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November 2006 - Issue 215

31 Knots
Polemics EP
Polyvinyl Record Co.
Street: 11.07
31 Knots = something in between Fugazi and Modest Mouse
The intro to this five-song EP, properly titled Sounding Our Uncertainty, is enough to draw in even the most skeptical listener with its varied noises and mysterious chanting, followed by a smooth transition into Seditions Wish. The most intriguing thing about 31 Knots and their new EP is that they are nearly unclassifiable; they tread in the waters of prog rock, math rock, indie rock and just plain rock, without giving too much of themselves to any of the four. The slow and subtle guitar riffs, sound effects and vocals bleed into one and, without warning, become loud and unstoppable, but not in an abrupt way, leading me to my next point: Their music is very progressive. Soft sounds roll into loud guitars and shouting vocals without a jarring transition The music flows like a stream following its riverbed, the water current picking up speed along its journey to the waterfall until it gradually becomes a raging explosion of noise and energy as it spills over a cliff. 31 Knots is a remarkable trio on so many levels, just as Polemics is a remarkable release in numberless ways. Jeremy C. Wilkins

65daysofstatic
One Time For All Time
Monotreme Records
Street: 11.01
65daysofstatic = Mono + Boredoms + The Industrial Revolution
65daysofstatic waste no bands take nine minutes to accomplish an arc in a song, 65 create a dozen in half the time. Like a vortex, they culminate the energy of everything all at once. While this may seem overwhelming; its somehow pleasantly consumable, like Capn Crunch Berries. 65 draw from an x, y and z lineage, delineating their ability to communicate in conjunction with other peoples happiness and the accelerated destruction of the earth. Or in their words, Here we are for the longest day of the year, yknow its all downhill from here. Neither pessimistic nor optimistic, this is a shtick, which runs the gamut of energy Ezra Pound and Wyndham Lewis dreamed about. Spencer Young

Andrew Liles
The Dying Submariner (A Concerto for Piano and Reverberation in Four Movements)
Beta-Lactam Ring
Street: 06.06
Andrew Liles = Gavin Byers + Samuel Coleridge + Harold Budd
What happens when you add Rime of the Ancient Mariner and Iron Maiden but hold the Maiden and insert underwater tableauxs? What you dont get is your aquarium screen saver complete with sunken ship and incidental fish noises. Andrew Liles, instead, has created a lurching moaning composition that is equally frightening for its tight chilling style as it is for its sustained notes. The Dying Submariner takes off where Maiden failed (actually making a song about the Coleridges Ancient Mariner); it shimmers and shakes, pitches and rolls as one part harmonizes with another and echoes and reverbs off yet another pair or chord of notes. You would think that with each track being 20 minutes (give or take a minute) that it would bring on the boring but instead it is delicately balanced enough to sustain interest the same way that staring at an aquarium is alluring. While Coleridge did The Rime in seven parts Liles was able to do it aurally in four! Boo Ya, Coleridge! Erik Lopez

Antlerand
Branches
Sound Family Records
Street: 06.06
Anterand =The Helio Sequence + Quasi + general shoegazer indie rock (but slightly smarter)
Antlerand (formerly Invisible) began in late 2002, with members traveling between Portland and Phoenix. After Invisible released their EP, Zach Okun relocated to Portland to join Chris Larsen, pick up drummer Delaney Kelly, and formed Antlerand. While reading various bios, every one seemed to put strong emphasis on the fact that Chris is a multimedia graphic artist. It makes sense because it seems they arrange their music much like a designer would arrange the elements of their design (colors, shapes, visual weight of objects). All has balance. In their album, Branches, the sparse drumming carries the music while leaving space for the dense instrumentation. While layering everything from piano to horns, and even a banjo, they manage still to keep an airy atmosphere that you can move through. No one sound takes the spotlight. Like design, even when presenting lots of information, it still has to be clean, functional, smart, and open. Each song offers a great amount of variety while still keeping its bearings. In track 02, Now Its a Year, features a guest contribution from Janet Weiss of Sleater-Kinney and Quasi. While this album wont smack you in the face, it will resonate. Emily Allen

Bambix
Club Matuchek
Go-Kart Records
Street: 09.19
Bambix = Millencolin + The Distillers + Lagwagon
Remember in the 90s when every band on Fat Wreck Chords sounded like a second-rate NOFX clone? Well, apparently news that the punk world has moved on never reached The Netherlands, homeland of the female-fronted Bambix. Now I'm not lamenting the passing of uncreative, formulaic and rarely amusing records from the likes of Goober Patrol and Nerf Herder, but Bambix actually pull off the mid-'90s Fat sound in a pretty entertaining way. The first half of the record is driven by relentless drumming and the melancholy vocals of Willia van Houdt, who explores inner-feelings of helplessness and being lost without sounding too pretentious. The semi-serious nature of the record is broken up by "So Sorry Song" and "Flippin, USA" which explore the advantages of lesbianism and the general stupidity of American girls, respectively. From then on, the album follows the standard formula of songs about girls, drinking, and the occassinal politcal tirade. The album blows by in a half-hour, and though Bambix isn't doing anything revolutionary or pushing the bounds of their genre by any means, Club Matuchek is a solid album full of energetic and instantly catchy tunes. Ricky Vigil

The Bad Hand
This Is No Time For Modesty
Daly City Records
Street: 08.25
The Bad Hand = Tortoise + 311 + laughter
Fusion is a word that can be somewhat elusive when describing music. Sure, it means that two or more distinct types of music are coming together to form a new blend, but more interesting than that is when the different types of influences actually influence each other. It would be easy to call The Bad Hand a bluesy, jazzy, psychedelic indie rock band, but it is more interesting to talk about the rock sounding drums playing jazz or the blues guitar playing pop riffs. There is also a little bit of punk in there for good measure that doesnt seem to influence or be influenced by anything. There is a sense of humor about it all and the band is a group of musicians who just really enjoy playing music together. There are times where the band sounds like they might be on to something, but the moment passes too quickly. Andrew Glassett

Bears
Self-Titled
Unsigned
Street: 08.06
Bears = Belle and Sebastian + Camera Obscura
Thinking of bears can lead to a few different thoughts. The word can be perceived as a fierce and vicious character, like a ferocious grizzly bear. However, the approach most appropriate to characterize Bears is that of a cute little teddy bear; loveable and appealing at the same time. Never Have to Guess, starts the album out with a short but sweet tune combining a twee-trademark of soft, layered vocals and various euphonious bell sounds. Walk Away, the very first song created under the name Bears by brainchildren Craig Ramsey and Charlie McArthur, continues the flow of honeyed vocals, but with a twist of country twang mixed in. Hailing from Cleveland, the duo plan to create a new album experimenting more with various instruments and ideas. Bears self-titled debut is a glorious gospel that cutsie indie-pop is still being produced in an original fashion. Tom Carbone Jr.

