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February 2007 - Issue 218

7000 Dying Rats
Season In Hell
He Who Corrupts Inc.
Street: 01.09
7000 Dying Rats = The Locust + Jenny Piccolo + Killwhitneydead
You know that kid you always saw talking to himself in school, the one that smelled funny and got beat up by the football players? Well, Im convinced that 7000 Dying Rats is what youd get if he learned to play guitar and started a grindcore band. Theyre sick of being thrown into lockers and theyre just not taking it anymore. The great thing is, through all the pent-up anger and aggression, they just couldnt get rid of the nerd inside them. Nestled snugly between the furious grind, there are obscure, misplaced samples, rap songs about smelly armpits, 70s rock complete with cowbell and mouth harp and the funniest cover of Black Sabbaths Paranoid that Ive ever heard. Theres nothing serious about this band except the grind, and they do it very well. Chris Carter

Aereogramme
My Heart Has a Wish that You Would Not Go
Sonic Unyon
Street: 02.06
Aereogramme= Sigur Ros + Mogwai + Snow Patrol
Like a wise warrior who hung up his sword and wanders peacefully from town to town confident in his own strength, Aereogrammes latest effort shows the restraint of the truly accomplished. Just like true strength is not shown in acts of physical power, Aereogramme lets the listener know that they could pummel at any time, but dont. On Aereogrammes latest releasetheir third full-lengthbombastic distorted guitar is checked at the door. Strings, soft vocals and musical swells are the sound du jour. The album is no less grand in scope or aurally encompassing, in fact, its more complete, accomplished and well thought out. Although the interspersed moments of guitar chaos and screams were well placed and offer a sonically interesting punch in the face on past albums, their absence on this one makes for a more cohesive and tight listen. It is the perfect accompaniment to a long drive in the snow and deserves full attention to all of the carefully planned instrumentation and composition. Peter Fryer

Andy Partridge
Fuzzy Warbles
Ape House
Street: 11.07
Andy Partridge = Drug Induced Beatles era McCartney + Post Punk Folk
While one of the joys of writing for an underground music magazine is discovering new bands that youd otherwise have never been introduced from time to time it is nice to settle in with an old friend, or in this case a estranged cousin. Ive never been a huge XTC fan, not by choice so much as by a lack of time, so a sampling from an 9 disc box set (8 are available separately) of Andy Partridge (their vocalist and songsmith) demos might seem a bit underwhelming; it wasnt. Fuzzy Warbles is a Partridge fans dream and I cant help but be a bit jealous of the treasure trove he has given them. To call these demos is a stretch considering the quality of the recordings, both in sound and arrangement, is as good if not better than everything else that Ive reviewed this month. The songs are a wide mix of alt folk, Beatle-esque ballads, social protest and bizarre carnival experiments. It might be a bit much to ask the uninitiated to dive in for the whole collection but it certainly has me looking for a few more XTC records to add to my collection. Then again maybe Ill just start here and work my way backwards. ryan michael painter

Big Sir
Und Sheisse Andert Immer
GSL
Street: 02.20
Big Sir = Massive Attack clones + Dalis Car
You see names such as The Mars Volta, Beastie Boys, Air and Hella attached to a project and assume great things. Perhaps this hype just shatters the dream that Big Sir, a collaboration between TMV bassist Juan Alderete de la Pea and vocalist Lisa Papineau, could be something greator maybe its just a stinky project to begin with. The duo and plenty of company hints at a Massive Attack collaboration, lining the tracks with somber moods, loops and more loops, slinky fretless bass and Papineaus reserved croon. However, apart from a few choice moments (i.e. Money Marks dizzying Hammond line on Pelo de Elote ), Big Sir fails to augment the template established by MA and Portishead. Mysterious and sultry attempts translate to boring escapades too reminiscent of works by the masters. Unfortunately, the band saves its best, most unique work for the penultimate and last slots (stomping P.J. Harvey-esque antics on Eastside Westside Blue and Speedys Rejoinder, a hip-hop samplefest written by neither de la Pea nor Papineau); wading through 12 other lackluster tracks to get there is just not right. Dave Madden

Birds & Batteries
Selections from...."Nature vs. Nurture"
Self-Released
Street: 12.06
Birds & Batteries = Postal Service + Neil Young + Ratatat with vocals
Lo-fi electronic projects usually leave me in a state of shock with their sometimes-disgusting synth lines and dissonant beats, but Birds & Batteries is so much more. Ratatat immediately comes to mind when I listen to songs like "TV commercials" and "machines that dream." But mastermind Mike Sempert of San Francisco differs from Ratatat is his addition of equally lo-fi and sometimes haunting vocals. "Gloria" actually sounds like a good Postal Service song with a fast beat and meaningful lyrics. But just when you thought this album couldn't get anymore electronically plagued, Sempert takes the pedal steel for a spin and creates a few country ballads worthy of compliments. Semepert originally recorded this "Selection of songs" along with a few others for an 18 song CDR he independently released in San Francisco in 2005. Since then, he cut the mix down to 12 songs and mastered them for this release. Tom Carbone Jr.

