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January 2008 - Issue 229

4 Bonjour's Parties
Pigments Drift Down to the Brook
Mush Records
Street: 12.04
4 Bonjour's Party = Modest Mouse + I'm Not a Gun
An eclectic and mind-boggling array of instruments float behind what can only be described as one hell of a pleasant trip in this expansive Japanese import. With Pigments Drift Down the Brook, 4 Bonjour's Party has delivers an incredible debut: unique vocals (sung both in English and Japanese) complement everything from stellar electronics to even the most obscure of wind instruments. The final product provides an amazingly varied aural experience that still manages to maintain a cohesive full-album feel. Not once did anything sound abrasive or out of place, which only contributed to an already incredible and pleasing listen. There is nothing quite like this on the market today, and with a debut album of this caliber, these folks are not likely to disappear from the radar anytime soon. –Ross Solomon

Airbourne
Runnin’ Wild
Roadrunner Records
Street: 01.29
Airbourne = AC/DC + Motley Crue
These Aussies grew up listening to hard rock from their home country and it shows. The AC/DC influence with Runnin’ Wild is huge; the guitars, beat and lyrical content all sound like they could’ve come straight from a classic AC/DC album. The only real difference is the vocals, which still even maintain a bit of that classic AC/DC snarl. This type of music coming from Roadrunner is a surprise and frankly, refreshing. It is slightly disappointing to hear the band is relocating to the U.S. Hopefully they won’t lose the influences that made their sound. Airbourne isn’t coming out and winning any originality contests, but they have put together a fun hard rock record, catchy in its lyrics and guitar riffs. Can’t get enough of that old hard-rock fun that’s all about women, breaking rules, booze, and just plain rocking? Then take a trip back with a modern take and start Runnin’ Wild. –Bryer Wharton

Alasdair Roberts
The Amber Gatherers
Drag City
Street: 01.23
Alasdair Roberts = High Llamas + my camp counselors
There is something wonderful about sitting around a campfire with your friends singing songs like “kumbaya, my Lord, kumbaya.” It’s probably because we don’t do that kind of stuff anymore. Thank God we have musicians like Alasdair Roberts to bring the campfire sing-alongs from out of the woods and thru our speakers. You can hear his Scottish heritage in his vocals, which are mellow and yet quite cheerful. It’s a good way to take a trip to great ol’ Scotland without actually leaving your home. The best song on the CD is “Firewater,” mostly because it sounds like it’s using some of the best homemade instruments: the spoons! Like our teachers always told us in grade school: K.I.S.S (keep it simple stupid). Which is exactly what Roberts does throughout the whole CD with simple guitar chords and lyrics. His keeping-it-simple strategy helps him stand out above the wallflowers of noisy modern metal, and alternative rock. –Lyuba Basin

Angantyr
Hvn
Self-released
Street: 04.01
Angantyr = Judas Iscariot + Wormtongue + Windir
This is completely wonderful, beautiful, and relentless art. Ynleborgaz , sole proprietor of Angantyr and Make A Change ... Kill Yourself is at the top of his game here. Hvn starts out with cello melodies which quickly turn into blistering guitar tremolo that sets the stage for most of the rest of the album, and while it doesn’t let up for more than a few minutes, it remains completely interesting and beautiful throughout. While this definitely is not Viking metal, many of the underlying melodies are reminiscent of pagan or Viking-tinged bands such as early Bathory, Windir, or even Ensiferum, creating visions of riding into battle. Almost all of the songs exceed eight minutes in length, creating an entirely epic experience. The last track, which is just over 17 minutes, is a serious contender for one of my favorite tracks of 2007. Hunt this album down and buy it immediately. –Conor Dow

