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January 2007 - Issue 217

36 Crazyfists
Rest Inside the Flames
DRT Entertainment
Street: 07.13
36 Crazyfists = Killswitch Engage + From Autumn to Ashes + The Bled
36 Crazyfists sort of bridges that gap between screamo and metalcore. Vocalist Brock Lindow and his camp of Alaskan raised rockers have returned with their third record to date. Thankfully, with each record the group keeps growing and getting better. This band is sort of a guilty pleasure for me it is not really metal, but it isnt as emo filled as say From Autumn to Ashes. Lindows range is much more bearable than many singers that do the scream/sing thing. 36 Crazyfists conjure up some catchier songs that hook in your head more so than their previous breakout record A Snowcapped Romance. The melodies are more precise, songwriting more diverse, in general a thicker heavier sound with playing skills increased. There is no denying these guys are good at what they do. Bryer Wharton

And You Will Know Us By Our Trail of Dead
So Divided
Interscope Records
Street: 11.14
TOD = Oasis + John Tesh + too much money for recording
Oh Trail of Dead, how far have you fallen? Have no respect for yourself? What happened to the glory days of Source Tags and Codes? The start of this album is pretty good, the intro sets a majestic mood for greatness, and the energetic single Stand in Silencethat immediately follows is arranged well. The problem with the album is everything past that point. Much of the music is based around the piano and are shlockey ballads which are very uninteresting lyrically. Lyrics are difficult to write, but it seems obvious that little or no thought was put into the words. Lyrics about being wasted all the time? It is almost absurd enough to be funny, but they arent being funny. They are in no mans land between indie rock and stadium rock and it is frustrating because we all know what potential these guys have to create something original and captivating. So Divided, I dub thee worst album of 2006. Andrew Glassett

Alexis Gideon
Welcome Song
Sick Room Records
Street: 01.09
Alexis Gideon = The Microphones + Phil Spector + A Circus of Lionphants
Alexis Gideon is described as a one man gospel-circus, cartoon-necessary schizo-rap New York hillbilly, aged and innocent provocateur, which I feel is fitting if only for Gideons incredible breadth in Welcome Song: he captures Casio-driven operas, hip-hop traumas and psychedelic Bahama-mamas. Exactly. Alexis drapes himself in rigorous diatonic diatribe to the point of becoming nuclear-ly exposed. The result: angsty hyperbole, overwrought diarrhea that sounds worse than it looks and smells. I would quote some of his hip-hop lyrics but the shit works just the same. Spencer Young

The Asteroid #4
An Amazing Dream
Rainbow Quartz
Street: 01.02
The Asteroid #4 = Spiritualized - Gospel & Distortion + 60s Psych-Pop
No it isnt a terribly new thing The Asteroid #4 are spinning here in An Amazing Dream, and at times it might be so friendly your mother would gleefully add it to her collection (assuming of course that your mother listened to a decent slice of music in the 60s) but can you really fault them for the beautiful nostalgia? Will anyone listen, or will they simply write them off as not being as experimental as Spiritualized, not nearly as emotionally engaging as BRMC (fully distorted or peddles off) or as wistfully tuneful as The Delays? I suppose that depends on how much you like the idea of a 2007 version of 1965 (which isnt too far removed from the shoegaze version circa 1990). Its enjoyable, pleasant even if its a bit too safe. ryan michael painter

Audionom
Retrospektiv
Kemado Records
Street: 02.20
Audionom = Drive Like Jehu + Joy Division + Sweden
Repetition is a curious thing in music, particularly, dance rock music. Some folks pull it off; others dont. The only way to differentiate is to dance to it. While dancing to Retrospektiv (a rehash of Audionoms eurotrash left out from 1999-2002) I felt like a bobble-head doll on a dashboard: the same guitar and synth lines were repeated 19 plus times and left my hip-flexors and nape burning from lactic acid. Fun dancing requires fun music, and fun dance music requires the 3 Ms (not to be mistaken for the monolithic office-supply corporation, 3M): machination, movement and mlange. Otherwise, the dance turns into a trance, which is ugly. Spencer Young

Billy Talent
Billy Talent II
Atlantic Records
Street: 06.27
Billy Talent = Thursday + System of a Down
Based upon what I've heard of this band before, and the portrait of them sporting their goofy haircuts on the CD tray, I didn't expect to like Billy Talent. I had even crafted the perfect opening line for this review: I can think of at least two things wrong with this band's name. That's pure gold! However, while I was coming up with undeniably hilarious and cruel ways to make fun of this band, I found myself not hating the music. It may be over-produced, repetitive and simple, but it's also pretty damn catchy. The songs all go exactly where you would expect them to, but they engrain their choruses into your head after only a few listens. Billy Talent II is chock-full of crunchy guitar, punchy vocals and even a little bit of that wacky screaming that the kids are so crazy about. The album's a bit lopsided though, as most of the better songs are featured on the first half while the less interesting and slower songs take up the bulk of the latter half. Billy Talent II is by no means an excellent album, but it's a nice and solid slab of middle-of-the-road radio rock. Ricky Vigil