The Boils
The Orange and the Black EP
TKO Records
Street: 01.09
The Boils = Swingin Utters + Dropkick Murphys
This six-song EP from The Boils, appropriately titled Hockey Anthems, conjures up visions of hockey fans throwing their fists in the air and shouting We are the orange and the black, along with Greg Boils gruff punk rock vocals. The EP pays homage to The Boils hometown hockey team, The Philadelphia Flyers. The band was approached by the Flyers when the song Bullies from the 2005 release The Bleachers received radio play and were asked to write a new fight song for the team. The Orange and the Black, When the Boys Are out Tonight, a new version of Bullies, Warriors on the Ice, The Life for Me, and Im A Hockey Fan, are the result of the Flyers request. The songs are full of energy and plenty of encouraging shouts, chants and mountains of inspirational lyrics for the team and fans alike. The only real drawback to this release is that it feels like you are listening to a commercial or endorsement for the team instead of actual music. Jeremy C. Wilkins

Boyskout
Another Life
Three Ring Records
Street: 11.21
Boyskout = Garbage + Coldplay + Teagan & Sara
While reviewing this CD I realized that I was listening to something very wrong. In Boyskout's Another life, Every track is full to the brim of monotone trance, with an interlude of crappy guitar riffs. Song after song starts out fine enough, maybe with a light beat and some nice grungy guitar. Nothing original, but at some points tolerable, but very soon what little appeal that was there fades. Then you're left with their drummer who cannot hold any sort of timing throughout. The only thing that is remotely apparent in the drumming are lame hardcore throwback riffs . Song after song left my ears in pain. I found myself getting progressively tortured with their cheesy and monotonous woman pride lyrics... it was hard to really take seriously. Now all those who know me know I am a fan of girl power, but when it comes to this all girl action going on in Boyskouts recent release Another Life is anything but powerful. Please make it end! Sara Edge

Bracken
We Know About the Need
Anticon
Street: 01.30
Bracken = Ehlers, Ekkehard + odd Nosdam
Bracken, (Chris Adams), falls right into place amongst the avant-garde pop-smothering faces that adorn Anticons roster. Known for his vocal/soundwork in the Leeds legends, Hood, Adams solo debut, We Know About the Need, is an album heavy with the weight of world-torn vocals lovingly floated over the swirls, beeps and squelches of a cityscape clashing with the people that haplessly move across its concrete walks and ways. With an uncanny, and at times eerie, understanding of the familiarity certain sounds hold to the human ear, Adams works methodically in and out of two distinctive structures, intertwining his more vocally hip-hop paced pieces such as Four Thousand Style through his more ambiance-driven hollows, Music for Adverts and Evil Teeth. While this patchwork is seamless, its moments like those found in Safe Safe Safe and Back on the Calder Line, where Adams hip-hop is carefully poured out of his swirling electroscapes, that set We Know About the Need into a beautiful uncertainty all its own. Miles Ridling

Brats On The Beat
Ramones For Kids
Go Kart Records
Street: 11.21
Brats On The Beat: Ramones + the various vocalists used for the CD (Jim Lindberg, Jack Grisham, Tony Reflex, etc.) + six year olds jamming out
I suppose I should keep in mind that this CD is not aimed towards my audience; it's aimed towards fifteen six year olds at a birthday party. Personally, I find the CD almost unbearable to listen to. I never was a big fan of The Ramones, but there were a few songs I liked quite a bit. My favorite, I Wanna Be Sedated, wasn't even on the CD, which, really, is a good thing. I'd hate for the Brats On The Beat kids to ruin the song for me. The disc contains twelve Ramones covers ranging from Tony Reflex of Adolescents, to Emily Wynne-Hughes of Go Betty Go, to Matt Skiba of Alkaline Trio. This would all be well and nice (with a few exceptions) if it weren't for the ten kids in the background singing along. It still is the best alternative to the god-awful Kidz Bop, and I will give them credit for that. I suggest saving the trouble of buying this CD and just buy something from the real Ramones instead. Josh McGillis

Bunny Rabbit
Lovers and Crypts
Voodoo-EROS
Street: 02.20
Bunny Rabbit = Peaches + CocoRosie + Disney Lands red light district (What? You didnt know?)
Oh yeah! Heres some sex rhymes for all the lovelies. Bunny Rabbit (Melisa Rincon) is as much a puff of innocent woodland creature fluff as Joan Rivers is a wanton sex goddess. And as a result, the bump that pours from Lovers and Crypts is hot, sticky and drippinga tantric-laced lyrical tryst into the world of coming bees and the Pussy Queen; a fuzzy fuck-fest smothered in the rhythmically obscure pelvic-thrusting that only Black Crackers (Celena Glenn) bass-heavy beats can incite. Lovers and Crypts is as much beats to pace-swinging dicksntits in your local strip club as it is hip-hop to keep the kiddies bouncing in da clubvibrations to keep the flesh swollen, shimmering and ready for the friction. Neat. And as such, I feel the need to administer a warning to all those saving themselves: do not listen to Lovers and Crypts. If you do, youll be flop[ping] and fuck[ing] [something] in the mother-fucking nature shit, by the discs end. Miles Ridling

Cassius
I am Jim Jones
Lifeforce
Street: 01.09
Cassius = Throwdown + Burnt By the Sun + A Life Once Lost
For the new-year comes a new record from the like of Lifeforce sure to make an impact on the metalcore world. Cassius blend pretty straight hardcore breakdowns with grind/death metal growls, blast beats and just plain intensity all with a slight tinge of chaos to flavor. Like the boxer the band packs a one-two punch utilizing both styles. There is enough discord and clean riffing to appease fans of both genres. Couple that with a strong work ethicthe guys were touring with established metal acts long before they had a full length even availableand you have something worthy of attention. The moments on record when melodies peer through make things all that much more enjoyable and diverse enough to keep things from getting boring. Lamb of God you have a new band to stave off from your hometown of Richmond, Va. Bryer Wharton

The Cheats
Lifes Short
Da Core Records
Street: 10.31
The Cheats = Social Distortion + NOFX
Now, I am down for some good beer lovin-mother-fucking punk rock that you can shout along to, but with songs like Boredom and Day after dayI found myself wondering why time after time bands like The Cheats feel theyve got something thats new and exciting when really its the same shit that weve all heard before. Complete with steady monotonous power chords, and unoriginal lyrics about beer and being PUNK ROCK, Listening to The Cheats Life's Short was like listening to an overbearing 15 year old punk rock kid who has something to prove. But if that is your cup o tea, this band is for you! Theres just too much of too little with Lifes too short for me to give this one a thumbs up or even a thumb up my ass for that matter. Sara Edge

