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December 2007 - Issue 228

Alexis Gideon
Flight of the Liophant
Sickroom Records
Street: 11.06
Alexis Gideon = Folk Sensibilities + Electronic Beeps + Eclectic Peeps
Alexis Gideon is a crazed genius in the most beautiful sense of the term. Imagine dyslexic droids attempting to have a conversation on a Jawa Sandcrawler while being interrupted by an autistic rapper free-flowing stream-of-consciousness rhymes on LSD. Yeah, my man Alexis is that good. Staccato bursts of crazed rap share space with soulful, bass-heavy crooning and slide guitar that could just have easily been on Beck’s One Foot in the Grave. Flight of the Liophant comes with lyrics, and you’ll need them. When you read into what is actually being said, this album attains a whole new level of intricacy and confusion. Be prepared for modern, electronic-heavy music that will peak every level on your stereo AND give you that much-needed Sasquatch reference that no good CD goes without. Taking a flight with the Liophant is like going to a musical buffet where everything sounds and tastes delicious! –Brian Van Steenkiste

Ambitions
Stranger
Bridge Nine
Street: 11.06
Ambitions = Dag Nasty + With Honor + Ignite
With Honor is caput, which means more time for Jay and Jeff Aust and John Ross to dedicate their time to Ambitions. This is great news for hardcore. Ambitions is the modern version of the melodic bands from the D.C. era. Maintaining strong song after strong song is difficult for this style of music, and Ambitions fall victim to running-togetherness at points throughout the album. Jay Aust’s vocals are mostly to blame for this since he sings rather long notes over fast music. This makes it hard to grab onto any syllables—music or vocal. This small gripe aside, Stranger is a great first full-length for a band that has musical chops, melody, and harmonization on their side. It remains to be seen how well their tight musicianship holds up live, but if it comes close to this release, it will be a cut above the rest. –Peter Fryer

Archetype
Bleed for Them
Dekagon Records
Street: 08.21
Archetype = Corn-Fed Rappers + Dope Beats + Smooth Rhymes
The Wiki Encyclopedia defines an Archetype as “The original pattern or model from which all things of the same kind are copied or on which they are based.” Archetype’s MC I.D. and producer Nezbeat may not be the form modern rappers are cut from, but the gangstas and money-chasers polluting popular culture could learn a LOT from this dynamic duo. Bleed for Them is only this Kansas pair’s sophomoric release, but it comes across like a senior thesis. You won’t find any mean mugging or fake thuggery on this LP. Instead, clean, bass-friendly beats overlaid with MC I.D.’s nasally lyrics greet the head-phone clad with a refreshing detour from cookie-cutter radio (c)rap. Archetype stays true to their roots and has made a really good hip-hop LP kids from Sandy will actually be able to relate to. Rap fans: Don’t sleep on this group! –Brian Van Steenkiste

Arise and Ruin
The Final Dawn
Victory
Street: 10.30
Arise and Ruin = Liar + Unearth + Disembodied
Come on, there’s nothing better than this out there? This one has been done better a million times before. Arise and Ruin is the band you have to sit through three down on the bill so you can finally see the act you came to check out. The vocal delivery on this is grating, lacking range, and has no variation. Plus, swearing doesn’t make your point any more poignant, it just makes you swear more. The guitar tones sound like they were compressed through two tin cans on a string and they move into breakdowns with such little grace that saying they are contrived is too nice. Barring an interlude on “Pale Horse,” there is nothing to notice. If Arise and Ruin were competing at a high school battle of the bands against all of the other metalcore bands, they’d win, but that’s about as far as they’d get. Too bad. –Peter Fryer

The Austrasian Goat
The Austrasian Goat
I Hate Records
Street: 04.23
The Austrasian Goat = Nortt + Elysian Blaze + Funeral Mourning
Very rarely do I dislike French projects of the black metal flavor. The Austrasian Goat, a one-man project, is packed with 40-plus minutes of crunchy doom with a black metal polish in atmosphere and vocals. The drumming is extremely downtrodden and is smothered by buzzing, melodic guitar riffs, creating a great deal of creepy, dense atmosphere. But there’s still room for tasteful, synthesized melodies that bleed forth in most songs, helping to elevate some of the less noticeable crescendos created by the doom structures. The vocals have a contemptuous sneer which tears through the darkness in several distinct fashions. They range between distantly shrieked to up-close-and-personal, which not only creates variety but also promotes individual direction for each track. This release certainly helps me stave off desire for Elysian Blaze’s upcoming album, and it’s probably one of the more promising funeral doom projects I’ve heard. –Conor Dow

The Autumn Offering
Fear Will Cast No Shadow
Victory Records
Street: 10.30
The Autumn Offering = All That Remains + As I Lay Dying + Hell Within
The Autumn Offering have been cranking out album after album and they seem to be manic about their direction. One album they’re doing the melodic metal thing, the next it’s total brutal metalcore with no clean vocals and less melody; now with Fear Will Cast No Shadow, the band rears its head into the most pop direction ever. It is within that direction that the band has come into their own—it’s catchy and all well played with plenty of juicy solos and an overall thrashing effort. New vocalist Matt McChesney from Hell Within does a great job with his screams and singing. Fans of this modern melodic style of metal will eat this record up. That said, the songs wear thin after multiple listens, the songwriting isn’t truly quite to where it could be and the melodies, hooks and choruses are all catchy, but by the end of the record, there isn’t really a way to differentiate the songs from each other. – Bryer Wharton

Awake and Alert
Devil in a Lambskin Suit
Five One Inc.
Street: 09.11
Awake and Alert = The Cranberries – happiness + shoegaze
While I was immediately drawn in by the unique, sexy, cute and overall engaging voice of lead vocalist Maya Peart, my initial excitement soon ended, and I realized that the album I was listening to was sort of repetitive. Sure, all of the reviewers are praising Peart’s unique voice—which they undoubtedly should—but this album lacks any lyrical or sonic depth. I see this happening to many artists with their first album, but a few years later, they create an album much more appealing and accessible. Among this album lay a few gems worth listening to, including “Ready or Not,” and my personal favorite, “Starry-Eyed Visions.” What this album lacks in originality and lyrical value, it makes up for with its production. Bob Hoag (The Format and Limebeck) lent his producing hand to the project, and did a great job creating songs that sounded clean and precise on first listen. Kudos to him. Bottom line: Download the album, and if you find it a bit more interesting than I did, pick it up for sure. I’m excited to hear what these guys (and girl) have to offer up next time around. –Tom Carbone Jr.

Battles
Tonto + EP
Warp Records
Street: 12.04
Battles = Don Caballero + Hella + John Stanier’s sweet drumming action
This is a tour EP from the band known as the Battles. It takes the song “Tonto” from the album Mirrored and gives you the straight-up version of the song, then a couple more remixed, blipped-out and collaged versions of the song—all there to bend the mind all over the place. The remixes are way weak compared to the original version of the song. These remixes sound like a robot that was dancing to Battles at a rave while on ecstasy and got stuck repeating the same dance step over and over. The EP also includes a DVD of the “Tonto” and “Atlas” videos, which are all kinds of banging. I just want to say the drumming of John Stanier rules my life and that Battles is better off without the random vocal sections. – Jon Robertson

Bela Karoli
Furnished Rooms
Helmet Room Recording
Street: 10.06
Bela Karoli = CocoRosie + Feist + Nora Jones
What a silly name this band has! Everyone should know that Bla Krolyi was a gymnastics coach from eastern Europe, but what many do not know is that his career was fraught with controversy as he used verbal abuse and food control tactics to make his gymnasts winners. Thankfully, Furnished Rooms uses neither of those strategies in their music, but rather prefers a generous helping of strings and the sweetly whisperlike dual vocals of Julie Davis and Brigid McAuliffe. This is somewhat of a departure from your usual acoustic folk music state; the jazz influence is undeniable, and the sultry instrumentation and vocals bring to mind more ,a night club than a prairie. –Andrew Glassett

Belay My Last
The Downfall
Mediaskare
Street: 10.02
Belay My Last = The Red Chord + everything bad about the metalcore world
Why, oh why do these crappy sound-alike metalcore bands keep popping up? What a total waste of space. Whoever buys into this boring stuff needs to re-evaluate their metalhead status. The songwriting for this debut album is completely worthless and disjointed and goes absolutely nowhere, and most importantly, shows no emotion whatsoever. They’re just trying to sound tough and angry and it comes through as wimpy. The portions of the album that do show the band has guitar-playing ability are fleeting—just because you can play doesn’t mean you can toss together whatever you want and it’s going to sound good. The drumming insults my ears; I think the guy only knows how to play like, three or four beats, tops. To make matters worse, they can’t even come up with a cool name—all I have to say is, ugh! – Bryer Wharton

Black Tie
Goodbye, Farewell
Socyermom Records
Street: 12.04
Black Tie = Tortoise + The For Carnation + Ui + Tarwater
Black Tie is dark and brooding. The album begins with the Tortoise-inspired first track “For the Dead,” with its creamy-sounding reverbed guitar lines and tear-inspiring cello. The instrumental tracks on this album make me want to sit in the rain and watch cars drive by. They’re grey-sounding and amazing, to say the least. However, the tracks that do contain vocals take away from the gloominess of the album and ruin whatever mood the band was trying to create. I was in love with this album until the third track pulled its head out from under the storm clouds and began using some untrained vocals to try to cheer me up by singing a contrived song about hope. Way to ruin my pity party, Black Tie. –Jon Robertson

Blood Red Throne
Come Death
Earache
Street: 10.23
Blood Red Throne = Suffocation + Gorguts + Behemoth
Norway’s Blood Red Throne, led by Tchort (Emperor, Green Carnation, Satyricon, Carpathian Forest, Einherjer), a name more associated in the Norwegian black metal scene, has brought forth a scathingly brutal death-metal masterpiece with Come Death. The band takes on a blend of both European and American styles, citing influences and obvious similarities with Gorguts and Suffocation—the band even covers Gorguts’ “Disincarnated.” Strangely, with this blend, the band has come forth with an extremely well-produced product, original in its nature and completely crushing, heavy on the grooves with bass lines that do more than just follow the music. From a band that has had issues keeping a drummer in their lineup, there are some sweet blastbeat efforts here. The black metal running through Tchort’s veins shows through in BRT; there is many a guitar moment that utilizes that black-metal guitar sound and pacing. These efforts culminate in something refreshing as well as paying tribute to the old-school death-metal sound. –Bryer Wharton

Blut Aus Nord
Odinist – The Destruction of Reason by Illumination
Candlelight Records
Street: 10.22
Blut Aus Nord = Mtiilation + Peste Noire
The Work Which Transforms God is often hailed as not only one of the best black metal albums by the French horde Blut Aus Nord, but also as one of the better and more forward-thinking black metal albums to have come out in a great many years. They’re often compared with Deathspell Omega, not so much because of their sound, but instead for the philosophical vision that they clearly have for their releases. Odinist is a great release to an already fantastic catalogue, and thankfully it’s a bit of a departure from the previous releases. The work here is a bit more concise and at just over 35 minutes in length, it gets the job done nicely. This band is definitely one of the elite few who effectively expose the listener to their artistic direction through not only the music, but also an acute mental journey. –Conor Dow

