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June 2006 - Issue 210

Abiku
Location
Automation Records
Street: 06.06
Abiku = The Great Redneck Hope + Gossip + Subtonix + Aqui
A two piece electro-thrash band, the differentiating factor here would be the bizarre vibrato female vocals accompanying the thrash noise background. Occasionally transgressing into darkwave, Abiku seems a bit lost in their own sound, a few gems aside. I would expect this band to do a lot of great things in the next little while, but Location seems a bit too programmed, a bit too random-on-purpose one minute, and ridiculously predictable the next. Just short of genius kids keep up the good work. -Ryan Powers

Aereogramme
Seclusion
Sonic Unyon
Street: 04.04
Aereogramme = Isis + The Flaming Lips
In recent history, there hasnt been an album as sporadic in its sound than Seclusion, the newest release from Aereogramme. Able to transition as smooth as silk between indie prog-rock riffs and soft, melancholy ballads, Aereogramme is defining itself as one of the most indefinable bands out there. The six-track Seclusion may appear to only be an EP from the locally unknown Scots, but the album is anything but boring. The 11 minute The Unravelling starts out with a film reel running while a delicate guitar plays airily in the background and ends with lead singer Craig B practically dripping his voice over a futuristically carnal sound. Still, the highlight of the album has to be the emotional choke hold, I Dont Need Your Love. Bs voice resonates with haunting sincerity and leaves your finger readily poised over the back button of your iPod to hear it over and over again. Jonah Napoli

Agoraphobic Nosebleed
PCP Torpedo/ANBRX
Hydra Head
Street: 04.25
Agoraphobic Nosebleed = the sonic equivalent of your face to a belt sander
Agoraphobic Nosebleed has been killing the competition for years, paving the way for a new style of grind metal. This latest outing is a double disc extravaganza. The first is new material to pleasure the senses; if music were an actual drug ANB would equal speed for metalheads. No song clocks in at over one and a half minutes. The second disc is a bunch of ANB cuts remixed, restructured and re-engineered to destroy in a whole new way. Afew of the artists offering up a helping hand are Hellz Army, Justin Broadrick, Merzbow, Jansky Noise, James Plotkin, Auek and more. The remixed stuff is where it gets insanely non-musical. Noises drone on and on to pierce, bash or just plain obliterate the senses. There is sonic drudgery with psychotic bursts from electronic/noise artists, morphing the already un-melodic into less structured and painful forms of murder. A favorable and memorable mix comes from DJ Speedranch of the track Thanksgiving Day (Creed are Twats & Nickleback look like Mike Bolton Mix). One would think the devil himself has moved from the bowels of hell and into your speakers. Bryer Wharton

Amps for Christ
Every Eleven Seconds
5 Rue Christine
Street: 06.06
Amps for Christ = good ol fashioned experimentalism or the most profound 43 consecutive minutes ever broadcast on community radio
Nothing is more obnoxious than asking someone what kind of music they fancy and hear them say, Everything. Not only is it always a lie, the response usually conceals a palette more lackadaisically uninformed than a list of crappy bands. Yet, if for some reason you continue communicating with this person long enough to get inside their automobile (boobs, maybe) and there is an Amps for Christ record resting against the emergency brake, forgive and forget. Incorporating elements of scuz-laden analog noise (Violated), mariachi music (El Corazon de San Vicente), reinterpreted bagpipe classics (Scotland the Brave) and Crazy Horse-esque paeans (WIB), this record plays like the Essential Wacky Shit You Can Do with Stringed Instruments and Tube Amplifiers compilation you always tried to wish into existence. Add it all up and, by my estimation, your new friend likes about 27 percent of everything. Not bad for one record. Justin Thomas Burch

An Albatross
Blessphemy of the Peace Beast Feastgiver and the Bear Warp Kumite
Ace Fu Records/GSL Records
Street Date: 06.27
An Albatross = AC/DC + The Locust + Quintron
A band in continual development, An Albatross has incorporated sounds into their music that are completely unprecedented in every other avant-electro band in existence. Farfisa slides, theremin swells, and most notably, guitar work so epic it makes Lord of the Rings look like a walk in the park. These guitar riffs are Iron Maiden or Motorhead worthy played at breakneck speed over organ solos that would make your neighborhood church organists head spin. Slightly reminiscent of The Locusts early material, the jams are a lot more straightforward than youd expect, and God forbid, even catchy at times. This record is a shit-ton of fun. - Ryan Powers

Apiary
Lost in Focus
Ironclad Records
Street: 05.02
Apiary =??
Things this heavy shouldnt sound so boring. This groups attempt at technical proficiency lacks motivation and spirit that one should have when attempting to create something significant. The end result is a record chock full of heavy breakdowns with bits and pieces of speed bursts popping in from time to time. Mostly it is one giant breakdown. The hints of something good shine only at inopportune times. I think I lost my focus a minute into the album. Apiary is definitely lost somewhere. Try hard not to fall asleep; my senses are dulled now and Im highly annoyed. Ignore this fiasco while you can. Bryer Wharton

Art Brut
Bang Bang Rock And Roll
Downtown Records
Street 6.13
Art Brut = Clinic + The Clash, I guess + Velvet Underground + Pure, distilled Joy
What a fucking worthless equation. That said, this was my favorite album of 05. This will not affect my review of the US expanded release (3 new tracks, best among them an incredible interpretation of The Righteous Brothers lyrics), I swear to god for you. There is an undeniable joy in Art Brut, even when theyre being witty and ironic. No cynicism creeps into the lyrics about hating Velvet Underground or drinking Hennessey with Morrissey. This is pure and simple art rock at its very best. Even if Art Brut arent the best musicians ever (well, it is punk influenced, you know), their lyrics are amazing and the presentation is superb. Hell, hes singing about naked girls, modern art and Enrico Gatti of the Red Brigade. I bet youll think this albums better than most music youve heard in a year if you ignore the equation (Seriously I fuck up once and you disbelieve me? Dude.) and just buy the goddamn album. -Andrew J Jepsen

Born to Lose
Sweet Misery
Sailors Grave Records
Street: 06.23
Born to Lose = The Ducky Boys + Street Dogs + Angel City Outcasts
This band sounds like they should be busting down the doors of a pub on the streets of Boston, but theyre actually from Texas. Their guitar riffs are reminiscent of Social Distortion while the lyrics sound more like the Street Dogs could have written them. Im sure this band would be popular playing an all ages venue full of Angel City Outcasts fans, or at a bar show playing to a few bleary eyed and belligerent regulars. Unfortunately many of the songs sort of blur together because they all sound so similar. The track that stood out the most amongst the monotony was Sweet Misery. Jeanette Moses

