Jaguar Love – “Hologram Jams”

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Johnny Whitney and Cody Votolato may have lost a drummer in between their debut full-length Take Me to the Sea and now, but one listen to Hologram Jams will be enough to prove the duo can still crank out the jams regardless. At the heart, Hologram Jams is a cross between an edgy dance album and an over-the-top pop adventure, woven with the distinct vocals of Whitney to boot. What results is a solid album full of undoubtedly catchy melodies, thumping beats and enough variety to not end up getting bored with this disc after a couple listens.

Glimmering with beautiful hooks from the get-go, the two ex-Blood Brothers show a knack for creating catchy melodies that almost beg you to dance, as the chorus of “Polaroids and Red Wine” will prove. “Cherry Soda” kicks back and forth between two gears, giving us two sides of the bouncy concoction. Jaguar Love gets a bit funky with “Jaguar Warriors”, using interesting synth and drum lines to create a true standout in terms of sound. Meanwhile, “Evaline” shines like a diamond with a knockout beat and simple, yet on-target melodies, giving the vocals a palette to spread a plethora of excellent vocal work. Finishing the album off, “Piece of My Heart” sounds like a club remix of a hair-metal track, really pushing the melodies to the brink while Whitney projects his gritty voice through your speakers.

However, a few parts of this machine don’t quite run as well as the rest. “Don’t Die Alone” just sounds like it is missing something throughout its clap-backed, spacey-sounding melodies. “Everything is Awesome” has an out-of-place beat that makes the rest of the track seem foreign, making this a track that seems to take more work to enjoy then it should. Kudos for trying to make something a bit more complicated, but if it makes the rest of the track seem dull, maybe it is worth reworking.

Whether you liked Whitney’s voice from his earlier work or you enjoy a good dance album, Hologram Jams will be a great listen. Don’t be surprised if you find yourself whistling some of the melodies some odd days later though.[By: Jason Gardner]
Rating: 4/5
Release Date: March 2, 2010

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Shellshag- “Rumors in Disguise”

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The dynamic duo from Brooklyn, New York seems to be in the beginning stages of a metamorphosis. Although Shellshag have previously taken on a completely minimalist punk persona, they have taken a step into a much more poppy direction.
The gritty DIY band have found a fitting label to put out the album with Don Giovanni, who have sponsored poppy punk acts and indie punk combinations such as The Ergs, For Science and Screaming Females, making Shellshag a perfect addition to the label. Although they have taken a step into a much more mature direction, the band still stays true to the coarse sound that got them where they are.

The album is a combination of noisy riffs and catchy hooks that will appeal to anyone who was attracted to their crunchy sound on previous albums. Jonny Shell and Jen Shag make it very simple to forget the fact that their band consists of one guitar and a drummer. With a sound so full, you would think you are listening to a full ensemble throughout the fifteen-song record. With influences from everyone from the Pixies to the Ramones and Superchunk, Shellshag is the perfect combination of all the best bands from earlier punk and indie scenes.

If you are already a Shellshag fan, don’t be discouraged when you hear the first track “1984” and hear a new sound from the band you love. This is simply a sign that they are in a transition to much bigger and better things. With songs like “Carry On,” and “Resilient Bastard,” the band is ushering in a new era of nostalgic indie/punk rock that has left me pretty excited to see what’s to come. The album is a hit, and it seems like there are still some kinks the band has to work out with the direction they want to take, so I can’t even imagine the musical gold they will strike when they find it. Definitely keep an eye and an ear out for this band in 2010, because I would not be surprised if they make their full transformation into something great before the year ends. [By: Dave Quaile]
Rating:4/5
Release Date: February 23, 2010

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Raymondale and the Family Band- “Consider the Birds”

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You might be looking at this sibling trio thinking to yourself, “Wow, they look young as hell!” Well, that’s because these Gainsville, Florida natives are in fact young as hell. To a lot of you that might show as a lack of experience and a sign that they still have a lot to work out as a band, and once again, you are right. Although the band is a talented pop band centered around a piano, it seems like they still don’t know where they want to be with their sound. This could either mean good things or total disaster for future albums, but for now, let’s stick to talking about this one.

The Mountain Goats have made a career out of being extremely detailed in their song writing and it seems like Raymondale and the Family Band has followed closely in their footsteps in regards to that aspect. It is not a struggle to figure out what their songs are about, which can sometimes be a good thing, but it is always fun to be able to interpret songs for yourself and have some mystery behind it. Songs like “Rosa de Chiapas,” and “For Her,” lay out overly detailed stories, leaving you with nothing left to think about at the end of each song. Listening to songs should not be like reading a Bret Easton Ellis Novel. Just lay out the scene, don’t describe the three piece suit and skin moisturizer Patrick Bateman is wearing.

As it was previously mentioned, the band still has some kinks to work out, but luckily for them, they are young and have all the time in the world to figure that out. Although the band has some issues with changing moods in songs, and timing issues, their heads are in the right place and will mostly likely be a big hit for fans of the piano pop variety. Keep an eye out for the evolution of these young guns because I feel like they could be working their way up the ladder in the next few years. [By: Dave Quaile]
Rating: 3/5
Release Date: January 09, 2010

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Miss Massive Snowflake- “Songs About Music”

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The Portland Oregon seventy-million-piece band that is Miss Massive Snowflake is a strange mix of things that I can’t quite put my finger on. It took a few listens for the album to grow on me, but after the second or third time, it was like a virus. I couldn’t help but sing along to the repetitive “Ooo’s and Ahh’s,” sang all through the album. They provide a strange collection of horns and intricate riffs, but I guess it is easy to be intricate with eight musicians all playing at the same time. Obviously, I am still torn on how I feel about this album, and will suggest just listening to it, as it is something you will just have to decide for yourself.

There is obvious musical talent represented in the album as a whole, and lead singer Shane De Leon has a lot to say on the state of the world, a good percent of which actually gets the point across without sounding pretentious, which is one big positive point. Songs such as “An American,” bring across a good message without being neither preachy nor ostentatious. It is a little cluttered musically, but that is understandable seeing that there are eight people playing seven different instruments in almost every song.

As a whole, the combination of the horns, groovy bass lines and bells don’t come together as well as I think they could. To say the least, there is just way too much going on in this album. In certain songs, Shane De Leon shows similarities to Elvis Costello, As Tall as Lions and Bright Eyes and the band itself seems to be inspired by just about every band that has been described as indie or folk. They have a lot of potential; it is just a matter of toning it down a little bit. You really just have to hear it for yourself and find out how much shit you can pay attention to all at once. It is not in a bad album by any sense of the word, it is just a little abrasive the first few times you hear it. [By: Dave Quaile]
Rating: 2.5/5
Release Date: March 2010

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Chalk Dinosaur- “S/T”

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It is cool to see semi-local guys get a lot of hype behind them, and it is even cooler when they deliver. I have actually heard a lot of bold statements being made about Chalk Dinosaur, seeing as they are from Pennsylvania, and now that I have finally heard the whole album I am definitely underwhelmed. Yes, they put together something that was different from the everyday indie band and yes their influences show through in a positive way for most of the album, but are they the future of rock and roll that I have heard so much about? Absolutely not.

