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March 2007 - Issue 219

!!!
Myth Takes
Warp
Street: 03.04
!!! = Massive Attack + Jamiroquai + The Rapture + James White and The Blacks + LCD Soundsystem
!!! possess a sound that is clearly defined and immediately identifiable, from the subtle vocals to the trademark bass-and-drums groove that permeates sexily through the floor and into the all-too-willing dancing shoes of misguided indie-rockers or anybody who stumbled upon this funk-wave dance party. However, Myth Takes is a departure from the restrained sound palette found on the first two albums, and !!! takes every opportunity to introduce new instruments and elements to the table. In actuality, the album sounds like it could be a DFA remix of a traditional !!! performance. This sort of transgression is often a bad idea, yet the execution on Myth Takes is flawless; the spontaneity of these adjustments is pulled off with a no-wave minimal flair, with a rhythm section set on fucking the soul back into the lifeless shell of dance music. Ryan Powers

1, 2, 3, 4
Doctor
4boxs
Street: 11.07.2006
1, 2, 3, 4 = early La Monte Young + Peter Brotzmann + Hans Benrik
Mike Hagedorn is the bandleader extraordinaire, not only running his own 4boxs label but also playing trombone on every release! The final full-length in a three-part recording project, 1, 2, 3, 4s Doctor is two tracks of jazzplosion. The first track, aptly titled Doctor, sounds like an orchestra tuning up and lays the groundwork for the main opus of the piece, Cowboy. Whereas Doctor hinted at a frantic undercurrent overlaying a subtly dense texture, Cowboy rollicks through a nomadic Marlboro country of fresh taste and cancerous overgrowth. Starting slowly and pulling hard, Doctor is the frontier finale of a great three-part project. 4boxs is easily the raddest unknown free-jazz label (from Chicago) around. Erik Lopez

Aborted
Slaughtered & Apparatus: A Methodical Overture
Century Media
Street: 02.20
Aborted = Carcass + Mnemic + Kataklysm
There is much satisfaction in listening to some finely produced gore/grind metal brimming with technicality, brutality and sheer intensity. The Belgian band Aborted started out as a pretty run-of-the-mill gore band and has slowly worked their way up adding melody and groove with each record, sort of like Carcass did when they made Heartwork. Speaking of Carcass, Jeff Walker makes an appearance on the new album. This is by far the best Aborted offering since their inception. The guitar and drum sound is pristine due to help from seasoned producer Tue Madsen. The major selling point of Slaughtered & Apparatus is its grooves that chisel themselves deep inside every metal-loving vein, blood vessel and artery in your body. If you havent already found comfort with Aborted, now is the time, because for gore/grind, it doesnt get much better than this. Bryer Wharton

The Assemble Head in Sunburst Sound
Ekranoplan
Tee Pee Records
Street 03.27
AHISS = Early Pink Floyd + MC5 + Crazy Horse + the best S.F.-based jam band you can think of
Im a big fan of psychedelic musicfrom older bands like Question Mark and the Mysterians or The 13th Floor Elevators to more current acts like Comets on Fire or even SLCs own Vile Blue Shades. This is some of my favorite music, so I dont take psyche-revival lightly. Thankfully, neither does The Assemble Head in Sunburst Sound. Their debut album is a 40-minute onslaught of pure, dreamy, outsider jam. At times it is as subtle as raindrops falling on wet grass, but coupled with moments of sheer crusty noise. Imagine the MC5 with more of a blues influence, or A Saucerful of Secrets-era Pink Floyd with bigger teeth (or with a slightly more mentally unstable Syd Barrett). I especially liked the tracks when the three-piece AHISS is joined by someone playing either a theremin or an organ. On very special songs, like the albums namesake, Ekranoplan, we are treated to appearances by both instruments. All in all, this is a very good psyche album, true to the psychedelic roots of both San Francisco and Austin. The Assemble Head in Sunburst Sound gleefully walks up to the floodgate that holds back modern psychedelia and triumphantly kicks it in. James Bennett

A Touch of Class
A Touch of Class Still Sucks
HBD Label Group
Street: 02.27
ATOC = DFA Records + fruity loops
There is something particularly unassuming about these remixes by ATOC. It possibly could be related to the title of the album, but it probably has more to do with the very simplistic production style of these trance veterans. There is a little bit of Chemical Brothers flare mixed in, but ATOC is cautious to not be too outrageous or strange. The result is a very unsuprising record, but enjoyable nonetheless. Some bands they have chosen to remix are a bit overdone, like the Scissor Sisters' song "Filthy Gorgeous" or "After Dark" by Le Tigre, but both remixes have good energy without being overly annoying. The black sheep of this disc would have to be "Don't Say You Love Me" by Erasure. Rather than just being a remix, the song is completely redone, with a couple samples of Andy Bells voice added at the end. That particular track is far from being danceable, but is the only track with any kind of depth. This album plays well for an afternoon walk, but other than that, has no redeeming value. Andrew Glassett

Atrophy
Violent by Nature/Socialized Hate
Roadrunner/Metal Mind
Street: 11.30
Atrophy = Testament + (old) Metallica + Nuclear Assault
Unfortunately for Atrophy, their time in the realm of thrash metal was a bit late. Socialized Hate was originally released in 1988 and Violent By Nature in 1990. Too bad for these talented old-school style thrashers, metal was in decline and grunge rock was just beginning. Does that make these two long out-of-print reissues any less prevalent? No, fans from the original days can get their hands dirty with remastered editions and people that may be oblivious to the bands exploits can get a dose of something that is sorely missing from the thrash scene today. Socialized Hate shreds through nine tracks of unbridled thrashing madnessspeed is key, along with gruff vocals coupled with Dave Lombardo style drumming and obligatory cheesy cover artmore than enough to tide one over with an appetite for old-style thrash complete with three added demo tracks. As for Violent By Nature, the vocals matured a bit morethere is a slight hardcore chant to things, though the production value is actually scaled down slightly. There is a bit more of a punk D.R.I. or Vio-Lence sort of feel to the record, though the speed and heavy guitars remain. Dont forget the three added demo tracks to appease the collectors on the disc as well. Despite your thrash tastes, each record embodies a strong ethic and extreme talent that will always remain timeless. Bryer Wharton

BARR
Summary
5 Rue Christine
Street: 02.20
BARR = Timothy Speed Levitch + Sole + Xiu Xiu
A surprisingly quirky album consisting of few instruments, a sing-talk string of meandering stories and a quiet catchiness, Summary is exactly that: a summary of life during the recording of this record. The major strength of this album is its protagonists, Brendan Fowlers, loose, easy-flowing lyrical craftiness. Outside of this, the album lends itself to an anti-poppy poppiness l Xiu Xiu. You cant really label it hip-hop and you cant label it indie-rock, but you can try to imagine it this way: You have a friend named Ryan who, whenever you see him, always has these great stories. Youre not really great friends with him, but you see him around and his boundless enthusiasm brings a smile to your face. You know he is genuine but, really, what does he do when you dont see him? I cant imagine. Erik Lopez

Battlelore
Evernight
Napalm Records
Street: 03.13
Battlelore = Tristania + Sins of Thy Beloved + Trail of Tears
Battlelore is back at it, axes and swords in hand for their fourth album filled with Lord of the Rings-inspired lyrics. Im actually disappointed that my promo copy of the album didnt come with any liner notes, which is one of the best parts of Battlelore, simply so I can get a look at what costumes the band has put together. Known for dressing up in chain mail or as elves, ents and orcs, Battlelore may seem like a novelty act, but they take themselves quite seriously. Aside from the goofy antics, the band is actually well established in the metal scene and a pretty solid musical endeavor. That said, Evernight is not really any different from any of the bands other recordsfull of angelic female vocals, gruff growled male vocals and keyboards accompanied by gothic metal guitar anthems. Actually, it seems slightly less polished than their last record, The Third Age of the Sun, but it is a return to their heavier territory, as the last album treaded in a slightly more balladic sound. Yeah, it may be geeky to claim to like this fantasy metal, but set aside the aesthetic and let the music stand alone for what it isgood fantastic fun with decent songwriting. After all, if it wasnt cheesy, it wouldnt quite be metal, would it? Bryer Wharton

Beneath the Sky
What Demons Do to Saints
Victory Records
Street: 01.23
Beneath the Sky = Zao + Bleeding Through + Dying Fetus + Bury Your Dead
This bands bio compares them to bands like Carcass and Hypocrisy, but there is no hiding the metalcore contingent that invades Beneath the Sky. The vocals are a mix of extreme guttural and the high-pitched shrill that Zao has made so popular, along with a healthy dose of clean singing thrown in to appease the screamo-influenced crowd. It seems as though the Cincinnati group is trying to shovel too many things down the listeners throat, be it the added keyboard or the vocal mix. They seem to do better when sticking to one style. The record wouldnt be nearly as flawed if they tossed out the clean vocals altogether. Regardless, the band does create some catchy songs full of heavy breakdowns coupled with melodic death-metal passages and grind/death-blast beats. Basically, if you want a little bit of everything that the modern metal scene has to offer, Beneath the Sky can give it to you, albeit not in the best way. Bryer Wharton

Big D and the Kids Table
Strictly Rude
SideOneDummy Records
Street: 03.20
Big D and the Kids Table = Mighty Mighty Bosstones + The Toasters + The Specials
Just the sound of the word ska is enough to make most people cringe. It brings forth dark visions of goofy kids skankin to the beat of the latest Reel Big Fish clones and the hyperactive horns and juvenile lyrics of said Reel Big Fish clones. Thankfully, there are bands like Big D doing all they can to preserve the little dignity that ska still has in the 21st century. On Strictly Rude, the boys from Boston pay respect to skas Jamaican roots by injecting their bouncy and energetic brand of ska-punk with elements of dub and reggae. The result is a mostly mellow album that is as close to mature as ska-punk has ever been. The kids in the checkerboard pants and pork-pie hats will eat up energetic and horn-heavy tracks like Noise Complaint, while the straight-up dub and reggae of Strictly Rude and She Knows Her Way may even appease hardcore fans of Jamaican music. Granted, not all of the songs are winners and the album is probably a few songs too long, but Strictly Rude is still a strong album that all kinds of ska fans should be proud to claim as their own. (In The Venue: 03.29) Ricky Vigil

