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September 2006 - Issue 213

5ive
Versus
Tortuga Recordings
Street: 6.20
5ive = Neurot Recordings + flesh and blood
These four offerings of silver-shadowed sacrifices worthy of the gods used to be half of an LP with kid606, but is now available as this two-pieces all-instrumental, self-contained EP. Although the original 5ive are not necessarily ripping up the introspective, grand atmospheric doom fences set down by current boundary-patrols Isis and Pelican, they are staking out settlements of variety within safe territory. The two remixes of Soma were done by JK Broadrick (Napalm Death, Jesu, Godflesh, Final) and the first one (Stage 1) sets this EP apart with its wispy, Jarboe-ish organ synths. The black acoustic guitar over the beginning of Reso-1 is also a refreshing breath of cold tundra air. 5ive is more prog than Isis, and also less mystical: They have the perspective of being born to earthly mothers, and their roots are showing. Rebecca Vernon

Ad Astra Per Aspera
Catapult Calypso
Sonic Unyon Records
Street: 10.03
Ad Astra Per Aspera = Cursive + Black Heart Procession + The Blood Brothers
After two EPs and signing with Sonic Unyon Records, Ad Astra Per Aspera is finally releasing their debut full length. Catapult Calypso smacks the senses like a brick to the face. There is nothing on this record that deserves anything less than your full and undivided attention. Even if you tried not to listen closely to the blissful disunity exhibited throughout Catapult Calypso, it couldnt be done. There is something inherent within us that makes us curious and causes us to want to know more about things that are mysterious, things that we dont immediately understand. In the four short years since AAPAs inception they have mastered how to draw the listener in and make them so curious that they feel compelled to explore further and further. Ultimately, it is impossible to avoid getting caught in the chaotic web of noise that is AAPAs debut full length. The first listen will draw you in, but it may not convince you. Its the second listen that will draw you in, hit you like a brick and render you helpless. Jeremy C. Wilkins

Against Me!
Americans Abroad!!! Live In London!!!
Fat Wreck-Chords
Street: 05.30
Against Me! = Anarcho punks + semi-hollow guitars + live
I love Against Me!, although I think most people will agree that their last album, Searching for A Former Clarity, really called their anarchist and artistic integrity into question. I tend to avoid that one, but it doesn't get much better than drinking with friends and screaming along to "Pints of Guinness Make You Strong". This live album portrays some of the energy and talent that these guy's shows are known for, but they play so flawlessly that the only indication it's a live album at all is the lo-fi production and the kids in the crowd singing along. What you should really do is go see them live and BE one of those kids singing along. It'd be a lot more fun that way. In lieu of a show though, pop this disc in, grab a Guinness, and just pretend. -Chris Carter

Akron/Family
Meek Warrior
Young God Records
Street: 09.25
Akron / Family = Wooden Wand + Marty Robbins + Ash Ra Temple
When you feed CDs to Real Player, the program generates informative album descriptions. These authorless blurbs serve as not only the opinions of unbiased experts, but also the proliferations of those assumptions through the listening community, in essence, passively crafting an artists identity with greater success than most marketing tools (at least, I sort of think so). Real Player is a machine and machines dont lie. So what did Real Player say about Akron/Family? Glad you asked: Remember that part in The Dark Crystal where the Gelfling played pipes of pan? Thats kinda what these guys are like. So, people are going to think that and repeat the description to their friends as if it isnt entirely misrepresentative. I will tell you that Akron/Family sound like those cool-looking German import LPs on Forced Exposure that cost $35, claiming to hold the most cosmically-cosmic cosmic ragas in the cosmos, only more relevant, delightful and bizarrely spiritual. - Justin Thomas Burch

Alan Sparhawk
Solo Guitar
Silber Records
Street: 10.01
Alan Sparhawk = Windy and Carl + Slowdive Pygmalion + Godspeed You Black Emperor!
You might expect to be in a world of trouble when the equation above is mixed together with the name Alan Sparhawk. While mostly known for his central role in Low this solo work (finally!) shows the truly tortured artist we have always wanted out of Sparhawk. Recorded live in a church with just guitar loops and some reverb, Sparhawk is drenched in mid 90s shoegaze, a Twin Peaks episode from Season One and Canada. Amazing. Layer upon layer of textured attack and cease-and-desist restraint resonate as the album moves deftly between an architecture of brooding build up and orchestrated sea faring. While Low is the pop side and Black-Eyed Snakes is his rockin side, Alans solo stuff is a 90s mid-life crisis finally shooed out the door. This release is A+ from the if you like the drone not to much and not to little. Erik Lopez

Alias & Tarsier
Plane That Draws a White Line
Anticon Records
Street: 09.06
Alias & Tarsier = Aplomb + Muted + Beth Gibbons
If you were agape last April due to the release of Brookland/Oaklyn, a faceless collaboration between Anticons own Alias and the illustrious Tarsier (of Healamonster), then prepare to be overwhelmed yet once again. Plane that draws a white line is the follow-up EP with new goodies abounding, including remixes by Boom Bip, Neotropic, Odd Nosdam, Christ and Healamonster, along with three brand new exclusive tracks. Aliass trademarked ambient clicks, clacks, and sampled drums on Sleepy provide the sticky pulse for Tarsiers surge of elegant vibrato to coax you into hypnotic tranquility. However, the offset Sole sample from the 2002 Deep Puddle Dynamics release, New for June, alters the song into a more serious connotation, rather than a ballad of beauty. Produced, mixed, recorded and arranged by Alias, this record is a subsequent taste (or side-effect if you will) of one of the most prosperously innovative albums of 2006. Lance Saunders

Another Breath
Mill City
Rivalry Records
Street: 08.01
Another Breath = Bane + American Nightmare + The Hope Conspiracy
With the endless barrage of two-stepping, breakdowns, and asinine machismo that hardcore is known for, it's easy to get bored and discouraged. Somewhere in the haze of ripped off death metal riffs and open chord chugs, it seems as if hardcore kids have completely lost sight of what their music used to mean. The message is missing, and the passion has been replaced with intimidation, chest beating, and exclusive pit dancing contests. That said, Another Breath offers a breath of fresh air to an otherwise stagnant and rotting scene. This is fast, energetic hardcore with a socially conscious message and well played music that's much more influenced by their hardcore-punk roots than say, Slayer. Don't worry, there are still some moments where the kids will be able to go two-stepping across the pit, but I'm pretty sure there will be a lot more of the fist in the air singalongs that made me fall in love with hardcore all those years ago. I hope the singer does that awesome jump kick thing I like so much. -Chris Carter

Blowoff
Hormone Love
Full Frequency Music
Street: 09.05
Blowoff = pop + rock + electronica
Hormone Love touts an interesting blend of rock, pop and electronica courtesy of Bob Mould of Husker Du and Sugar fame and Richard Morel, known for his producing and remixes for bands such as Depeche Mode, The Pet Shop Boys, and The Killers, among others. The two share an equal load in the creative process and it is easy to hear the different influences from each throughout the 12 tracks. The music is well crafted and only a few of the tracks feel out of place, while most bleed into the next without much abruptness. The overall result of this collaboration is a record with tasteful pop-rock songs such as Hormone Love, some blended with beats like Man Keeps Winning, and some straight electronica dance tunes like Tag It. If you dont mind your rock music mixed with dance music or vice versa, then this deserves a good listen. Jeremy C. Wilkins