Beck
The Information
Interscope Records
Street: 10.03
Beck = Rambo + Arthur Rimbaud + Jim ORourke
The colors in Becks latest entourage, The Information, disrupt shapes and lines in a fashion that turns rote consciousness inside out into creative unconsciousness. In other words, spontaneity hits the dance floor like Charlie Chaplin: the feet move quicker than the brain; the senses send signals to themselves. Norms and forms crumble under the impromptu-stylized orchestras and realized roles get busted into indiscriminate, yet purposeful, mosaics. The 8-bit aesthetic of Becks funk-talk and sing-song-sing approach becomes fulfilling through his soul-infused bossa nova grooves, and when combined, a dance ensues through every square inch of this album. The Information posits (un)comfort akin to a stranger sitting next to you on a plane in the exit row, casually unbuttoning your work shirt and rubbing your chest. You both said, Yes when the flight attendant asked if you were willing and able to assist in case of emergencies. Is this an emergency? Do desolation and desperation criss and cross? And when we dance, do we, as Beck suggests, dance alone? As per the do-it-yourself liner notes (the album comes with stickers and a blank booklet that allows you to play art director), Beck prompts creative action with The Information. Spencer Young

The Black Watch
Tatterdemalion
Stone Garden Records
Street: 11.28
The Black Watch = The Cure + The Kinks
For years John Andrew Frederick of The Black Watch has been tucked away from widespread attention, and with this new release could come the broader audience many have predicted. The good news: the album is charming as hell. The bad news: charming is about all it is. It almost sounds too good; which is to say it lacks a certain amount of character or personality that makes other indie-rock/folk albums memorable. Good? Yes. Fredericks breakthrough release? Dont ask me, Im not a doctor. Jeff Guay

Brunnen
The Beekeepers Dream
Beta-Lactam Ring
Street: 06.01
Brunnen = quieter Yo La Tengo + Scott Walker + Edward Ka-Spel
While saying the masturbatory sounds of would be to dirty a phrase to utter for this album, The Beekeepers Dream does have a self-satisfied sound with its muted tones and quiet lazy hazy summer passages; it makes you redefine what a stroll in the park is. The majority of the album is a dreamy just sleepy enough tribute to the thought of what David Tibet would be if he wasnt as obsessive as he is. Tracks such as Shame and All the Same serve up redolent of grassy hill vocals while the Trial and 666 are a little more nervous, a little more frantic. If you like your cuddle music to give more bite, less coo- and sweet nothings, than this your album. Erik Lopez

Bullet Treatment
The Mistake
Think Fast!
Street: 10.31
Bullet Treatment = Inside Out + Kill Your Idols
The problem with most new hardcore records, be they metal or punk tinged, is how reigned in they are by the production quality. Bullet Treatments newest release, their first true full length, can be summed up in one word: unbridled. The damage of shredding screams can be heard in Matt Caughthrans (The Bronx) vocals. None of the washed over reigned in vocals that are present on so many releases are on this album. Its most apparent in the fleeting moments of sung vocals. The damage is there, the vocals are dirty, messy, and slightly out of tune, and its what makes this throwback shine. They are exactly the kick in the pants thats needed. There isnt too much punk rock chords can do, sort of like food at the Olive Garden; 2 sauces and 4 pastas doesnt allow for much originality, but if waiters started catapulting meals at unsuspecting customers it would be a different story. So, even though the music isnt terribly original the vocal shredding keeps it together. The Mistake feels like a live show thats crammed into a stereo and doesnt disappoint in its homage to the early 1980s of hardcore punk rock. Peter Fryer

Dmonstrations
Night Trrors, Shock!
Gold Standard Labs
Street 10.17
Dmonstrations = Get Hustle + Ex-Models + DNA + Kill Me Tomorrow
This album is challenging to grasp, simultaneously minimalist and progressive, an angular guitar noodles un-repetitively over a cut rhythm while vocals shriek post-modern imagist poetry really a modern take on the most inspired moments of New York no wave. Innovative sound typical of the GSL family, Dmonstrations occupy a niche in contemporary music shared with bands like HEALTH, Kill Me Tomorrow, Ex-Models, and Liars. In essence, these are some fucking rad jams. Ryan Powers

Darkest Hour
Archives
A-F Records
Street: 10.3.06
Darkest Hour = Carcass + Entombed + At the Gates
Darkest Hour have been playing brutal, fast, evil metalcore since before most hardcore kids had even heard Reign in Blood. Archives is a compilation of their first two E.P.s, The Prophecy Fulfilled and The Misanthrope, and some alternate versions of songs off said recordings. Theres more metal than core here, and its all pretty fucking good, especially when compared to their more recent counterparts who are mainly just reaping the benefits of a popular music scene. When all is said and done, Archives proves one important point, due to longetivity and originality, Darkest Hour have more scene points than you and your girlfriend combined. Chris Carter

DJ Shadow
The Outsider
Universal
Street: 09.16
DJ Shadow = Dr. Octagon + mainstream rap + silly stupid sentiments
Despite the apparent disparity between DJ Shadows first two records, Josh Davis always worked from a common theme and demonstrated an adherence to the art of crate-digging. It is rather bothersome, then, that a record three years in the making should display a complete lack of identity and cohesion. The Outsider opens with a handful of stock hyphy numbers, clumsily transitions into Katrina discourse and southern rock-rap (I couldnt believe it either), wallows for 25 minutes in vintage UNKLE Brit trash and returns to radio-friendly hip-hop. It can only be described as saying nothing about everything, or it may highlight Ry Cooder syndrome, in which self-assumed cultural stature extends curiosity to genres far beyond ones own skill set. Most tellingly, identity is so obscured here that when E-40 commands Shadow to holla at these fuckers, the reply is a flit of Nintendo phasers straight from the mouth of an overexcited automaton. Justin Thomas Burch

El Perro Del Mar
Self-Titled
The Control Group
Street: 11.07
El Perro Del Mar = young Nico + A Girl Called Eddy
Sarah Assbring the sole mastermind behind El Perro Del Mar, creates melodies and ballads of lost love and hope with her self-titled debut. Translating to the sea dog, El Perro Del Mar was formed after Assbring took a walk on the beach and saw a dog out of nowhere. After this, she was inspired to create music she hadnt been able to create in years past. Candy, directly influenced by this sudden epiphany. It combines simple acoustic strums with tambourine percussion and an elegant echoing voice. This album is full of dolled-up blues songs, with references from God to dogs, further portraying Assbring as perfectly miserable. When it seems like an album couldnt be any more sad, El Perro Del Mar breaks out in to la-la-las and oh-oh-ohs in the final track, Never Look Back. She is happy the album is over, while I feel strangly apathetic to the whole thing. Tom Carbone Jr.