The album starts off with “Fairweather,” which might as well have been an extra track on Piebald’s “Accidental Gentleman.” The upbeat piano and melodies sound an awful lot like the previous efforts of the infamous Boston band. The most honorable mention on the entire album, “Warm Me Up,” is, basically, a Ben Gibbard inspired ballad. The following track, “Above the Clouds,” well, let’s just put it this way; try to listen to the introduction to that song without thinking about Aqua’s “Barbie Girl.” It will be like your cousin’s confirmation party in 1998 all over again. The point is, most songs, cannot only be identified as a direct influence from someone else, but in some cases, a direct copy.

The band puts out a good effort, and yes, the album is not awful, but it is hardly the future of music to come. It is less of a rock and roll revolution than it is rock and roll regurgitation. The album is absolutely listenable, but do not expect to have some big epiphany at the end. It is just an album, and a bit of a cheesy one at that. If you are a fan of Weezer, The Shins, Piebald, or are just a Barbie girl in a Barbie world, check this one out, but if you are looking for something amazing, look somewhere else. [By: Dave Quaile]
Rating: 3/5
Release Date: November 2009

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Hour of the Wolf – “Obsolete EP”

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It is hard to be a wolf in the modern-day world. It is hard to be a believer and howler for individualistic freedom, where zeitgeist is manufactured by whatever the latest version of Windows, i-Phone applications, and/or our favorite celebrity headcase[s]. We humans find it difficult to believe that a computer is not a window, and an i-Phone will certainly not solve all those emotional problems that have been building up like an enjambed tectonic plate from our sheer refusal to interact with any form of natural appreciation/catharsis. That overweight, egotistical, pill-popping train-wreck that we so avidly watch on our TV screens every week is the same one that exists within our very souls. And no amount of Botox, Creatine, or faster gigabyte downloads will ever set it straight.

I rant and rave in such alarming fashion because this is what one does when the appointed hour has swung around. Hour of the Wolf’s ten minute EP is a sometimes powerful, sometimes tedious, miasma of snarling ferocity (think Ramones with rabies, i.e., early Black Flag). “Faith in Fiction” and “Bloodstains”, an Agent Orange cover, are conspicuously well-crafted, though “Cowards and Critics”, an obscenity-laced diatribe directed at critics who have had the nerve to disagree, is a disappointing closer. The album’s lyrical content is a study in planned obsolescence: a concept that the industrial world has driven into the ground, and one these guys believe God has in store for us.

In summation, Hour of the Wolf sounds like Motorhead must have when they were still in high school, (that is, if any of the guys from Motorhead actually went to high school). Though Addy, the band’s lead singer, probably has a few retrograde samsaras to live through before he can pull off anything even remotely resembling Lemmy’s “Ace of Spades”, “Faith in Fiction”, notwithstanding. [By: Sean Phelan]
Rating: 3/5
Release Date: October 1, 2009

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Lonestar – “Party Heard Around the World”

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From this CD’s elaborate packaging featuring lead singer, Cody Collins, raising a Texas-sized first to the sky clad in snakeskin boots, chain wallet, peace sign necklace and feathery blond locks, it appears that Collins is trying to look like Keith Urban. After listening to his voice for just a few seconds, it seems he is trying to sound like him too. Party Heard Around the World is poppy, bland and lacking in the persuasive narratives that save country from descending into the depths of nauseous banality. You will not play this record at a party, and, even if you did, such a party would most certainly not be heard around the world. In fact, its Hollister cologne-reeking din would be lucky to extend just a few acres across the windswept Texas plains.

Most of the album’s songs are framed around the concept of love lost and found, lyrically centered around a girl whom the lead singer sees as representative of his future. “You’re The Reason Why”, a flowing, harmonic ode to the girl who has saved his life (by making him high), and the title track, are radio-worthy, which is about as much as these guys can hope for, if not a regional (as in local dealership) commercial for Ford Trucks. Affirmations such as “I’m gonna’ live, laugh and love” abound. While undeniably wholesome, substance is lacking, and substance is what makes country go. Not finely pleated blue jeans or trendy leather wristbands. Collins’ voice, while passing the tessitura test, is low on credibility.

Maybe us Northeasterners just don’t get it, but come on. Texas is the state that gave us ZZ Top, Willie Nelson, Buck Owens, Townes Van Zandt, Janis Joplin and so many, many other greats. If you’re gonna’ rep Texas musically, you better come at it with something a little stronger than this. [By: Sean Phelan]
Rating: 2/5
Release Date: April 27, 2010

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Reality Stricken- “Signal Fire”.

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The beauty of music files lies in the fact that everything fits into a nice little space somewhere on that hard drive of yours allowing you to stock pile more than you could listen to in a lifetime. Well it’s time for some Spring cleaning. Instead of dusting off those old racks of cd’s which you may now have in a box, free up some gigabytes of space at least enough to make room for Reality Stricken’s EP Signal Fire.

Currently unsigned and from Norristown, Pennsylvania, Reality Stricken’s third release Signal Fire is equivalent to the tightly clenched fist of a lunatic ready to take on the rock world by storm. And it’s one storm you might want to prepare yourself for because Signal Fire contains all of the necessary components to elevate these guys from garage band to rock star status. The proof lies in the talent of each member beginning with the charismatic voice of guitarist and lead singer Steve Angello who breaks airwaves with his sensationally graceful vocal chords. Angello’s range is impressive and never distorts between note transitions. A thirty second preview of Reality Stricken’s music will speak for itself, Angello was born for this. If you’ve got more than a short amount of time, you’ll notice that rhythmically each one of their songs is radio friendly. There’s no one song wonder on Signal Fire especially with the added talents of Stuart Olsen on guitar and backing vocals who accompanies Angello spectacularly in both elements. It’s not always that backup vocalists can actually sound like they should be opening up to the microphone but Olsen doesn’t suffer from this contention. You’ll also notice that Olsen’s guitar riffs are exactly what alternative rock should be, unlike some of the off kilter stuff heard elsewhere. Then there’s Mike Weiser on the almighty drums and backing vocals who shows us that drummers don’t merely hold sticks in there hands and beat on things but use sticks as an extension of themselves. And, to wrap it all up the final component is Josh Solomon on bass and backing vocals who refreshes our ears to what the bass guitar actually sounds like. What’s more important though is that Solomon makes the bass and integral to the overall sound of Signal Fire.

Reality Stricken’s latest release Signal Fire is a worthy contender for space in your music library so go ahead and make some room for them. [By: Andy Rajan]
Rating: 5/5
Release Date: July 26, 2009

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Grind Madness at the BBC- “The Earache Peel Sessions”

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If you’re a fan of bands such as Led Zepplin, Jimi Hendrix, Metallica and a host other very famous groups in history you’ll find that it’s relatively painless to uncover countless studio session cds, live videos of shows and just about any other information you’re interested in. But what about those influential bands that weren’t part of the norm at the time they were formed, the outcasts if you will? Well now’s you’re chance to listen to some of heavy metal’s greats in all of their uncut, un-tainted glory without the help of countless effects or perfect surroundings with incredibly expensive equipment and technology.