The Black Beauties
Catch a Beat
Full Breach Kicks
Street: 10.31
Black Beauties = New York Dolls + Small Faces + The Stooges
To create their sound, Chicago's Black Beauties have basically ignored any and all music created in the last thirty years. They combine the streetwise swagger of the New York Dolls with the pop-sensibility and R&B influence of the often-overlooked mod scene, to create a sleazy sound that is full of energy, trashiness and whole hell of a lot of fun. Lead singer Canderson delivers his snotty vocals perfectly, conjuring up images of dirty subways, dark alleys, drunken nights and the women of ill-repute that come with them. Throughout it all, the band holds the sound down without missing a beat, delivering their brand of sleazy proto-punk as the only the most charismatic of lowlifes could. With song titles like "Action Party!" and "Blood in Her Blonde Hair" it's clear that the Black Beauties are free of the pretension and social-awareness that serves as a double-edged sword in the modern music scene. These guys are just out to have a good time, and as long as you've got Catch a Beat playing and a beer in your hand, you're gonna have a good time too. Ricky Vigil

Blake Miller
Together With Cats
Exit Stencil Recordings
Street: 11.14
Blake Miller = The Beatles + Iron & Wine + Weezer
The combination of most nineteen-year-olds and an acoustic guitar is usually disastrous. Thankfully, Blake Miller is not most nineteen-year-olds. Rather than delving into his post-pubescent psyche to fish out naive ponderings about the world and tales of heartbreak, Miller has crafted an adventurous and varied debut record rooted in minimalism. All of the tracks were self-recorded by Miller with various friends serving as backup singers and musicians to give each song its own distinct feel. "Sinners" opens the album up with its rambunctious bluesy style, which is immediately followed by the spacey and musically sparse "International." Drum machines, violin and even some pseudo-beat boxing help Together With Cats stand out in the vast sea of mediocre singer-songwriter albums, but it's Miller's voice that really holds everything together. Here's to hoping that Miller's quirkiness isn't devoured by the ever-vicious music industry, now that he's recording in a real studio rather than in his backyard. Ricky Vigil

Blood Vessels
Self Titled
Teenage Heart Records
Street: 12.09
Blood Vessels = Dark Buster + Throwrag + way too many other influences
Blood Vessels have many of the elements to make them an excellent rock and roll band, but their sound manages to fall flat. Within one song they are using simple punk rock drums beats, psyche rock guitars, vocals that sound like they belong in a River City Rebels song, but with much more violent lyrics. They are pulling themselves in to many directions at once, and cant seem to muster enough strength to conquer any of the musical realms they are reaching for. The majority of the time the lead singers voice lacks character, which pulls the whole band down. If Blood Vessels picked one musical direction and ran with it they might turn into a decent band, but right now they lack the experience to try and do so many things at once. Jeanette Moses

Citizen Fish/Leftover Crack
Baby Punchers/Meltdown split 7"
Fat Wreck Chords
Street: 10.31
Leftover Crack = Morning Glory + No Cash + scabies Citizen Fish = Catch 22 + Subhumans + Reel Big Fish
For the launch of this year's Cracktoberfest U.S. Tour Leftover Crack and Citizen Fish have released a split single, and listening to it is like eating one potato chip: you just need that next chip. Leftover Crack delivers exactly what you would expect on Baby Punchers, excellent crack rock to feed your fix. For those of you who aren't familiar with crack rock steady, it's the result of a rudy and a crust punk bare-knuckle boxing match. Ska beats float in and out of the some of the heaviest shit you'll ever hear. It essentially makes you want to skank on top of someone's face. Following "Baby Punchers", Citizen Fish delivers some awesome ska in "Meltdown". The full-length's release in early 2007 can't come soon enough. I don't want just one chip. I want the entire bag. J. McGillis

Clinic
Visitations
Domino
Street: 01.30
Clinic = Can + Velvet Underground + The first Three Clinic albums
As an artist, its hard to perpetuate a single stylized idea, making it your lifes work. At some point, even the most stalwart accept outward and inward its time for a change criticism. Clinic pooh-poohs that plan. The band is back, pushing the eclectic sound theyve frugally honed since their 2001 album, Internal Wrangler. Anyone who knows the band well might question the idea that Clinic has a sound, but lets examine the facts. Though they use a spectrum of colors, it is largely the same spectrum since the early days, tossing together melodica, occasional slide-guitar, rockabilly licks, chiming synths and steady-pulse-driven beats over simple song forms (the zithers this time around are nice, though). Their key ingredient, singer/instrumentalist Ade Blackburns breathy, tight-pants vocals and stuttering, paired lyrical phrasing style hasnt evolved a bit. That said, Visitations is still a good album and Clinic is still a great band, though one happy to repeat their once-mysterious sound until you see the mirror and legs poking out the secret compartment. To quote an observation by my colleague, I like it; it just soundsfamiliar. Dave Madden

Damien Rice
9 Crimes
Warner Brothers
Street: 11.14
Damien Rice = Bright Eyes goat voice + Iron and Wine sincerity
This album suffers from what I would term lightning doesnt strike twice syndrome. The songs are not that compelling and although the album comes off a little darker than O, there is just absolutely nothing new here. Some of the songs are recorded beautifully, but miss the mark in their content. The idea of a confessional is so played out by this point; I simply dont want to hear another sad human telling me of his woes and trials. I guess you could call it post-emo, with underwhelming sensitivity, exposed sounding vocals and swearing at a lost lover, but the album doesnt have the impact that his previous album gave us. Some songs like Elephant sound like a blatant rip off of his past work. Rice would have been much better off writing music for a hoedown rather than a funeral. Andrew Glassett