Anna Kramer & The Lost Cause
The Rustic Contemporary Sounds of …
International Hits
Street: 01.22
Anna Kramer & The Lost Cause = The Donnas + The Kinks + Dolly Parton
Being the holidays, it’s only natural to want to get your yuletide on. You may even slide the dial to KOSY to catch your favorite “I’m down with Jesus, too” song. Lucky day, your particular jam happens to come on, you’re feelin’ it, then instead of Sinatra, you hear Alvin, Simon and Theodore, and every fifth word is replaced with “acorn.” That is Anna Kramer and the Lost Cause in a chestnutshell roasting on an open fire. For most of the tracks, her forced vocals and junior high school-caliber lyrics overshadow the fantastic grab-bag of toe-tappin’ country and old-school rock, leaving you wishing it were simply instrumental. However, a song like “The Wake” reveals a beautiful voice perfectly suited for the stellar tunes. Perhaps she’s just in pull-ups right now, but until she graduates to big-girl panties, you might as well buy a Kidz Bop. –Jessie Price

Annihilator
Metal
SPV
Street: 01.15
Annihilator = uhm, metal!
This aptly titled Metal album from Annihilator sees the band in sort of a rebirth, mixing the band’s classic thrash styles with its newer edge. The combo is by far the best Annihilator has sounded in a long time. Guitarist/songwriter/producer Jeff Waters enlisted help for this record with mighty metal brethren—guitarists from the likes of Danko Jones, Nevermore, Children of Bodom, The Haunted, Arch Enemy, In Flames, Lamb of God and Anvil, among others. The surprising thing with the album is that with so many guest appearances, you’d think the guitar sound and production would be scattered, but the record maintains the same guitar tone throughout and also produces some of the best damned guitar solos I’ve heard in a long time. A line in one song, “Army of One,” states, “Just one big family… hell bent, ignoring the trends… we stand united for something we believe in:” That sums up what Annihilator as well as thrash, new and old, is about. – Bryer Wharton

Avenged Sevenfold
Avenged Sevenfold
Warner
Street: 10.30
Avenged Sevenfold = a grouchy Escape the Fate
These dudes are fruity. I can’t believe that these guys are actually popular! I like that they all have cute little pretend names like Synyster Gates and Johnny Christ. These guys are truly ridiculous! The captain to all this goofiness is Mr. Bozo himself, M. Shadows. This guy looks the biggest poser tough guy of all time. They dress oh so pretty, too, and each member comes complete with generic sleeve tattoos. The music is horrible. It’s like a bastardized version of Pantera. I bet if Phil Anselmo heard someone compare his band to Avenged Sevenfold, he would probably drop a vicious hammer on them. Run and hide, Avenged Sevenfold, because Phil and the Pantera faithful are going to hunt your punk asses down—try not to cry! –Jon Robertson

Baby Dee
Safe Inside the Day
Drag City
Street: 01.22
Baby Dee = The Cowardly Lion + transgender opera singer
Is it a man or a woman? I still can’t tell. So after deciding Baby Dee had no sex, I was able to more or less appreciate the music that she was producing. Other than sounding like the Cowardly Lion in a Broadway interpretation of Wizard of Oz, there is something quite interesting about Baby Dee, but I don’t think I’d ever investigate what exactly that is. The one thing I did enjoy about this CD is the instrumental tracks at the end, particularly Bad Kidneys, which featured some very talented accordion-playing skills. Once I listened to the album, I was left with a rather uncomfortable feeling, like I just sat through 11 short musicals, or should I say, tracks, about Baby Dee’s bizarre childhood. She may want to start writing those instead of coming out with albums. –Lyuba

Balzac
Deep Blue: Chaos From Darkism
Misfits Records
Street: 07.31
Balzac = (old) Misfits + (old) AFI + good sushi
Balzac is Jerry Only’s only decent contribution to music since he decided to reform (and completely destroy) the “Misfits.” Of course, he’s not actually in Balzac, but he has released the Japanese band’s music stateside courtesy of his own … ugh ...”Misfits Records” imprint. On this release, it’s hard to tell if the band has matured or if they’ve merely begun imitating AFI unnecessarily. While there is no shortage of catchiness on “Deep Blue,” the boys in Balzac seem to be creating a caricature of their former (and much more satisfying) selves. Don’t believe me? The AFI-esque sing-alongs in “The Scare” alone will make you wonder if they imported Davey Havok for backing vocals or if they merely copied the hell out of “Black Sails in the Sunset.” –loveyoudead