Body Count
Murder 4 Hire
Escapi Music
Street: 08.06
Body Count = D Roc + Slipknot + Baron Samedi
Violent Demise was thought to be the exclusive and concluding effort from Body Countforever. Well, with enough fuel in the fire, you cant-not expect these guys to attack Uncle Sam and all of his constituents once again. Armed with guitars as knives and words as bullets, Body Count takes on graphic issues including racism, criminality in Los Angeles (mostly South Central), corrupt police officers and government officials, and last-but-not-leastgangsters. There are points on this album where they run off course with Relationships, a love ballad gone terribly wrong. However, the lions share of the album is filled with anti-political, anti-Semitic and anti-authoritative statements. Im not sure if this album is supposed to be deprecating society, or hypocritical on-purpose. Either way, Murder for Hire contains Body Counts trademarked message, Run for your life! Dirty Bomb! No one is safe! No one will survive! -Lance Saunders

Cale Parks
Illuminated Manuscript
Polyvinyl
Street: 09.26
Cale Parks = A Christmas Gift For You
If Phil Spector had teamed up with Brian Eno and Tortoise to make his holiday music, it wouldve sounded horribly (and by horribly I mean amazingly) akin to Cale Parks Illuminated Manuscript, which is nothing short of brilliant. Also, if Moby werent such a dork, he could be busting out similarly remarkable tracks. Cale Parks, who is also involved with Aloha and Cex (among other notorious acts), throws down some lovely top-notch electronic hits on this album. Illuminated Manuscript is enough to make you want to go out and buy everything else in his catalogue; unfortunately, this is his first and only album. Lyrically minimal (one song sings, La La La La) and musically exceptional. Spencer Young

The Capital Years
Dance Away the Terror
Park the Van Records
Street 9.12
The Capital Years = The Doors + The Elected + Grandaddy
Oh Philadelphia. Lets talk. I, well, Ive been thinking. Too much maybe. But I told myself this wouldnt be about me. Its about your band TCY. I know I shouldnt have said that thing about them being a throw-away-so-bad-its-not-B-sides-its-F-sides Beatles album where theyve replaced any imagination with extra hi-hats, hoping the noise would cover the fact that theyre not anything approaching interesting with music so boring it approaches unlistenable. I know you think that TCY might maybe someday take a risk and accidentally make something good, but, they need to stop. Listen to Revolutions with its recycled guitar riffs that belong on a UPS commercial, not an album, and youll see what I mean. Just because they have their influences doesnt mean they have to fade them all together to grey. This limp dream-pop surf rock masquerading as indierock and noise dilettantes needs to go, taking their half assed Beta Band lyrics with them. I, Im sorry I hurt you, Philadelphia, but, Im not sorry I said it. - A son of Jep

Channels
Waiting for the Next End of the World
Dischord
Street: 08.29
Channels = Chanel No. 5 + The Cold War + Social Security
When Dischord releases their too-old-to-rock-but-were-too-afraid-to-say-anything compilation, Channels will make the roster. When your own record label tries to vaguely discredit how old you are (the press sheet says, Its been a little over 20 years since these three were teenagers, meaning they could be anywhere from 33 to 40+ years depending on how you interpret little) and youre still making songs trapped in 90s alternative rock/punk lets face it youre a little outdated. At its worst, Waiting for the Next End of the World haunts under the mask of every generic 90s band youve ever despised, The Cranberries included; at best, its reminiscent of Failure and The Talking Heads. If it werent for the lyrical work that intelligently infuses political anecdotes with ego and appetite, Channels would be urged to drop their mics altogether. Ironically, when Channels do sound youthful and conscious of current music trends, theyre singing about the youth as Janet Morgan coos, Look at all the young go-getters go. The music is too sincere and honest, however, to allow for something as pesky as irony to settle in. Spencer Young

Chief Kamachi
Concrete Gospel
Babygrande Records
Street: 09.06
Chief Kamachi = Black Rob + KillArmy + Ja Rule
This self-proclaimed Sermon scatters his rhymes over epic backdrops of booming beats and ethereal string loops, but falls flat with his ghetto manifesto in every way. After working with Vinnie Paz (Jedi Mind Tricks), Kamachi is still walking the one-way road towards finding his niche. Armed with a back-history tempered by a healthy work ethic, he definitely has his credibility. However, desperation to prove himself in this release just makes him sound like he is trying way too hard to speak consciously and still keep his rugged appeal. This album is a one-sided coin and the face doesnt change. Kamachi sounds monotonous on every track and fails to show us the very fiber of his being and the many sounds he could be capable of producing. Its just disarticulated membranes unraveling themselves atop a massive beating heart, beating instrumentals, and beating my nerves into the ground. Lance Saunders

Complete Control / Krum Bums
Death Can Wait
TKO Records
Street: 08.08
Complete Control = Motorhead + The Strap Onz + Clit 45 Krum Bums = Chaos UK + The Strap Onz
This is what a split is supposed to sound like! The Krum Bums faster and thrash-influenced style of punk compliments Complete Controls street-punk sound. The two bands have also toured with one another; if you close your eyes and drink enough booze, it may just seem like youre at one of their shows. Complete Control covers the Krum Bums song Cease Fire and the Krum Bums do the same for Complete Control with Are You Read. To top it all off, 500 copies of this split are being released on 7. This split is awesome and the deal will only be made sweeter with the vinyl release. Jeanette Moses

The Curtains
Calamity
Asthmatic Kitty
Street: 10.24
The Curtains = The Unicorns + Enon + A Fischer Price Instrument Sponsorship
With his hands already dipped in the delicious Deerhoof jar, Chris Cohen is also the man behind The Curtains. A garage or kitchen seems more like the appropriate setting given the simple, organic sound of Calamity. Wholesome pop elements akin to home-baked bread and the lovely smell that emits from dryer vents single-handedly carry the songs through whimsical spinnings. Calamity would be great music to play hopscotch or jump rope to while wearing pastel-colored thrift-store clothing. The Curtains have the potential to lure you in. (Kilby Court: 09.02) Spencer Young

Darkbuster
A Weakness For Spirits
I Scream Records
Street: 08.08
Darkbuster = Angel City Outcasts + Dropkick Murphys + Street Dogs
Boston is a powerhouse city for good music, and this band is no exception. This album is all over the place and combines many elements from genres under the punk rock sun. Rudy takes the path of traditional ska in the vein of the Specials; Skinhead sounds like a Bruisers song, No Future like something found on a Street Dogs album, while Rise Up resonates with an old hardcore sound. Darkbuster has drawn their influences from all across the board and it has paid off. This album is solid; not a track on it is un-enjoyable. These guys are blowing up and I wouldnt be surprised if they were the next big band from the streets of Boston. Jeanette Moses