The Bouncing Souls
The Gold Record
Epitaph Records
Street: 06.06
The Bouncing Souls = Melodic punk rock rampant with sing-a-longs and plenty of New Jersey pride
As always, the Souls cram infectious sing-a-longs in classic Souls style down the ear canals of their fans on The Gold Record. There is an overwhelmingly positive vibe throughout the entire album, which makes one wonder if they heeded the advice of our good friend Bobby McFerrin and decided not to worry and just be happy. The album serves as a war cry for the trodden-down to be revived from hard times and move on to the future, where everything is inevitably more promising and better than the past. Letter From Iraq was written by an Iraq veteran and shows the most negativity on the album with images of a war gone wrong. The album as a whole is much slower and more anthem-filled than the average Souls record, which leaves a hankering for a few faster songs and shrieking vocals. Regardless of pace, the album is a success. -- Jeremy Wilkins

Built to Spill
You in Reverse
Warner Brothers
Street: 04.11
Built to Spill = Modest Mouse + Neil Young
Lead singer Doug Martsch said that he took a break from Built to Spill after he lost interest in the music that they were playing. After a five year sabbatical, theyve released You in Reverse. It initially seems to doggedly follow the indie pattern that Martsch helped create. However, the opening song, Goin Against Your Mind, is a good example of the simple complexity that lies in the rest of the album. It is practically two chords that build in speed and heaviness over nine minutes. The most obvious influences are classic rock, punk and reggae (which they throw in the final minutes of Mess with Time). Like their previous albums, the songs are longer to accommodate the Neil Young-like guitar solos. There are a variety of guitar sounds to enjoy, Martschs cool doubled vocals, and solid songwriting. It would be a mistake to discard this album and write it off as just a derivative of the saturated indie scene. Though not as innovative as Perfect From Now On, or Keep it like a Secret, the more you listen to it, the more you will appreciate Martschs modest and accomplished songwriting. Spencer Jenkins

Celtic Frost
Monotheist
Century Media
Street: 05.30
Celtic Frost = an unholy reunion
In answer to the question posed by thrash greats S.O.D., whatever happened to Celtic Frost? They didnt get lost they just took a long-ass break. Its been 13. Fans and the metal community alike have waited with bated breath for the most anticipated release this year. Monotheist delivers those expectations and more. The record is easily the heaviest and most polished the group has ever sounded. The dynamic the record carries isnt easily copied. Each track carries itself; most songs are slow and heavy though speed does sneak its way in. Tom G. Fishers vocals are more powerful than anything he has laid claim to yet. Fierce growls and haunting vocals add to an already evil atmosphere. The guitar tone relishes the old school while harnessing a new and bold brutality. There is no way to describe the songs on Monotheist-- each carries its own story and pain. Fans of old should enjoy the new dabbling. Newcomers can easily access the heaviness, whereas the older material, classic as it may be, is harder for power-hungry kids to indulge in. It took quite some time for these seasoned metal icons to produce but damn have they produced. Bryer Wharton

Charlie Dont Surf
Kvalitetsstoy
Self Released
Street: 09.01.05
Charlie Dont Surf = Silver Mt. Zion slipping into a coma
Ive realized that bands that are too about the music invariably dont last. Music needs to be more than music for it to survive, more than unseen shadows with guitars - there has to be a voice behind the message in order for anyone to care. When artists capture the publics attention, and then have nothing to say, they fade away leaving nothing more than a boring aftertaste in everyones mouth. Charlie Dont Surf seems to lack the spark of being more than the sum of its parts in the end, and thats what brings this album down. An instrumental LPs a tough sell (I dont even think my mom bought a copy of mine), but when theyre good, its like listening to your own body at work. Unfortunately Kvalitetsstoy suffers from too much technique and ultimately no heart. This music essentially begs the question of why it needs releasing at all; its a soundtrack that none would want in their lives. No un-flung drives up the canyons for these songs, no sinister film noir walks alone with headphones - just three guys, stubbled, drunk, and uninspired, trying to make something out of nothing. - Cory Tallman

Chatham County Line
Speed of the Whippoorwill
Yep-roc Records
Street: 05.30
Chatham County Line=
Breaking traditional conventions in structure, Chatham County Lines unique brand of neo-bluegrass and roots country hearkens to days lost, when life was tough, yet poetic. Speed of the Whipoorwill is the third album from the Raleigh, North Carolina quartet. The music on this is steeped in the American narrative tradition and the jovial lyrics reflect this. The groups insistence that they are more a rock band than anything else belies the absolute truth that this is an album packed with bluegrass and country. The rock influence ends with such revivalist bluegrass groups as the Nitty Gritty Dirt Band. That said, it is difficult to pin them down to any one genre, and this gives them the opportunity to reach an indie audience that may otherwise be disinterested. The highlights of the album include the narrative rich They Were Just Children, and the bluegrass instrumental, Savoy Special. If you are a fan of bluegrass and country then you will find in this album a much-needed vitality, if not, do yourself a favor and check this one out, you may learn something. Brady Gunnell

Cheap Sex
Written in Blood
Punk Core Records
Street: 06.06
Cheap Sex = Clit 45 + The Virus + The Casualties
Cheap Sexs third full-length album is just as raw and hard-hitting as their previous two releases. They arent has beens yet and I have a feeling that this is a punk band that is going to be around for a long time. Their arrangement is tight and song lyrics are simple enough to catch on to after only hearing the hook, which is a must for any kick-ass punk anthem. But like most punk bands Id rather see Cheap Sex live then listen to their album. There is a certain energy that is lost on this album, which is what makes Cheap Sex a good band. My favorite tracks were Excuses and Psychopath, both of which has potential to become chant-along crowd favorites. Jeanette Moses

Cheveruil
Capoeira
Sickroom Records
Street: 06.05
Cheveruil = Don Cabelleros American Don - chutzpah
If this was 1999, I would write all kinds of nifty Cheveruil similes involving ravenous serpents, thunderclouds, some mythical godhead or another, those giant dump trucks in open pit mines and pugilism. Lone gone are the days when instrumental post-rock seemed progressive and interesting. Even the skills of sound engineer, Archduke of Chicago, Steve Albini, seem to have gone the way of the Atkins Diet. The overall sound is deplorably plush, highlighted by drum work that can only be described as spongy. Mind you, there are a select number of artists that continue to offer provocative recordings within this silly little genre, but this record is about as bold as something Tyondai Braxton would record on his lunch break. Justin Thomas Burch

Cloudland Canyons
Requiems Der Natur 2002-2004
Tee Pee Records
Street: 06.13
Cloudland Canyons = the Grand Canyon + clouds + samples from a 99 cent world music bin.
Sound collage is good for a few things, namely: background noise for your favorite avant-garde play, as a sleeping aid, or as spooky music for some house of horrors. Sound collage is also the breeding ground for side projects of musicians who feel the need to branch out from rock n roll. Such is the case for Cloudland Canyon, headed by Panthers guitarist Kip Uhlhorn. There is nothing particularly interesting about this album; the songs meander through various soundscapes and noises that lead nowhere in particular. The use of world instruments is an interesting concept, and ties the names of the songs such as Coastal Breathe to the aesthetic of the album; but in the end, the album sounds a little constricted. Andrew Glassett