Bottomless Pit
Hammer of the Gods
Comedy Minus One
Street: 11.06
Bottomless Pit= Silkworm – Steve Albini + An Abyss
Remember Silkworm? (They were only a band for like 18 years.) They disbanded after tragically losing their drummer. From the ashes of Silkworm, Bottomless Pit was formed, and from there, the best comparisons can be made. For me, Silkworm was never as influential as, say, Jawbox or Fugazi in the realm of post-punk, but still had a definitive sound that the 90s couldn’t have been without. Legendary recording artist Steve Albini always captured that sound; he really helped define the sound of the 90s anyway. Bottomless Pit did not record with Albini, but are reaching for the same style that they had in the past, leaving something to be desired. These are obviously a talented group of musicians; but I think they should have moved in a new direction instead of recreating sounds from the past. Fans of Silkworm and post-punk, dig in; these are a handful of skillfully written songs, but I am going to pass. –Davy Bartlett

Bring Me the Horizon
This is What the Edge of Your Seat Was Made For EP
Earache
Street: 09.25
Bring Me the Horizon = Zao + The Red Chord + Job for a Cowboy
Originally only released in Europe, Earache records have made Bring Me the Horizon’s debut EP available now in the states. I literally just reviewed the band’s debut full-length, and while it was a worthy effort, putting the two into perspective, I wish the full-length sounded like this four-song beast. The energy, emotion and production in comparison to the full-length is like comparing a bloody rare steak to an over-cooked hockey puck of a hunk of meat. The appealing value of the EP is the fact that it is so short, though if I had to listen to at least eight more songs of this stuff, I’d be blaring that everything sounds the same and I’m stuck in bland-land. Yeah, there’s chunky, syrupy, thick breakdowns, tempo changes on a dime and bloodied vocal screams, but hell, I’m getting sick of stuff that tries its best to sound like something greater that came before it. –Bryer Wharton

Bruford
Rock Goes to College
BBC
Street: 03.12
Bruford = Yes + Quantum
This is the first time I’ve heard Bill Bruford’s self-titled 70s side project and am not at all surprised by the group’s ingenuity. You know that anything with Bruford’s name on it is going to bring both virtuosity and tastefulness. The group was comprised of bassist Jeff Berlin, keyboardist Dave Stewart and legendary guitarist Allan Holdsworth, with Bruford of course on drums. Bruford’s complex, jazzy rhythms flow almost effortlessly through Berlin and Stewart creating distinct, tasty grooves. Holdsworth’s instinctive chops wrap the band’s entire sound together. Holdsworth’s solos, like on “Forever Until Sunday,” expose why he is held atop the list of guitar innovators. The show, which was performed on March 7, 1979, displays both impeccable improvisations alongside intelligent structuring and composition. Rock Goes to College certainly is a significant exposition from this era in progressive fusion. –Michael DeJohn

Building the State
Faces in the Architecture
Amnot Records
Street : 10.07
Building the State = Mood Music + layered ear candy + reverb
Building the State’s Faces in the Architecture is an aurally pretty work of music art that swirls around its listeners, lulling them into a state of relaxed complacency. Anything with the ability to evoke emotion has power, and there’s some pretty powerful stuff on this short but sweet CD. The four tracks of multi-layered, reverb-laced soundscapes on this 19-minute EP are the kind of tunes you’d expect to be playing in the background of your favorite 80s movie when the lead character is experiencing a catharsis. I’m not sure what the trio of Floridians who composed these melodies are into, but apparently, one of their interests is making Xanax that’s shaped like a CD but has the same effect as its pill cousins when inserted into a suitable player. This CD could be compared to a lot of bands foreign to potential listeners, but given the chance, it breaks through stereotypes and forms a compelling genre of its own. –Brian Van Steenkiste

Bush Tetras
Very Very Happy
Roir Records
Street: 10.23
Bush Tetras = PJ Harvey + Yeah Yeah Yeahs + Slits
Who is the next willing victim cashing out on the fame train which they last rode 15 years ago? If you guessed the Bush Tetras, you’re right. What a sad state of affairs to go from a really bouncy, raw, funky and energetic sound to flop and flounder l the Slits in a reunion album. Instead of sounding edgy and “[bridging] the gap between the Ramones and Sonic Youth,” the Bush Tetras sound like the adult contemporary version of the Breeders! With any interesting musical ideas effectively “Iggy Popped,” they should be trying to play “no-music” instead of no-wave. Better luck next time, toots. –Erik Lopez

Capital
Homefront
Revelation Records
Street: 10.30
Capital = Blood Red + Minor Threat + Kill Your Idols
Homefront, the second release of Capital, brandishes an Eastern style of old-school hardcore with more melodies thrown in the middle. At times, the “melodies” can get rather annoying and throw off the band’s hardcore style. Songs like “Flood Gates,” “Disclaimer,” and “Live Dammit Live” are the better songs on the album, while some are total garbage. “Mosh Parts,” for example, has a bouncy beat that I’d expect from bands like Sum 41, and “melodies” that are just disruptive. It’s like buying a bag of peanuts only to find that half of the shells are empty. Homefront is one of those pick-and-choose albums, where downloading what’s good is the best option. –Josh McGillis

Cex
Exotical Privates
Automation
Street: 12.04
Cex = Giorgio Moroder + Daniel Miller
Multi-tasker Cex took all the bits from his Actual Fucking album, merged them with a few other elements and built the four meaty works on this maxi-single style EP. Exotical Privates resembles the 12” mixes of the 80s, specifically, the long tracks you find at the end of the record after the dance floor favorites, the long ones you repeatedly requested but the DJ found more suitable for the drive to and from the club (i.e., “Fly On the Windscreen (Death Mix”). Bits of cello and slide guitar from “Chapelhill” elide with hypnotic Kate Bush vocals, background textures from “Chicago” move forward to accompany Moroccan chants, and the beats of “Los Angeles” are now much less Chris Frantz, much more Chic, each track working the way substantial theme-answer-reconstruct-theme based music such as “In a Silent Way” does—Cex does free jazz now? –Dave Madden

Christian Williams
Defiant
Christian Williams
Street: 2007
Christian Williams = Johnny Cash – Emotion
Glow sticks and ecstasy are to techno as spurs and PBR are to Christian Williams’ Defiant in the sense that these items are required to tolerate his music. I imagine William’s singer/songwriter persona clawed its way out of an intense session of D&D after an encounter with some obscure gothic Western film noir on AMC. This is the only conclusion I can draw, as it seems Christian Williams is nothing but a caricature of all positive facets of Western music. On a scale from one to believable, “Defiant” and its singer are Fraggles. The vocals, lyrics and music are overzealous, result of an attempt to stand out by a, for lack of a better word, fanatic who got so into a scene that he disrespects with his quest to put it on a pedestal. Much like a beer helmet, this CD is a novelty. –Jessie Price

Corpus Mortale
A New Species of Deviant
Willowtip/Neurotic Records
Street: 11.06
Corpus Mortale = Morbid Angel + Immolation + Grave
There is a brutal simplicity to Corpus Mortale, though underlying that simplicity is a world of technicality. This groove-heavy monster hits you like giant wave after wave, pummeling and pummeling until you’re drowned in their sinister message. The fact that death metal has to be fast and full of blastbeats is highly overrated; I’ll take songwriting that screams extreme ardor any day. There is more harsh and disturbing brutality in the band’s mid-paced stylings than a lot of these so-called new extreme metalcore acts that use blastbeats just to sound cool. The band has been around for 14 years and it definitely shows. One couldn’t ask for the greatness that Corpus Mortale achieves with this new dose of misanthropy and horror all brimming with subtle extremity. –Bryer Wharton

Crime in Stereo
Is Dead
BridgeNine
Street: 10.23
Crime in Stereo = Silent Majority + Latterman + Brand New
Crime in Stereo’s new album may be a bid for mainstream recognition, or it might simply be the progression of a band maturing through three releases and dealing with the frustration of switching as many labels in that amount of time. Either way, this release finds Crime in Stereo releasing their most melodic material to date as well as their best-developed. Although it will probably alienate some of their early fans with its slick, produced guitar tones, bombastic passages and higher ratio of soft melodic introspective song structures to all-out rockers, they are moving in a good direction. After a big shift, not every idea can be a winner, but original guitar tones like the one in “… But You are Vast” are so unique it doesn’t matter. With “Is Dead,” Crime in Stereo crafted a great pop/rock/hardcore album that might just be their ticket for crossover success. –Peter Fryer

Crux
Rev Smrti/Scream of Death
I Hate Records
Street: 05.01
Crux = Sodom + Venom + Immortal
The story of Crux is not unlike many metalhead teenagers, basically worshiping all that is metal in the early 90s in the Czech Republic. The teenagers and friends scraped together money where they could, even if it meant stealing and performing on jerry-rigged or just plain out-of-date gear. The end result of this reissue is a one-of-a-kind album and the only that this foursome would ever create. Members of the band went on to be part of the seminal Viking metal band Root. This is raw and sick as it gets, folks: blackened thrash metal at its finest and somehow amazingly pulled off on gear some bands wouldn’t even attempt to use. Dual vocal attacks snarl their way through the muddy, murky and horrifically fast thrash mayhem, all intermingled with haunting atmospheric acoustic passages. There is a passion here that can’t really be found elsewhere and the fact that this is the only material that we will ever see from Crux makes it all that much more special. –Bryer Wharton

Dark the Suns
In Darkness Comes Beauty
Firebox Records
Street: 10.23
Dark the Suns = Dark Tranquility + Sentenced + Daylight Dies
Dark the Suns have taken the melodic death metal genre to a new level, incorporating elements of gothic and doom metal into their cohesive and highly emotional mix. While the guitars are melodic and infectious, the standout with In Darkness Comes Beauty is the piano/keyboard use; just like the record’s title suggests, the content is dark but there is a beauty to it, all showcased by the amazing melodies driven into the music by keyboardist Juha Kokkonen. This is truly one of the catchiest albums of the year; the only thing lacking amongst the amazing compositions is the one-dimensional vocals, but even those grow on you after the first few songs. All in all, this is some damn fine melodic metal. –Bryer Wharton

Demiricous
Two (Poverty)
Metal Blade Records
Street: 10.08
Demiricous = thrash metal enthusiasts
These guys sure like Slayer! But that’s really not a bad thing. In fact, they play extremely well, though you’d have to be pretty daft to not notice any Reign in Blood worship here. Hell, even vocalist Nate sounds a bit like the great Tom Araya. But Slayer worship aside, I can appreciate that there’s a lot of older thrash influence in this rather than just simply an inclusion of catchy hooks for the sake of it (I’m lookin’ at you, Lamb of God). This just goes to show that while thrash metal might be a dead horse, it’s still fun to kick if done right. Show this to your old rocker uncle and I betcha he’ll like it too. –Conor Dow