The Evens
Get Evens
Dischord Records
Street: 11.06
The Evens = Fugazi the rock edge + Two Gallants the rhaspy vocals and the occassional hard hitting guitars + folk-style singing
The Evens are a unique band consisting of only two people: Ian MacKaye (Minor Threat, Fugazi) and Amy Farina (The Warmers). With MacKaye playing the baritone guitar and singing and Farina playing the drums and lending her voice to the songs as well, The Evens, though small in number, are large on sound and talent. Their sound is something in between folk, indie and acoustic rock. It is as if they took each of those types of music, stripped them down to their purest form and then combined them all and subsequently not for one second of Get Evens, The Evens second album, is it apparent that there are only two people playing this music, because its sound is so full. Each of the 10 tracks burst with energy and a true feeling of sincerity. Having recorded the album in the basement of the Dischord House by themselves helps add a feeling of intimacy to the finished product, and it is easier to feel that the band care more about the music and creating music for musics sake then making a quick buck off a single on the radio. Above all, Get Evens is a success because the music is goodits as simple as that. -Jeremy C. Wilkins

French Toast
Ingleside Terrace
Dischord Records
Street: 10.09
French Toast = Wilco + Badly Drawn Boy
Its interesting to see the evolution in not only music, but record labels. Of course, anyone who followed or knows anything about hardcore and punk rock in the early 80s recognizes the impact Dischord Records had on the early scene. Bands like Minor Threat, Government Issue, Teen Idles, State of Alert and Youth Brigade dominated the roster of Dischord. These days, the roster looks quite a bit different, but thats not necessarily a bad thing; its simply called evolution. French Toast is one example of the new Dischord. With their second full-length, Ingleside Terrace, French Toast gain a member and became a trio as well as exhibit what they are capable of, which turns out to be pretty damn near anything. Throughout each track on the album, the three play musical chairs with their instruments and vocal duties and, in the process, create a record with diverse sounds. Instead of confusing the listener with the constant changing of instruments and vocal assignments, each of the tracks have their own personality, from mellow to more rock-oriented vocals and music, all working together well as a whole to make a strong piece of work. Jeremy C. Wilkins

Gojogo
All Is Fair
Galaxia Records
Street: 11.21
Gojojo = Schoenberg + Brian Eno + Caliphone
Heres a nice little treat. Gojojo, using Indian percussion and European stringed instruments, sanction out patterned musical deliciousness via the Pakhawaj and dholki, among other unpronounceable music makers. At first listen its easy to imagine yourself in an Indian restaurant peacefully eating benghan bartha curry. The further those spices settle in however, the more an Otherness makes itself known through unconventional instrumentation and unpredictable harmonization. The track All Is Fair In Love and War can stand up to any band with an electric guitar and distortion pedal by creating tension heavier and more intricate than a homemade quilt. Spencer Young

Hatebreed
Supremacy
Street: 08.29
Hatebreed= The reason people have even heard of hardcore
Lets set the record straight right off the bat: Hatebreed is one of the most popular hardcore bands ever. Jamey Jasta is all over the place; hosting TV shows, running a label, and singing for Hatebreed. It was five years between Hatebreeds first full length Satisfaction is the Death of Desire and their second Perseverance. Theyve now released two more albums in the last few years, and kids from the scene, the arcade, and the local football team eat it up. Hatebreed has the aggression of bands before, but without the strict hardcore scene politics. They are accessible and in a weird way positive. So, its a very easy, marketable pill to swallow. There are no cries of sellout here, Hatebreeds doing what they do best, creating the mosh and talking about self-improvement. However, this newest release just doesnt have the punch of the last few. Its not as thick, the production quality sounds a little tinny, and the vocals are more restrained, more produced. The guitar lines are standard tough guy, nothing too special. But, those looking to get psyched for the next extreme sports competition, mosh pit, or football game will have no qualms. Peter Fryer

Holy Smokes
Talk to Your Kids about Gangs
Skin Graft Recordsv Street: 11.04
Holy Smokes = Hella(5 member version) + Pure Moods + FCS North
A little deviated from the standard Skin Graft release, whatever the hell that is, this album is more like ambient music to the nth degree of radicalality. The plethora of sounds is welcome as they are all well calculated and positioned musically, quite a phenomenal collaboration as opposed to a clash of musicians and styles. The repetitive nature and organic drums (courtesy of Hellas Zach Hill) bring elements to noise and minimalist orchestration that are ingenious. The vocals arent quite my style, but are strong and avoid clich at all costs. Well done, champions of musical goulash, well done. Ryan Powers

Hybrid
I Choose Noise
Distinctive Records
Street: 11.21
Hybrid = 808 State + Hans Zimmer
I saw this disc in my to be reviewed bin and said, If this starts with high, fake, drama strings, Im tossing it in the trash. Guess what? Hybrid didnt let me down! Welcome to the most predictable album of the year. Aside from calculable steps such as enlisting droning vocal talent from Perry Farrell (he really just needs to stop and relish in his glory days) and some sirens, blowing a wad of cash on A-list film composer Harry Gregson-Williams and the Seattle Orchestra to perform ersatz string swells (so many strings on here), the music is a vapid clone of everyone before them (including Hybrids previous work). The harmonic progressions, the form, the sounds (strings!!!), the global shapeyou can anticipate everything coming from mile and 32 bars away. Do you really need another version of The Orbs The Orbs Adventures Beyond the Ultraworld and BTs Movement in Still Life? Hybrid took a formula, milked the teet again and again and offer you the vapid leftovers. Dave Madden

