National CD Reviews

Menu

Jun 2008
May 2008
Apr 2008
Mar 2008
Feb 2008
Jan 2008
Dec 2007
Nov 2007
Oct 2007
Sep 2007
Aug 2007
Jul 2007
Jun 2007
May 2007
Apr 2007
Mar 2007
Feb 2007
Jan 2007
Dec 2006
Nov 2006
Oct 2006
Sep 2006
Aug 2006
Jul 2006
Jun 2006
May 2006
Apr 2006
Mar 2006
Feb 2006
Jan 2006

April 2006 - Issue 208

Adrian and the Sickness
Adrian For President
Self-released
Street: 01.20
Adrian and the Sickness = energy + fun + a rocking, dreadlocked front woman
Adrian Conner, the woman behind Adrian and the Sickness, almost came close to hitting a roadblock on the way to putting out the groups third album Adrian for President. They began recording in Seattle, but after difficulties the band decided to move shop to Austin. With money running low and a producer leaving the band high and dry, Adrian and the Sickness were left a grand in the hole. Needing cash to finish the record, fans rallied and raised enough funds to make the record possible. Enough about how the record came to be. Adrian played the role of Angus Young in the popular female AC/DC tribute band Hells Belles. Dropping out of the group, Adrian wanted to pursue a more lucrative career writing and recording her own material. The AC/DC influence shows through on the record, though it does not overbear it. The singer/guitarist has compiled an album of diverse high-energy tunes that should turn on any hard-rock fan. The vocal performance is fierce emotionally and lyrically, coming off with a bit of country twang. Adrian and the Sickness is an homage and inspiration to any band working with a DIY ethic; despite difficulties, the music will prevail if the heart is in the right place. Bryer Wharton

Agnostic Front
Live At CBGB (DVD)/CD
Nuclear Blast
Street: 3.7
Agnostic Front = Original New York hardcore ala Sick Of It All + Cro-Mags + Murphys Law
Take a step back and be sure to get a deep breath before diving headfirst into this DVD/CD onslaught of aggression from one of the few original New York hardcore bands that is still alive and well. The live DVD includes a 19 song set of exasperating intensity (52 minutes worth) filmed from five angles, a 23 minute documentary on AF, a special interview with guitarist Vinne Stigma at CBGBs and a photo gallery put to music. The footage is fast and raw, has great sound and shows the energy of a real hardcore show-from bodies flying around to onstage crowd sing-a-longs. AF vocalist Roger Miret calls it, Chaos at its best...no attitudes...no violence...just respect and genuine NYHC at its best! I agree. The filming can seem a bit choppy at times, cutting from view-to-view, but doesnt distract too much. The CD contains two tracks not recorded on the DVD that are pure propaganda for NYHC. Its amazing that after 25 years, AF can still give a hell of a beat down. -Jeremy C. Wilkins

Alias & Tarsier
Brookland/Oaklyn
Anticon Records
Street: 04.28
Alias & Tarsier = (English) Bjork + Beth Gibbons + Muted
The new-wave generation intertwines throughout this Anticon collaboration that was recorded without a face-to-face meeting for 21 months. Recorded 3000 miles away from each other, Brookland/Oaklyn has an abiding beauty as well as an underlying intensity accompanied by a somber, organic side. Truly progressive, each track typically begins rather composed with brittle electro-hop loops from Alias drum machine, met hastily by the Tarsiers voice which draws you in and coaxes the song out of its shell. Alias trademark composites are often cheap and distorted, but are now accelerated and hard hitting. On Last Nail, Alias finds his voice again, delivering his agile cadences over a beat that scampers to keep up with him. Amazing! So, yet another warm and wonderful record is spawned and spat out into the world, courtesy of the Anticon collective. This is no half-assed, money-driven product, nor a sit-back moralistic effort; it is a rare and magnificent album that gets to the core of honest music ethos. Lance Saunders

Aloha
Some Echoes
Polyvinyl Records
Street: 04.11
Aloha = Genesis + Tortoise + marimbas
Some Echoes is similar to Alohas last album Here Comes Everyone, but with even more of a verse/chorus structure and less improvisation. The songs are very well played and mathematical but without sounding overly cerebral. There is less of a 60s influence on this album, as the band heads continually toward a progression form of pop and jazz. Some Echoes seems a bit disheveled from song to song, but it makes sense considering that it was recorded intermittently over the period of a year and a half in various places across in New York and Pennsylvania. Their sound this time around has a more sensitive and intimate feel that innervates the frantic rhythms and complex orchestrations. They have made something that seems very true to self; the product of many long hours in the studio and at home making sure that things feel perfect. Andrew Glassett

Amorphis
Eclipse
Nuclear Blast
Street: 03.21
Amorphis = a donkey turd
Ever since Amorphis ditched their death-metal style they have done nothing but put out record after record of boring material. The music may be well played, but like many bands, their songwriting is lacking. Eclipse marks a turning point for the act; it is the heaviest of the groups last three releases. It is also a new beginning for the band, with new vocalist Tomi Joutsen for the most part imitating the previous vocalist Pasi Koskinen. Though he does add a bit of gruff growls into the mix, that doesnt change a damn thing. Eclipse is chock full of melodic yet melancholy songs with uninspired keyboard work. Yes, there is a bit more crunch to the album, but I will never understand how this band continues to exist. I cant think of a single person saying, Hey, have you heard Amorphis? Theyre rad. Bryer Wharton

Animal Collective
Grass (single + DVD)
FatCat Records
Street: 03.21
Animal Collective = if you dont know already, youd better find out on your own time, in the privacy of your own home, because everyone else is cooler than you and its time to play catch-up
The Grass single from last years Feels, equipped with a four-video DVD and a pair of B-sides, offers a nice summation of the bands current aesthetic. Must Be Treeman, though representative of their split with Black Dice and some of the Danse Manatee work, still seems like a superfluous experiment at this stage in the bands career (probably why its a B-side). On the other hand, the live favorite, Fickle Cycle, is as strong as any track on Feels, but maybe a bit too disorganized for the albums progression. The videos arent essential viewing, but why not see what these animals can do with cameras? As easy as it is to recommend anything Animal Collective has done in the last five years, this offering should be strictly designated for the Animal Collective devotee; all others should worry about acquiring the albums. Justin Thomas Burch

Anti-Pasti
No Government the Best Of
Cleopatra Records
Street: 03.10
Anti Pasti = UK Subs +The Exploited
If you are an Anti-Pasti fan and dont already own some 7s and a record or two, this is the only Anti-Pasti recording youll ever need. But, what the hell even if you already own them now, you can listen to some Anti-Pasti in your car or on the bus. This best-of collection contains all of their most kick-ass songs like No Government, Aint Got Me and Six Guns. No matter what kind of punk music you are into, this is an album to add to your record collection. It would be stupid to forget the bands that started punk rock. Jeanette Moses