The Dimes
The Silent Generation
Petmarmoset Records
Street: 12.11.07
The Dimes = Ben Gibbard + Death Cab For Cutie + Oh Darling!
I was very excited when I read the sticker on this CD’s cover: “Born of the same, um, lions as The Decemberists and The Shins.” Wow, That couldn’t be any farther from the truth. The Dimes definitely have their own sound, but they don’t compare to either of those bands—nice name-drop, Petmarmoset. The Silent Generation falls from the family tree as a little brother of a Death Cab for Cutie enthusiast, with darling guitar licks, addictive rhythms and predominant acoustic pop in a contemporary indie fashion. I love it when musicians reflect the doom and gloom of this depression-era through journalism-style songwriting. They find whimsical ways to make you whistle along to songs about dead priests, psychotic soldiers and guilty men on death row. If I don’t say “morbid,” no one will. However, this album doesn’t grab you at first listen; it’s more of an acquired taste … take the chance, it’s worth it. –Lance Saunders

Dropkick Murphys
The Meanest of Times
Born and Bred Records
Street: 09.18
Dropkick Murphys = The Pouges + Flogging Molly + Street Dogs
The Meanest of Times is an excellent punk rock album. This is the DKM’s sixth studio album and every track is branded with the signature Dropkick sound that has made them legendary. “The State of Massachustts” opens with a mandolin and then flows seamlessly into a punk song about the horrors of drug use on families. “Tomorrow’s Industry” is a straight-away punk tune and “(F)lannigan’s Ball” is a Boston-style version of “Lannigan’s Ball” and one of my favorite tracks on the album. This is music to dance to, to drink to, to fight to and most of all, to look back to and smile. –Jeanette Moses

Edison Glass
Let Go EP
Credential Recordings
Street: 11.27
Edison Glass = Sunny Day Real Estate + mewithoutYou
I am so glad I discovered Edison Glass. Ever since Circa Survive’s new record came out which straight-up sounds like me punching myself in the knards, I have a had a small void missing in my soul for some hard-rocking progressive and most of all, anti-cookie-cutter emo music. Edison Glass has filled that strange void for me. Just listening to this teaser EP has made me all excited for Edison Glass’s second album, Time Is Fiction, which is supposed to come out early next year. I’m so giddy that I’m going to put my hair in pigtails and run right out in my schoolgirl outfit to buy their first album right away. Edison Glass is my rebound relationship after Circa Survive. Josh and Joshua from Edison Glass could totally beat up Anthony Green any day. –Jon Robertson

Elvenking
The Scythe
Candlelight
Street: 11.06
Elvenking = Blind Guardian + Skyclad + Cradle of Filth + everything under the sun
Stupid name aside, it was a huge surprise to hear this dynamic epic from Elvenking. Also, if there is ever a case to never judge a book by its, cover it’s with this band. I thought just by the name of the band I was in for some typical power-metal posturing, cheesy falsetto vocals, and so on and so forth. Instead, Elvenking have created a truly metal epic encompassing virtually all styles of metal except death/grind. There is great fiddle work and black metal snarls along with the well-ranged clean vocals. There are also many gothic metal moments amongst the fabulous power-metal riffing. Every song just brings in something unexpected and interesting to listen to—if you’re ever curious about the power metal genre, this is something to explore. – Bryer Wharton

Ephel Duath
Pain Remixes the Known
Earache
Street: 09.18
Ephel Duath = metal remixed into electronica
Pain Remixes the Known is Ephel Duath’s Pain Necessary to Know album remixed. While usually I would say this is where a band re-hashes their material, I’m not going to. I listened to both albums back to back and they are completely different. The original is a masterful exploration into grind mixed with lots of jazz tempos and improvisations. This remixed record even takes all the song names and morphs them into versions called “Hole I,” “Hole II,” etc. The result is a pure electronica album with some painfully screamed vocal passages carried forth into the remixed versions. The remixed songs can be soothing and relaxing, with elements of trip hop, ambient noise and trance, all very beat-oriented. The band somehow manages to take chaos and transform it into melodies and rhythm. Who knows if metalheads that listen to Ephel Duath will be turned off by the electronic exploration on this remix record, but then again, to listen to Ephel Duath and be a fan, you have to already have an open mind towards music. –Bryer Wharton

Evile
Enter the Grave
Earache
Street: 09.25
Evile = Metallica + Testament + Anthrax
So what if Metallica sucks right now, there are plenty of thrash bands to fill the void they left and Evile is one of them. Listening to Enter the Grave is like I’m 13 again and just discovered Master of Puppets. This record has everything a great thrash record needs—great riffs, supersonic speed, vocals influenced by punk rock and, let us not forget, the epic, showboating guitar solos. Oh yeah, and there is some damn fine drumming, all culminating in a record that pays tribute to a metal scene that has come and gone. The band fully knows that thrash isn’t the most popular form of music right now and playing it for the sheer joy of it is a statement in itself. Add the album’s awesomely tight production; well, thank the band for digging up Flemming Rasmussen—the guy that was behind the mixing board for Metallica’s Master of Puppets and Ride the Lightning records. Originality can be overrated—having fun while listening to metal, that’s what Evile gives us. –Bryer Wharton

Eyes of Eden
Faith
Century Media
Street: 11.06
Eyes of Eden = Lacuna Coil + Samael
Eyes of Eden’s debut, Faith, would be a solid album if it weren’t for two things. First, vocalist Franziska Huth isn’t appealing at all; her youth and inexperience show through and pretty much ruin the album. Second, the keyboard work is mostly piddling, not really going in any direction and doesn’t develop any sort of atmosphere or feeling as they should. The man behind Eyes of Eden is Waldemar Sorychta, who has written and produced songs for Lacuna Coil, Samael, Moonspell and Sentenced—all truly amazing bands in the gothic nature—as well as playing in seminal thrash bands Grip Inc. and Despair. For the record, his guitar parts are straight-up great, especially with the more rocking moments on the album. Also, Gas Lipstick from H.I.M. lends his drums skills, which stand out among the other junk. The fact that the guitars and drums were the foundation, written well before the vocals and keyboards entered the mix, shows through and makes for an extremely weak and unpleasant gothic-metal album. – Bryer Wharton

Felina’s Arrow
Let Me Tell You a Story
Self-released
Street: 2006
Felina’s Arrow = Cat Power + Bjork + Jewel
If you’re into going to the restaurants that have live music on their schedules, Let Me Tell You a Story is a good way to recreate that atmosphere without leaving the house. It seems that as the album goes by, it really is telling you a story. Each song has a different vibe, ranging anywhere from jazzy ballads such as “Gurrrrrl” to comedic songs like “The Monkey Song,” where the two female members of the band imitate monkey sounds. The instrumental sound is exceptionally good and blends in with the ghostly vocals of Poeina Suddarth and Felicia Figueroa. Their album even features a shout-out to Utah in a song that is appropriately titled “Utah.” Felina’s Arrow will be making two appearances Nov. 17 and Nov. 18 in Cedar City and maybe even one in Salt Lake if they get enough demands. (The Grind Coffeehouse: 11.17) –Lyuba

Finn Riggins
A Soldier, A Saint, An Ocean Explorer
Tender Loving Empire
Street: 11.13
Finn Riggins = Mates of State + Rilo Kiley
Now, don’t get me wrong—I don’t have a vendetta against Idaho, but when I read that Finn Riggins’ place of origin was Hailey, Idaho, I cringed a little. However, my next thought was, “Well, if Built To Spill came out of Boise, then anything’s possible.” I was right in my second assertion, because Finn Riggins’ A Soldier, A Saint, An Ocean Explorer exceeded my expectations and gave me quite the pleasant surprise. The album’s name is a reference to the shape-shifting, working-class spirit that roams the Pacific Northwest searching for his body, and their music’s sound parallels this ghostly search. It travels with their experimental/indie vibe that roams to all ends of the music spectrum. The dueling vocals of Lisa Simpson and Eric Gilbert complement each other and are equally as good apart from one another. I guess Hailey, Idaho, isn’t so bad after all. (Dec. 21, Burt’s Tiki Lounge) –Jeremy C. Wilkins

The Gates of Slumber
Suffer No Guilt
I Hate Records
Street: 06.23
The Gates of Slumber = Black Sabbath + Pentagram + Thin Lizzy
Before even delving into the crushing realm of Suffer No Guilt from the Gates of Slumber, the first thing you notice is that it’s truly kick-ass cover art done by none other than Ken Kelly (Kiss, Manowar, Rainbow), depicting a Viking/warrior type with a giant axe basically slaughtering some other wimpy-looking guy. I normally wouldn’t mention the cover art, but it pictures pretty much what the album displays. The tempo changes from slow, grudge-filled, doom-ridden passages to totally rocking guitar/drum jam-fests. The juxtaposition of these sounds makes the heavier, fast moments all that much more powerful, because you know they’re coming and when they do, it just slays everything in that epic, doom-metal Sabbath-worship way. So my totally non-literal interpretation of said cover; the wimpy dude getting pummeled is the slow moments of the album, and the fast, crushing moments filled with guitar awesomeness; well, that’s the beefcake with the axe. Regardless of your interpretation, the whole package is well done and killer, embodying elements of classic metal and doom, all skillfully arranged and executed. Doom fans, don’t pass this up! –Bryer Wharton

Ghost Writer
Darkest Hour
End Of the West
Street: 03.06
Ghost Writer = Tom Waits + Hasil Attkins
I have to admit that this was a hard call, because there is nothing pleasurable-sounding about these 10 songs, even though this record is so original. Ghost Writer is a one-man band consisting of a roots-blues guitar, pounded-out percussion from a foot pedal attached to a tambourine, and harsh, gravel-throated vocals. The music is just so startling, but maybe that's the purpose, to force you into the song; to give you almost no choice to listen to him. Tracks like "Clock" and "Blue Eyed Girl" seem to go on too long past making his point known. All in all, the record leaves you behind. While all the songs sound similar, the lyrics are lost in a seaof raspy vocals and grinding, tired guitar. The concept of a lone guitarist pounding out rhythms and screaming the blues is quite promising, but the product just leaves me wanting more. -James Orme

Golden Death Music
Ephemera Blues
Helmet Room Recordings
Street: 11.20
Golden Death Music = Codeseven + Dave Matthews Band + some strange fungus that you licked
Golden Death Music has a cool band name. When I first put this album on, I thought it was skipping, but I was sorely mistaken. Golden Death Music was just beginning to sink its psilocybine-laced teeth politely into my jugular. This music is made solely by one dude. Michael Ramey, who drops the most reverbed vocals of all time. His voice sounds like a drunk guy drowning in the hot tub. If you want to feel like you’re floating in the air while being softly caressed by a gentle hippie, than this album is perfect. Every song has a mellow feel that is laced with random noises, stop-and-start percussion, acoustic guitar and layers upon layers of psychedelic wonder. – Jon Robertson