Blinded Black
Under the Sunrise
Side Cho Records
Street: 02.27
Blinded Black = Hawthorne Heights + The Ataris + Fall Out Boy + Thursday + My Chemical Romance + every other screamo band out right now
When is screamo ever going to get creative? Every band that is coming out in this genre is identical to the last band. Blinded Black is no exception to the copycat trend. The first track, aptly titled Intro, begins with an epic symphonic piece that gives you the impression that something original and creative is about to be heard. All those expectations soon come crashing down by the beginning of the second track, Death is Never Permanentthis song, like the majority of the songs on the album, is your basic cookie-cutter brand of screamo, with melodramatic lead vocals and anguished screams fading in and out. The instrumentation is solid but very unoriginal, with the usual grinding hardcore guitar-shredding accompanied with the traditional power-ballad chorus. Finally, towards the end of the album, Blinded Black lets up on the monotony with the mellow swinging seventh track, Time is All We Got. Yet the lyrics openly admit the state of screamo music today: Just another fashion trend/The critics scream for what has been dying and previewed/The cast has been reviewed. Jon Robertson

Bloody Wall of Gore
Greetings From Planet Bwog
As Is Records
Street: 12.30
Bloody Wall of Gore = Gwar - just about everything that makes them cool + Mindless Self Indulgence + a garbage disposal + an opera
I'm not sure what's up and what's down with Bloody Wall of Gore. One second I thought I was listening to metal of some kind, and the next I thought I heard an opera, or something very close to one. It seems as though they've drawn some inspiration from Gwar, but they must have taken all the wrong parts. On their Myspace profile, the band lists what they sound like, and I don't think I could have said it any better: "Sucking up Jello with a vacuum cleaner." With thrash elements, some synthesizer beats, a garbage disposal growl and an operatic singing voice thrown together, that's exactly what the final product sounds like. While I listened to the album, I found myself more interested in the stench floating up from my feet. I'd like to congratulate the band on making a CD that stunk worse than my own B.O. Whether there's hope for this band, I can't say, but for now, I'd rather stick with my smelly toes. Josh McGillis

Blue yster Cult
Spectres/Some Enchanted Evening: Legacy Edition CD/DVD
Colombia/Legacy
Street: 02.13
Blue yster Cult = more cowbell!
Lets get this straight right out of the get go. If you only know the Blue yster Cult from the song Dont Fear (The Reaper), you are missing out on one of the most groundbreaking and influential bands of the 70s and some great hard rock. Seeing a dual re-release of the 1977 album, Spectres, and the 1978 live record as well as a DVD of an entirely different concert gives you the chance to pick up some rock history. Spectres is home to such great songs as Godzilla, The Golden Age of Leather, R U Ready 2 Rock and Goin Through the Motions. Also included on the Spectres reissue is four bonus tracks, including the classic cover of the Ronettes Be My Baby. There is more bluesy rock with crooning vocals from Eric Bloom contained here than you can shake your fist at. There is a wealth of material for any fan here and lots of bonus stuff worth having if you already own the original. It is time to get to know the band outside of their hit song, because there is so much more here that is just as good, if not better. Bryer Wharton

Blue Skies For Black Hearts
Love Is Not Enough
King Of Hearts Records
Street: 11.14.06
Blue Skies For Black Hearts = a cheap version of Elliot Smith + a cheap version of Wilco
Blue Skies For Black Hearts is the toughest kind of band to listen to. When you first hear their music, you kind of like it, then you realize that it is basically a watered-down version of the The Monkees, which is a watered-down version of The Beatles. Then BSFBH reminds you of bands like The Shins, Supergrass or even Rilo Kiley. These bands are all watered-down versions of the Beatles, but they bring an element that pulls you in and convinces you that their music is original. BSFBHs second album, Love Is Not Enough, never stays consistent enough to pull you in and convince you that its original. It pulls you in on mellow introspective tracks like Here Comes The Rain, then immediately makes you want to turn and run with tracks such You Know You So Got It with lyrics like, I saw you write up/Your picture looked so fab/Now youre all tied up/Is it cause my shoes are drab? Its just not worth the emotional roller coaster. Jon Robertson

The Bluetones
The Bluetones
Cooking Vinyl
Street: 02.13
The Bluetones = The Polite Children of James + The Smiths + Stephen Duffy
The Bluetones might ring a bell or two; theyve been around since the mid-90s and youve never heard them. Theyve been the critics darlings, the personification of indie rock as theyve bounce labels while dodging comparisons to The Smiths (passionate guitar rock; youre pigeonholed, mate) and whatever indie-pop sensation is in vogue. Like many UK acts, their commercial viability came early and subsequently diminished as Brit-pop faded in the late 90s. They werent as cocky or tabloid-attractive as Suede vs. Blur and lacked the brashness of Oasis, the sex of Placebo and the underdogs emerging from a tragic mystery that were the Manic Street Preachers. Simply put, they were lost in a crowd and never really reemerged. While the bands previous album, Luxembourg, raised a few eyebrows with its more aggressive approach, this self-titled release is more in-line with the jangle guitar sound that garnered them attention in the first place. Imagine a less dramatic version of Gene and a more restrained James without diminishing an ounce of quality. Nice, even if it is a bit safe. ryan michael painter

Bonnie Prince Billy
Strange Form of Life EP
Drag City
Street: 03.20
Bonnie Prince Billy = David Pajo + Will Oldham + Smog + Edith Frost
Bonnie Prince Billys newest offering is an EP that focuses on the song Strange Form of Life and includes a music video for the song as well. In this release, Will Oldham plays solo guitar and winds through four songs in less than 20 minutes. Apparently, Oldham can do no wrong; this release gurgles with a multifaceted energy that exemplifies the many-faced nature of Oldhams prolific musical hat. Strange Form of Life was taken from The Letting Go album and it gently drifts down a stream of nostalgia and longing. New Partner is a sparse and lilting song that feels like you are sleeping in a lazy meadow on a bright, sunny day. The rest of the album moves from one song of lost desire to another and is the perfect length for a quiet Sunday drive. Erik Lopez

Brent Amaker and the Rodeo
S/T
J-Shirt
Street: 12.26
Brent Amaker and the Rodeo = Johnny Cash + Deadbolt
These 10 simple little country songs have more real life to them than anything on the country music charts since the death of the man in black. Brent Amaker carries on Cashs tradition by crooning with that low bass vocal while the Rodeo dont get in the way of the song; they just let it fly. Theres some rough country in I Guess You Want to Die: Brent discusses hanging a man upside down and cutting him up with a knife just for flirting with his girl. In Sissy New Age Cowboy, he pokes fun at the lame stuff that Nashville keeps churning out. Country music needs more stuff like this to save it from the depths to which the music industry has caused it to sink. Country, like punk, is a music that belongs to the people, and groups Brent Amaker and the Rodeo want to take it back. James Orme

Catamenia
Eternal Winters Prophecy
Locomotive Records
Street: 01.16
Catamenia = (old) Dimmu Borgir + Carpathian Forest + (old) Kovenant
Catamenias bio leaves a lot to the imagination; unfortunately for me, Ive got the new record and a new DVD from the band to review. About as much as I was able to gather is that they have other albums and theyre from Finland. Not having any background about a band can be tricky, but in the case of Catamenia, the music pretty much speaks for itself. Standard symphonic black metal is the game and the band pulls off the sound well, even though it isnt shiny and special like later Dimmu Borgir, which can be overproduced and almost machine-sounding. The keys are atmospheric more than they actually flow with the music. The pacing and guitars are slower than a lot of black metal, leaving room for decent songwriting, though most of the songs flow together into one big jumble, with the exception of the second track, Sorror Mystica, which actually stands out. Unfortunately, the rest of the record doesnt jive that way or youd have a big deal on your hands instead of just an average band. Bryer Wharton

Chimaira
Resurrection
Ferret Records
Street: 03.06
Chimaira = Fear Factory + Lamb of God
Never back down, never back down, destroy everything: damn, my grandma could come up with better metal lyrics than that. The bland suck-fest that is Chimaira is back again, unfortunately. The band seems to love to emulate bands they have toured with, in this case, Fear Factory and Lamb of God, although the band does add their own little flair with horrific and forced angry vocals only mothers could love. Did I mention the lyrics are really bad? I mean, come on: We have become so goddamned powerful. Tough talk, man. How this band has become so popular Ill never figure out. Everything they have done just screams mediocrity or just plain uninspired. Ultimately and most regrettably, Chimaira will remain popular, if not get even bigger. Their fans wont stray from what they already strangely enjoy and I cant imagine how many youths who dont know better will go out and buy this crap. Bryer Wharton

Chimp Beams
Menina
Concent Productions
Street: 02.27
Chimp Beams = Mad Professor + Pedro + Galaxy 500
Sans herbal influence, how long can you endure dub music? Though its a cool genre, it is fairly stylized, and the palette wears thin after an hour or so. Self-described as having been influenced by Massive Attack and My Bloody Valentine, Chimp Beams is heavily rooted in dub, but their sound is as much Gary Numan and Madlib as it is King Tubby. Over their spaced-out spring reverby drums, this Japanese trio employs a host of dense synth and guitar textures, inventive samples and the occasional disco beat (R2 ~ Libyus Mix). On Synthesized, a brief but powerful track, MC Roger Kahlon spits like the Black Star collective while a filtered lead and echoing trumpet provide nostalgic futurism; for Sleep Talking (feat. Jerome Loston), the group combines Dlek-style momentum and India-meets-Hotlanta rhythms, the results being surprisingly elegant. And on and on. Chimp Beams shunts your expectations through experimentation and expansion, dragging the genre to the present yet still allowing a foot to remain in the past. Dave Madden