CMPDRE
California
Front Line Music
Street: 01.06
CMPDRE = Wayne Newton + Stevie Wonder + a crappy Do or Die
Yay! More songs about frat boys, clubs, call phones, bling-bling, fast cars, sex, weed, guns and love odes that dont make the grade. The backbeats are a mixture of hip-hop, R&B, jazz, soul, and rock n roll. It leaves me to believe that they either have a very eclectic music influence or CMPDRE (pronounced com-pad-re) is lacking some major direction. This album is a regurgitation of sorts in a carrot-fishing-pole follow-the-lead. There is no real-human development in the substance or the subject matter of any song. This record changes in so many different directions, Im not sure they can even help it. Theyre kind of like garbage pickers; they choose to steal from other successful hip hop artists to patch their aesthetic together with all things ego-driven. However, this is just the beginning for CMPDRE. It is their first baby step, and hopefully they start making some leaps and use their sound as a progressive message rather than a new toy. Lance Saunders

Coachwhips
Double Death
Narnack Records
Street: 05.23
Coachwhips = a pretty hot flash in a relatively hot pan
If you can find your screaming, sweaty face on the cover of this B-sides and rarities compilation, you are apparently one of the lucky. Playing the well, you missed it, but here is everything we ever recorded in a far less visceral form than the shows everyone is still jizzing about card, Coachwhips has again managed to put us in our place despite breaking up about a year ago. Thankfully, we also have a DVD documenting the length of the three-pieces short-lived existence, from the house party days (obviously) to the final show. On second thought, that only seems to drive the dagger a little deeper. So, for those who were there (jerks), enjoy your memories while everyone else moves on and finds another spastic bunch of blues fetishists spouting incoherencies via megaphones to patronize. Justin Thomas Burch

Col. Knowledge & the Lickity Splits
Fall In Love All Over Again With...
Alive Records
Street: 04.26
Col. Knowledge & the Lickity Splits = Lou Christie + Frankie Valli & the Four Seasons + The McCoys + the Lyres
This has me thinking Happy Days. Pretend late 50s & early 60s innocence made perfect for sock hops and teeny boppin high school proms. The kind of rockn roll Mom would buy as she would point out its fun to dance to and doesnt have the threatening sneer of that Mick Jagger character or the looming tough-guy attitude of that Keith Whats-his-name. Shed encourage you to join her in seeing these guys open up for Franki Valli & the Four Seasons, a perfect match she says ( yeah, because they both have those really annoying whiney, high pitched vocals). Potsie and Ralph will be there, too, shuckin & jivin in their new cardigan sweaters to the sweet organ-laden pop tunes, hopelessly scamming on every seemingly available girl in the house. Your older brother would chuckle and point out that he would rather stay home, crack open a Mickeys Big Mouth, and listen to the latest Johnny Kidd & the Pirates single instead. Course I might just have to point out that Col. Knowledge and his gang are actually a contemporary group trying to recap what it would be like to score an episode of Happy Days and the entire scenario concocted above was the most probable thing I could come up with for a review of this erroneous facsimile of a rockn roll band . -Jared T. Soper

The Coup
Pick a Bigger Weapon
Anti/Epitaph
Street: 5.25
The Coup = C Murda + Andre 3000 + Public Enemy
Boots Riley and DJ Pam the Funkstress come together with their love of funk and political-revolutionary narrative. The storytelling is abundant in this extraordinary album, filled with sly humor and affluent imagery. The Coups third album, Pick a Bigger Weapon, holds the values of activism, reflecting the relevant raps of Public Enemy, KRS-ONE and Zach de la Rocca (RATM). Riley acknowledged that pain is a part of the scenery as is keeping the beautiful things of life in mind. Guest spots on the album include Tom Morello (RATM), Jello Biafra (Dead Kennedys), and Black Thought (The Roots). Riley excels on this album, not as a political rapper but as a storyteller who evokes the social issues, hidden political agenda and personal assumptions of our time. This record pokes fun at political leaders, mocks the rich and powerful and articulates the economic basics behind the drug industry. One of the best hip hop albums of 2006. Lance Saunders

Cracker
Greenland
Cooking Vinyl
Street Date: 06.06
Cracker = Camper Van Beethoven ska + Willie Nelson
Fresh off their troubles with former label Virgin (the company released their Greatest Hits without asking, blah blah), the boys from Cracker present their seventh studio release. True to form, this collection of works features singer/songwriter/multi-instrumentalist David Lowerys old-school country style narratives about bars, hangovers, travels and more bars and guitarist Johnny Hickmans twang-meets-early-college-radio six-string wizardry, a combination the band has relied on since its inception in 1991. Occasionally this fifteen-year old formula wears thin, as Lowerys lyrics sometimes sag and rely on the limbs of past hits (i.e. replace Paris with Mendocino County and Euro-trash Girl becomes Where Have Those Days Gone?). However, songs such as the blazing, riff-laden, quasi-Zeppelin Gimme One More Chance and porch-stomping ode to hillbilly love (saw my baby at the dry goods store/Im so glad she aint never coming back) help outweigh the faults. The fact is, Crackers stylized ability to pull you in to their world via endearing music and stories remains. While many veteran rockers turn to gimmicks and studio tricks, Cracker stays true to their vision and still gets a decent amount of mileage out of it. Dave Madden

Cretin
Freakery
Relapse
Street: 04.18
Cretin = Napalm Death + Nasum + Exhumed
One would never guess that Cretin has been around for 14 years. The group was inactive for quite some time, but in the early 90s frontman Dan Martinez and bassist Matt Widener went through a slew of drummers until they met up with the young Exhumed and drummer Col Jones. Things ground to a halt, and saw members pursuing other things; one joined the Marines, the other dabbled in video game production, and Jones went his merry way with Exhumed. It wasnt until 2003 that the band actually became a unit again. The crusty grind trio blends old with new in true grind fashion. Freakery is the bands debut full-length, fitting in perfectly with the Relapse roster. Like all good grind the elements of hardcore and punk thrive amongst the speedy metal aspects. Keeping it simple yet pulverizing at the same time, Freakery is a good addition to any grind fanatics collection. There is no question the complicated past of the members built up some anger and frustration, all to be unleashed on this promising debut. Bryer Wharton

Dlek
Streets All Amped
Ad Noiseam
Street Date: 06.06
Dlek = the hardest damned hip-hop this and that side of the Pecos
To say Dlek is at it again implies theyre doing their usual thing. And they kind of are. Are you tired of it? Doubtful. Building on the tough-as-fuck principles established on previous efforts (particularly on Filthy Tongue of Gods and Griots), the trio of MC/producer Dlek, producer Oktopus and turntablist Stills delivery on this four-song EP is still as sneering as it is head-nodding, resembling a series of sucker punches in a dark alley or possibly the feeling one would experience, ski mask in hand, on the drive to storm the Republican National Convention ahem. The difference here (and maybe from now on) is the production value. They replace the saturated, grungy paint-peeled wall of noise with a bit more musical clarity. While samples, driving beats and polytonal melodies still abound, they follow a few decibels behind Dleks vocals, mixed in the foreground and playing perhaps a bit more in the starring role than another instrument in the avalanche of sound. Like a phoenix continually rising from its ashes, Dleks power grows more impressive and stronger with each release. Beware. Dave Madden