Imperial
We Sail at Dawn
Pluto Records
Street: 11.14
Imperial= From Autumn To Ashes + Darkest Hour
Postmodernism strikes again! Congrats to Imperial for being one of the first bands to reference/copy/attribute a sound to a band that produced the sound a mere 5 years ago. The distance is too great for it to be a simple copy of a style- and too close for it to be retro. Most CD labels read harkening back to the days of Led Zeppelin or reminds one of youth crew bands like Youth of Today not sounds like the Ateryu of 5 years ago! Only in the 21st century could a band reference a band like Atreyu was simply a pastiche of other styles they were emulating, so you basically have a copy of a copy. This style is more than played out. The music is adequately played, some of the guitar riffs are encroaching on epic, but power metal and Gothenburg drained that well long ago. Imperial (bastard cousins of Emperor?) concocted their favorite mix of metal/hardcore/emo/and balladry and hoped it stuck. Instead it sounds like the aural equivalent of mixing all of the sodas at 7-11. Peter Fryer

Joanna Newsom
Ys
Drag City
Street: 11.14
Joanna Newsom = Alice Coltrane + Marianne Faithfull
Of all the artists in the world, I can think of very few where the phrase love or hate applies more than with Joanna Newsoms music. Her unique style of almost-crackling voice and harp arpeggios, hashing out songs with subjects such as killing your dinner with karate and bean sprouts, sends some running for the CD changer (Ive seen this, twice, at parties) while others willingly wilt to the floor after just a few notes. To the latter crowd, youll be happy that Newsom hasnt changed her style, though this time around shes thinking bigger. Longer, more developed works (Ys is 5 tracks, at just under 56 minutes total) augmented with an orchestral backdrop and wrapped up in a Jim ORourke analog mix (Steve Albini recorded her solo voice and harp). Though still chancy dialog such as, And the little white dove/made with love, made with love; made with glue, and a glove, and some pliers, she sounds less insulated and more confident, expressing epic passion for her subjects. In other words, shes no longer a peasant girl, trapped in a tower in some faraway kingdom: shes The Queen! Dave Madden

Joe Lally
There To Here
Dischord Records
Street: 10.09
Joe Lally = music in its purest and simplest form
I cant say that I was immediately impressed by Mr. Lally and his album, There To Here. At first I found it bland, boring and slowvery slow. His music is mellow and contemplative and once I began to read deeper into the meaning behind the songs on this record, I started to understand and appreciate how the simplicity of it all works well together. Most of the tracks consist solely of Lallys brand of talk-singing and his bass with touches of random percussion and backing vocals from friends and former bandmates such as Ian MacKaye, whom Lally played with in Fugazi. That is not to say there is never the strum of a guitar heardit is, only sporadically. There To Here is more about what is said than what is played instrumentally. Rather than the vocals accompanying the music, it feels like the music accompanies the dominant vocals. To get the most out of this album, it takes some thoughtful listening, but in the end, its worth it. Jeremy C. Wilkins

The Killers
Sams Town
Island Records
Street: 10.03
The Killers = A Las Vegas marketing campaign
At the outset, I admit, I intended to find something in this album that would allow for a scathing review. But that would be all too easy and, reall, wrongfully malicious. The Killers, after all, put out a killer track on Hot Fuss (All These Things That Ive Done), which deserves them the benefit of the doubt. This time around, despite the obvious identity swapthese cute lads traded in their eyeliner and hairspray for the Easy Rider look: beards and leather vestsit becomes impossible to separate the songs from society. Meaning: The Killers are a band that satisfies market expectations and trends. With more anthems built to mirror the human condition, The Killers succeed for the same reasons Tim McGraw does; both cater exclusively to the emotions that make us human and both lucidly universalize these emotions into clear crystal myth/meth. Case in point when singer Brandon Flowers coos: "Don't you want to come with me, don't you want to feel my bones/feel my skin, it's only NATURAL." Spencer Young

The Kooks
Inside In/Inside Out
Astralwerks
Street: 10.03
The Kooks = Rooney + Brobecks + The O.C.
Apparently these guys are huge in Europe, which would be interesting if they were from America, but they arent from America they are from southeast England. They are the new face of pop rock who also are very lively musicians that can actually play their instruments well. Songs like Eddies Gun are stadium beach rock, while Ooh La and Seaside sound more like a living room acoustic jam. There are fourteen songs on the album that gives the listener a sense that they could put on a live performance that is engaging, interesting and long enough for an entire night of entertainment. There might not be anything surprising or forward thinking, but the album is perfectly executed and sets a scene for a great party or celebration of any kind. Andrew Glassett

Lillingtons
The Too Late Show
Red Scare
Street:10.10
Lillingtons = The Methadones + The Queers
Alright, kids, if you're ready and willing for an album immensely full of catchy hits about zombies, aliens, the red menace, and double-agent spies ... this one's for you! It may sound cheesy, but I like the Methadones, so I enjoyed this band. My favorite track from The Too Late Show was All I hear is static when you talk for the very reason that its catchy as hell! I was singing that nonsense for days. I also enjoyed their song Zombiesmost any song about zombies is one I can dig my bloodthirsty teeth into, and who cant enjoy lyrics about eating brains? All in all, if you're in the mood for some upbeat, B-Movie-inspired pop-punk, this one's for you. And if it means anything to you, Fat Mike loves the Lillingtons. Sara Edge

Lyrics Born
Overnite Encore: Lyrics Born Live!
Quannum Projects
Street: 10.31
Lyrics Born = C-Lo + James Brown
Lyrics Born is in a fast-forward evolution, including a new website, new album and a new tour (even though it seems he stops by Salt Lake City about three times a year). With his live band backing every word he utters, he has quickly become an entertainer for everyone, a hip-hop James Brown, if you will. Overnite Encore successfully captures the energy and sound of a live Lyrics Born festival-style show. Quannum Projects have to be VERY happy with their new affiliate who is more apt to make records than drop a slough of singles every six months. Recorded in Sydney, Australia, Overnight Encore takes you on a funky ride to the down under where Lyrics Born lets you know just how hype he can be. Lyrics Born gets the crowd to participate on every song, almost as if he wrote every song for a live show, not just an album. He has unlimited blows and never stays in the same spotit makes you wonder what hell do next. Lance Saunders