David Vandervelde
The Moonstation House Band
Secretly Canadian
Street: 01.23
David Vandervelde = Classic Marc Bolan some boogie + some lyrical dexterity
Its hard not to draw comparisons to T. Rexs Dandy in the Underworld era, although in this case the Moonstation House Band sounds like David Bowie and a Spider or two dropped in on the Visconti production. While nothing here bounces along like the earlier T. Rex glam driven pop songs like 20th Century Boy, Get it on or even Children of the Revolution this collection certainly avoids Bolans tendency to write dodgy lyrics for otherwise beautiful songs as Vandervelde consistently proves himself a decent wordsmith. Only Corduroy Blues struggles to find direction, everything else is inspired. Cant See Your Face No More bounces famously like a long lost Ziggy Stardust single. Feet of a Liar is as haunting as anything youll hear and the closing Moonlight Instrumental is starkly beautiful. ryan michael painter

Dead Voices on Air
From Labrador to Madagascar
Invisible
Street: 01.30
Dead Voices on Air = Fennesz + Dead Can Dance
Mark Spybeys Dead Voices on Air project can be summed up as noise music for people who dont listen to noise music. Or possibly new-age music with a bite? Orwell, its a bit difficult to pinpoint exactly whats going on here, and thats good. Spybeys through-composed forms and drones often give the impression of a kinder Merzbow track, noisy and subtly pointed, but he relies on a canvas of inviting, not overtly harsh, sonances to do his bidding. Hes careful to blend enough North African percussion and Middle-Eastern wails to subdue the floating, buzzing and often distorted synthetic din, straddling the aforementioned genres in a way thats fairly unique and intriguing. On Papa Papa Nesh, digi-percussion snares and bit-crushed bass drums warmed up enough to avoid ear fatigue methodically drive a Liturgical chant, one he also pokes at, time-stretches and feeds through enough delay to avoid clich. Not to be appreciated at a glance, the slowly-developed nature of the album demands a meditative listen, but this is an hour well-spent to discover an inviting, dynamic piece of music. Dave Madden

Deerhoof
Friend Opportunity
Kill Rock Stars
Street: 01.23
Deerhoof = Beatles + Boredoms + non-sequiturs galore
All you really need to do to understand what the new Deerhoof album is about is to read the title of track eightKidz Are Small. Absurdism is the key to this album, and it may be their best release yet. The album has surprising consistency and feels as though every single second is accounted for. In past Deerhoof releases, such as Apple O or The Runners Four, it seemed like it took several songs to get across what they were about. In Friend Opportunity, every song is packed with Deerhoof goodness: quirky lyrics, jazz drum freakouts, 60s style guitar and random keyboard instruments played sloppy but in intentional ways. There is an amazing childlike quality to the arrangements that are both nostalgic and avant-garde. This will be one of the best albums of 2007. Andrew Glassett

Depehce Mode
Best of Volume 1
Mute/Sire
Street: 11.14
Depeche Mode = synthpop 101
Ive always liked Robert Smiths idea of a best of being something different from a collection of singles, but an actual representation of a bands best songs even if they happened to be b-sides. Depeche Mode however are either rather lazy, or clearly of the mind that their best songs were in fact their singles. By stamping this as Volume 1 they also open debate to what Volume 2 might include. Theyve even included the self-inflicted single Martyr (which to be honest doesnt hold up as well as a handful of the tracks from their Playing the Angel album) to ensure that the devoted spend a little more money on songs they already have. Okay, look the songs are great, the selection could have been better to my liking, but the real truth of the matter is that for most fans the only benefit is buying the CD/DVD combo for the videos from the early days that hadnt been released on DVD until now. Frankly the 2 singles collections did Mode better even if they lacked some of the more recent tracks. Best of is for collectors and the oblivious who want to be spoon-fed (and will complain because Somebody isnt on it). ryan michael painter

The Devil Wears Prada
Dear Love: A Beautiful Discord
Rise Records
Street: 08.22
The Devil Wears Prada = Bleeding Through + Evergreen Terrace + Atreyu
No, this is not the soundtrack to the recently released movie; although, it would be kind of funny if it were. Rather, it is a band of the same name, that plays a mean guitar and keyboard. There is a huge Bleeding Through influence showcased on the record although they are not a straight copy of the band. From the first couple tracks, and the stupid name I thought I would hate this record with every ounce of my body. Alas Im not a hater. This album is a surprising one and these guys are sure to move up among the metalcore ranks, especially with fans of bands that use screamed and clean singing with a slight emo style. I may think that what these guys sing about is lame, though there are a few good tracks, the ultra heavy, Dogs Can Grow Beards All Over, and the keyboard poppy bite of Rosemary Had an Accident or the tribute to D&D, Swords, Dragons and Diet Coke.The band throws in enough lead work, breakdowns and humor to allow you to not take them to seriously. Bryer Wharton

Die Verbannten Kinder Evas
Dusk and Void Came Alive
Napalm Records
Street: 01.16
Die Verbannten Kinder Evas = Ulver + Tori Amos + the soundtrack to a movie that never existed
This is not a metal band. It has all the darkness required by a metal band, but it is purely atmospheric and orchestral. It was like I got lost, wondered into a church during choir practice and strangely it wasnt bad. DVKE float you around on little clouds of magical melodies. The sound is epic, but not overbearing. The piano melodies alone are worth checking out. For a band comprised of two members there is much more instrumentation going on than one would expect. I guess this band would be considered gothic darkwave, but to lump them into a category would be too quick. The female and male vocals and symphonic orchestrated power gives off a moody edge unparalleled. It may not contain screaming guitars and tortured vocals, but that doesnt mean you cant give it a chance. Bryer Wharton
Elis
Griefshire
Napalm Records
Street: 01.16
Elis = Within Temptation + (old) Lacuna Coil + Dismal Euphany
There is a huge difference between Elis, and the majority of the female fronted gothic/power metal outfits today. I could see my self utterly enjoying Griefshire if it werent for the vocalist, she needs to train her voice some more or just give up. There are moments of brilliance from her, and moments of just horrible out of key hollering. Regardless, typical of the genre you have your huge power chord and keyboard crescendos to wet your whistle. Though there is an abundance of paint drying boredom filled ballads. Vocalist Sabine Dunser talks about moving in another direction in the song, How Long, I think she should take her own advice. There is a lot to compete with in gothic metal land and if you arent up to par you have some issues. Bryer Wharton