Dead Celebrity Status
Blood Music
Bodog Music
Street: 06.27
Dead Celebrity Status = Junior High
Remember when you were in the fifth grade and the film Judgment Night was released? Remember checking out the soundtrack of rock and hip-hop fusions and becoming so excited that all those Gobstoppers flew right out of your mouth and you dropped your Hi-C juice box, ruining your game of Dont Break the Ice? Remember in the eighth grade when you bought Korns Follow the Leader (forgive yourself, you were still young) and found the MC battle between John Davis and Fred Durst completely unbearable? Remember the reign of Limp Bizkit, Kotton Mouth Kings, and Linkin Park? Remember waiting so goddamn long for this hardcore cracker rapper invasion to end that you were astounded to find that it had now followed you all the way through college? Well youre all grown up now but you better head to the store and buy yourself a ginormous box of Capri Suns (Big Pouches) because apparently you forgot that hell is for eternity. --Michael Steffen

Demented Are Go
Hellbilly Storm
Hepcat
Street:05.016
Demented Are Go = The Cramps + Anti-Nowhere League + Asmodeus
Demented Are Go front man Spark Retard was not allowed through US customs earlier this year, as the authorities had been informed of his antics onstage and off. Sparky, the disturbing heart and soul of Demented Are Go, who could best be described as the unholy spawn of both GG Allen and Lux Interior of the Cramps, is well known for his drug abuse, public displays of nudity and onstage sex acts. While authorities prevented the band from touring the states, their new record Hellbilly Strom has been able to penetrate our shores. These 13 tracks are a beautiful abomination of rock n roll. The track Out Of Control, seems somewhat autobiographical for Spark, as the songs discusses cross- dressing, murder and drug use. The most outstanding track is the country tune Some Ones Out to Get Me; bouncing stand-up bass and eerie mandolin in this track sets an uneasy mood. Charlie Harper of the UK Subs guests sporadically throughout the record on harmonica, really giving the record a roots music feeling that most psycho bands lack. If this is the type of record that Sparky and company can produce, they wont be able to keep him out for long. n James Orme

Dixie Witch
Smoke & Mirrors
Small Stone
Release Date: 04.14
Dixie Witch = Lynyrd Skynyrd + Kyuss + Neil Young + Monster Magnet
Dixie Witch have the sludge and slowness of stoner rock down, complete with arms-crossed-over-chest-stance of any good gunslinger, distinct, power-drill riffs and brutal, open-hi-hat drumming. However, they possess a certain flavor of 70s classic rock influencesespecially with their uber-technical, wailing, soulful guitar soloes that make them more epic, melodic and accessible (and arena-ready) than most stoner-rock bands. Hey, you can do no wrong with a singing drummer. Ive found few others thatre doing stoner with such craftmore dirt, maybe, but not songwriting seduction. Smoke & Mirrors is heavier in general than other DW albums, as in Out in the Cold, but the slow instrumental final track shows they still have the makeout music in em. Ive liked previous albums better, but this passes muster and then some. Dixie Witch is one of my top three favorite stoner rock bands of all time. Rebecca Vernon

The Ducky Boys
The War Back Home
Sailors Grave Records
Street: 05.02
The Ducky Boys = Born to Lose + a watered down version of Dropkick Murphys
First of all, let me say I absolutely fucking detest when a band on a record label sounds like a slightly different version of every other band on that same fucking label. Second of all I can see why this band has been around for 10 years and are still relatively unknown. Their songs seem more geared towards the geriatric as opposed to the punk rock crowd they are trying to target. I suggest speeding everything up would help, also maybe cutting the ooo yeahs and all rights out a little. You really dont need to throw one of those in to every damned song. Lastly, The Ducky Boys need to draw their inspiration from more than Tyler Dirdins one liners. Oh and one last thing, moaning Isolation over and over again shouldnt count as a hook. And to top it all off the kid on the front of the album looks like he hasnt taken in a shit in six months. Jeanette Moses El Aviador Dro
ELCTRICO!
Omega Point Records
Street: 02.07
Aviador Dro = Devo + Falco + Antonio Banderas
El Aviador Dro proclaim themselves as the greatest Spanish synthpop band ever. Considering the scarcity of Spanish synthpop bands in my record collection, I would have to agree with this statement. As this self-praise suggests, Aviador Dro are not the lost synthpop group of old but instead a second-rate ethno-curiosity. Bands like this prove that something gets lost in translation when sub-genres go on holiday. For instead of trying to write good songs, the style overshadows the substance and blandness results. Despite this record being Aviadors greatest hits, the majority of these songs sound like Spanish people making fun of synthpop. After hearing how Aviador Dro can take a song like Joy Divisions Shes Lost Control and turn it into a bunch of beeps, boops, and buenos, it quickly becomes apparent that the Trans-Europe Express never made a stop in Madrid. Bob Leavitt

Elefant
The Black Magic Show
Kemado Records
Street: 04.18
Elefant = Interpol + Talking Heads
There are big names involved this time around for Elefant. The Black Magic Show was produced and mixed by a team who have Linkin Park, Nirvana, Duran Duran and Cheryl Crow on their resumes. Elefants previous album Sunlight Makes Me Paranoid was one of the best albums of 2004; enjoyable bubble rock songs for scenesters of all ages. Their new album takes a severe twist to a darker place. Could it have been too much sunlight paranoia that turned them into nocturnal creatures? The song Why is about the only track that resembles their previous efforts. What was great about the first album was that there was a slight pinch of garage mixed into their exuberant little pop ditties. I think The Black Magic Show may just be a little too slick and sexy for a country boy like myself. Andrew Glassett

Enablers
Output Negative Space
Neurot Recordings
Street: 03.22
Enablers = Slint + Rollins Band (minus Henry) + Lawrence Ferlenghetti
I hate spoken word. That over-exaggerated pentameter, that conceited notion that everyone wants to hear you ramble in dramatic speech patterns about some ultra-ordinary life experience that you found all too devastating, I hate it all. When I first heard Enablers and realized that vocalist Pete Simonelli was indeed reading, not singing, I became concerned that it would be too horrible to tolerate. I mean the music is brooding, and groove ridden with its off-colored jam mentality and could be really complimented by a great vocalist, but he just talks and talks. Then I began to listen to his words and the gravel in his voice that only collects after a lifetime of hard experience and self-destruction and it all made sense. Simonelli is a writer who could easily be thrown into the ring with the likes of Ginsberg, Ian Mcewan, and Jeffery Eugenides. This record compliments itself and stands alone as a true work of original hipster art. - Chuck Berrett