The Mall
Emergency at the Everyday
Secretariat Records
Street:10.03
The Mall = Paperrad + Japanther + Babyland
The Mall delivers synth-punk in its most percussive progressive radessive state of jamage. Fairly close to punk convention, the innovation comes at the almost entirely synth musicianship, which is catchy yet noisy as all hell in a very Japanther kind of way. Bass guitar and acoustic drums firmly base this album outside of any electro classification, yet the hyper-energetic vocals and synth riffs keep them from any sort of standard punk classification. The Mall is another absolutely phenomenal band that defies any real genre grouping or even comparable associations. Did I mention the synth-metal breakdowns? the dance tracks? Holy shit! This will rule your balls more than a handful of miniature dictators in your underwear. Ryan Powers Matt & Kim
Self Titled
IHeartComix
Street: 10.06
Matt & Kim = Dumb Inside Jokes + The Wiggles + Mates of State + No-Fi Soul Rebellion
I guess this is cute or something. Cute in a really embarrassing way even if you are listening to this by yourself, it brings a sort of shame - shame on humanity, shame on yourself, and shame on Matt & Kim. The cute couples who play indie-rock genre pioneered by We are the World Trade Center and Mates of State is done a great injustice here the songs are self important, lack quantifiable themes, and any thread of decent musicianship. In fact, listening to this right now is ruining my life. I wish that halfway through recording the album there was a fire that killed everyone involved that would be neat to hear. Ok, well dont waste your time listening this pile of flaccid dicks, it will bore you into impotence, and give you ingrown hairs and boils all over your body. Dont say I didnt warn you, it sucks smegma-vag. Ryan Powers

mewithoutYou
Brother, Sister
Tooth & Nail Records
Street: 09.26
mewithoutYou = Form of Rocket + Bright Eyes + Gee-oh-dee
I do not exist only YOU exist is the definitive line and mantra of mewithoutYOUs latest, Brother, Sister; its also the reason why they compose their moniker so strangelyalthough, if me were in parentheses ((me)withoutYOU) it would be more appropriate, but would also extend the meta-ridiculousness a little too far. Postmodern composition aside, these guys are really serious about the metaphysical. The You can be none other than the almighty G-d, and mewithoutYou feel it necessary that He be bolded and respected via omitting the o. What is it about this o that is so sacrilege to put in print, but okay to be lucidly pronounced in heightened vocals that sing through both inhale and exhale? And werent they Mewithoutyou before? Is this a change of heart? Despite the god-fearing and you/me technicalities, these guys rock with so much anxious intensity that its easy to ignore whos who. (Club Sound, 11.09) Spencer Young

The Mooney Suzuki
The Maximum Black Ep
V2 Records
Street: 09.12
The Mooney Suzuki = MC5 + Austin Powers + The Kinks
Originally released in 1999, The Maximum Black Ep was right on target for the coming onslaught of garage rock. It is easy to see the bands transition from a bluesy garage rock/mod revival band to its current form of commercial wannabes. The catchiness and pop backbone was in place in the late 90s, but the production had yet to take their sound to the supposed next level. People Get Ready and Electric Sweat came next and were praised for their solidarity and rawness. Then came the disdainful Alive and Electrified with a six or maybe seven digit recording budget and production team The Matrix. It may have worked for Britney, but the album was so contrived that the songs found their only home in a commercial for a car made by Suzuki. It is revitalizing to hear where The Mooney Suzuki came from, tape hiss and all. Andrew Glassett

Mouse on Mars
Varchaz
Ipecac
Street: 10.10
Mouse on Mars = Miles Davis + Oval
Mouse on Mars is a lot like your so-called favorite food, the one you indulge in every six months or so that makes you sick every damned time (i.e. Caf Rio, Peanut Butter Crunch). The exquisite taste is enough to overshadow the illness and blocks out your memory as far as time spent lying on the floor to offset a case of the heaves. What Mouse on Mars does, they do fucking well: they make great sounds. Insanely excellent sounds. Sounds to good that everyone interested in sound design should take classes from them (you can actually study with them). Historically though, and without exception here, their sounds take precedence over musicality I dont want to hear that stupid well, what is music? argument. That is, theyre so focused on introducing something new, each of these tracks is reduced to (interesting) etudes that rarely develop I might listen to the but thats their steez/aesthetic argument. However, the ear candy makes the album something to check out, particularly for table-core producers to analyze before their next test on equalizers. Warcharz translates as vocabulary, but MoM have had enough time to focus their words into essays. Im still waiting. Dave Madden

Oxford Collapse
Remember the Night Parties
Sub Pop Records
Street: 10.10
Oxford Collapse = (the best of) Southerly + (descendents of) Neutral Milk Hotel + an indie tour of the 80s and 90s
Oxford Collapse plays to their American indie base in this Novembers Remember the Night Parties. With guitars constantly blaring alongside two and three note melodic hooks and heavy-handed drums a la party chairman Steven Drozd, the volume piles up and allows for only a small range of notes to be distinguished, a buzz that is subsequently reinforced in the melodies and in the repetition in the guitars. Oxford Collapse is at their best when the trading of spaces between unity and disunity of sound breaks up the traditional rock blues from the contemplative, Meta tendencies of indie-rock perhaps most effectively executed on Loser City. The energy behind the strumming octaves with the added gallop serves to motivate the mainstream middle, but keeps Oxford Collapse walking the fine line between blending into the crowd, and establishing their own identities amongst their many peers. . Josh Nordin

Pilot Scott Tracy
We Cut Loose
Alternative Tentacles
Street : 10.10
Pilot Scott Tracy = DMBQ + Dead Kennedys Guitar Wolf
Either this sucks or I dont get it. It sounds like Pilot Scott Tracy wants to sound like a punk band from Japan trying to sound like a punk band from L.A. in 1983. Only they arent from Japan, so its not okay. The garage rock sound is only slightly altered with a slew of superfluous noise effects in an effort to gain that art school cred that so many bands seek today. This band has a bunch of members from Causey Way, Mooney Suzuki, and Man-or-Astroman, but even this all-star cast couldnt manage to do anything besides be a bunch of jerks and suck. Granted, there are some neat filter sweep noises but as most amateur noise musicians will soon discover, neat filter sweep noises just arent enough anymore. Ugh. Ryan Powers

Polly Panic
Painkiller
Greyday Records
Street: 10.10
Polly Panic = Rasputina + PJ Harvey + Jarboe + Crisis + The Melvins
Well, holy shit. With such a stupid band name, I thought PP was gonna be some regurgitated punk dribble, but none such! Talk about epic, crushing tunes to curdle your blood and melt your gallbladder. Now I get why SLUG assigned me this album to reviewit has so many elements of my band, Subrosa, that its eerie. Strings (here, Polly Panics throaty, raw, rich cello); dark lyrics about rents (Mother knows best/but she fell down/so where will we sleep ... Father is wise/but hes afraid in the night/and so am I/to this day) and heavy sludge overtones with pounding, emphatic drumming. Polly Panics vocals take more of a chance with high, rising crescendos reminiscent of Karyn Crisis and husky statements spit out with the confident, pseudo-prophectic authority of, say, Pat Benatar (Love is a battlefield!). Dont miss her Friday, Oct. 27 at the Broken Record. Rebecca Vernon