Anti-Social Music + The Gena Rowlands Band
The Nitrate Hymnal
Lujo Records
Street: 04.18
ASM + TGRB = A Silver Mt. Zion mystery + Broadway lyrics
It makes me nervous anytime a post-rock guitarist takes on a pseudo-opera project. There is a reason that people who write operas have been writing them for years and years. Luckily for this particular piece, it leans more toward roadhouse theater than classical opera. The Nitrate Hymnal is the result of a musician named Bob Massey who came across some old footage of his grandparents when they were just starting their lives together soon after Pearl Harbor. Massey edited the footage and wrote a flowing chunk of music that corresponds to the various sequences of his antecedents lives. The music is actually well put together. The subtle use of guitar adds an interesting element to the quartet of strings. The singing is a little tacky, but would probably make much more sense if it was experienced along with the video. As it is, there is probably just too little to relate to without seeing the images of his grandparents. Andrew Glassett

Band of Horses
Everything All the Time
Sub Pop
Street: 03.21
Band of Horses = Bonnie Prince Billy + Carissas Weird
A beautiful collection of shimmering guitars, reverb and singer Ben Bridwells vulnerable voice, Everything All the Time is a melancholy and elegant first LP from the former leaders of Carissas Weird. I wouldnt expect the Pitchfork people to do anything with this album except lap it up (being that it is from Sub Pop), even if it was a warm cup of bird shit. But its truly an expansive and sometimes haunting set of songs. The glitzy production by Phil Ek puts Bridwells voice on an exposed pedestal above the layers of shining guitars, perfectly accentuating his Ive surely lost, but Im still fighting style of biting lyrics. Throughout the record, his voice remains the winning card, and his intriguing nasal charm alternately calls to mind Wayne Coyne and Arcade Fires Win Butler. Tyler Ford

Bayside
Acoustic CD/DVD
Victory Records
Street: 02.28
Bayside = Alkaline Trio + Smoking Popes
Acoustic came together after the bands van rolled last Halloween, killing drummer John Beatz Holohan and breaking the back of bassist Nick Ghanbarian. Vocalist/guitarist Anthony Raneri and guitarist/vocalist Jack O Shea finished the Never Sleep Again Tour as an acoustic two-piece, birthing the DVD at the final stop in Chicago and encouraging the acoustic CD based on the crowd response. Despite reviews accusing Bayside of capitalizing on Holohans death and Ghanbarians broken back, I dont buy it. The CD features the standout Winter, written about Holohan, acoustic studio versions of previously released material, a live track, an unreleased song and a cover of Smoking Popes Megan featuring Josh Caterer of the Popes and Elliott Smiths Baby Britain. The DVD has pin-dropping sound, great camera work and extras of the studio and a tribute to Holohan. If you like acoustic music and Bayside, then you cant go wrong with this album. Jeremy C. Wilkins

BenLaVain
Come on People
That 70s Boy Publishing (self-released)
Street: 01.17
BenLaVain = Cracker + For Squirrels + other mid-90s alternative one-hit wonders
Oren Barzilay cites BenLaVain as an outlet for his experiences in both New York City and his Israeli homeland. One would hope the music would be as interesting as the back story suggests, but one would end up disappointed. The sad fact is that while Come On People isnt all that terrible, its nothing special. The instrumentation is so predictable that a better musician could probably write down the notes four measures in advance while listening. The lyrics dont help either. A crash course in lyrical relevance: whining that your job position is all you wear or waxing stoically that the bravest heart stands alone does not make a band protest rock. Titling a record Come on People does not make you protest rock. It makes you just as full of ennui as the other five million bands existing at any given time. It makes you Up with People with distortion and a bigger self-righteous streak. JR Boyce

Black Ox Orkestar
Nisht Azoy
Constellation
Street Date: 04.04
Black Ox Orkestar = Jewish tradition + Silver Mt. Zion tradition
Each Constellation release should include a sticker that reads, Where do you want to go today? Corny, but accurate, as this sophomore outing from Black Ox Orkestar (members of Silver Mt. Zion and Sackville) twists through Czech, Hungarian and Polish traditions, heavily dusted in Klezmer harmonies and soaked in Yiddish poetry. True to form, the group adds its own perspective to their experiments, employing a spooky, spacious production style (read: reverb, interesting percussion and vocal mic placement) and otherwise modern sensibilities to transform their research of Jewish music traditions into both homage and a unique oeuvre. From the choral-heavy Bukharian to the wispy Violin Duet to the head nodding, jump-around-the-fire, exquisitely orchestrated Ratsekr Grec, Nisht Azoy is the album bands such as Dead Can Dance aimed for yet never quite achieved. As per usual, Constellations collective of subtle geniuses takes you through a slanted version of foreign spaces and fantasized locales that youll have a hard time leaving. Dave Madden

The Black Swans
Sex Brain
Bwatue Records
Street: 03.01
The Black Swans = Tindersticks + Americana (of the rust belt variety)
This is the kind of record that cant be reviewed. It is neither original nor overtly derivative. It sounds like every Drag City alt-country record that I cant bring myself to listen to, yet it is rather enjoyable. My attention isnt commanded or repelled. Conversely, this is enough to tell me we dont have the makings of a great record. Instead, we have another innocuous example of mumbled songs about sensitive men with drinking problems. After flipping through my mental Rolodex, it seems that there are plenty of dudes like that in this here town. So maybe it is the story of everyones life. Maybe it is my life. Maybe this is a good record instead of a great one. Oh, CD reviews, I wish I knew how to quit you. Justin Thomas Burch

Black Tie Dynasty
Movements
Idol Records
Street: 04.25
Black Tie Dynasty = Depeche Mode + New Order + Erasure + The Killers
Do Black Tie Dynasty sound like The Killers? Yes. Do they sound reminiscent of actual 80s bands like Depeche Mode, New Order, The Cure, Joy Division, Erasure or the Pet Shop Boys? You could say so. Is there anything done different on Movements that gives the 80s revival a new twist? No. Is it a good album? That depends on who you ask. If youre tired of the 80s then dont even bother with it. If youre not and you still appreciate some nice synth-rock with a big scoop of moody, over-exaggerated vocals on top, then get the hot fudge out and make yourself sick. Movements is thick with catchy breakdowns, keyboards, guitars, choruses and vocals strong enough to tie the mesh of it all together into a classic sound. So many people are annoyed by the 80s music comeback, calling anyone with an 80s sound copycats or unoriginal. Well dammit, maybe they just like the music and want to play it ever thought of that? Are all the bands in other scenes all unoriginal rip-off artists just because they sound like other bands within their particular genres? No. Is this album good? Yes. Jeremy Wilkins

Billy Bragg
Brewing Up With / The Internationale EP Reissues
Yep Roc Records
Street: 02.21
Billy Bragg = Joe Strummer + Bob Dylan + Phil Ochs
These two albums, which bookend Billy Braggs early output, demonstrate the varied nature of Braggs harmonic ambition and subject matter. Thematically speaking, Bragg is at one song a Morrissey and the next a Zach de la Rocha. In terms of musicality, Bragg runs the gamut from a one-man band to a veritable Chinese Democracy. With Braggs early album Brewing Up With, hes a one-man band singing affecting love songs with charming, gritty, British working-class piss and vinegar. Yet six years later with The Internationale, Braggs songs are grandly produced efforts with chorale arrangements and brass ensembles. The Internationale is also more political than Brewing, dealing with current events of 1990 that now seem dated. Although Brewing Up With is the best of the albums composing these nicely packaged and bonus-track filled Yep Roc reissues, its difficult not to love everything Bragg does. With his intelligent wit, his bark of a voice, and his passionate songwriting, Bragg comes across as somebody who honestly believes that music could change the world and he almost makes you believe it. Robert Leavitt