Experimental Dental School
Xperimental Dental School
Cochon Records
Street: 04.18
Experimental Dental School = An Albatross + Dynasty + Sleepytime Gorilla Museum
This three-piece noise outfit offers an abrasive atmospheric punch to the temple a little dancy, a lot noisy, but most definitely a party. The drums and keyboard noises are some of the most creative combinations Ive heard in a long time, the only part of the album that keeps from super-ultimegamazingness is the trance-like spoken word distorto-vocals that arent quite my cup of tea. It may have been the recording technique, but it sounds like someone reading horror stories from the inside of a dying monster. Occasionally, there is a slight euro-gypsy feel to the songs, with electronics as opposed to violins. All in all this record kicks an unreasonable amount of ass, and it leaves me desperately confused searching for adjectives and meat tenderizers with equal fruition. - Ryan Powers

The Fabulous Rudies
Self Titled
Cargo Records
Street: 03.14
The Fabulous Rudies = Save Ferris + Goldfinger
What an un-fabulous CD. For a band with the word in their name I expected much more although I suppose it was dumb of me to do so. The first thing I noticed about this album was that it happens to have a my space logo on the back with the words Experience the Band at (their my space url). What the fuck is that shit? Since when is it not enough to listen to an album to have experienced them. Did people not fully enjoy their music before the days of my space? Printing a big my space logo on your CD makes you just as un-cool as the idiots who bring my space up in every day conversation! The lead singer Cassandra Anderson has a pretty voice but the songs all tend to blend together into a big pile of monotonous shit. I did however enjoy the cover of 99 Luft Balloons.

The Fever
In the City of Sleep
Kemado Records
Release Date: 05.02
The Fever = Mars Volta + surf rock + David Lynch + Nick Cave + The Beatles
The Fever are all over the map, from the rockabilly/nearly ska-ish backbone of Redhead and Mr. Baby to the big-top carnival Masque-of-the-Red-Death nightmare Waiting for the Centipede that brings to mind simultaneous visions of Subterranean Masquerade off The End Records and locals Muses of Bedlam. Craziness should be celebrated, because not everyone gets the pleasure of experiencing itand The Fever celebrate that creepiness in a warm n sexy way. Marimba and creaky organ set the stage; the tipsy, melancholy Magnus would be perfect on the soundtrack of City of Lost Children.Things heat up with the dancey Gypsy Cab/Down on Dog Street, like Soft Cell making out with Chris Isaac and the Mooney Suzuki and Gram Rabbit. Really. The International Noise Conspiracy-like, offbeat Do the Tramp is the hottest. Rebecca Vernon

Final Conflict
Ashes to Ashes
SOS Records
Street: 12.27.05
Final Conflict = Discharge + Anthrax
This album was originally released in 1994 and over a decade later has been reissued on SOS Records. The reissue contains extra tracks from Final Conflicts 1985 demo and two covers from their 1984 demo. The recording quality on the original songs that were released on Ashes to Ashes sound great, but the same cant be said about the bonus tracks from their older demos. It would have been nice if some re-mastering could have been done to the eight bonus songs. Im sure the UK Subs cover of Warhead or the Damned cover of Love Song would have sounded much better with out all the static that came along with the bad recording. Regardless of that the album is a good one. Final Conflict combines anarcho-punk sounds with that of 80s speed metal bands. The music is pissed off and aggressive. My favorite track was Apocalypse Now. Jeanette Moses

First Blood
Killafornia
Trustkill
Street: 05.02
First Blood= Hatebreed + Terror + Blood for Blood
Mosh 101:
1. Insert First Bloods Killafornia
2. Press Play
3. Listen for obligatory Rambo quote.
4. Bob head to Blood for Blood and Hatebreed style riffs
5. Wait for breakdown (which is 1 of 100)
6. Go nuts for breakdown
7. Sing along to They drew first blood! (or other poignantly placed sing along)
8. Ponder the canned-sounding vocals and occasionally interesting drum beats found in the interim between tough guy break downs.
Repeat steps 4-8 for 34 minutes. -Peter Fryer

The Forecast
In The Shadow of Two Gunman
Victory Records
Street 5.30
The Forecast = X96 since 2002 + Jimmy Eat World/Braid/The Get up Kids Inc. + holyshit chick voice
Is this a tribute band? Yeah, I know they write all their own songs. Their lyrics and riffs are their own. But, see, heres what I dont get: why do they sound exactly like everything shitty on MySpace? Either its a brilliant hat tip towards generic emorock bullshit, or they have no idea that any of those bands above exist. See those bands, The Forecast? You sound exactly like a desperate and utterly terrible simaculrum of them. Dan Hoerner might uncomfortably disagree behind a quivering and unsure lower lip like a stoop, but you dont know who that is, do you? And you only heard The Anniversary accidentally once during an episode of Smallville, right? You guys are an utterly innocuous and terrible version of all of them. I will give The Forecast that. The one unique sound they added to the genre was complete, undeniable blandness. -Andrew J Jepsen

Gadget
The Funeral March
Relapse
Street: 05.02
Gadget = not the inspector
Originally beginning as a one-man project, William Blackmon decided his creativity would be better served with additional members. Good choice. After extensive recruitment, the Swedish foursome that is Gadget was formed. Like most grind acts Gadgets songs are numerous and short-- the albums 17 blasting bursts of speed blow by in the blink of an eye. Listen closely or you will miss it. I can think of plenty of other grind acts I would rather listen to, but Gadget does well for what they are. Unlike some of their peers, there seems to be more structure to the chaotic frenzy, short lived as it may be. The group has the goods to appease the grind crowd but extending from the genre into other territory is not an option. Enjoy it for what it is; overanalyze it and you will get bored. Bryer Wharton

GBH
Punk Junkies
SOS Records
Street: 12.20.2005
GBH = Awesome punk rock Gods if such a thing existed in punk
This album was originally released a decade ago, but like so many other albums that great punk bands release it wasnt released in the US. Punk Junkies contains three bonus tracks that werent found on the original records, Punk Rock Ambulance, Three Piece Suit and Happyville USA. With all of that I wish I could say I was utterly impressed by this album, but I just wasnt. Punk Junkies just doesnt have the same razor sharp edge that Ive come to love and expect from GBH. This album doesnt bear any resemblance to their classic City Baby Attacked by Rats or even their newer release Cruel and Unusual. GBH must have been going through something not so pretty in the mid 90s. In fact, this album sounds a lot more metal than it does punk. I love the band but Ill have to pass on this particular album. Jeanette Moses

Genghis Tron
Dead Mountain Mouth
Crucial Blast
Street: 06.06
Genghis Tron = Discordance Axis + Agoraphobic Nosebleed + Lotus + Dimmu Borgir + Depeche Mode
Add equal amounts of blast-core and ambient electronica, you usually get a pile of shit. In this case, somehow Genghis Tron has pulled it off, without an air of irony. In comparison to previous releases, Dead Mountain Mouth is a lot more metal and a lot less electro-dance. The sound has matured, and gone darker the electro breakdowns are a lot more developed and complimentary to the blast-metal climaxes. There is even a wider range of vocals, varying from throat blistering thrash screams to dark Joy Division-esque singing (though it is 95% throat blistering thrash screams). My personal favorite songs of the album show an intense appreciation for song composition, using the blast beats and breakdowns equally, as carefully calculated accents to the chaotic cacophony (i.e. Dead Mountain Mouth & White Walls). - Ryan Powers