The Green Days of Christmas
The Holiday Tribute to Green Day
Christmas Rock Records
Street: 10.23
The Green Days of Christmas = Christmas carols + Green Day beats – minus vocals
What the fuck? I want to know who started this project and where they live, because this is unacceptable. Green Day (or somebody) has turned some of their biggest songs—even a couple from Dookie, which is cool—into Christmas carols, but with no vocals. So that means bells and clanging. I’m curious if this is some sort of gag. Am I on camera right now? It’s kind of an interesting idea, but honestly, who would buy this? I will admit, though, I actually kind of enjoyed the versions of “She” and “Welcome to Paradise.” Regardless, the album is still one big joke. I hope no one invested any money in it. –Josh McGillis

Hellish Crossfire
Slaves of the Burning Pentagram
I Hate Records
Street: 09.25
Hellish Crossfire = Kreator + Witchburner + Iron Angel
Slaves of the Burning Pentagram was previously only available as an LP limited to 500 copies, so thankfully we have this reissue. It’s new, but it sounds like it came straight out of the 80s German thrash-metal madness. This sucker just bleeds everything that is metal, with ripping fast, tortured vocals that laugh in your face, all preaching a message of violence, chaos and overall destruction. I’ve worshiped the German thrash scene for years, but many of the bands that started the genre have modernized their production. So in the case of Hellish Crossfire, it’s fun to see a newer band taking on that old production value, all without losing any intensity. It’s fucking great to be metal, isn’t it? –Bryer Wharton

Impaled
The Last Gasp
Willowtip
Street: 11.06
Impaled = Carcass + Vile + Discharge
Well, leave it to Impaled to ditch the standard confines of gore metal after 10 years. The Last Gasp is a whole new initiation into the genre, bringing new elements of thrash and a whole lot of punk this is as about as diverse as gore metal gets, and that’s a good thing. I can’t get over all the superb shredding this album dishes out; it has surpassed their past albums in so many ways it’s not even funny. I’ve been a fan of the band for a while, but the band’s Willowtip debut leaves all those other gore metal crazies in the dust. Every tune carries a message of blood and gore in its own bloody, unique way. There is a plethora of different kinds of riffing going on, all with mighty solos and fanciful guttural vocals mixed with snarling screams. The raw production is a nice old-school style with the music going in a more modern direction. If there were ever an album for Impaled to mutilate the gore scene, this is it. – Bryer Wharton

In All Dishonesty
In All Dishonesty
Self Released
Street: 12.04
In All Dishonesty = Converge + As I Lay Dying + All That Remains + Slipknot
This four-song EP starts of with a hefty bang, showcasing the bands talent, which is what one would expect for any initiation into listening to a new artist’s music. The band is a strange culmination of what many U.S. bands are trying to make popular today, meaning clean vocals and melodic passages mixed with death-metal grinding. There is enough diversity in these four songs to leave you wanting more, all without a loss of direction. Each one gives you a clear path of what the band is trying to accomplish and unlike many of the band’s peers, it has all the possibilities of reeling in listeners of multiple genres. Normally, the clean vocals that In All Dishonesty use turn me off, but I find an honest pleasure in them. At times they sound a little labored, but in place of the lack of experience comes honesty, heart and passion. –Bryer Wharton

Isole
Throne of Void
I Hate Records
Street: 06.23
Isole = My Dying Bride + Solitude Aeternus + While Heaven Wept
Isole, as any good doom metal band should, take their approach seriously, and this re-release of their second album is dark and as epic as epic gets. The vocals here make the album stand out amongst many a doom metal band; they are more in a gothic realm and help build that gloomy atmosphere that sweeps you away to another realm. The speed on this album never gets fast; in fact, the pacing is pretty similar throughout the record, which upon first listen all seemed too similar, but upon further inspection, the riffing becomes diverse with each song and the leads and solos burst forth brimming with emotion. In the end, the title track stands tall as one of those great songs transcending genres. In it, the vocals go into some wicked chanting; it boasts the ideals and feelings of truly impending doom. When you’re done with this album, you’ll be watching your back or be in a stupor of anxiety, because it really makes you think something bad is going to happen. –Bryer Wharton

Joe Lally
Nothing is Underrated
Dischord Records
Street: 11.19
Joe Lally = Fugazi + Vic Bondi + coffeeshop music
Joe Lally’s second “solo” album is a far cry from his work with Fugazi on bass. Musically, the songs featured on this album are mellow and slow-paced, but they form a strong backdrop for his poetic songwriting. Many other artists accompany Lally on Nothing is Underrated—Ben Azzara (The Capitol City Dusters, DCIC), Ian McKay (Fugazi, Minor Threat) and Andy Gale (Haram) are only a few of the musicians that appear on this album. “Day is Born” has a bluesy stoner-rock feel to it, while “Scavenger’s Garden” relies heavily on the hypnotic drumbeats. Although many of the songs feature an entire band, the music is minimal enough to let the vocals steer the songs. You can’t rock out to this, but it’s good music to relax to. –Jeanette Moses

Justin Currie
What is Love For
Rykodisk
Street: 10.23
Justin Currie = string section + creepy massage
This is Justin Currie’s debut solo effort away from longtime band Del Amitri. In What is Love For, Currie takes the listener on an inquisitive journey into the true meaning of what this game of love is all about, only to demonstrate that this is a journey often made in vain. Currie seems to spend the majority of the album trying to build up steam to one pretty good song. “Still in Love” is the best-composed and most honest track Currie has to offer here. He doesn’t try to squeeze too much into this song; simple vocals and piano with a nice pace and a pleasant tune. Unfortunately, the rest of the album is full of tracks that feel overly dramatic and crammed with unnecessary orchestrated backup music. It feels like Currie is trying to create a mood that doesn’t come very naturally to him. This is something hipster dudes in turtlenecks can listen to after they whine and dine their dates to pre-empt the “romantic back rub.” –Ben Trentelman

Juicehead
The Devil Made Me Do it
Misfits Records
Street: 07.21
Juicehead = Misfits + Blink 182 + more distortion than I ever thought possible
Juicehead’s The Devil Made Me Do it is not good. I don’t expect much from executive producer Jerry Only—especially after seeing what he’s done to the Misfits—and Juicehead does not give me any reason to think otherwise. Their songs have little rhythm, which the band attempted to mask with an insane amount of distortion. At time, songs just sound like static. Lead singer Rob Vannice has a voice that makes me think of Billie Joe Armstrong, Ben Weasel, and that lead singer of Blink 182 that seems to have disappeared. Out of the three, I only like Ben Weasel, but if you’re a fan of either Green Day or Blink 182, you may be more impressed with Juicehead than I was. –Josh McGillis

Kenna
Make Sure They See My Face
Star Trak/Interscope
Street: 10.16
Kenna = Chris Martin + a spaceship full of instruments
Kenna suffers from severe genre-identification issues. He vacillates on this album from sinister electro-hop musing over songs like “Face the Gun’s” morse-code keyboards and programmed drums to sounding like David Byrne (Talking Heads) over one of Pharrell’s cheese-pop-space-funk-jungle-bongo beats on “Loose Wires.” The album has two songs produced by the aforementioned music-industry hipster, the rest handled by Kenna and the less notorious half of the Neptunes production duo, Chad Hugo. The best of Kenna’s multiple personalities are expressed on “Baptized in Blacklight” and “Be Still,” tracks whose alt-rock backings makes them sound more like Coldplay’s “Don’t Panic” than the rest of the album’s endearing house/punk/hip-hop abominations. The only gripe I have are the few moments on the record where doubts are cast on Kenna’s intentions, as in songs like “Phantom Always,” where he trades in his interesting voice for a gross mock-Beatles chorus. –Makena Walsh

Krohm
The Haunting Presence
Moribund Records
Street: 08.14
Krohm = Make a Change … Kill Yourself, with shorter songs
I’ve heard a lot about Moribund’s goldenboy Krohm these past few months. Although my expectations weren’t exactly met, I can’t say that this is a bad release. The production has that “Nemesis Divina”-era Satyricon warmth to it and the song structures are incorporated nicely. My main problem is there are few moments on this album that leave a lasting impression with me, or anything that feels like Krohm is doing what it can to rise above the black-metal heap. These days, if you write black metal, you’ll obviously be influenced by Burzum, but it wouldn’t hurt to dig even deeper. –Conor Dow

Lek
Giant World Knowledge Bliss Control
Lek Music
Street: 11.27
Lek = Velvet Underground + Lee Ranaldo + Bob Dylan
The sole member of Lek is Greg Pardrusch. His music is from an alternate dimension where the space-rocking guitar player from U2 known as The Edge constantly makes sweet passionate love to all the members of My Bloody Valentine, kaleidoscope-style! Each chamber of the kaleidoscope represents a new and extravagant world where anthemic rock gets all dirty, sweaty and scandalous; the wall of sound built by the guitars are the velvet sheets where the bastard child of this strange union is conceived. Lek deserves child support from both The Edge and My Bloody Valentine. They probably would have paid him, too, if he would have cut the horribly bland acoustic ballads from the end of the album. Way to ruin the mood, Lek. –Jon Robertson

Living Hell
The Lost and the Damned
Revelation
Street: 11.13
Living Hell = Integrity + Shipwreck a.d. + Rise and Fall
Revelation continues their recent string of good releases with Living Hell’s latest. Although Living Hell isn’t breaking any new ground (far from it), their mission to put some evil back into hardcore is a welcome one. Living Hell is the counterbalance to Solid State Records’ roster and is helping to reestablish an equilibrium that feels like it has been absent for the last few years. Living Hell takes a lot of cues from Integrity; hell, Dwid Hellion even did some of the artwork and samples. Musically, it’s straight-ahead evil-tinged hardcore with a guitar solo thrown in here and there and lyrics that your grandma certainly wouldn’t approve of. The recording isn’t overly polished, which gives this album a great, gritty sound. The Lost and the Damned is heavy and dark, but maintains its hardcore roots. This is a solid release all around. –Peter Fryer

Magic People
Oh Decay
Mister Records
Street: 09.18
Magic People = East Coast Musicians + electronic-icians + spoken word poet-icians
A sense of urgency permeates Magic People’s Oh Decay. Fast-paced electronic melodies are built on drum-machine-style rhythms, while a strange form of spoken-word poetry completes the layered equation. The lyrics come with a sense of anger, mostly towards jilted lovers and a cruel world. Tension builds as the album unfolds and there’s never a proper release, but these four East-Coasters make it seem all right. This disc was recorded in a makeshift basement studio that may as well have been a psychologist’s office. There’s an element of therapeutic release in any form of creation and this CD holds true to that notion. The feeling you get from listening to Oh Decay is similar to the sensation of something under pressure being popped. Whatever was ailing the different limbs of this musical entity must have needed to come out. The Magic People take listeners on an interesting ride that endears itself to ears the more times it’s repeated. –Brian Van Steenkiste