Daughters
Hell Songs
Hydrahead Recordsv Street: 08.12
Daughters = Business Lady + Wives + Arab on Radar + Discordance Axis
What happened here? Last time I checked, Daughters was supposed to be the best grindcore band around Well, it seems that the band has conquered that realm and apparently moved into the post-punk art-noise arena with the debut of Hell Songs. The vocals are more sass than scream, more poetry than anger, yet the sound retains its intensity. A blanket of noisy guitars and effects over metal-influenced percussion provide the rhythm to this train wreck orchestra occasionally transgressing into ambient loops before throttling the neck of you soul once again with blastbeats and high-pitched guitar slides that are meant to disorient and confuse even the most versed aficionado. Party on. -Ryan Powers

De Kift
De Kift
North East Indie
Street: 09.12
De Kift = an avant folk brass band
The self-titled release by De Kift (translated literally the covered) is actually a combination of their two previously released records Vlaskoorts (custards fever) and Koper (buyer). This is the first time their music has made it into the American market. To many Americans this album may sound a little hokey, but there are a lot of very interesting things happening underneath the surface level of this oompa band gone awry. The lyrics are simplified versions of authors Nabokov, Chekhov and Werner Schwab among others and are presented in more of a chanting style while background vocals sweep the floor with perfect harmony. The songs are almost absurdist, like talking about standing on top of the world and other strange situations that arent possible. Although the meaning seems obscure, there is a sense that there is a rich history of literature. They also have brass band orchestration that isnt found anywhere in America. It is strange and intriguing to get a glimpse into Dutch folk music. Andrew Glassett

The Dirty Projectors
New Attitude EP
Marriage Records
Street: 09.12
The Dirty Projectors = Beck + Steve Reich + Brian Wilson + a bunch of foreign shit
When no one was looking, Dave Longstreth went from Yale dropout to one of the most innovative and relevant songwriters of this millennium. Flashing a preternatural understanding of myriad genres and cultural source material unlike any of his contemporaries, every Dirty Projectors release to date is an absolute cumbuster. Here, Longstreth is the quintessential soul singer: an imperfect voice, cracking and fluttering, yet in complete control of the performance and the emotion it conveys. The cherry on the sundae here is the Afro-Caribbean jam, Two Young Sheeps, featuring epically awesome call-and-response vocals. Though it is recommended to start with last years The Getty Address, the best story ever told about Don Henley, you will buy this eventually and wont regret it. - Justin Thomas Burch

Dirty On Purpose
Hallelujah Sirens
North Street Records
Street 05.06
Dirty On Purpose = other bands + more of those other bands
Dirty On Purpose is one of those bands that make me agonize over whether or not people actually grow up and decide they want to be in a totally sweet pop-shoegaze band and blend into the din of a million other bands whose names you couldnt remember 10 minutes after seeing them play. I have such little patience for bands like these, and it makes me feel awful because this record of theirs Im supposed to write about is actually a fine record; it sounds good, none of them seem to be bad musicians, and theyve written 49 and a half minutes of mildly-interesting rock music. That being said, an artist needs a lot of personality to make their art unique enough to give people something to think about, something to gnaw on in the proverbial sense. Hallelujah Sirens only hints at that elusive something. If youre planning a righteous shoegazer-themed party, replete with shoegaze background music, you might use the aforementioned, or you might use another band. Either way, I dont think Ill make it. Tyler Ford

The Draft
In A Million Pieces
Epitaph Records
Street: 09.12
The Draft = Hot Water Music
Not since the release of Only Crimes album, To The Nines, have I heard a band that sounded so remarkably like its predecessor. In the case of Only Crime, the easily identifiable vocals of Good Riddances Russ Rankin made To The Nines a Good Riddance album disguised with a different band name. With former Hot Water Music members Jason Black (bass), Chris Wollard (vocals/guitar) and George Rebelo (drums), The Draft is nothing more than Hot Water Music part two. When will people like Rankin and Wollard figure out that coming up with a new band name or adding new band members isnt enough for the people listening to the music? The music has to sound different for hells sake. The same vocals and same singing style backed by music that is the equivalent of a current or past band doesnt justify a new band, it has to sound like a new band. In A Million Pieces tries a few things that Hot Water Music may not have but big deal, all The Draft does is show us what it would have sounded like if HWM had tried those things! (Kilby Court 09.15) Jeremy C. Wilkins

Drive By
I Hate Everyday Without You Kid
Riot Squad Records
Street: 05.09
Drive By = sniffle sniffle + tears falling
Alright, whos ready for Cryfest 2006? Because here it is! Its brought to you by our good friends Drive By and their album I Hate Everyday Without You Kid... Its eleven songs chuck full of tragedy and angst that almost sound good but are too bland, boring and whinny to make it tie all together with over-dramatics such as, Ive been spending time alone. Im thinking I should probably kill myself. But be sure not to forget the ever-so-hopeful words, Youre not alone, or so strong. Youre not leaving alone, so hold on. The cryfests grand finale, Goodbyes, is sad enough to cry out the last few tears with the question and subsequent answer. What makes me sad on days like these? Its not goodbyes, its not tragedies. Im dishonest and not hopeful of getting back everything I threw away. So indulge yourself by picking up I Hate Everyday Without You Kidand get ready to feel sad and sorry for yourself just like these guys. Jeremy C. Wilkins

Ecstatic Sunshine
Freckle Wars
Carpark Records
Street: 09.04
Ecstatic Sunshine = Jab Micah Och El + The Fucking Champs + Glen Branca Stomp
Ecstatic Sunshines minimalist guitar compositions are well thought out and executed, yet often fall flat at then failings of their very design. Utilizing only guitar sounds, the songs are reminiscent of a Glen Branca recording in which someone pressed the mute button on the drum tracks. The musicianship falls just short of being able to fill the void left by a complete lack of percussion or rhythm section. The end result is a couple of guitarists masturbation session strewn over 12 or so tracks that sounds somewhere between wandering into a guitar shop and a guitar pedal demo. I guess this is ok if you hate drums and low frequencies a whole lot, and like to listen to a couple of jerks show off their guitar skills. This album leaves much to be desired, that even the overinflated egos of a couple of guitarists can not satisfy. Yo Ecstatic Sunshine: Maybe if you were Mick Barr or Yngwie Malmsteen - you pull this off - but you arent, and you never will be. Get real. -Ryan Powers

Emily Herring
My Tears Will Be Relieved
Emily Herring
Street: 07.06
Emily Herring = White-girl blues + the sound of two cats having sex outside your window
Hey, Im all for authenticity, but Im also all for talent, and unfortunately, this CD doesnt display much of either. In fact, it sounds like a middle-class approximation of what she thinks blues should sound like, instead of actually BEING blues. She lapses into an almost-yodel style of singing that doesnt do her songs any favors, and while the musical backing is squarely mid-level, the production sounds like it was recorded in a tin bucket, particularly on the track Doc Bronner. Blues in the Key of C#m has a nice chug-a-lug Stray Cats feel to it, but the lyrics are half-baked at best. Honestly, the only thing I can recommend this CD for is blaring loudly at 2 AM to irritate your neighborsbut not if youre home to hear it, too. Marie Braden