Clouds
Legendary Demo
Hydra Head Records
Street 02.06
Clouds = Monomen + the Hellacopters + an electronic version of Pete Tosh
Youve gotta have massive cojones to use the word legendary to describe your first record. The guys in Clouds must be hung like Big Foot, because not only do they title their first CD Legendary Demo, they spend 40 minutes and eight songs proving to you why they merit the crown. Their dual-vocal, Herculean guitar assault borrows much from the mid-90s garage sound well documented by labels like Mans Ruin Records and Estrus. There is still something fresh about Clouds, thougha rhythmic and progressive edge lacking in much of what garage revival has thus far produced. Still, each track is a lot like the one before, a truth that has caused many garage bands to close up shop. This singular sound is great, even if it seems to stick closely to one formula throughout. Monotony aside, the true heartbreaking moment comes with the final tracka 20-minute saxophone-centered pseudo-dub jam. I dont know whats worse, listening to a far too long wannabe reggae tune, or realizing that the piece of shit song accounts for over half of the albums length. Goddamnit, anyway! James Bennett

Clutch
From Beale Street to Oblivion
DRT Entertainment
Street: 03.20
Clutch = pure rock fury + added funk
Well, one of the hardest-working bands in rock history is at it again. Clutch has become one of those rock staples required in a balanced diet for all rockers. Since their first EP, the band has undergone many metamorphoses. From the sheer heaviness of the Pitchfork and Impetus EPs to the groove of Transnational Speedway League and the all-out funk attitude of The Elephant Riders, the band has defied every term of categorization. For a band that has been around so long and changed up styles so often, it makes one wonder how they have never alienated any of their fans. From Beale Street to Oblivion is no exceptionthe record holds sort of a live aesthetic, embodying that spirit of improvisation only found when bands enter the a concert hall. As with every Clutch record, the songs quickly find home in your head, making themselves right at home and prepared to never leave ones musical vocabulary. Add this record to the long laundry list of great albums this band has concocted since their inception. Bryer Wharton

Dlek
Abandoned Language
Ipecac
Street: 02.27
Dlek = Public Enemy + Riley and Huey Freeman + The Jesus and Mary Chain
If you want to give me a chill, bump Dlek while you cruise down my block (The Game and all the other so-called gangstas and watered-down Master Ps pose less of a fear than the inevitable, unwarranted chunk of hard stuff in my cereal box). As hard as Tyson and methodical as Hannibal Lecter, MC Dlek and producer Oktopus (minus turntablist Still, these days) is the duo Tipper Gore should have worried about, because if they had their way, they would bring down the whole GD system. On this fourth full-length, they work their perpetual motion machine to perfection, Dlek snarling his bitter list of reparations and intellectual hopelessness while marching alongside gravelly textures and weathered beats. Youve heard these sorts of statements about every Dlek joint, so whats good? This time, the production is stepped up, the vocals are clear and often manipulated, live strings (check out the Black Angels-esque intro on Lynch) and brass abound and the orchestration is carefully restrained, all contributing to the groups most dynamic album to date. At once gorgeous and terrifying. Dave Madden

David Bromberg
Try Me One More Time
Appleseed Recordings
Street: 02.27
David Bromberg = Bob Dylan + the guy onstage playing guitar behind Bob Dylan
Try Me One More Time is the kind of album title that begs for hack-critics like me to make fun of. Try you one more time, Bromberg? I dont know if I will! Do you see how easy that was? David Bromberg is widely regarded as a guitar virtuoso; hes played with Bob Dylan, Ringo Starr, Kris Kristofferson, and led the David Bromberg Big Band in the 70s. His first solo-release since 1990, One More Time isnt a showcase of his genius as a guitarist, its a stripped-down acoustic album of folk and blues covers, both traditional and contemporary. Although Bromberg plays effortlessly and sings earnestly, he doesnt give much gravitynor does he bring anything newto songs such as Dylans It Takes a Lot to Laugh, It Takes a Train to Cry, which weve heard so many times before. Jeff Guay

Disincarnate
Dreams of the Carrion Kind
Roadrunner/Metal Mind
Street: 01.16
Disincarnate = Obituary + Death
Long before I started writing, Testament was in town touring for their Gathering album, which the legendary James Murphy played on. By chance, I ran into the man, had a short conversation with him and basically went into fan-boy talk mode, telling him how much of a fan I was and that I even enjoyed both of his solo discs. It was one of those encounters you dont forgetthe man was full of class. Shortly after, I read that he had been diagnosed with a brain tumor. And to this day, he has survived multiple surgeries and has moved up in the world as a producer of some first-class death metal acts. Naturally, Ive actually had the original of this disc for quite a while, so the material aside from the bonus demo tracks was nothing new to me. Nevertheless, it is top-notch technical death metal. The key thing with this reissue is the re-master. The sound has been clarified and thickened a hell of a lot without ruining the same aesthetic and greatness that the original held. Dreams of the Carrion Kind is hands down one of the best death-metal albums period, showcasing the talents of a great guitarist. Id say with this reissue, the disc is now available to the masses, but these reissues are limited to 2,000. So friends, get your hands messy while you can! Bryer Wharton

Do Make Say Think
You, Youre a History in Rust
Constellation
Street: 02.26
Do Make Say Think = Godspeed You! Black Emperor + Broken Social Scene
Five albums in, but can one discuss Do Make Say Think (or just about anyone on Constellation) and not mention Godspeed You! Black Emperor? Not likely, but should any artist take offense at such comparisons? Part of the aforementioned Canadian juggernaut (dont forget that bassist/trumpeter Charles Spearin is also a member of Broken Social Scene), the band writes in the small-and-subtle-to-grandiose-and-epic method we know and love, a formal structure that few imitators get right these days. Anything goes, color-wise and stylistically speaking; the band thrives on juxtaposition and surprises. A With Living begins as a lugubrious, stationary-yet-chugging dirge ( l Debussy), moves to something reminiscent of The Eagles (i.e., elaborate vocal harmonies, dense acoustic guitar arrangements), then trails off in a swooning blues-meets-mariachi lullaby. Immediately, the group jumpstarts the next track (The Universe!) with racing tempos, staccato stops, lots of cymbal-banging and electric guitars and a mulched, tape-manipulated bridge of reversed notes and glitches. Banjos, low-register clarinets, broken-pedal chaos, jazz, twang, found-sound recordings, weird time signatures and otherwise strangeness abound, all properly bridled by these masters. Dave Madden

Explosions in the Sky
All of a Sudden I Miss Everyone
Temporary Residence Ltd.
Street: 02.20
Explosions in the Sky = Mogwai + Ghosts and Vodka + Godspeed You! Black Emperor!
There are many different versions of American music: Bonnie Prince Billy, Nina Nastasia, Glenn Jones, etc. But usually when we think of American music, we dont think of the grandiose, almost symphonic qualities of post-rock bands such as Explosions in the Sky. EITSs brand of Americana music is like a high-horizoned sunrise; its full of textured grace and cinematic virtue easily in line with the singer/songwriters who usually typify the Americana genre. My only qualm with this release is that it feels like a typical EITS album; the songs are all long and composed, the same rise-and-fall emotional cadence is there and it still feels like moody instrumental rock. While these things are not bad at all (the consistency is reassuring), where else can you go with your sound? If after three albums you still sound the same, maybe it is time to try something new. All of a Sudden I Miss Everyone sounds more like All of a Sudden I Have Heard This All Before. Erik Lopez

Fu Manchu
We Must Obey
Century Media
Street: 02.20
Fu Manchu = Kyuss + Queens of the Stone Age + Black Sabbath
The mighty stoner rock kings, Fu Manchu, have returned with one of their heaviest records to date; the guitars are much bigger on this record than their last few and, its really quite impressive. There is also plenty of sweet ass-kicking solo work howling away. The pace takes the middle ground, but it still remains heavy and thick as molasses with slight ballad-type melodies bubbling up from time to time. The title track sticks in your head like an ass super-glued to a toilet seat along with the album closer, Sensei Vs. Sensei. Its nice to see the band explore heavier territory, and there is no doubt that no Fu Manchu fan will pass this off as just another album; its just too damn catchy and brutal in a getting high sort-of-way. If I smoked pot, there is no question I would be lighting up to the likes of We Must Obey. Bryer Wharton

Heathen
Victims of Deception
Roadrunner/Metal Mind
Street: 11.09
Heathen = (old) Metallica + Testament + Anthrax
It is amazing that since the mid 80s, the lineup has changed so many times. Heathen play Bay Area thrash perfectly and Roadrunner decided to re-issue only the Victims of Deception album, saying that it was their best, the bands defining moment, so to say, originally released in 1991. The band had a knack for recruiting talent; the late Paul Baloff of Exodus enjoyed a stint in the band, member Ira Black went on to front Vicious Rumors and guitarist Jason Vierbrooks went on to play for German industrial metal front-runners Die Krupps. As for the record itself, it pays direct homage to Metallicas blazing fast riffs and lead work. Just about the only difference is the higher-pitched tone of the vocalist. Victims of Deception also contains plenty of power ballads. The newly re-mastered disc also includes an unreleased track, Hellbound previously only available on Japanese versions of the record. The music is masterful thrash and will consistently remain so, regardless of what the band does in the future. At the very latest, the group released a record in 2004 and a new album is in the works. Heathen stands as one of the few little-known thrash acts to survive the grunge era without ever actually calling it quits. Bryer Wharton

Holy Moses
Queen of Siam
Locomotive Records
Street: 01.16
Holy Moses = Kreator + Saxon + Death
The year is 1986, Metallica has released their landmark album And Justice for All across the Atlantic. However, a very little known band even to this day, released Queen of Siam. If you like your thrash metal raw and untamed then Holy Moses will strike your fancy. Getting the re-issue treatment with a few added demos (all still in their unpolished glory) Queen of Siam may not be trendy or approved by the general metal crowd but fans of the underground and old school thrash would do well to note that the singer for Holy Moses is a female and one of the very few at the time doing snarling growls so raw your ears will start to burn. This was my first encounter with the band and it surprised the hell out of me especially coming from the typically power and progressive metal record label Locomotive. Every once in a while you come across one of those unknown sleeper records and even though it may be many years dated it still reaffirms how you feel about music, knowing that the heart out wins the polished and high-tech crap that we are constantly bombarded with daily. Bryer Wharton