Qwel & Meaty Ogre
Freezer Burner
Galapagos4 Records
Street: 11.14
Qwel & Meaty Ogre = Typical Cats + Soul Position + RJD2
Qwel has taken a solo walk around the block with this one, leaving his Typical Cat Crew behind (for the time being). Anyone who knew about the first collaborative effort The Manhattan Project knew this album was worth waiting for. Qwels experience as a wordsmith is up to par and downright astounding on top of Meaty instrumentals, sought after by many of the industrys biggest fish. Textured with the Avant feel and sprinkled with neo-noire classic sounds, this album could turn the heads of many other artists with a taste for collaborations, and thats exactly how Qwel wants it. Qwel breaks down controversial issues on songs like Machinegun Monkey and brings back some of the bruising braggadocio style that made him ear-catching on tracks like Whos the Boogieman? and Id Glue. So, straight out of Chicago, Freezer Burner stands tall and proud as a solid and compelling journey into a respective year for hip-hop. Lance Saunders

The Receiver
Decades
Stunning Models on Display
Street:
The Receiver = Radiohead Autechre influence + a tinge of classic pop Beatles the excellent pop song writing
By far the most impressive attribute this album has to offer, and the real reason to even put the CD in your stereo, is the instrumental range, highlighted by exceptionally proficient piano playing. The moody songs wind and weave around the pianos, crafting a sinister, ethereal feel with an undertone of whispery vocals and harmonious backing voices, almost ghostly in nature. Often in minor chords, the keyboards control the pace, taking it up a notch in the upbeat In Tunnels, and taking it down a notch for the following Corner (Pt II). As the debut album from hopeful child prodigy Casey Cooper, Decades is backed by Coopers equally talented brother. Started as Caseys senior thesis, one can tell that his influences are heavy, spacey-rock mixed with some healthy 90s Radiohead and beyond. Unfortunately, Casey does Radiohead without the Thom Yorke electronic innovation, which is what makes the monster British band sound so fresh. While the piano lines might stick in your head, and the vocal harmonies are pleasing to the ear, the monotonous tone and derivative nature of the rest of this release makes me feel rather under whelmed. Lacking much to stand out, with no particular favorite songs, even after repeated listens, I am left to appreciate the skill without anything to hold onto. Perhaps Casey did not mean for this to be a hit, only a statement of ability and intention, and in that case, has succeeded. Sadly, while the label comparisons on the sticker on the jewel case are Pinback and Air (two of my favorites), The Receiver only gives mere hits at that style, and has a long way to go before making a great impression on the scene. Judy Nelson

Rena Jones
Driftwood
Native State Records
Street: 09.12
Rena Jones = Amin Tobin + Aphex Twin + Rasputina
Inspired by falling in and out of love, human nature and the Pacific North West as well as by downtempo electronica, it would not be a far stretch to say that Driftwood is evocative in the same sense that the video game Myst is evocative both induce an organic interface with the scenario at hand. The difference between the two is that while Myst renders a really gorgeous graphical environment, Jones concretizes the abstract notions that inspire her. The soundscapes populate uninhabited islands with a repetitious infection that electronica has become known for; she repeats the same theme over and over subtly changing its structure over time by emphasizing this or that one aspect from the song previous. Songs such as Photosynthesis and From Star to Seed bleed react to one another as the beat from From Star to Seed becomes the focal point in Photosynthesis were it was merely a backbone the song before. While it can become a bit trite at times, Driftwood is a solid piece of work in the flotsam and jetsam of downtempo. Erik Lopez

River City Tanlines
I'm Your Negative
Dirtnap Records
Street: 09.05
River City Tanlines = The Runaways + New Bomb Turks
Straight outta Memphis, the River City Tanlines continue in the grand tradition of bands with the Blank-City-Blanks name format to deliver some competent, boring garage punk. Lead singer and guitarist Alicja Trout tries her hardest to pull off the bad girl, rocker chick persona, but her vocals don't have enough of a punch and the music just isn't energetic enough. The title track is the most lively of the bunch, and it feels like there's some hidden energy underneath the formulaic structure, but the potential is never tapped. Throughout the album this feeling prevails as the glimmers of hope found on "Animal Life" and "Drowning Dreams" are quickly trampled by the relative tedium of the rest of the album. It serves as pretty good background music, and the Tanlines would probably make a fine opening band, but I'm Your Negative is missing the energy that can transform a mediocre album into an awesome album. Ricky Vigil

Roy Fell
Ogden River
Self-Released
Street:09.10
Roy Fell = Hasil Attkins + Hank Williams Sr. + Johnny Horton
Well, if there are any real honky-tonkers in Utah, then Roy Fell has to be the king of them all. This little - track record comes through with honesty and humor in only the way a country boy could. Although these recordings are rough and Roys vocals almost disappear in mix at times, its easy to tell that Roy has one hell of a lonely howl on him. The record stays close to home with songs like Utah Women and Ogden River. On the final track Nobody likes me, Roy displays that good ol boy humor of his, and unless youre too uptight, youll be rolling on the floor laughing at his country wit. We may not live in Nashville, but with country pickers like Roy kicking around true traditional, country will always have home here.-James Orme

Scott Solter/Pattern Is Movement
Canonic
Hometapes
Street: 10.10
Canonic = Pattern Is Movement + Broken Spindles + razor blades
The idea of an analog remix is nothing new, but may have been reborn with the release of Scott Solters version of Pattern Is Movements album Stowaway. PIM recorded with Solter in 2005 at the soon to be infamous Tiny Telephone recording studio. Earlier this year, PIM handed the tapes back to Solter to cut up, grease up and tape up to create something completely new. The result is Canonic, an album full of crackles and incomplete soundscapes. The original album is more beat based and up front while the remix album is more moody and almost Halloween sounding. The beats in Canonic are intensely more interesting than those in Stowaway but Stowaway obviously works better as a complete album. The production is flawless and the album would make a great soundtrack for any type of Fall gathering. Andrew Glassett