The Buzzcocks
Flat Pack Philosophy
Cooking Vinyl Records
Street: 03.07
The Buzzcocks = The Vibrators + The Smiths + Joy Division + The Pansy Division
Its always nice to hear old bands releasing new stuff thats just as good as the songs that made them legendary. Although none of the songs on the Buzzcocks newest album are as recognizable as Orgasm Addict, theyre still damned good. The album consists of songs that ask the age-old question of what went wrong, sprinkled with some songs about consumerism and the idea of Big Brother watching you. Who cares what the song matter is; the guitar riffs, drum beats and synthesized sounds are upbeat and make you want to dance your ass off. This is what pop punk should sound like, not that Good Charlotte bullshit that is on sale at your local Hot Topic. Jeanette Moses

Calexico
Garden Ruin
Quarterstick Records
Street: 04.11
Calexico = Wilcos little brother
At first glance, it is evident that the new Calexico effort is a departure from the bands previous nine records; say buenos noches to the characteristic Chicano stencil art. Instead, we have a colored sketch of a crow on a wire looking all Saddle Creek-y. True to initial perception, the band has left behind some of its dusty twang on the road to cleanliness. Just as Wilco transitioned from the alt-country of Being There (which was already a substantial departure from Uncle Tupelo and the supposed genesis of the No Depression genre), Calexico seems to be captivated with the potential of well-penned pop songs. To say that this record is the bands most accessible is no stretch. Unless youre a Calexico fan, in which case its probably the most banal. Justin Thomas Burch

Cinemechanica
The Martial Arts
Hello Sir
Street: 05.23
Cinemechanica = bad seafood + jogging + guitars competing for attention
This record is a spastic dud. If you were ever stuck in a waiting room, killing time by trying to imagine what it would sound like if a set of sexually-frustrated teenagers desperately in need of Ritalin got together and wrote a 31-minute album in six minutes and dedicated it to Dream Theater, then your daydream has spawned a band, you asshole. On the upside, this is what it sounds like inside the guy from Fallout Boys head when he violently pukes into his silly hat after drinking a few too many pre-show wine coolers. On the promo sleeve that accompanied the record, some fool is quoted as saying that the track Im Tired of Paul McCartney makes the Mars Volta look like a pack of mewling babes. Even the band members mothers know this couldnt be further from the truth, as Im sure they try not to discuss how they think the band composed of their collective offspring is absolutely fucking stupid. Sucka MC

ClearviewKills
Wrap This Around Your Neck
Orange Peel Records
Street: 06.14.05
ClearviewKills= Glasseater + My Chemical Romance + The Used
You know when you go to a show and youre super-stoked to see your favorite band play, but there are four other bands before them? ClearviewKills is the band playing before your favorite band. You stand there and tap your toes and bob your head a little bit because you know that theyre playing their hardest. ClearviewKills is thrashing around the stage, singing/screaming, and you think they sort of sound like a cross between a hardcore band and those whiny post-punk emoish bands that are coming out these days. Then your legs start to get tired, and you yawn a little bit. At least the screaming parts are a deeper scream instead of that high-pitched annoying banshee-ness thats ubiquitous in the genre. You give them pity claps because you know you couldnt be up on stage playing those tunes, and they drove here all the way from Pittsburgh, but really, you just want to see your favorite band. Peter Fryer

The Cops
Get Good or Stay Bad
Mount Fuji Records
Street: 02.26
The Cops = Mad Cap + T Rex + The White Stripes
This band is a great example of the way rock n roll should be played. The muted bass, distorted guitars and raspy vocals work well together. The lyrics are pretty fucking boring and not very well written, but thankfully the album consists of just about as many instrumentals and solos as it does lyrics. The fact that the Cops play rock n roll that you can shake your ass to makes the shitty lyrics bearable. I suppose most people dont care much about lyrics when theyve been dancing so hard they cant breathe. It isnt like they could sing along anyway. (Kilby Court 04/06) Jeanette Moses

Cracker
Greatest Hits Redux
Cooking Vinyl
Street: 02.21
Cracker = Ryan Adams - drunken brawls + mid-80s R.E.M. + drunken antics
Not just a greatest hits, but a redux! What the hell? It means that Cracker hates their former, cruel record company so much that theyre releasing an album full of re-recorded songs to beat them to the punch (Virgin Records released an unauthorized greatest hits on the same day as the redux see Amazon.com for Cracker super-fan opinions on the subject). The original alt-country rockers second mission with this batch is to offer versions that were truer to our live performance. Indeed, the music smacks of raw, dudes-rocking-out-in-the-studio and jams theyve performed for the last 15 years. You get to relive how much you wished you had your own Eurotrash Girl and how your heart jumped at the first open-hat hit of Low, preparing your lungs to handle a shout of being with you girl/hey, hey, hey like bein stoned! The new track, Something You Aint Got a prelude for their upcoming album out in June seals the deal for super-fans. Dave Madden

Crime in Stereo
The Trouble Stateside
Nitro Records
Street: 04.18
Crime in Stereo = Black Flag + Strung Out
Crime in Stereo hovers between the glass-covered guts of 80s hardcore punk and the melodic intricacies punk has gained in the last five years. The first track of The Trouble Stateside begins with a harrowing scream followed by silver-bullet guitars and super-pissed vocals. However, metal licks on subsequent tracks show a prowess that earlier punkers couldnt, or wouldnt, pull off. Screw the nay-sayers who want music to sound the same, decade after decade. Nitro found a musical marriage made in heaven. Shane Farver

Cue the Doves
Architectures of the Atmosphere
Dead Letter Records
Street: 03.21
Cue the Doves = Hopesfall + Coheed and Cambria + Hum guitar sounds the good stuff
Cue the Doves? I was hoping there would be some John Woo action; I wanted some birds to fly out of the CD case, then Id dive into my kitchen and shoot up the living room couch. No such luck. Architectures of the Atmosphere? Sounds space-alicious, haughty, but cool. Wrong again. Sounds like these guys stocked up on the effect pedals and forgot the originality. Most of the time the guitar lines sound like a cheap cop-out version of Hum, stripped of their originality and coated in a post-punk sheen. There are high-pitched vocals laced throughout, with the occasional tough guy yelling. It has Hopesfall elements, but nobody was really that into that band, were they? After a song or two they got old. Imagine how this is. Oh, and it would be nice if the drummer would play the same songs as the rest of the band. I guess when youre in space, small things like cohesion and originality dont matter. Peter Fryer

Demolition Doll Rods
There is a Difference
Swami Records
Street Date: 04.18
Demolition Doll Rods = The Cramps + The Kinks a wee bit of pizzazz
If youre looking for intricately laced melodies, harmonious vocals and rolling guitar solos, too goddamn bad. Demolition Doll Rods serve 1950s rock n roll with scratchier vocals and slimier lyrical content. There is a Difference is a grease-laden trip through stripped-down guitars, simple beats and straightforward lyrics. It feels like sin, I cant wait to do it again, sings Margaret Doll Rod on On the Way to School. The Doll Rods dont pull it off as well as, say, Lux Interior, but theres some definite garage-cred with this band. -Shane Farver

