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August 2006 - Issue 212

2UP
Teenage Mondo Trash
Ache Records
Street: 07.06
2UP = Guitar Wolf + Dillinger Escape Plan + DMBQ
Often operating under the principle that Japan is far ahead (or sideways) in certain genres of music, 2UP is moderately disappointing. With members of Total Fury and Dmonstrations, my expectations for this record were seemingly set unattainably high. A tight math punk band with some phenomenal drumming and song structure is splattered with some sub-par atonal vocals that are simultaneously too loud in the mix and too laid back for the tone and feel of the record overall. Perhaps the live shows or future releases will raise the bar, or perhaps this just sucks. Ryan Powers

Adem
Love And Other Planets
Street: 04.24
Adem = folky folks + space cadets + thoughtful reason
Not unlike Homelands, Love And Other Planets posits more acoustic melodies that are sure to hibernate in the caverns of the mind responsible for hosting and sparking sentimental synapses that blast the pasts forlorn times into the minds eye like fireworks, causing one to tear. This time around, Adem urges dont look so sad. There is something more significant than heartache here, namely conceptually-driven songs that orbit around love based outside of ourselves, lyrics that go beyond sappy emotional discharge, a time/space capsule that not only looks beautiful, but plausible (see liner notes for picture). Unlike Homelands, Love And Other Planets creates fireworks that require telescopes and actions that require joint efforts. Is Adem suggesting looking beyond the Self and reevaluating our lives here on earth based on the bright make-up of Milky Way? Sure son, or if all else fails and the earth falls apart, we can always go to the moon (that capsule just may come in handy). Spencer Young

The Adolescents
OC Confidential
Finger Records
Street: 07.12
The Adolescents = The Descendents + Agent Orange
The newest Adolescents release isnt anywhere near the same level as their debut, and now legendary The Blue Album. The songs on OC Confidential arent bad, but they album lacks the infectious energy that made them famous. Im not sure if its a good thing that the Adolescents keep releasing new material, as opposed to the other 80s punk bands who opted to crash and burn instead, but I dont think its a bad thing either. About half the songs on OC Confidential manage to capture their fun surf-punk style. Some of my favorite tracks were Hawks and Doves and Lockdown America For being two decades old, these guys arent doing half bad. (08/09 Club Sound) Jeanette Moses

Awol One
The War of Art
Cornerstone Recordings
Street: 8.11
Awol One = Shape Shifters + the Boogeymen + Buck
Those fortunate enough to attend the July 10th performance at The Urban Lounge have already received a taste of this albums distinctive sound. Awol has always refused to stay inside the lines when it comes to his vocal stylings and cadencesthis record is not a recalibration. The Art of War includes such featured artists as 2MEX, KRS-ONE, Eyedea of Rhymesayers and Riddlore? of Project Blowed. They all ad to the 31, err 13 flavors of this 2006 release. Songs like Get You make you want to boogie, while most of the others prove to be a bothersome listen when put on repeat more than twice in a row. However, there are compensational songs like Everythings Perfect, featuring Eyedea, which delves deep into Awols dark abyss of experimentation, and I mean dark (check the 666 DVD). He remains the hardest working emcees in the scene and you have to respect thator drink Lysol. Lance Saunders

Black Fiction
Ghost Ride
Howells Transmitter
Street: 07.25
Black Fiction = Animal Collective + Shins + Beck
Psychoacoustics of music has always interested me, especially when it comes to the perception qualities of a particular piece of music. Upon first listen of Black Fictions album Ghost Ride I could not help but be excited. There are many different layers happening; drums in the front switching to sampled drums, tape loops that sound like middle-eastern instruments and a lot of very strange percussion that make the music very danceable and engaging. The album flows in a very strange way, similar to traveling across the United States with plenty of different textures and colors as you move from song to song. Then I listened to the album with some friends and it became apparent that the album was a little lacking in the lyrical department; many of the songs lyrics are banal and somewhat clownish. Some songs are reminiscent of the dramatics of The Fiery Furnaces and it is definitely the music which holds the nerdiness together. Andrew Glassett

Busta Rhymes
The Big Bang
Aftermath / Interscope
Street: 06.13
Busta Rhymes = a shorn man no longer bustin rhymes
Though I hate to posit such, dreadlocks may just serve as talent receptacles. With his dismembered hair in hand, the new Sampson of hip-hop yawns out a record that rarely transcends the hilariously disastrous. In fact, the best Mr. Rhymes has to offer is silence, as Raekwon autopilots over a thrice-fried Wu-Tang beat, just three chords on a Kurzweil and pile of snares (Goldmine). At worst, the somehow single I Love My Bitch sounds like the cheapest, most ill-produced song from the cheapest, most ill-produced mixtape (seriously, the effects on those vocals are about the worst thing since the Cuban Missile Crisis). Most troubling, Busta was pretty cool for a time, when his dreads roman-candled off his skull and he dressed in primary colors. Now he rocks tank tops and slathers his lips like Cool J Jr. A complete fall from relevancy if ever Ive seen one. - Justin Thomas Burch

Cataract Camp
Sing Rain
Self Released
Street: 08.01
Cataract Camp = noise/indie rock
From the second I pulled Cataract Camps Sing Rain out of my box at SLUG headquarters till the moment I pushed play on my stereo I did not waste anytime dreading the first listen. However, from the first time on, my hesitations were replaced with the pleasant surprise of a remarkably amazing album. The cover is what threw me, you see. On the front of the cheap plastic case of the album is a plant that looks like none other than Pac-Man with a tiny green stem attached to his head and two green leaves leading down to a flower pot. Directly to the right of this terrible drawing is the bands name and album title written in the handwriting of an elementary child. So it came as quite a shock when the music that followed was intensely progressive and original. Sing Rains blend of noise, ever-changing vocals of its three singers, heavy to soft guitars and keyboards make for a unique musical experience. Its doubtful that you will find this album in a record store, so visit their website at: www.cataractcamp.com! Jeremy C. Wilkins

Clouds Forming Crowns
Race to the Blackout
Morphius Records
Street: 05.29
Clouds Forming Crowns = The Who + Guided By Voices + David Bowie glam
Combining elements of indie and classic rock, along with an obvious Guided By Voices influence, brothers Todd and Tim Tobias have created Clouds Forming Crowns. Todd and Tim, former producer and member respectively of GBV, create music that will trip the mind of even the most veteran 60s rocker. They do so with arcane lyrics such as snow hand bat laughs/seeds begin to quiver/electric fools start to deliver, combined with tough, distorted bass lines. Phantom Dog Black Water, starts the album off with heavy distortion and cryptic vocals that become more apparent in the tracks to come. Working with indie rock advocate, and Guided By Voices front man, Robert Pollard in the past has definitely helped the siblings evolve their brainchild into a more mature and focused release than their self-titled debut. Clouds Forming Crowns is more than just a Guided By Voices side project. Its provocative musical style and puzzling lyrical content deserve to have their own spot in the musical world. Tom Carbone Jr.