Magik Markers
Boss
Ecstatic Peace
Street: 09.25
Magik Markers = Awesome Color + 1982 Sonic Youth + Six Organs of Admittance
It’s not hard to see why Thurston Moore snatched up the Magik Markers for his Ecstatic Peace records—they partly and eerily sound like a tribute to early Sonic Youth. It’s no surprise considering that Lee Renaldo produced the album. Boss starts with a wildly electric and noisy prelude when, 10 or so seconds in, the cool huff-and-puff vocals of Elisa Ambrogio ride into town. From there, the album deftly keeps its edge as it titters in that tight rock n’ roll space between Daydream Nation and Firewater. In-between ragged and jagged songs akin to Sonic Youth’s “Silver Rocket” and more reflective and beautiful piano tinkering in “Empty Bottles,” Boss is experimental in the best sense by utilizing disparate parts and unifying them under their own style. The vocals are confident, the melodies and rhythms quizzical and, the best part, the songs work well alone or as a whole! There is no bad bone in the body of the Boss. –Erik Lopez

Memphis May Fire
Memphis May Fire
Trustkill
Street: 12.04
Memphis May Fire = weakness
I can almost guarantee that these losers from Memphis May Fire probably follow around Maylene and The Sons of Disaster and Every Time I Die all day long and do everything they do and do whatever those two bands ask them to do. This would be slightly tolerable if those bands were crazy groundbreaking and genius, but they’re not. Those two bands are copycat bands as well. Memphis May Fire’s music is so unoriginal it makes me want to track them down and sit with them while we compare their album to every other aforementioned band’s and see if they could somehow give me a justifiable reason as to why I shouldn’t give them all a lobotomy. I really wish that record labels would stop signing bands like this. –Jon Robertson Mountain Home
Mountain Home
Language of Stone
Street: 09.25
Mountain Home = Classical instruments + Female Vocals + Renaissance Festival-flavored Sadness and Loss
San Diego’s Mountain Home recently released their self-titled debut filled with songs of sadness, loss, death and other themes listeners might not expect from a beach-town band. Coastal dwellers usually lead happy lives filled with surfing, building sand castles and shopping for new flip-flops. Joshua Blatchely and Kristin Sherer defy this societal stereotype and make good music while doing it. Instead of listening to the Beach Boys and soaking up the sun, Mountain Home apparently honed their skills on unconventional instruments such as the dulcimer, harmonium and hurdy gurdy while channeling melancholy throughout the ages. These ingredients, along with guitars, banjo and some guest performers, were put to analog and the result is a hypnotic and eerie five-track disc that grows on you with repeated listening. Three original songs and two traditional rearrangements will confuse, enchant and leave listeners wanting more. Mountain Home has given the musical world an interesting and unique addition that’s refreshing and worth listening to. –Brian Van Steenkiste

Nightwish
Dark Passion Play
Street: 09.28
Road Runner Records
Nightwish = Lacuna Coil + HIM + a dash of Tool (not joking, it’s that good)
You’d think this Finnish triple-platinum would be virtually unavoidable to encounter in the US market, yet it’s still awaiting gold-status in the states. But whether or not you’ve heard them before, you haven’t heard them like this. Back with a truly metal edge, a new non-classical vocalist, and a vengeance album for the ages, newcomers, long-term fans, and past haters won’t be able to avoid falling for this one. Former frontwoman for Alyson Avenue, Annette Ozlon’s voice is a welcome change from Tarja Turunen, bringing an edge back to the music, as well as complementing—rather than clashing—with bassist Marco Heitala’s rough tenor. As always, keyboardist/composer/lyricist Tuomas Holopainen delivers both musically and aesthetically on every song. Literally every track shimmers, with “The Poet and the Pendulum” standing as what can be considered Holopainen’s crowning achievement. Don’t bother thinking this purchase over; get it now. –Kat Kellermeyer

October File
Holy Armour from the Jaws of God
Candlelight
Street: 11.06
October File = Killing Joke + Helmet + Black Flag
There is some serious Killing Joke worship going on with Holy Armour From the Jaws of God, but that’s OK, even with Jaz Coleman, who makes an appearance on the record. Unlike Killing Joke, as of late the record does lack that industrial atmosphere; instead, there is a huge punk-rock and grunge influence seeping in. It’s this strange combination that makes October File unique. Sometimes it’s nice just to sit back and get pummeled by grooves and a knack for songwriting than listening to something intricately technical, which no offense, guys, you are not. That said, the band’s ability to strike attention is uncanny. Listeners are immersed in a world with foundations laid down by a huge beat-and-rhythm section, hearty bass lines and lead work that screams originality. –Bryer Wharton

Opeth
The Roundhouse Tapes
Koch Records
Street: 11.20
Opeth = Camel + (early) Katatonia + Porcupine Tree
Well, it had to happen—the band has a multitude of records, so the inevitable live album from the mighty Opeth was to be expected. It was recorded in 2006 at the Camden Roundhouse in London. I truly wish that when I have seen the band, their set-list was as varied as the set for this live recording. Admittedly, when you see the band live, they are a tight unit, but their stage presence is as about as exciting as watching grass grow. On recorded works, however, it’s a different story—Opeth is engaging and truly diverse instrumentally. Be prepared not to skip through any songs, with the shortest cut at eight minutes and the full, almost 20-minute version of “Blackwater Park.” As far as live records go, the production is top-notch, and the crowd sounds and sing-alongs are clearly heard. On top of that, there is a small amount of stage banter from frontman Mikael Akerfeldt, which is so lame it’s funny. –Bryer Wharton

Oren Ambarchi
In the Pendulum’s Embrace
Touch Records
Street: 09.17
Oren Ambarchi = Brian Eno + Bohren und der Club of Gore
Oren Ambarchi is from Australia and he is by tradition a guitarist. In his fourth release on Touch, he has implored more of an ambient style using strings, bells, pianos and of course, deep sub-bass synths. This is an incredibly patient album, one that requires a very specific state of mind. There are only three tracks, each between 10-18 minutes long, unfolding similarly into somewhere that is lacking destination; like driving through a tunnel that seems to have no end. There are plenty of lights along the way, but it is unimportant whether we ever see the light of day again. –Andrew Glassett

Origami Arktika
Trollebotn
Silber Records
Street: 10.16
Origami Arktika = Folk Music - kitschy stringed instruments + S. Stapleton
Origami Arktika is difficult to squeeze into a genre; it is super ambient, very atmospheric and very dark much of the time—these qualities draw me to it. Still, I am going to define it as folk music, based on the chant-like vocals and the fact that Trollebotn is based on Norwegian folklore from a region by the same name. This recording has a wonderful open-air sound and warm feel; reminds me of being in a deep, dark forest, you can sometimes hear a stream bubbling and a fire crackling in the distance. They use endless arrays of instruments and the vocals sound beautiful and sincere. I would recommend Origami Arktika to fans of bands like Throbbing Gristle and Nurse with Wound, but with an open mind towards a more “worldly” sound. –Davy Bartlett

Pain Principle
Waiting for the Flies
Blind Prophecy Records
Street: 11.06
Pain Principle = Devildriver + Pissing Razors + Pantera
Pain Principle is like a poor man’s Devildriver; I don’t think an original thought went into the creation of this band’s sound. If ever there were a time when recycling was bad, then it’s in the case of this entire Pain Principle record, which soon enough will truly be Waiting for the Flies. The notion of what these guys put forth further conveys my thought that just because music is heavy doesn’t mean it’s good. Every song on this 10-cut disc sounds like the one before—vocal patterns, drum beats, and especially the riffs and solos. Yeah, the music is heavy on the grooves, fast, a sort of death-metal-meets-thrash hybrid, but it has been done before and entirely better. The fact that Erik Rutan lent his name to the production of this album is a sad fact—what he was thinking I’m not sure.–Bryer Wharton

Pale Divine
Cemetery Earth
I Hate Records
Street: 07.17
Pale Divine = Black Sabbath + Saint Vitus + Pentagram
Pale Divine play your standard doom/stoner Sabbath worship. There are so many bands that play this style it’s almost mind-boggling. Standing out amongst the pack when achieved is something truly worthwhile; unfortunately, Pale Divine don’t do that. What they do give the metal world is a groove and hook-laden album that will get your toe a-tappin’. My biggest complaint is that the vocals lack that fire that could propel the band into better territory. The singer sounds labored the entire record, as if what is coming out of his mouth is completely forced; basically, that he’s trying to sound a certain way and it doesn’t work at all. So when there isn’t singing you have a cool record; with singing, you have an uninspired record. –Bryer Wharton

Paths of Possession
The End of the Hour
Metal Blade
Street: 10.17
Paths of Possession = Amon Amarth – the Viking stuff + Cannibal Corpse
Paths of Possession have been around for eight years, but they didn’t really make it on the underground map until 2005 when the band had their Metal Blade records debut, Promises in Blood, and most importantly, George “Corpsegrinder” Fisher (Cannibal Corpse) joined up as the band’s vocalist. The End of the Hour sees a progression from that debut to ultimately a tighter, more invigorating, diverse and just straight-up great death-metal record. Unlike Cannibal Corpse, Paths uses many melodies and a hell of a lot of slow grooves; the record’s first track, “Memory Burn,” has made its way into my list of favorite death-metal songs of all time. And, while usually a somewhat one-dimensional vocalist for Cannibal Corpse, Fisher, with help from backing vocalist Randy Butman, gives a vocal performance full of range. All these approaches pay off and Paths have given the extreme metal community a record that is a must-own. –Bryer Wharton

Pathosray
Pathosray
Sensory Records
Street: 10.23
Pathosray = Dream Theater + Symphony X + Fates Warning
The journey for Pathosray began in 2000, and lo and behold, seven years later, the Italian-bred prog/power metal band is releasing their debut record for the power-loving audience to indulge in. The album, as far as prog/power metal goes, is pretty standard for the genre. Which isn’t a bad thing at all, it embodies all the spirit of the big boys of the Scandinavian realm just as good if not better than some of their counterparts. The whole thing has that nice, epic metal feel, with big guitars and sweeping keyboards. The key strength is that the melodies are diverse and infinitely complex. The only bad part is the band throws in some obligatory power ballads and unfortunately, that is where the cheese overcomes the greatness in the band, I’d rather just listen to the rocking songs; it’s much more fun and nowhere near as silly. –Bryer Wharton

Pedro
You, Me and Everyone
Mush Records
Street: 11.06
Pedro = Can + Caribou + Fourtet
It is nice to know that in the face of the enormous indie/disco craze, there are still bands willing to make danceable music with acoustic drums. Pedro strikes a very interesting line of hip/hop beats, 60s instrumentation and deconstructed song structures. It is daring to say that Pedro has a more perfect formula of indie folk hip-hop than Caribou does, but they definitely have found a way to sound incredibly organic and lush without have the looming tag of indie rock on their shoulders. One of the most exciting parts of the album is the track “Lung,” which starts out with a saxophone riff very reminiscent of George Gershwin and slowly devolves into a smoky R&B club only to end up in a menagerie of orchestrated electronic sounds and drum samples. The constant is that funky dance beat, which could possibly play for hours and hours. –Andrew Glassett