Desole
A Story to Tell
Abacus Recordings
Street: 03.07
Desole = Further Seems Forever + Before Braille + three guitars
I never ate brussels sprouts because I had this notion that they were terrible. They looked like the pods in Aliens and smelled like old socks. Most people would agree with me. So, feeling like I had the support of the world, it seemed completely justifiable to shun the small vegetable. I was set; no brussels sprouts were going to touch my taste buds. Then one Thanksgiving my mom roasted them, and after much hemming and hawing I ate one. It was damn good. Desole is to music as brussels sprouts are to vegetables. That is: I didnt want to like them (mainly because of the genre). I probably wasnt supposed to like them, and then it hit me, Damn, this is good. Tastefully composed guitars, catchy hooks, emotion and great band dynamics are all here. And three guitars rarely, if ever, work. Even the interludes between songs are well thought out. This record works. A Story to Tell is a solid effort by this six-piece poppy/post-hardcore/indie/emo/whatever group from Arizona. (Club Boom Va 3.28) Peter Fryer

DJ Knuckles
The Best of Friday Night Fallout Vol. 1
Skull Candy Productions
Street: 03.01
DJ Knuckles = DJ Velvet + DJ Jesus + the Abominable Snowman
Thank God! Now that Knucks put this record out, every night is Friday Night, damn it! With a campy and comical introduction by local lyricist Adverse, FNF Vol. 1 started me off with a chuckle. As the album played on, I basked in the sultry ambiance of tracks by Damian Marley, Nas, The Spooks, Kanye, DangerDoom, J-Live, People Under the Stairs, Chali 2na, Maroons, and other kick-ass picks from the KRCL 90.9 FM/Knuckles collection of eclectic hip-hop. It ranges from hip-hop classics to dub/reggae jams, from underground favorites to over-ground joints loved by the masses. FNF Vol. 1 is a small taste of what Knuckles is capable of and a great example of what you might hear on Friday Night Hip-Hop, hosted by the man himself, DJ Knuckles. If you dont know, youd better ask somebody! Lance Saunders

Dog Fashion Disco
Adultery
Rotten Records
Street: 04.04
Dog Fashion Disco = Faith No More + Mr. Bungle + more heaviness + country
Dog Fashion Disco has been around for a good time now; Adultery marks the bands fifth release. The group has always had a somewhat diverse sound, but there is no mistaking the fact that their brand of music borrows heavily from Faith No More and Mr. Bungle. The vocalist emulates Mike Patton to a T. The sound may be similar, but the lyrical concept is completely different. Adultery is a concept album about a man descending into madness. Forget the similarities and enjoy DFD as a heavy rock, jazz-infused cut of fun. This is by far the best the group has ever sounded. They also have an attitude that inspired a riot (teargas included) in Mesa, Arizona when the band vocalist took a heaping shit on stage and hurled it into the crowd while opening for the two dumb-fucks that call themselves the Insane Clown Posse (whose fans, dubbed Juggalos, had been throwing objects and spitting on DFD during their set). Now that is the complete opposite of not giving a shit of what an audience thinks. Bryer Wharton

Dryline
Reach for the Surface
Zero-Sum Records
Street: 03.07
Dryline = wiener-core
Dryline try way too hard at sounding like Killswitch Engage. Pick your own style and quit stealing. There should be a lawsuit against these guys. The only thing differing is the bands vocalist Aaron Kirbys lame attempt at death-metal growls. As far as hardcore bands go, Dryline is the shit stuck on the shoes of Blood Has Been Shed, Bury Your Dead and Most Precious Blood. The falsetto anger and melancholy taste like pizza that has been left in the fridge for two months. Substandard heavy-music fans should be happy to slap their dicks around to Reach for the Surface and wait with baited breath to see these monkeys play so they can be tough guys, take of their shirts, smell like sweaty balls and bump into each other. Bryer Wharton

Dub Trio
New Heavy
Roir Reachout International Records
Street: 05.23
Dub Trio = Black Uhuru + Sublime + Throwdown?
The first half of this album made me want to smoke mountains of weed and get deep into some ridiculous conversations about the physical dimensions of heavy bass and delayed percussion. The second half made me open my CD player, wonder what happened, wonder if this was a split with a garage metal-core band, and basically devalued the first half entirely. Dub Trio may have some street-cred with the Mike Patton guest spot on track two Not Alone, and the first few songs may earn them some serious dub/dancehall respect, but the last few tracks destroy anything that I liked about it. They decided to release some ridiculous instrumental tracks which come across as mediocre metal-core bullshit. They should have waited until they had a full album of good music to represent their talent. Chuck Berrett

Feathers
s/t
Gnomosong
Street: 04.11
Feathers = Sunburned Hand of the Man + female juju
In a few years, when freak-folk and folk revivalism become subcultural footnotes after Michael Gira finds something else to champion, the genres emblematic band photos (though strongly indebted to folk and psychedelic album covers of yesteryear) will remain one of the most recognizable aspects. Typically set in deeply wooded areas, these tableau feature a gratuitous spread of humans posed like a motley sixth grade class, each with some combination of funny hats, hand knitted sweaters, unwashed hair, bare feet, clay-encrusted work boots, monumental beards, blankets as outer garments and indigenous American jewelry (note: these forest dwellers always seem to forget their instruments). Feathers, goofy family portrait and esoteric appurtenances aside, have submitted a true standout album into the soon-to-be overflowing multi-instrumental, vaguely spiritual, eco-friendly, Devendra Banhart-endorsed folk collective catalog. Blow your jubilant fife for a job well done, rosy-cheeked Current 93 of the future! Justin Thomas Burch

From First To Last
Heroine
Epitaph
Street: 03.21
From First To Last = The Used + industrial sound anything good
The time I spent listening to From First To Lasts new album, Heroine, is a small chunk of my life I will never regain. This reality sunk in after two listens and I felt as if I wouldve better spent my time chewing on rocks and nails. This album, not to mention the band itself, is a complete mess. Heroine is bad trendy music at best. The only originality on this album is that FFTL has managed to create the worst brand of screamo to date. The constant whining of vocalist Sonny Moore is unbearable, while the guitars feedback and distortion are nothing but a jumbled mess, mixed in with some occasional industrial noises. FFTL ought to quit and work things out with their ex-bassist and ex-vocalist, who are both currently suing the band. Jeremy C. Wilkins

George and Caplin
Things Past
Beta-lactam Ring Records
Street: 02.03
George and Caplin = Boards of Canada + some forgotten New Order imitator
Records created by first-named duos (e.g. Ian and Sylvia, Damon and Naomi, Sonny and Cher) always seem to emanate a peculiar austerity. Be it autoharps or laptops, the sound of an intimate relationship seems to be present. George and Caplin, while fit for the club in namesake, need to add a notch or two to their experience belt. Though some of the songwriting on this record is rather precise, the minimalist electro-pop palette that the songs rely upon seldom transcends the banal. The nasal, lisp-riddled vocals (simultaneously obnoxious and adorable) seem to appear at random, gracing only a small handful of the albums 12 tracks. But hope is not lost. In a few years, after a few fights and a few reconciliation sessions, George and Caplin may tell us a story we havent heard before. Justin Thomas Burch