Eric Chenaux
Dull Lights
Constellation Records
Street: 09.25
Eric Chenaux = Songs Ohia + Palace + Vic Chesnutt
It is a surprise to hear austere and delicate folk music on Constellation. Judging by Constellations fall line-up, all of Canada seems to have traded in their post-rock, anarchism, and bizarre talk radio compilations for Will Oldham records. Full of wistful vocals, quiet melodies, and plinky guitars, the music is fragile and frayed like a Bluegrass record played at the wrong speed. This music is pretty and I know many people who would like this record. Maybe I do, too. Despite his musics simple beauty, Chenaux lacks the freshness of the subgenres originators (see above equation). Nothing really stands out in this record, which is rare for a Constellation release. Stick with the electrics Canada, because I think the world has enough beard-growing music. Bob Leavitt

Evangelicals
So Gone
Misra Records
Street 06.06
Evangelicals = Of Montreal + The Flaming Lips
Josh Jones and Co. formed just over a year ago, and belied their freshman status with a record that is overflowing with vitality, shining keyboards and general psychedelia. So Gones creative mixing recalls the Beatles White Album, and the dense layers make this a record that needs to be heard several times in order to notice every sound and second track of drums. The press sheet claims that such a record is the unmistakable product of the isolation that can be found in Norman, OK; while I dont wholeheartedly agree with this statement, I imagine Normans essence gave Jones and Co. enough time and room and fresh air and drunken nights in open fields to conceive such an interesting and bright record. Tyler Ford

Felonious Bosch
New Dark Ages
Omnium
Street 8.01
Felonious Bosch = Andy M Stewart + Old Blind Dogs + Black 47
If the above equation means nothing to you, think The Dropkick Murphys minus punk or The Mystechs plus not sucking. Whereas most Celtic revivalists try to rockify Celt music by adding guitar wails or wa-wa peddles, FB modernizes pan-European folk music without making it ridiculous. I cant really find any place in the album where a hi-hat sounds out of place (well, the scraper in Ghengis Bond could be toned down). Theres also surprisingly little irony in this album - a sure suicide in the indie rock market. Its not that FB doesnt have any fun (listen to Drunk Brawl), but they arent aware that what theyre doing is silly, which makes their music more sincere, but it also means FBs not going to appeal to most SLUG readers except the most ardent of earthmothers. FB is not indietwisted celtic rock. Its celtic pop folk, and for what it is, its fantastic. Its just not doing anything particularly new. - A son of Jep

Gossip
Listen Up! (Remix EP)
Kill Rock Stars
Street: 08.22
Gossip = Aretha Franklin + Bikini Kill + Make Up
I get the feeling that this should be on vinyl. It is a single essentially, with club remixes by MSTRKRFT, Arthur Baker, A Touch of Class, and Le Tigre; and a B-side cover of Are U That Somebody by Aaliyah. I mean really, that is all you need to know. The remixes are exactly what youd expect same songs, new beats and extended breakdowns in which one may attempt to bust a move, groove, or whatever the kids call it these days. Not to say this isnt good, or cool, or neat, it just isnt new. Who reviews remix CDs anyway? I mean really. -Ryan Powers

Greg Graffin
Cold as the Clay
Anti
Street:07.11
Greg Graffin = Neil Young + Pine Hill Haints + Gram Parsons
I always thought that Greg Graffins vocal talent was just a bit above most of his punk rock contemporaries. In what seems a test of his talent, Graffin delves into old-timey American Folk music. Backed by The Weakerthans, he touches on murder ballads with a surprisingly haunting style that shows his sincerity for this music. The Bad Religion front man also shows his instrumental proficiency on the harmonica, acoustic guitar, and piano, something hes never done on a B.R record. He and longtime collaborator and producer Brett Gurewitz search for authenticity in this mountain music and come close. What they do achieve is proof that Greg Graffin has more to offer than belting out punk year after year. James Orme

Guttermouth
Shave The Planet
Volcom Entertainment
Street: 08.22
Guttermouth = snotty and offending pissed off punk rock
Since my high school days Ive thought that Guttermouth has a punk style that is unique and a sound that is their own. Mark Adkins nasal singing and shouting of anything controversial or just plain offensive has earned the band a reputation that precedes them. In high school I went to go see them after hearing stories that Adkins demanded the crowd to spit on him until he was covered and dripping in saliva. I remember thinking at the time, Wow, this guy is punk rock! Though I didnt get to see that spectacle, Adkins instead came out totally smashed in a dress then got naked while he stumbled around on stage singing. But when the dress came off and his genitals came within three inches of my forehead I decided I wasnt a fan anymore. Shave The Planet falls into the same category that all Guttermouth albums do, its outrageously offending and insulting humor runs rampant from start to finish. Theres nothing new about this, their tenth album and thats the problem. How many records of bitching and moaning can you handle? Personally, Ive had enough. Jeremy C. Wilkins

A Human & His STDS
Punk Rock Ballads For the Ugly and Unloved
Back Door Records
Street: 09.10
A Human & His STDS = Every shitty first punk band that any kid with a mohawk has been in.
Remember when you first got into punk-rock and your buddy invited you to come to his sweet punk show on Friday night in some shitty venue down a back alley? You spiked your hair up and threw on all your punk rock gear, even that stupid butt flap, and you were so fucking stoked to be going to a punk show. You got there and smoked cigarettes outside, hoping to look cool next to all the other kids at the show. Your buddys band set up and started to play and you were so excited and so punk rock and you felt so underground that you didnt even realized that they were a wretched band, fucking horrible. Even if you had noticed, it wouldnt have mattered to you, because you were at this sweet local show. You bought a patch after the show ended, their guitar player warned you never to wash it because they were DIY screen-printed and all the logo would wash off. You sewed it on your jacket and felt so cool and underground when people asked you about the band. A Human & His STDS are that band. Their song writing skills are non-existent and they follow the boring three-chord formula. They make for a great punk-rock training band, but just like the training wheels on a bicycle, they should be dropped to move on to bigger and better things. Jeanette Moses

Jay Bennet
The Magnificent Defeat
Rykodisc
Street 09.26
I was asked to write about a Wilco side-project, and so I said yes. I think this is a good point to tell you that Jay Bennet(and I) would like you to know that this is NOT a Wilco side-project. This is the first solo record from the man whose fingerprints are all over the tracking and mixing of Wilcos landmark Yankee Hotel Foxtrot. The only two gripes I have about this record are that its only about 66.6% as good as Yankee Hotel Foxtrot, which, I concede, still makes it quite a good record. Anyone with a modicum of expectation for this record could possibly be let down. The other thing that I found hard to stomach was the two-and-a-half page letter describing the mental climate in which Bennet made this record, the cool old broken instruments he collected to record it, and a post-script explaining his official party line on Wilco, and why he is no longer a member of said band. The music speaks for itself, and thus the mission statement is extraneous beyond the fact that it lays out the story that this record was over three years in the making. While the songs arent the instant classics youd hope to hear, The Magnificent Defeat is by no means a dud, and Bennet has enough experience with tracking, mixing and song-writing to build his own following and reputation, and his subsequent records will most likely get more than 66.6% approval. Tyler Ford