The Ghouls
Stand Alone
SOS Records
Street: 03.06
The Ghouls= The Unseen + The Casualties + The Virus
Street punk can be incredible for two reasons; the kids in the bands are incredibly young and the live shows are a kick in the face of raw aggressionboth literally and figuratively. Part of that amazing live performance is lost when a street punk band records their album. Street punk also looses its aggressive and pissed-as-fuck attitude as band members grow old, loose their hair and gain beer guts. When youre young, everything sucks. Being pissed at the world is the best solution to all of your problems, but as you reach things like the voting or the drinking age, being that pissed off all of the time is exhausting. Luckily, the Ghouls dont fit into the decrepit street punk band category. And as far as street punk bands go, the Ghouls fit the mold. The songs are fast, the band is pissedalthough its not exactly clear why and the lyrics to the songs are simple enough that anyone could chant along to them. If your pissed off at the world youll love the Ghouls, but for me its way to exhausting to be that angry all of the time. Jeanette Moses

Glenn Jones
Against Which the Sea Continually Beats
Strange Attractors
Street: 02.20
Glenn Jones = Cul de Sac + Jack Rose + Peter Lange
Against Which the Sea Continually Beats is part endearing tribute, part sea-faring strumming and part dark and gothic. The first track, Island 1, flits and rolls like stones over a huge body of water and from there moves into what can best be termed as a main theme exposition of the video game Diablo; David and the Phoenix lays down an evocative medieval heroism and urgency in its seamless fanning of notes. And that is just the first two tracks. From there, the music pans over great guitar traditions such as roots music and the Takoma School. Jones guitar work recalls such greats as John Fahey (who he was friends with) and is one in a long line of progenitors. What makes this album so great is the powerful story telling that is brought to the fore not through words, phrases and textual concepts but the moody textures, bright emotional timbre and a great Walt Whitman-esque pride told by the masterful use of a guitar. Erik Lopez

Graboids
Infinite Delay
StickFigure Recordings
Street 02.27
Graboids = Sigur Ros + Mogwai + Godspeed You Black Emperor orchestration, and light on originality
Ive never liked using the term ambient to describe music. One reason why I like music is that it blocks out the bothersome ambient sounds that I constantly hear: traffic, the hum of the furnace, the guy upstairs still trying to play the intro to Black Dog after three years. Still, creating multi-layered music that starts with a simple drone and slowly builds to an arc of serene noise is a hell of a lot harder than it would seem. This release by Graboids is fairly good at doing it; layers of echo, reverb and distortion flesh out a melodic and sometimes sparse skeleton, and lead it face first into a veritable wall of spaced-out sound. The disk lacks much of the orchestral and vocal qualities of bands like Sigur Ros or Godspeed You Black Emperor, but what it lacks in violins and voice, it makes up for with more distortion and attitude than you would think possible for a band that can still maintain an ambient rock feel. That being said, much of the territory covered by Graboids seems already well-charted. Still, Infinite Delay is a surprisingly good and heavy record, full of both expected and completely unusual elements. It is maybe best summed up with one word: otherworldly. James Bennett

Hauschka
Room To Expand
FatCat Records
Street: 02.26
Hauschka = John Cage + Henry Cowell + Avant Garde shaking hands with Traditional
If Tom and Jerry or Wile. E. Coyote and the Roadrunner were to stop their silly escapades of covert sexual frustration and realize they should be loving instead of fighting, then something productive and meaningful would come of itsomething along the lines of piano melodies gently massaging the back of another piano melody. I realize the chase, anticipation and nullification of desire is what makes these cartoons popular, but wouldn't some release and satiation be nice? German pianist, Volker Bertelmann does just this with an experimental interpretation of classical pianohe makes nice. Senator Spencer

Holy Molar
Cavity Search
Three One G
Street: 01.09
Holy Molar = The Locust + Fantomas
Basically, Cavity Search is the equivalent of listening to Flight of the Wounded Locust while fading in and out of consciousness through a haze of nitrous oxide. All of the music seems tighter and better produced than their previous efforts on The Tooth, but theres still not much here to set Holy Molar apart from The Locust. The exception is Bobby Brays ever expanding arsenal of keyboard settings that he was apparently not allowed to use in any of The Locusts recordings. Reverb heavy synth sitar and violin provide a darker atmosphere and a little relief from the signature insect noises were all used to. All similarities aside, the only thing I dont like about this e.p. is that theres not enough of it. It clocks in at just over ten minutes, which is barely enough time to get the nitrous mask around my face and turn the knob on the tank before its all over. My suggestion is to put this sucker in on repeat and breathe deep. Chris Carter

The Jennifers
Colors From the Future
Beef Platter Records
Street: 01.07
The Jennifers = XTC + The Feelies + poppy goodness
Colors of the Past sticks to the classic indie-pop aesthetic with simple-yet-catchy melodies about girls, animals, andwell.girls! After disbanding during the recording of their second full-length in 1997, the Jennifers came back together in 2002 to release the record. It was here that leader John Irvine reformed the band and began writing new songs, which would later become Colors. While much of the record is filled with up-beat poppy melodies (Mrs. Gray, Oh Caroline), The Jennifers slow it down a bit for more languorous tracks like Lazy Stalker, and Saturday. Overall, the record is pretty melodious and fresh, especially if youre looking for another twee record about girls.Tom Carbone Jr.

JJ Grey & Mofro
Country Ghetto
Alligator
Street: 02.20
JJ Grey & Mofro = Creedence Clearwater Revival + Lynyrd Skynrd + Jack Johnson
JJ Grey and his band are some good ol down home boys from Florida playing some front porch blues. Its not your standard blues though, it has a little bit more of a party vibe and a laid back feel to it. Like if you threw party on your front porch and had a bar band crammed up there playing for everybody, thats what these guys sound like. But, at the same time JJ Grey covers some pretty serious lyrical topics. His voice is raw and gritty like hes experienced life two times over. JJs band Mofro consists of your standard guitar, drums and bass. They also throw in a couple original sounds like a full-time organ player and a horn sectionthese elements all add to the traditional bar band blues feel. The album as whole is fairly enjoyable even though by the end of the album some of the heavy lyrical themes and blues clichs start to wear thin. Jon Robertson

Kieran Hebden and Steve Reid
Tongues
Domino
Street: 03.17
Kieran Hebden and Steve Reid = Fourtet + Art Ensemble of Chicago
Just to bring you up to speed, Kieran Hebden works under the prolific electronica moniker, Four Tet; Steve Reid is the Steve Reid, a drummer who has done everything from playing with Sun Ra to offering his chops for Martha Reeves Dancing in the Streets his first professional gig! Hebden and Reids vision for their collaboration is to replicate the aesthetic of 60s sax/drums duos (see Coltrane/Rashied Alis Interstellar Space), but take the work to a previously unexplored point. While their former albums (The Exchange Sessions, Vols. 1 and 2) follow thorough progressions (read: developing the hell out of a piece) and utilize a more spacious playing field, Tongues, while still a live, no overdubs recording, is laden with more immediate music. Though Hebden still employs his clamorous electronic panoply, Reid focuses less on growth, more on pulse, both artists cutting tracks from sprawling epics to concise four-minute-average jams. The results resemble a jazzed up cerebral mix you might hear in a club, one you nod your head with but cant necessarily dance to (picture your girlfriend saying, This is weird, can we go now?!) Fans who actually get Hebden and Reids mission will appreciate this inevitable evolution. Dave Madden

Kim and Reggie Harris
Get on Board!
Appleseed Recordings
Street: 02.20
Kim and Reggie Harris = slave songs + civil rights + gospel music
Uh oh! I am leery of updated gospel and Underground Railroad tunes in this, the 21st Century. My doubts were soon confirmed as Kim and Reggie Harris renditions of old slave songs dont have the same angry, pained and urgent expression as those who sang them in their social context. What is even worse is that Kim and Reggie Harris fall into the trap of recruiting all sorts of famous people (Danny Glover, Guy Davis and Peter Yarrow from Peter, Paul and Mary to name a few) to help either legitimate this venture or round out their sound and concept. While the music is a bit plastic and trite for those interested in the original recordings of gospel/early R& B and roots music, the spirit in which they created this recording is applauded and highly appreciated Kim and Reggie Harris continue to generally keep the light of history and the slave struggle specifically with their rich tones and diverse voices. The CD is a great teaching tool and helps to document a time of great despair and musical innovation. Get on Board! is recommended for elementary and middle school kids for educational purposes. Erik Lopez

Laethora
March of the Parasite
The End Records
Street: 02.20
Laethora = Anata + Napalm Death + Entombed
Laethora is the first and only death/grind band to be signed to The End Records as of yet. The album is actually part of a new division of the label called Unruly Sounds. Featuring members of Dark Tranquillity and The Provenance, the bands musicians utilize their talents to create a technical death/grind masterpiece; ranging from mid-paced to brutally harsh and fast with lead work galore. Laethora will appease fans of many sub-genres within the death/grind scene. Every one of the albums ten tracks explode with intricacies unheard of with many of the heavier acts in the same realm that tend to just go through the motions. There are even moments of discordant melodies even clean singing. The guys got together to shake the foundations of what death/grind is and challenge the fundamental assumption that faster, heavier and brutality are not necessarily the key elements of what the genre should encompass. This is not your grandpa’s death/grind record at all. Just when you thought nothing new could be brought to the table something like Laethora comes around. – Bryer Wharton

Larry Levan Story
Journey into Paradise
Rhino Records
Street: 03.13
Larry Levan = Legendary N.Y. DJ + Dance Revolution + Studio 54
“One of the truly legendary figures of contemporary dance music, the late, great Larry Levan revolutionized the DJ's art with his soulful and eclectic sets at New York's fabled Paradise Garage club.” This is the best example you will ever get when it comes to a private discothque. When I say private, I mean a hype generating door scene full of gay clientele. Journey into Paradise makes the grown up 70s flower wild-child orgasm in nostalgia and the average R&B/Motown lover pick up the pace (in their dance shoes). The bread and butter of this album is kind of like up-tempo R&B that later came to be called Disco. From the sweetest pop to the darkest, druggiest dance rock; from good-time party funk to trancey electronic soundscapes; Larry makes the statement: “free your mind and your ass will follow the name of the night. This is the gayest album I have ever reviewed. –Lance Saunders

