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June 2007 - Issue 222

Aa
gAame
Gigantic Music
Street: 04.24
Aa = Animal Collective + Gang Gang Dance + Mouthus
Here is a band that sounds like something you would want to have play at your birthday party because “they reinvent the drum circle” and are “urban noise.” Arguably, for as much as they make you dance your pants on backwards and move your feet into a dumpster diving frenzy, Big A little a sound like almost any sort of music collective that is trying to gather every bit of urban detritus it can acquire, almost in the same way that Apollinaire’s Alcools has no punctuation and is a receptor for a new modern way of living. The sounds are primitive in the sense that the music is mostly percussive and rhythmic, has jumbled lyrics, a smattering of hectic emotion and it plays on the affects by being immediate and intense. Multiple drummers (four in all!), bullhorn in your face “dance or death” and the visual language of music make this another must have in the indie-dance cannon. Accompanying DVD makes you realize that you are not awesome enough to have them play at your party because your house is to close to other people. –Erik Lopez

The Aggrolites
Reggae Hit L.A.
Hell Cat Records
Street: 06.05
The Aggrolites = The Wailers + James Brown
The Aggrolites are back with another infectious release chock full of their brand of dirty reggae. Reggae Hit L.A. is as much of a powerhouse as their last two releases; this album won’t disappoint fans. The funky rhythms and smooth vocals come together seamlessly to create a soulful mix of reggae and funk. Stand out tracks include “Faster Bullet,” “Lets Pack Our Bags” and “Well Runs Dry”. This album is great for sunny summer days and exceptionally warm nights. –Jeanette Moses

Air Conditioning
Dead Rails
Load
Street: 04.03
Air Conditioning = The Dead C + Lightning Bolt – how awesome that would actually be.
While listening to this release from Allentown, PA noise-mongers Air Conditioning, I couldn’t help but wonder if I would find it more interesting had the sounds been generated by an actual air conditioner; at least then I would have been surprised. As it stands these guys are less interesting than their band name would lead you to believe: four thoroughly unmemorable tracks of loud formless distortion with drum pounding and occasional raspy shouting. Now, I’m all for the approach here, but the point is to make music that is not just in opposition to the status quo, but also exciting, interesting and inspiring. Their sound is a good approximation of their fuck-you attitude (their press release proclaims that they have more longevity potential than the Arcade Fire), but I honestly can’t see why you and two of your friends couldn’t go down into the basement and make more or less the same record. That’s fine, it’s a very DIY and populist approach, but it doesn’t really justify the price tag. –Jona Gerlach

All Out War
Assassins in the House of God
Victory Records
Street: 04.03
All Out War = Slayer + Kreator + Hatebreed
Here’s a written account of the text messages I send to a friend after listening to this:

P: Dude, the new All Out War kills!
T: Those guys are still around?
P: Yeah, I know! It’s like Slayer with more breakdowns. It’s good.
T: I’ll have to check that out
P: Damn straight

I haven’t paid much attention to these guys since For Those Who Were Crucified, which never blew up my skirt. Apparently they’ve been busy in their metal laboratory tweaking and improving their formula - they’ve only released three albums in the last 10 years. Although the album gets a bit repetitive in the middle, the metal is fast and this thing is heavy. It has just the right amount of thrash with half-time parts mixed in and takes no prisoners in its ranting about the bastardization of religion(s). This is METALcore (with the only thing core about this record being the band members’ scene affiliations). This is metal to make your ears bleed. Word. –Peter Fryer

Amandine
Solace in Sore Hands
Fat Cat Records
Street: 04.06
Amandine = Sufjan Stevens + Pink Floyd
I usually don’t care for the “Band A = Band B + C” line I have to write for CD reviews, worrying that if I don’t carry the Simon & Garfunkel then my math might not add up. For this review, however, it couldn’t be easier. Amandine really is the softly sung, banjo-wielding sentimentality of Sufjan Stevens met with the drowning-in-hallucinogen grandiosity of Pink Floyd, or at least that’s the case for the better tracks on the album. I swear if you smoke a joint and play the song “Chores of the Heart” while watching When Harry Met Sally, they totally sync up! Not every song is such a winner, however, as the album takes the same extravagant instrumentation and nearly skids into parking spaces reserved for Bob Seger tribute bands. No matter, these guys from Sweden might carve a warm little niche into the “rainy-day” section of your “albums to take bong-rips with” collection. –Jeff Guay

Angelcorpse
Of Lucifer And Lightning
Osmose Productions
Street: 06.26
Angelcorpse = Angelcorpse, period.
“Tr00,” “kvlt,” and “grimm” metalheads will no doubt be creaming their jeans over this release, seeing as Angelcorpse was left for dead back in 2000 by bassist/frontman Pete Helmkamp and guitarist Gene Palubicki. As is usually the case with any sort of “comeback” album, I was a bit skeptical when I first heard about this…but Angelcorpse have undoubtedly lived up to their legacy. This, kids, is blackened death metal brutality at its finest. Helmkamp’s throaty growl is as welcome as it ever was, and the riffing is absolutely murderous. In fact, the only complaint I have about this release overall is that the drums seem to be a bit too low in the mix, which can almost be expected for something as almost “un-produced” as this record is. From the beginning intro of “Credo Decimatus” to the finale “Lustmord,” this is an unrelenting aural assault that is absolutely worthy of the Angelcorpse name. Upstart black and death metal bands, take fucking notice. –loveyoudead

Asbestosdeath
Dejection Unclean
Southern Lord Records
Street: 04.03
Asbestosdeath = Sleep + High On Fire + Noothgrush
At long last, someone figured out that the two 7”s recorded by Asbestosdeath (one was self released; the other was released by Profane Existence) needed to be heard by a bit larger audience. Of course, the guys at Southern Lord really know how to play off the current “fame” of the individuals that made up Asbestosdeath, being that they went on to form such outfits as Sleep, High On Fire, and the extremely underrated OM. The most basic description of these four tracks is that they are the perfect melding of Noothgrush and Sleep, although it might not go over all that well with die-hard fans of the latter. From start to finish, the songs plod along at a sometimes maddeningly slow pace, and if you don’t pay attention the songs tend to run together. However, this is one of the few releases I’ve heard lately that actually makes you feel dirty when you listen to it. The integrity of the original recording and pressing to vinyl is quite apparent which is definitely a plus; if Southern Lord had attempted to polish these recordings any more, this would merely be a novelty as opposed to being an essential piece in anyone’s doom or crust collection. –loveyoudead

Bees and the Birds
Bees and the Birds EP
Our Neighborhood Records
Street: 05.04
Bees and the Birds = Rilo Kiley + Mates of State + Decemberists
For a Philadelphia based band, Bees and the Birds sound warmingly simple like something from Omaha or Seattle. Well pronounced lyrics by male and female vocalists invite you to their pretend clubhouse to play spin-the-bottle or other such games befitting of city-dwelling adults who enjoy folky, pop music. An EP of three relationship songs (seemingly a sex-song, a stalking-song, and a rejected-song), Bees and the Birds remain committed to being toe-tapping upbeat and hopefully lighthearted even when their feelings aren't returned. (My crushes put to music.) The simplicity is visible on their album artwork. Screen-printed cardstock cut into envelopes keeps the stenciled cd safe on its journey from record label to your house. Because you really should order this EP; it will cheer you up if you get lonely. –Jennifer Nielsen

Before Their Eyes
Before Their Eyes
Rise Records
Street: 05.15
Before Their Eyes = Underoath + Senses Fail + My Chemical Romance
Good lord, when is this going to stop? Have people not gotten sick of this sound yet? I can’t imagine that producing an album of mediocre cookie cutter screamo-emo-metalcore (and whatever other cringing musical descriptors are out there) has any kind of profitability or marketability. Sure, this sound is going gangbusters on the airwaves, but for every act on the radio there’s 200 more that don’t even get a nod - Before Their Eyes falls into that group of 200. I honestly can’t see anybody over the age of 15 getting excited by this. Lyrics with Christian undertones are sung/screamed over typical hyper-produced guitar lines that alter between hard chugging and sappy emotional lines. The vocals are that high-pitched whine/singing that floats over guitar lines that only a 15 year old girl at the mall could love. Some songs sound like late Blink-182 rip-offs and are so caught up in their melancholy that it’s almost humorous. This is not worth anyone’s time. –Peter Fryer

Bergraven
Dodsvisioner
Hydra Head
Street: 05.22
Bergraven = Bethlehem + Blut Aus Nord
Once again Hydra Head brings us some black metal that is so far from the standard fare that you may not be sure what you are listening to a few minutes into Dodsvisioner. This snail’s paced eight-track record sung in German brings new meaning to the term hell on earth. While parts of the album are torturous, grim, raw and full of discord, it is in the pseudo melodic portions where everything comes together in a painful orgasm of the senses. These guys are like the anti-Dimmu Borgir showing black metal listeners that there is more to the genre than just blasting brutality. The record likes to repeat certain portions probably to get their point across that certain riffs and passages are important but at the same time fills the atmosphere with a variety of sounds keeping the album from sounding redundant. There is a sonic induced pain here not felt since the likes of one of the bands peers, Bethlehem, produced early on in their career. Listening to Bergraven is like peeking through your hands to see a gruesome murder in a bad horror movie, like you did when you were a kid. It may be harsher than one can imagine but you cannot turn away. –Bryer Wharton