Hazard County Girls
Divine Armor
Revd Up
Release Date: 05.02
Hazard County Girls = Black Sabbath + early Bottom + Melvins + Hole
Sludgariffic classic stoner shit packs a punchin a slow, thick, Aunt Jemima syrup type o waywhile smooth, breathy female vocals falling somewhere between Kim Deal/Gordon seduce you into a helpless swoon. Hazard County Girls have doomy elements about em, but arent afraid to dress in vintage garb. The music exudes sincerity, appealing simplicity and matter-of-fact, cool-as-a-cucumber toughness. Fine Lines and Insect have nearly sing-along choruses with dark 90s-alt overtones, but then comes metal-oriented bleeders with intoxicating shifts in movement and timing, like Red Light. Theres even some old-school counry/matador Raveonettes moments, as in Knoxville Boy. They make wannabe metal girl bands look like gimmicky poseurs, i.e., Kitty, and they just toured with Rasputina and Hank Williams III. One suggestion: Theyre better when hugging the mighty trunk of metal and shedding their probable roots in Lollapalooza 1994. Rebecca Vernon

Ignite
Our Darkest Days
Abacus
Street: 05.16
Ignite= Ignite
Ignites last album was released in 2000 - Y2K hadnt caused a nuclear holocaust, and a thief was just taking the oath of oval office. Much has changed in those last 6 years. In the past, poignant lyrics about direct action were Ignites calling card - even on the more pop-sounding A Place Called Home. The year is 2006 and age seems to have caught up with Ignite. Revolution, environmentalism, and direct action no longer seem to be top of their mind. Perhaps its the view offered by age, but the songs on Our Darkest Days are still political, just more cryptic and ambiguous. Zolis voice is still great, unfortunately the confines of punk rock chords dont allow much room for his vocal abilities to flow, so the singing patterns become recycled quickly. Ignite reverts to the rage of the past on a few songs, namely Poverty for All (which concerns Zolis native country of Hungary) Save Yourself which features a great guitar riff and clocks in at a blistering 1:20, and Know Your History that show that there is still a band just as furious as they were when they started 10 years ago.(Boom Va 06.07) -Peter Fryer

The Itch
The Courage to be Hated
Wee Rock Records
Street: 02.16
The Itch = A hint of the Dead Kennedys attitude and sound mixed with a touch of the U.S. Bombs
The Itch is not your average punk band. With four of the 18 tracks on The Courage to be Hated being instrumental, The Itch make a slightly different impression than other bands in their respective genre. Not to say there arent punk bands that do instrumental tracks, its just not common. The title of the album would infer that they dont care whether people will like that (or anything about them) or not. Sometimes having the courage to be hated is the best way to be loved. Wow, thats deep. The Itchs sound would be a perfect fit for the soundtrack of the early 80s movie Suburbia, with their rough early 80s punk style and energy. Josephine, This Time, Hitting Bottom and County Jail Blues, are the easy stand-outs on The Courage to be Hated. --Jeremy Wilkins

Joan Jett & the Blackhearts
Sinner
Blackheart
Street: 06.13
Joan Jettt=
Gotta change the world! howls Joan Jett on track six of her latest album. Sinner, the first studio album in over ten years from Jett and her Blackhearts sets opens with a highly politicized message and catchy hook. Unfortunately, that is really where the novelty ends. Aside from Jetts increasingly gritty voice and the Orwellian anti-Bush opener, this album sounds like it could have been scooped up directly from 1985. The Blackhearts are back with what they do best, rock, but it just doesnt go much further. For some, this may very well be a blessing. It means more straightforward, accessible rock from an iconic front-woman whom is staying true to her roots. To others, this album could be plain boring. To me it lacks the vitality of the younger Jett, as on 1981s seminal album. Here she sounds as if she has found a template, the music is mechanical as is her voice. On Fetish the band gets closer to doing something sonically interesting with their brand of three-chord guitar rock. And then she loses me when she sings about pounding some ass. This is the kind of music that should be reserved for listening to after five beers at a grungy bar. So, prepare yourself, and go see Joan Jett and Blackhearts on this years Warped Tour. Brady Gunnell

Jon Lundbom & Big Five Chord
All the Pretty Ponies
Self-Released
Street Date: 04.06
Jon Lundbom & Big Five Chord = hardbop + Zeppelin + Schoenberg
Somewhere down the road from the Knitting Factory, on the outskirts of 70s stadium rock, youll find Jon Lundbom & Big Five Chord, a crew once again proving that jazz isnt dead its just getting started! This live recording finds the band letting loose in the city (New York), completely unrestrained and bouncing between free jazz and 60s bop masters. However, dont read that as messy well, not too messy. Production-wise, the bootleg quality does, at times, slightly detract from the actual musicianship, but the crude, au naturel recording certainly fuels the nature of the bands oft-times brutal attack. Musically speaking, from the tube-screaming, crotchcentric opener Here Lies Love to the Braxton-like (read: ostinato-heavy) Cavalleri to the Zappa-esque Have You Seen a Woman as Big as Martha? to the neck-jolting swing of Sack Full of Doorknobs, the crew walks a line of structural retention and freedom from the original works that fuses a healthy dose of virtuosic improvisation with an uncanny ability to come back to center before wandering too far into the cosmos. Dave Madden

Kampfar
Kvass
Napalm
Street: 06.06
Kampfar = Satyricon + Darkthrone + Immortal + Enslaved + Carpathian Forest
Black metal from Norway, who would have thought? Just kidding. Kampfar continues the icy countrys legacy in typical black metal fashion, highly embracing the folk elements of the music yet retaining the grim brutality of true Norwegian black metal. It is hard not to compare the band to others; the style has been done at every angle. Dont expect anything new with Kvass. That doesnt mean it isnt good, it just means that one not new to the genre cant help but feel theyve heard these songs before. You cant knock them for being copycats--theyve been around since the genre started in the early 90s. One can easily guarantee that Kvass is their heaviest outing yet. Soak yourself in the dark pagan imagery painted. Bryer Wharton

Kings of Nuthin
Over the Counter Culture
Sailors Grave
Street:05.02
Kings of Nuthin=The Nite Riders + The Amazing Crowns + The Ducky Boys
Have you ever been punched in the face with rhythm and blues no? Then you aint been listnin to the Kings of Nuthin. This Boston-based eight piece has fought their fair share of battles to become one of the hardest working and most original acts out on the road today. Blending the fast paced gritty blues and swing of the 30s, 40s and 50s, the Kings are definitely in a category all their own. Over the Counter Culture is the perfect example of what these troublemakers are all about. While seven tracks are pure originals, the other seven tracks on this record are covers dedicated to the wide range of influences this band draws from. They cover Oi! and street punk bands like Blitz and Peter and the Test Tube Babies, but also blues legends like Hank Ballard and the Midnighters. Originals mix naturally with the covers and the Kings make every song their own. This whole record is a barfight turned riot. So grab your best gal head to your favorite speakeasy, saloon or bar, and get to it with the King of Nuthin. n James Orme