Lesbian
Power Hor
Holy Mountain
Street: 02.06
Lesbian = High on Fire + SunnO))) + Subterranean Masquerade
Lesbian subscribes to metal’s prerequisite backbeat drumming, treble, swirling guitar riffs and scrapey vocals sound-recorded from the basement of hell, but build their own brand of castle from there. Check out the subtle Spanish horn on the 4:30 mark of “Black Forest Hamm” and its deep, groove-laden, nearly Katatonia-rock riff at the 6:45 mark. Methinks someone had to’ve absorbed some Arcturus/Subterranean Masquerade somewhere along the road in order to pull off creepy carnival-jazz mish-mashes like the one at the 3:30 mark of “Powerwhorses.” And they’ve had to listen to grand, sweeping, atmospheric doom/stoner sludge along the lines of SunnO))) or Boris—Southern Lord stylie—along with the rough aggression of say, Big Business or Clutch. I can even hear the experimentalism of Giant Squid present (but more simplified, less pretentious). Dig the slow, discordant mammoth groove of the 11:30-minute mark of “Powerwhorses,” complete with insane guitar soloing wriggly as a bowl of tubeworms. –Rebecca Vernon

SEQ CHAPTER h r 1Little Brazil
Tighten the Noose
Mt. Fuji Records
Street: 02.06
Little Brazil = The Statistics + Cursive - a lot of energy
Throw a stick in Omaha and someone will write a sad song about it. If the thought of another group of heartbroken Midwestern emo-rockers makes you cringe, then you probably wouldn’t bother with an album called Tighten the Noose anyway. However, if you like to forget about your hipsterhood for an evening and indulge your soft spot for poppy, Saddle-Creekish sap-rock, then I’m sure you’ll enjoy yourself with these guys. At the very least, it can help you write your philosophy term-paper: If a couple in Nebraska breaks up and no one is there to make an album about it, did it really happen? –Jeff Guay

LoveHateHero
White Lies
Ferret
Street:02.20
LoveHateHero = Senses Fail + Coheed and Cambria + Iron Maiden
LoveHateHero stands on the precipice of the radio big time. It’s all there: sweet, clean, vocals, boyish good looks, and a hard music/pop blend. LoveHateHero is comprised of the kind of guy you could bring home to mom, but your friends would think was cool because he has his lipped pierced. Nowadays, the pretty boy post-hardcore screamo black hair groups are a dime a dozen and don’t even get their full 15, but boy is the radio smitten with them. White Lies is a well-played album, and the guitar lines, especially the solos are smoking. The subject matter is even halfway decent—it revolves around the life of being in a band on tour. Unfortunately, the band is so wrapped up in their desire to be accessible and mainstream that they lose sight of any originality or credibility, and they fall right back into the pool of the dozens of bands that they sound exactly alike. Sounds radio-ready to me. –Peter Fryer

Mess Up the Mess
You Remind Me Of Summer Vacation
Paroxysm
Street: 03.27
Mess Up the Mess = NoMeansNo + The Epoxies
Mess Up the Mess play some amazing dance infused punk rock. The lyrics are catchy, hilarious and reek of girl power that is balanced between the cheesy over-sexed Spice Girl’s kind and the scary overbearing fem-nazi. You Remind Me Of Summer Vacation starts out with a bang that never ceases. “Crystal Pools” makes a social comment on racial segregation with out sounding stuffy, while “F-bomb” celebrates all the rights women have gained with the lyrics ,“Do you want to have a baby/ No I know in fact you don’t/ Well girl you don’t have to and who’s to thank for this?/ While your chillin’ baby free you can thank the feminists.” Simple drum beats, witty lyrics that poke fun at the ridiculous things that occur, smooth female vocals and earth shattering keyboards make this a release that won’t leave your car’s CD player or your head. –Jeanette Moses

Mew
Frengers
Columbia Records
Street: 01.23
Mew = M83 + Death Cab For Cutie + Coheed and Cambria + a pinch of Polyphonic Spree
Mew’s new album isn’t really a new album at all. It’s a re-release of a re-release. Frengers combines re-recorded highlights of the bands two previous albums, A Triumph For Man and Half The World Is Watching Me, which after all the re-releasing is finally available in the U.S. Frengers is apparently a contraction of the two words “friends” and “strangers,” Danish bands can be so crafty sometimes. Mew is not only crafty with their album titles they are also crafty in their songwriting. This album is as dreamy and spacey as psychedelic space pop can get, all the while adding enough energy and distortion to keep the listener from drifting off to sleep. The angelic like vocals and the synthesized post-hardcore instrumentation provide the perfect contrast of sensitivity and power, while the slow minimal ballads make you truly realize how beautiful Mew’s music is. This collection of songs is the true definition of what it would really sound like if the Pixies had gone to heaven. –Jon Robertson

Midnight Bombers
Evil Streets
Wondertaker
Street: 11.21
Midnight Bombers = The Nerve Agents + The Bronx + Any number of early 80s hardcore bands
The members of the Midnight Bombers all wear gigantic sunglasses and plain black hoodies with the sleeves ripped off (because sleeves aren't punk) to attain an image inspired by the ever-lovable Unabomber. This should set off a red flag for any learned music fan, as everyone knows that there has never, ever been a good gimmick band. However, after only a few tracks of Evil Streets, my worries were alleviated and the wacky image that the band concocted for itself vanished from my mind. The Midnight Bombers deliver a snotty and loud brand of punk that borrows equally from the likes of The Misfits, New Bomb Turks and Black Flag to bring back a sense recklessness and roughness that's more and more rare in punk these days. If you like discordant guitars, relentless drumming and lots of garage-punkish yelling, this record's for you. Evil Streets is a little rough around the edges, but hey, that's punk rock for ya. The music of the Midnight Bombers speaks for itself, and they are definitely good enough that they don't need to hide behind their Unabomber image. -Ricky Vigil

The Missing Ensemble
Zeropolis
Low Impedance Recordings
Street: 02.28
The Missing Ensemble = Brian Eno + A Silver Mt. Zion + The desolate zoo in Osaka
The sounds in Zeropolis are organic enough to make one believe they are field recordings of the subtle mechanical machinations of a hyper-bleak, postmodern metropolis—a Gotham City of sorts; a place where dark and deranged echoes vibrate through alleyways and the subliminal, rejected residue and decay of capitalism is heard. If the abject is the underpinnings of the subject, then Zeropolis speaks the same of the conurbation. While the concept is interesting, the resonant buzzing and blanketed, electronic ricochets are frankly too eerie and depressing, not unlike the dreadful winter maze scene in the Shining. –Senator Spencer

My Bitter End
The Renovation
Uprising Records
Street: 02.06
My Bitter End = Between the Buried and Me + Cephalic Carnage + Killswitch Engage
I am a food network addict. I’ll admit it. Iron Chef beats Monday Night Football any day in my book. One of the most interesting things about watching that many cooking shows is how many combinations of the same ingredients, even one basic ingredient, there can be, and how tempting each prepared dish is. My Bitter End works in much the same way. Their prior full-length was at best mediocre metal core, similar to a 30 minute meal with Rachel Ray. With The Renovation MBE cook up an album more akin to a meal prepared by Mario Batali. The ingredients are fairly standard, but their proficiency and presentation are a bit of a twist and are therefore interesting to the pallet. The drumming is technical and fast, as is the guitar playing, and the pig-warble death“core” vocals are a nice change of pace in the genre, especially since they continue even over melodic parts. The breakdowns are heavy, and warranted, instead of filler. This is a fine metal-core release to start 2007. –Peter Fryer

My Teenage Stride
Ears Like Golden Bats
Becalmed Records
Street: 02.07
My Teenage Stride = Post-Post-Punk Mk2 (Housemartins - Paul Heaton 90s cheek)
Must history always repeat itself? Apparently so as My Teenage Stride fall in where The Go-Betweens and Housemartins waltzed into the mid-80s bringing in a subtle response to post-punk angularity. My Teenage Stride aren’t about to send the masses swooning like Morrissey and Marr but they’ve certainly achieved the charm, warmth and pop appeal that took the Housemartin’s “Happy Hour” high into the UK charts and has continued to keep vocalist Paul Heaton and the Beautiful South afloat. Which isn’t to say that My Teenage Stride are redundant, quite the opposite, actually, as they also mix in elements of early New Order and a paired back Kitchens of Distinction. I promise if this even sounds remotely interesting you’re going to love Ears Like Golden Bats. Guilt-free nostalgia never sounded so good. – ryan michael painter

Naked and Shameless
Drink-Fight-Fuck
Atomic Mouse
David Allen Coe + Jerry Reed + Saddle Tramps
Street: 12.19.06
These boys play down and dirty country punk. Simple songs, clever lyrics, its just what this hillbilly-werewolf-pirate-loves to hear. Country music the way it should always be played screw all that pop country Nashville crap. These are guys that are down at the bar playing to people just like you and I. This 3 song EP has humor to spare with the rollicking title track, and the “Ballad of the Trucking Nun,” which tells the story of a Nun’s adventures out on the open road. The last track “Creep,” is a Radiohead cover that took me by suprize, but instead of the expected sillyness, Naked and Shamless tackle this song with sincerity, and really turn it into something great.-JamesOrme

The Nein
Luxury
Sonic Unyon
Street: 02.07
The Nein = The White Octave + Mt. Eerie + more electronics
After the disbandment of their band, The White Octave, in early 2003, Finn Cohen and Robert Biggers formed The Nein. After self-releasing two CD-Rs, they became the first American band signed to Sonic Unyon, a Canadian label. Luxury picks up where their full-length debut, Wrath of Circuits, left off with melodic electronic and acoustic instrumentation. From the synth-driven “Achilles’ Last Tape Solo,” to the sample-filled, acoustic based “Get Up,” The Nein further prove that their novel arrangements were not lost on Wrath – they improved tremendously. “A Landscape” finishes the album off with a hushed voice over a distorted piano, combining techniques seen throughout the entire album. In the final seconds, the two end with laughter claiming that “this is preposterous; this is wrong!” –Tom Carbone Jr.