Black Light Burns
Cruel Melody
Street: 06.05
I Am: Wolfpack
Black Light Burns = Queens of the Stone Age + Nine Inch Nails + She Wants Revenge
Remember Wes Borland the guitarist for Limp Bizkit, the guy that used to decorate himself up in all those wacky costumes and face paint. Well I know I am taking a big risk by saying this but, I always thought he was the one in that band that had most talent and I always wished he would leave the band or they would just kick out ol’ fruity–pants Fred Durst out and start a different band. Well now Wes Borland finally has. In Black Light Burns he has teamed up with some fairly respectable musicians, the band consists of bassist, producer Danny Lohner (Nine Inch Nails), drummer Josh Freese (Perfect Circle), sound designer Josh Eustis (Telfon Tel Aviv) and Borland on guitar and vocals. The album is basically a more technical version of a Marilyn Manson album. At first Borland’s vocals throw you off a bit, on the first few tracks they don’t seem to fit with the industrial dance metal feel but, as the album progresses you get used to the vocals and the songs begin to grow on you. Borland does a fine job constructing the songs in a fashion that completely made me forget about his pervious band. His lyrics are a bit bland at times but, his guitar playing has improved immensely and drives the band into math metal territory on parts of the song. It’s nice to finally hear something respectable come out of what used to be the embarrassment of Fred Durst. –Jon Robertson

Black Rebel Motorcycle Club
Baby 81
RCA
Street: 05.01
Black Rebel Motorcycle Club = Jesus & Mary Chain + Johnny Cash + Spiritualized
Born out of a time of frustration and uncertainty, Howl, BRMC’s 3rd release, left many wondering where the trademark distortion had gone to. But it wasn’t chaos and disorder the band was missing, it was their drummer Nick Jago who had split the band mid-tour. Without a record label or drummer Robert Levon Been and Peter Hayes tried to move forward into the darkness. Jago’s reconciliation between Howl’s completion and release allowed for a seemingly seamless transition from the duo back into a trio without attracting an abundant amount of attention. Jago’s return also sparked new material; material that would have to wait. Baby 81 is the sound of three rejuvenated artists writing without restriction. The distortion and a taste of venom of the first two albums has returned but so have the atmospheric elements of Howl giving Baby 81 a richer sound than any of their previous releases. The results are extremely favorable, from the acoustic beginnings into the swirling mayhem of the lead single “Weapon of Choice” to the epic “American X,” intelligent pop kick of “Not What You Wanted” and “All You Do Is Talk” to the classic strut of “Lien on Your Dream” Baby 81 proves not only can the boys still rock they also can’t be as easily pigeonholed as the early critics believed. –ryan michael painter

Blktop Project
Self titled
Galaxia
Street: 06.12
Blktop Project= Jet Black Crayon+ bonobos+ Fantastic Plastic Machine
Blktop Project is by far one of the best CDs I have seen this year. Tommy Guerrero, Ray Barbee, and Matt Rodriguez head the jam sessions with sound appearances by Doug Scharin and Chuck Treece as well. Blktop Project started on a skateboard trip, funded by SLAP Magazine, in the summer of 2002 while traveling form Chicago to New Orleans. Along the road Ray, Tommy and Matt would record songs in parking lots, back streets and in the van as they made they their way down the legendary Route 66. The music is so chilled out, perfect for skate parts, as well as cruising the city on your skateboard. With a lot of beats and sounds reminiscent to Tommy Guerrero’s “Soul Food Taqueria” this CD is a must have for anyone who likes music that sounds good when you listen to it. –adam dorobiala

Champion
Different Directions: The Last Show
Bridge Nine
Street: 04.24
Champion = Gorilla Bicsuits + Blue Monday + Carry On
Champion was one of the premiere straight edge hardcore bands of the last seven years or so. As is the case with most live hardcore albums it won’t do much for the listener unless they’re already into it. The nature of a hardcore show is stage dives, mic grabs, and what can best be described as organized mayhem. Because of this, playing is a little sloppy and trying to make out vocals is a waste of time. The quality of the audio recording is quite good, and it’s interesting to hear someone talk about being straight edge in the year 2006 – 25 years after its inception. For the outside listener this probably won’t be too interesting though. The DVD that comes packaged with the CD is a good compliment to the CD and should be the main reason to pick this up. It’s shot and edited well and really captures the energy of the show. Singer Jim Hesketh gets kicked in the face and starts bleeding and continues the rest of the show literally with blood on his face, which is pretty punk rock. This is probably for fans only, or those looking to get a glimpse of what things are about in the hardcore scene in the 2000’s. –Peter Fryer

Chuck Ragan
Los Feliz
SideOneDummy Records
Street: 05.08
Chuck Ragan = Rumbleseat + Tim Barry
In 2005, Hot Water Music frontman Chuck Ragan left the highly-influential punk/post-hardcore/whatever band to spend more time with his family and to become a carpenter. Of course, he couldn't stay away for long, and this recording of a live set from early 2007 is a celebration of the gruff-voiced everyman's return to the stage. Ragan has adapted his style to an acoustic/folk framework, though many of the songs on Los Feliz contain the same kind of explosive energy Ragan regularly displayed in Hot Water Music. "Open Up and Wail" kicks off the album, as Ragan strums his guitar gently and sings softly until the final chorus, when Ragan's exuberant voice and furious strumming unleash the song's latent energy and sets the mood for the rest of the album. Ragan's songs reflect on love and life, just like any other great songwriter, but the personal touches and his interaction with the crowd on Los Feliz make it stand out among the innumerable frontman-with-guitar projects that pollute the musical landscape today. Ragan also pays tribute to his past, covering HWM's "God Deciding" and closing the album with Rumbleseat's "California Burritos." It's a far cry from HWM, but it's still Chuck Ragan. -Ricky Vigil

The Cinematic Orchestra
Ma Fleur
Domino Records
Street: 05.07
TCO = Feist – spunk + Sigur Ros + jazz
While there may not be anything particularly new or exciting in the latest release from The Cinematic Orchestra, it does continue their quest of exploring somber, beautiful music. This album is obviously influenced by Paris and caf culture where most of the album was conceptualized. It is best to look at this album as an emotional narrative, only opening its eyes during moments of grave reflection or intimate moments that are both motionless and intense. Even though at the outset the album might seem pass or over-emotional, a good headphone listening quickly wisps the listener to movement after movement of poignant, important moments. –Andrew Glassett

Coffinberry
God Dam Dogs
Morphius Records
Street: 05.01
Coffinberry = Guided By Voices + Spoon + Superchunk
I’m usually wary of anything indie or anything that looks indie, but Coffinberry has met my picky standards. Some songs are enjoyable and others aren’t, but that’s how almost every CD is. My favorite songs on the album were the more upbeat ones, which normally have an acoustic sound. The slower tunes weren’t that great, but they weren’t awful either (with a few exceptions). God Dam Dogs is the kind of album I’d listen to so I could just chill out in the shade and kill some time. –Josh McGillis

The Conformists
Three Hundred
54۫ 40’ or Fight!
Street: 06.12
The Conformists = Jesus Lizard + Fugazi + Shellac
The Conformists have existed with the same members for over 10 years and I’m sad that I’m just barley discovering them. Their second full-length album Three Hundred is a dissonant and cohesive masterpiece. With every listen there is something new to be heard. They utilize every sound and nuance possible. They go from yells and distortion to breaking to an almost inaudible silence that consists of slight breathing and taps of the cymbal stands. The Conformists can transform any song into whatever they want, changing time signatures and mood with ease. The album begins with an unlisted first track of background noise, then immediately jumps into the random off time action of the second track “Laundry Hepburn.” The third track on the album “Stairway to Heaven” is the first song to utilize the quiet breakdown. These guys could make music out of any rhythm and structure a song out of any possible noise, this skill is best highlighted on track seven “A.S.M.M.C.” The eight songs on the album are crafted specifically to creep into heads and cause a nervous twitch. The Conformists are pimp! –Jon Robertson

Conrad Ford
Don’t You Miss Yourself
Tarnished Records
Street: 03.27
Conrad Ford = The Eels + Pedro The Lion
If you own all of the Elliott Smith, Wilco and Nick Drake records out there, and somehow still haven’t gotten your fill of soft-spoken, adorably self-pitying folk, then maybe there’s still room in your life for Conrad Ford. This album sticks around that area of music the way I imagine the band members themselves must hang around their favorite dive—drunkenly, loveably and faithfully. Ford doesn’t make the mistake of romanticizing sadness like so many young folkers do, instead the pain is laid out on the table with the honesty of a folding poker player, and shrugged off just as easily. The song “Radio Station” is like a lonely yet eager all-night road trip through the American desert, “This road is my treadmill/ the best comfort I ever did have.” They utilize stock country instrumentation—harmonica, lap steel, banjo and tambourine—with confident reserve. The result is a gritty timelessness, as if the sound were pickled in a bottle of whiskey. –Jeff Guay

The Copyrights
Make Sound
Red Scare Industries
Street: 04.24
The Copyrights = Screeching Weasel + The Ergs + The Methadones
While most people equate pop-punk with the trite, money-driven schlock of bands like Fall Out Boy and Good Charlotte, there have always been bands in the underground carrying on pop-punk in the proud tradition of bands like The Queers, The Dickies and especially The Ramones. The Copyrights hail from Chicago, home of such like-minded bands as The Methadones and Screeching Weasel, and they deliver the same kind of high energy, three-chord punk rock that's sure to appeal to fans of the genre. There's a sort of nostalgic undertone present in a few songs (especially "Planet Earth 1994"), almost as if The Copyrights know that the days of simple and loud pop-punk are long behind them, but on "The Company" and "Headcount" the boys will successfully get your toes tappin' and your head bobbin' as they instruct you to scream along and make some sound. Lawrence Arms frontman Brendan Kelly even shows up to contribute some backing vocals to The Copyrights' already great sound. Make Sound doesn't do anything that hasn't been done countless times since the glory days of The Ramones, but it delivers some of the best current pop-punk that the radio's never gonna touch. –Ricky Vigil