Dead To Me
Cuban Ballerina
Fat Wreck Chords
Street: 07.11
Dead To Me = Mid 90s Fat Wreck Chords punk
Rising from the remains of One Man Army and adding Western Addictions bassist Chicken, Dead To Me present themselves to the punk arena with Cuban Ballerian, their debut album. Many have been quick to say that DTM have only picked up where OMA left off. But as for me, I never listened to OMA anyway so I had no preconceived notions while listening to Cuban Ballerina. As the music hit my virgin ears, it pleased them. The albums content that covers topics like addiction, recovery and important issues we are dealing with in society, instantly drew me in. The dueling vocals between Chicken and guitarist Jack Dalrymple are what propel DTM and make each song a little bit different from the last. While this is a very promising and strong debut album, its nothing that will change the way you listen to your punk rock, but it should be listened to and it makes DTM a band to watch for the next few releases. Jeremy C. Wilkins

Disaster Strikes
Liberty Toast
Alternative Tentacles
Street: 07.25
Disaster Strikes = Municiple Waste + Dead Kennedys + I Object
Liberty Toast is pissed-off, politically-charged and, overall, fucking awesome! Disaster Strikes present hard-hitting songs over music that is reminiscent of Municipal Waste, Dead Kennedys and Minor Threat. On The High Cost of Happy Faces they cover the evils of Walmart and on Mission Accomplished, which features Jello Biafra, they point out the extreme ridiculousness of our current national security crisis, made complete with hilarious impersonations of George W. I suppose one good effect of his presidency is that a lot of great music is being created (much like during the Reagan era) as a reaction to his stupidity. If you like your punk punched full of politics without sounding preachy, this is a band for you. Jeanette Moses

Divider
At Twilight
Shock Value Records
Street: 06.06
Divider= Noise + Heart + melody? + more noise + a kick in the pants
Kurt Ballous fingers are in quite a few pies these days. While being guitarist for Converge, hes also busy behind the boards recording a slew of bands. The recording sessions with Divider had to be a challenge for Mr. Ballou. I can only imagine the pie charts, graphs, equations, and bottles of Advil required. This EP is quite noisy, the guitar lines are graspable, but they just have a blatant disregard for song structure. Just when you think a chuggy breakdown is coming, the drums speed up even more, the guitars start wailing as if fingers couldnt keep up with the noises they are creating, and then out of nowhere BAM! some small melody line floats in for approximately 4 seconds, providing a sense of WTF? and then chaos once again ensues. And Ill be damned if it didnt all grab me. The melody is not that crappy eyeliner I dress all in black melody so prevalent these days, but melody like you would find in old Converge and Red Scare records. Divider is raw, its emotional and just as important, Divider is actually saying something. Subjects like global warming, anti-consumerism, and social status are all present - strewn amongst the debris of drum blasts, raucous guitars, screams, yelps, wails, and yells. Its glorious. Peter Fryer

Elan
Together as one
Interscope Records
Street: 06.23
Elan = Bob Marley + Toots & the Maytals + Damian M.
I swear, if Bob Marley ever contracted a health catastrophe and could not perform a live show, he could have Elan do the vocals backstage and no one would notice. Between 1997 and 1999, Elan was the lead singer for The Wailers, often accused of lip-syncing the Marleys vocals; some people assumed he was one of Marleys children (even though hes Caucasian). Elans first major label debut, Together as One, is full of island sounds and cadency. He merges roots and soul with dancehall vibes and philosophical themes. Some songs keep the somber mood through acoustic instrumentation and give the listener a sense of profoundness in his music, jumping to brilliantly driven island measures that demonstrate Elans sapient duality. This is a great party album, with flowing vocals, thumping bass lines and carefully calculated beats to make you sway in your stance. Respect. Lance Saunders

Electric Eel Shock
Beat Me
Gearhead Records
Street: 07.2005
Electric Eel Shock =
This record is something I would have absolutely loved when I was a 17-year-old who loved to go on and on about how there is no good music these days, rock achieved perfection in 71, and that Zeppelin and Sabbath were the epitome of all that was good and holy. That type of music still holds a secretly super-special place in my heart, but these days, listening to it is like looking back nostalgically at a time when I was kind of stupid and naive. My feelings listening to Electric Eel Shock are similar the music is exciting, loud, grungy, and fun in a dumb way but it really is just about being rockin to the point of retardation. Heres a nice lyric: I can hear the sex noise. Or how about Dont Say Fuck (wherein they say fuck approximately 46,831 times ha, ha)? I guess its pretty good for some Japanese dudes who dont know a whole lot of English. Beat Me sounds like a mediocre 70s blues-rock bar band singing about drinking, wimmin, lovin, and drugs a sound that was already tired when Bad Company came along. Jamila Roehrig

Eric Adams/Chester Moore
Wild Life and Wild Times (DVD)
Magic Circle Music
Street: 07/18
Manowar vocalist + Hunting expert = Ted Nugent territory but not as entertaining
Im the first to admit that Im not madly passionate for hunting and dont understand the appeal of hunting videos at all, but I did think that anyone who runs around in a loincloth onstage would be uniquely suited to this sort of project. Sadly, I was mistaken. There isnt really a sense of humor in this project, which is a shame, since things like this do require a bit of laughter, unless Im just missing something entertaining about watching others killing for sport. Even the rattlesnake round-up, which sounded promising, was bland at best. The music is bombastic, and actually more listenable than most Manowar songs, but by the end of the bloodfest, I found myself queasy and almost longing for the reactionary rhetoric of Ted Nugent, who at least manages to make projects like these amusing, if by no means thought-provoking. --Marie Braden

Flattbush
Seize the Time!
Koolarrow Records
Street: 06.30
Flattbush = Rotting bush + George W. Bush + a bummer in my summer
What do you get when a bunch of teenagers from the Philippines form a politically charged, black-metal punk band? Well in this case, you get Herpes Simplex Virus - or at least something equally obnoxious. At least you can turn the music off. It sounds like a couple of random kids put together a non-congealing mixture of black metal and some extraneous samples over some hilarious 80s-punk lyrics about communism and activism in their parents basement over the course of a Saturday afternoon. Even it were 1984 and the idea had potential to be good, the amateur musicianship and their vocalist takes a big shit in everybodys nachos in an attempt to ruin summer vacation. Thanks, jerks. Ryan Powers