The Knights of the New Crusade
A Challenge to the Cowards of Christendom
Alternative Tentacles
Street: 04.11
The Knights of the New Crusade = Jesus Freaks + Sunday School + The Queers
Maybe its the eight years of Catholic school education I suffered through that made me shudder while listening to this album, but then again somewhere in my black soul-less Atheist being I found myself actually enjoying this band. Although I still couldnt bring myself to listen to this in my car. If anything, I suppose the Knights of the New Crusade take Christian rock out of the realm of Stryper and Creed and places it in the whole new venue of garage rock. The imitations of Satan and lyrics like Shes doing something that makes Satan proud, from the song Lipstick Lesbian made me laugh, but I still couldnt quite wrap my brain around this band or their album. All the songs appear to be based off of Bible versus, although I couldnt tell you for sure because the last time I touched one was to use a blank page to make a joint. My favorite song was E is Still Evil a catchy number about an ecstasy addicted fool who finds Jesus and makes his life right. Im still a godless heathen after listening to this album multiple times so it isnt quite the powerful conversion tool that the Knights may have hoped for it to be. Jeanette Moses Lauren K. Newman
Postulate 1
Greyday Productions
Release date: 04.11
LKN = PJ Harvey drums + Sonic Youth + And You Shall Know Us by the Trail of Our Dead - mystique
Yes, she played every note of music appearing on this album, and it is technically amazingdiscordant guitar-picking, mellow-like-riped-cheese, expressive vocals, precise, powerful, offbeat drumming very reminiscent of PJ Harveys Rid of Me stuffbut can she deliver (i.e., write)? The songwriting is good, falling somewhere between the indie-ish guitar sounds of say, Death Cab for Cutie, and the bittersweet, sour melodicism of Sonic Youth (especially reminiscent of NYC Ghosts & Flowers) but with cleaner, more tidy runs and much less distortion. Its excellent music; absolutely breathtaking; yet theres something about it that fails to rivet me to the spot; perhaps because its not doing anything really new, or perhaps because LKNs voice and lyrics lack charismathat indefinable element that separates the talented from the talented who have the power to influence. After listening to this once and thoroughly appreciating it, I know I wont listen to it again. Its one of those types of albums. Rebecca Vernon

The Leather Uppers
Bright Lights
Goner Records
Street: 05.02
The Leather Uppers = The Oblivians with less scuzz + a more minimal Mudhoney with twice the sense of humor
After a twelve year (yes, twelve year) hiatus the Leather Uppers return to bring yet another record of generic 90s garage punk like those 12 years had never passed. So generic in fact that the blatant display of all-out genericism (yes, genericism, deal with it) just happens to be one of the many strong-points of the Leather Uppers oeuvre. On top of that youll find some of the best rock (not rawk) riffs this side of (insert favorite riff-punk band here) making this whole thing seem as effortless as effortlessness itself. If that werent enough, buried deep within each song on this platter is what I consider to be the icing on the cake, the creme de la creme: the lyrics. Now, Im not normally one for lyrics, sometimes they stand out and I take notice but more often that not theyre just there. But whatever these characters smoke before writing these songs let me in cause this here poetry is so dumb its brilliant (or was it so brilliant its dumb?). This thing gets better with each subsequent listen and if youre feeling a bit nostalgic for the days of yore might I say that Bright Lights will duly hit the spot. If youre going to say it baby... say it in French! -Jared Soper

Lonely China Day
Self Titled
Tag Team Records
Street: 03.07
Lonely China Day = Beijings most congenial Battle of the Band winners
The articles of faith that define pop music are both obvious and misleading to the majority of those who listen to it. Pop music is invariably white, young, attractive, sung in English, yet is digestible internationally. Its self-prescribed limitations have paradoxically produced a dizzying array of originality (thankfully sodomites make the cut else both George Michael and I would be bringing home bacon of the unwrapped variety), but what happens when a band tinkers with this formula? Lonely Day China seems first and foremost intent on illustrating that they are indeed Chinese, from the obvious name choice to the album cover which either resembles a Fischerspooner video or Confucius handing off a titanic Betos burrito. But its all a cover. This bands true crime is a crippling lack of originality. Their choices are all bland and their efforts to exploit their innumerably terrible influences comes up short every time. In essence, singing a flagrantly lame song in Chinese doesnt count as good, but rather, shit over mixed vegetables and white rice. - Cory Tallman

Luca Turilli
The Infinite Wonders of Creation/Dreamquest: Lost Horizons
Magic Circle
Street: 06.06
Luca Turilli = Nightwish - Tarja Turunen + a bad female vocalist
Rhapsody guitarist Luca Turilli has taken on a bold venture: dual releases, one a solo work and one under the moniker Dreamquest. The releases should have stayed one ultimately. Each possesses the same qualities and style. If not familiar with Nightwish, the Finnish symphonic power metal band has been dazzling fans for years with the ever-talented Tarja Turunen at the helm, until recently, when she was ousted. Both projects embody the same spirit as Nightwish, heavy on the keyboard synthesis and power chords with occasional solos. Turilli hinges on something epic but things seem to sputter and die once the momentum has grinded down. The female vocalist for both projects has trouble hitting notes, and in many instances just winds up sounding inexperienced and dull. Fans of the genre should take heed. The projects lack spirit and emotion. There is no doubt Turillis playing skills are at a lower level than his talent on both records. He was shooting for a certain sound, which for the most part is achieved, but at a high price. If it is a heaping hunk of excessive keyboard and boredom you crave then look no further. Turilli has a ways to go before taking on the role of a solo artist. Bryer Wharton

Mad Sin
Dead Moon Walking
Sailors Grave
Street:05.16
Mad Sin = Stray Cats + The Dwarves + The Klingonz + Voodoo Glow Skulls
The first song The Point of no Return is just that; once you start listening to this CD theres no turning back. Mad Sin has played the European underground circuit for almost two decades now and finally makes their way to the states with this their first domestic release. This German psychobilly band has taken the influence of the original psycho bands and incorporated different genres, truly pushing the limits of rock n roll. With songs like Cannibal Super Star and Plastic Monsters, Dead moon calling is just the record for Mad Sin to break through to an American audience. --James Orme

Miranda Sound
Western Reserve
Sunken Treasure Records
Street: 01.19
Miranda Sound = The Dismemberment Plan if they just graduated from high school and their girlfriends dumped them
Unfortunately, this album fits in with all the other bands that lack the experience and edge that make music compelling. It sounds like some middle-class kids from Ohio graduated from high school, wrote a few songs in the summer, rehearsed in one of their bedrooms and recorded an album. The songs are mostly about this sensitive kid who wonders what to do after high school and the girl that broke up with him. Here it is, straight from the horses mouth, If you decide to call this off, Ill understand. Ill empathize with you. Im terrified of future regrets. My reasons seem unreasonable at best. For the most part, the music tends to fit right along with this; it doesnt get much better. But I cant be too hard on them. They are only drawing on 18 years of experience. The truth is that they arent saying anything of their own yet but still mimicking, albeit poorly. Spencer Jenkins