The Cribs
Men's Needs, Woman's Needs, Whatever
Warner Bros. Records
Street: 05.21
The Cribs = Minus the Bear + Nickelback
If The Cribs' preachy take on relationships, alcohol, and life in general don't get to you, then I guarantee their ridiculously generic sound and uninspired lyrics will. No less than five songs feature the whiny emo-tastic lyrics of relationships gone astray, presented in a British pop-punk fashion that just gets progressively more annoying as the album goes on. All of the others meander on about something they present as being profound, but actually mean nothing and would only pique the interest of a semi-rebellious 12-year-old. –Ross Solomon

Danzig
The Lost Tracks of Danzig
Evilive
Street: 05.29
Danzig = Black Sabbath + vocals( Jim Morrison + Elvis) + Nine Inch Nails
I don’t know what it is about Danzig that I like so much, but from the Misfits to Samhain to the first four Danzig records he has managed to put out some of the most evil sounding, heavy, dark, hard rock ever made. Now since Danzig began his heavy metal career there has been left over songs that didn’t make the final cut for each record. This is a collection of, those so-called lost songs. Mostly released for the fans, this two-disc set follows along in chronological order with the style choices of Danzig’s career. The first disc, like the first Danzig releases, is brutal, bluesy, and well done. The song “When Death had no Name” has its roots in late Samhain, and has the kind of primitive rock and roll feeling to it that made those early Danzig records so great. He even puts new spins on T-Rex’s “Buick McKane,” and David Bowie’s “Cat People.” Disc two, much like the later part of Danzig’s career, is full six minute long industrial metal snoozers. Each song feels like a marathon and I’m just as exhausted afterwards. Like I said this one’s mostly for the fans that want everything the guy’s ever done, so if that applies to you then what are you waiting for. –James Orme

The Destro
As The Coil Unwinds
Metal Blade / Ironclad
Street: 05.15
The Destro = Lamb of God, but better!
If you are looking for a generic sounding but, hard thrashing metalcore band look no further than The Destro. These guys are definitely the masters of their domains. They have figured out how to play every possible riff that Pantera invented yet somehow they seem to almost play it tighter then their creators. Its machine gun riffs a go-go, with stop and start double bass hits, triplet guitar picking, angry aggressive howls and wails, and they even throw in the trade mark half time break down that opens the mosh pit up enough to land your fist into another moshers face. I’m telling you it gets no tighter and pissed off then this. The Destro even shows signs of breaking the mold on the instrumental melody of track 11 “Forever Embedded.” As The Coil Unwinds is only the first album from The Destro. If this band gets any better at playing metalcore their going to punch each other in the face. These guys are the kings. Seriously, listen to this album rather than those dorks in Lame of God. –Jon Robertson

Ensiferum
Victory Songs
Candlelight
Street: 04.24
Ensiferum = Finntroll + Enslaved + Children of Bodom + Bathory
Break out the chain mail and your biggest sword it’s Viking metal time. In this case,0 where many Viking/folk metal bands fail to ensnare the general populace, mostly America, Ensiferum have a good chance at bridging that gap. Meaning the band has the heavy folk elements that a band like say Finntroll has but doesn’t have the weird and out of place sounding vocals that said band and others like them use. Instead, they have a traditional black metal snarl along with some clean singing. There is also the chant/sing along element with most every song, like there is a whole group of manly men yelling to their hearts content. Most of the songs are fast with the guitar riffing going along with the melodies. Instrumentation is rich and full of fancy keyboard work. I can see fans of Children of Bodom eating this record up even though it is more Viking than melodic death metal. Ensiferum is a definte gateway for wary fans to enter into the awesome realm of Viking metal. –Bryer Wharton

The Ergs!
Upstairs/Downstairs
Punk Rock Dirtnap
Street: 05.01
The Ergs! = Descendants + NoFX + Guttermouth – the guttermouth
The Ergs take me back to the days when I’d listen to a lot NoFX. And, much like NoFX, it is punk rock, but the kind of punk rock a punk would hide under his pillow. It’s a lot like a fat kid and his chocolate bar: it’s kept hidden so that nobody will laugh, but when the time comes to bust it out, he loves it. The music is fast, but Mike Yannich’s voice is far too high, and pretty whiney. I can look past this only because the music is so well done. The bass rhythms are smooth and not overwhelmed by guitar. The drums are fast and rarely get repetitive. The guitar can be improved but in some songs (like “2nd Foundation”) it’s top-notch. Also, a note to any future buyers: Don’t look at the band photo or you might be discouraged. –Josh McGillis

Fake Problems
How Far Our Bodies Go
Sabot Productions
Street: 04.24
Fake Problems = Against Me! + The Replacements + Limbeck
Fake Problems began in Florida as an outlet for vocalist Chris Farren to showcase his songwriting abilities, so comparisons between Fake Problems and Against Me! are inevitable. While Fake Problems clearly do take some cues from Against Me!, their influence is combined with a healthy dose of alt-country and plenty of pop sensibility. Farren sounds at least a decade older than he really is (at least lyrically) as he reflects upon his still-young life throughout the 13 tracks of How Far Our Bodies Go. "Maestro of This Rebellious Symphony" is a highlight, as Farren's voice guides his bandmates through two minutes of total carnage, amplified by sporadic horn blasts and a manic fiddle. Though the same level of recklessness is never re-captured, the gigantic chorus of "To Repel Ghosts" and the energy of "Heck Yeah Summer" make up for it. Traces of Fake Problems' acoustic beginnings sprout up on "Oh Maria" and "Cold on the Soul" and prove that Farren is well on his way to becoming a master songwriter. Fake Problems is still a very young band, but if How Far Our Bodies Go is any indication, they've got great things ahead of them. –Ricky Vigil

Finest Worksongs
Athens bands play the music of R.E.M.
Iron Horse
Street: 05.30
Finest Worksongs = Athens, GA indie bands covering R.E.M. songs
R.E.M. is probably a band that most any aspiring indie rock band looks up to. So when a show was put together for local indie groups to cover their songs, I imagine many of them were elated at the chance to do so. The track listing consists of mostly older, pre-Automatic for the People material, which is rather non-clich, the highlight for me being “The One I Love” turned in to a very pretty ballad with female fronted vocals. Although I’m rarely one for listening to live recordings on a CD or my iPod, the quality and replay value of this is extremely good. Since the proceeds of this show and disc go to two organizations, the bands get to pay tribute to a band they have great respect for, and indie rock / R.E.M. fans will certainly enjoy this… everybody wins. –Conor Dow

Fridge
The Sun
Temporary Residence Ltd.
Street: 06.19
Fridge = Do Make Say Think + I'm Not a Gun + Holy Fuck
Release after release, Fridge always presents itself in a very unique way, with each album always having a surprisingly distinct sound. Keeping that in mind, The Sun certainly doesn't disappoint. It certainly strays away from the more electronic-oriented sound of their previous release, Happiness, and instead focuses primarily on heavy instrumentals; the result is a fascinatingly deep album that makes the six year wait from their last album seem worth it. If you're a fan of the solo projects of the artists in this band, including Adem Ilhan and Kieran Hebden (Four Tet), then picking up The Sun is certainly a no-brainer. Then again, even if you've never heard of any of these guys, now is certainly the time to become acquainted: I promise that it will be a fulfilling experience. –Ross Solomon

Girl in a Coma
Both Before I'm Gone
Blackheart Records
Street: 05.01
GIAC = Killers + Smiths + Strokes + Bikini Kill
I know, I know, it's seriously good. This record exceeds my expectations for an all girl rock band. Which is extremely hard to approach, let alone surpass. A bit poppy, a bit punk-new wave like Siouxsie Sioux, with no crappy post-hardcore that bands proclaiming to be influenced by The Smiths sound like. Singer Nina Diaz, sounds so similar to Morrissey, she's referred to as his female version; even earning GIAC the privilage to record their demo in England with Boz Boorer (guitarist, musical director for Morrissey). Phanie D (drummer) and Jenn Alva (bass) have been playing together since 1993. They formed GIAC with Phanie's lil' sis, Nina, in 2001 in San Antonio; hinting at an occasional country moment. GIAC was recently picked up by Joan Jett's record label: Presenting an amazing debut for the listening pleasure of punk rockers, pseudo-goths and indie dancers. –Jennifer Nielsen

Gonzales
Solo Piano
Sunny Side Records
Street: 04.03
Gonzales = John Cage (the classical Cage) + Jamie Lidell (sedated) + Zelda
I don’t normally listen to classical or piano-only music, but Gonzales’ Solo Piano is both prompting and tempting for a change of palette. Each track averages two-and-a-half minutes, so there aren’t these long-winded, epic masterpieces one might expect from an album titled Solo Piano; rather, Gonzales is simultaneously calming and keyed up in a way that straddles the dynamic fences of Jazz. The best analogy I can think of is the flitting, yet delicate piano scores from the Nintendo game, Zelda—the old eight-bit one; the one where you burn a bush and a secret staircase is revealed with a lovely, chimey piano tune. –Spanther