The Cruxshadows
Dreamcypher
Dancing Ferret
Street: 01.16
The Cruxshadows = Mesh + Wolfshiem + post Nave Red Flag
While it would be unfair to call them untalented Ive never quite grasped the phenomenon known as The Cruxshadows. Maybe Ive been jaded, suspicious of a successful band that I dont quite see the fascination. Sitting down with Dreamcypher I set preconceived notions aside. Fine, I see the appeal. Take an above average contemporary American synthpop band, dress them in latex and eyeliner and throw in a tremendous live presence and I cant say I blame the masses for their devotion. What else could any self-respecting synthpop outcast claim as their own? Certainly not Depeche Mode, Pet Shop Boys or even VNV Nation or Covenant as theyve all garnered too much success. But doesnt it feel like Apoptygma Berzerks 7 without the epic orchestrations or Mesh when they still had day jobs? Then again is that a crime? The violin against electronics is a nice touch, the lyrics are above average (which for a synthpop band isnt an easy feat) and its got a beat you can dance to. Am I waiting for them to change the world? Yes, and they havent. But they have made a solid, if safe, album in Dreamcypher that will please their cult following, continue to pack dance floors and doubtlessly pick up a few hundred more to add to their mailing lists. Frankly its the best work theyve ever done; or maybe Im just really hearing them for the first time. ryan michael painter

Daylights for the Birds
Trouble Everywhere
Bellhop Music
Street: 10.31
Daylights for the Birds = Almost Trespassers William + Ride
Im both impressed and terribly disappointed by Trouble Everywhere. I cant bring myself to say anything too negative, but I cant exactly call it a masterpiece either. I love the opening tracks, To No One!! and For Now in particular are a brilliant collision of guitar heavy pop, ambience and noise with a lovely female vocal surfing atop it all. The problem comes after Trouble Everywhere when the atmosphere goes on thick and aimless as the pop sensibilities disappear and leave you wondering if the first half of the album was really as good as you thought it was. Finishing off with Everybody in the Pool is a smart decision but ultimately a 6 song E.P. would have been more rewarding. ryan michael painter

Dosh
The Lost Take
Anticon Records
Street: 10.17
Dosh = Fog + Lateduster + Erins Soundtrack
Filling in the blanks and making up your own vague lyrics for every song is probably the most enjoyable thing about this new album, which might have been Doshs intention to begin with. The Lost Take, the fourth full-length Anticon installment from the experimental/expressive and electronic-based artist is cram-packed with layered drum loops, conspicuous keyboards, acoustic guitar riffs, smashed vocal samples and twinkling xylophones. On songs like A Ghosts Business, Dosh tampers with the drum loop past the point of recognition with keys that scamper to keep up, leaving the listener neck-broken and confused until the digital sigh of relief at the end. With its harsh percussion and glinting music box-esque keys, Ship Wreck offers the music in a different vocal configuration featuring Doshs wife, Erin. Tricking the hominal ear is not an easy thing to do and The Lost Take proves, once again, that Dosh is the epitome of the modern one-man-band. -Lance Saunders

Eluvium
Copia
Temporary Residence
Street: 02.13
Eluvium = Sigur Rs + Fennesz + The Album Leaf
Honestly, orchestrated post-rock soundscapes have gone the way of the woolly mammoth in my book. Once you have heard one, you essentially have heard them all. Yes, they are gorgeous, pretty and in the words of one reviewer, good enough to make just about anyone cry. With such empty, hollow, music criticism floating about, it isnt hard to see why someone would make those (among other) statements: the album is just too generic in its genre. Essentially, it is all the build-up of Godspeed without the climax. While this album isnt bad, hell, most things on Temporary Residence are great; this is just another one of those albums. Great for sunrises, Sunday brunches and cuddly morning sex. Erik Lopez

Ektomorf
Outcast
Nuclear Blast
Street: 01.23
Ektomorf = Soulfly + Fear Factory
Theres an obvious reason Ektomorf has found themselves outcast. Theyre one of those bands that spells the word new with that accent mark. You know the one. It goes over the letter u and makes a long eww sound. Eww. Ok, Im not giving them quite enough credit. Although they adhere pretty strictly to the n formula, they are a little more musically adventurous than most of their n-metal counterparts. Apparently, they know how to play sitar, and thats some complicated shit. Still, I cant shake that feeling that Ive heard this all before. The lyrics are angsty and juvenile. For example, in track eight, eloquently titled Leave Me Alone, the singer screams over and over, Why cant you see, why cant you see youre fucking up my life? It seems like hes pretty pissed. Maybe mom wouldnt let him borrow the minivan to go to the mall today. Chris Carter

Fear My Thoughts
Vulcanus
Century Media
Street: 01.23
Fear My Thoughts = Soilwork + Darkane + Caliban + The Haunted
The German melodic thrash outfit Fear My Thoughts has something to offer for metal fans of many discriminating tastes. Amongst the blazing fast guitars, there are plenty of melodies to party down to as well. The band holds true to their German roots, inviting seminal German thrash troop Destructions vocalist and bassist Schmier as well as guitarist Mike Siffringer to guest on the song Accelerate or Die. Dont confuse that with these guys being straightforward thrash like Destruction; they add their own little flash of melodic stuff as well as plenty of top-notch, clean singing. There is enough diversity going on with this album to keep any cynical folks at bay and not get bored. It may not be winning any top awards for 2007, but Fear My Thoughts can duke it out with the best of many melodic thrash/death outfits. Bryer Wharton

Ferocious Eagle
The Sea Anemone Inside Of Me Is Mighty
Polk Records
Street: 02.01
Ferocious Eagle = Deerhoof + Hella The hoof and the hell
Jam bam, hammy-ham hands and jiggle-wiggle toss effectively describe the sounds of Ferocious Eagle. The sea anemone inside of the rock trio islike they saymighty, although, its also chockful of anxiety. Pummeling through the album with half-shouts about roundabouts (credit cards, Jesus, newspapers) and choppy, angular guitars, FE is like coffee on an empty stomach: a hot charge that nonetheless leaves you sweating in weird places and feeling irresolute. Theres not much cohesion through the album nor in the songs themselves, but with song titles like This Song Is A Train Wreck and I Just Dont Care, I have a feeling these guys are content with rocking like dinosaurs. Senator Spencer