Shook Ones
Facetious Folly Feat
Revelation Records
Street: 10.31
Shook Ones = Dillinger Four
Theres not much to like where pop-punk is concerned. Its very rarely I find a band like this that can hold my interest long enough to listen to. I like Dillinger Four a lot, but thats a huge exception to any of the hardcore influenced pop-punk out there, and all I hear when I listen to Facetious Folly Feat is Dillinger Four. The album is almost a carbon copy, complete with catchy hooks, crew singalongs, and sound bites jacked from 1940s public service announcements. All that might make it an occasional listen, but the vocals are unbearable. Scott Freemans attempts at scratching out hoarse melodies are almost painful to hear. It sounds like someone took a cheese grater to his throat. I had to take a break from the cd multiple times before I could actually finish listening to it, and I couldnt stop wincing the entire time. Chris Carter

Sparrows Swarm and Sing
Untitled II
The Perpetual Motion Machine
Street: 09.12
SSS = GSY!BE + Mogwai patience
At first listen, I was extremely let down by this album. The influences here are very transparent. Post-rock seems to be old hat. There is the patented clip of an old man talking over the top of a rising scene of bowed type instruments. I looked into the album a little further and found that it was recorded in January of 2005. It started making a little more sense. The biggest thing that turned my decision on Untitled II was when I listened to it with headphones. There is tremendous space in the recording of this album, and like many post-rock type bands, it is very easy to listen and relax to. It was really nice to hear some restraint when the band hit the climax of the songs. The string sections added so much depth that it was impossible not to enjoy this. Andrew Glassett

Street Dogs
Fading American Dream
DRT Entertainment
Street: 10.10
Street Dogs = Flogging Molly + Dropkick Murphys + Mighty Mighty Bosstones
The Street Dogs just get better and better with every album they put out. I think that their third release, Fading American Dream, is their best yet. Their style has remained consistent through the three albums, but also hasnt managed to get stale. Fading American Dream is filled with beautifully-crafted songs about the current situation in Iraq, like the acoustic ballad Final Transmission, which is based around a 19-year-old deceased soldiers last letter home. The song shows Mike McColgans maturity and very real understanding of what is going on in overseas. Although much of the album focuses on heavy issues, light-hearted songs can be found in the mix too. Tobes Got A Drinking Problem is one of these. Luckily, this politically charged album doesnt feel like a preachy Anti-Flag album; it makes you think about exactly what is going on in the world today. Jeanette Moses

sunnO))) & Boris
Altar
Southern Lord
Street: 10.31
sunnO))) & Boris = ape scene at the beginning of Space Odyssey 2001 + Neurosis + Mike Patton
The sun is a bloody disc in the sky; the fires are pelting hot ash from massive volcanic overflow, the earth is vomiting up her dead, the terrible angels are announcing the end. Yeah, this collaboration (not a split) between two well-respected Southern Lord artists is downright apocalyptic. Altar is half a wandering cacophony of thundering feedback, liquid song structure, rumbling, free-form drums and drawn-out, simmering, sophisticated, eerie scraping that one might hear in a Japanese horror movie, and half a discordant, creepy but ethereallly beautiful, delicate creation of glass. Like ISIS, sunnO))) & Boris seem more driven to paint slow noise soundscapes to evoke half-forgotten truths rather than to accommodate their invisible audience with anything akin to recognizibility. The haunting vocals of Jesse Sykes lullabize The Sinking Belle (Blue Sheep) and grand, Viking-like horns and gongs amidst abrasive synth buzz evoke alpha and omega in Akuma No Kuma. Rebecca Vernon

Swell Maps
Wastrels and Whippersnappers
Overground Records
Street: 05.08
Swell Maps = Devo + Gorrillaz + Sonic Youth + The Ramones
The Swell Maps have a primitive punk sound that, in this day and age, seems oddly avant-garde. The drums take no real direction and the vocals are often incoherent as they are all slurred together. Yet somehow it works. The Swell Maps are both innovative and experimental. The odd echoes, bells and fluttering flute-like noises found on Sahara give the track a haunted and hollow feel. As the album progresses, it deteriorates into out of place bleeps, creepy accordions and voice recordings that just dont belong. Wastrels and Whippersnappers has a similar feel to the albums put out by Crass. Although anywhere else the formula (or lack there of) that the Swell Maps have used would crash and burn, theyve managed to pull a million different elements together and concoct something amazing. Hurrah for bored teenagers in the mid 70s willing to make anything into an instrument. Plus, everything on this album is previously unreleased. Thats right: you cant hear this shit anywhere else. Jeanette Moses

System and Station
Here Is Now
Latest Flame Records
Street: 10.05
System and Station = late Ozzie + Audioslave
Here Is Now is another glossy, and bright production of pop in the wake of post-punkers Drive Like Jehu, but side steps to the softer hooks of 90s post-grunge rock and the ripping solos of aging mainstreamers. This combination moves System and Station to the center of the road lacking enough imagination to make it moving, but not insulting enough to be swept immediately to the gutter. The albums three-dimensional production calls attention to the plain tastes: wah pedal whammy solos panning left to right, towering guitar harmonics, and lilting vocals stretching out in stereo. Josh Nordin

Tahiti 80
Fosbury
The Militia Group
Street: 11.14
Tahiti 80 = (Jamiraquai B-sides any apparent style) + (aromas of Air) + a ready stance for glossy ads
Via the French Contemporary Pop market and The Militia Group comes one of this years most insincere records; Fosbury blends trends from adult contemporary, electronic, and disco into a chrome n black sounding rehash. The frankness of the lyrics is rehearsed and safe, and ready to tackle the commercial airwaves (Fosbury contains tracks exclusively released in the US). The over-treated vocals repeat the same 2 to 3 note melodic hooks on falsetto over a hard to digest 48 minutes, while the soft focus lens changes from inclination to inclination. . Josh Nordin

Tall Hands
Self-titled
Pulse
Street: 10.24
Tall Hands = The Velvet Underground + The Velvet Underground + The Velvet Underground - the vitality of the source
Tall Hands gets a little more rambunctious, as far as guitar speed-jangle, than the Underground, but ... thats about the only difference. The Lou Reed enigmatic scowl-voice is here (minus larger-than-life-personality), plunky piano, the ethereal guitar washes on slower ballads (Medici), and the repetitious, hypnotizingly droney riffs with one chord change for the chorus sans change in drum pattern, speed, or emotional intensity. You could throw in a couple comparisons like The Jesus & Mary Chain and maybe Bowie, but that isnt really necessary when youre, like, almost an exact replica of a predecessor ... without the advantage of saying you were there first. Rebecca Vernon