Greg Palast
Live From the Armed Madhouse
Alternative Tentacles
Street: 05.08
Greg Palast = one of the few good journalists left
The back of this release claims that Greg Palast is the Sid Vicious of journalism. I disagree. Sid Vicious was a nihilistic junkie, he spoke of anarchism only for the shock value and the Sex Pistols made really bad music. I think that its more fitting to say the Greg Palast is the Crass of journalism. After all Crass was a punk band involved in the anarchy that they sang about, who also made damn good music. Live From the Armed Madhouse is just one more example of excellent investigative journalism from Palast. He uncovers the truth in a way that is funny, yet incredibly horrifying. Throughout this recorded speech Palast unveils just how far voter disenfranchisement has gone, how George W stole the election of 2004, that our idiot president is afraid of horses and many other well-researched articles that you won’t find on the nightly news. In America where TV news and dailys tend to be fluffy, journalists like Palast are becoming crucial and unfortunately very scarce. –Jeanette Moses

Hopesfall
Magnetic North
Trustkill
Street: 05.15
Hopesfall= Deftones + Codeseven + Denison Marrs
The Nintendo Wii is so awesome. Seriously, it runs circles around the competition. I haven’t had much of a chance to play since I got it a few months ago, but seeing as I was home sick from work, today was a perfect day to do double duty: play some Zelda and give a listen to the new Hopesfall album. It served as a pretty good background to my sword slashing and wandering around aimlessly and as with Zelda that’s where my gripes with Hopesfall lie. Magnetic North is a huge departure from Satellite Years-era Hopesfall and that’s fine (this is not news), but it tends to wander aimlessly at times. Cave In made a similar about-face, and they’ve had some terrific output, so obviously there is no begrudging musical branching out. My issue with Hopesfall is that at times it’s just not that interesting. They do some downright great things with guitars and spacey sounds and brought some heavier elements back into their music, but Magnetic North has a tendency to meander. They obviously put a lot of effort into this album, and there are some great parts strewn throughout, just like Zelda. In Zelda boss battles = riveting, wandering around dungeons for long periods of time = not that much fun. Same goes for Hopesfall, the wandering is mediocre, but the payoff of memorable moments is sword-slashing worthy indeed. –Peter Fryer

Immolation
Shadows in the Light
Century Media
Street: 05.08
Immolation = Morbid Angel + Incantation + Pessimist
For years now Immolation has been on the cutting edge of American death metal. After the bands last couple of sleeper records, the good but not great Unholy Cult and Harnessing Ruin I was beginning to loose faith in the greatness of the band. Thankfully the new record is hands down their best since Failures for Gods. Somehow the band managed to retain their raw brutality but increase their production value for Shadows in the Light. The bottom end and bass on the new record is insanely heavy. Also where past records faltered with songwriting that utilized many of the same riffing and structure the new album is full of variety, exciting lead work and enough solos to make your ears run red. In a way Immolation has become new and improved but they haven’t left their raw production and skill value behind. This my friends is technical mid-paced death metal at it’s most primeval, heaviest and blunt brutality. –Bryer Wharton

James Chance & the Contortions
Soul Exorcism Redux
ROIR
Street: 05.22
James Chance & the Contortions = Mars + Teenage Jesus and the Jerks + D.N.A.
Holy fucking shit face cum mouth ass grab. This is an album that is exploding with so much “ultra funk” it will make you black. Literally. Soul Exorcism Redux is a live show from James Chance & the Contortions back in 1980 in Rotterdam, Netherlands. It shows the raw, unbeatable, highly energetic, essence of what the no-wave movement was all about. While there are many “indie-dance” bands now-a-days that strive for this participatory utterance and connection, none will ever come as close as the way Chance blends James Brown and James Dean into a badass brew of charismatic no-holds barred live show (don’t tell). This is full, it is in front and it will “flip your face.” For those into !!!, Out Hud or similar bands that are like an adopted child trying to find their roots, your dad has just arrived (note: he doesn’t want you AND he wishes you were aborted). –Erik Lopez

Jonny Manak and the Depressives
Rebound Town
Reach Around Records
Street: 05.08
Jonny Manak and the Depressives = Cramps + Zeke + The Humpers
Rebound Town packs a punch and you’ll feel it the second the first song plays. Jonny Manak and the Depressives have released one hell of a CD. The large Cramps and rock ‘n’ roll influence really seeps through the music. The guitar riffs are incredibly impressive, and the bass creates an underlying beat for each tune. The drums just add to an already great experience. What’s even more impressive is that Jonny Manak played all the instruments for the recording. Good fucking work, Jonny. I’m kind of a stingy guy, but I’ll fork over the cash for any future albums of theirs. Hell, if I get a real job and save up, I might as well move to Rebound Town. –Josh McGillis

Lab Partners
Keep Quiet e.p.
Reverb Records
Street: 05.08
Lab Partners = The Warlocks + Ride
Having shared the stage with the majority of the big shoegazer pt. 2 acts (BRMC, The Warlocks, Phaser, Brian Jonestown Massacre etc.) Lab Partners would like you to believe that they are ready to headline; the truth is a little more convoluted. Caught somewhere between acoustic sessions and the electric swirl and grind of distorted chorus pedals Keep Quiet feels like a less dense Warlocks release without the sense of impending doom and self-destruction (which is, oddly enough, part of The Warlocks’ charm) with a touch of The Doves, Elbow or maybe The Verve thrown in on “It Don’t Take Much.” The combination sounds lovely enough, as do the songs that add up to 20 minutes of solid spacerock but ultimately Keep Quiet is lacking the memorable twist of the bands they’ve been opening up for. –ryan michael painter

Les Breastfeeders
Les Matins De Grands Soirs
Blow The Fuse Records
Street: 02.13
Les Breastfeeders = Rancid + Vietnam + Fists full of alcohol
I’m trying to decide if understanding the lyrics to this Montreal rock band is important or not. I’m almost positive they’re not. I mean, isn’t abrasively loud rock ‘n’ roll all about undecipherable shouts and pouts? Usually non-English bands will sing in English in order to be more accessible and marketable, which makes me wonder if Les Breastfeeders are singing about something they care about. It is the French we’re talking about; they’re lyrics could be broadcasting the new wave of philosophical dissent. Regardless, I suppose, Les Matins De Grands Soirs is rocking good fun and sounds like a hot live show despite any misinterpretations. –Spanther

The Lovetones
Axiom
Tee Pee Records
Street: 06.19
The Lovetones = the Byrds + early Kinks + Polyphonic Spree
Tee Pee Records keeps putting out better-than-average bands steeped in 60s pop and psychedelic music. This release by the Lovetones is the latest in their quest to get people back on LSD. At times Axion is a beautiful record, with moments of bright pop fused with wraithlike psychedlia. At other times, it sounds like Pink Floyd with a piano. On average it is a solid effort from a band proving themselves captains in the push for substance in old school, Ray Davies-style pop music. And though it has a bit too much flute in some spots, it is considerably better than most of what is passed off as 60s pop (even actual 60s pop). –James Bennett

Lusine
Podgelism
Ghostly International
Street: 03.20
Lusine = (Matthew Dear + Thom Yorke) – vocals
It seems only a few times a year does an electronic album come around with a truly dynamic and organic sound, the likes of which are unrivaled by almost anything released around that time. Podgelism, featuring remixes done by such artists as Matthew Dear and Apparat, delivers just that; the songs connect seamlessly, flowing together with refined textures and breath-taking kicks that simply tower over many artists' weaker attempts previously this year. Several songs showcase the advancements Lucine has made in his own skills, remixing older songs and bringing them to even newer heights. Additionally, Podgelism includes a simple yet surreal video, “Still Frame.” Brought to you by Doug Seay, this video combines the musical works of Lucine with still shots of nature, excellently woven together to bring quite a treat to the viewer. With so few artists bringing such a liquid sound to the table this year, this album is most certainly recommended. This surreal-sounding collection of remixes is definitely worth the price of admission, and then some. –Ross Solomon

Lying Bitch and the Restraining Orders
Can’t Cum Within 100 Feet of Your Love
Fivecore Records
Street: 04.06
Lying Bitch and the Restraining Orders = A good coaster for your beer
3 things I h8: cre8ive spelling, rednecks and sexist pigs. This album happens to include all of these things. If Lying Bitch and the Restraining Orders aren’t singing about wife beating with “Pimp slap yer bitch. Insert yer fist” as the chorus of “Itch Scratch & Sniff”, or the delightful “I’m the man step into my backhand lyin’ bitch” on “Step Into my Backhand” the songs are about drinking beer. The release also features a cover of G.G. Allin’s “Fuck Myself” and another song dedicated to the man titled “W.W.G.G.A.D?” (What Would G.G. Allin Do?). Real clever. I get that the band is trying to be offensive, but they just come off as dumb. Singing about wife beating, beer drinking and absolutely nothing else doesn’t make a band offensive, it only makes them fall into the same category as ICP—bad musicians with even worse fans that need to be weeded out of the gene pool. –Jeanette Moses