Goldblade
Rebel Songs
Cleopatra Records
Street: 02.07
Goldblade =Rancid + The Clash + Angel City Outcasts + England
I cant say I disliked a single song on this album. All of the tracks were energy packed, the lyrics as catchy as a venereal disease and punk-rock choruses that you can chant to while throwing your fist in the air. The album contains both heavy-metal style guitar solos that might be found on a Metallica album and surf-rock guitar riffs reminiscent of Agent Orange. My favorite tracks included Fighting in the Dancehall, Black Sheep Radical and Government Lies. I dont usually like the newer punk bands bursting on the scene, but these guys deserve respect; theyre damned good. Jeanette Moses

Gossip
Standing in the Way of Control
Kill Rock Stars
Street: 01.24
Gossip = Aretha Franklin + The Bell Rays + Bikini Kill + Gogogo Airheart
At the climax of their idiom, Gossip has achieved the sound they hinted at in earlier albums and assorted 7s one dreamt about by indie rockers and American Idol contestants alike. Phenomenal vocals dominate the soundscape of Standing in the Way of Control, hurling the listener in the middle of a gospel choir suffering from a riot-grrl identity crisis. Angular baritone guitar and disco beats provide a more than adequate accompaniment, providing track after track of danceable, arguably make-sweet-sweet-love-in-the-back-of-a-van-able, rock. The end result of this could spread STDs faster than a nymphomaniac from South Africa Fuck yeah! Ryan Powers

Head Control System
Murder Nature
The End Records
Street: 04.04
Head Control System = Katatonia + Ulver if they changed the electronics to guitars + a hint of Arcturus + a dash of Alice in Chains
This is definitely the year for The End Records, with releases from great bands such as Voivod, Dissection, The Gathering and much more. Completely unaware, Murder Nature fell across my lap and demolished any preemptive expectations. The team of musicians, Daniel Caroso (ex-Sirius/Re:aktor) and Kristoffer Garm Rygg (Ulver, ex-Arcturus/Borknagar), have built upon their previous works and created something entirely original. Holy fucknuts, this album is nothing short of a shocker. Keyboard melodies float listeners around on clouds for brief moments of ambience. Awesomely heavy, tight and concise riffs get the blood pumping. There is absolutely nothing in the music world that sounds like this record. Vocalist Garm is like King Midas; everything he touches is gold. He has proved once again that with every project his voice is an essential product of the music. His range and style are unmatched. If Murder Nature falls below the radar of the music world, brash things must be done. Bloody some heads, defecate some pants and rearrange some Herod
Rich Mans War Poor Mans Fight
Lifeforce
Street: 03.07
Herod = metal-core + the Tiger Army singer + Bruce Dickinson
Creeping forth from the overpopulated scene of New York, Herod mixes hardcore, thrash, punk and traditional metal. Herod can play the pants off of many bands. The group is made up of members of Union, Dead to the World, The Control and Policy 187, gathered together to create something truly unique. One minute, hardcore breakdowns and clean singing invade the record; next, you have got straight-up metal tunes, high vocals, screaming leads and Maiden-style riffs. Rich Mans War is a far cry from what Lifeforce usually promotes and signs, but who am I to judge what style a label normally goes for? There hasnt been such a diverse mix of metal and hardcore since, well, ever. Bryer Wharton

Human Television
Look at Who Youre Looking To
Gigantic Music
Street 05.02
Human Television = Belle & Sebastian + Early REM + The Sea and Cake everything that was good about those other bands
First off, its whom. With an m. But allow me just this one quote: The songs of Human Television ache to be loved the same way REM, the Wedding Present, the Sea and Cake, and My Bloody Valentines do. Hey, holy shit, Im done with my review. It aches to be loved because its not. And I like the Sea and Cake, okay? But these guys are boring. Come on, will you please have something happen in your songs within, well, whenever, really. If a droning backgrounds whats propelling your music, you need to do something different. And do you guys honestly think that no one will realize On and On isnt directly ripped from Marcy Playground at their worst? With song titles like I laughed and Im moving on (theyre too ennui-ey to capitalize), Im shocked anyone signed you. Seriously guys, youve got chops, but you suck ass. Dont do this again. Thomas Jeppersen

If Hope Dies
Life In Ruin
Metal Blade Records
Street: 03.07
If Hope Dies= Killswitch Engage + As I Lay Dying + God Forbid + rock n roll riffs
I knew what this CD was going to sound like before I even listened to it. No surprises in this bad boy. Straight up metal-core that is heavy on the metal, light on the core. yrics about humanitys self-imposed destruction abound, and chuggy-chug little engine that could breakdowns are a bit too overused. It sounds like they ran out of musical ideas, so they decided to put in a bunch of crunchy breakdowns. The refreshing aspects of the CD are the sung melody lines and the dirty rock n roll licks that are more Harley Davidson than they are Scandinavian tundra a style thats been played to death. Its definitely fast and heavy, good for keeping you up on that late night drive, but it all begins to blend together after the first four tracks or so. (The Avalon 3.31) Peter Fryer

Iron Fire
Revenge
Napalm
Street: 04.25
Iron Fire = a ride on a dragon, slaying elves and tagging along with Conan the Barbarian to cut off James Earl Jones head
Power metal can be a touchy subject. Fans are rabidly loyal to the genre. Skeptics laugh at the similar and cheesy style. Regardless, it can be entertaining. Iron Fire do their best to pay tribute to the ultimate cheese-metal band Manowar. Im all about metal, but playing the more-metal-than-thou theme to death is a bit much. Shutting up about the pros and cons of power metal, Revenge contains both steel-encrusted screamers and the lovely metal ballad. Vocalist and band main-man Martin Steen succeeds where many power-metal acts fail; he can carry varied vocal styles displaying his range well. If it is metal in its truest sense you crave, in the words of Metallica when they were untouchable, Jump in the fire! Bryer Wharton

Irving
Death in the Garden, Blood on the Flowers
Eenie Meenie
Street: 04.01
Irving = Robbers on High Street French Kicks + Silver Jews Steven Malkmus
Not all bands have to push the envelope. If every band pushed the envelope, all the time, the envelope would break, and then theyd have to push other things. Eventually it would get so confusing that the world wouldnt even be cognizant of the fact that it was at a loss for beguiling pop songs. While Irving isnt about pushing envelopes or other post-envelope boundaries, they prove with Death in the Garden that they can produce an albums worth of hook-heavy pop songs, written by each of the five members. The title tracks energy alone will stick in your head for days, and the following, Ill write the song, you sing for me, flaunts the bands knack for combining catchy riffs and goofy yet lovelorn lyrics in a beautifully crafted tune. This is one breezy and satisfying record, especially as the soundtrack to a vicious stabbing amongst daffodils and birdbaths. Tyler Ford