Fairyland
The Fall of An Empire
Napalm Records
Street: 01.16
Fairyland = Blind Guardian + Nightwish + Therion
The bands name says it all this power metal tripe is lamer than lame. Loads upon loads of keyboard piddling make this record even worse. Dont forget the horrifically cheesy, and poorly done vocals both male and female. The imagery the band conjures up is just what the name might suggest, fairies dancing around in a magical land of gumdrops and lollipops. What self-respecting metalhead would like this brand of mystical happy fairy dancing shit? I dont know... It sounds like the soundtrack to some sort of bad D&D inspired movie. Bust out your twelve sided dice and clock these musically impaired French fellows upside the head please! Bryer Wharton

Fern Night
Music for Witches and Alchemists
Vhf Records
Street: 11.14
Fern Night = a romp through a Celtic forest + the soundtrack to Wicker Man
Upon first hearing this album, I immediately thought of the Celtic inspired music from the original version of the whacked out movie the Wicker Man, not the remake. The only difference is the lyrical content, which unlike the movie is not pagan. The flurry of instruments from the cello, accordion, jaw harp, harp, guitar and loads more adds to an already diverse array of songs all dark and meandering like a small stream. Margaret Wienk is the main woman behind the songwriting, which is somber enough to make a grown man weep. Fans of dark folk would do well to find and embrace the darkness, strange texture and ultimate melodies woven into Music for Witches and Alchemists. Bryer Wharton

The Finches
Human Like A House
Dulc-i-Tone Records
Street: 01.30
The Finches = Neko Case + Camera Obscura + Mirah
Carolyn Pennypacker Riggss folk-acoustic lovelies and pop-hop-drop vocal remedies encourages me to enlist a domestic partner to travel the solemnbut mystically exultantsea banks of Jordan, Albania, Malta, India and Egypt. Like a schizophrenic, leotarded-dancer, Carolyn pops the sentimental milieu that comprises most acoustic one-acts; Pennypacker hops into helium balloons of self-sureness and idyllic realism; and Riggs drops idealism, reveling in the bitterly beautiful. Like an airplane, she gets carried away and carries others away. CPR is more than life-resuscitation; shes one love above. Enlist to listen. Spencer Young

Frenemies
Birds in High School
Self Released
Street: 12.06
Frenemies = !!! + The Clash + Madonna
Built on a slew of various pop, glam, rock and dance elements, Birds in High School is Baltimore-based songwriter Chris Freelands second album under the pen name Frenemies. The album itself is full of conventional pop songwriting techniques, lyrically ranging from admiration to interracial dating. But nothing about Birds is really standard, for the cheerful melodies and choruses are nothing too familiar. Turned Around starts off with a funky guitar riff reminiscent of the late 60s, but later turns eerily similar to a Madonna or Clash track. Ms Destiny contains a prototypical punk rock bassline, but when wooden vibraphone tones kick in, it leaves the listener sitting in awe at how this guy does it. These songs are just catchy, theres no two ways about it. Lacking a record label to put out hard copies of this effort, Freeland has made his albums availability strictly digital citing stores like iTunes, EMusic as places to get Birds. This will be one of the most refreshingly original albums you hear this year, so pick it up online, soon. Tom Carbone Jr.

Gwen Stefani
The Sweet Escape
Interscope
Street: 12.05
Gwen Stefani = No Doubt _ of No Doubt + ersatz Neptunes beats
I admit that I have a soft spot in my heart for Gwen Stefani (she can thank Behind the Music for that). I mean, she covered Talk Talk for damnsake! Okay, I wasnt expecting anything remarkable, but as she says they want to bite our style (from the yodel-laden Wind it Up), I want to say, you mean the (oft-times scary) style that you bit?, or, What style? By track two (The Sweet Escape), Stefani feigns a mix of a Mariah Carey meets Wilson Phillips, swinging drum machine, synth horns and high-pitched, flabby chimes under the forgettable I know Ive been a real bad girl/I didnt mean for you to get hurt. Why, God, why? Yummy (Featuring Pharrell) bumps hard like disco Tetris and breaks down into a cool mechanized Richard Devine drum beat, but this is the only real highlight of the album. Gwen will accept her fate in hell for taking M.I.A. on tour, stealing her moves and pimping out the dumbass version on Dont Get it Twisted. For all the money Interscope paid to The Neptunes (No Doubt bassist and former beau Tony Kanal and a few others also produce)what is that word I used? Ah yes: forgettable. Dave Madden

Hella
Theres No 666 In Outerspace
Ipecac Records
Street: 01.30
Hella = System of a Down + more complexity + Swims
2007 is the supposed year of Hella, but I cant help but wonder if it is actually going to be 2008. It is very noble of Zach Hill and Spencer Seim to relinquish control of their confused mutated baby called their music in the pursuit of doing something different. It can be scary to set out in a new direction, especially when the direction is not exactly established. Theres No 666 in Outerspace contains many of the patented Hella pseudo-intellectualist songs and structures, but adding a vocalist has changed the ambiance of the Hella machine. The vocal lines seem like they are still a little uncomfortable in the mix of the over the top mathematical instrumentation, but nonetheless have a lot of potential. There is a lot less electronic experimentation and a lot more straight ahead confusing rock freak-outs this time around. Track seven, 2012 and Countless, incorporates vocals in the most believable way, less sing-songy and more as an instrument. Anarchists Just Wanna Have Fun is most reminiscent of their earlier work and almost has a ska sound to it. This album is good, but I think their next album with this lineup will be great. Andrew Glassett