Though less and less people are buying cds in favor of downloading music, Grind Madness at the BBC The Earache Peel Sessions is the one collection that you would be doing yourself a favor to buy in hard copy. Why? Because, there’s a terrific storyline with an interview from Mike Harris of Napalm Death that explains the history behind everything that went into these sessions including the influence of John Peel on the both himself, and the punk scene as a whole. Beside’s when you get a collection of a whopping three cds for a reasonable price why not just get them right? Right. And, here’s who you’ll be hearing: Napalm Death, Extreme Noise Terror (disk 1), Carcass, Bolt Thrower (disck 2), Godflesh, Unseen Terror, Heresty and Intense Degree (disk 3). That’s one hell of a lineup of metal legends and better yet is that you’ll hear just how these bands operated in their infancy when metal was an little more than an offshoot in music.

Here are some of the other things you can expect from The Earache Peel Sessions beginning with recording quality. This isn’t a perfectly mastered cd by today’s standards in terms of quality. Much of the recording sounds a little better than what’s done in a garage, however, therein lies the beauty. It’s completely raw, ruggedly fashioned and sounds as extreme as live recordings do minus crowds screaming in the background. The guitars blare from amps giving you the feeling that they’re being pushed to the capacity of what these artists expect from them while the drumming gives you the feel of early blast beats, and brutally intense double bass drumming. The vocals show just how disturbingly menacing these singers push their voices without added help of voice processing equipment and it’s fierce. The only thing missing is your ears listening to this musical hell on earth.

Grind Madness at the BBC The Earache Peel Sessions is a collection every die hard metal fan should have in their library. It’s the ultimate culmination of how the music got to where it’s at today and a blast to listen to. [By: Andy Rajan]
Rating: 5/5
Release Date: February 9, 2010

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Failures’ Union’s – “In What Way”

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The 90s like many eras brought us several bands, some extraordinary, some ordinary and some we’d like to just forget if we haven’t already. But it’s 2010 so what does a band who claims they’re inspired by 90s rock and sounds like a band straight from that era bring us today? A whole hell of a lot of impressive music that’s mellow but still strong and vibrant.

Failures’ Union’s newest release In What Way at first may make you think Counting Crows. The energy is there, the general style is similar and the mood leaves you feeling the same way: refreshed. But who wants to listen to a band that’s the same as another band right? Wrong. People generally stick to genres where they know what they can expect when searching for new bands and hell there’s nothing wrong with that. Granted In What Way is by no means being accused of being a copy cat album. It’s got plenty of attributes that make it unique and Failures’ Union will prove that to you every step of the way. Proof is in the amalgamation of songs styles ranging from up-tempo drumming and guitar strumming with little distortion or effects as you’ll hear in “You were Right”, to the more laid back “The Best Liars” to slightly heavier “My Book”. Throughout each song the vocals remain positively smooth and impressively varied. If you’re the sing along type you’ll have plenty of songs to choose from. Moreover, there’s a tremendous amount of soul in the way each song is sung which for those of us who are too embarrassed to whip out our air microphones, can enjoy. Stylistically, the drumming is familiar to many bands within this genre of music meaning it’s not overly spectacular but not really meant to be. There’s nothing wrong with drummers that keep the band moving but don’t draw excess attention to themselves and that wouldn’t work on In What Way to begin with. Overall, Failure’s Union have succeeded in bringing out an album that should draw a wide variety of fans with the cool songs they create.

Certainly, there’s always room for bands such as Failure’s Union that keep music hip, enjoyable and air microphone friendly. Just do everyone a favor and keep yourself in closed quarters if you decide to pretend to be the next American Idol. [By: Andy Rajan]
Rating: 4/5
Release Date: October 16, 2009

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The Dojo Workhorse- “Weapons Grade Romantic”.

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Maybe it’s time to take a break, give yourself a mental health day and temporarily forget about those daily responsibilities that are slowly eating away at your sanity. Go ahead sit down, throw your feet up and unwind to The Dojo Workhorse’s Weapons Grade Romantic.

There’s so much to be heard in Weapons Grade Romantic that you’d be best to rid yourself of any distractions, close your eyes and let your ears overcome your senses. You’ll be embarking on a musical paradise filled with everything from transcendental vocals, to songs that include acoustic guitar, glockenspiel, trumpet, bass/electric guitar, organ, keyboard, harmonica, viola, violin, and some exquisite background vocals (found on inside cd jacket). The main vocals are carried out by Dan Vacon whose style resembles greats Jack Johnson and Jason Mraz. Vacon’s voice is impeccable, smooth and almost mystifying in a way that’s tough to describe. There’s something calming and otherworldly about Vacon’s style that will make you feel as though you’re swimming in an immense sea of clouds without a care in the world. But, it’s also the instrumentation which creates a utopian dimension that’s downright awesome. The composition can’t be classified exactly as jazz or easy listening but is almost avant-garde in nature with the help of Russell Broom (acoustic, electric, bass guitars and percussion) and a slue of other musicians too extensive to list here. More importantly though, there’s no best song on this album. That’s right not one, because they’re all brilliant. Try to pick you’re favorite. I dare you. This is so because all of the instrumentation you’ll hear throughout Weapons Grade Romantic is composed so tastefully that you’ll delight in being able to enjoy everything that’s going on. It’s like eating a multiple course gourmet dinner in which you get to sample of variety of things but in sequence and not all at once. Timing is key too. Nothing is too fast or too slow, rather, like a river flowing through a valley on a peaceful day. The added percussion works wonders while never over powering any of the other instruments and even the drums sound different from song to song (almost as if various drum sets are used). Just about the only constant throughout the album is that there’s guitar in every song whether acoustic or electric and it’s equally as potent as everything else. Now the rest is up to you.

If you have been neglecting yourself and all of the stress in your life now’s the time to bask in The Dojo Workhorse’s Weapons Grade Romantic. [By: Andy Rajan]
Rating: 5/5
Release Date: October 6, 2009

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Edward Rogers- “Sparkle Lane”

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There was an episode, back in the British version of “The Office,” when Ricky Gervais’ character, during sensitivity training, busted out the guitar and started singing songs from his earlier career as a famous singer/songwriter.
That’s what Edward Rogers sounds like.

Rogers is an old head, devoting his life to the great pop music he grew up with in England and then embraced in good old New York City. New York City could easily be blamed for creating just as much bad music as it does good music. On the album cover, Rogers is standing awkwardly on a cobble stone street. It’s fitting because I was feeling awkward listening to this album. It’s pop music, sure. But it’s not good pop music. It’s lame and boring. Rogers, who only sings on the album, has a creepy voice bent on telling equally creepy stories. I was surprised to learn he grew up in England. Mainly because his voice sounds like an Americans’ pretending to be British.

A whole gang of guest musicians and all Rogers does is sing. According to the liner notes, he wrote all the music. Are we missing something by having Rogers not perform his own tunes? Doubtful. My buddy Big, while disgusted with the album, was also a little confused. What does Rogers do? Pose? Wear cool clothes? Talk about growing up in England? Other than those possibilities, I’m not entirely sure. I don’t really care though. The reason why this album is insufferable is not solely because one musician is playing something wrong. So Rogers stepping in really wouldn’t save the day, the album, or his hair. If anything, some of the music is actually listenable. The strings especially, are a nice touch. Although their melodies sound lifted from something else.