Filthy White Trash
Free Ride
Jackpot Studios
Street: 08.12
Filthy White Trash = A punk band for ICP fans.
When did it become cool to be trashy? I guess you cant really expect much from a band who has labeled themselves as Filthy White Trash, and further more, why in the hell would anyone want to listen to an album that has trash in the bands name? Free Ride gives you 13 stagnant songs ranging from doing dope, shitting your pants and suicide how appealing and original. Their combination of metal-core and unoriginal punk-rock is pretty much the equivalent to well trash. The real icing on the cake of this one is the recording of someone taking a huge dump. This band is trying way to hard to be crass (not the band, dumbass) and it just comes off as pitiful. Buy this album if you dont have taste Jeanette Moses

Fish Karma
The Theory of Intelligent Design
Alternative Tentacles
Street: 07.11
Fish Karma = Screeching Weasel + The Queers
If youre a devout Christian of any kind (especially one who lacks a sense of humor about the lord and savior), Fish Karma isnt the band for you. The Theory Of Intelligent Design manages to poke fun at everyone: politicians, Christians, the crippled, The Clash and even Ronnie James Dio. No one is safe from the tongue of fire that belongs to Terry Owen. The songs range from Metallica-style metal found on Fifty Caliber Christ to Queers style punk on Raunched! and the acoustic and soul-full anti-war song Blessed Times. My favorite track was White and Delightsome, which pokes fun at the Mormons with lyrics like The garments we wear are like magic vests/ Rocks and bullets bounce off our chests. Fish Karma is sacrilegious, but most of all theyre funny I just dont think that everyone will understand their twisted sense of humor. Jeanette Moses

Forward, Russia!
Give Me A Wall
Dance To The Radio/Mute Records
Street: 09.19
Forward Russia! = Talking Heads with a synth-indie twist + The Wilderness
Give Me A Wall resonates with sonically-charged chaos. Tom Woodheads vocals bleed reminiscent of Talking Heads David Byrne, as synth, guitars and drums crash together amidst shouts, screams, squeals and singing. Forward, Russia! bring an energy to their music that numbs the mind, making it impossible to focus on anything else and demands the listeners full, undivided attention. Multi-tasking while listening to beautiful discord of Give Me A Wall becomes a ridiculous notion and I soon realize that it is better to give up the fight and succumb to the music than waste time trying not to. The tracks, whose names are numbers, i.e. track one is Thirteen, offer different levels of complexity and never lack of energy. Although it feels like the album as a whole runs a bit too long, it doesnt hurt the intensity too much. Jeremy C. Wilkins

From Monument To Masses
Schools of thought contend.
Street: 09.05
From Monument To Masses = Dizzily spinning + cornfields of gold+ oil refineries distantly speaking
To the uninformed listener, Schools of thought contend could easily be mistaken as a compilation of post-rock, drum & bass, electronic and the intermixing thereof. With 15 tracks to boast, of which 13 are remixes that carry over from their previous album The Impossible Leap in One Hundred Simple Steps, there is a lot of action going on. Rest assured, though, these guys from the Bay-Area arent stuffing wool in your ears by lazily remixing songs through minor tweaking to create a new album, but with a different name. No, this is a new album; its so new that while most the songs are remixed twice (three times in the case of The Quiet Before), it becomes difficult to decipher between them without the song titles, even then, the remixes have their own names, like: Thunderbirds are now! Remix, Last defender of the one true waveform Remix and 65 Days of Static Remix. While most of these tracks demand a lot of attention because of the intricacies involved (as with the brain altering Old Robes (Nano Remix)), tracks like The Spice Must Flow (Automato Remix) elicit a quixotic ride though the country side. The sampling is ubiquitous, providing all the lyrical work, which is often political (Chomsky makes a few appearances), but whether Schools of though contend is revolutionary or not is up to history to decide. In the very least you can count on dancing to it. Spencer Young

Frontside Five
Fall Out of Line
Fivecore Records
Street: 06.16
Frontside Five = Nuts n Bolts + DOA
Fueled on cheap beer and skateboards, Frontside Five is a punk band to keep your eye on. Taking hints from 80s hardcore legends DOA and reviving the old school style 20 years later while pumping it with skate-punk reminiscent of Against All Authority is genius. Fall Out of Line pounds through 13 fast songs and the five-piece still manages to sound tight as hell. Visions of Glory sound like it could be found on an old Bruisers `album while Drinkin Till Dawn sounds straight from the 80s. Thanks Frontside Five for reminding me that new good punk rock bands do exist and dont have to rock Mohawks and butt-flaps. My favorite track on the album was Nobody Answers, which is made perfect with the duel male and female vocals. Bad Ass. Jeanette Moses

Golden Bear
Self-titled
C-Side Records
Street: 08.01
Golden Bear = The Flaming Lips + The Band + My Morning Jacket
An apparent slew of various novelty instruments really makes Golden Bear's self-titled debut an enjoyable first spin. Upon further listening and a look at the liner notes, where each instrument used is listed track by track with its respective musician, it's safe to say that this album will please listeners on multiple musical fronts. The first track, "A Reason to be Proud," is rightfully titled due to its simple-yet-catchy opening guitar riff and fuzzy layered vocals, making it a highlight of the album. "Golden Bear Revival Stomp" features some creative instruments such as the xylophone, a trash can lid, and believe it or not, a can of nuts which makes for a delightfully clever anthem. This debut effort, recorded and co-produced by Erik Wofford, is full of honest indie-pop that is sure to keep your head bobbing and toe tapping for hours. But lets face it, what else can you expect from a band that uses a wurlitzer? - Tom Carbone Jr.