Field Music
Tones of Town
Memphis Industries
Street: 02.05
Field Music = Clinic + Belle & Sebastian
Field Music is one of the UK bands that continually linger in the coming soon area of the next big thing tent. Theyve garnered attention, attracted friends (Belle & Sebastian, Maximo Park, The Futureheads) and amassed critical acclaim. They write short, angular, rigid and brainy pop songs that somehow emanate warmth despite their mathematical disposition. Tones of Town is tighter than their self-titled debut, but in this case, maybe a bit too much so. I prefer the slightly reckless, unpolished Field Music (further emphasized on their B-side and rarities collection Write Your Own History), but a really good record is still really good even if it pales in comparison to its predecessor. ryan michael painter

Fifty Caliber Kiss
Armor Class Invincible
Universal Warning Records
Street: 02.20
Fifty Caliber Kiss = Chimaira + Norma Jean + Lamb of God
Fifty Caliber Kiss sounds like your basic hardcore metal band; however, what they lack in originality they make up for in conviction. They seem to play their music with more passion and energy than any metal band that has come out recently. Yet, even with all their effort and intensity they, are just not pulling it off. The band in general seems to be pretending to be Pantera. The lead vocals throughout the whole album are a constant gut-wrenching scream that never lets up. The backing vocals sound like a mix between Ozzy and Eddie Vedder, but never seem to be quite on key. After listening to the first few tracks of the album, the constant screaming starts to wear itself thin and the guitar work, which alternates between traditional metal and hardcore, is tiring as well. The band has definitely mastered the art of playing hardcore metal, but there is no originality whatsoever. It would be nice to hear Fifty Caliber Kiss mix some other influences into their intense sound. Jon Robertson

Gabriel Paiuk and Jason Kahn
Breathings
Cut
Street: 10.06
Gabriel Paiuk and Jason Kahn = Satie + Herbert Eimert
Other than his "silent" work, 4'33, John Cage is probably best remembered for his piano pieces, specifically those that incorporate extended techniques. So if I say Breathings sounds like Cages prepared piano works, you have a point of reference (a fairly broad statement, but one of the highest compliments I can give). Recorded in one afternoon, this work supports the vision that Cage and his contemporaries (David Tudor) fused into their electro-acoustic musical adventures. Gabriel Paiuk delicately explores the guts of his piano, fidgeting with strings, the soundboard and creaking wood, incorporating a great deal of silence between his percussive outbursts. Jason Kahns contribution is electronic. Just as anxiously reserved as his acoustic partner, he paints in sine waves, crackles, advancing drones and pastoral feedback, creating tension via frequency and intended glitch. As with all Cut releases, this work is not something understood with a fleeting listen; that is, the forty minutes of Breathings demands your attention, but does so reverently, gently tugging at your pant leg. Dave Madden

Green Milk from the Planet Orange
You Take Me To The World
Beta-Lactam Ring Records
Street: 01.07
Green Milk from the Planet Orange = Derek Bailey + John Cage + Koji Asano
Their live shows are made of frantic energy. Their last album reeked of an incinerator burning Guitar Wolf alive they are that good. But if their last album was psych- guitar freak out that was bigger in Japan than technology, what is this new album? It is a stark, highly conceptual, highly abstract composition. Built out of two tracks, the album moves between the spaces of no-wave D.N.A. (but quieter and controlled) and the silent ruminations of John Cage and Derek Bailey. The guitars angle outward and the drums dissonantly clash between outbursts. It is refreshing to see the band exploring earlier album concepts that they left untied. Erik Lopez

The Handshake Murders
Usurper
Goodfellow
Street: 02.20
The Handshake Murders = Coalesce + Blood Has Been Shed + Meshuggah
When I first spun this latest disc by The Handshake Murderers, I almost thought the Coalesce singer had joined up with a new band. Upon further research and listening, I realized that that was not so, but the bands vocalist embodies that same spirit and raw brutality. That said, it is the vocals that make this album stand out amongst the pack. On the song Painted Contortionist, hearing the singer scream, Ill rip your throat out almost makes you shudder with fear in a corner. The intensity of the vocals alone allow listeners to finally sink their teeth into something that doesnt sound forced or contrived. As for the music, you have your stop-and-go mathematical riffing Meshuggah has so forcefully brought to the scene, along with some vicious breakdowns. Prepare yourself for a visceral ear-scraping and relish in this outing the usually trustworthy Goodfellow Records has to offer. Bryer Wharton

The Harlem Shakes
Burning Birthdays
Self-release
Street:02.20
Harlem Shakes = The Strokes + The Futureheads + The Hot IQs
Before attempting the Harlem Shake, it is important to take the appropriate time and effort to stretch your musclesremember, hold each stretch for 30 to 60 seconds, and stretching should not hurt. Done? Next step: place Burning Birthdays in the closest compact disc player; skip to Sickos (Track 4); now elbows in, palms down, feet together and shimmy. I find it easier to shimmy left and then back to your right, but whichever way you choose to shake, shake, shake yo ass, the lo-fi sounds of NYCs The Harlem Shakes will aid in working any hip-swaying/arm-spinning out of your body. The Shakes first EP, Burning Birthdays, is the decision of four underage garage-rockers to try and play it gritty but safe. Worked with plenty of down strokes and more whoa-ohs and OOoooOOs than anyone should reasonably shake a stick at, Burning Birthdays comes off as a sunshine-polished version of The Strokes 2001 The Modern Age EP, and as such, can and should be enjoyed with warm milk (4%) and cookies. Miles Ridling