A good example is the second tune, “Passing the Sunshine.” The music isn’t bad and if anything, is a little too generic from a bright & shiny pop standpoint. But the vocals and the lyrics are laughable. I laughed three times during the song- and that was before it ended with Rogers’ singing “I’m walking,” over and over again.
I’m walking too buddy- walking away from the trash can that I just tossed this album in. [By: Ryan O’Connell]
Rating: 0/5
Release Date: February 02, 2010

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Regulations- “To Be Me”

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Many people obtain albums and songs from the internet with little or no cost. Yes, it has hurt musicians and forced them to come up with new and creative ways to make money aside from constant touring. However, it has greatly benefited them in ways never before possible especially if they aren’t on large labels. Now bands from all over the globe can be heard almost instantly via a simple internet connection.

The Regulations are a punk band from Sweden although you would never know this while listening to their newest release To be Me. That’s right, not only is punk not dead but is crossing oceans, gaining larger followings and doing it in style (or at least the Regulations are). To be Me is as straight up punk as you could ask for. There’s no satirical blends of crazy shit going on that make you wonder what in the hell you’re listening to. By and large most of the songs are fast short bursts of machine gun energy fueled by semi-harmonic vocals, simple power chord rifts and ball busting drumming. But while many a punk band has singers who sound like someone should’ve pried the microphone from their hands a long time ago this isn’t the case with the lead singer of the Regulations. Never does vocalist Otto come across as struggling to hit the notes nor does he sound like a crazed whiny madman. No, he doesn’t break down any barriers with his voice but it’s in no way unbearable to listen to. Following in similar suit, guitarist Marcus, and bassist Robert (only first names listed on their Myspace page) aren’t estranged from the punk rhythms heard throughout the genre. Though Marcus and Roberts riffs aren’t anything that’s going to blow your mind, they’re constructed strongly enough to keep most listeners enthused. Drummer Jens gives you exactly what you’re looking for in punk beats. His playing is quick, concise and easy to follow (unlike some drummers who throw so much in that you can’t tell what’s going on).

If you’re after unadulterated punk not filled with fanciful bullshit To be Me might just be the album for you to check out. It might not blow your mind but it will go straight to the core. [By: Andy Rajan]
Rating: 4/5
Release Date: January 28, 2010

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Past Lives – “Tapestry of Webs”

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If you were hoping that the aura and sound of the Blood Brothers would live through one of the bands born out of the Blood Brothers collapse – things are looking less and less hopeful. If instead you were hoping to see where the bulk of former members of that band would end up on their first full-length post-Young Machetes, the simmering, melodic adventure known as Tapestry of Webs from the Jordan Blilie-led Past Lives should fulfill your interest for something completely different in nearly every aspect.

Whether it is the jagged, yet catchy rhythms of “Past Lives” or the bubbling beats of “Hex Takes Hold”, most of this album leans into groove-laden arrangements without being able to be classified as a dance album. You won’t find anything grating or blowing up your speakers, just an ever brooding concoction of pulsing, solid drums, flexible guitars and a plethora of cameos from instruments ranging from woodwinds to trumpets popping into your ears. Strangely, most of what makes Tapestry of Webs an enjoyable, albeit interesting listen is in the need to spin this several times in order to pick up on everything that is going on in many of the tracks. Still, the melodies are still engaging enough to keep most of us pulled in during that first listen to warrant another listen afterwards – though the consistency of the brooding styles that don’t really open up might make this a difficult listen for some.

Blilie conducts a successful endeavor through a mixing bowl of timbres with an ever-surprising voice in tow. We never really got to hear him truly focus on singing on anything prior to this, and with this full-length we finally get to see his voice shine. Varying between the lower vocal melodies and higher chorus yelps during the trippy “K Hole” is just one moment of impressive work in the vocal department. On the whole though, Blilie’s voice just melds well with anything thrown his way on this record, and you’ll be hard to find a tough spot for him to fill.

It might not stick right away, but Tapestry of Webs is a rewarding listen for those willing to take the trip. [By: Jason Gardner]
Rating: 4/5
Release Date: February 23, 2010

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Kandi Coded- “Fell for the Gift”

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So you’re excited to get the newest album from that band you love as soon as it comes out and it’s tearing you apart to wait. Then it comes out and you’re pissed off because it wasn’t quite as good as you were expecting. Yea, there were a few songs you enjoyed, say three or four, but not enough to satisfy you. Expect similar results if you’re interested in Kandi Coded’s release “Fell for the Gift”.

Thankfully a bands’ music can be previewed on their websites or other music sites before you decide if you want to dive into getting their album. Even getting music for free doesn’t necessarily mean it’s worth your time to listen to as illustrated in “Fell for the Gift”. Sure it’s got some strong points (discussed later) but it’s also down right insipid on others. While “Fell for a Gift” is hard rock (think Buckcherry early Pearl Jam etc.), every step of the way weaving between moderately paced tempos and faster ones it may leave one weary eyed and longing to press the skip button in songs like “Walk Away, “Dead End” and “Can’t Forget You” . Furthermore, the overall style of the album doesn’t seem to contain much of a unique sound signature. In other words you could likely walk into hundreds of bars across the country to find bands that sound like Kandi Coded. However there are some strong points. Spread throughout several tracks on the album are multiple guitar solos that help those eyes of yours from loosing sight of your surroundings even if you’re mind has already partially shut down. Lead singer Jamie Lynn’s raspy voice suits well for a lot (not all) of “Fell for a Gift’s” sound reminding us about the days of good ole’ grudge singers. And, yes there are those three or four songs that kick ass such as “Step Outside”, “Without You” “Dark Offering”, and “Drive On” which exemplify prodigious guitar playing and heart pounding drumming. Get where this is going? There’s excellent songs intermingled with mediocre ones.

So where does all this leave you? Well you’re probably not going to consider Kandi Coded the next greatest band to top your list but you may decide that a few of the tracks on “Fell for a Gift” will make you next mix playlist. [By: Andy Rajan]
Rating: 3.5/5
Release Date: February 2, 2010

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Groove Armada – “Black Light”

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“Black Light” is an eclectic mix of throwback grooves and genre-bending musical discourse that, at times, sounds like a mix between cheesy ’80s dance pop and the Talking Heads. It is cosmopolitan in the best sense, one part English, one part French, and all parts lingua franca. Sprawling existentialism and dance-happy synths conjure a decade-crossing indie-pride parade between your ears (the ’90s are the bridge). Guests like Nick Littlemore, Saint Saviour and Bryan Ferry make the connection manifest. The best part about music of this sort is that it helps you think in new ways, opening up new neural (and aural) pathways to the great, ever-blinking strobe light in the back of our minds. The best part about music of this sort is that it helps you forget the 1980s are now thirty years away!

“Warsaw” commences with that heavy, droning electro-base that helped forge Daft Punk and Basement Jaxx into the collective earlobe. “Cards To Your Heart” is like the best Tears For Fears idealistic monologue, taking the road less traveled towards “Hope and dope and charity!” – nothing less than inspirational! “Shameless” is an ideal track for Ferry to guest on, featuring characteristic Parisian dismissal of everything shamelessly ostentatious, excluding, (of course), itself. And “Paper Romance”, the album’s first single, is the feel-good break-up song of 2010. Could there be a more felicitous ’80s theme, musically or otherwise, than paper romance?