Herbert
100 lbs
K7
Street: 01.23
Herbert = Artful Dodger + Underworld Herberts style
For being such a forward-thinking artist, one who has spent a career advancing his production, technical and compositional skills several-fold in-between each work, it seems kind of digressive for Matthew Herbert to re-release his ten-year old debut. Seriously, the dude wrote a personal theoretical guide (Personal Contract for the Composition of Music) in 2000, a series of eleven goals such as no sampling others and no drum machines. This time-sensitive album doesnt fare well compared to anything Herbert has written since. Pulse-driven electronica etudessans his usual expansive palette of blips and colorsrun together without much development, drifting along like almost any old circa mid-90s techno record that teeters on the addition of Micro to that title (i.e. the early Mille Plateaux catalog). That is, those who seek pumping dance music will be frustrated at the hollow textures; fans of this transitional genius who own his 2001 disc, Bodily Functions, will be sorely disappointed. An included bonus disc of relatively experimental B-sides from the same period almost garners the purchase, but can you forgive the bland first half? Not likely. All because of cash? Sad. Dave Madden

Hot IQs
Dangling Modifier
Yawact!on Records
Street:01.23
Hot IQs= Franz Ferdinand + A.C. Newman
Denvers fuzz pop darlings, the Hot IQs, fall somewhere in-between cute and adorable in this fading post-apocalyptic Brit pop, electro-smash world of sound. And while the Hot IQs world might be fading en-suit, (Wait? What? Its gone?), this trio certainly doesnt care; or maybe theyre just oblivious. Dangling Modifier, bounces around with a carelessness that is contagious (think Alexander Kapranos vocals over more subdued Carl Newman song-crafting). Contagious like that drunken case of chlamydia you caught last month, and then again this monthoh, the searing price we pay for those carnal pleasures. Songs like, Retro Muff and Lets Inflate seem to be contaminated with a penchant for simplicity and familiarity. This causes the whole of Dangling Modifier to pop into your ears, initiating a strange twitching in your muscles that wont annoy, excite or even register, only dissipate as mysteriously as it was formed. Leaving your feet and brain in yet another argument. Miles Ridling

I
Between Two Worlds
Nuclear Blast
Street: 11.04
I = Immortal + Motorhead
Steel reeling from the loss of Norways fine black metal band Immortal? For years fans wondered what the bands front man Abbath has been doing, and if he would ever take part in a musical venture again. Well the singer/guitarist took a job working on scaffolding and played in a Motorhead tribute band called Bombers, according to the groups bio. Now the man in cohorts with Enslaved guitarist Ice Dale has concocted a corrosive blend of black metal and rock with I. The epic guitar rhythm sound and trademark vocals that made the latter Immortal albums stand out is still a driving and obvious influence in I. Also on board is lyricist and former member of Immortal Demonaz. Between Two Worlds wont take the pain of the loss of Immortal completely away, but it will numb it. Rock n roll never sounded this epic and brutal. The mixture is an interesting one that pays blatant homage to the rock gods but still allows for a gross maximum of headbanging in every sense. Bryer Wharton

La STPO
Slices of Thrown Time
Beta-lactam Ring Records
Street: 04.16
La STOP = Blurt + Henry Cow + Contortionism
Irvine Welsh said in a recent interview, something along the lines of Ninety percent of the art that comes out of France is crap. La STPO is not withstanding. However, Welsh went on to say, at least its their crap. The players on Slices of Thrown Timedespite their awful, medieval-experimental entracteseem to be frightfully enjoying what their doing: hitting china splashes like cat and mouse, blowing tubas like Janeane Garofalo and shouting/singing drunkenly like the French Gestapo. Histrionics and hyperbole go hand in hand, but its hard not to smile and swallow, as the idiocy is, in the very least, entertaining. Spencer Young

Macromantics
Moments in Movement
Kill Rock Stars
Street: 07.06
Macromantics=Music for listeners to slit their throats by
Miss Macro missed the memo informing all future Aussie rap moguls that smoking Dope Pokemon causes severe brain damage and that, if you actually want to make listenable music, you should probably curb your habit. As an emcee who substitutes cohesion for fuckupidness, Romy Hoffman leaves the listener with completely random, completely disturbing imagesI think she pulls them out of her asssuch as my favorite: Put your hand up/till they reach the sky/pizza pie/eat the slice/we all just want a piece of life. It took about one minute and thirty seconds of listening to MinM for my hands to shoot up and freeze in the what-just-happened position. By the time the song, Eerily Spookily, rolled around I was attempting, in vain, to turn the oven on full blast and shove my head inside. It was only in the 120 seconds on Locksmith, in which Miss Macro passes the mic to the skillful, and yes cohesive, hands of Sage Frances, that I was able to compose myself, rip MinM away from my speakers and throw it in the oven. Thank you Sage Frances. Thank you. Miles Ridling