Job For a Cowboy
Doom EP
King of the Monsters Records
Street: 04.11
Job For a Cowboy = Dying Fetus + Skinless the Paint Your Wagon soundtrack
Picture the setting of an old western, gritty yet full of clichs. Then imagine all of a sudden all the horses and cows become rabid man-eating monsters. Now that is a job for a cowboy! Aside from the stupid name, Job for a Cowboy do well on their initiation into the death-grind world, a genre full of copycats and forgettable names. Channeling sludge-worthy riffs with growled and high pitch vocals much like scene leaders Dying Fetus, Doom EP applies well to its audience, delivering the goods. Now on tour with death-metal clowns Six Feet Under, this band is sure to steal the show. Bryer Wharton

Joe Mazzari Band
Long Live the King
RocknRoll Scene
Street: 03.07
Joe Mazzari Band = the Rocketz + the New York Dolls + the Jam
Joe Mazzaris claim to fame is that he played with Johnny Thunders in the early 80s, which he flaunts like a sailor wears a tattoo. But even without that touch of credibility, this trio is pretty brilliant. Though they play a simple style of music, their talent spills over and the Joe Mazzari Band has some chops. They are not so much hiding behind garage punk, as they are testing its potential. The impressive thing is that although theyre a trio, it sounds as if there are two more people in the band. The opening track, Miles Away, will crawl in your ears, build a nest and never leave its that goddamn catchy. James Orme

Kush Arora
Bhang Ragga: Dancehall Bhangra in Future Dub
Kush Arora Productions
Street: 04.11
Kush Arora = Calcutta Crips + Indian Idiom + Jest Beats
Bring out the expeditious and attention-deficit ridden bongo drums! If this is what the future of dancehall dub/reggae will sound like in the new world, you are going to see a lot of people dancing like cerebral-palsy victims. Just imagine, a world of spastic hopefuls in everlasting conga lines caroling down the salvage routes of their own inviolability. I dont know about you, but I sure as hell cant wait! Whether its dancehall, dub, industrial, bhangra or experimental, this CD is hard to wrap my ears around. Often hollow-sounding and pretty jagged to digest, Bhang Ragga starts out boring and drawn out with no melodies whatsoever. Hoping for some redeeming qualities, I found myself sitting arms akimbo and eyebrows lowered while the last song faded out I want my 40 minutes of life back, damn it! Lance Saunders

Angelo LaTona
Unveiled
Mia Mind Music / Breaking Records
Angelo LaTona = Kenny G + whoever wrote the Beverly Hills 90210 theme song + Jesus
Street: 01.23
Somewhere between the Beverly Hills 90210 theme song and the music that starts as soon as the elevator doors close lies Angelo LaTona. Listen as he lulls you to sleep with sweet guitar licks but then (insert BAM or WHAMMO here) busts out a guitar solo that has to be damn near eight minutes long on the title track. How does one man accomplish these things, you ask? Because Jesus is his home boy, thats how. His mission, as the press release states, is to impact inspirational music to show that it is okay to rock and funk in the name of God. His other mission, apparently, is to send an album to a magazine of the completely wrong demographic and bore one music writer to death. Missions accomplished, my brotha. Shane Farver

Lokbr
Army of Soundwaves
Lucid Records
Street: 03.28
Lokbr = any fucking British band ever + a sack of stupid + funny accents
I have come across several anecdotal articles claiming that the Icelandic populace possesses, for one reason or another, some preternatural understanding of multiple languages. They are international wordsmiths; the U.N. of the tongue. So how do we make sense of a banal Icelandic rock band dropping emeralds like: Get up and stand up for your right. We must unite. We cannot fight. If you look inside, you will see the light (Ride the Walrus)? Though immensely retarded, those lyrics were at least coherently insulting. Try this stab at the frat boy colloquial: Wazzup? Peyote isnt kickin. Just wait a minute, then youll see some mad shittin (Mr. Music). Yes, shitting. I really shouldnt judge, however, seeing as how the Saguaro cactus population dominates the balmy desert that is ICE (you know, frozen water) land. Justin Thomas Burch

Love Equals Death
Nightmerica
Fat Wreck Chords
Street: 3.21
Love Equals Death = AFI + The Explosion + a pinch of Ensign, NOFX and Tiger Army
Fat Mike really found himself something special here. Forming on Halloween night in 2003, Love Equals Death is made up of members of deceased bands like Tsunami Bomb and Loose Change, among others. This four-piece from San Francisco is on par for a promising future if they play their cards as well as they have on this debut. First off, with a title as laughingly awesome as Nightmerica, how can you go wrong? And with a wide-eyed, head-tilted, zombie girl in the foreground starring you in the face combined with an eerie, gray sky and dark house in the background on the album cover, whats not to like? Aside from Nightmerica being aesthetically appealing, the tracks, one after another, are superb. Each song shows individuality from vocals to guitars and throws in choruses that are infectiously catchy and force a good ol sing-along. Stripped-down, each song implements different elements of punk without making a mess of things. Jeremy C. Wilkins

LYLAS
Lessons for Lovers
Fictitious Records
Street 04.04
LYLAS = Belle & Sebastian + Devendra Banhart + Songs:Ohia
Dear LYLAS Im sure you know LYLAS is common yearbook slang for Love Ya Like A Sister, which is precisely what I feel towards you. Obviously, I like you enough to hope you Have A Great Summer, but, well, youre too nice. Too pleasant. And really, stop asking me to dances as a friend. Im sick of it. You play some enjoyable southern folk, and really its all quite nice, and your lyrics are good too (A lazy spray of wrists and veins. I fell in love with Siamese twins/ one was sweet one was sex), but you never really took any chances. Too much of you could belong on a Wes Anderson soundtrack. Sometimes when Im with you I just think of Jim White. Why dont you let some Southern sulk, so evident in your lyrics, creep into that violin and guitar? Im sorry, LYLAS, but I just dont think of you that way. Luv Ya Tunz! Thomas Jeppersen

The Mae Shi/Rapider Than Horsepower Split LP
Dont Ignore the Potential
Strictly Amateur Films
Street: 01.20
The Mae Shi/Rapider Than Horsepower = The Unicorns + The Blood Brothers + pocket protectors
Lets be honest, when was the last time that you listened to a split LP that was really worth anything? Split LPs are sometimes the graveyard and sometimes the experimental ground for bands with material that may or may not stand on its own. This is absolutely not the case for Dont Ignore the Potential. Two bands from different parts of the country and similar mindsets come together to produce an album that is both interesting and entertaining. Mae Shi uses a little more technology and singing than Rapider Than Horsepower, who are more concerned with guitar virtuosity and comical screaming. When Mae Shis nine songs are up, RTH picks up the baton without a hitch, and brings the album to a fantastic conclusion. Dont Ignore the Potential is music for people with short attention spans and yet each song builds upon previous songs to make an album that is as addictive as it is dorky. Andrew Glassett