The Hatepinks
Tete Malade
TKO Records
Street: 01.09
The Hatepinks = The Briefs + The Stitches + France
For anyone who was planning on writing this album off because The Hatepinks are a French bandplease fuck off and die now. These boys play dancy electro-punk fueled by catchy lyrics, pogoing and, of course, by wearing their shades insidejust like The Briefs. The resurgence of the 77-style pogo-punk hasnt gotten stale yet, and I think that this album may have been released at the peak of the wave. The chord progression on Tete Malade makes it sound like a Briefs song, while the vocals are more reminiscent of something from The Adicts. Fans of punk wont be the only ones who will enjoy this seven-track release. Anyone willing to take a chance in territory that may be a bit unfamiliar will leave pleasantly surprised. Jeanette Moses

The Higher
On Fire
Epitaph Records
Street: 02.20
The Higher = Panic! At The Disco + Something Corporate + Justin Timberlake + Saves the Day + Maroon 5
My first reaction to hearing The Highers Epitaph debut and sophomore album, On Fire, was that I wished it would have started on fire before I had a chance to hear it. Anyone who has even loosely followed punk in the last 10 years would know that at one time not too far past, Epitaph held the crown for promising punk bands, old and new alike. That crown has since been stolen, broken into pieces and passed on to several different labels, leaving Epitaph latching onto poppy moneymakers ever since. The Higher try to blend R&B with emo and pop-punk, a combination that in reality, doesnt work. This crap is supposedly meant to impress fans of punk and R&B and be some sort of crossover music but its far from impressive, to say the least. With lyrics like: All that matters to me girl, win or lose, is an X-rated complete swirl of me and you, from the first track, Insurance? it is hard to take anything seriously afterwards. If I were eight years old, had never owned a CD before or listened to real music, I think I would love this CDout of ignorance. The Highers fire should have been extinguished long before they scored a record deal with anyone. Jeremy C. Wilkins

Imitation Electric Piano
Blow It Up, Burn It Down, Kick It Til It Bleeds
Drag City, Inc.
Street: 10.17
Imitation Electric Piano = Devo + Belle & Sebastian
The third album from Stereolab members Simon Johns and Joe Watson is their first with lyrics, sung by Mary Hampton. There are some catchy synth-pop tunes as well as indie-folk songs, and Hamptons gently detached sensibility is perfect for all of it. She gives the music an emotional grounding and a gracefulness that might have otherwise been lacking. The eclectic style is no fault; this is a fun album, unpretentious but still maintaining its edge. Jeff Guay

Knife the Symphony
Self Titled
Phratry Records
Street: 01.30
Knife the Symphony = Sonic Youth + (insert favorite indie-rock band here)
Its funny to me how many indie-rock bands try to sound so much like Sonic Youth. Sonic Youth bores the fuck out of me. So does this. Knife the Symphony plays your standard indie-rock; slow, calculated and pretentious. I stared blank-faced and glossy-eyed through most of the album, very rarely even hearing any of it (though Ive spun it five times now I think, and Im completely alone and distraction free). The most emotional response I could come up with was to drool a little on the press sheet. Theres just nothing that caught my ear. Im sure theyd draw quite the crowd if they played the Urban Lounge, but thats the best that I can give them. Chris Carter

Madraso
The Theme of Consequence
Self-released
Street: 2006
Madraso = NoMeansNo + Killing Joke + Enemymine
Madraso has been compared to Fugazi more than once, and although I can see the sense in that, Im gonna take a leap and compare them to a few other bands. Killing Jokes jagged, angular bass lines and drumming (minus excess reverb & industrial overtones) surface in Madraso; so does Form of Rockets mathematical tech-riffs thatd make a physicists head spin. A lot of the viciously cutting punk vocal inflections remind me of lead singer Mike Williams style (EyeHateGod). Madrasos fast-forward flailing recklessness reminds me of Rye Coalitions energy, musical texture and guitar-picking, but a million times more serious in lyrical content and overall feel. Madraso arent doing anything terribly pioneeric, but they are tight as hell and accomplished. At their core, theyre a punk band in heart and sound, and their time signature work and discordant, chromatic, swirling movements that come charging outta the gate like a bull in heat are nothing less than excellent. Rebecca Vernon

Maher Shalal Hash Baz
LAutre Cap
K Records
Street: 01.23
Maher Shalal Hash Baz = Preschool class during music hour
I wish I could reprint the entire press sheet I got from K Records, because it really says it all itself. Unfortunately, I dont think that would fly. The problem is, these songs are not held together at all. Theres no dynamic, no structure to speak of. Its literally a bunch of amateur musicians making noise. The press sheet is laughable in trying to make this sound appealing. This album is completely un-listenable. I cant believe the label actually forked out the money to record an album! What the fuck? Chris Carter

Marnie Stern
In Advance of Broken Arm
Kill Rock Stars
Street: 02.21
Marnie Stern = Hella + Yeah Yeah Yeahs + Lightning Bolt + Eddie Van Halen
In Advance of Broken Arm is yet another Hella-related release, and it is seriously getting ridiculous how prolific those Sacramento-based mathematicians have become. Marnie Stern is a New Yorker who spends hours each day tapping away at her guitar. After hooking up with Zach Hill, she came out West to record her album and to be in a place where people are more appreciative of virtuosity. Her playing is incredibly precise, and though some songs are directly influenced by Hella, she has her own sound that is both technical and pleasant. Where Hella goes for the strange vibe, Marnies music is more focused and positive. Her voice is amazing: a little punk, a little new wave and very present within her complex rhythms. She is one of the few musicians who is deathly serious about performance, and all her effort definitely pays off. Andrew Glassett

Misguided
Fuggets
Mad at the World Records
Street: 01.18
Misguided = Minor Threat + Black Flag + Youth Brigade
Fuggets is a compilation of demo, live and studio material by the early NYHC band Misguided. It was all recorded from 1981 to 1984. Taking the time frame into consideration, you can easily imagine what the album sounds like. Grab all your favorite old-school East Coast punk vinyl, melt it down, pour it onto a plate, press it and this is what youll get. It makes me kinda nostalgic. I think Im gonna go dust off my old Minor Threat T-shirt and lace up my Docs. Circle pit! Chris Carter