Through all its diverse takes on experimental/big beat/electronica, “Black Light” reminds ’80s dance music lovers that not everything was crap back then. Optimism, (albeit of the synthetic, white-washed jeans-wearing variety), is nothing to be ashamed of. [By: Sean Phelan]
Release Date: March 1, 2010
Rating: 4/5

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Same as Sunday- “The Dollar for Dollar EP”

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Now’s the time to wish that you had the wherewithal to own or start a record label so that you could take pride in signing a band that’s gaining momentum faster than the gigantic boulder Indiana Jones runs from in the “Raiders of the Lost Ark”. Currently unsigned as of this review according to their MySpace page, Same as Sunday’s most recent EP “The Dollar for Dollar” will surely put some fire under your ass scalding any stray hairs on your butt cheeks.

The pop punk quartet comprising of Chris Bauchle, Nick Berry, Kyle Martin and Andy the Heck prove that they not only rock out with pizzazz, but seem to have fun doing it. One of the first things you’ll notice while listening to this album is it starts off with one hell of a bang. No time is wasted getting things going when “Ode to Ms. Communication” breaks the airwaves with a drum intro that’s brief but phenomenal. Then, wait a minute, “Is this Blink 182?” ,you might think. They’re one hundred percent on par with Blink 182 but add enough originality to be given their own homage. Why you ask? The guitar playing of Bauchle (also lead vocals) and Martin continuously compliment each other making every song a blast to listen to. There’s change ups, rhythm over soloing and no monotony of repetitive chord usage. It must be the fact the not only do Bauchle and Martin use six string guitars but that they know how to take full advantage of them. There’s nothing worse than over kill when you have more instrument then you know how to use (think of all those drummers that have huge sets and could do the same thing with half the drums). Meanwhile Berry illustrates exactly what it means to play a mean bass. In case you’re wondering, bass doesn’t always need to be hidden somewhere out in left field, especially if the bass player knows what he’s doing like Berry does. Adding in the vocals will put your hearing on overload. Not only are Bauchle’s vocals powerful enough to be mesmerizing but the backup vocals of all of the members in accompaniment with Bachle’s make full use of the word harmony. So how about the drum intro mentioned earlier on? This is just the tip of the iceberg in terms of Andy the Heck’s skills. At times he’s all over the place yet still in perfect syndication with the other musicians. Drummers that can utilize their set in the way that Heck does are models for what drumming should be.

The biggest gripe with Same as Sunday’s EP “The Dollar for Dollar” is that you’ll be wishing there were six more songs to keep you going. It’s always nice when you can think to yourself “damnit why is it over so quickly” rather than “when is it ever going to end”. [By: Andy Rajan]
Rating: 5/5
Release Date: July 11, 2009

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Rise To Fall – “Restore the Balance”

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Formed in 2006 with the unstated intention of becoming just one more unlistenable Euro-death metal act, Bilbao, Spain’s, Rise To Fall, attains their goal on “Restore the Balance”. Half-hearted gambits at melody inter-meshed with Gargamel-like growls dominate about half of the album. Power chords and endlessly repetitious dun-dun-dun-da-dun rhythm sequences, comprise the other half. The songs do not stand out lyrically either, musically, or thematically, and what we are left with is a self-devouring snake that defecates its verminous mediocrity all over our ears. Needless to say, Rise To Fall will not be making death metal fans forget Slayer, Death, or H.I.M. anytime soon.

The eerie ambience of “Redrum” opens things. Although as creepy/hokey as one might expect, with ascendant chord progressions and machine gun drums, it is probably the album’s strongest track. There are also sunbursts of very strong guitar action on “Inner Scream” and “Prophet of Doom”, and “Forbidden Lullaby” nearly attains the desired mix of yin/yang energy in its verse-chorus arrangement. But the highlights are few and far between. The music is manic and without rudder. Lead singer Dalay Tarda demonstrates little emotional diversity, with monotone cadences that may just as well be repeating: “I hate those Smurfs!,” from start to finish. Lyrics like “Now my soul is crying” and “I sold my soul to die/We’ll send you to your sacrifice”, (possibly the only two discernible ones), help explain why Tarda tries so hard to disguise them.

While the actually stated intention of this record is to restore the balance, (whether it be individually or macrocosmically), there is nothing even remotely resembling equilibrium on this record. Strong guitar and drum work fall on deaf ears, due to the lack of compassed structure.

It’ll be a cold day in Smurfville before these guys find the alchemy. [By: Sean Phelan]
Rating: 1.5/5
Release Date: February 22, 2010

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Rhett Frazier Inc -“Escape from Dee-troyt”

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You can’t fault Rhett Frazier Inc for trying. On their album “Escape from Dee-troyt,” it’s not the lack of effort that is the problem. It’s not the music either. It’s certainly not the album cover, which is awesome and bad ass in the way I imagine Rhett Frazier Inc’s wishes they sounded. Really the problem with “Escape from Dee-troyt” is that the sum of all the parts falls drastically short of the whole.

The band is two dudes- singer Rhett Frazier and drummer/programmer Donny Gruendler. Their sound is a concentrated attempt at rocking soul; something along the lines of the Black Keys meets N.E.R.D. over a beer with Justin Timberlake and then after a few cocktails with Booker T and the MG’s. It’s a sound that is repeatedly cultivated by the Soulive family over here, back east in Brooklyn. But it is one that seems to just elude Rhett Frazier Inc. Dude just sounds flat, like they don’t quite have the soul to pull this off. It’s like playing live hip hop, but having too much technique and skill getting in the way of the groove. That’s the case with “Escape from Dee-troyt,” the brain getting in the way of the heart. If this were Tool, it wouldn’t be a problem. But when it’s a band actively pursuing that gritty soulful vibe, it becomes a slight issue.

The album cover is pretty banging, though.

Frazier’s voice is thin and that may contribute to the overall transparency of the album. The programming, and especially the guitar lines have some grit to them, but they’re weakened by Frazier. One would hope his Fedora would provide more pop and in a band made up of only two people- weak links can’t be had. Reggie from Maktub has a voice this band needs. I don’t know the personal history of Mr. Rhett Frazier- but I think he might need to do some more living, or at least some more cigarette smoking, before trying to pull off an album like this.
“Be Long” has some killer guitars and is as tough sounding as “Faultine” is emasculating. Frazier fashions himself a dude who can give you some falsetto throughout songs and you won’t mind. But I mind and have a hard time trying to decide if homeboy is joking or not.
Is this album a joke? I can’t handle this today, not with “Lost” on tonight. [By: Ryan O’Connell]
Rating: 1/5
Release Date: June 16, 2009

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Pianos Become the Teeth – “Old Pride”

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With the bombardment of the internet, it makes it much easier to find out about new music and bands with the click of a button. The downside to that is it doesn’t quite feel as good as having a friend recommend a band or hearing about a band when they open for a show you go to see live. My discovery of Pianos Become the Teeth is more like the latter, as I saw a link to a review (but did not read it strangely) of “Old Pride” floating around on Twitter. Hence, it makes it even better when “Old Pride” is a powerful and refreshing collection of tracks filled with huge sounds and moving lyrics. Easily of the best records I’ve heard so far this year.