That Handsome Devil
Self-Titled
Stardust Records
Street: 11.01
That Handsome Devil = Al Green + Outkast + Goldfinger
That Handsome Devil plays grimy jazz-pop-hop that could accompany a lowbrow detective movie. Unfortunately, the detective that comes to mind is Ace Ventura: Pet Detective. As much as it hurts conjuring up the imagery associated with that movie, its necessary as a representation. These guys really hit bottom when try to infuse humor in a hip-hop, blues track entitled, Dating Tips, which uses Wile E. Coyote-type sound effects to administer sexual innuendos; sounds like, Boiiing! It really is unfortunate that all this had to happen because the next track is actually listen-worthy. Its comparable to what happens when you watch said horrible movie in juxtaposition with Eternal Sunshine of the Spotless Mind: The residue of Jim Carreys Reehuhreeaallly! can ruin a perfectly good scene. These dudes are in their thirties and still spike their hair. Somethings amiss here. Spencer Young

This Moment In Black History
It Takes A Nation (Of Assholes To Hold Us Back)
Cold Sweat Records
Street: 10.31
This Moment In Black History = Loiter Cognition + Bad Brains
It Takes A Nation (Of Assholes To Hold Us Back) is a jolt of high-energy punk-rock injected with elements of thrash that the current music scene is in dire need of. This Moment In Black History combines humor with socially-conscious lyrics, resulting in satirical songs about real things, reminiscent of the Dead Kennedys. The squelching feedback from the amps compliments the chuggy guitars, bassy drums and high-pitched vocals, which in turn create something rawer than a chicken that has been cooked in the microwave. This Moment In Black History crams 14 amazing songs into this release in a few minutes over a half-hour. My favorite tracks were Lets Talk About A Civil War, Larry Pulled a Knife On Jesus and the Easter Monkeys cover of Nailed to the Cross. Jeanette Moses

Unwed Sailor
The White Ox
Burnt Toast Vinyl
Street: 11.01
Unwed Sailor = an attempt at late Talk Talk (see cover art) + Tin Tin
A massive microtonal wall adds to and subtracts from drowning guitar melodies, composing the first track of Unwed Sailors new album The White Ox. The energy of the intermittent, mild roar stretches out across Gilas minimal suggestions before finally dissolving the drone driven energy of the first two tracks to dust. The White Ox showcases slow moving, hyper-managed ambience played to distract the listener from paying attention to the conventional tropes of song writing. Instead, the listener is alone in a large auditorium of uniform reverb, contemplating the breadth of the blare, and the distance between it and themselves. Macro-level listening is a key to the sound, as changes are minimal and far between forcing the ear to the sparse noises in the middle. Theres life force in the ambition of Numbers (the third song) but the style drains out of this track, and the three to follow, never matching the intrigue of the initial Shadows. Josh Nordin

Various Artists
Hair: Chicago Punk Cuts
Thick Records
Street: 09.26
Hair = Chicago + Punk Rock
When it comes to punk comps, there is very little middle ground. You'll either end up with nothing but crap or nothing but gold. Fortunately, Hair falls into that second glorious group. Hair offers a great glimpse into the Chicago punk scene that is diverse without being disparate. The comp is heavy on melodic hardcore, featuring stellar contributions from Ryan's Hope, Much The Same, and a particularly abrasive and awesome track from the Rise Against side-project, The Killing Tree. If you prefer your punk a bit more poppy, fret not! The Methadones and Split Habit offer up some nice songs on the mellow side that still fit in nicely with the harder material. There's also some more artsy and experimental stuff from the likes of Cougars and Colossal, as well as good ol' fashioned punk rock song from Jeff Pezatti (ex-Naked Raygun)'s new outfit, The Bomb. The only mis-step on the entire album is the obligatory long and boring closing track delivered by The Felix Culpa. That track aside, the rest of Hair is a comp that'll fit in nicely amongst your Smoking Popes and Big Black albums. Rock on, Chicago. Ricky Vigil

Various Artists
Trustkill Takeover Volume II
Trustkill
Street: 10.31
TTVII= unreleased songs
Oh Trustkill records, how we love to loathe thee. Youve taken hardcore from the streets to Hot Topic. But then you released the new This is Hell album, and it all got confused. Which brings us to the new comp. 16 bands. 16 tracks. All new. Crowd response?! enh followed by a shrug. Remember when compilation CDs stood for something? Now they are just a cheap marketing tool. This aside, there are a few good tracks on this, and credit must be given for having new recordings from the participating bands. I still dont understand 18 Visions becoming Guns N Roses, and will anyone ever take Walls of Jericho seriously? (Derivative!) But, a few tracks are decent. The Fight Paris song is listenable (even though it seems like Ron Jeremy wrote the lyrics). This is Hell offer a mediocre track by their standards, but its still a cut above. I think Im one of two people that liked the last Open Hand record, so the prog-ness is a welcome addition. Throwdown needs to realize that pop was at the heart of the Misfits and so Misfits covers without melodies are boooooring. First Blood offers their machinegun beats, and there are some emo-ish mopers lurking about on this as well. If you are at the mall and have nothing else to drop your 5 bones on, this wouldnt be an awful investment. Personally, Id buy a hot dog on a stick for the money. Peter Fryer

White Magic
Dat Rosa Mel Apibus
Drag City
Street: 10.14
White Magic = Quix*o*tic + Nico + Faun Fables
With the rampant breeding of folk genres spawned from Devendra Banharts dirty womb, we spin the wheel and what we get wait for it goth-folk! Though it can be a tad misleading with ocean-side songs like Hear My Call, the trios sound is essentially tinted with a dark gypsy dance. The melodies lilt and tilt with songs like Childhood Song and the vocals are that same self-assured female-takes-all Chan Marshall rebuttal. But hark! The herald angels DO sing! The point of separation (aside from nifty packaging that includes a medieval maze and embossing) is the collateral for the same old nu-folk is the cohesive unity of story not the same old personal introspection that has come to typify a revitalized genre. Thanks White Magic for banishing with your twenty-sided CD the evils of bad neo-folk. Erik Lopez

Zandosis
George W. Bush Go Straight to Fucking Hell
Stickfigure Records
Street: 11.01
Zandosis = Anti-Flag + Crass Musicianship
Political music isnt always a bad thing. Most lyricists cleverly veil political ideals within their string of poetic repetitions. In this case, Zandosis bypassed that with clever song titles like, George Bush Go Straight to Fucking Hell. Although appropriate, using the cantor of an angry 14 year old mall punk doesnt scream wit. I suppose this could be forgiven with something, anything that wasnt completely boring. Too bad they fucked that up too. Ryan Powers