressed, Benny Santoro was introduced to the album and I immediately lost interest. It was a mix between Panic! At the Disco, (old) Lorene Drive and The Used. It was as if he wasn’t singing, but doing an impression of someone else singing. I am sure many people will disagree with me, but if you give it a hard listen, there is nothing new in his vocal styling. His lyrics are purely for shock value and seem forced. It is like when you are at a party and some guy that nobody knows talks very loudly about his sex life just to get a reaction out of awkwardly laughing guests. Panic! And Say Anything may have pulled off the good sexual lyrics, but The Venetia Fair is just coming off as someone who is trying too hard.

The music on the album is very well orchestrated, and mixes a lot of good elements, which almost makes up for the tired indie rock band style vocals. Once I gave the music a fair shot on its own, I could see more and more what my Bostonian friend was talking about when he raved about this band. The two-part album starts off as an overture and makes it’s way into the second part of the album titled the circus and only progresses as it goes. Pianist Joe Occhiuti is a shining star throughout the album, showing off his talent on the keys, especially in songs like “Because You’re Lonely,” heavily riddled with his piano work, which holds the album together throughout.

Mixing familiar sounds of My Chemical Romance, Panic! At the Disco, and Lorene Drive, this album sounds like it should come complete with a studded belt, carabineer, girl’s jeans and Geoff Rowley skate shoes. Overall, it is an okay album, but I definitely don’t think it deserves all of the attention it has gotten. [By: Dave Quaile]
Rating: 2.5/5
Release Date: August 3, 2009

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