Jenny Piccolo
Discography
Three One G
Street: 07.01
Jenny Piccolo = Mohinder + Charles Bronson Das Oath x Born Against
Somewhere between thrash and old-school hardcore, Jenny Piccolo has occupied an interesting niche in the punk scene for the last 10 or so years and this discography disc saves countless hour of eBay scouring for every rare split 7, 10, and 5. Ultimately, the collection is reminiscient of the Charles Bronson discography, in that it contains an overwhelming amount of intensity; however, Jenny Piccolo is a rare gem in the world of underground hardcore music, in that their albums were continually breathtaking. This consistency is highlighted here especially, every song can stand alone as a unique and exceptional deviation from the better known hardcore acts of their time. -Ryan Powers

The Johns
In Tune (Limited Edition Pink Vinyl)
ANKO Records
Street: 04.18
The Johns = Die Hunns + Throw Rag + Lars Fredrickson and the Bastards
The only thing that I didnt like about this 7 was that there were only three songs on it. The Johns play good rock n roll music and are made up of musicians whove played in Die Hunns, The Pushers, The Grabbers and The Adz to name a few. This is music to shake your ass to! I particularly enjoyed In Tune on the A side, a cheap booze and sweat-soaked number with a sexy swagger that is reminiscent of Throw Rag and Wanna Die on the B side. Three songs isnt much, and this release leaves you craving the full release like a junkie craves dope. Jeanette Moses

The Jonbenet
Ugly Heartless
Pluto Records
Street: 08.08
The Jonbenet = the band that lost at the high school battle of the bands,0. so they broke all of the windows in the gym
Raw. As in raw foods. As in not-cooked, or in the case of music, over-produced. Carrots are good raw. Tomatoes are good raw. Pork is not good raw. Music can be good if its raw, and done well. Many punk rock and hardcore recordings were recorded live and raw, meaning there was no individual tracking, no outtakes, no lets grab vocals from this take, bass from this one, and the drums from this one. The new Jonbenet is raw. However, it feels more like eating a microwave pizza before you put it in the oven than munching on an apple or some sushi grade fish. Perhaps its the we were sitting around in our garage one day and came up with these guitar riffs sound, or the Ill just scream along with the guitars but it feels more like a long afternoon practice session than it does a coherent noisy post-punk effort. There are some interesting guitar lines, but they sound like they were written 10 minutes before they were laid to tape and everyone else in the band was along for the ride. Spit and polish are not necessary for a good record, quite the contrary, but interesting songs are. -Peter Fryer

Jurassic 5
Feedback
Interscope Records
Street: 08.06
Jurassic 5 = Toddy Tee + The Jungle Brothers + Voltron verses
J5 mastered the vocal-in-and-out-weave a long time ago. Starting and finishing each others lines and pursuing parallel paths with their choruses have been an ongoing theme on every record. Since the desertion of DJ Cut-Chemist, the perennial trooper: DJ Nu-Mark has held it all together with concrete beats and singular samples for the J-5 collective to kick rhymes to. Over the years, J5 has consecutively stayed true to their roots and successfully represented their home-based influences. The only cameos on Feedback belong to Brick & Lace, Mos Def and the Dave Mathews Band, entertaining the notion that J-5 has been distancing themselves from the coexisting world of modern hip-hop. Future Sound is the most authoritative song on the whole album, although every other track has its own independent dexterity. Feedback is not the most crowning Jurassic-5 record to date, but it is an exceptional combination of the old and up-to-date. Lance Saunders

Hella
Acoustics
5RC
Street: 09.12
Hella = a friendly circle jerk
As a precursor to their upcoming full length on the metal label Ipecac, Hella thought it would be funny to release a collection of acoustic versions of their songs. Spencer Seim plays an acoustic guitar, Zach Hill turns the snare off to his snare drum and the duo masturbate away, doing what they do best as the forerunners of the math rock scene. It is nice to hear the simplified line-up that made The Devil Isnt Red so great. Their performance is obviously near perfect but the album is a little mono-chromatic. Word on the street is that Hella is no longer cool, but they dont seem to mind at all. They know they are good and that confidence is nice to see among the current wave of humble acoustic artists. This album will keep current fans hooked until their monstrous full length that will be released at the beginning of 2007. Andrew Glassett

The Hidden Cameras
Awoo
Arts & Crafts
Street: 09.19
The Hidden Cameras = The Magnetic Fields + Talking Heads + Paul Simon
It is annoying when a particular part of a bands personae is the focus because a band is a conglomeration of many different influences. The Hidden Cameras get a lot of attention in the media because of Joel Gibbs homo-erotic lyrics and themes, but that is just a singular part of their identity. They set themselves apart from many other bands with lush orchestration, afro-pop guitar and a quirky sensibility. The songs are anthem-like and joyful, combining 60s parlor music and 80s pop construction. There is nothing necessarily challenging about this album which is nice when considering the seriousness of current music trends. Simple songs about uncommon themes such as pagan magic, waning moons and humping provide a unique listening experience. Andrew Glassett

Kinnie Starr
Anything
MapleMusicRecords/Fontana
Street: 8.15
Kinnie Starr = Gorillaz + Debbie Gibson + 1 teaspoon Sade + 1 gallon water
Thats so super-radical that Canadian Kinnie Starr has toured the world, had producers with Names and sang in a Cirque du Soleil cabaret production. But that doesnt make her music anything less than sucktastic. Starr combines hip-hop, R&B, electronic pop and gentle, folksy Americana (Please Hold My Hand) with subtle ethnic overtones, but she doesnt even come close to combining them in new and interesting ways. If youre trying to earn a name breaking new ground, youve got to break it well. Anythings soulless electronica and slick-as-a-whistle production is about as exciting as a flat, pre-digested, colorless hamster food pellet. The slower numbers are better, but the one track that could be labeled good is Step Back, a dancey, Bubba Sparxxx-attitude club number. Rebecca Vernon

Kultur Shock
We Came to Take Your Jobs Away
Koolarrow Records
Street:08.22
Kultur Shock= GoGol Bordello + System of a Down
These pissed-off immigrants play some pissed-off music with some spice from their home countries of Bulgaria and Bosnia, and have won over fans with their old world attitudes (at least they won over Jello Biafra enough to get his help with a record contract). The problem is that this record gets fairly repetitive towards the middle; with no real changes, the record drags on and this one-trick-pony gets stale. Adding world music flair to hard rock is just not enough to hold my attention for 10 tracks. James Orme