Mad Caddies
Keep It Going
Fat Wreck Chords
Street: 05.01
Mad Caddies = Reel Big Fish + Big D & The Kids Table + The Toasters
The typical Mad Caddies album is like a trip to some sort of wacky, checkerboard carnival. Past albums were full of manic horns and stomping rhythms while vocalist Chuck Robertson delivered sordid tales about pirates, monkeys and preppy girls. On Keep It Going, the Caddies opt for a more mature sound, toning down their hyperactive tendencies and delivering a largely mellow album deeply rooted in reggae with some occasionally eclectic tracks thrown in for good measure. Album opener "The Dirge" follows the tried-and-true Caddies formula, and it floats right into the horn heavy but mellow skank of "Backyard" that sets up the mood for the rest of the album. "Without You" sounds like it could be a long-lost Hepcat song, and the Caddies bring in Black Uhuru vocalist Duckie Simpson to add some reggae credibility to their cover of Delroy Wilson's "Riding For a Fall." "Coyote" sees the Caddies testing out their Spanish over a Tejano-ska hybrid, "Tired Bones" throws a banjo into the Caddies mix and "Whatcha Gonna Do" sends the album out with a competent if boring acoustic farewell. Keep It Going proves that the Mad Caddies have maintained their energy and finally dropped their juvenile attitudes. –Ricky Vigil Matthew Dear
Asa Breed
Ghostly International
Street: 06.05
Matthew Dear = Lusine + Knife
While at first listen, Asa Breed may seem stale and uninspired, multiple listens bring out that particular magic that Matthew Dear has been known oh-so-well for. Sure, the beats are simple, and the songs are certainly minimalistic, but something about each track just brings the album together for an all around solid feel. Add in the incredibly distinctive yet monotone voice of Matthew Dear himself, and you've got another cleverly orchestrated dance-pop album from the hands and mind of an obviously talented artist. –Ross Solomon

Monotract
Trueno Oscuro
Load
Street: 04.24
Monotract = The Ex + Wolf Eyes + Lydia Lunch
Monotract make good on the promise of last year’s xprmntl lvrs (released on Thurston Moore’s Ecstatic Peace label) with this all-too-brief slab of noisy, percussive mayhem. “Muddy Thunder” opens the record with pulsating digital noise bursts and hypnotic tribal percussion slathered in a thick layer of white noise until, at about the five-minute mark, the song morphs into angular no-wave that could be mistaken for a Teenage Jesus and the Jerks outtake. This marriage of harsh mind-melting noise and infectious beats, as well as attentiveness to structure and dynamics, makes for a strangely accessible combination that will have you shaking your ass as your eardrums bleed. Unfortunately, when they venture away from this formula, as on the ghostly minimalism of “Under My Arm,” the results are much less inspired. But those moments are few, and for the most part Trueno Oscuro is pure destruction. A little more focus and they could very well earn their place among the noiserock elite. –Jona Gerlach

Morningbell
Through the Belly of the Sea
Orange Records
Street: 06.05
Morningbell = The Flaming Lips + Built to Spill
Intriguing and entertaining: two words that definitely sum up this little album in a few choice words. While there's not really anything new or innovating introduced in Morningbell's latest shot into the psychedelic rock scene, they definitely have managed to reinvigorate a genre that has been a bit stale as of late. Touted as the first “choose your own adventure” album in existence, all of the songs include a back story in the album's foldout. The premise is simple: start with the first song, read the story, and choose where your adventure takes you! As useless as this little gimmick really is, I still must give these guys props for the nostalgia factor. In addition, their music is definitely a pleasure to listen to. While you won't find anything revolutionary here, its still a fun little CD that I'd recommend getting, especially if you're a Flaming Lips fan. –Ross Solomon

Neurosis
Given to the Rising
Neurot Records
Street: 06.05
Neurosis = The Melvins + Black Flag + ISIS’s grumpy father
The prolific Neurosis needs no introduction, as the sludge elders have returned with another solid addition to their epic discography. While it was said that their last release conjured up memories of the revered Through Silver in Blood, this recent effort probably invokes that even more so. While I think the material on this release could appeal more to fans of the mid-era, it is not an attempt to accuse the band of reverting back to an older style for sake of appeasement. No, this album is more a reminder of who still gets to eat the big piece of chicken at the dining table of bands inspired by Neurosis, who started writing music together in the first place. While you won’t hear an out of the ordinary ballad coming from this album, if you’re a fan, you will get a good dose of what you’ve always enjoyed. –Conor Dow

Nick Drake
Family Tree
Tsunami LG/Fontana
Street: 06.19
Nick Drake = Neil Young + Blind Boy Fuller
I first listened to this CD at around midnight, while I was driving through the visual splendor that is Capitol Reef National Park. Gazing upon the dark, looming rock walls that surrounded me on all sides, Nick Drake's calming voice and bluesy guitar-work put me in almost a different world, somehow connecting his own music with the nighttime desert beauty around me. Interestingly enough, I feel that any setting I could have possibly been in while listening to this album could have put me in a similar state. While Family Tree is mostly comprised of songs that Nick Drake had recorded in the years early on in his career, it also features songs performed by members of his family, as well as unreleased covers of such artists as Robin Frederick and Blind Boy Fuller. These features bring distinctiveness to an album created by an already amazing folk legend, forming a near masterpiece that can be enjoyed by all. –Ross Solomon

Of God and Science
Of God and Science
Detach Records
Street: 05.01
Of God and Science = Lots of British Music – Anything New
Sometimes hinting at being talented is the worst thing a band can do. If you’re horrible, one listen tends to be enough to form an opinion. If you’re brilliant listening over and over doesn’t feel like a chore. When you’re caught somewhere between I like to give them the benefit of the doubt; which means I listen to the songs over and over again waiting for something to click. If nothing clicks, to keep myself from feeling like a jerk, an elitist or whatever else critics become when they think t heir opinion really matters I start making disclaimers like: I bet they are really nice guys with great taste in music. But ultimately Of God and Science is like piecing together a super group of Radiohead, The Doves, Kean, Snow Patrol, Blur and Coldplay knock offs and coming out with something so inoffensive and nondescript that the word “bland” seems a bit too colorful. Maybe next time guys? –ryan michael painter

Pantheon I
The Wanderer and His Shadow
Candlelight
Street: 05.22
Pantheon I = Dimmu Borgir + Satyricon + Naglfar + Enslaved
Just because you are from Norway and you play black metal doesn’t mean you have to sound like every other Norwegian black metal band out there. Pantheon I almost sound like some of their Swedish counter parts adding a healthy dose of melody into their corrosive mix of extreme metal. For the most part everything from a technical standpoint is top notch, the guitars, drumming and lead work; all exude an above normal amount of skill. Unfortunately the songs just sort of gel together with a few exceptions, mainly the few songs that utilize clean vocals, or on the brutal yet haunting cuts “Where Angels Burn,” and “My Curse,” which use some violin amongst their blasting fury. It is unfortunate for the band because the record just hinges on something better than the normal but it isn’t quite there thankfully they are relatively young as a band so there may be hope in the future. –Bryer Wharton

Paul Duncan
Above the Trees
Hometapes
Street: 05.01
Paul Duncan = Beck (Sea Change) + Neil Young
Ethereal folk would be the easiest way to describe the latest release from Paul Duncan. It is somewhat a departure from his previous release Be Careful What You Call Home which was a little more electronic and a little less sincere. Not to say that it wasn’t sincere, all of Duncan’s music comes from the heart; Above the Trees is simply a step towards maturity and being in tune with ones own musical muse. The muse here is clearly nature, and rarely does a recording made entirely in a studio capture the intricacies of such an organic atmosphere. Even with a slew of indie-rock giants performing on the album (Grizzly Bear, Tortoise, Cursive), Duncan managed to play the role of conductor superbly and pulled together an opus of dreamlike songs in a matter of weeks. The art direction adds wraithlike ambience to a near perfect album. –Andrew Glassett

Praxis
Tennessee 2004
ROIR
Street: 06.07
Praxis = Primus + Phish + Parliament Funkadelic + a bunch of other bands that start with the letter P
Praxis is a crazy psychedelic jam funk band that has been buggin’ out since back in 1993. The band consists of guitar player Buckethead (Guns ‘N Roses), drummer Brain (Guns ‘N Roses, Primus) bass player Bill Laswell producer extraordinaire and synth player Bernie Worrell (P-Funk). This is a live album in case the title didn’t already give that away, recorded at midnight on the first day of the 2004 Bonnaroo music festival. It contains 11 tracks of improvisational jam sessions and solos for all members involved. The band goes to town on each and every track here never letting the audience down from their trip. The set played by the band is seamless, beginning immediately with the opening track “Vertebrae” and not letting up until the four minute guitar solo on “Guitar Virus”, the band then immediately transforms Buckethead’s incoherent fuzzed out guitar ramblings into the next track a cover of Jimi Hendrix’s song “Machine Gun”, the peak off the groups set comes on the eighth track “Bent Light” definitely the highlight of the album. So unless you want to be the only granola on the block not expanding your mind you better save up and go buy this album. –Jon Robertson

Pro-Pain
Age of Tyranny/The Tenth Crusade
Candlelight
Street: 05.22
Pro-Pain = The Crumbsuckers + added production
Aside from the last album Prophets of Doom, Pro-Pain have kind of been treading water with each release. With the bands latest they’ve somehow maintained their tough guy metal/hardcore approach, added a few new side notes and a whole lot more metal, and managed to come out on top. Notably the use of clean vocals not used since the bands Round Six album. The dynamic and song structures are pure, clean and most importantly heavy as all hell with plenty of axe grinding solos churning about. Age of Tyranny conjures up memories of the Pro-Pain I knew and loved on albums like The Truth Hurts, that is what makes this albums stand out so much, it is just sort of a renewed spirit for the band, the emotion this time seems true instead of the band just going through the motions. Something has got the bands main man Gary Meskil pissed off these days, the last record was full of political ideas and anti-Bush/war songs and there is no letting up with Age of Tyranny. The whole thing is undeniably catchy, most notably the tracks “All for King George,” or “Beyond the Pale,” which features guest vocals from Matt Bizilia of Icarus Witch, in all seriousness if you buy only one metal album this year make it this one. –Bryer Wharton