Nothington
All In
BYO Records
Street: 02.13
Nothington = Reducers SF + Social Distortion + Mighty Mighty Bostones – the horns
After Tsunami Bomb called it quits, two of its members, Jay Northington and Gabe Lindmen decided they had more left in them and began practicing and writing their own songs. The result of their collaboration came to be known as Nothington and the first full length, “All In,” soon became reality. Northington and Lindmen combine basic elements of punk rock with hints of Southern rock and alt-country reminiscent of Northington’s own Southern background. Each of the 11 tracks on the album have their own powerful sound that is forcefully bull-dozed into your head by Northington’s throaty, gruff vocals and complimented by Chris Mutalich’s softer, more nasal and traditional punk rock voice. All In is a pretty average first album, but with some time and fine-tuning, I think the best is yet to come. –Jeremy C. Wilkins

Only Crime
Virulence
Fat Wreck Chords
Street: 01.23
Only Crime = Black Flag + Good Riddance + Bane
When Only Crime is firing on all cylinders, they easily rival the greatest of hardcore in terms of sheer brutality. Maybe it’s the pseudo-supergroup lineup. Maybe it’s the serious lack of early-80s-style hardcore bands these days. Whatever the cause, Virulence successfully resuscitates the spirit of bands like Black Flag on abrasive tracks like “Everything For You” and “Xanthology.” It doesn’t hurt to have former Black Flag drummer Bill Stevenson pounding the skins or veteran hardcore vocalist Russ Rankin, who is just the right kind of desperate and confused weirdo to front a band like Only Crime. The guitar-work of Aaron Dalbec (Bane) and Zach Blair (Gwar) is where Virulence really shines. Their discordant guitars wildly careen between order and chaos throughout the album, owing more than a little to the great Greg Ginn. Unfortunately, it ain’t all broken bones and bloody teeth on Virulence. The more melodic songs like “Just Us” and “Shotgun” sound like rejects from Rankin’s other band, Good Riddance, and their poppy feel really hurts the album’s flow and intensity. Even with a couple of lowlights, Virulence is still a great album that is head-and-shoulders above most hardcore punk these days. – Ricky Vigil

Otep
The Ascension
Capitol Records
Street: 03.20
Otep = Crisis + Kittie + Korn
Otep began in pretty mediocre to bad territory releasing their debut Sevas Tra which was flawed by several rap-rock anthems. Throughout the years, the band has matured and left said sound behind for a more straightforward heavy feel. The Ascension contains a lot less filler tracks that invaded House of Secrets. This time around there are the typical nu-metal down-tuned riffs with basically no guitar solos. The band definitely aims for what they were trying to achieve: a clean, slickly produced heavy record appealing to fans of more modern metal. Vocalist Otep Shamaya, when using it, has an actually diverse range of screams, growls and singing. Ultimately, what you have is a lyrically interesting and moody album. There is no hiding the nu-metal in this female-fronted band. Take note that the band comes off much better in the live setting and I can see the new songs bringing forth powerful emotions and strength when they do actually play live. It is a pity they couldn’t harness that energy into their recorded works. – Bryer Wharton

Panda Bear
Person Pitch
Paw Tracks
Street: 03.20
Panda Bear = Beach Boys + Adrian Sherwood + Polmo Polpo
These days, indie rock shelves swell and collapse under the weight of bedroom projects, a large portion of those being something from an attention starved bassist or drummer from xx band. Many of these sound like afterthoughts, something a songwriter has kicking around after the band wraps up an album. That is not the case here. Noah Lennox’s Panda Bear work seems more of an extension of his activities with Animal Collective, not just absent noodlings to occupy his time. Track after track, Lennox melds terrifically catchy vocals with heavenly bizarre, ethereal abstract dub, at once delivering the greatest pop and post-post-rock (sic) record in ages. Affecting an accent and same range as Brian Wilson, Lennox douses his lush croon/harmonies in cathedral style reverb while working a kitchen-sink of marching rhythms and kamikaze dive-bombs (“Comfy in Nautica”), found percussion and island guitar strums (“Take Pills”), tabla loops and bit-shifted trumpets (“Good Girl”) and pulse-driven piano lullabies (“Ponytail”). Stunning, bizarre, hooky, hokie and intoxicating, after a few listens you might consider taking up a petition to keep Lennox away from his day job. –Dave Madden

Paula Frazer and Tarnation
Now It’s Time
Birdman
Street: 03.07
Paula Frazer and Tarnation = Nick Drake + The Mamas and the Papas
One of the 90s best—although often overlooked—alt-country acts, Tarnation has recorded their first record since 1997’s Mirador. Led by Paula Frazer, who’s angelic, southern-tinged voice could inspire in even the stiffest Yankees the desire for an afternoon of stick-whittling or a rocking chair-induced nap, the new album achieves the same ethereal quality of their previous releases. While not for the club scene—or any scene looking to stay awake—fans of introspective, tranquil folk might find in this album a new classic. –Jeff Guay

Pestilence
The Best Of: Mind Reflections
Roadrunner/Metal Mind
Street: 11.09
Pestilence = Death + Obituary + Dismember
Plagued by line-up changes throughout their now defunct career (including several vocalists and guitarists). Pestilence has no doubt had a career filled with turmoil. Roadrunner opted instead of re-issuing all of the bands records to just re-release a “best of” CD. Good for people new to the band, bad for collectors, with said albums remaining out-of-print. Pestilence utilizes a heavy Americanized old school death metal sound with a slight hint of Swedish death metal. (Although when it came to recruiting new vocalists had no issue at all most notably joining up with the jazz inspired death metal act Cynic’s vocalist who later went on to sing for several records for the renowned yet similar Atheist). There is no question in noticing the evolution of the band throughout the best of CD’s tracks with brutally heavy death metal utilizing a more growled vocal to a more intricate technical style, accompanied with awe inspiring lead work. Production values of the songs vary but with the re-mastering they still all sound top notch. Also added as a bonus to the record are the bands only recorded live works. Regardless of the turmoil, Pestilence lead a strong career and remains an influential force in the death metal realm. Listening to the material only makes one lust for some sort of return from the enormously heavy Pestilence. – Bryer Wharton

The Phantom Rockers
20 Years and Still Kicking
SOS records
Street:02.06
Phantom Rockers = The Meteors + The Quakes + Demented Are Go
The Phantom Rockers have been around since the mid 80s and have been integral in bringing psychobilly to America by being one of the first European psycho bands to tour here. Once lead singer/bass player Mark Burke relocated to Texas and reformed with a new line-up, it restarted the band’s career. This two-disc set spans the band’s entire career. The two-discs are actually split perfectly between the material from when they were based in England, and what’s been recorded since the move to America. I have to say that the older songs on the first disc are much more interesting than the stuff on the second. The older stuff has more of an understated spooky feel to it while the newer stuff is a lot more aggressive and closer to straight forward punk rock, but that doesn’t mean there are not some really good songs like “Boogie Man,” or their Johnny Burnett cover “Baby Blue Eyes.” This psychobilly band has put out some great records which are all represented here. This is a band that’s great for punks and psychos alike. –James Orme

Requiem
Government Denies Knowledge
Locomotive Records
Street: 01.16
Requiem = Cannibal Corpse + Meshuggah + Six Feet Under
The first thing that needs to be said about this album is that the drummer Roger Kradolfer is amazing. If it weren’t for his mutant molestation of the drums, Requiem might fall into trap of blending in with every other death metal band. Imagine all three of the drummers / percussionists from Slipknot actually playing with some talent and you might have an idea of the amazing sound that comes from Kradolfer’s drumming. As for the rest of the music on the album, it’s fairly standard with the occasional guitar solo breaking up the constant thrash pounding. However, there is an element of this record that I find confusing; throughout the record Requiem forcefully tries to insert sound clips of anti-war / government propaganda which I’m all for, bu, with the growling brutal voicing, the lyrical propaganda doesn’t quite come through as clear as the band wants the message to be heard. In the case of heavy, destructive death metal it might just be best to let the anger and protest of the music speak for itself. –Jon Robertson

Rip Dash Rock
Hee Haw Hell
Alternative Tentacles
Street:02.20
Rip Dash Rock = Lynrd Skynrd + Hank III + Southern Culture on the Skids
This band would be so much better if they’d just drop the southern rock bullshit. These cow punk veterans have been around for awhile, but they always have had this Skynard thing going on that just seems so lame. Their punkified version of “Man of Constant Sorrow” and the introduction track “Hee Haw Hell” are both hellbilly blazing songs. These boys are so good at the rootsy stuff, and their true cow punk selves come out. This record literally puts you on a trip through hell where you run into a certain southern band who went down in a plane crash, and Reverend Beelzebubba that preaches the evils of incest and homosexuality. With appearances by Mojo Nixion and Jello Biafra I had high hopes for this release but, Rip Dash Rock just refuse to be the hellbilly stomping cowpunk band that I want them to be. –James Orme

Sadus
Swallowed in Black
Roadrunner/Metal Mind
Street: 11.30
Sadus = Testament + Death + Dark Angel
Oh thank you very much Roadrunner and Metal Mind. I’ve been waiting for the day that the older Sadus records would be re-issued. I fortunately got my hands on actual editions of the bands Elements of Anger and A Vision of Misery albums. I once attempted to grab the Swallowed in Black album off of ebay but the auction went upwards of $40 and I was promptly outbid. Regardless, from the Death To Posers demo, Sadus have been a driving force in thrash metal with every album bursting forth with extremity and technical mastery. The band is still going strong releasing a new album, Out for Blood , in 2006 which was a top album for the year. Most notably, the bands bassist Steve DiGiorgio, a long time staple in Testament, as well always made his bass standout rather than just go with the flow in Sadus. The re-master treatment suits Swallowed in Black well with things much clearer and crisper than before. Swallowed in Black in retrospect is just as important as any of other of the bands record;, a catalogue that should be owned by any hardcore metal-fan. There is no question this thrash metal staple is underrated in the annals of metal history but don’t let that sway you. If the technicality alone from the opening shredding on the album doesn’t make you piss your pants then you need to get your hearing checked. – Bryer Wharton