Magic People
Keen Whips Id Wear As Rubies
Mister Records
Street: 02.28.06
Magic People = 12 Hour Turn + Xiu Xiu + Man Man
Three vocalists and a theremin are what distinguish Magic Peoples sound. The vocals are listed as, pretty, preachy and screamy. They croon/sermonize/shriek about silly things like, my trapper-keeper, sugar mountains and seamen (semen). And they sound like a backwoods circus that faileddue to an elephant collapsing on a contortionistdesperately trying to keep their patrons from leaving the tent. Magic People enlist the devices of the aforementioned, although, unlike the aforementioned, they arent magic enough to keep their ramshackle, discombobulated tent from falling on their own heads. Shows over kids. Spencer Young

Melechesch
Emissaries
The End Records
Street: 01.23
Melechesch = Impaled Nazarene + Orphaned Land + Satyricon
Are you ready to peel your face off to the latest from the Sumerian black/thrash metal band Melechesh? These fuckers tore shit up in 2003 with Sphynx and have returned to punish some more with their middle-eastern-influenced black metal, tinged with blazing thrash guitars. Amidst the black metal howling, there is some clean singing and moments of chanting and melodies, but there isnt a whole lot of that. This record thrives on speed, and breeds little spawns of that same speed just to piss everyone off. I cant emphasize the fact that if you listen to black metal you need to familiarize yourself with Melechesch as fast as the band plays the music itself. Even the cover of The Tea Partys song Gyroscope, is ridiculously evil. Give the Norwegian stuff a break, and sample a different flavor of mighty black metal. Bryer Wharton

Neil Young & Crazy Horse
Live at the Fillmore East 1970
Reprise Records
Street: 11.14
Neil Young = Johnny Cash + The Grateful Dead tie dye
San Francisco in the 70s was a pretty harmonious place to be. Jam bands were all the rage and a focus on instrument technicality was also on the rise. Bands would play for hours in a marijuana-induced haze seeking enlightenment. Neil Young was in the middle of the smoke of the hippie revolution with his vision of country tinged garage rock. After an enormously successful cross country tour with Crosby, Stills and Nash, Young hooked up with his friends Crazy Horse to open up for the incomparable Miles Davis at The Fillmore. The result is classic bites from one of country and rocks most influential guitar slingers. Cowgirl In the Sand, which clocks in at 16 minutes, closes the album. Long sections of soloing from Young are never monotonous, but become psychedelic after a few minutes. This is a classic recording from a classic event. Andrew Glassett

Phazm
Antebellum Death N Roll
The End Records
Street: 01.23
Phazm = Motorhead + Entombed + Grave + Black Sabbath
With Phazms sophomore effort, you get a bonus CD of a full live show showcasing songs from both the bands albums. Unlike the scathing French black metal that was epitomized on the last album, you get what the title describes death n roll. Right from the opening track, How to Become a God, there is a riff straight from Sabbaths Children of the Grave. Phazm have truly honed into a zone of their own on this album. It is a sound that has been tried by many, and only perfected in a few instances Antebellum Death N Roll being one of them. The groove is so immense you will feel as though your head is being smacked against a wall involuntarily. I can easily say this is the best album of 2007 thus far. Bryer Wharton

The Photo Atlas
No, Not Me, Never
Morning After Records/Stolen Transition Records
Street: 01.30
The Photo Atlas = At The Drive-In + The Mars Volta + Action Action + Hell Is For Heroes
The Photo Atlas debut, No, Not Me, Never, comes over the airwaves and tickles the little tiny hair follicles in the ear just the right way. The music is rockin, danceable and the vocals fit with it all just like the last piece of a puzzle fits snugly in its place to complete the whole. There is only one problem with this seemingly perfect musical puzzle. The problem is this: have you ever liked a new band that has been introduced to you and then realized that they sound very much alike one or two other bands that you are fond of? And then you start to wonder: Do I really like this new bands music for what it is or do I like it just because it sounds so much like other bands I already listen to? This is a dilemma. For me, thats what The Photo Atlas is doing. No, Not Me, Never is a great album, but I wonder if the only reason I like it is because it resonates so many familiar sounds from other bands I already like. If you dont read this deep into your music then you ought to pick this one up. For me however, this record has already been made if you know what I mean. Jeremy C. Wilkins

Point Lomo
Forneo
Azra
Street: 12.01
Point Lomo = Phoenecia + Space Time Continuum/Jonah Sharpe
2006 was a year of ownership. First, Justin Timberlake lays claim on sexy, then Fergie buys stock in her hallmark, the London Bridge. Now Point Loma is taking IDMback? Forneo is a return to the baby steps of the genre, a purer time when a limited ensemble slowly unfolded and a rock-steady beat entranced. Much like Autechres more ambient tracks on Tri Repetae++, PL mastermind Bostich eschews the lure of fancy plug-ins and Gigs of sound-banks. Instead, he relies on a meager cadre of sounds and ideas, developing them into a floating, hypnotic pastiche (the disc is actually just one jumbo notion separated by track numbers). The sound is that of a guy who stands behind the DJ booth, yet can have a drink with and talk a little theory with stuffy beard-strokers. In other words, he knows his tools well, but opts to use them sparingly, favoring musicality rather than the tired digital wankery shtick of so many irredeemable tech-heads. As boring as this can be in the wrong hands, Bostich works magic within his confines, creating a subtle state of anomy inside his cubicle. Dave Madden