RJD2
The Third Hand
XL
Street: 06.03
RJD2 = Herbert + DJ Shadow
Whether it’s done from behind the boards by producing/remixing for Mos Def, Massive Attack or the Polyphonic Spree or done combining funk/trip–hop into his own unique style of instrumental hip–hop (see Dead Ringer; also Since We Last Spoke); RJD2’s been breathing life into an otherwise dull, ambient–filled gene pool for sometime now. And while RJ’s latest, The Third Hand, continues to satisfy his prolific career, it definitely won’t satisfy any of those “traditional” late night D2 cravings. This is due mostly to the fact that TTH marks a distinct shift in RJ’s style away from that of the head–nodding beat–wizard towards that of the more durable pop singer/songwriter. Rambling John finds a handful of “new” instruments (see electric piano; also guitar) to complement his robot–gospel distorted voice, producing an album with an uncharacteristically emotive sound. Now, is this a good thing? No. Is it a bad thing? Again, no. It becomes an expectation thing. If you don’t let your expectations get in the way, you’ll enjoy yourself later. But truth be told, The Third Hand sure as hell ain’t no Dead Ringer. –Miles Ridling

Sanctity
Road to Bloodshed
Roadrunner Records
Street: 04.24
Sanctity = Testament + Shadows Fall + Trivium
Well if you caught last year’s Gigantour with Megadeth, Lamb of God, Arch Enemy, Opeth so on and so forth you either loved it or hated it, personally it was nice to see Megadeth back in form again. Sanctity happened to be one of the opening bands on the tour and at that time the band had no album available, fueled solely by fan, media and hype from other bands including Trivium, the band caught a huge break. Unfortunately for them they are a boring watered down version of thrash metal. I’ll give them credit; the thrash element is big and the band sort of keeps and old school aesthetic. Sanctity really lack in the songwriting department, the riffs, drumming and solos all sound recycled from song to song and wear thin early on during the CD. Equally bad is the lousy range of the bands vocalist Jared MacEachern, he kind of sounds like Testament’s Chuck Billy but with absolutely no emotion. He almost sounds monotone. After seeing the band long before hearing the record I didn’t have much expectation so at least it wasn’t a let down. Do yourself a favor and avoid this like you would avoid a hooker with herpes. –Bryer Wharton

Shining
Shining V: Halmstad (Niklas angende Niklas)
Osmose Productions
Street: 06.26
Shining = The creepiest metal you’ve never heard.
This is quite possibly the strongest Shining album to date, albeit their most overly accessible. For the uninitiated, this is the type of record that absolutely defines the term “suicidal.” The haunting acoustic passages throughout the album are absolutely brilliant, and when immersed in the album as a whole, it is easy to be left speechless. During the intro to “Lngtar bort frn mitt hjrta,” you can actually feel yourself drowning, both literally and figuratively. Weirdo frontman Kvarforth is in absolutely top form on this release, leading one to believe that his “disappearance” last year (the remaining band members reportedly thought he had killed himself) was more or less a sabbatical for him to dig deeper into his own personal hell than ever before and return with the material expunged on this release, and the musicianship and songwriting contained herein put 90% of all other so-called “metal” bands to shame. To call this release “absolutely essential” would be a clichd understatement, but this is, from start to finish, one of the best metal releases I’ve heard in years. –loveyoudead

Silver Daggers
New High & Ord
Load
Street: 04.24
Silver Daggers = Clikatat Ikatowi + Mr. Bungle + John Coltrane +!!!
This music is crazy. The Silver Daggers sound like The Locust on pain killers trying to cover Wreckx-N-Effect hit song “Rump Shaker”. The added instruments of saxophone and synthesizer keep the Silver Daggers brand of late nineties San Diego punk fresh. The band explores all kinds of noise experimentation throughout the album; they even use a cowbell on several songs. The highlight of the album is the seventh track “Faithful Unlawful” it starts off as free form blue jazz saxophone solo and slowly builds into an atonal punk explosion. Silver Daggers incorporate many different flavors and textures throughout the album all the while keeping a danceable steady rhythm that gives order to the schizophrenic whirlwind they create. The only aspect of the album that is tiresome is the vocals that basically consist of bunch of yelps and squeals, if the band could figure out a way of incorporating as many flavors into the vocal melodies as they do into their music this would be the greatest band of all time. – Jon Robertson

Sinead O’Connor
Theology
Koch Records
Street: 06.29
Sinead O’Connor = Religion + Folk – Bitterness & Obsessive Guilt
Once upon a time there was an outspoken woman that was more known for tearing up pictures of religious figures and a shaved head than she was for her multimillion record sales. The days of anger and noise are long since lost to age and O’Connor’s constant exploration of spirituality, if not exactly religion. On Theology she presents what she calls “…my attempt to create a place of peace in a time of war,” mingling Christian and Rastafarian imagery with results that are better than you might expect. Spanning over two CDs many of the songs are represented twice, once acoustic on disc 1 and then in a full band arrangement on the disc two. While initially I found the band arrangements unnecessary, the acoustic sessions providing a perfect atmosphere for O’Connor’s spiritual healing, but further listening suggested that either version of the songs would have resulted in a strong release, making it difficult to find fault in the decision to package them together. While the overt religious tone of the album might skew its audience it is clear that O’Connor is making music she is artistically drawn to rather than an empty attempt to regain her mega stardom. A calm, collected and peaceful O’Connor standing in the face of violence might have seemed impossible but she pulls it off with sincerity. Even her version of Curtis Mayfield’s “We People Who Are Darker than Blue” and her return to Broadway with “I don’t Know How to Love Him” both resonate. –ryan michael painter

Sirenia
Nine Destinies and a Downfall
Nuclear Blast
Street: 03.06
Sirenia = Evanescence + any myth based metal
Sirens are mythological creatures that would hypnotize and kill sailors with their beautiful voices. Sirens are also wear Sirenia gets their name, though the album was hardly hypnotizing. Sirenia sounds like Evanescence part deux, so it’s not something you haven’t heard before. Parts of their songs have a choir (or maybe some sort of digital choir, I don’t know) which makes the album fell like a Spider-Man 3 or Lord of The Rings trailer. Though some of the guitar work was really cool, songs would get boring fairly quickly. The guitar, decent techno beats, and the epic sized choir hardly make this album hypnotizing. –Josh McGillis

Six Feet Under
Commandment
Metal Blade Records
Street: 04.17
Six Feet Under = Cannibal Corpse in slow motion
There always will be a fan out there grateful for a band that finds a niche they’re good at, and sticks with it. Six Feet Under is one of these bands, and with the groove laden death metal under their belt, it seems like they won’t need to adjust their pants any time soon. This is perfectly fine if all you want to do is rock, because not every band has to be as forward thinking as some. However, one can safely say that the band’s latest effort won’t be too different from the last, nor will it be genre defining. If you enjoy this style, then you’ll get your heavy riffs, growly vocals, and violent lyrics, but don’t expect an opus. After all, why hold your band to a standard of breaking new ground when you helped create the very floor you’re standing on in the first place? –Conor Dow

Spooky
Open
spooky.uk.com
Street: 06.26
Spooky = Air + Salmonella Dub
Past all of the cheesy and unoriginal techniques that these guys employ in making their music, I find that the final product really is somewhat of an entertaining, if uninspired and unoriginal, chill-out album. The album is presented as a 2-disc set, the first of which features the soul-esque vocals of Julie Daske, and the second being a compilation of dubs and remixes designed to be a “chill-out” CD. The first disc I found fairly irritating and incredibly cheesy, but I was pleasantly surprised upon listening to the second: All of the tracks are fairly well done and are pleasing to the ears, and certainly redeem the album from the abyss it seemed to have been sinking into. If anything, I'd recommend this album just for the second disc; sure, it may be a bit unoriginal, but if you can find it for cheap, it is a worthy listen. –Ross Solomon

Stamen & Pistils
Towns
Echelon Productions
Street: 06.19
Stamen & Pistils = Neutral Milk Hotel + Animal Collective + electronic folk-indie noise
Stamen & Pistils pack a violent and forceful punch of dark electro-pop with an indie rock twist and top it all off with a sprinkling of folk flavor. Towns, S&P’s second release, is more refined and polished than their freshman effort End of The Sweet Parade, but just because it is crisp and tight doesn’t mean it is without any creative grittiness or brash beats. S&P invent music to match their loose and wind-blown vocal style with unpredictable noise, programmed beats and effects that blend into a concoction of sound that is unlike traditional music that can be placed within a specific genre. The occasional backing vocals of Carol Bui and Mikal Evans add to the mystical feel of the record and bring new dimensions and texture to it. Though songs like “Second Hand Valise,” “Quiet County,” and “At Home Amongst Your Tangles,” stand out upon a first listen, the rest of the tracks are equally as important and an integral part which connects and gives stability to the album as a whole. Towns is an intriguing release by a talented artist. –Jeremy C. Wilkins

Syrup
Self-Titled
Feedback Symphony
Street: 05.08
Syrup = Lynard Skynard + Cream + Allman Brothers
This has got to be the worst thing I’ve ever been given to review. These redneck idiots try to trade on the fact that they some how landed shows with Reverend Horton Heat and Hank Williams III to try and disguise the fact that they are just a lame southern rock band. Anyone can call up the club and ask to open up the show before the main act go on stage. Syrup does have jam band quality to them, but all they do are long drawn out jams that re hash the same old guitar licks and offer nothing new. When it comes to good southern rock the rare instances usually have a humor about them that makes bands like Nashville Pussy, and Nine Pound Hammer so great, Songs like “Pimp2nite,” and “Sexy Swimmin’ Hole,” come across silly and stupid. –James Orme