Plumerai
Without Number
Siber Records
Street: 10.16
Plumerai = Denali + Fiona Apple
You’d think with dark songs similar to Fiona Apple’s and vocals in the same range as Denali, Plumerai’s album Without Number would be pleasing to listen to, but instead, it reminds me of all those teenage angst kids you see wandering the malls. The songs are so repetitive it’s hard to tell where one ends and the other begins. The only track on the album worth noticing is “Sin El Lagarto,” where Elizabeth Ezell’s whining voice is nowhere to be found; instead, you get the band’s instrumentals which includes a pleasant accordion jam. This album is one that I could easily fall asleep to, not because it is soothing in any sense, but because it is boring and has been made many times before by other post-alternative bands. –Lyuba

Pomegranates
Two Eyes EP
Self-Release
Street: 12.2007
Pomegranates = Pulp – Jarvis Cocker + Thurston Moore
Expect great things. From the get-go, your ears perk up to the vibrating notes of a keyboard, then the clap-along strumming of multiple guitars. And clap you will, along with all four band members during the hand-rhythm chorus on Nursery Magic. They all participate with singing, outstanding percussions and plenty of fuzzy guitar-picking. Each song has the right amount of sparse, imaginative lyrics mixed with instrumental rock movements similar to early Modest Mouse or more dancey bits like Pulp. Recorded as a live session within two days, the songs resonate with an almost lightly spiritual theme of two eyes seeing—or not seeing—the astounding physical world surrounding us. This first release will leave you yearning in anticipation for their full-length to be released Spring 2008 from Lujo Records. Jennifer Nielsen

Puscifer
V is for Vagina
Puscifer Entertainment
Street: 10.30
Puscifer = The epitome of Maynard’s self-idolizing
Maynard James Keenan’s solo album, known as Puscifer, is ridiculous. It reminds me of the scene in the movie Airheads when the record executive offers Brendan Fraser, a.k.a. Chazz, a record contract and he hasn’t even heard The Lone Rangers music. After Chazz finds this out, he exclaims, “For all you care, our music could be Pip farting on a snare drum.” Well that is all that Maynard is doing here. This music is him farting on a bunch of keyboards and drum machines. I feel bad for all the cool musicians’ names that he includes as co-writers on the songs. It doesn’t even seem like he’s trying. I don’t know if this is a joke that he thinks is funny or what. Maynard’s a putz! I wish that he would leave Tool. Because they would be a lot more entertaining as an instrumental band instead of having a douche-bag of a vocalist that blatantly disrespects their fans. –Jon Robertson

Raz Mesinai’s Badawi
Unit of Resistance
Roir Records
Street: 10.23
Unit of Resistance = a nation sick and tired of Bush
This collection of remixes actually began in 2004 at the Republican National Convention, when NYC musicians recorded songs of protest. These songs are now being interpreted in 2007 by DJ Spooky, DJ Olive, Soulslinger & Wordsound I Powa, along with others. The album has a slight glaze of political disquiet, but the majority of the album is a direct reflection of the personal generational confusion brought on by a president who is so completely out of touch with the youth of his country. It is completely disjointed and bizarre with considerable Eastern influence. The major theme is the focus on how President Bush systematically put an entire culture on trial instead of searching for understanding about why we were attacked in the first place. What is so great about this collection of remixes is that it doesn’t take itself too seriously; it is a way to cope with what has become of the political climate in America and the world. It, like the producers, are remixing their mindset of those days in 2004 and reminding us that a change is on the horizon. –Andrew Glassett

R.E.M.
R.E.M Live
Warner Bros. Records
Street: 10.15
R.E.M. = duh
This package is a great addition to an already fantastic arsenal of releases by R.E.M., whom, unless you’ve been in a coma for almost 25 years, has probably crossed your path at one point or another. Much of the content on this release is post-Automatic for the People, but there’s still an inclusion of some of the old classics for those, like me, who just can’t part with their late 80s—early 90s favorites. Inside is both the DVD of the entire show (or shows, as it was filmed across two nights) and two CDs covering the entire contents as well. If you’re a big fan, you probably won’t see much here that you haven’t heard before, save for maybe “I’m Gonna DJ,” but even for just the DVD alone, the price seems pretty reasonable. See you in Heaven, if you make the list. –Conor Dow

The Resonars
Nonetheless Blue
Get Hip
Street 10.16
The Resonars = the Hollies + the Byrds + the Ugly Beats
We’re living in an age of full-blown psychedelic revival. It seems almost everyone is wearing big glasses, playing vintage instruments and working on their pop-vocal harmonies. This trend has led to mixed results. For every band like the Makers, there are at least 15 half-assed groups fronted by a guy in an Austin Powers suit. This makes it especially refreshing to hear a band that comes to the table with all their crushed-velvet ducks in a row. Another fantastic disc from the kind people at Get Hip, Nonetheless Blue really shines. Proving themselves as garage-pop masters, the Resonars plow through a dozen chorus-heavy hymns that skirt the line between Buddy Holly and Todd Rungren. Perfect for those who like wearing tight pants and shaking their hips. —James Bennett

Rob Rock
Garden of Chaos
Candlelight
Street: 10.23
Rob Rock = Impelliteri + Halford + Bruce Dickinson
From the beginning riffs of Garden of Chaos, you know you’re in for a mother of a metal record. The thing just screams classic metal and when you’re done listening to it, there is no question you should have metal running through your veins. Rob Rock, also known as the vocalist for Impelliteri, has dished out multiple solo records; goes to show the guy’s got talent. Working with producer Roy Z, who has been behind the mixing board for the bigger metal voices in the world, you know, like Halford and Dickinson, just helps solidify the singer’s talent and the fact that the end result is an awesome record. The record, while its foundation is in classic metal, does have that power-metal edge mainly from keyboard use, giving it a slightly more modern style. If you crave blazing metal riffs and solos and those lovely falsetto vocals sung with range and a catchy nature, then as Rob says, “You can’t kill the metal breed!” –Bryer Wharton

Santa Claws and the Naughty but Nice Orchestra
And Christmas for All! The Holiday Tribute to Metallica
Christmas Rock Records
Street: 10.23
Santa Claws and the Naughty but Nice Orchestra = a holiday bastardization of Metallica songs
Call me Scrooge, but is there any holiday less metal than Christmas? Taking the angst and darkness of classic Metallica songs and turning them into delightful holiday tunes is no easy feat, and this tribute ultimately fails its goal. The lack of varied instrumentation gets annoying extra quick. The underlying melodies from Metallica songs, like “Fade to Black,” “For Whom the Bell Tolls,” and “Wherever I May Roam” are there, but this orchestra’s use of bells in every damn song is horrific. I mean, not every Christmas tune has jingle bells dancing along with it. Not only has the orchestra butchered Metallica tunes, but they have put out Christmas tribute albums to AC/DC and Green Day; it all seems like a ploy to buy into fans of said bands. This attempt would be mildly entertaining if they stuck to the more melodic Metallica tracks, which wouldn’t be bad for holiday party background music, but trying to take the speed from “Master of Puppets,” and “Battery,” sheesh—the songs don’t even remotely resemble the originals. Bah Humbug! –Bryer Wharton

Saul Williams
The Inevitable Rise and Liberation of Niggy Tardust
Self-Released
Street: 11.01
Saul Williams = KRS-One + Nine Inch Nails
Like so many Trent Reznor-produced projects, the world wondered if this album would see beyond the walls of his dimly lit studio. Regardless, would Williams and Reznor, aided by disparate ears belonging to Thavius Beck, Atticus Ross and CX Kidtronik, churn out anything worthy of either artist? This album is a wonderful hydra, heads sharing the same body but retaining an even share of Reznor’s and Beck’s always-remarkable music and production (!!) and William’s cool, confrontational austere. “I have a lot to say, but I wanted to find a way to say it that didn’t get in the way of me dancing my ass off,” says Williams, an accurate description of these sometimes-muscular (the slinky march of “Break,” the Public Enemy sample-driven “Tr(n)igger”), other-times delicate and gutted (“Raw”), always-cleverly-eclectic, meritorious songs. At the eleventh hour of 2007, you now have a new favorite record. –Dave Madden

Scarpoint
The Silence We Deserve
Blind Prophecy Records
Street: 11.06
Scarpoint = Meshuggah + Fear Factory
Hailing from Sweden, it is no coincidence that Scarpoint are following closely in the footsteps of Meshuggah. They even brought in Daniel Bergstrand, who has produced the majority of Meshuggah’s records. That said, the band took quite a while to hone their skills; seven years in fact, before producing their The Silence We Deserve debut. That time was well spent, because where many bands have taken a sound and totally copied it, Scarpoint have crafted something unique. The beat patterns and riffs are unique to the band and damn brutally heavy; this thing is like taking a sledgehammer to somebody’s perfectly designed home and having that ultimate destructive release. With such a high originality factor and honestly extreme power, these Swedes have given the world something worth listening to more than once. –Bryer Wharton

Serj Tankian
Elect the Dead
Serjical Strike/Reprise Records
Street: 10.23
Serj Tankain = System of a Down – the intensity
Well, SOAD is on hiatus, so it’s not surprising to have this solo work from the band’s singer, Serj Tankian. The man is extremely active in the political world as well as the musical realm with his Serjical Strike label. Comparing his work to SOAD is unavoidable. Ultimately, it sounds a hell of a lot like SOAD, only a lot more melodic. I’ll give the guy credit, he has tried to create a diverse record and get away from previous realms. There is use of many instruments and the melodies are complex enough to keep attention and keep the songs from melding together. His lyrical subject matter is not something to be taken lightly; it requires exploration and deep thought. Face it, the man is a great poet and lyricist and he definitely sings with his heart and soul. As far as debut solo works go, I’m pretty sure Serj got the result he wanted and if the fans will get it or not, well, that’s up to them. –Bryer Wharton

Serpentcult
Trident Nor Fire
I Hate Records
Street: 04.23
Serpentcult = Thee Plague of Gentlemen + female vocals
Well, after Thee Plague of Gentlemen’s frontman got himself in a legal pickle, the band split up and the remaining musicians formed Serpentcult with Michelle taking care of vocal duties. What we have here is old style doom metal with groove laden riffs and a traditional 1970’s twist to it. My one complaint about this is that the first three tracks sound fairly similar to each other, none of which break any mold (or go outside of the 4 minute mark). It’s only right that the last track of this short 4 track EP is a Uriah Heep cover, and probably the highlight of the release for me. While this release goes by quickly, it is an enjoyable listen, and I will certainly be looking to see what they’ll pull off in the future. –Conor Dow

Sham 69
Hollywood Hero
SOS Records
Street: 08.21
Sham 69 = A hell of a disappointment
If Sham 69 were reunited, they should probably be divided. ’Nuff said. After the release of The A-Files (which I haven’t heard), Sham 69 should have just gone back to the rock they were hiding under, from what I’ve been told. I had a little hope, though. Cockney Rejects got back together and released Out of the Gutter, which was a godawful album. After that, they released Back on the Streets and showed that they had kicked their shit into gear. One could only hope Sham 69 could do the same. I was wrong. Sham 69 should be ashamed of Hollywood Hero, which is filled with subpar rock, not the oi! that any Sham fan would expect. Avoid this travesty at all costs. –Josh McGillis