Sevendust
Alpha
7 Bros Records
Street: 03.06
Sevendust = Metallica + Alice in Chains
I remember long ago, ten years to be exact, listening to KBER late at night and hearing an interview with Uncle Nasty and Sevendust, which included sound bytes from their self-titled debut album. As a budding metal fan, I was blown away and constantly hunted for the record in stores, little did I know the interview was done many months before the actual album came out. Unfortunately in my eyes, things have sort of been a gradual leveling out for the band ever since that album. I kind of let them be and stopped paying attention after the Animosity album. That doesn’t mean these guys aren’t a prevalent force in modern metal. Singer Lajon Witherspoon has always stood out amongst the masses with his clean singing and powerful screams along with the excellent drumming of Morgan Rose who also lends his backing vocals to the mix. Alpha is pretty much just a mix of their Seasons and Next records, which makes sense since they are the bands last two full-lengths., (though Alpha is a bit heavier than said albums). It doesn’t exactly blow me away but fans won’t skip a beat with the record. You have to give the band some respect, they survived the rise and fall of nu-metal and that alone is a feat worth noting. – Bryer Wharton

Skinny Puppy
Mythmaker
SPV/Hell-O dEathday
Street: 01.30
Skinny Puppy = Ogre + cEvin Key
Skinny Puppy has never quite been an instant act where you can give their music a listen and fall in love with it. Even after several listens to Mythmaker, I’m still not convinced that this ranks highly among Ogre and cEvin Key’s discography. From the anti-climactic opening with “Magnifishit” and “daL,” it’s back to that familiar feeling of knowing you need to go back and play it 50 times to pound a love for it into your heart. It’s not until “pedafly” that Mythmaker begins to feel like a Skinny Puppy album rather than an Ohgr one-off. This song mixes early electronic SP with grindy guitars al The Greater Wrong of The Right. A completely satisfying song doesn’t come until halfway through with “jaHer,” a beautiful interlude with acoustic guitar and piano and Ogre’s “Oral Impressionism” reminiscent of “Candle.” The remainder of the album is forgettable. I really want to love Mythmaker, but the effort feels entirely slopped together on the bands part with the exception of “pedafly” and “JaHer.” –oneamyseven

Smoke or Fire
This Sinking Ship
Fat Wreck Chords
Street: 02.20
Smoke or Fire = Hot Water Music + Avail
Smoke or Fire has never been the kind of band that jumps out at you with ridiculously high energy, huge hooks and catchy choruses, but that's not necessarily a bad thing. Before I knew anything about Smoke or Fire, I saw them open for Anti-Flag last year, and even though I couldn’t tell you a single song they played or anything about their stage behavior, I knew that this band had something: honesty. There’s no tough-guy posturing, no propagation of clich ideals and no generic sloganeering in Smoke or Fire’s music. They don’t need any of those things when they deliver some of the best southern-fried post-hardcore around. Fueled by pure emotion and influenced by the likes of Hot Water Music and Leatherface, This Sinking Ship presents a band that has finally become comfortable with their own sound. Instead of writing generic rallying cries, Smoke or Fire have crafted real songs, whether they be of the Americana-tinged, Replacements-esque variety ("Little Bohemia") or the all-out rockers ("Shine"). If you prefer your music drowned in eyeliner and squeezed into girl-pants, look elsewhere. I'll be listening to some real music courtesy of Smoke or Fire. - Ricky Vigil

SSI
E Pluribus Unum
Azra
Street: 12.01.06
SSI = The Orb + Seefeel - flavor
E Pluribus Unum picks up around the point when modern electronica became kitschy, new-age-ism-laden, predictable and merely a means to take advantage of passed out Ecstasy chicks – basically, a time when the music became one long track. The beat here isn’t pounding four-on-the-floor, but the music is equally boring, coming off like a rich kid who convinces his dad to buy him expensive keyboards and studio time yet doesn’t dip further than the preset pads, wailing on said presets and churning out modal passages ad nauseam over the course of 36 long minutes. While label mates Point Loma successfully bathe in nostalgic IDM, SSI needs a…let me stop for a second. I’m not saying all this to be some clever journalist, as I know it’s a bit brutal. However, I’ve listened to the album six times and come up with the same conclusion. E Pluribus Unum is completely counterproductive to the technology-driven vision SSI (and Azra Records) is trying to boast. Having shared CD space with Space Time Continuum, the group should know what’s already been done (to death), take the point of reference and move forward. Step up! (Soap box over.) –Dave Madden

Suffrajett
Black Glitter
Cobra Music
Street:01.23
Suffrajett = Blondie + Pat Benetar + Leopard Leotards
If it weren’t for the hot, black, mamba wamba who fronts Suffrajett, I doubt they would be considered for anything more than a clunky, underpracticed bar-rock band. Black Glitter is sufferable because Simi S. gives the title its significance through her gritty glam persona and wham-bam-thank-you-mam approach and attack. While front men and women need be sexy and powerful, an able band providing some foundation never hurts. With that said, Miss Simi would be better off spinning her glitter elsewhere, somewhere like Mars where the real rock is taking off. –Senator Spencer

Temple of Brutality
Lethal Agenda
Demolition Records
Street: 02.20
Temple of Brutality = Motorhead + Kilgore + Zeke
When I first picked up this latest album from Temple of Brutality, I had not heard of the band before. I thought I was going to get some sort of death metal release or a bland watered down metalcore album. Boy was I wrong. In a way the band reminds me a lot of the mid 90s band Kilgore only sped up a lot and melody taken out. The end product of this concoction, featuring Dave Ellefson taking the bass guitar duties, is a speedy aggressive thrash and hard rock medley worthy of praise. The album is about as straight forward as it gets no-frills solos that aren’t pretentious or fancy, just a lot of raw power and as the name would suggest, brutality. – Bryer Wharton

Thisish
Vol. 1
Thisish Records
Street: 02.27
Thisish = Marshall Law + Cresh Frazy + Johnny 5
How can you make a progressively new-school album that “rings the bell” when you only use samples and influences from true-school classics? Thisish - Vol. 1 is one of the most authoritative albums to come out of the Burroughs for a long while. It’s almost as if every track has its own independent dexterity. With a lot of mashing-up of musical genres out there, this album seems more kick drum-beat and bass-heavy than anything resembling the recently proclaimed “blip-hop”. The production is thick and tasty, with raw bass grooves and hi-hats tuned to the right treble level, proving that Brooklyn still has skill to pass around. Even though this album is not the most progressive or organic hip-hop albums of 2007, it is an exceptional combination of the old and up-to-date. –Lance Saunders

This Moment
S/T
Uprising Records
Street: 03.06
This Moment= Curl Up & Die + Skycamefalling + Poison the Well + yawn
News is defined as “something out of the ordinary.” That’s why the day to day is not reported on a daily basis. “Shoes: Latest Trend in Footwear” will never be headline news. Same goes for Southern California’s This Moment—they are simply another metalcore band from an already overcrowded scene. It’s middle of the road metalcore, with harder parts, melodic parts, and some guitar lines that seem to be ripped right from Skycamefalling’s songbook. Certainly not news. The new album is competently played, but doesn’t offer anything beside it’s concept that is unique or terribly interesting. The concept of the album is about the loss of a lover and eternal life. That’s right, St. Peter at the gates and being led through the streets by the Son of Man himself, eternal life. The obvious Christian redemption/salvation/eternal life bent of this album will probably be welcome for the Sunday crowd, but for the rest it’s the last nail in an already boring wooden coffin. –Peter Fryer

Tim Fite
Over the Counter Culture
ANTI-
Online: 02.20
Tim Fite = Sole + The Streets
Are you a conspicuous consumer? Yes? Sorry, Tim Fite isn’t for you. Tim Fite is for your sick, your poor, and your huddled masses. Tim Fite is for all, “my peoples with addictions.” Tim Fite has been shot-nine-times (he wanted to be famous like Fifty Cent). Tim Fite might shoot himself a couple more times if it gets him real paid. Tim Fite is offering the entirety of Over the Counter Culture, his latest, on his web site www.timfite.com for fucking free. Maybe in an attempt to disseminate the idea that art isn’t something our society should place an economic value upon. Or maybe it’s just an attempt to put me out of a job.” You don’t need me to tell you how good or bad Over The Counter Culture is, download it and find out. It won’t take but two minutes of your precious time. And with Tim Fite’s interesting flow and clever little dinner party quips at consumer culture Over The Counter Culture is forty minutes of some pretty original beats worth the two minutes of effort. Trust me? –Miles Ridling

The Tiny
Starring; Someone Like You
Eyeball Records
Street: 01.23
The Tiny = Earnestness + Regina Spektor + Bjork + Tranquilizers
While comparing themselves to Kate Bush and Regina Spektor suggests that the band are well versed enough to know the innovator and the current starlet of quirky female pop, it also points to their greatest weakness: they aren’t Kate Bush or Regina Spektor. Where Bush surges along with gusto and Spektor charms with passionate lyrics about the mundane, The Tiny drift and sway their way like the Sugarcubes on methadone. It is beautiful in the same vein of Bjork’s “All Is Full of Love,” had the drums and exclamation points been extracted. The Tiny should rather be viewed as an adept cabaret act that takes the Dresden Doll’s overt sexuality and replaces it with an awkward beauty that is enticing in its vulnerability. Gorgeous, meek, understated and overwhelmingly intimate, Starring; Someone Like You may not stand up and demand your attention but it certainly deserves it. – ryan michael painter

Tokyo Mask
Hinterlands
Low Impedance Recordings
Street: 02.23
Tokyo Mask = Boards of Canada + The Missing Ensemble + The Technidrome
Hinterlands is the Technidrome: Krang and Master Shredder’s vehicle for drilling through the subterranean layers of Dimension X, deploying death and destruction along the way in an effort find the ooze. Unfortunately Bebop and Rocksteady aren’t on board; the sounds are strictly minimal and drone-infested. The drums are vacuous; the guitars turned inside-out, boring a bore. There are moments when something feels alive on Hinterlands, but all in all it’s too cold and austere to allow for anything remotely habitable. –Senator Spencer