Telepathe
Sinister Militia 7”
The Social Registry
Street: 06.19
Telepathe = Gang Gang Dance + Excepter + Bjork
Whoa! This 7” sounds like it easily could be the b-side to a discarded single off of Gang Gang Dance’s God’s Money. Telepathe’s new 7” (a follow-up to last year’s Farewell Forest EP) is the beginning of a long line (hopefully) of seven-inch singles that the Social Registry is putting out. Unlike other seven-inch singles from clubs of the past that take their highest selling acts and make them record new tracks for club members, the Social Registry is taking a new approach and recording promising bands that haven’t had a long recording/live show history or haven’t recorded at all. As the first in the series, Telepathe strikes hauntingly subtle rhythmic chord as the two tracks, “Sinister Militia” and “Islands” (with accompanying remixes), move from a rat-tat-tat booty shake blessing in “Sinister Militia” to a lullabilic dreamy brew of harmonious, ethereal yet cascading crescendo of percussive beats and boom. Short and crisp, this seven-inch foreshadows amazing things to come. –Erik Lopez

Thee Fine Lines
Set You Straight
Licorice Tree
Street: 06.01
Thee Fine Lines = the Monomen + the Mothballs + an unhealthy obsession with Billy Childish
I’m not sure why anyone would want to pick a fight with garage legend Billy Childish, but that’s exactly what Thee Fine Lines did when they added the extra “e” to their name. Now every one who hears them automatically thinks of Childish fronted bands like Thee Headcoats, Thee Mighty Caesars and Thee Milkshakes. And while Billy certainly doesn’t hold the copyright to the second vowel in the alphabet, he is on such a high musical plane that it’s a fool’s quest to give people a reason to compare your music to his. That being said, this disc by Thee Fine Lines is quite good. It is almost unforgivably lo-fi, heavily inspired by artists like the MC5, Childish, The Mummies and other recent garage bosses. And while the music Thee Fine Lines make is no where near original, it is ten time better than most of what passes as cool these days, even if it’s not thee shit. –James Bennett

Tied + Tickled Trio
Aelita
Morr Music
Street: 06.19
TTT = Tortoise + Efterklang + Mum
There is something vaguely familiar about Aelita. It is as if they have captured the idea of “vaguely familiar” and wrote an album with that concept at the forefront of their minds. It is sometimes difficult to decipher between electronic manipulations and the actual performances themselves which provides for a engaging listening experience. The music is somber and restrained, yet another product of the oppressive and overcast skies of Germany. The programming is immaculate and the overall production places Aelita in the realm of cinematic music. The best tracks are those that are primarily percussion sounds, such as the recurring theme in “Aelita 1,” “Aelita 2” and “Aelita 3”. Add just a bit of The Notwist influence and you have the perfect accompaniment for walk under drizzly skies. –Andrew Glassett

Tiger Army
Music from Regions Beyond
Hellcat
Street: 06.05
Tiger Army = the Quakes + Morrissey + AFI
Tiger Army has accomplished a lot in there decade of existence. They’ve battled back from near extinction to ignite a powder keg of a genre in psychobilly, a history rittled with line-up changes has left front man Nick 13 to pick up the pieces only re-create the right chemistry over and over. With their fourth record Tiger Army has pushed themselves further than ever. Collaborating for the first time with outside producer, Jerry Finn, has paid off in the form of a bigger sound, and a more diverse track listing. The harsh attach of “Hot Prowl,” comes out of nowhere, and hits hard with the help of guest vocalist Brandan Schieppati of Bleeding Through. Songs like “Ghosts of Memory,” and “Afterworld” bring out that melodic Tiger Army feel in a way we’ve never heard before. While there are some good songs here I can’t help feel that in the instance of “Forever Fades Away,” and “As the Cold Rain Falls” were pushed too far into synthpop territory. These songs don’t sound like Tiger Army, not that they’re horrible tunes I just find myself skipping over them to the more rock and roll influenced songs. This record is extensively interesting and should attract people from all kinds of music, but I expect that many from the psychobilly scene will not be so understanding. –James Orme

The Toasters
One More Bullet
Stomp Records/Megalith
Street: 04.24
The Toasters = The Specials + Bad Manners + Madness
2007 marks the 25th year of The Toasters' existence, and to celebrate, they've put out an album that sounds like everything else they've produced over the last 15 years. One More Bullet has all the hallmarks of a Toasters album: a Toasters-fied oldies cover ("Bits & Pieces"), a re-working of a Toasters classic (the superb "Run Rudy Run Redux"), and an instrumental track that showcases the band's ever-changing brass section. Vocalist/guitarist Rob "Bucket" Hingley hasn't altered his vocal delivery much over the years, but new vocalist/bassist Jason Nwagbaraocha's smooth and soulful chatting on "Where's the Freedom" and the "Life In a Bubble" offers a nice contrast to Bucket's tired, mellow drone. The middle section of the album contains the strongest songs, many of which are a bit slower than The Toasters' traditional fare, but there are too many standard-issue Toasters songs to fight off any notion of innovation. Ever since The Toasters worked the kinks out of their not-quite-traditional-ska-but-not-quite-ska-punk sound on 1992's New York Fever, they've basically been releasing the same album over and over again. It's a good album, but as younger, more exciting and more daring ska bands continue to emerge, The Toasters seem less and less relevant. –Ricky Vigil

The Touchers
The Underwater Fascist
Self-released
Street: 04.03
The Touchers = The Melvins + The Butthole Surfers + The Pixies
The Touchers, also known as Bipolar Ben and The Touchers, call Montana home and yes, Ben Spangler (also known as Ben Brisini in some text), is a self-proclaimed sufferer of bipolar disorder. It is my belief that this medical condition may be an aide to his mulit-sided and schizophrenic music. The Underwater Fascist rocks like a garage punk/alt country/rock ‘n’ roll/hardcore buffet of music. Throughout the record Spangler’s vocals go from his regular scratchy-throat to blistering screaming without warning and the distortion-laced music itself is hard to pin down and define as a whole. Trying to classify a band such as The Touchers only demeans what they are all about. Catchy hooks and dirt-throat singing, mixed with blistering screaming, along with insightful lyrics make up the masterpiece that is The Underwater Fascist, an unbelievable and amazing album that should not be overlooked by anyone. –Jeremy C. Wilkins

The Ugly Beats
Take a Stand with the Ugly Beats
Get Hip
Street: 05.01
The Ugly Beats = Paul Revere and the Raiders + the Ventures + the Makers
This is the second release for the Ugly Beats on Get Hip records—a sort of modern day lighthouse for fans of 60s folk, garage and beat-rock. It is a genuinely good record that manages to pull inspiration from several old genres while still making music that sounds fresh and new. It is not nostalgia for nostalgia’s sake; it is straight forward rock and roll that harkens back to a time when vocal harmony, three-chord guitar and fuzzy organ sounds came together in a tornado of classic garage punk. Some of it is instrumental, some acoustic, and a few songs are actually quite hard. It’s music in a style that proves that pop music wasn’t always a bad thing, especially when everyone in the band took their turn at the mic and squeezed every possible sound from their Vox equipment. It’s apparently still 1965 somewhere. –James Bennett

Various Artists
Anchored in Love: A Tribute to June Carter Cash
Dualtone Music Group
Street: 06.19
Anchored in Love = an all–star mix of Cash family and friends playing songs that made June Carter Cash a legend.
Anchored in Love is a twelve–song tribute record celebrating the musical legacy of June Carter Cash. Conceived and produced by her son John, Anchored in Love is a respectable mix of songs paired with solid musicians. Some highlights include Willie Nelson and Sheryl Crow singing together on “If I were a Carpenter,” Loretta Lynn doing “Wildwood Flowers” and Rosanne Cash delivering an emotional version of “Wings of Angels.” The best song by far is Elvis Costello’s rendition of “Ring of Fire,” though Ralph Stanley playing “Will the Circle Be Unbroken” is also really good. It’s all really good. The one lack–luster performance comes courtesy of Billy Bob Thorton—an awkward voice–over reminiscent of Spock. Many of the songs on the compilation were written by Cash, though some are country standards that date to her time touring with the Carter Family. These well chosen songs seem to be perfectly coupled with each musician’s distinct flare and strengths (having Billy Joe Shaver play “Kneeling Drunkard Plea” is nothing short of brilliant). This is a fantastic disk that pays homage to a fantastic woman—a testament to how good country music once was, and a reminder to us all that, in the right hands, it can still be pretty damn spectacular. Now if we could just stop Rascal Flatts. –James Bennett