Mormo
Wasting 500 Sounds
Low Impedance
Street: 11.06
Mormo = Autechre + Seefeel + Lackluster
Finally, a sound designer who knows how to keep it musical. Tomasz Kaye is a software scholar (he gives lectures on subjects such as Making beats in Ableton Live) and master of idiosyncratic IDM along the lines of Monolake, Boards of Canada, early Warp label artists and the Schematic labels oeuvre (Phoenicia, Kiyo), while bringing plenty to the table (e.g. his 500 sounds). Kaye nods heavily to the great Autechre, but eschews their more conceptual and abrasive elements, clinging to warmth, hooks, song forms and melodiesand he knows how to drop a beat and run with it without tiring or boring his audience. Kaye values playfulness even during the more exploratory passages (Vomputer, Inland Chime) marrying his abstraction, non-representationalism and microtones with quirk and direction. And of course he does know how to push the DSP limits, adorning the record in inspiring sounds and textures. After all my rants about 200 GB hard drive jokers who proverbially purge all over tracks with fancy software and plug-ins (i.e. Richard Devine, Otto Von Schirach) someone listened. Dave Madden

MV & EE with the Bummer Road
Green Blues
Ecstatic Peace
Street: 01.23
MV & EE = Beatles circa 1970 + Badly Drawn Boy
Thurston Moore would be a good friend to have right about now; it seems like he has his big grubby hands in about everything. To be on his label is akin to being some type of indie-music royalty. Bearded MV (Matt Valentine) and the lovely EE (Erika Elder) are such people. This is a very psychedelic album, full of unrecognizable electronic backdrops fronted by flanged guitars and delayed harmonica. The vocals are somewhat mediocre, but it is obvious that they arent supposed to be the focus of this eclectic version of blues. It is like looking at a classic blues concert through the end of Coke bottles while sitting on the prairie: sometimes the purpose is clear and other times everything is warped and almost headache-inducing. This album is organic, experimental and charming all at the same time. Andrew Glassett

Nahemah
The Second Philosophy
Lifeforce
Street: 01.30
Nahemah = Isis + Green Carnation + Cult of Luna + Opeth
Enter another realm of melodic doom metal. This time encompassing more melody than say, Isis or Neurosis. Also, a big difference from said bands is the groups tempo, the rhythm section is notably faster, as well as the guitars. The Spanish act knows how to create different songs encompassing a multitude of instruments and moods. The Second Philosophy is a similar but much different take on an already established sound. While the songs are faster, they still maintain a doom sort of vibe. So there isnt a hell of a lot of happiness here; just a very dark and haunting album. So hop in the tub with a toaster, down some booze and pills or just plain prepare yourself to get depressed and enjoy it to death. Bryer Wharton

Novembers Doom
The Novella Reservoir
The End Records
Street: 02.20
Novembers Doom = Opeth + (old) Katatonia
With six albums under their belt and acclaim only coming from the underground scene, Novembers Doom stand as an extremely underrated band. There is a distinct progression with every record the group releases. With The Novella Reservoir, the doom is still there, but the songs are sped up, a huge difference from what the last record, The Pale Haunt Departure, was. Not to mention the production is pristine due to help from metal greats Dan Swano and James Murphy. This album is probably one of the strongest the band has put forth yet and definitely will be the one that receives the most spins from me. The melodies and riffs are catchy, haunting, beautiful and most importantly, brutal. Bryer Wharton

SEQ CHAPTER \h \r 1Precious Fathers
Self-Titled
White Whale Records
Street: 10.24
Precious Fathers = Built to Spill + Broken Social Scene
Theres an inherent risk in making instrumental indie-pop music. The entire power of the song must come from the passion of the musicians and what is hopefully thoughtful composition (i.e. interesting chord progressions, phrasing, etc.), which are elements of song that pop artists notoriously lack. This albums saving grace is its understatement. There are no overbearingly flashy solos or over-the-top orchestrations, just flowing, lengthy melodies that create mood and evoke emotion. Jeff Guay

Ranarim
Morning Star
Northside
Street: 01.30
Ranarim = ABBA + The Young Dubliners Irish folk + Swedish folk
It is really, really exceptionally hard to take this CD seriously if you are not in the right mood. My first reaction to Ranarims Morning Star was a loud, hearty laugh and the thought that Id had the CD put in my box to review as a jokemaybe it is a joke, I dont know. Ranarim is a Swedish folk sextet whose two female singers proudly sing in their native tongue to their little Swedish hearts desire. Surprisingly, though, the music itself is actually really good for what it is: Swedish folk. If youre into foreign folk music, then this CD will be your dream come true. If youre not, it might make you laugh. Jeremy C. Wilkins

The Showdown
Temptation Come My Way
Mono Vs. Stereo
Street: 02.20
The Showdown = Nicleback + Shinedown + Seether + extra heaviness
Normally, this pop shit makes me sick; somehow The Showdown makes it slightly bearable. Maybe its the fact that the band isnt afraid to use plenty of shredding solos. Regardless, there is no hiding the pop in the Showdown, though the band almost brings forth the ethics from Motley Cre into their modern brand of hard rock. The whole thing just reeks of musical excess, getting loaded and starting some bar fights. The Tennessee outfit uses a heavier guitar crunch, taking away from the more peppy or ballad-type songs of Nickleback. They lyrics forget the touchy-feely crap and just scream, We are rock n roll and we could give a fuck less what you think. Even though I may not think Temptation Come My Way sucks complete ass, I foresee that it wont see many spins in my realm of angst and anger. Bryer Wharton