Headlights
Kill Them With Kindness
Polyvinyl Records
Street: 08.22
Headlights = Stars + Ms. John Soda
This album has possibly the worst album title of the year; I think we are past the whole Im a timid little indie musician who thinks it is funny to use a clich phrase on the cover of my over-stylized indie album cover which is full of flowers and pink and silhouetted girls shooting lasers out of her eyes thing. I was a little let down with the art design only because it doesnt match the music. Headlights are veterans of the indie circuit, touring with bands such as The Appleseed Cast, Headphones and Earlimart. The music is very engaging and interesting, providing really honest vocals and sing-song melodies. The production of the music is fantastic and really gives Kill Them With Kindness the extra push that the album needed to become a great album. Andrew Glassett

Ho-Ag
The Word from Pluto
Hello Sir Records
Street: 09.06
Ho-Ag = Denim and Diamonds - The Plot to Blow Up the Eiffel Tower + The Maeshi - Thunderbirds are the Now
This record is almost really good, except that the vocals are kind of annoying, and the lyrics are straight up dumb. The music is almost okay, but doesnt do anything that wasnt done two or three years ago by Thunderbirds are the Now or the Maeshi. Those bands are really good, and dont have a stupid name like Ho-Ag, so you wont be embarrassed to tell your friends what you are listening to, so you should probably just listen to the other bands instead. Maybe they could get a new singer that can I dont know sing? Scream even? Do something besides talk monotone energetically. What the fuck is that? Who does that? Well, Ill tell you. This crappy band does. I think Im going to go listen to Maeshis Terrorbird album... Ryan Powers

Holly & Plastic
Life After The Lie
Double Plus Good Records
Street: 04.25
Holly & Plastic= Neutral Milk Hotel+ The Microphones
Andrew Johnson has transcended the scope of the traditional singer/songwriter role and has recorded a solo album that plays like a recorded diary. Each song acts as a new page and the album acts as a window into visage of the artists mind. Perhaps less catchy and well crafted as the songs of Drake or Smith, Life after the Lie feels equally as honest and is commendably much more daring. Recorded on a trusty four-track cassette recorder, the album has a raw, lo-fi sound that any hipster should be able to take comfort in. From the roused from a dream-like quality of the opening track, Sixteen Millimeter Greys, to the lulling of the reversed guitars of North On Five, the album rides a fine line between accessible pop and personal experimentation. Its just enough to keep any elitist questioning, and Ill be damned if it isnt growing on me with each listening. Brady Gunnell

Inca Ore with Lemon Bears Orchestra
The Birds in the Bushes
5 Rue Christine
Street: 08.22
Inca Ore = Mount Eerie + a very young Animal Collective
Having toured as a member of Jackie O Motherfucker with a record on Yellow Swans Collective Jyrk imprint, Inca Ore is a sleeper pick for your ever-expanding roster of vagabond experimentalists. Eva Saelens, as Inca Ore, guides the intransigent clanking, lending her subtly ferocious voice as the need arises, furthering the theory that finite periods of homelessness breed a desire to clack and yelp. Meanwhile, the otherwise nameless Lemon Bear conducts his orchestra of lapping waves and dancing winds from a craggy precipice outside a lighthouse. Along with the multifaceted use of wind instruments, there is an organic wax and wane here that immediately conjures the uniquely scarred landscape of the Pacific Northwest. To have seen the pair performing and recording in a rented cabin in Cape Meares, Oregon, must have resembled something Michel Gondry-esque, sincere yet hopelessly disorganized, exuding the charmingly abrasive. - Justin Thomas Burch Iron Hero
Safe As Houses
Self-released
Street: 07.25
Iron Hero = Michael Stipe-esque vocals + Now It's Overhead + [insert Athens band here]
Iron Hero refuse categorization. Each song on this self-released debut album from yet another Athens band is disparate, yet enchanting. "Spy Versus Spy" is a dark, synth-driven tune that lets listeners know that they arent just another rock band with the occasional tacky keyboard part. Not surprisingly, the liner notes show that they have three separate members with keyboard duties. "Sleepy Eyes" takes a whole new approach to the art-rock theme that is blatant throughout the album, reminiscent of a beautiful instrumental Sigur Ros song, it uses various vocal and instrumental effects to capture the overall gloomy mood that undoubtedly seeps out the sides of this album. Recorded by Andy Baker of The Glands, and mastered by Glenn Schick, who has worked with Of Montreal, Safe As Houses is an impressive debut lyrically and musically. With lines like looking for an excuse/ not to lose my head/like a radio wave in the black ether, all over this album, its apparent that these guys possess more than just the ability to play their instruments well; theyve got a firm grip on the throat of lyrical beauty. Tom Carbone Jr.

Jab Mica Och El
ABC Hej Im Cola
Ache Recordsv Street: 07.01
Jab Mica Och El = The Soundtrack to Katamari Damacy + KnifeHandChop Percussion + Sesame Street
This record is inexplicably amazing. I kept waiting for the music to kick in after the Tigerbeat6-style easy listening intro and then I realized the intro was no intro at all ABC Hej Im Cola is a complex yet lightweight layering of very subtle splintered electronics and beats with traditional horns, banjos and percussion. I couldnt shake the feeling that I was playing Japanese videogames or taking a relaxing stroll in cloud heaven. If grindcore were yellow, this would be blue. Ryan Powers

Johnny Cash
American V: A Hundred Highways
American
Johnny Cash = Legendary
With his last recording effort,s Johnny Cash brings us A Hundred Highways. These 12 songs are Johnnys goodbye to the world he left such an indelible impression on. Just like any other Cash collaboration with Rick Rueben, the mood is dark, but there are no outrageous covers like Hurt or Rusty Cage for Johnny to put his mark on. Besides the pounding Gods Gonna Cut You Down, the rest of the record is very slow in pace and thoughtful of the words coming across. Cashs health was up and down during the period he recorded this work, and he also lost his wife June Carter Cash. Through hardships, as he has always done, Cash kept going to give us one last record. Though his voice isnt always as strong as it was, he delivers with a passion that will assure his music lasts well beyond his years. James Orme

KRS-ONE
Life
Antagonist Records
Street: 7.13
KRS = Master Blaster + the Teacher + BDP
You have to take into consideration that KRS-ONE (born Kris Parker) has been going strong for 19 years and counting. With raps ranging from political and socially conscious to preachy and/or collaborative, KRS releases amazing records every year. KRS does an admirable job of keeping the true essence of hip-hop alive in a world that has forgotten about his partial glories. Over complex drum patterns, hard core bass lines and pulsing guitar riffs, KRS brandishes his ferocious poetic wordplay and new styles on Life. With The Resistance on production and Dubb in the mixing room, this album does NOT even sound like an indie release (thats right, not produced by a major record label). After releasing over 13 albums and countless collaborations, Kris proves his talent, determination, and the ability to make other emcees cringe at the thought of challenging him. Lance Saunders

Left Alone
Dead American Radio
Hellcat Records
Street: 08.08
Left Alone = Time Again + Rancid + Operation Ivy
Only a year has passed since Left Alone released their first album, and the short amount of time between the two release dates didnt dull down their sophomore album one bit. Dead American Radio includes 16 power house tracks including the ska influenced Justino, the incredibly immature I Hate Emo and City to City featuring who else but Tim Armstrong. Whether lead singer Elvis Cortez is singing about being drunk, lost loves or how emo boys look like girls and sound like caca, it is never disappointing. Left Alone has mastered the use of only three chords. This album is melodic and seamless; theyve pulled influences from all over the map and created something thatll keep you dancing until you wear holes in the soles of your shoes. Jeanette Moses

