Shelf Life
Concerning the Absence of Floors
Friends and Relative Records
Street: 03.25
Shelf Life = two robots making out
This isn’t really “music” by its traditional definition; there is no real form or even notes for that matter. What it does do is set a very particular disposition for the listener: one that may be unnerving or on the other hand, comforting. What I don’t like is when the recording reveals itself as a recording, such as when you can hear something brush up against a microphone. It doesn’t happen that often, but is somewhat distracting to the world it has created. Creaking would be the main palate of the sounds; almost as if two metallic objects are seductively caressing each other. While they stroke up and down, sounds creep in and out of their ears as if they are having a difficult time concentrating on anything but the task at hand. It could possibly be taking place in a Buddhist monastery or in the metallic wreckage at the end of the apocalypse: either way, it is holy. –Andrew Glassett

Skullflower
Desire for a Holy War
Utech Records
Street: 04.26
Skullflower = Sonic Youth at their most experimental + SunnO)))
Sounding as much like an orchestra tuning up in the blast cone of a jet engine as ever, Matthew Bower's mighty Skullflower have unleashed another indelicate transmission of their sonic scree and squeal. A few rungs down the production ladder from 2005's Orange Canyon Mind, and nowhere near as relentlessly hypnotic as 2003's Exquisite Fucking Boredom, Skullflower's impact is none the worse for wear at the burred sonic edges of Desire for a Holy War. I consider myself a Skullflower fan, owning multiple releases (though I'm a far cry from being a completist; their discography is massive and frustrating), and I'm always in awe of how their sound varies from release to release, especially considering that the majority of their music sounds like guitars played by fanblades, with tortured lines of feedback squealing like rusted hinges. Utech Records continue their dedication to craft and presentation with this first release in their URSK series. A limited edition of 750 discs, each released in the URSK series, will pair cover artwork by Stephen Kasner (cover artist for Integrity and Rotting Christ, among many) with musicians on the Utech roster. Every facet of this series is certain to be spectacular, if Desire for a Holy War and previous Utech releases are any example. Search it out now before they're gone. –Ben West

Spark is a Diamond
Try This on for Size
Pluto Records
Street Date: 06.01
Spark is a Diamond = The Beegees + Earth Crisis
Labeled as a Refused-meets-Death from Above 1979 mash-up, Spark is a Diamond falls grossly short of this magnanimous claim. The hardcore roots are apparent, with brutal vocals screaming over the simple song structure, but the inability to create dance-ready hooks is apparent. There’re even a few songs that blatantly rip off Death from Above’s signature riffs and sound—albeit with mediocre disco beats and vocals that sound like they’re from a Victory Records compilation from 1995. Additionally, this has to be close to the least-dynamic album I have ever heard: Besides an electronic throwaway track, every song on this album is nearly identical in shittyness. Spark is a Diamond is a one-trick pony, and that trick totally sucks. –Ryan Powers

Stick to Your Guns
Comes From the Heart
Century Media
Street: 05.13
Stick to Your Guns = Terror + Caliban + AsTallAsLions
Beep! Beep! Beep! I usually start my morning off by sufficiently pressing the snooze button on my alarm two or three times. I wish I could do the same with all of these cookie-cutter metalcore bands these days. Just like getting through the day can be a drag, so is getting through Stick to Your Guns’ latest release, Comes From the Heart. It might come from the heart, but it sounds a whole hell of a lot like they’re trying to imitate every other band that’s come out of Southern California in the past five years. I give them credit for infusing more of a hardcore feel with the gang vocals they incorporate into their chuggy, metal-style songs, but the clean vocals are so contrived you can almost hear the band discussing how they could appeal to a wider audience. That’s not very punk rock, my friends. Solely concentrating on how to sell more records goes against the DIY ethic of punk rock, and oftentimes means that you shoot yourself in the foot instead of gaining the fans you want. Formula: tough-guy vocals, breakdown, sensitive guy vocals, repeat. I think I’ll just hit snooze and get up a little bit later. –Peter Fryer

Street Dogs
State of Grace
Hellcat
Street: 07.08
Street Dogs = Stiff Little Fingers + Rose Tattoo + The Clancy Brothers
This is the album, finally the record that shows who the Street Dogs are, where they come from, and where they’re going. It’s been coming for a while releasing nothing but great punk rock records since their debut with 2002’s Savin Hill. Lead singer Mike McColgan put his made for punk rock voice to some of his most personal songs. The second track “Kevin J O’toole” is memorial track to McColgan’s uncle, who was a member of the Boston Fire Department, was the inspiration for McColgan to become a Fire Fighter as well. The “General’s Boombox “is a eulogy to another of the bands heroes Joe Strummer, and the influence can be heard loud and clear on this excellent tune. The battle cry of “Two Angry Kids” take me straight back the emotion I felt being a young punk rocker. The last track “Free” is mellower and is evidence that some of these Dogs own a Bob Dylan record or two, but its great way to end this album.
State of Grace is everything a great punk record should be and even a little more. I hope all those kids stuck in the street punk rut pick this up and hear what punk rock can do. –James Orme