Mobb Deep
Blood Money
G-Unit / Interscope
Street: 05.02
Mobb Deep = the grandfather puppets of G-Units new world order
The story goes like this: 50 Cent claims Mobb Deep as a lasting influence; Mobb Deep fulfills their contract elsewhere and become free agents; 50 Cent makes a phone call or two; ba-da-bing, ba-da-boom, Mobb Deep are sippin on some Vitamin Water with a whole unit of Gs at Reebok HQ. Not surprisingly, 50 Cents presence is so pervasive on this record his name may as well be on the cover (not a good thing). Under Captain Gs reverse tutelage, Prodigy and Havoc, the former bling kings, drop a pile of heavy-handed, uselessly self-referential stinkers. So, we blame the boss for being a brick talkin ass-clown. Truth is, 50 Cent has become quite the business, man (as HOVA would say). He walked straight up to those idols of his and said, Shorty, wanna play some three card monte wit me? They were waiting on the queen of spades and found nothing but Blood Money. Justin Thomas Burch

Mouth Sewn Shut
Pandemic = Solution
Rodent Popsicle Records
Street: 04.11
Mouth Sewn Shut = Nausea + All Systems Fail + Toxic Narcotic + Blood for Blood
Pandemic = Solution is a fucking gun shot wound to the eardrums no make that a cannon blast to the eardrums. This album is powerful enough to peel the paint off of your car and faster than a lot of other records out right now. Mouth Sewn Shut combines crust, hardcore and even throws in a bit of crack rock steady in the vein of Leftover Crack. My favorite songs on the album were I Refuse and Pro Nature Anti Human both of which were rage filled ballads about our fucked up society. The vocals on this album are an angry growl that sounds like it would be more appropriate coming from the most inner circle of hell as opposed to your speakers. This album will kick you square in the nose, break that shit and leave you wondering why you hadnt heard of Mouth Sewn Shut before. Jeanette Moses

Mustard Gas & Roses
Nova Lux
Neurot Records
Street: 04.25
Mustard Gas & Roses = Isis guitarist sounding nothing like Isis
Minimalist soundscapes dominate the five-track opus from Isis guitarist Mike Gallagher, making his sonically seizure-inducing debut rebut any notion of his prior works. Lip-smacking ear candy wisps the audience to a higher plane of existence. Nova Lux is not for the light-hearted, mellow yet not discriminating the five compositions lay waste to any lingering happiness one may have. Comprehension is not an option for the subjected, total demand with hooks in head suction the psyche into a trance. Similar to the lingering of Godspeed You Black Emperor! Simplistic yet not stupefying, the music challenges listeners to use full mental capacity. I dare you to listen to this and have a good day. Bryer Wharton

NOFX
Wolves In Wolves Clothing
Fat Wreck Chords
Street: 04.18
NOFX = Nasal voiced, snotty punk rock with political and religious themes and some poop and pee lyrics
Young children (mostly boys) are asked when they will grow up and stop talking about poop and pee. So when will they? If youre name is Fat Mike and youre in a punk band and own your own label, then the answer is never. NOFXs 11th proper album offers more than just a mountain of poop, as quoted from the track Instant Crassic. Wolves In Wolves Clothing has enough crassness and criticism for everyone. Though not as Bush-bashing as The War On Errorism, there are a few quick jabs at our current government. However, this time around Fat Mike and the boys focus some attention on fighting religious zealots. The album as a whole isnt as negative as it may sound. It contains classic NOFX songs and smart-ass remarks and all-in-all is a well-enough-off album to validate buying it. If youre a NOFX fan, buy it, if not, listen to your friends. -- Jeremy Wilkins

Paula Kelley
Some Suckers Life Part 1
Stop, Pop, and Roll
Street Date: 04.06
Paula Kelley = Kristin Hersh + Slowdive
Not so much a B-sides but a history of 90s rock, this disc chronicles another chapter of former Drop Nineteens member Paula Kelleys solo career via unreleased works (1992-2005) taken from her vault which strikingly resembles a Tascam four-track. Besides a few more polished numbers, Kelleys songs ring with a raw, demo-like aesthetic, capturing honesty and emotion rather than nitpicking the production edges. Kelley writes, My early 4-track method was to track and bounce/just cram as much as possible in there/I pay for my ignorance. On the contrary, this is the kind of exploratory, intimate music that transcends EQ flaws, stuff not generally possible in a fancy studio (or before 3 am). Messy guitars be damned, Born to Be a Star effectively adopts the swoony, ethereal vibe that shoegaze is made of. Kelleys stripped-down cover of Blue yster Cults Burning For You, her innocent croon in the foreground, is possibly more eerie than the original (mariachi trumpet and all). The liner notes include charming journal entries about each song, something as much for the listener as self-serving encouragement at the thought of the world hearing these versions (i.e. from Damaged: Now I realize the underwear lyric is pretty good, and my guitar solo rocks a bit). Dave Madden

Phoenix
Its Never Been Like That
Astralwerks
Street: 05.23
Phoenix= Spoon + Thomas Bangalter
Like many Phoenix fans, I first discovered the band after hearing the song Too Young that was on the Lost In Translation soundtrack. That song and Phoenixs debut album, United, was great pop music. Although it was nothing groundbreaking, their mixture of guitars, breathy vocals, and keyboards through a Francophone filter made Phoenix a fun, unpretentious band. With Its Never Been Like That, their third album, it appears that Phoenix now just wants to rock. As the album art suggests, Phoenix has abandoned their countrymens influence (Air, Cassius) in favor of bland, Capitol records, ten-dollar introductory price, monochromatic-band-photo rock. The hooks and pop sensibility remain, but the keyboards and catchiness of United has been abandoned. Regrettably, Phoenix has risen from the ashes a little less Daft Punk and a lot more Jet. Bob Leavitt

Phoenix Mourning
When Excuses Become Antiques
Metal Blade
Street: 04.18
Phoenix Mourning = screamo steamo pileo shito
Id rather watch the grass grow than listen to these untalented bastards. The success of bands like As I Lay Dying, From Autumn to Ashes, The Bled etc. has flowered the likes of copycat tards like Phoenix Mourning. I utterly despise uninspired emotionless music, and this band has created a whole new meaning, hell I could call it a new genre, screamotionless. There are screamed and sung vocals that sound like every other Joe-schmo. Breakdown riffing accompanied by stupidly arranged craptastic melodies that could of come from years of listening to pop punk. Its almost if the band decided that being pop punk isnt cool anymore so theyll try to be pseudo-heavy and win over a whole new growing crowd of trendsters. There is one bonus-- Ive got a new coaster to sit my beer on! Bryer Wharton

The Put-Ons
Schooldays in Disgrace
Manic Records
Street: 02.25
The Put-Ons = Old school punk rock circa late 70s + Generation X + The Ramones
If I was writing the script for one of those credit card commercia