The opening to “Old Pride” is kind of a trick to your ears, sounding more like an ambient rock album than the beginning of a hardcore album. However, this ambient sound is important to the sonic attack of Pianos Become the Teeth. While tracks like “Filial” and “Jess and Charlie” feature bursts of rapid-fire drumming and furious riffing, a great deal of the melodies move slowly and are much less punching than what would be considered hardcore. Still, the angst-filled vocals and the imagery they create say otherwise, even if the ambient guitar licks make everything seem like you are moving in slow motion. “Quit Benefit” features some intense drum patterns to back the flowing melodies and cutting shout-sing vocals, making for an intense, yet not abrasive track that hits all the right notes. Arguably my favorite track of the bunch, “Cripples Can’t Shiver” features an eerie introduction that climaxes with some of the best lyricism I’ve seen in quite some time – capped off with a moving spoken word section that will hit you straight in the gut. This is one of the most sincere and heartfelt songs I have heard on record.

Whether you are a fan of Thursday or Have Heart, this is a bridge between the worlds of hardcore and post-rock. Do not hesitate to pick this up – you will have a hard time not being disappointed. With this album, emotional hardcore is reborn.[By: Jason Gardner]
Rating: 4/5
Release Date: January 26, 2010

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Picture Me Broken-“Dearest, I’m So Sorry”

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What’s better than a male vocalist singing and screaming his heart out and bursting blood vessels in his face while doing so? How about a female vocalist (much less common in the metal world) who can sing elegantly enough to please the faint of heart while also being able to scream and growl with so much torment any metal head will shit their pants with disbelief. Picture this, Picture Me Broken’s EP “Dearest I’m So Sorry” has just raised the bar on all female fronted metal bands to a whole new level and according to their MySpace page,they’re a mere sixteen years old!

Seldom are teenage bands as solid as you will hear on “Dearest I’m So Sorry”. And those that have been successful seem to die out as they progress in age along with their fans (remember all of those “boy bands”). But this isn’t your ordinary band nor is their songwriting. Clearly throughout the album you will hear vocals being exalted from Brooklyn Allman that often only come from experienced vocalists with a tremendous amount of practice and probably twice her age. But it’s not solely Allman’s meritorious vocals that give her recognition. Her transitions between mellifluent vocals and venomous screams are seamless and not exact replications of what similar artists are doing. One could argue Allman’s voice resembles Amy Lee (Evanescence) until Allman turns things up a notch with her horn hailing screams (and they don’t sound like ridiculous shrieks either). When added with Allman’s synthesizer skills, Nick Loiacono’s guitar playing, Austin Dunn’s bass plucking and Connor Lung’s drumming, you’ve got a recipe for chaotic head-banging pits crazy enough to make any metal performer smile. Loiacono’s heavy handed riffs stand up to the test of playability because you will most likely find yourself listening to each song over and over with the same level of enthusiasm. While not in the forefront Dunn’s bass is like a workhorse constantly keeping everything in motion. Meanwhile Lung’s predominance behind the drums cannot be underestimated as he keeps things heavy but well balanced. Let’s not forgot that each of the members are also contributors of the backgrounds screams spread throughout most of the songs but never drown anything out.

Still wasting time reading this review? Do something more productive. Go check out Picture Me Broken and their EP “Dearest I’m So Sorry” before you’re sorry that you didn’t. [By: Andy Rajan]
Rating: 5/5
Release Date: September 15, 2009

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Phantom Communique- “The Wolf and the Sheep”

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If you’re like most of us you find comfort in music for multifarious reasons. Certain lyrics may express your own feelings better than you do. Maybe everyone around you is tired of hearing you bitch and can’t relate to what you’re going through so music is you’re next best friend. Meet you’re new best friend Phantom Communique.

Phantom Communique’s newest release “The Wolf and the Sheep” can be summed up in three short letters, tko (total knockout). And, in case you’re wondering the ending of the second part of their name is pronounced just like the beginning of quesadilla (it’s good if you can say you’re new friend’s name correctly right?). Few can sing with candor like lead singer Brandon Thomas, former front-man extraordinaire of Bleed the Dream. It would be no surprise if Thomas’s microphone began to catch fire from the potency of his true to life lyrics and euphonies of enormous caliber. Each song he sings illustrates just how soulful heavy music can be if done by the right singer and Thomas plays the part quite well. Of course he has the help of members Aaron Cohan, Bryan Lupo and Bryan White whom all take their instruments up a notch deracinating any would be naysayers. So what exactly can you expect to hear from the instruments of Cohan, Bryan and Lupo? Yes, it’s a combination of alternative, metal and ass-kicking rock n’ roll but to classify, their style so simply would be crass. The combination of melodies blaring from each chord of the guitar and bass through amplifiers and into your ears is instantaneous and so fervent that you’ll be pumped up before you know it. This is precisely what separates the men from the boys in the world of bands because each song maintains as much momentum as the last, creating an album that flows smoothly from one song to the next. Keeping right on pace the drumming is right where it needs to be. It’s not so heavy that it sounds like an awkward combination of metal meets rock but it will strong arm even the un-tuned ears into realizing that the drums add every bit to the overall feel. Many a drummer even some from well known bands should take heed to what’s going on here.

Maybe you’re the quiet type or maybe you overly express yourself to the point where no one around you can take it anymore. Either way Phantom Communique can probably sing about it better then you can and are damn good at it. Don’t think so? Go check ’em out. [By: Andy Rajan]
Rating: 5/5
Release Date: February 23, 2010

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Bill Horist -“Covalent Lodge”

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I would make a bet that over fifty candles were used during the making of Bill Horist’s new album, Covalent Lodge. Candles were probably the only lights used during the recording of the album. Fluorescent lights, or any electrical light for that matter, would have taken away valuable gentleness and atmospheric dim from this melancholic, orchestral album. There was probably one point during the recording where someone had to be wondering what number would be greater- the number of candles or the number of guest musicians.

Seventeen guest musicians appear on this album, leading my buddy Big to ask what exactly Horist does. Horist holds his own- playing acoustic, electric, and baritone guitars. He also plays keyboards and the bass drum. The gang of extras that join him contribute everything from ethereal vocals, harp, upright bass and the throat whistle to electronics, clarinet, flute, vibraphone and of course- the glockenspiel. What gets the most play are the strings and overall, this is a string-driven album with lead parts mainly played by on the acoustic guitar, presumably by Horist. Most of the instruments do the most damage with single, well-placed notes. Eric Houghton and his throat whistle are window dressing, while Lori Goldston and her cello are the meat & potatoes.

Three times, while listening to this album, I forgot that it was on. And I was listening to it in a quiet office, so it’s not as if I was prone to distractions. The zen water fountain isn’t that loud. But then again, “Covalent Lodge” isn’t that interesting. Nothing on the album really caught my attention. If anything, the lack of distinction did. The album ended and I checked to see what song we were on. Maybe it’s a better album to listen to while reading? I don’t want to wait around and find out though. This album is good, but self-indulgent and boring. Horist is a talented guitarist and arranger, but I feel he gets carried away with the atmospheric, as opposed to the substance. There is nothing to hold on too, nothing to bring you back with.