The Lovekill
These Moments Are Momentum
Astro Magnetics Records
Street: 07.11
The Lovekill = Fugazi + X + The Milemarker + The Kissmurder
Another issue of SLUG, another review for a bland, boring record. I got this shit down to a science now. Usually I get the ball rolling on making fun of the band name (Lovekill? More like Timesuck!) or the crappy cover art (Nice collage work, Ji_ Kol_!). Then, I construct an unnecessary, nostalgic metaphor that obliquely describes the music (Guitars emerging from a Junior High skate video ca. 1993). After that, I usually include a sentence that uses the word of the day from my desk calendar (Although the record starts off with some alacrity). Finally, I qualify the music to not sound like a complete dick (Fans of Fugazi might want to take a listen) and close with hyperbole masked as honesty (but seriously, this album is so boring it makes me hate all music, ever). Bob Leavitt

Mad Tea Party
Big Top Soda Pop
Self Released
Street:
Mad Tea Party = Folk music for kids.
I cant believe somebody thought they could make the ukulele a viable instrument. This whole record has practically no substance and sense of what grabs people today. Forget the dreadful ukulele; the kazoo and slide whistle also come out of the toy box to make record one circus of mediocrity. They call this modern folk music; well the Carter Family is somewhere puking. Songs like Brotherhood of Man and Box of Kittens are so cheery they give me headache. Most of this record really does sound as is if was recorded for kids under 5 years old, and Im almost hoping they sent it to us here at SLUG by mistake. James Orme

$Martyr
Money Symbol Martyrs
Cornerstone Recordings
Street: 8.11
$Martyr = 2MEX + Life Rexall + Visionaries
Is this batch of new original material from the misty martyrs going to be worn so conspicuously on their sleeves? Maybe not. After touring constantly and flailing around creatively for the past few years, 2MEX and Life Rexall dug deep into their solo barrels of rhymes and reasons to produce their first full length collaborative project. The trademarked hard hitting and punctuated delivery of 2MEX preserves itself while Rexall (who is responsible for nearly all production on the album) keeps a jazzy and buoyant vibe on many songs. Packed with cleverly-sequenced samples and thicker-than-thick drums, they both create an album that is painfully clear with palpable storytelling. Money Symbol Martyrs stands alone when it comes to any other Visionaries, Sun Gods and/or Shapeshifters album release to date. They both convey a genuine harmony and approach the music they make in an honest way. Maybe thats what makes a commendably cohesive full length. Lance Saunders

Mika Miko
C.Y.S.L.A.B.F
Kill Rock Stars
Street: 07.06
Mika Miko = Aqui + Tyrades x Bikini Kill + Germs x Le Shok
Mika Miko have more punk in their little fingers then all the mohawks at the mall put together, and as a result, they kick out lo-fi punk rock with more soul than a pair of Shaquille ONeals shoes. Hints of surf guitar with a completely unique approach to song structure begin to explain the strange allure of this album; poppy yet not a dance album, punk yet not fast, a riot but not riot grrl, the contradictions are endless. Mika Miko restate the original interpretation punk as much as they redefine the genre for today. Fuck yeah! Ryan Powers

Miss Derringer
Lullabies
Sympathy
Street:08.22
Miss Derringer = Blondie + Nick Cave + Phil Spector
If any of you guys ever involve yourselves with an enchanting mistress calling herself Miss Derringer, you should fear for you life. Because Ive listened to the songs and it looks like whether either by car crash (Death Car Ride) shooting (Dead Men Weigh More Than Broken Hearts) or hanging (He Hung On a Sunday), any man wrapped up with little Miss Derringer is going to an early grave. Now dont go thinking that lead singer Liz McGrath is Miss Derringer herself; no thats just the name of this outlaw band, and the character I envision in each song. Lullabies isnt all haunting ballads-- they pick it up with more of new wave sound on tracks like Dont Say I Told You So. This dark record wanders freely from twangy folk sounding areas to dark pop without even batting an eye. James Orme

Miss Violetta Beau Regarde
Odi Profanum Vulgus Et Arceo
Temporary Residence Ltd.
Street: 07.10
Miss Violetta Beau Regarde = Coughs + Fanny Pack + Kid 606 Deerhoof / Scream Club
Somewhere between hip-hop and art-noise, Italian Miss Violetta Beau Regarde provides an interesting twist to the Load Records-dominated noise scene of the U.S. A fusion with more grrl sass than Le Tigre or Gossip and more sweet beats than a break-dancing competition, this record will breed an entire fan base of Italian grind-hop aficionados. Fully electronic in composition, the record surprisingly fills the sonic spectrum with its dirty percussion, distorted synthesizers, and miscellaneous squelches and filter sweeps. Undeniably the first great noise record of 2006. Ryan Powers

Mitra
All Gods Kill
Idol Records
Street: 07.18
Mitra = Motorhead + Marijuana + Hieronymous Bosch
Heres a chronological recap of what happened when I first listened to All Gods Kill. I was a decent person. I opened this CD, I put in the CD player, and I instantly became evil. This is the sort of album that has the capacity to turn any good Christian into an unadulterated axe murderer. The album is blues-tinged, southern rooted, stripped down, no-nonsense hard rock at its best. It makes Metallica look like a bunch of pussies and your average speed metal gods look like pretentious poseurs. If you are familiar with (REO) Speedealer or Billyclub, the alma mater of the members of Mitra, you may begin to know what you are getting yourself into. Frontman Kurt Graysons voice is used like an instrument (Iggy Pop would be proud), the versatility of which is evident throughout the 13-song album, and showcased on Crucified, transitioning from husky wallows to ear piercing screams. The rhythm section, provided by Mark Her and Harden Harrison (both ex Speedealer), runs like a never faltering, well greased machine gun. This album proceeds without so much as a moment for the listener to breath. Each track progresses from the previous relentlessly. I will be the first to admit that I am a pansy, but listening to this album is certainly an exercise in stamina, and a much-recommended one at that. Brady Gunnell