SJ Esau
Wrong Faced Cat Feed Collapse
Anticon Records
Street: 2.20
SJ Esau = Belle and Sebastian + Folky Sonic Youth + Slint
Take every preconceived notion of how you might think a new Anticon signee might sound likeand throw it out the kitchen window. This Bristol-based bedroom virtuoso successfully crosses multiple musical genres, making it impossible to pigeon-hole. Wrong Faced Cat Feed Collapse is rich in luxurious loops, melancholy moods, haunting vocal takes and gradual build-ups of epic compositions. However, I believe it is delicate business approaching this album. Given the amount of artistic/experimental leeway that Anticon Records has bestowed in previous years, this disc may not appeal to the avant-garde enthusiast that thought of Anticon as a crucial commodity in the hip hop community. Thick with smooth violins, whimsical Melodicas, and piano loops that put you to sleep, Cat Track (He Has No Balls), stands as the albums anthem and champion song, while Geography leaves you to shuck and jive in apathy. Truly, Im torn in half with this one. Lance Saunders

Sophe Lux
Waking the Mystics
Zarathustra Records
Street: 01.09
Sophe Lux = Dresden Dolls + Tori Amos + Nietzsche
What do Nietzche, vaudeville and female singer-songwriters all have in common? They are all badly done in this day and age. It is bad enough to have a female singer-songwriter recruit a band, but it is even worse when she is a triple threat and tries to combine three things that shouldnt be combined: the philosophically soft lyrics from Nietzsche, the look and feel of the Dresden Dolls and the vocal stylings of Tori Amos. The music contained within is a bad parody of all these things combined. They are a few months late and a couple dollars short of following the gothic vaudeville train and what is worse is that they throw in some sunshine R&B pop to round out the sound. If you like the Dresden Dolls and sympathize with the Decemberists you might consider buying this, but I recommend some Todd Haynes movies instead. Erik Lopez

Therion
Gothic Kabbalah
Nuclear Blast
Street: 02.06
Therion = Nightwish + King Diamond + Iced Earth
From the opening notes of Gothic Kabbalah I could do nothing but laugh in pure disbelief. Ive never given metal opera a chance, and I now know why. This is completely ridiculous. Therion conjures up images of dark basements inhabited by teenagers shunned by their peers, faces pock marked with acne, sniffling away whilst rolling twelve-sided die and arguing in nasal whines about dark spells and seventh level dungeon masters. They dream of the day they will have enough points to summon their dragons and dispel their evil tormentors forever. If you LARP, this is for you. Chris Carter

This Ending
Inside The Machine
Metal Blade
Street: 01.23
This Ending = Darkane + God Dethroned + Callenish Circle
Melodic death metal has come a long way since the days of At The Gates and the old version of In Flames. This Ending does well to make that sound modern and updated yet doesnt come off like sounding like their peers. They seem to have a knack for keeping things interesting and incorporating all of the old elements into their sound. While it may not be the most interesting thing to be released as of late, the band succeeds in where so many others fail, writing creative songs. Molasses thick guitars cut through your cranium with enough melodic soloing and blast beats to season any bland offering. Take note and scream along with this journey of masterful pain and just plain gloat in the fact that melodic death metal still holds a hopeful future in the realm of metal. Bryer Wharton

Thomas Lunch
Diagrams Without Instructions
Hi-Fi Alliance
Street:02.08
Thomas Lunch = The Walkmen + We Are Scientists + Spoon
Retro eighties-esque drum-machine scants, fogged-over vocals and a random attempt at indie-folk rock try very hard to pull Diagrams Without Instructions into an outer genre stratosphere that, really, is as jaded as the gentrified world of pop it seems to be rejecting. Though, Thomas isnt totally lost in his search for originality; that random dip into indie-folk rock I hinted at, Hybrid Seed Corn, runs around with enough we-faked-it, guitar-twanging-scratch-vocal gusto that if you put your ear really close to the speakers and turn it up real loud you can almost hear tradition splintering into a million little pieces. Almost. Ok, I lied. You really cant, not at all. Diagrams Without Instructions covers a lot of ground (electro rock on down to faux-indie-folk-rock) and isnt all that hard an album to listen to for that fact. Its just Well, Diagrams Without Instructions is a little stuck. Nothing more than a notable achievement in the field of anonymity. Miles Ridling

To Live and Shave in LA
From Noon to Eternity
Menlo Park Records
Street: 10.31.06
To Live and Shave in LA = Lydia Lunchs Pussy Juice + Glenn Branca + Pre REM Michael Stipe
My first experience with what most might peg a pre-Branca power-up came as I was cleaning kitchen. During the first couple of spins, I experienced a kind of musical incidentalness that was more than just cleaning kitchen and more than just background music. The growls and rumbles that started the CD tracked across my mind as it built up into a reverse indie-typical rock album the opening, quieter passages almost seem to overrun the fact that, as you work your way through the album, it evolves into powerful noise overload. What initially was just some filler turned out to, slowly and surely, capture me hook, line and sinker. Erik Lopez

Tom Waits
Orphans: Brawler, Bawlers and Bastards
Anti- Records
Street: 11.21.06
Tom Waits = Waits Tom
It has been almost three years since Waits last album and it has been well worth the Wait for his latest release Orphans. Spanning three discs and a 96-page booklet, Waits concern here is to document and bring together loose ends from over 30 years of recording existence. The three albums, as a whole, are interesting as the span a musical career that is truly musical: theatre and film scores, covers, stories and the like. This album was on many peoples top tennay many peoples top fiveand with good reason. What else can I say about Tom Waits except that he keeps on delivering the goods time and time again. Classic. Erik Lopez

Trail of Tears
Existentia
Napalm Records
Street: 01.30
Trail of Tears = Beseech + Tristania + Sirenia
If you like Tristania, then you wont have any trouble finding enjoyment in Trail of Tears. The bands are very similar in structure and style. Even if you arent a fan of Gothic metal (due to the overly gothic tendencies) Trail of Tears sort of lets you overlook that fact. Instead you have a slightly more organic feel to the record. There are plenty of keyboards, but not enough to make you wonder how many bpms theyre spinning out. The clean male vocalsopposed to some guy using operatic style and chantinggive it more of a progressive/power metal feel, and surprisingly they are highly infectious. In short Trail of Tears is a gothic metal band for people that dont like Gothic metal. Bryer Wharton