Magneta Lane
Dancing With Daggers
Paper Bag Records
Street: 04.04
Magenta Lane=Death From Above 1979 + girls + guitar + poppy melodies half the attitude
I picked up this CD and instantly noticed "Produced by MSTRKRFT" on the back. My spidey-sense said to me "Hey! Thats Jesse Keeler from Death From Above 1979 ... you LOVE that band!" Its clear that Mr. Keeler put his touches on the bass sound - it resonates the buzzing and sludgy grittiness that would make any girl (or boy) weak in the knees. Often times the guitar is barely audible over the clamor of the bass-and-drums-only schtick DFA perfected. The sugary melodies wrap themselves around the crunchy instruments nicely; I get a bit of a Pretenders-meets-the-Kills vibe from singer Lexi Valentine's voice. "Bridge to Terabithia," the opening track, builds up the tempo and catharsis for the rest of the album. Add some Julian Casablancas-voice-masking echo and distortion to "The Better Plan" and suddenly it'd sound like The Strokes at their best. Track four, "22," has an intro and hook that'll knock other bands on their asses. The album may only be 25 minutes long, but its message comes across well enough that if it were any longer I feel itd run the risk of being a bit too forgettable. Jesika Medici

Measles Mumps Rubella
Fantastic Success
Doubling Cube Records
Street: 02.21
Measles Mumps Rubella = Out Hud + Gang of Four
Since dance punk is already stigmatized and/or dead, I probably shouldnt mention that this wonderfully dissonant, rambunctious album opens with a real rug-burner. If we are indeed amidst the dance-punk fallout, this album represents nothing but progress and good timing. The songs are as simultaneously jarring and handsomely ethereal as anything GSL has ever provided us, while Chuck Bettis vocals exhibit a restrained ferocity that channels a particularly spastic Ian McCullough of Echo and the Bunnymen. It is a damn shame, but this album will probably wallow in obscurity because everyone exhausted their money and dance-punk patience on the already crumbling DFA dynasty. One pretty sizeable fuck-up, however: the album cover (featuring a close-up of some sort of budding plant) and title are disturbingly similar to the new Fiona Apple record, Extraordinary Machine. You may as well package William Faulkner as Zane Grey. Justin Thomas Burch

Melvins
Houdini Live 2005: A Live History Of Gluttony And Lust
Ipecac Recordings
Release Date: 05.16
Melvins (live) = Karp + Motorhead + Big Business
First of all, I compared Melvins to the above-mentioned bands as a point of reference (I know that all of those bands were influenced by Melvins Im not a fucking idiot). Usually, I hate when an old band tries to make some quick cash off live versions of their most classic albums, but this one makes perfect sense. As a matter of fact, I wish that Melvins would release all of their albums live. This band is a completely different mammoth live. This recording is perfect in balance and tone. Theres hardly any crowd noise and you can hear the band with great clarity, but its definitely not the original. This is the raw, abusive side of Houdini; both it and the original should be experienced. Chuck Berrett

Sergio Mendez
Timeless
Concord Records
Street: 03.02
Sergio Mendez = Black-Eyed Peas + Chali 2na + Portuguese Polka!
This is a tasty fusion of hip-hop and samba to make you get out on the dance floor and shake your lovely lady lumps. However, not everything is what it seems For all of those big, bad Black-Eyed Peas fans out there who love conscious and mind-expanding lyrics like: what you gonna do wit all dat junk, all dat junk up in yo trunk, youre in for another astute and resourceful treat. Sergio definitely holds the musical talent conch on this release, but B.E.P. (among other artists) assault every beautiful melody with the same freak freak, yes yes, yall shit. I never thought I would witness Black Thought of The Roots on the same record as Justin Timberlake. Thats what happens when you get a horde of blood-sucking corporate backers to cut an album. All hail the coming of Starbucks Records! What the fuck!? Lance Saunders

The Mind Controls
The Mind Controls
Dirtnap Records
Street: 02.21
The Mind Controls = The Saints + The Kids + Hubble Bubble
Canadian underground icon Mark Sultan could write a song in any genre and so far hes seemingly working on it. Past projects have included the Nuggets (by way of Back from the Grave) party band, Les Sexareenos, the inimitable doo-wop punk duo that is the King Khan & BBQ Show, the BBQ one-man-band, and the straightforward Killed By Nineties punk outfit, the Spaceshits, which the Mind Controls seem to be a continuation of. Here the band combines melodic hooks and catchy songwriting with enough speed and energy to enable this record to worthily stand right alongside its 70s punk influences but maintaining a necessary timelessness as well. Its time that Mark Sultan got the recognition that he deserves outside the nexus of the garage underground, and his recent output will serve him well. Jared T. Soper

Moonspell
Memorial
SPV
Street: 04.25
Moonspell = blackened gothic dark-metal + a constantly changing sound
Hailing from Portugal, Moonspell have built upon their own mighty foundation to become one of the most influential and scene-leading bands in the gothic metal genre. Memorial incorporates just about every style of their previous efforts, heavily off their last record The Antidote. Dynamics are no stranger to the band, and with the new record we get to see yet another emotionally charged side. Heavy guitar work, ranging from black metal, death metal and tight melodies are layered with atmospheric keyboard work. Vocalist Fernando Ribeiero screams and sings in a deep, thick, throaty voice. The singers lyrics offer a glimpse into his mind. Memorial will not be the pinnacle of the groups career; astounding as it may be, the Portuguese band has much more to come and has offered up more memorable work in the past. Bryer Wharton

Ms. John Soda
Notes and the Like
Morr Music
Street: 03.02
Ms. John Soda = the Notwists + FSK + Tied and Tickled Trio
Ms. John Soda has come a long way since their first release eight years ago. With their trademark robotic sound style, this futuristic and electro-rock album glorified by the statuesque vocals of Stefanie Bohm unveils their continued growth and strikes a nerve. I fell in love with this womans voice when I heard her sing on Jels: Soft Money release. They have pure and utter control over their style on every song. Its sometimes cold, humming, occasionally fuzzed and repeatedly sweet and smooth. This record stands out as one of the most progressive underground second full-length albums to ever come out of Germany. There's a practiced, almost alert ease throughout the record. Depth without being deep, simplicity without being simple it's hard not to walk away from Notes and the Like without a sense of well-being. Lance Saunders

nearLY
:reminder.
Kufala
Street Date: 04.11
nearLY = 12 Rounds + cinematic glory + Nine Inch Nails sound design team
Jerome Dillon recently retired as drummer for a band called Nine Inch Nails. Now that we have that out of the way, you can appreciate nearLY for what it is: a stylistic enigma with influences all over the place. Dillon begins the work with a lilting string quintet (One Day I Was Gone), shifts to a thicker drum-heavy pop tune (Straight to Nowhere) and from there runs a tasteful gamut that all somehow fits together this is a concept album, based on a recurring dream. Underrated chanteuse Claudia Sarne of 12 Rounds gracefully supplies a voice to Dillons lyrics throughout, singing with Greg Dulli on the gospel-esque Step Into the Light. While the more muscular tracks are interesting for their production value and take on pop, Dillon shines on the more intimate and spacey portions of the album such as the floating Blackwing and the swinging, twangy Prins Hendrik. Basically, this is another sleeper, perched under the shadow of Trent Reznor (i.e. Pricks Self-Titled), one that youll initially dismiss until some fateful afternoon when its the one disc you brought on your commute. After that, theyll have to steal it out of your grave. Dave Madden