Little Annie
Songs from the Coal Mine Canary
Durtro Jnana
Street: 4.25
Little Annie = Dresden Dolls + Nicki Jaine + Miss Hannigan/Carol Burnett (Annie)
Simultaneously repellant and fascinating, Little Annie Anxiety Bandez is so worn out and washed up that shes disillusioned with disillusionment. She has collaborated with Paul Oakenfold, Current 93, Nurse with Wound and Coil, but this is her own full-length solo effort, and its a doozie. Equal parts cabaret, Broadway musical villainy, pirate shanty and drunken, belligerent polka, the music itself is not anything special; you could find it at any dueling piano bar during happy hourits Little Annies voice that gives this album its depressing magic. Slightly slurred and careless, her smoky alto conveys all the shriekingly empty despair inside her you could ever care to become acquainted with; you get the sense she doesnt even care what shes singing about. Coal Mine Canary is a film noir soundtrack for the 21st century (check the sexy hornwork) stripped of any sort of glamour whatsoever, where the heroine is old, ill, painful to behold and a raging alcoholic; where the drug of choice is not opium but Percocets. -Rebecca Vernon

The Living End
State of Emergency
Adeline
Street:07.11
The Living End = Green Day + a complete lack of originality
These guys are so fucking talented and it sucks that they keep putting out records that dont show it. They possibly have the best rhythm section in the world, but who can tell with a record with more guitar than brains. Dont get the wrong idea: the guitar is really well played but this a band and every one should be heard. The upright bassist is incredible, but has been nearly non-existent on their recent records. The fun neo-rockabilly leanings that set this band apart have died with no hope of return. James Orme

The Lordz
The Brooklyn Way
Perfect Game Recording Co.
Street: 07.11
The Lordz = The Transplants pop punk + yet another guest appearance by Tim Armstrong
When I got this album the first thing I noticed was a photo of some white guys trying hard to look tough (ghetto style) on the back cover. And then I noticed the name Tim Armstrong. I groaned loudly and painfully slid the disc into my computer. I knew I was going to hear the next Garnier Fructis commercial being shit from my speakers and oozing onto my keyboard. Fortunately, instead of a bunch of white kids woo-wooing and trying to rap over bad pop-punk, I got a bunch of white kids rapping over much more rock influenced music that is infinitely easier to swallow. Some of the flows are OK, and the tunes can be pretty catchy at times, but mostly it's just some obviously white kids rapping about the things you'd expect obviously white kids hailing from Brooklyn to rap about . There's some not-so amazing guest appearances by the likes of Everlast, as well as Tim Armstrong, that allow you to sit back and more comfortably navigate the strange genre of rap-punk with some familiar faces. The Lordz really aren't that bad. They're not that good either but, hey, at least I'm not cleaning shit off my keyboard. -Chris Carter

Los Dryheavers / Thirty3
Koi Splits 7 Series
Koi Records
Street: 04.24
Los Dryheavers = Complete Control + The Disasters
Thirty3 = Anti Flag + Atreyu
Should a split still be considered a split when one band has four songs on it and the other only has one? I think this 7 should have been re-titled Koi Records presentsThirty3 with a guest appearance by Los Dryheavers. Unfortunately, the majority of this 7 blows ass. The four songs on Thirty3s side of the record are perfect examples of how punk rock is done on MTV. I dont want to hear a band that sounds just like every other band. Los Dryheavers side is much better. They combine aspects of street punk and rock n roll to create something killer. Los Dryheavers one song beats the shit out of the four lame ones on the Thirty3 side. Jeanette Moses

The Low Lows
Fire On The Bright Sky
Warm
Street: 09.12
The Low Lows = Neil Young + Feedback/Reverb + Teen Wolf
P.L. Noon, formerly of NYCs Parker & Lily, moved down South and started The Low Lows. He fronts the band as the epic wolf howler, feedback and reverb architect. Noon straight up elicits a full-moon-glaring-in-the-woods environment for Fire On The Bright Sky. The Low Lows sound like an orchestrated soundtrack for a Vincent Gallo movie: hauntingly sad, but alluring with their pleasant, uncanny aesthetic. They have the supernatural ability to make you think its Sunday everyday (which, can be a bit depressing). But The Low Lows are able to lure any creature into the woods and convince them to stay. Spencer Young

Mercy Killers
Bloodlove
Hellcat
Street:08.22
Mercy Killers = The Damned + Backyard Babies + Social Distortion + The Nerve Agents
Dark, brooding, and dangerous, the Mercy Killers entrance by displaying originality that can still be found is punk rock. After years of playing the role of sideman for bands The Forgotten, The Transplants, and Lars Frederiksen and the Bastards, Craig Fairbough decided it was time to take center stage himself and create a very interesting band in the process. While The Mercy Killers hit as hard, they also show their intelligence and talent throughout the record. The opening track Hollow pulls you in with its haunting melody and gets you going with its aggression. The title track Blood Love is a dark tale of bloody heartache. The sheer belligerence of End Transmission is a wake-up call. While there are a million punk bands out there doing their best Rancid impression, The Mercy Killers chose originality and struck creative pay dirt. James Orme

Made Out of Babies
Cowards
Neurot Records
Street: 09.05
MOoB = Big Black + PJ Harvery + anger
Julie Christmas has balls. Not literally I suppose, but her guttural scream at the beginning of the album Cowards prepares you for a battle; it literally feels as though the music is going to physically challenge you to some sort of duel with a dark lord. It was a match made in hell when Steve Albini pushed the record buttons and MOoB pushed the limits of the depths of darkness they could reach. You could call it post-metal, or post-goth but either way it is frightening and dark. Other times the album is slow and groovy and very masculine. Everything is a hyperbole and it can be quite tiring after a few listens. It is an intimidating record that requires the listener to be prepared to match energies with a band ready to take over the underworld. Andrew Glassett

The Matches
Decomposer
Epitaph Records
Street: 09.12
The Matches = Pop-punk + rock n roll + Freddie Mercury + Robert Smith
The Matches struck up a lot of good and bad attention with their debut album, E. Von Dahl Killed The Locals. For me it was bad, or worse than that. From the first few seconds when I saw their music video and heard what they sounded like, I was as stoked as if I were tracking dog poop from the bottom of my shoe all over my house without knowing it. I was that into them, Im not even joking. Get ready, because these pop-punk ferries are back for another go-around with Decomposer. Bracing for the worst, I popped it in the CD player. After a few minutes had passed, I realized the background noise of their new record wasnt what I had expected, well, mostly anyways. The lyrics still lean toward teenage heartbreak blah, blah themes but the music has flipped a u-turn. The overall sound of the band has become much more diverse, possibly due to the several producers on the record. Either way, it is a good sophomore release musically, while not necessarily lyrically, even though I hate to admit it. Jeremy C. Wilkins