Total Chaos
17 Years of Chaos
SOS Records
Street: 03.06
Total Chaos = Cheap Sex + Resilience + The Virus + The Unseen
17 Years of Chaos is 27 tracks of flat out street punk that's made the way it's supposed to. The tracks on Total Chaos' best-of are some of my favorites and some of the new tunes thrown into the mix are pretty damn good too. Despite that the CD shows that Total Chaos uses the generic street punk formula (heavy song + a guitar solo + sing-song track) they still manage to keep every song different enough to keep my attention, which is more than I can say for similar bands like The Unseen. 17 Years of Chaos also serves as a reminder that the group's older work is their best, as the tracks from their newest album, Freedom Kills, are some of the worst on the disc. For those just getting into street punk or Total Chaos, 17 Years of Chaos is a nice place to start. –Josh McGillis

Trans Am
Sex Change
Thrill Jockey Records
Street: 02.20
Trans Am = !!! + Manheim Steamroller + Pink Floyd
This is very strange music for the time period; a psychedlic/synth/new age band that is marketed the same way an indie-rock record would be. The new age component is the most disconcerting; the over-use of vintage sounding keyboards has been their trademark, along with the vocoders. On Sex Change, Trans Am has forgone the vocoder for real vocals and are leaning more to a stadium rock or even 80s cock rock; like on tracks such as "Shining Path" and "Conspiracy of the Gods.” The album is horifficaly eclectic, but manages to keep the theme of playing vintage instruments in a sardonic manner strong throughout. They recorded the bulk of the album in New Zealand before finishing in Brooklyn, which has influenced their sound towards more of an organic rocking venue. This is definitely their strongest release since Red Line, released in 2000. They are funky and weird, sometimes mellow and mathmatical, but always a little detached from the music. -Andrew Glassett

Ultramagnetic Mc’s
The Best Kept Secret
DMAFT Records
Street: 01.09
Ultramagnetic Mc’s = Ced Gee + Kool Keith + DJ Moe Love
If you missed the Kool Keith show last month I feel bad for you. The fact that the performer who happens to be the most infamous “no show” in the business “showed up” was in and of itself – AMAZING, for lack of a better word. The trademarked hard hitting and punctuated delivery of Kool Keith preserves itself while Ced Gee keeps a raw and buoyant vibe on many songs. Packed with cleverly sequenced samples and thicker-than-thick drums, they both create an album that is painfully clear with palpable storytelling. The Best Kept Secret stands alone when it comes to any other Dr. Ocatagon, Mr. Nogatgo or Ultramag album release to date. They all convey a genuine harmony and approach the music they make in an honest way. Perfect for a booty-shaking soundtrack in your favorite strip club, not perfect for booming out the box while walking through Temple Square. –Lance Saunders

V/A
Mullets Rock Too!: Mullets in Love
Legacy
Street: 03.13
Mullets Rock Too!: Mullets in Love = more hair rock ballads than you can shake your fist at
Chances are you’ve seen the TV ads or even purchased one of the Monster Ballads collections. Mullets Rock Too! Isn’t that far off from that sort of compilation. Though they do try to be a bit different. The album is split into two parts the “Psyched,” side and the “Bummed,” side. Obviously the “Psyched,” side contains more rocking 80s anthems that we all grew up with from the likes of Ted Nugent, Joan Jett, Ace Frehley and don’t forget the classic Boston sappy song, “More than a Feeling.” One of the more cool cuts on the “Psyched,” side is Foghat’s “I Just Want to Make Love To You,” in all its badass groove laden glory. For the sadder sentimental mullet haired rocker you have the “Bummed,” side that contains the obligatory Nazareth song “Love Hurts,” as well as obvious cuts from Cinderella, Night Ranger and REO Speedwagon. Though there are the less obvious songs including Cheap Trick’s great, “The Flame,” and “Dust in the Wind,” from Kansas. To top it all off you have the horrifically cheesy cut from Bonnie Tyler, “Total Eclipse of the Heart.” We have all heard compilation albums like this, but the song selection on this record is great and will have you taking a trek down memory lane or just wallowing in the cheesy glory. – Bryer Wharton

The White Barons
Up All Night With
Gearhead
Street:02.06
The White Barons = Electric Frankenstein + The Misfits + Poison Idea
Miss Eva Von Slut has sung for bands such at Thee Merry Widows and The Insaints, and has performed extensively as a burlesque dancer. Now she is trying her hand at a more punk rock n’ roll style with the White Barons. A splendid blend of chaotic rhythms and classic rock n’ roll guitar. The band rips through these songs like a maniac killer through a door to get to victims, and on top of that sits some of the most powerful vocals I’ve ever heard. I didn’t even realize it was girl singing until I looked at the liner notes. She just blasts out these songs from her throat like you wouldn’t believe. The songs themselves aren’t anything special, but it’s the way these simple rock n’ roll creations are carried out that makes them stand out. –James Orme

The Willowz
Chautauqua
Dim Mak Records
Street: 03.20
The Willowz = White Stripes + The Kinks + Black Keys
It's always weird to hear a band that would've been huge if they had only been around a few years ago. The Willowz are one such band. Delivering a bluesy brand of garage-rock highly reminiscent of The White Stripes, The Willowz combine the perfect amount of reckless apathy with impassioned sincerity that was all the rage a few years back. Vocalist Richie James Follin sounds like he was raised on equal parts Stooges and Lynyrd Skynyrd, and the rest of the band is equally capable of switching between the thick, sludgy riffs of garage-rock and the country-fried twanginess of southern rock and blues. The backing vocals of bassist Jessica Reynoza enhance the indifferent yet cool lead vocals, and the use of acoustic instruments and piano on songs like "Jubilee" and "Evil Song" help The Willowz break free of the sometimes-suffocating trappings that plague other bands of their genre. Chautauqua provides the perfect soundtrack for driving down long and empty stretches of road in the middle of the night. The competent yet unpredictable musicianship combined with awesome vocals make this album a keeper, even if it was released a few years too late. –Ricky Vigil

:wumpscut:
Goth Census
Metropolis Records
Street: 03.06
Wumpscut = Razed in Black + Yendri
Rudy Ratzinger doesn’t take himself too serious and his fans already know that from his branded energy drink and now with his lyrics on Goth Census. Like many :wumpscut: fans, I’ve learned to roll my eyes whenever I catch wind of his latest jokes. Unlike other fans, I’ve actually enjoyed recent works like Evoke and Cannibal Anthem. Preceding the full-length album, Body Census, we get a taste of what is to come including remix contest winner Yendri’s two mixes of “You are a Goth.” This is where the problem lies. Even though the song is remixed it goes into a darker area than Ratzinger has ever been before. I would guess that 90% of :wumpscut: fans consider themselves goth and aren’t going to enjoy this I may be wrong. It could have the opposite effect in the same way they got a kick out of Razed in Black’s floor-filler “Oh My Goth!” Unfortunately, this song is glaring among the five tracks. “We Believe, We Believe,” is palatable but gets weighed down by the horrific “You are a Goth,” and “My Dear Ghoul.” –oneamyseven

Xentrix
Shattered Existence/For Whose Advantage/Kin
Roadrunner/Metal Mind
Street: 11.09
Xentrix = (old) Metallica + Exodus + Testament
Chances are if you are a newer fan (relatively), of thrash then Xentrix might have made it passed your radar. The British band also may be overlooked due to their huge similarities to early Metallica and Testament. Regardless they have been re-issued and shouldn’t pass your radar this time. The 1989 Shattered Existence is chock full of thrash goodness, fast, with frenzied solos all reminiscent the style that made thrash metal famous. Bonus goodies also contain extra demo tracks and the single, “Ghostbusters.” A metal song taken from the theme song of the movie, how awesome can you get? 1990s For Whose Advantage album sees the band beefing up their sound a bit production wise and guitar wise, things are just thicker richer and heavier. Pretty much the same animal Kin follows the same heavy thrashing path that For Whose Advantage took. On some songs the pace is slowed down a bit sort of following the trend of thrash metal of the day. So what if you missed them in their hey day, the albums are here and heavy as the day they were released, re-masted and glorified for fans so they can rock out everyday. – Bryer Wharton

Zozobra
Harmonic Tremors
Hydrahead
Street: 01.30
Zozobra = Old Man Gloom + Tool + Desert Sessions + Godflesh + Bathory
Holy sheeeeet! Imagine what would happen if The Melvins got trapped in a barrel ferret fight with Godflesh, Cave-In and Neurosis! The ensuing battle would not only leave patches of fur floating in its wake, it would explode the barrel, the city said barrel was in, and half the continental U.S! Cave-In/Old Man Gloom bassist Caleb Scofield (with spine-breaking bellowing on Harmonic Tremors) masterminded Zozobra. Technical, weird time-signature perfection couples with droning, barbed, chunkalicious bass riffs and pristine, white-hot fury to create one of those rarest of albums that combine controlled musicianship with emotional unrestraint so abrasive it borders on pain. The drums are especially premium—crushing, spaced-out, reverby, bordering on crusty industrial most of the time (hear “Levitate”). Mighty, excellent, epic riffs that are equal parts Skynyrd and Leif Erikson are like a spearhead thrust into the skull of a zombie-like music scene, stunning it dead. Brains are going everywhere. This is going to be one o’ my Top 10 for 2007. –Rebecca Vernon

Znowhite
Act of God
Roadrunner/Metal Mind
Street: 11.09
Znowhite = Anthrax + (old) Metallica + a female singer
Znowhite is one of the few thrash/speed metal bands to feature a female vocalist. Which for the time was a bit of a rarity. How does Nicole Lee rank with the big boys of thrash of the mid 80s? Pretty damn brutal if you ask me. The band, like many of their peers, underwent a career filled with turmoil. Line-up changes and numerous labels laid claim to Znowhite. Most likely the bands pinnacle of success was their Act of God album, which now has been re-issued, (for the most part showcasing what female fronted metal acts sounded like in the early years of metal). The re-mastered edition is extremely well done, the guitar sound is thick yet still raw and as un-polished as it was probably like with the original recording. Lee actually doesn’t sound that far off from a lot of the male vocalists at the time, most notably Joey Belladona. The band displays mad prowess at creating heavy riffs. Lee adds a certain flare and distinguishable sound that makes everything stand out. Znowhite was unheard of territory for me when I first listened to the record, now it has me thirsting to dig up early demos and other most likely ultra rare stuff that the band released long ago. –Bryer Wharton