Various Artists
Aqua Teen Hunger Force Colon movie Film For Theaters Colon The Soundtrack
Victory Records
Street: 04.10
ATHF= Jokes + Metal + Hip Hop + New Material
For as off the wall as Aqua Teen Hunger Force is, the soundtrack follows a more traveled comedic path that still works, but doesn’t synch as well with the nature of the franchise. This doesn’t detract from the quality of the soundtrack though. Whereas Dangerdoom featured the conversational style of the cartoon (aka Master Shake’s desperate phone messages for Doom) the movie soundtrack has Shake singing hits of his own (“Nude Love”) and Meatwad introducing a track or two. Frylock is absent from the soundtrack, but his father-figure character is really only humorous in relation to the juvenile demeanor of his co-stars. “Carl’s Theme” by 9LB Hammer is gut busting funny with lines like “More Than a Feeling is the world’s greatest song”. The soundtrack features new tracks by Mastodon, Early Man, Unearth and the Hold Steady among others. Most have something to do with ATHF, and although they are kitschy they are good songs. Mastodon’s “Cut You Up with a Linoleum Knife” is better than most of last year’s Blood Mountain, and The Hold Steady has yet to fail in their delivery. Some tracks are mediocre, Andrew WK and Brass Castle come to mind, and MC Chris is a straight up douche bag. For as schizophrenic as ATHF is, the soundtrack is surprisingly cohesive, which works to its advantage. This is not a bad foray for Adult Swim into the musical realm. –Peter Fryer

Various Artists
From LA With Love
Milan
Street: 05.05
From LA = DJ Whoever + MC Whatshisname + the absurdity of LA
From LA With Love is a collection of tracks from several California-based musicians and DJs (yes there is a difference). In making this compilation, Milan records wanted to present LA as the next big thing in music. They fall a bit short. The collection is mostly house-style background music, nothing new and original, nothing that would make the listener believe that Los Angeles is anything other than music hell. Even though there are 17 separate performers on the disc, they all sound exactly the same. That wouldn’t be a bad thing if they sounded good, but the opposite is true. It is the kind of music that plays in an Asian restaurant where they won’t give you chop sticks. It’s Martini bar music. It’s house party music in a house you wish would burn down. The thing is I hate house music, I’m not really into martinis, and I really don’t like eating rice with a fork. –James Bennett

Various Artists
Motown Remixed Volume 2
Universal Music
Street: 05.22
As good of intentions as the producers of this album claim to have, I can't help but feel that this is just another sorry attempt at cashing in on the late-night classic-artist-collection-album infomercial business. The catch here would obviously be that almost all of the tracks are Motown classics, but are just such a pain to listen to in the state presented in this album that it almost tarnishes the originals. I'm not sure if it's the people remixing the songs that makes this so bad, or just a bunch of overbearing producers demanding a finished product in too short of time, but I just can't imagine anyone in their right mind would enjoy this travesty. –Ross Solomon Various Artists
Super Cool California Soul 2
Ubiquity
Street 05.22
Super Cool = George Clinton + Sam Cooke + harder than hell to find tracks
This is a fantastic compilation of underground black music that spans several generations and cities. With examples of soul, funk and jazz recorded from 1966 to 1982, we get a good feel for what west coast music clubs were serving up during these 16 years. Some of the tracks are slow and sexy, while others are so funky that they will inspire even the whitest man to stand up and shake his ass. Some of it sounds a bit dated, but it is generally quite sturdy stuff, reminiscent of War or Parliament. And though it seems strange to have so many different genres on one compilation, this disc represents a strong cross section of artists and scenes that should not be lost to the murkiness of time. –James Bennett

Videohippos
Unbeast the Leash
Street: 06.19
Videohippos = Television + The Unicorns
The Videohippos’ sound is nostalgic rather than retro, they conjure the details of an era past without focusing so much on style. The song “Take It,” for instance, owes more to Alvin and the Chipmunks than it does to David Bowie, whereas “Sick Dolphin” could have been written while organizing a collection of snap-bracelets. The recording is relentlessly lo-fi, with nearly inaudible vocals and a keyboard that sounds like your little brother got his hand stuck in a Super Nintendo one room over. Yet the Ubeast the Leash is miles away from either the pretentious “too cool for sound-mixing school” style or the “not too broke for Pro Tools” local schlock that seems to plague music these days. Instead what we have here is a time-capsule, a rock-n-roll snapshot of ALF, Mrs. Pacman, and The Talking Heads all rolled into one: played as if the band were preoccupied with an endless game of “Duckhunt”. –Jeff Guay.

Visions of Atlantis
Trinity
Napalm Records
Street: 06.05
Visions of Atlantis = Nightwish + a male singer
Listening to Visions of Atlantis is like listening to a crappy version of Nightwish with an annoying power metal male vocalist and a lesser female singer accompanying him. When I first listened to this record I honestly wanted to stop playing it and throw it straight out the window. But all poorly conceived vocals aside, the music, most of all the keys, got stuck in my head and I started listening to it more and more like some sort of bad habit. I don’t see people that listen to this genre of symphonic power metal getting to annoyed with Trinity, in fact most of them will probably like it. It somehow stuck to me like toilet paper to my foot after taking a crap a few times in a dirty public bathroom, and I only dabble in the genre from time to time. Yeah it isn’t going to get many repeat listens now that I’m done reviewing it, I might keep a song or two on the iPod. But if you don’t enjoy or even care about this genre of metal chances are this album will pass you by without even a second glance. Maybe next time out they’ll kick the cheesy male vocals to the curb and make things somewhat better. –Bryer Wharton

Vital Remains
Icons of Evil
Century Media
Street: 04.24
Vital Remains = Deicide + Venom + Morbid Angel
If brutality is a relative term then what some death metal bands do amounts to a rock chip in your windshield, Vital Remains equals a boulder crashing through the front of your car. It is a pretty nice fact that as a band your only real competition is outdoing yourself from your last record. Such is the case with Vital Remains who emerged from the underground with said breakthrough record Dechristianize, which featured Deicide madman Glen Benton on vocals. The trio (including Benton) has returned with founding member Tony Lazaro also returning with Dave Suzuki handling the lead guitar and drumming duties. This is about as Satanic as death metal gets, it is hard to miss that fact especially with the cover art depiction of Jesus getting nailed to the cross with a hammer adorned with 666 (as if that aspect bothers any death metal fan). Regardless, the music takes precedence here, not the lyrics. Brimming with technicality, direction and focus, Icons of Evil is a worthy adversary to its predecessor Dechristianize and stamps out most of the death metal competition for 2007. –Bryer Wharton

Von Sudenfed
Tromatic Reflexxions
Domino Records
Street: 06.05
Von Sudenfed = Mouse on Mars + The Fall
Above I write that this album is akin to equal parts Mouse on Mars and the Fall. I say that because it literally is. Von Sudenfed is the “supergroup” composed of mice on mars Jan St. Werner and Andi Toma, plus Mark E. Smith of The Fall. The sound they craft together is an eclectic club record, with glitchy stutter-stop production provided by Mouse on Mars and, dare I say singing, contributed by Mark E. Smith. I don’t, actually. Rather than sing, Smith spouts vitriolic tirades in his trademark dour English sneer, which somehow manages to find a successful niche within the dirty analog IDM. Think LCD Soundsystem if James Murphy was a disgruntled and bitter old man. And while some of the artier, more abstract tracks can get slightly weary, the pairing works surprisingly well, resulting in a solid album of off-kilter electronica. –Brian Roller

The Wooden Stars
People Are Different
Sonic Unyon Records
Street: 05.08
Wustars = XTC + Moneen + Clap Your Hands Say Yeah!
Stop me if you've heard this one: A Polish band and a Canadian band walk into a bar....and the Candian band won! You probably haven't heard that version before; just as you've probably never heard The Wooden Stars: an underground, Canadian-indie group who hasn't put out an album in eight years. You've heard The Wooden Stars' influence on Arcade Fire (without the parlez francais) and you'll recognize the influence from XTC on the first two songs with their up-tempo beats. The remaining six songs don't have that same punk-infusion: four minute songs expanding from catchy, math-rock back into their Byrne-esque vocals and lyrics. Some lyrics tell a story, but most are just fun; like the orphan in "Orphans" that was "stabbed [her] with a plastic spoon." Ok, so that's not funny, but Canadian jokes truly are! Joking aside, this album brings more great Canadian rock to the rest of the world; making you wonder why Wooden Stars stopped playing all those years. –Jennifer Nielsen

Year of No Light
Nord
Crucial Blast
Street: 05.08
Year of No Light = Isis + Jesu + Mouth of the Architect + Cult of Luna
There are quite a few bands in the post-hardcore realm these days taking on territory that Neurosis and Isis made so important and popular in today’s music scene. Some just wind up sounding like copycats and some stand out amongst the pack. France’s Year of No Light is on the stand out side. The band originally released Nord in 2006 but Crucial Blast decided that the album was too great to just sit with foreign audiences and has brought the record to North America. Aside from epic guitars and thunderous drumming, Year of No Light brings excellent songwriting to the table. You may have a hard time pronouncing the French language song titles but each and every one packs their own little power punch filled with emotion. It is very hard lately to find a record that leaves the listener holding on to every note, chord and tortured vocal passage. But Year of No Light does just that and then some. If the strength of the heavier parts of the record isn’t blowing holes in your kneecaps then the melodic parts that never repeat themselves should have you standing at attention bridling in a pleasure filled pain. –Bryer Wharton

The Zincs
Black Pompadour
Thrill Jockey
Street: 04.30
The Zincs = Magnetic Fields + His Name Is Alive + Black Box Recorder
While there is a cast of characters who make up The Zincs it is the many faces of James Elkington, his baritone, jangled guitars and wry sense of humor that steals the attention. Picking up where his previous release Dimmer left off Black Pompadour is a lesson in downtempo tunes with interlaced guitars strapped to minimal pop arrangements and a persistent dry sense of lyrical wit. While this doesn’t add up to a spot on comparison to Scott Walker it does offer more continuity than Lou Reed’s post-Velvet Underground catalogue. –ryan michael painter