Sinamore
Seven Sins a Second
Napalm Records
Street: 11.06
Sinamore = Sentenced + H.I.M. + Beseech
There must be something in the water in Finland; it is a breeding ground for great gothic metal/rock bands, be it H.I.M. or the 69 Eyes, to name a couple. Sinamore is poised to join in those mighty ranks with Seven Sins a Second. The melodies are thick and guitars just as thick and heavy, all catchy as hell. The key selling point with the band is the fact that the vocalist has a unique voice—more melodic and not as focused on being Type O Negative deep. Then there are the lyrics. Thankfully, it’s not your typical gothic babble; there is a greater intelligence to this record than the majority of the gothic rock out there. “The Burning Frame” is a prime example of how to do goth rock right—it sounds pleasing, diverse, mellowing and just downright well-written, not to mention boasting a guitar riff so damn cool you have to hear it again and again. –Bryer Wharton

Six Organs of Admittance
Shelter From The Ash
Drag City
Street: 11.20
Six Organs of Admittance = Comets on Fire + Current 93 + Bonnie “Prince” Billy
What I have always liked about Six Organs has always been the way that Ben Chasney, Six Organs frontman, has broached the idea of psychedelic music whether he means to or not. Instead of leading up to a fever-pitch of guitar screams and wild oscillations, he throws in his controlled guitar solos with the flow of the music, and wholly unexpectedly to the listener. In Shelter From The Ash, Chasney has mellowed the edge a little, thrown in some standard guitar tunings and has given this set of songs a darker, moodier wanderlust-folk twang. Songs such as “Strangled Road” and “Coming To Get You” are ghostly and desolate, buffering the louder, noiser tracks that surround them. More than any other album Six Organs has put out, this album focuses on the virtuosic use of the guitar and requires a good hour to set aside to really listen to it. –Erik Lopez

SOFT
Gone Faded
Sickroom Records
Street : 10.23
SOFT = Big in Japan but hopefully nowhere else
SOFT apparently has a lot of people fooled into thinking they’re something other than completely worthless, but I’m here to set the record straight. This band sucks. Sure, they might be musically talented and maybe they’re adept at disguising their lack of singing ability with vocal effects, but that doesn’t mean they can make good music. Their name should be your first clue. These boys are completely flaccid and as hard as a velvet blanket covering a box of baby rabbits. SOFT make soulless music with empty lyrics aimed at college-radio listeners who still haven’t figured out what good music is. Gone Faded is a travesty. It might be slick and easy to stand like a “no wiper,” but it’s still a piece of shit. All of the time, effort, and money spent making this album was completely wasted and that energy could have been directed at something more important, like making clothes for dogs. –Brian Van Steenkiste

Soul Merchants
1985-1987
Smooch
Street: 10.23
Soul Merchants = PiL + Bauhaus + The Cure
This obscure, short-lived Denver band plays a brand of music self-described as “psychedelic death rock.” That means lots of dark, tribal, dubby grooves, droning vocals, tripped-out effects and simple, repetitive guitar figures stretching out endlessly. Just the kind of thing I’m a sucker for. This is evidently “goth,” but like all great music, it transcends petty genre trappings. I would say if you want to get stoned and zone out to something late at night, this is your ticket, black eyeliner or no. That said, I’m not sure if I can fully recommend this 2-CD set, as the label only sent me a 1-CD “sampler.” What the fuck is that about? Hey, Smooch, do you want me to listen to and critique this music, or do you just want me to buy your shit? Thanks for releasing this collection. Now excuse me while I go download the rest of it. –Jona Gerlach

Space Eater
Merciful Angel
I Hate Records
Street: 10.23
Space Eater = Heathen + Anthrax + Agent Steel
Serbian thrash metal; now there is a rarity for you. Aside from the band’s name sounding like “space heater,” the music contained on Merciful Angel is what any thrasher could want. Speed is the key here and it’s faster than hell, all composed with great distinctiveness to demand authority. It seems like all these metalheads want is to get some recognition in the metal world and they deserve it, with no question. This record, while new, encompasses that old-school thrash value that many bands seem to steal influence from but can’t create a unique style from. The vocals play a huge role in the infinitely diverse songs; the singer’s high-pitched, shrill and falsetto vocals are something to behold. I wish I could hit notes as high as this guy does. Old-school thrashers will undoubtedly love this offering that gives new life to a traditional and timeless style of metal—thrash! –Bryer Wharton

Spetalsk
Spetalsk
Unexploded Records
Street: 08.07
Spetalsk = Mayhem + Darkthrone + Carpathian Forest
You ever come across one of those records that embodies the style of some of your favorite bands but it does absolutely nothing for you? Well, that is exactly what Spetalsk had done for me. Only receiving the promo for this and no bio information at all, I have no clue of any background information for this band, as if that might change my opinion anyway. The music is standard mid-paced black metal, total Mayhem worship, only not as remotely grim or raw. Although the vocals are pretty grim, that is about the best thing the record has going for it; the guitars and drumming are all pretty uninspiring and just seem like I’ve heard it all before, and it’s not even anything to become nostalgic about, just bored. –Bryer Wharton

Streetlight Manifesto
Somewhere in the Between
Victory Records
Street: 11.13
Streetlight Manifesto = Catch 22 + Mad Caddies
When Streetlight Manifesto released their debut album four years ago, it was a giant kick in the balls to the world of ska-punk: it was startling, powerful, and it took a while to recover from. The rapid-fire vocals, thoughtful lyrics, epic horns and operatic song structures elevated the genre to a place it had never been before, and they quickly became one of the few ska-punk bands that still matters. While Somewhere in the Between isn't quite as impressive or revolutionary as Streetlight's debut, it's still one of the finest ska-punk albums in a year that has seen its share of fine ska-punk albums. “Down, Down, Down to Mephisto's Cafe” retains the epic nature of Streetlight's earlier work, while “Somewhere in the Between” takes the 90s ska blueprint and injects it with plenty of bounciness and fun. Don't be scared of ska. This stuff's good. (Avalon: 01.04) – Ricky Vigil

Svartsot
Ravnenes Saga
Napalm Records
Street: 11.06
Svartsot = Finntroll + Korpiklaani + Amon Amarth
Bust out your Viking horns and get ready to pillage and plunder, because that is what Svartsot has intended to do with the Ravnenes Saga. Mixing a huge vibe of traditional Nordic folk metal with some big-time riffing and more growled vocals, Svartsot is one of the heavier folk-metal bands I’ve come across. The guitar melodies alone are beefy and manly enough to carry the record. Add some Medieval Times-style flutes and you’ll be biting into a giant turkey leg in no time. All stereotypes aside, this Danish band has concocted a metal record that is as fun as it is brutal; how often do you get that? –Bryer Wharton

Syrach
Days of Wrath
Napalm Records
Street: 11.06
Syrach = Novembers Doom + Black Sabbath + My Dying Bride
These Norwegian fellows have been around since ’93; strangely, you’d think they’d know how to arrange a good album. The first half of Days of Wrath is as drab and dull as doom metal can get—recycled riffs, little emotion and no diversity. It isn’t until the fourth song in “Stigma Diabolikum” that things get moving and the record actually makes you feel depressed in a murky dark realm with no escape. Unfortunately, the 14-minute epic that comes before said song is enough to put you to sleep. If it were up to me, I would’ve booted the first few tracks and left the rest as the album; that is where the true doom greatness comes into play. Riffs that bear the weight of the world envelope the listener into darkness accompanied by soloing that is downright deadly to the mind, not to mention the monotone death vocals from the beginning get changed up and truly make you hurt. Good thing you can skip to the good tracks on a CD, right? – Bryer Wharton

Tender Forever
Wider
K Records
Street: 12.04
Tender Forever = a French Mandy Moore + Elliot Lipp + Huckleberry Cherry
It’s nice to hear a female vocalist with no ego. Melanie Valera of Bordeaux, France, birthplace of Tender Forever, just brings truth and the conviction of a woman who knows her own strength. This album is very pure and fun. Wider is filled with deep and warm pop instrumentals and innocent lyrics. The beauty is in its simplistic melodies made out of low-toned Rhodes and Postal Service-esque synth-pop drums—oh, and don’t forget about the multilayered acoustic guitar riffs in the background. Listening to this record and knowing that it is the first installment, I wonder how many come after this. Melanie speaks in a language that never ends and I truly do not see an expiration date for her honest and intelligent approach to the music she makes. Wider is definitely a breath of fresh air. –Lance Saunders

These Are Powers
Terrific Seasons
Hoss
Street: 10.23
These Are Powers = PiL + Sonic Youth + Blonde Redhead
A weak-minded critic would describe this trove of post-pop songs constructed from broken stomp boxes and polyrhythmic umph, as “nothing you’ve heard before/truly unique/the band uses up influences and spits out an original.” He would most likely follow up with a dubious analogy such as “An unrelenting energy without queller, like a finger in an ever-tightening mechanical vice, or that feeling you get as you walk past an unchecked cellar door while a killer’s at large”. Further, he would immediately cite iconic female screamers Siouxsie Sioux, or Diamanda Galas to describe singer Anna Barie’s dynamic, possessed growl-to-a-croon; former Liars bassist Pat Noecker’s upside-down work would be “Like Peter Hook plus a Harmonizer,” and Ted McGrath’s drumming as “subtly pummeling, intricately fierce.” So I guess I won’t say this … wait. –Dave Madden

Thrice
The Alchemy Index: Vol. I & II: Fire & Water
Vagrant Records
Street: 10.16
Thrice = Thrice
“Tell me are you free?” reverberates on the track “Firebreather,” from the “Fire” disc of Thrice’s new extravagant four-disc, element-themed set, two of which—the aforementioned and also “Water”—are out now. Thrice have made themselves free of many things recently. Their last disc, “Vheissu,” set them free of any preconceived notions people had about their signature sound of metal/punk/post-hardcore with its evolution from such into a thicker, fuller, experimental vibe. More recently, Thrice became free of their major label, Island Records, and have found a new home at Vagrant. This road has led them to the freedom required to create The Alchemy Index. “Fire,” and “Water” find the band delving further into experimentation free of any restraints with one disc heavy, l “Vheissu,” and one totally alien to the band in its electronic breathings. Both are a venture well taken in this ongoing evolution of a talented band. –Jeremy C. Wilkins

Tom Brosseau
Cavalier
Fat Cat Recordings
Street: 10.23
Tom Brosseau = Sufjan Stevens + Woody Guthrie + folky goodness
Cavalier, Tom Brosseau’s 6th release in just three short years, combines much of the same vibrato-infused vocals seen in previous efforts. But what’s different about Cavalier is the remarkably heavy emphasis placed on these vocals, almost completely drowning out the acoustic guitar in parts. This isn’t necessarily a bad thing, especially for fans of Brosseau’s older work. For those unfamiliar with Brosseau, think of him as Bob Dylan singing into a voice modifier placed on the “feminine” setting. Singing about tales of lost love, Brosseau seems to draw a lot of inspiriation from 30s and 40s novels from the likes of Fante and Steinbeck, which is another plus for readers like me. Particularly blunt with his love-y song titles, such as “Kiss My Lips,” and “I Want This Moment to Last,” Brosseau is certainly putting his heart on his sleeve, and if you’re looking for a unique folk singer in the 21st century, look no further. –Tom Carbone Jr.