Mercy Killers / Enemy Rose
And Two Become One
I Scream Records
Street: 08.08
Mercy Killers = Uninteresting
Enemy Rose = About the same
If I hadnt been staring at the cover of this split while listening to it, I would have thought it was one band. The members of both bands have a list of connections that reads like a whos who list in punk rock, but both bands are lackluster. Enemy Rose hits closer to what was expected with their played out punk n roll style (or wait maybe it was Mercy Killers). Bottom line is that when I listen to a split I want to hear two bands whose styles compliment one another, not blend together into an incomprehensible mush of indie-rock and moments that sound like they could be found on a screamo album or rather on a stage at Warped Tour. Jeanette Moses

Mondo Topless
Take It Slow
Get Hip
Street: 06.06
Mondo Topless = ? and the Mysterians + 40 years + Gordon Lightfoot
Anyone who names their band after a Russ Meyer film automatically gets my attention, and Mondo Topless neo-garage rock manages to keep it., and not just because Im a sucker for the Farfisa and glockenspiel! The band manages to mix unusual covers such as Paul Revere and the Raiders Louise and Solomon Burkes Stupidity with originals that sound as if they belong on an as-yet-unreleased Nuggets compilation. Frat chant Beer belongs right up there with Motochrists We Came, We Saw, We Drank as a party anthem. In fact, the whole CD is a great palate-cleanser after a steady diet of too much PC pomposity. There arent any politics herenot even the politics of dancing. This is just simple party music, of which there is far too little these days. Marie Braden

Monsieur Leroc
Im Not Young, but I Need the Money
Conerstone RAS
Street: 08.22
Monsieur Leroc = Money Mark + Avalanches + Unkle + Casey Kasems Greatest Hits CDs
With this record, M. Leroc asks, What would DJ Shadow sound like if he was too lazy to go digging for records? Or, to put it another way, is it necessary for someone whose music consists of samples to find something obscure and overlooked? Apparently so. While it is common for an artful DJ to take a familiar sample and make it something new, Im Not Youngreveals that it is oddly infuriating to hear a recognizable sample used in an unimaginative way. Though this record goes beyond unclear and stupidly obvious samples (i.e. Prince, Jerry Lee Lewis, Cat Stevens), they are characteristic of Lerocs poor mixing abilities, which bring to mind the repetitive and flat compositions of someone who just got Acid Pro. Rounding out the dull production are some erotically tinged soul and rap vocals which, concealed in the burlap sack of Lerocs lifeless beats, are so indeterminately sexy that they might as well be clips from the Diane Rehm Show. Bob Leavitt

Motochrist
Hollywood High
Dr. Wu
Street: 04.06
Motochrist = beer + sweat + fun + classic rock + punk
Versatility is overused as a catchphrase in music, usually as a way to indicate that a band has no direction. However, Im not sure any other word is more appropriate for Hollywood stalwarts Motochrist, who always bring their own sound to other peoples material. How else can you describe a band that is equally comfortable with covering the Ramones AND Lucinda Williams? While Hollywood High doesnt quite capture the magic of a live Motochrist performance, it does give an idea of their sense of humor and impeccable musicianship. Theyre loose, but not sloppy. Highlights include drum diva Chad Stewarts harmonies (particularly on I Lost It) and the triple-guitar attack of Jason DeCorse, Ricky Vodka, and the Dwarves Marc Diamond on the show-stopper Freebird finale. Marie Braden

NoMeansNo
All Roads Lead to Ausfahrt
AntAcidAudio
Street: 08.22
NoMeansNo = Valiant Thor + Fish Karma
This is the kind of album that your mother would love, that is until she turned up the volume and really listened to it; then shed probably vomit on herself. The lyrics deal with molesting children, burying them in a cellar and then flying to Guam to fuck a babyand these lovely topics can all be found on Mondo Nihilissimo 2000, which is so catchy you cant help but sing along. NoMeansNo are fucked up, but their morbid and un-politically correct lyrics can break a smile on any ones face and make them mutter, Oh my god! This is so bad, I cant believe Im listening to it, while turning bright red from embarrassment and giggling like a little girl. (10.07 Burts) Jeanette Moses

Nouvelle Vague
A Band Apart
V2
Street: 08.22
Nouvelle Vague = Massive Attack + Brigitte Bardot + postpunk
Cover songs: the second best method for an artist to get out of a four-record deal Greatest Hits being the easiest escape. However, some acts make a career at it. At a glance at the selections here, you first think, How the hell is a Bossa Nova-laden French project going to pull off New Orders Confusion or Billy Idols Dancing With Myself?! The answer: swimmingly. From the lilting lust of the should-have-been-on-the-Amelie-credits opener, Echo and the Bunnymens The Killing Moon, to the breathy, field-recording laden finale of Visages Fade to Grey, its evident that Nouvelle Vague isnt a gimmicky outfit bound on getting a foot in the door via nostalgic shtick. Armed with a number of sensual vocalists, this production duo recreates the 80s with their own insulated slant. Bauhauss Bela Lugosis Dead finally reaches the proper darkness it aimed for (i.e. distant church bells, skittering feet in an alley, deep-register organ textures with come-fuck-me vocals). Blondies Heart of Glass booms with sub-bass, djembe and restrained accordion, shakers and coffee shop ambience. Hell, even the Stereolab-esque skew on U2s Pride (In the Name of Love) sounds great here. Nouvelle Vague respectfully and craftily re-tool a world of their own, one that will appeal both to those who have and (somehow) havent heard the originals. Musique douce et douce! Dave Madden

Nurse With Wound
Rockn Roll Station
Beta-Lactam Ring Records
Street: 08.01
Nurse With Wound = Konono No. 1 + Atonin Artuad + Luc Ferrari
Started in 1978 by sole member Steven Stapleton, Nurse With Wounds early output consists of music made by non-traditional instruments found and brought into the studio pieces of metal, sticks, junk, etc. put through some studio production to produce noisy soundscapes. On this re-release from 1994, NWW have become more rhythmic by utilizing and exploring ethnic, primal beats. This divergent direction finds sparse, spliced spoken word and dark aural textures intertwined with danceable beats that deify club hit status. Rockn Roll Station maintains a center of moving tension as it bleeds in and out consciousness through its own brand of pulsating emotion. As the first lines of the album quite aptly state, rockn roll session is a session where we can do what we want to do. And rightly so. Erik Lopez

On the Last Day
Meaning in the Static
Victory Records
Street: 08.22
On the Last Day= Eyeliner goth/punk/hardcore band

From MTV2s Chat Room

Eyelinerdeath: have u heard the new OTLD?

Wristsarered: no. is it good?

Eyelinerdeath: omg. they are my new favorite! what are u into?

Wristsarered: Atreyu, Aiden, My Chemical Romance, u no.

Eyelinerdeath: u would luv them!

Bloodyheart666: i heard that cd. theyll probably get their video on mtv2 soon.

Eyelinerdeath: his singing voice is good. They are good guitar players too.

Oldschool101: dudes voice sounds like boysetsfires singing.

Wristsarered: who?

Eylinerdeath: who?

Bloodyheart666: is that a rap group? lol.