It sounds like Sufjan Stevens minus the pop or springtime minus the excitement of fewer rainy days. [By: Ryan O’Connell]
Rating: 2/5
Release Date: March 2, 2010

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Alesana – “The Emptiness”

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Edgar Allen Poe is undoubtedly a timeless poet whose work will continue to inspire artists across mediums for a very, very long time. Enter post-hardcore sextet Alesana and their third full-length album The Emptiness. Though the band has always drawn inspiration lyrically from stories ranging from Greek mythology to The Brothers Grimm, this album is the first to be considered a concept album as the story was conceived by Alesana with heavy influence by Poe’s work, namely his final poem “Annabel Lee”. Still, the band’s bland and repetitive musical arrangements drag any of the hard work put into the story straight into the ground.

Adam Fisher of Fear Before does some narrating work on this record, and his haunting voice opens the album with an eerie timbre. Opening the album musically is an arguably upbeat riff that suffers from being overproduced and having nothing behind it to make it truly embed itself in your ears. That paired with a tendency to over-repeat sections of the song make album opener “Curse of the Virgin Canvas” a bore. As a whole though, The Emptiness suffers from a lack of real drive and jumbled songwriting. Sometimes, you’ll be bored from repetition and other times you’ll be left scratching your head as to how you ended up there. Sure, the mixture of pop-tinged post-hardcore and often razor-sharp growls isn’t something new or groundbreaking, but there are plenty of bands doing it way better than anything you’ll find on this record. The breakdowns don’t punch as much as they should, and the melodies seem uninspired and are mediocre at best. Even the story sewn through the subpar arrangements gets to be a bit tacky at parts, harping endlessly on a murder story with silly phrases like ‘Oh how blood turns me on’. You can do better than that guys.

If you enjoy a mix of thick guitars, screams and a bit of poppy licks, don’t waste your time with this record. You’ll probably just end up feeling empty afterwards, wanting something more.[By: Jason Gardner]
Rating: 1.5/5
Release Date: January 26, 2010

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Pierced Arrows- “Descending Shadows”

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Every genre of music contains devoted followers who know the rich history of the bands they come to love and respect. Sometimes knowing the history of a band allows you to develop a bias toward loving everything they do or adversely holding them toward higher standards than bands you know but don’t follow as closely. Though the members of Pierced Arrows have a respectable history in music, not being an insider gives one the ability to listen to and rate their newest creation purely on what it is and, musically, it’s nothing exciting.

For those not familiar with the history of Pierced Arrows, the founding two members Fred Cole (guitar, vocals) and Toody Cole (bass, vocals) were originally members of the rock/punk band Dead Moon whom released an astounding sixteen albums before disbanding in 2006. Fred and Toody then picked up drummer Kelly Halliburton formerly of Severed Head of State and Defiance forming Pierced Arrows. Such an extensive history, however, doesn’t always lead to new outstanding productions as in the case of their most recent release “Descending Shadows”. The less then flattering vocals bellowing from Fred Cole’s airways is acrid enough to leave a bad taste in you mouth. Picture Brian Johnson (lead singer of AC/DC) trashed out of his mind and out-of- tune trying to sing and this will give you a bit of idea of what some songs sound like on “Descending Shadows”. There’s no saving grace in the added vocals of Toody Cole whose notes are not only disharmonic but when combined with Fred’s are enough to get every dog in the neighborhood hollowing in unison. Unfortunately not every singer is able to maintain their finesse as they get older and this is prevalent from the combination of cacophony heard throughout each song. Reminiscent of past times, the guitar and bass rhythms remind us of what early generations of rock/punk were built on which is a pleasant plus. There’s some casual soloing and mellow distortion (by today’s standards) that’s soothing because it allows the many depths of the guitar to be heard in all it’s purity. While the guitar and bass rhythms give “Descending Shadows” some positive attributes the drumming brings everything back down to a lackluster sound. Kelly Halliburton often seems like he’s struggling to keep up with the tempo of some of the songs and looses momentum in rough drum fills and orchestrations. If you listen closely enough you’ll notice that basic high hat hits aren’t clean the drum rolls sound rushed. Ultimately, the ill sung vocals and mediocre instrument playing just doesn’t chalk up to a good sound for “Descending Shadows”.

Those most loyal and devout fans may find themselves alone in enjoying Pierced Arrows newest release as it’s sure not to attract too many newcomers. [By: Andy Rajan]
Rating: 1/5
Release Date: February 2, 2010

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Pale White Moon – “Call of the Wolf Peach”

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“Call of the Wolf Peach” is a short, pithy little forest full of celadon cellos, violet violins and enigmatic lyricism. Melancholic textures dominate throughout, but not so much that a ray of feminine hope does not shine through to light the wolves’ way. Diana’s moon is as bright as it is un-peachy.

From a band that has made its name by composing soundtrack music, most notably for the TV adaptation of “This American Life”, many of these songs would not sound out of place on some award-winning melodrama concerning the pits and pratfalls of modern day/nocturnal life. Take it or leave it, like all good soundtrack music, “Call of the Wolf Peach” is emotionally evocative. Songs like “The Search for Helium Three”, “Frost Flowers” and the title track put one’s emotions on edge, (as if the rather horrifying album cover weren’t enough).

The one questionable song, “Rabbit’s Run”, reminds why there are so many instrumental pieces, (although a certain antipathy towards the writing of John Updike could also play a part in my not liking this one, as well). Ilona Virostek’s voice sounds like Belinda Carlisle singing over Beethoven, (not that the music deserves that much credit). “Stars Hollow Day” is sounder, with concave vocals conjuring a pretty, la-dee-da-type progression, invoking a cherry-tree lined path leading to “a city of hope on the shore,” and, perhaps, a house to stand thereupon. “The Seven Year Cicadas” is Summer to the previous track’s Fall, growing ever more ethereal with each new chomp.

All in all, this is some fitting music for a midnight walk in the woods: some feminine wisdom to see the lupines through. As Virostek sing son “Frost Flowers”: “It’s my song for you the trees sing in the breeze/ My eyes glisten when the moon hits the sea.” [By: Sean L. Phelan]
Rating: 3.75/5
Release Date: October 6, 2009

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Adam Green -“Minor Love”

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Adam Green has a voice that sounds like non-refrigerated maple syrup. Yet having a voice like a down-home breakfast condiment is about as close to rustic folk as Green gets. His music is folk. Sure. It’s just urban, New York City folk, dude- the twisted, leather clad cousin of your parents, 1960’s, peace & love folk. No facial hair, just greasy hair with songs about self-indulgence and street tough introspection as opposed to railing against the government and advocating free love.

“Minor Love,” Green’s latest album is a tight collection of Lou Reed-sounding, simplistically wonderful pop songs. Green’s lyrics are clever, not overbearing and are delivered remarkably clearly on what on all other accounts sounds like a do-it-yourself, low-fi album. But he does sound like Lou Reed though, and to enjoy Green, you just have to accept that. He actually sounds a little better than Reed, but regardless- the similarities end there. I imagine Green singing with Metallica at the Rock n Roll Hall of Fame show last fall would have been a heck of a lot better than seeing Reed try. But such injustices are life.