Nerve
Blackened Chpt. 1
So What Records
Street: 01.07.05
Nerve = Fear Factory + Dismember + Grave + Godflesh
This record may have come out some time ago, but being an independent release from Thailand changes things. Before hearing this CD, the groups short and to-the-point bio clearly showed the band doesnt know English very well. With that in mind, I though I would be hearing a record with heavy cultural influence. Instead, I am inundated with an American-sounding bit of neo-thrash. Though disappointed at first, the record grew on me. The recording is demo quality and contains the gritty guitar tones of death-metal legends Dismember and Grave. The drumbeats are both hand and machine made. Vocally, the group suffers the most I have respect for the emotion thrown in, but going along with the music and not quite fitting it throws the whole thing off, leaving the band to stutter around with no direction or focus. Bryer Wharton

NOFX
Never Trust a Hippie
Fat Wreck Chords
Street: 03.14
NOFX = Lagwagon + Circle Jerks
Theyre getting up there in their years and they truly do suck live, but NOFX has kicked a bit-o-ass with this six-song E.P. Never Trust a Hippie cranks up the energy past the sometimes-lagging War on Errorism and returns the punk-lifers back to some of their roots. Youre Wrong slows it down a notch, granted, but thats to get Fat Mikes point across. Lyrics run the gamut from making fun of fashionable politicos to relaying what its like to be an over-the-hill punker. While the days of Punk in Drublic are long gone, Never Trust a Hippie is better than most of the patchouli-smelling stink-bombs that pass as music nowadays. Shane Farver

Painted Saints
Company Town
Sopping Thursday Records
Street: 04.25
Painted Saints = 16 Horsepower + Drunk
Being the diligent reviewer and SLUG employee that I am, I thought I would try to track down a release date for this mysterious re-release that was reviewed elsewhere under a different title over a year ago. I may have cleared some things up if the cell number on the press release wasnt disconnected (hence the question mark). However, when it comes to this brand of gypsy country, the more enigmatic the better. I was, on the other hand, able to learn that Paul Fonfara, the sole regular of this Denver/Minneapolis multi-instrumental outfit, was a member of Jim Whites touring band. Ever the mystery himself, White seems to have transferred some of his wide-eyed, death-obsessed, celestial awe to the young Fonfara. Conversely, Fonfaras thoughts cut a wider, if not naively unfocused, swath in musical landscape, perhaps wide enough that cellular service isnt available in its wake. Justin Thomas Burch

Rahim
Ideal Lives
French Kiss
Street: 04.04
Rahim = Les Savy Fav + Fugazi
Rahim could be cast aside with a host of other too-discordant-for-their-own-good post-punk bands if it werent for a handful of melodic, sweet tunes interspersed throughout some boring ones on Ideal Lives. Only Pure, Forever Love and Satisfy are smooth, sorta-dreamy and filled with jittery drums that sound like living creatures. The best thing about this album is that Rahim have no urge to re-re-re-create disco-dance-punk, leaving out the requisite dance beats because they arent necessary here. The sparse instrumentation and nasally (sometimes irritating) vocals become monotonous on many songs, and a few songs are so unmelodic they are forgettable, but when Rahim turns up the heat and throws a few peppers into the gumbo, what food these morsels be. Jamila Roehrig

Raunchy
Death Pop Romance
Lifeforce
Street: 03.21
Raunchy = In Flames + a hardcore singer + Soilwork + a touch of Fear Factory
Releasing two records on Nuclear Blast in a much more electronic vein, Raunchy has come forth with a worthy third album. The Danish group has now found home with the usually exceptional Lifeforce records, known for establishing such metal-core acts as Caliban and Heaven Shall Burn. Keyboards are still a prevalent factor on Death Pop Romance, though the melodies created from every aspect of the instrumentation on the album are nothing short of gratuitous fun. Raunchy is up to give In Flames and Soilwork a run for their money in the realm of modern melodic metal. This album is one to be listened to over and over again. It may not be quite metal, but screw the purists this album is something to be savored. Bryer Wharton

Rose Melberg
Cast Away the Clouds
Double Agent Records
Street: 04.25
Rose Melberg = Isobel Campbell + Nick Drake - sophistication - edge
From unsophisticated strum patterns to trite lyrics, this album doesnt offer much more than your typical open-mic night. Folk artists need some edge and originality to differentiate themselves from the armada of hacks out there. When I listen to this album I am haunted by the memories of when that person at the party turns off the music and plays their sensitive acoustic guitar songs while everyone cries with embarrassment. You get an oppressive feeling from the overly simplistic rhyme schemes when you can predict what word she is going to use at the end of every line. That said, Rose has a cute voice, but cuteness without an individual or accomplished style is just infuriating. Her songs resemble the subdued sensitivity of Belle and Sebastians earlier records without any of their dangerous lyrics or deft melodies. Spencer Jenkins

Royden
Best Friends Our Worst Enemies EP
Hopeless Records
Street: 04.11
Royden = AFI + Thursday
The storm clouds that form over your head while listening to Royden are no accident. This is one gloomy outfit. Best Friends Our Worst Enemies exhibits some haunting melodies wrapped around lyrics that are just as spooky and apocalyptic as they are somber. And down on the street the damned silently lurking in the darkness, vocalist Treebo sings in the war song Dolittle Raids. Although Royden wont be up for any Feel Good Song of the Year awards anytime soon, they pack a wallop of sorrow for those of us who know the world can be an ugly place. Shane Farver

Ryans Hope
Apocalypse in Increments
Punknews Records
Street: 04.11
Ryans Hope = Bad Religion + Smoking Popes + Alkaline Trio + Thrice Dustin Kensrues powerful screams
Ryans Hope are relatively new, forming in 2002 and quickly self-releasing two EPs and a full-length on Double Zero before signing to Punknews Records to release their second full-length, Apocalypse In Increments. The guitars and drumming are fast-paced and well played, creating a punk-metal sound similar to Thrice. The vocals blend light screams with melodic singing and are good for the melodic punk-metal sound Ryans Hope are striving for. The problem with Apocalypse in Increments is that the sound they have achieved has become painfully generic over the last several years. Its one thing to fit into a genre and play that particular kind of music, but if theres nothing to differentiate yourself from the other bands, you just get lost in the mix. There are a couple standout songs like The Carpathian and When Life Steals Life other than that, grab a pillow and a blanket and get ready for nap time. Jeremy C. Wilkins

The Sainte Catherines
Dancing For Decadence
Fat Wreck Chords
Street: 03.21
The Sainte Catherines = Hot Water Music + Angry NOFX + Canada
Drinking out of boredom, dancing, puking and telling people to shut the hell up I must say, the Sainte Catherines are pretty kick ass. I usually hate most post-hardcore punk shit, but this isnt bad. The song titles are humorous, and the lyrics when you actually pay attention to what is being said. The guitar playing isnt miraculous, but it sounds tight as hell when you take into account the fact that the band has three guitarists. My favorite song on the album was Confession of a Revolutionary Bourgeois Part III, which is all about finding beauty in places where it sh