Oldschool101: nevermind.

Eyelinerdeath: i just luuuuuv the screaming and the chuggy stuff. it sounds like atreyu. All of my favorite bands sound like that.

Wristsarered: is it easier to part your hair after you dye it black on the left or right?

Bloodyheart666: left, I think. my mom wont let me wear eyeliner to my sisters wedding. :(

Oldschool101: has signed off -Peter Fryer

Parkway Drive
Killing With a Smile
Epitaph
Street: 08.22
Parkway Drive= Unearth + Killswitch Engage - Singing + melodic metal riffs
The commercial goes Fosters, Australian for beer, the promo for this album should go Parkway Drive, Australian for melodic metal core and it should involve Unearth not being able to catch their plane to Australia and having Parkway Drive stand-in onstage wearing wigs. The only thing truly unique about this album is that it comes from the land down under. Produced by Killswitch Engages Adam Dutkiewicz, the production quality is top notch and the playing is technically proficient - in the world of music though, proficiency does not equate to engrossing, and production quality is mostly important if its supplemented by truly original work. Guitar acrobatics flourish in the songs like brine flies at the Great Salt Lake - many of the guitar lines are catchy, and the melody of the guitar lines is very European. The vocal styling and breakdowns, however, are calculated. And therein lies the problem, the calculation of this disk. Parkway Drive mastered the style of their peers and do a fine job of pulling it off. However, they have yet to read the chapter in the book of hardcore/metalcore that shows the ones that stand apart have something new to offer. Since this album was released overseas in 2005 hopefully theyve had some time to learn some new tricks because the pieces are there. -Peter Fryer

Peter and the Wolf
Experiments in Junk
Whiskey and Apples Records
Street 8.01
Peter and the Wolf = The Handsome Family + Devendra Banhart + No Neck Blues Band
Red Hunter doesnt have the overtly enigmatic flare of The Residents or Larsen, but he is far more mysterious in a phantasmal way. His album is only available off www.whiskeyandapples.com and was never intended for public distribution, guaranteeing a minimal exposure. This lo-fi demo disc of eighteen tracks ranges from an interview to a very Vile Blue Shades-ian track about the absurdity of suburban life to a minimalist Apalachian song about a snake oil salesmans first love. Experiments in Junk is a collection of apparently arbitrarily chosen recordings of Red Hunters notoriously elusive shows, legendary in their spontaneity on a Situationist scale. Most people only hear about shows through other people (Hunter threatens to disappear these finks), or show up through luck in such venues as islands, highways, abandoned buses and crashed boxcars. In a way this demo disc album is a lot like Hunters band whispered, furtive, half-formed and brilliant. Lets hope his upcoming official album tentatively titled Lightness polishes instead of mars Hunters talent. - A son of Jep

Pharrell
In My Mind
Interscope
Street: 07.25
Pharrell = he who wrote Rump Shaker and Milkshake + enough style to start three fads
Have you given up on The Neptunes? I almost had. Their style ofwell, their Neptunes style is a flavor that immediately appeased but grew a little stagnant though what a damned flavor it is: a waffle covered in ice cream covered in Gummy Bears covered in chocolate that inspires even the staunchest of haters to lose his rag when Im a Slave 4 U or Rock Your Body comes over the sound system. We see Pharrells ability to adapt and conquer. Present is his incredible instinct for radio-friendly hook and texture combined with jazzier shades (i.e. boom-bap loops replaced with softer jazz brush and military snares) from N.E.R.Ds previous, critically-booed album and relatively drastic formal changes and break-downs. And like both N.E.R.D. albums, a little time investment is necessary to appreciate the genius something you do if you can manage to turn off the repeat button on Can I Have It Like That (featuring Gwen Stefani). 80s R&B ala Rick James and Shalamar (Baby), lovesick ballads (Take it Off (Dim the Lights)) and straight up hip-hop (Show You How to Hustle) all come together and make sense under Pharrells thumb. Yessir! Dave Madden

The Pink Spiders
Teenage Graffiti
Geffen Records
Street: 08.01
The Pink Spiders = genre-crossing rock n roll full of hooks that pack a punch
The first few seconds of Soft Smoke, the first track off The Pink Spiders new album is all that is needed to be sold on the band, their music and this, their major label debut. At the risk of sounding clich, Teenage Graffiti has it all; it has more good music than most people know how to handle and enough attitude to slap awake whoever isnt catching on and get that person to sit down, listen and understand. The album spins like a good rock record with pop and punk tinges and plenty of energy. Song to song and from hook to hook the album twists and turns in all different directions, but punk n roll is really the best way to describe where it ends up. Full of punk attitude and snotty confidence the Spiders brand of rock is more than capable or taking over, just as their debut EP, The Pink Spiders Are Taking Over declared more than two years ago. Theres no reason why they shouldnt. Jeremy C. Wilkins

Priestess
Hello Master
RCA
Street: 6.13
Priestess = Clutch + Thunderfist + Buckcherry (no, really)
Priestess opened for Motrhead on their last tour, and with something like that on your resume, they are now fully prepared to pass into the next world. Priestess is brutally heavy rock n roll most of the time. Its tempting to put them in the stoner category, but thats too easy. Bearing some resemblance to the stickily melodic riffs of Fu Manchu complete with anthem choruses, their closer cousin is probably AC/DC or damn even Deep Purple. Mikey Heppners high-range vocals alternate between being annoying and impressive, and Priestess unfortunate lapses into cheese (Talk to Her, Time Will Cut You Down) and lukewarm lyrics are regrettable but able to be maneuvered around. Lay Down is the best track. Rebecca Vernon

Rainer Maria
Catastrophe Keeps Us Together
Grunion Records
Street: 04.04
Rainer Maria = thoughtful music with a heart
Some call them emo, and maybe they are, if done so with the original movement of emo bands in the 90s in mind; bands that sang music with heart like Jawbreaker or Sunny Day Real Estate. But keep it straight that Rainer Maria is not a band filled with emo cry-faces that are plagued with un-ending whining about relationships and how the world has it out for them. Rather, their music has heart and if that makes them emo, then I guess theyre emo. Its a shame a band cant make thoughtful and emotional music these days without being labeled with the rest of the pack of losers that have made a good thing bad. Catastrophe Keeps Us Together is Rainer Marias fifth release and first since 2003. Much less guitar-driven, the album relies heavily on powerful vocals and songs that have a deep melancholy feel. The first track, Catastrophe, is easily the catchiest, at least initially. As the record moves on, other tracks present themselves with such vivid imagery, like the opening words of Terrified, that it isnt hard to get drawn into a trance by the consuming vocals. Appreciation for the rest of the tracks quickly follows. (In The Venue 08.23) Jeremy C. Wilkins

Rhymefest
Blue Collar
Allido/J Records
Street: 08.06
Rhymefest = Kanye West + SunSpot Jonz + Las Vegas Bathroom Attendants
Riding on the fame bandwagon fueled by Kanye Wests recently un-tarnishable nam