A member of Moldy Peaches, a band made popular by the movie, “Juno,” Green plays most of the instruments himself- allowing the occasional buddy into the sessions when needed. No girls allowed though- just a bunch of dude hipsters in some spacious L.A. digs recording sentimentally-fun sing-a-longs. According to his website, Green is a little bit of a prick or specifically an “arrogant and emotionally unavailable bully/singer.” His music comes off arrogant but maybe he leaves his bully shoes at the door because there is a vulnerability and sweetness to his tunes that melt far more than they crush.
“Buddy Bradley” has a nice groove to it and Green’s vocals echo the tomahawk chop feel of the guitar line. I love the swing of “Give Them a Token,” especially the great line- “even sleeping carbons would sympathize” and there is a hint of Nashville-longing with “Cigarette Burns Forever.” All the songs are catchy and really easy to listen too. I’d be hard pressed to point out a song that I didn’t like and it would be much easier to name songs that instead, I just didn’t care about. But there aren’t many, carbon. Not many at all. [By: Ryan O’Connell]
Rating: 4/5
Release Date: February 16, 2010

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Artist Vs. Poet – “Damn Rough Night”

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Even with their debut full-length set to drop from Fearless Records in less than a month, it’s slightly ironic when the only information you can really find on Wikipedia about Artist Vs. Poet is the fact that one of the dudes from Forever the Sickest Kids guested on the title track to AVP’s new EP Damn Rough Night. While AVP aren’t carbon copies of FTSK, you’ll have a hard time denying the similarities. Regardless, AVP manage to be not quite as annoying while being arguably better songwriters than FTSK. Despite a knack for poor lyricism, fans of the pop genre will be pleased at the songwriting skills of this band and will have a hard time not finding something to like about this EP.

While this EP isn’t as electronic/keyboard dependent as anything FTSK sputters out, you’ll still get the well-placed flair of electronic sounds without feeling overwhelmed. Granted, most of the guitar work heard here comes in the form of power-chords by the heap – but in most cases you don’t need more than that to prove this as a decent pop effort, as the title track’s steady melodies will prove. However, as the intro of “Gateway” reveals, this lack of straying from everybody doing the same thing ends in a shallow sounding track backed by sub-par lyricism. Even the catchy breakdown/bridge can’t save “Gateway” from essentially falling flat before anyone can catch it. “Rescue” tricks us with a punching intro before heading into pop-punk lite territory, making it easily my favorite of the four tracks. Vocally, musically and (almost) lyrically, this track clicks on all cylinders, and I’m rather surprised this didn’t make the final cut for the full-length. “To Hell with the Letdown” rounds out things as another solid pop track, finally finding some decently penned lyrics to match the uplifting melodies soaring through your speakers.

It seems kind of odd the best tracks here apparently weren’t the ones to be carried over to the full-length. If anything, this is a sign that maybe these guys have a little more up their sleeve than the other bands saturating the scene. Soon enough we will know whether or not they will deliver the goods.[By: Jason Gardner]
Rating: 3/5
Release Date: December 14, 2009

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Citizen Cope – “The Rainwater”

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wonkawriters
on February 18, 2010
in C
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For a long time, Citizen Cope has had the blues. With four previous albums filled with tales of urban blight, demotic injustice and a razor-thin hope for a better world that, to the untrained ear, sound like just another white boy trying to sound black (see Everlast, G-Love, etc), one might think they’ve got a pretty solid idea of what to expect from this album. While “The Rainwater LP” certainly fits the general equation, the truth is that Cope does it so well that the songs still sound fresh and interesting. In a world of modern music saturated with technological treatments, interjections and interruptions, it is refreshing to hear a musician equipped with little more than his acoustic guitar and contemplative, wholly discernible lyrics to convey his art. Sure, sometimes we would like to smash that acoustic guitar right on top of Jack Johnson’s laid-back head, but Cope’s different. Cope’s got urban moralist soul.

“Lifeline” is a great, though brutally painful, track, reminding us that, in spite of all the gray clouds and dirty snow of our moon age world, we can choose to endure; in order to be able to “Rejoice when it succumbs.” “Healing Hands” has upbeat, though sentimental, reggae flavor that adds some much needed percussive elements. And “A Father’s Son” brings the funk.

Inevitably, the album’s simplistic strengths are intertwined with its failings: a soporific lack of energy, not to mention complexity. There is nothing even faintly resembling a “Let the Drummer Kick” or “Bullet and A Target” on here. But this may be a short-sighted criticism, given the music’s cumulative theme of despair and plaintive complaint.

Like Sisyphus rolling that big boulder up the hill, Citizen Cope’s onus may never leave him. However, by making art concerning the painful absurdity of his/our suffering, the good Citizen has chosen to help us cope. The hard times ain-t-a-changin’, but how we choose to acknowledge our own role in the midst of this suffering is the true measure of the individual. Genuine soul never gets old. [By: Sean L. Phelan]
Rating: 3.25/5
Release Date: February 8, 2010

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Carlon -“Johari Window”

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wonkawriters
on February 18, 2010
in C
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I’m starting to think that My Morning Jacket is having the same kind of influence on up and coming American bands that At the Drive-In had a few years back. It’s not a broad or massive influence, but a subtle yet definitive one. In the years following At the Drive-In’s sudden emergence from the wilds of Texas, bands started replicating their once new and exciting sound. Now it seems that the same kind of thing is happening with My Morning Jacket, with bands sprouting out everywhere, using reverb-drenched vocals that sound like they were recorded in silos and twangy, but rocking and electric guitars. Carlon is a great new American band, but also the next one to record an album with a strong MMJ influence.

Their latest album is “Johari Window,” released on Ropeadope Digitial. When I think of Ropeadope, I don’t think of alt-country, Americana, roots rock- but that’s what Carlon is. Straight out of Jersey- the good Jersey, not the MTV-version of Jersey, the band writes layered and dense rock songs highlighted by extensive use of the slide guitar- never a bad thing. The drums are thundering and the vocals are haunting. Recorded in a large warehouse in Fairfield, New Jersey, the album has the kind of dirty, wide open field that such a venue can provide. Carlon would be doing their sound a huge injustice if they had recorded in a smaller room, dampening some of the bravado their songs are packed with.

“Learn from Your Friends” is a great song and I love the vocals. They’re wild and loose, chaotic group vocals complete with hoots and hollering.

But it’s tough to decide if I like this album for Carlon or because I like My Morning Jacket and Carlon reminds me of them. There isn’t a lot of distinction between the songs- they all sound big, huge, and full. Quiet parts are in different spots, but each song seems to have one or two. Two of the dudes trade off on lead vocals, but it’s tough to decipher the difference. Great guitar work on this album, though and it’s always fun to hear reckless cymbal playing.

Highlights are “Where the Driveway Ends,” “Learn From Your Friends,” and “Red Rover.” I’d say if they’re coming to your town, Carlon is worth a shot. But as just an album, the band leaves some to be desired. [By: Ryan O'Connell]
Rating: 3/5
Release Date: 2008

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