Punk TV
Self Titled
AeroCCCP
Street: 10.31
Punk TV = Chemical Brothers + Daft Punk
You know what isn't punk? Electronica. That didn't stop Siberia's Punk TV from affixing the name of a genre of musicunrelated to their own to a common household productto create the name of their band. It's the same concept as if I were to form a grindcore band called Emo Toaster, except we'd be way better than Punk TV. Maybe Punk TV thought that having a confusing band name would mask the fact that they make mediocre music. I don't consider myself much of an electronica aficionado, but Punk TV reminded me of exactly why I try to steer clear of the genre. This disc is boring, loud and relentlessly repetitive. The occasional use of guitar breaks up the tedium, but mediocre beats combined with weird vocal samples (i.e. repeating "radio sex" over and over) bring Punk TV's sound back down. Sorry, Punk TV, but there are already enough crappy bands loosely affiliate with punk, and we don't need you too. Ricky Vigil

The Riptides
Hang Out
Red Scare Records
Street: 11.07
The Riptides = The Queers + Dwarves + Screeching Weasel
With help from Joe King of The Queers and Blag Dhalia of The Dwarves, The Riptides pull together a solid punk rock record with Hang Out. These Canadians sing it like their lives depend on it on tracks like the high-intensity Red Dawn. Other tracks like Change Gonna Come, That Girl, and 88 MPA/Unfortunate Son, stand out and have more punk rock grit than some of the power pop-punk songs like Heartbreaker, Detention, and Subway Surfer 2, which arent bad, but can seem a little cheesy unless youre in the right mood. So whats missing you say? Some kind of pissed off song about rioting? Oh, well dont worry, thats included too in the appropriately titled and angry: I Wanna Riot. Having put out their first record in late 1997 and several since then, their 2002 Drop Out, is the only album that isnt out of print. I doubt this one will go out of print anytime soon, but you might as well pick it up soon just in case. Jeremy C. Wilkins

Sailboats Are White
Turbo!
Let's Just Have Some Fun
Street: 10.25
Sailboats Are White = Mindless Self Indulgence + Crass - politics and cockney accents + Stza Crack
It would be wrong to call Sailboats Are White shitty, though, they are just one "t" short. I have no idea where this band gets their musical inspiration, but I think it's time to start looking elsewhere. Turbo! contains Atari-esque beats like MSI, a chainsaw guitar reminiscent of Crass, and slurs that make Tim Armstrong sound intelligent. When not singing, lead vocalist Kevin Douglas unleashes a screech that made me wince and left me wondering if he was using any words or just making noise. What keeps Sailboats Are White afloat is the instrumental part of their music. A nice little mix of fast guitar, bumpin' bass and some techno beats keep the music upbeat, despite that there are no drums. Perhaps if Kevin Douglas falls off stage one night and breaks his neck, Sailboats Are White might be okay. J McGillis

Static Thought
In the Trenches
Hellcat Records
Street: 01.23
Static Thought = Time Again + The Unseen + GBH
Static Thought isnt your typical punk band thats fronted by a pimply high school kid. Their melodic Rancid-influenced brand of punk is a nice break from all the uninspiring street punk, combine that with the well-worded lyrics, lead singer Eric Urbachs rough growl and talent that cant be denied, and you have a damn good punk band. I wouldnt call their sound groundbreaking, or their songs particularly earth shattering, but they are very good at what they do. My favorite songs were Junk, Dope and Speed, Choice Through Struggle which features Lars Frederiksen helping out on vocals and the fast paced Infiltrated Minds which is reminiscent of the early 80s bands out of the UK. In the Trenches is a well-rounded album whose old school influences shine through vibrantly. Jeanette Moses

Tard
Dining with the Lepers
Fivecore Records
Street: 11.06
Tard = Leftover Crack + NOFX + Fear
This band is called Tard. That just screams out quality, right? Actually, Tard is pretty much everything you'd expect from a band with such a name, and even though the CD case is ripe with vaguely satanic imagery and spelling errors, Dining with the Lepers is pretty enjoyable in a completely stupid way. The band tries to be as offensive as possible with songs such as "Kill Kill Kill" where in they advocate killing just about every single race of human being that has ever existed. And who could forget the utterly classy "Butt Whore"? The music is nice and juicy with it's mid-tempo guitars and plenty of "whoa-ohs" and other backing vocals that'll get you singing along until you remember that you're listening to a band called Tard. Dining with the Lepers is a goofy little album, and as long as youre willing to tolerate a moderate to high level of stupidity, itll be right up your alley. Ricky Vigil

TIMZ
Open For Business
VIG Productions
Street: 01.06
TIMZ = Chaldean TQ + Spice 1 + Bomb City
TIMZ is apparently an American emcee of Iraqi descent hailing from a Whales Vagina, California, an area blushing with an abundance of talent. Having honed his craft for a number of years, performing with a host of top-shelf artists, with funky hip-hop remakes of classic songs, purely original. Open For Business is TIMZ virgin attempt at forging a dent in the commercial rap game that seems to be nearing saturation. In all earnestness, TIMZ is a decent emcee. Intelligent and outspoken, his rapid-fire delivery is technically polished and structurally, his rhymes hold their own. However, I found TIMZ stumbling over the same recycled rap clichȒs, punctuating his flow with awkward pauses, littering his album with unimaginative punch lines and barking on top of somewhat symphonic middle eastern samples with a drum line laced into it. A extraordinary listen if digested as a sporadic, superficial digestion; a more thorough and extended listen reveals a bitter-sweet rant making me fight the feeling of deja-vu. Lance Saunders