Various Artists
Chrome Children
[adult swim] / Stones Throw
Street: 10.06
Chrome Children = Madvillain + MF DOOM + Quasimoto + Madlib + J Roc +.
Stones Throw represents the elite when it comes to hip hop, and this compilation is no exception to the rule. A sampling of their best artists, the edition I received was unfortunately radio friendly and some of the songs were totally fucked up as a result. Thanks a lot, jerks. Anyway, besides this, Chrome Children is a quick way to becoming an underground hip hop aficionado, with some of the best tracks coming from Guilty Simpson, Madlib, Madvillain, and Oh No. However, the compilation ends with a blah with Gary Wilson, Pure Essence, and Aloe Blacs anachronistic slow jams (which would be totally awesome in 1967, or in a soft porn). Basically, real fans should stick to the jams, but if you are looking to impress your friends with your underground hip hop catalogue, acquire this album, rip it into your computer, and hip hop snobs will undoubtedly get sweet boners when they check out your iPod. Awesome. I guess. Ryan Powers

Various Artists
Brazil Classics 7: Whats Happening in Pernambuca
Luaka Bop
Street: 02.13
Whats Happening in Pernambuco = Siba + Alex Sant Anna + et cetera
Every few months, some country/town/village youve never heard of pokes its head out to offer its scene. Dont worry, this isnt a Peter Gabriel Presents...joint. Luaka Bop, David Byrnes label, is known for its preservation, not bastardization, of ethnic and world music (i.e. Tom Z, Zap Mama). According to the map and included bits of history, this Northeast Brazilian state is a raucous, crime-ridden area whose revolutionary spirit spawned a punk-rock-funk-rap-electronic sound. For sure, this is not your crazy uncles Bossa Nova, per se, but rather great pop music with a focus on poly-rhythm and stylistic inquiry. Ottos Bob twirls with sparkling synths, ethereal female vocals and drum n bass patterns (realized with a host of acoustic percussion instruments). Nacao Zumbi mixes surf guitar with tricky jazz bass and a just-behind-the-beat baritone vocal counterpoint on Carimbao. Pobre Dos Dentes de Buro by Cidado Instigado is the love-child of Eminem, Jimmy Hendrix and Gypsy Kings, effortlessly cycling through a melee of juxtaposed elements. Whats happening indeed! Dave Madden

Various Artists
Dont Fuck With Her
On The Rag Records
Street: 11.25
Dont Fuck With Her = A sweet-ass hardcore-punk girl-fronted four-band split that has a good cause behind it too!
Girl fronted punk bands are the best punk bands. This four-band split was all that I expected and more. All or Nothing Hardcore starts the split out with a fierce attack of punk rock reminiscent of Naked Aggression, I Object and Provoked. My favorite track was Torn Apart. Gruk is next. Their lead singer Rachel Loveless voice sounds like the noise a cat might make if you threw it in a bag, shook it around and released it while listening to a backdrop of Blatz. Church of America begins with a spastic chaos, which breaks down into lyrics that are being sung instead of screamed. Their four songs are fast, intense and engaging. Liz Sanchez of Riot This has a harsh voice that compliments the rapid guitars perfectly. Desperate was my favorite track of their five on the split. Bruise Violet closes the album up. They play basic fast-as-hell punk rock and their lead singer Daisy, sounds like a female version of Jake Sayles of Filth. The four bands on the split compliment one anothers style without sounding like clones of each other. Dont Fuck With Her has an excellent cause behind it to. Dedicated to Kayla Lorraine Wood, a 16-year-old who was raped, tortured, murdered and then set on fire in a house in Monero Valley, Calif. in Oct. 2006. The split serves to educate and remind people everywhere the horrors of rape, and most of all is a dedication to all of the women whove been victims of rape who are unable to tell their stories. Jeanette Moses

Waku Seai Sin
Untitled
Self-Released
Street: 02.01
Waku Seai Sin = Rocky Votolato + Owen + Bullwinkle
This homemade CD is two songs sung by a boy who listens to his heart and the malapropisms it murmurs. Lilting acoustic guitar lullabies and languidalthough concernedvocals carry the lot through this two song construction. The titles (Do I Choose my Heart?; I Tried Wrong) complement the direction of the songs, which stand on their tiptoes struggling with perseverance and unrequited questions. While the guitar is sorrowful and the whiny lyrics intentionally un-arced, but artful, I cant help but enjoy the six and a half minutes of this 19 year old boys sleepy sentiments. Senator Spencer

Yoko Ono
Yes, Im a Witch
Astralwerks
Street: 02.06
Yoko Ono = Pauline Oliveros + The Beach Boys
Yoko Onos early art career is filled with astounding accomplishments, including work with John Cage, La Monte Young and former husband and composer, Toshi Ichiyanagi. Her imagination and unusual vocal style are well-suited to the experimental aesthetic of the Fluxus movement, with whom she was associated during most of the60s. So if anything, its The Beatles that broke her up, sending Ono into the pop realm. The premise of Yes, Im a Witch is the following: Ono allows bands access to her master tapes, bands use her vocals. If you skip over mixes by le boring Le Tigre, ordinary Peaches, Sgt. Pepper-impersonating Polyphonic Spree and faux-metal-luvin The Brother Brothers, youll find some gems such as the subtle, chugging repetition of Cat Powers Revelations, the plundperphonic, shrieking big-beat of DJ Spookys Rising and whispered echo of Porcupine Trees Death of Samantha. Still, there is some real crap here, and the album smacks of gimmick and opportunism via name-dropping (though the biggest names churn out the worst tracks). The label promises a dance version of the album come March. Way to make a buck, Astralwerks. Dave Madden