Totem
Totem
I Hate Records
Street: 04.27
Totem = Pentagram respect + female vocals
Totem, now known as Jex Thoth, have quite the release on their hands here. It’s only 20 minutes long, but everything about it has such an authentic 1970s feel to it, from the production to the Grace Slick-esque vocals. It’s heavy, it’s psychedelic, it’s crunchy, and oh my God, the last song absolutely jams. Gratuitous use of the crybaby pedal and slick use of the almost “carnival”-sounding keyboards really add an extra boost of awesome to all three tracks. I hope their artistic direction doesn’t change, even if their name did. If you like doom metal in any way whatsoever, pick this baby up. I’ll sleep better knowing that you did. –Conor Dow

Tuxedomoon
Vapour Trails
CBOY 1616
Street: 12.04
Tuxedomoon = The kings of making crazy-sounding pop music
Tuxedomoon have been around for 27 years, even though they didn’t really put anything out for over 10 years. Their new album Vapour Trails is all worldly-sounding. This music sounds like a perverted version of Kenny G. (if you can imagine anything more perverted), with all the creepy classical instrumentation and low, desperate moans drifting in and out of the music. Mike Patton probably lies in his bed at night and hopes and prays for Blaine L. Reiningers to turn out to be his long-lost illegitimate father. Tuxedomoon is a well-traveled and senile version of Mr. Bungle. I bet if you checked Mike Patton’s inner thigh, it would have a beautiful Helvetica-lettered tattoo of Tuxedomoon on it. –Jon Robertson

U2
The Joshua Tree 20th Anniversary Deluxe Edition
Island Records
Street: 11.20
The Joshua Tree = late 80s pop-rock culture at its finest
There is no doubt that The Joshua Tree was revolutionary in its combination of stadium rock and sentimentality, but what is so fascinating and somewhat disturbing is the video footage captured on U2’s rise to stardom. Bono has to be Bono everywhere he goes, even in the heartland of America when he is buying a cowboy hat or walking near passing trains while drinking beer. It is obvious that the members of U2 knew very early the importance of image and were very good at exploiting how important they felt they were. It was definitely a different time; people related to the call of U2 to come together, and U2 was more that willing to provide that service. This collection of two CDs and one DVD may not be worth the $50 asking price, but it will bring you back to jean jackets and flat tops galore and that is priceless. –Andrew Glassett

V:28
Violution
Vendlus
Street: 10.29
V:28 = Red Harvest + Dodheimsgard + the end of the world
Alright, folks, we have it—hands down the best album of 2007, no contest! Violution is the final part in a trilogy of album based on the concept of the end of humanity and technology taking over. This final part to that trilogy is the strongest yet and the darkest. Amongst some crazy riffing with a guitar sound as pure and original as it gets is a deep industrial backdrop setting the atmosphere to further convey this concept. Every song here is a mind-meld and more. When you’re done listening to the album, quite honestly, you will believe the end of the world is near, with no hope. The feelings that V:28 conjure up have to be experienced to understand the full power of it all. The songs are all technically challenging and you will find something new with each listen. Everything ranges from blazing fast to dirge-filled electronic doom. The vocal performances will have you shuddering with fear in the corner of your room. Not to mention the band also had a huge amount of help with this album collaborating with G.G.F.H., MZ.412, Lycia and Negru Voda. Garm also lends his vocals to the deadly haunting song, "The Absolute.” Witness the sonic equivalent of the end of the world with Violution. –Bryer Wharton

The Valerie Project
Self-titled
Drag City
Street: 11.20
The Valerie Project = Espers + Six Organs of Admittance + Charalambides
First off, I’m predisposed to liking this release based solely on its premise: pretty much everybody from the Philadelphia psych-folk scene collaborating on a new soundtrack for the (IMHO) brilliant Czech new-wave film Valerie and Her Week of Wonders. You have my interest, attention and support in this endeavor, ladies and gentlemen. But how did they do? Well, if you’ve seen the film (you haven’t, I realize this) you know that it already has an amazing soundtrack, and this doesn’t really come close. It’s too dour, too dark, and while Valerie is a dark film, it also retains a childlike sense of whimsy and wonderment that is perfectly reflected in the original score and noticeably absent here. However, this is meant as a tribute, not a replacement, and it’s quite a nice listen in its own right. Film geeks and freak-folk fans should definitely take note. –Jona Gerlach

Various Artists
Downtown 81 Soundtrack
Recall Records
Street: 11.06
Downtown 81 = James Chance + DNA + Liquid Liquid + Jean Michel Basquiat
My friend Bobby turned me onto this movie a few years back when we watched an old VHS copy of it in the Marriot Library. The movie is a nice historically relevant yet fictional account of New York during its no-wave heyday and like the movie, the soundtrack is diabetic. The soundtrack is amazing in two ways: 1) the music smoothly flows from one track to the next and 2) all the tracks on it are amazing! If you are a big fan of the New York no-wave scene, a fan of bands that followed their lead like Liars, !!! and Black Dice, then this soundtrack is a must-have. Better yet, get the movie as well. Soundtrack includes all the bands listed in the equation as well as Tuxedomoon, Gray and Lounge Lizards. DANCE PARTY! –Erik Lopez

Vesania
Distractive Killusions
Napalm Records
Street: 11.20
Vesania = Dimmu Borgir + Cradle of Filth + Emperor
Well, Vesania would sound exactly like Dimmu Borgir, except for their use of keyboards to create a symphonic atmosphere is a bland attempt. Song by song, the keyboard use, along with standard black-metal blastbeats, vocal-barking so on and so forth, all sounds the exact same and it’s downright boring and a blatant attempt to jump on the bandwagon of success enjoyed by Dimmu Borgir and Cradle of Filth. At least said bands have some creativity about writing the songs they do, and me saying that about Cradle of Filth is a huge compliment because I generally think that they are crap, too. This effort by Vesania is far worse and an insult to metalheads around the world. I don’t much enjoy listening to the same song roughly nine times over. Yes, copying a band’s style is a sincere form of flattery, but damn, at least try and do something remotely different. –Bryer Wharton

The Vision Bleak
The Wolves Go Hunt Their Prey
Prophecy Productions
Street: 08.31
The Vision Bleak = Disillusion + less prog, more grandiose
I first heard about The Vision Bleak almost three years ago and looked them up, only to find the top hat to be a tad silly. My listening experience of their first album wasn’t much different than that. Here we are two albums and three years later, and I’m actually quite impressed. Maybe my tastes have adjusted a bit since then, or they now have their shit together, or maybe we’ve met halfway. This is a decent album, and the appeal of it actually is because it reminds me of early Disillusion, who is responsible for one of my all-time favorite progressive metal albums, Back To Times of Splendor. Each track on Wolves sticks out, and is structured quite well and I can honestly admit that maybe I was wrong about them. Let this be a lesson to you; never judge a band by their top hat. –Conor Dow

WOELV
Tout Seul dans la Fort en Plein Jour, Avez-Vous Peur?
K Records
Steet : 12.04
WOELV = Ani Difranco + Autour de Lucie + the Breeders on a bad day
As SLUG’s resident francophone, I always look forward to reviewing French language discs. Still, I should institute a new rule when it comes to music made by French Canadians (les Qubcois). Everything Qubcois is a little off. Tout Seul, whose full title translates to All Alone in the Forest in the Middle of the Day, are You Scared?, is the work of Genevive Castre (translation: Castrated Jenny). It is a concept album, a record that attempts to united people who share the same fears. Using some rather sparse and timid musical arrangements, Ms. Castre works through a fair number of songs that deal with death, roosters, rape and other things people are afraid of. And though this decidedly feminine work has its high points, the bulk of it sounds like a lost little girl pretending to be Kim Deal. In all, it’s exactly what you should expect from K Records. —James Bennett

The Yarrows
Plum
Empyrean Records
Street: 12.18
The Yarrows = Neil Young & Crazy Horse + The Jayhawks + The National
Even though both performers hail from New Jersey, the boys in the Yarrows are not arena-rock like Bruce Springsteen. Just as manly-picturesque, The Yarrows sound more relaxed, more country, singing more love ballads; which could come from the experience of practicing and recording at an abandoned cabin in hundreds of acres of woodsy New Jersey. Or perhaps from the experience of long, stable relationships; as both vocalists—brothers Pierce & Matt Backes—thank their wives twice. Many of the songs might be a non-saccharine tribute to the wives of the band members, though I prefer the more general-themed rock-driven guitar of the final four songs. These are mature songs from a mature, tight-knit group of musicians who’ve been playing music for years, although this is their first attempt together. A nice debut. Jennifer Nielsen

Zombie Ghost Train
Dealing the Death Card
SOS
Street: 08.07
Zombie Ghost Train = The Sharks + The Quakes + Oingo Biogo
Zombie Ghost Train has once again amazed me with their ability to put together a record that is both inarguably in their standard creepy smooth style, but still refreshing and new. I do have to say “hats off” to SOS Records for recognizing a great band, even though they're radically different than the kinds of bands on SOS's roster. ZGT just knock down doors with their musicianship and the way they craft a song. While their first effort announced ZGT's presence on the international psychobilly scene, Dealing the Death Card is going help them take their proper place as one of the premiere acts of the genre and push them beyond. Songs like “13 Tears,” and “Long Dark Night” show just how original these boys are. I personally am so impressed with the large steps they have taken, like new guitar sounds and use of a theremin, to create something new. Not to mention that right before going into the studio, their drummer left the band, forcing the two remaining members to pull double recording duty to make this record happen. Just goes to show nothing is going to stop this runaway Zombie Ghost Train. –James Orme

Zs
Arms
Planaria Recordings
Street: 12.11
Zs = Locust + Lightning Bolt + Angel Hair + Canvas Solaris + mental institution
It’s arpeggio insanity—this music makes me want to pull my hair out and twist the nips. If I was in hell, this is what I would have to listen to every day non-stop. I feel bad that this band makes me feel this way. I juts can’t help it. Normally I really like experimental instrumental music, but I can’t stand the repetitive nature of Arms. It’s the same eight notes repeated for the entirety of the song, then the next song they pick another eight-note arpeggio. Each band member plays the exact same thing with hardly any deviation from each other the whole time. I respect the talent of the two guitar players, saxophonist and drummer for being able to match up so tightly, but this music drives me bonzo beans! You’re hardcore if you can handle listening to Zs. –Jon Robertson