The Moaners
Dark Snack
Yep Roc Records
Street: 01.25.2005
The Moaners = PJ Harvey + Mr. Airplane Man
I thought I wasnt going to be reviewing this CD, seeing as it came out a year and a half ago but now that I am, I am pretty damn pleased because its really grown on me. Featuring spooky riffs, bouncy drums and former Trailer Bride front woman Melissa Swingles deadpan Mississippian drawl, The Moaners first album is surprisingly nasty and makes you want to kick an ass or, perhaps, two. Dont pretend to be my friend, Ill kick you if you bite me again, she sings on Terrier, a boozy, thrashy, pissed-off ode to either a loser ex-boyfriend or a loser ex-pet. This was an unexpectedly good album, and the only thing unappealing was that they once played at something called the Estrojam Festival. Jamila Roehrig

Mon Frere
Blood Sweat & Swords
Cake Records
Street: 05.02
Mon Frere = Blondie + Pretty Girls Make Graves + Sahara Hotnights + Mates of State
If you didnt know what Mon Frere sounded like, youd never guess it by the cover of their album Blood Sweat & Swords. With ten swords (three of which have a skull shish-ka-bobbed on them) sticking into a body laying facedown in a puddle of blood that is more like a small lake, the cover might lead a potential record-buyer to think that the band has a much more, should we say, intense sound than it does. And while the album is nothing but intense, it is so in a different way than most would think by looking at its cover. The brash Blondie-Sahara Hotnights vocals of Nouela Johnston, mixed with the sonic warring of keyboards, guitars and occasional hand-clapping make for a solid and entertaining record. Each track separates itself from the next, but the standouts are You Dont Mind, Y.M.M.W.D.S.B., and the Fletch-like (think Chevy Chases 80s classic) synth-driven Look At The Cash. Jeremy C. Wilkins

Much The Same
Survive
Nitro Records
Street: 08.29
MTS = Millencolin + No Use For A Name + Ryans Hope
Theres not a lot that can be said for MTSs new release, Survive, besides that its much of the same. Having formed in 1999 and releasing their first full-length in 2003, MTS seem to be moving at a snails pace, which is strange for a band that sounds like everyone else. Singer/guitarist Gunner McGrath said the bands slow progression is due to his writers block. Its funny though because youd think itd be pretty easy to write music that is so generically bland. Survive is like a store brand Mountain Dew-its not terrible, but it doesnt have the same thirst-quenching taste the real deal does. The album recreates what No Use For A Name and Millencolin were doing in the mid, to late 90s mixed with a hint of fellow Chicago scenesters Ryans Hope. Until MTS find their own sound and get over their writers block, itll be hard for them to survive as a band. Jeremy C. Wilkins

The Mutts
I, Us, We, You
FatCat Records
Street: 07.25
The Mutts = The Wolfs + The Sonics - intensity
Garage rock is supposed to be edgy and raw, leaving no prisoners as a myriad of bios mention. I think it is best enjoyed live and The Mutts have made a fatal error in producing an album that sounds a little too clean for a garage rock album. Part of the appeal of garage rock is that it is supposed to sound like it was recorded in a garage and not in a nice comfy studio. This album lacks serious energy and is a drag to listen to. It sounds as if Bon Jovi went into the studio to record a bunch of covers by The Stooges. It simply isnt dirty enough for a group of people that have all the licks of your favorite garage rock bands. Andrew Glassett

New Salem Witch Hunters
S/T
Get Hip Recordings
Street: 04.10
NSWH = Flamin Groovies + Seeds
Twenty years ago, the New Salem Witch Hunters were a very active group of garage rock junkies, touring and playing a lot of shows in the Cleveland, OH area. They released their self-titled album in 86 on vinyl only, which seems strange considering that cassette tapes were booming at that point. Just like their music, which is heavenly influenced by obscure 60s garage rock and mysteriously fits perfectly into the garage rock revival of the middle 00s, they have foregone the cassette idea and skipped straight to compact disc. The music is upbeat and poppy with a lot of backing Heys! and harpsichord fluttering in and out; it really does sound like something you would hear from a modern group of late twenty something musicians trying to sound retro, a little like The Cynics but less fuzzy and more psychedelic. Andrew Glassett

One For The Team
Good Boys Dont Make Noise
Afternoon Records
Street: 06.06
One For The Team = The Comas + Weezer-lite
One for the Teams Ian Anderson has one of the whiniest voices I have ever heard I literally cringed. Good Boys Dont Make Noise - its cute, its cuddly, its about high-school crushes and its super-duper jangly! Tee hee! The other thing I noticed is how most of their song titles sound like gay porn: Roberts Rules of Order, Prep School Cowboys, Tame the Beast, Stickler For Punctuality, and As Far As It Can Go. I suppose most would call this power-pop, but there is nothing powerful about it; its tame and boring and sounds like the sort of band that would play at the prom on Smallville. Im sick of seeing all these slack-jawed goofballs with oversized glasses and shy smiles pretending that theyre all sensitive with an aww shucks attitude. Like, R U kidding? Jamila Roehrig

Otto Von Schirach
Maxipad Detention
Ipecac
Street: 07.25
Otto Von Schirach = Gabber + the ghetto + your uncles moldy porn stash + puree setting
You saw the last (ahem, first whatever) three Star Wars chapters, right? You sat through three wretched scripts and horrible dialogue just to see the pod race and former puppet Yoda come to life and ninja all over Christopher Lee. Historically, Otto Von Schirachs oeuvre resembles the musical version of this type of brilliantly shot and technologically forward-thinking film at the price of plot and substance. His orgasmic, eye-poppingly deft abilities to pull remarkable noises out of his arse (often literally) make him an impressive sound designer (he worked on the majority of Skinny Puppys last album). However, putting all this together is a science that Otto would rather disregard in favor of having fun not always a noble goal. There are terrific moments of ass-humbling bass, spine tingling grooves and intriguing, outlandish synergistic mixtures of hip-hop, IDM and death metal. But his need to be weird, gross and shocking (i.e. the crying baby, triple-x porn and farm animal mlange that stinks and pinks up Submarine Mammal Milk) outweighs his talent like a millstone around his neck. Aurally impeccable, quintessentially anemic. Dave Madden

Pajo
1968
Drag City
Street: 08.22
Pajo = Elliot Smith + mid 90s Drag City records that are out of print for a reason
I had no reason to expect such boredom. With Slint, Tortoise, guest spots with various machinations of Will Oldham and several respectable solo projects on his resume, David Pajo knows his way around a brooding indie record. All seems well with the albums opener, a lovely walk-with-the-devil dirge (Whos That Knocking). Yet what follows is an endless string of American heartland-derived rock clichs that would certainly rankle any Papa M fan (yet illicit the mildest interest from those wondering what happened to Chris Isaak). Layered over the tepid instrumentation are maxims plucked from my 9th grade brain (i.e. what we call maturity is when you start giving less of a shit about things you used to get hung up on). You mustnt grow old any longer, Pajo; youll make such an incredulous sage. - Justin Thomas Burch