Unwritten Law
The Hit List
A2M Records
Street: 01.02
Unwritten Law = Third Eye Blind + Pulley + Hoobastank
When people talk about Velvet Revolver all I can think about is, How is anyone into these washed-up rockers? Thats also what crosses my mind when I listen to Unwritten Laws latest release, The Hit List, which ironically sounds like anything but a hit list. The band brags about how punk rock they are for having been dropped from every label theyve ever been on, and for changing their formula from album to album. Ive got news for these guys: they are one of the least punk rock bands around, with the exception of their first album and maybe their second. First off, being dropped from every label youve ever been on says that you have some serious bad luck, that you are the problem or that you have issues and no one wants your name attached to their label. Second, its one thing to change your sound or even evolve into something else, but dont brag about how punk it is to change your damn musical formula when your music sounds like trendy 90s alternative bullshit. All the songs are moody, melodic anthems for losers. What makes this even more amusing is that the songs on this record arent even the originals! Unwritten Law re-arranged and re-recorded every song on this record. Maybe they wanted them all to suck equally? Or maybe they didnt want their tracks from their first two albums to make the rest sound like hell? Its anybodys guess, but the bottom line is that Unwritten Law should have stayed with the sound they started out with because sometimes, simplicity is better. Jeremy C. Wilkins

Urgehal
Goat Craft Torment
Southern Lord
Street: 11.28
Urgehal = Immortal + Darkthrone + Satyricon
Well you have to hand it to Urgehal for not dancing around about what kind of music they play, they come right out and say it. On the albums first track the vocalist wretches in his best black metal voice This is Satanic Black Metal. And you get what is promised; satanic lyrics coupled with the utterly enjoyable black metal standard, which is speedy riffing and drumming with a sort of lo-fi production value. Unlike many underground black metal acts, Urgehal have a distinguishable bass sound which in some cases with the cult black metal sound the bands dont even have a bassist. The chemistry and atmosphere go hand in hand on this record, and ultimately create a great black metal album that was surely created because its makers like the style of music and arent out to capitalize on what modern black metal has turned into. Bryer Wharton

V/A
Metal = Life
Hopeless & Subcity Records
Street: 11.28
Metal = Life = a bunch of so called metal bands
I guess everyones view of what metal is may be subject to a difference of opinion. In the case of Metal=Life my opinion differs extremely from what The Hot Topic Foundation and the Sub City foundation are calling metal with their somewhat of a benefit compilation of two CDs and a DVD. There are few actual metal bands featured on the compilation; the rest is what I would consider metalcore, hardcore or screamo. You know, the shit that caters to the general Hot Topic shopping crowd. I shouldnt bitch because I guess some of the proceeds of the DVD sold exclusively at Hot Topic go to the foundations, but I think a compilation entitled Metal = Life could actually feature a hell of a lot better bands, and ones that are actually considered metal. There is nothing really exclusive to the compilation the only thing I can see it being remotely good for is an ignorant fan finding out about a band they might not have heard of before. All the more reason to be pissed off about the compilation since it could have displayed bands that are in need of actual attention, instead of already established artists or just plain boring bands. Bryer Wharton

V/A
Our Impact Will Be Felt Sick of It All Tribute
Abacus
Street: 01.23
OIWBF= Rise Against + Bane + Bouncing Souls playing New York Hardcore
Tribute compilations mostly miss, and rarely hit. Hydraheads Black Sabbath tribute series In These Black Days worked. Others are not so successful, namely the Punk Goesseries. In most cases bands pay tribute to a musical style varied from their own - at least to a band that is not still active. Our Impact Will be Felt features premiere hardcore, punk and metal bands (such as Bane, Madball, Napalm Death, Pennywise, etc.) covering Sick of It All tracks. This is strange because even though SOIA has been around for 20 years they are still performing and putting out albums. Additionally, having hardcore/metal/punk bands cover a hardcore/punk band offers such little variance its unnecessary. The CD I received only had four tracks, so I can only comment on those. Rise Againsts cover of Built to Last is decent, but offers little that is new. The only interesting track is Bouncing Souls covering Good Looking Out, it offers an edgier, tougher side to these skate punk favorites. My guess is that all songs on the compilation will be played competently, but with little new to offer. Just go straight to the source and get the originals. Peter Fryer

Vietnam
Self Titled
Kemado Records
Street: 01.23
Vietnam = The Velvet Underground + Bob Dylan + Iggy pop
If Bob Dylan, The Velvet Underground and Iggy Pop had a love child, Vietnam would be it. Newly signed to Kemado Records these boys from Brooklyn are a definite and strong addition to their label. With a lush and symphonic sound, Vietnam will keep you coming back for more powerful lyrics (that could drive anyone to a serious state of enjoyment). Track number 7, Welcome To My Room is seriously the best song Ive heard all year. Ten epic rock-solid songs make up their self-titled release. Vietnam is like a breath of fresh air amongst all the pop rock bullshit out there right now. With strong vocals, amazing musical collaboration and a sweet sweet taste of the old school. This is Brooklyn at its finest. Do yourself a favor and go try this one on for size. Sara Edge

You Am I
Convicts
Yep Roc Records
Street: 01.23
You Am I = Thin Lizzy + Black Rebel Motorcycle Club + Safe Poop
The rock from You Am Is Convicts is like a good bowel movement: solid, consistent, quick, slightly painful (but pleasantly so), and easily wiped clean. While they sound dated with their persistent butt rock rock, You Am I is lively enough to ignore the petty things reminiscent of that era: FTW tattoos and steel-toed shoes. Although, coming from down under, they have the happy-so-happy buoyancy that seems partial to many Aussie bands. And while some good, glossy and healthy butt rock is delightful every once in a while, having the heaviness and dangerousness of serious butt rock is what really brings the tears and sweatthe abject we secretly desire. Spencer Young