The Plot to Blow up The Eiffel Tower
INRE EP
Art Fag Records
Street: 07.11
The Plot to Blow Up the Eiffel Tower = Some Girls + Tones on Tail + The Vanishing
With this EP, TPTBUTET take a darker, more sinister turn from their usual Three One G hardcore meets jazz-improv style. The title track, with its dark groove and blasphemy sounds more like early Ministry than The Blood Brothers. This is a change Im sure Satan finds refreshing. And I do too. Continuing this new evil, debaucherous theme is a so-so cover of Bowies Boys Keep Swinging and a so-so remix of INRI by Yeah Yeah Yeahs guitarist Nick Zinner. Caveat emptor: Although this record bodes well for TPTBUTETs future releases, this EP is really more of a single. Since theres not a lot of bang for your buck, I could only recommend this to die-hard fans. Bob Leavitt

The Pointed Sticks
Waiting For The Real Thing
Sudden Death Records
Street: 05.09
Pointed Sticks = The Stiches + The Toy Dolls + Devo
In the case of the Pointed Sticks, new-wave and punk-rock crashing together has created something truly captivating. Theyre fast enough for punk fans but poppy enough that they can also be enjoyed by the masses. They were only in existence for three years in the late 70s and this CD brings you the best of what was recorded during that time. Although their time as a band was short, their sound resonates through many other popular bands like The Briefs, The Epoxies and The Stiches. My favorite tracks on the album were What Do You Want Me To Do? and How Could You, both of which epitomize good pop punks complete with lyrics about lost loves. Jeanette Moses

This Heat
Out of Cold Storage
ReR MEGACORP
Street:
This Heat = Essential Logic + Art Bears + a smidgen of Henry Cow + Family Fodder + a multi-vitamin
Next to such essential box sets such as the Joy Division and Velvet Underground box sets should be the This Heat box set. This Heat considered themselves non-musicians for all intensive purposes, making music that used an energetic and creative front man Gareth Williams tied together with multi-instrumentalists Charles Bullen and Charles Hayward. They relied on equal parts making music and then reprocessing it through tape manipulators, making music that is both fresh and timeless in its attack as when it was made back in the mid-70s. Deceit, their best album, is an essential post-punk album included in the box set that is texturally layered and shows the groups singular mix of radical musical experimentation and politics. Included in the box is every major album (of which there are four), a disc of unreleased material and a disc containing live material. That said, This Heat stands as the English equivalent of Krautrock thrown in with the conceptualizing tour-de-force of 1960s American painting. Erik Lopez

Professor Murder
Professor Murder Rides the Subway
Kanine Records
Street: 07.25
Professor Murder = Chromatics + Murray Head + LCD Soundsystem
Yet another iteration of neo-disco, this record is saved from my garbage can by its creative use of reverb, laser beams, and hypoallergenic vocals. At its worst, reminiscent of Murray Heads One Night in Bangkok or Rockapellas Where in the World is Carmen San Diego?, at its best, a dark hallway full of analog sound effects and a VH1 Special on New Wave. Overall the record has some solid dance floor hits, but delivers a lot of filler that smells like somebody forgot to take out a trashcan full of clichs. Ryan Powers

Relay
Type/Void Ep
Bubble Core Records
Street: 08.08
Relay = Swords + Interpol + Appleseed Cast
Relay is a good example of a band that has taken its influences and rather wearing them on their sleeve, have woven them into the fabric of their talent. This is undoubtedly shoegaze, and like many shoegaze bands the focus is on the mixture of the atmospheric guitars and almost whispered vocals. Relay has found the perfect mixture of guitar tones and reverbs paired with the angelic voices of Mikele Edwards and Jeff Zeigler. Samples are used discreetly and add an extra layer of complexity without making things overly complicated. Another bonus of this band is the purity and confidence that their music exudes. Possibly the only downfall of this EP is that it is not long enough and is actually a tease for a proper full length that hits stores mid October. Rarely is there a band that is really faultless both musically and philosophically; Relay gets about as close as you can come. Andrew Glassett

The Rosewood Thieves
From the Decker House EP
V2
Street: 07.25
The Rosewood Thieves = John Lennon + Elliott Smith
Oh boy, yet another simple, elegant piano/acoustic guitar combo with nothing new for you, me or even Dupree. Yes, I like singer/songwriter Erick Jordans vocals, which are sleepy and nasally and evoke dreams/sadness/ blah blah blah, and the music harbors characteristics of a certain artist featured on the Good Will Hunting soundtrack. The problem is that I cant find anything original or arresting about this album; I just sit and listen, the music happens and I wonder why it isnt going anywhere. This is the kind of stuff that will be popular with the Keane crowd. If I think of anything else to say about From the Decker House, Ill let you know. Jamila Roehrig

The Sadies
In Concert Vol.1
Yep Rock
Street: 08.08
Sadies = Alt. Country + the Freedom to add what ever they damn well please.
This 2-disc 41-track journey is all over the place. The Sadies are the premiere alternative country band out there today. These Canadian pickers know how the throw a party. They play punk, bluegrass, surf, county western and a touch of country rock to make this no ordinary live album. Of course they called on all their friends and collaborators to help out on this two-day jamboree. Steve Albini oversaw the recording; Neko Case, who has had the Sadies accompany her on tours and records, drops by to add some vocals; John Spencer shows up as do alt country legends Gary Louis of the Jayhawks and Jon Langford of the Mekons and the Waco Brothers. Even though all of these great performers are on this record, it is the Sadies that steal the show. Lead by the brothers Dallas, and Travis Good, the Sadies romp seamlessly through everything they attempt. This live record pulls you in and putts you right there on the front row.James Orme

Spencer/Dickinson
The Man Who Lives for Love
Yep Roc
Street: 08/22
Spencer/Dickinson = Roky Erikson + R. L. Burnside
Unreleased/import-only albums have a certain cachet with serious music fans that is often a source of disappointment upon wide release (Smile, for example). However, this Jon Spencer side project is the exception that proves the rule. This remastered version of a Japan-only release from several years ago is replete with hook-strewn songs that marry the crazed sensibilities of Frank Zappa with the down-home blues of Robert Johnson and the harsh punk of the Dictators. This is the best kind of party music, and sounds like the soundtrack to the greatest film Russ Meyer never made. Marie Braden

Susana Baca
Travesiasv
Luaka Bop Records
Street: 05.09
Susana Baca = Chabuca Granda + Mongo Santamaria
A super-lush and distinguished sounding album, Travesias is Susana Bacas sixth album and follows a four-year period of silence. Yet, as if not missing a beat, Bacas voice is strong and full of emotional cadence. Travesias plays like a gentle journey across some wide, calm body of water. Mixing Latin, African, and Caribbean sounds, Baca and company create a free and easy summertime sound. Though she could certainly be categorized as a cross-cultural or pan-American artist, Baca would prefer not to be considered as either. In fact, she cites her main influence as the afro-Peruvian folksongs that were passed down to her through generations of people struggling to hold on to their distinctive heritage. Standout tracks include Guillermina, Una Copla Me ha Cantado, and Guillermina. As is often the case with contemporary world music, the songs here are at time a bit homogenous, if not boring. That said, the music all pulses from a common source, a common heart, making the listening experience pleasurable and hassle free at least. Brady Gunnell

Tom Ze
Estudanda o Pagode
Luaka Bop
Street: 04.11
Tom Ze = Gilberto Gil + Faust + DJ Spooky
Heres a challenging record for you, then again, what else would you expect from one of the founding members of Tropicalia, the experimental art and music movement that took Brazil by storm in the late sixties. Tom Ze returns with Estudando o Pagode, an exemplary piece of post modernist pastiche; fusing pop, samba, and hip hop. Roughly translated as Studying the Pagode, Ze seems primarily driven by a relentless desire to deconstruct the pagode, an offshoot form of the traditional Brazilian samba. If you understand Portuguese, or have read the available translation of the album, dont be overly distracted by the feminist-advocating operetta concept. Despite Zes telling of the mistreatment of women over the years, he confesses that this is not a feminist album. The albums foremost intent is in the arrangement and the meditation on form. It is filled with dichotomy and non-sequiturs. It is at once playful and serious, staccato and smooth, gentle and bold. Always eager to experiment with the technology available to him, Ze has found a way to create a new sound and document a moment in time. Though at times overly esoteric and a bit fruitless, Ze aims to resist the lure of the pagode, but in the end he is seduced by its cultural richness and beauty. Not too shabby for a seventy year old man. Brady Gunnell

Uzeda
Stella
Street: 08.26
Uzeda = Dinosaur + Legos + Army-men
There is something to dig here with the discordant no-wave guitar, locomotive drumming, and playful female vocals. However, digging gets tiring the more it goes on (spade, dirt, spade, dirt), as does Stella. Every song seems to follow a consistent template: bojangly guitar, nocuous drumming, and vocals that start lively only to end anxious. Its as though the Italian three-piece are given toys by their parents, but are limited to the play-pen, so to spite them they make a rukus through the repetitious play until the toys are confiscated thirty minutes later. Deerhoof and early Blonde Redhead come to mind, but Uzeda is more toned down and seem hesitant to make use of melody except in the rare instance of What I Meant When I Called Your Name, which offers the best attempt at flirting with something fresh. Stella is steady and strong, and Uzeda have an interesting history having started in 87 with several lineup changes along the way (including Don Caballero drummer, Damon Che), but not much stands out. Maybe its time for new toys. Spencer Young

Various Artists
Jamaica to Toronto: Soul, Funk & Reggae 1967-1974
Light in the Attic Records
Street: 07.11
Jamaica to Toronto = Marvin Gaye + Jimmy Cliff + back bacon on a bun
This album is a soulful compilation of Light In the Attic Records Jamaica to Toronto series. I had two misconceptions about this record that were quickly rebuffed: The first one was that this record featured lame canucks like Bryan Adams father, and the second that this would be some lame, repetitive dancehall. To my surprise, however, Toronto has a large, musically-talented West Indian population and are fans of Jimmy Cliff and Motown. Accordingly, this record is a compilation of good, overlooked Great White Northern Soul. So, this is not music to play for that dude with blond dreadlocks in your dorm. Instead, when in ten years your Canadian college friend kills himself and you and your old buddies decide to get together for a weekend of life evaluation, you should sing and dance to this music while doing the dishes. Bob Leavitt

Weary Boys
Jumpin Jolie
Street:04.18
Self-released
Weary Boys = The Austin Scene + Quaaludes
Since I have a huge love for Jesse Dayton, I want desperately to love anything that comes out of that geographic area, especially if its any sort of roots music. Unfortunately, the Weary Boys fifth release does nothing to make me believe that the Austin scene is doing anything more than flopping around like the fish at the end of Faith No Mores video Epic. Classics like Jambalaya and Vaya Con Dios are rendered limply, and the original tracks are a case of all hat and no cattle. The title track Jumpin Jolie tries to create a little enthusiasm in the listener, but winds up sounding more like the band should be called The Wheezy Boys, with a stuffy production that removes any sense of authenticity or fun. There may be talent in this band, but they are sorely lacking in presentation and their name is fittingby the end of the CD, this insomniac wanted nothing more than a nice long nap. Marie Braden

White Whale
WWI
Merge Records
Street: 07.25
White Whale = Okkervil River + Arcade Fire (kinda) + Decemberists
Heres an album that either ruins itself or has good moments under a lot of nonsense. Arcade arsonists and Decemberistists will disagree with me (oh yes, yes they will), and no doubt see this album as a charming side-note to Indierockdom. But theres no reason to muddy already good melodies and simple lyrics with all this jumbling lo-fi nonsense. And really, as much as I hate to use Arcade Fire as some apex of indie rock, they knew how to use clarity. This nautically themed album (well executed in terms of sea-shanties-turned-indie) sounds best at the cleanest moments such as the beginning of Were Just Temporary Maam or during the noise heavy OWilliam OSarah. No doubt pop-indie rockers will cream just to know that WW is a super-group of members from Thee Higher Burning Fire, The Get Up Kids and Butterglory, but the truth is, WWI is a mostly tepid and familiar voyage, no matter how anachronistic. Andrew Jepsen

World/Inferno Friendship Society
Red-Eyed Soul
Chunksaah Records
Street: 07/11
World/Inferno Friendship Society = Throw Rag + Count Basie
There is no easy way to describe World/Inferno Friendship Society. Pretty much all you can say is, Theyre wicked fun. This is not exactly what your mother had in mind when she said, Cant you find some NICE music, and therein lies its appeal. Red-Eyed Soul is the epitome of everything-but-the-kitchen-sink instrumentation and manages to be good-time music with an edge. After all, how can you not love songs with titles like Only Anarchists Are Pretty and Me and the Mad Monkettes? The rules are, there aint no rules, and thats just the way this 8-piece likes it. So will you. --Marie Braden