Barton Carroll
The Lost One
Skybucket
Street: 01.22
Barton Carroll = Jay Farrar + Willie Nelson + Old 97s-esque lyrics
“And God created the wet dream and saw that it was very good;” but God needed a worthy soul to wield this powerful tool, so he sought for the disciple with the most stamina and found Barton Carroll soliciting hookers on the corner of 777th and Eden. Being impressed, God dubbed Carroll “The Patron Saint of Pillow Humping” and sent him to Earth. For those of us who subscribe to alt-country, Carroll’s “The Lost One” is 12 consecutive orgasms. It’s immediately loveable with familiar/comfortable musical arrangements and Carroll’s sincere delivery. However, it’s the grittily honest storytelling and Carroll’s fluctuation between a slight gruff tone and a falsetto that get the thighs quivering. Eighty percent of the tracks hang out at mid-tempo, but are balanced out by darker lyrics. In total, Barton Carroll’s “The Lost One” walks that fine line of satisfaction between lover and booty call. –Jessie Price

Biirdie
Catherine Avenue
Love Minus Zero Records/Drive Through Records
Street: 01.22
Biirdie = Rilo Kiley + Grandaddy + Fleetwood Mac + The Anniversary (2nd album)
Sometimes being taken out of your natural element can create beautiful music. The way we view things strange and new to us is often much different when compared to those who see these same things everyday. On their second album, Catherine Avenue, Biirdie addresses the aesthetics of how where we are and where we’ve been affect us, with the self-explanatory “LA Is Mars” being a perfect example. Also, the title track, “Catherine Avenue,” is about band member Kala Savage’s memories of her hometown of Chicago and evokes a nostalgic, almost dreamscape feel. Admittedly, once “Catherine Avenue” trickled into my ears, I was put into a hypnotic trance that lasted through the rest of the album. “Estelle” and “Petals” are also standout tracks, though the entire album shines brighter than the sun. The collage of alt-country balladry, pop sensibilities and rock blended by Biirdie cannot be expressed; it must be experienced. –Jeremy C. Wilkins

Black Mountain
In The Future
Jagjaguwar
Street: 01.22
Black Mountain = Coheed & Cambria + Arctic Monkeys + Built to Spill
The first song on this album, “Stormy High,” is a classic-rock barrage of crunchy guitar and pumping drums with vocals similar to Ozzie Osbourne’s. For all the bluster and energy, the track ultimately lacks anything of interest. This is a song one could expect to play on an upcoming version of Guitar Hero. Yet, instead of the video game ruining a perfectly good song, Black Mountain has ruined it in advance. Following the bland opening track, Black Mountain oscillates between the prog-rock ballads of Built to Spill (“Angels”), the darker side of Blur (“Wucan”), and the rock of Black Sabbath (“Tyrants”). The band even tries their hand at a heartfelt Rolling Stones-style ballad with “Stay Free.” In the end, Black Mountain is an indie-rock band pretending to be proficient at various musical styles, but failing to seem sincere or gifted in any way. Translation: Hipsters will love it. –Joey Richards

The Blakes
The Blakes
Light in the Attic
Street: 10.16
The Blakes = The Redwalls + Franz Ferdinand
I could see The Blakes becoming a guilty pleasure of mine. Yeah, it’s just another one of those “The” bands: The Vines, The Hives, The Strokes, etc., and they all sound very similar, but I get weak at the knees when I hear that dirty rocker yell, steady guitar and catchy bass line. So if you’ve heard the bands mentioned above, you’ve heard The Blakes, and if you’re into that kind of thing, this album is worth giving a quick run-through. Although they might not be very distinct in their sound, they know what they’re doing when it comes to the indie-alternative substance, especially now that it has become so mainstream. Of course, halfway through the album, it starts getting repetitive and mind-numbing, the kind of record you put on during a party when no one really cares about the music. So ultimately, unless The Blakes change their name and their guitar riffs, they’ll continue being the fairly talented musicians in the pile of other “The” bands that everyone is tired of listening to. –Lyuba

Brown Jenkins
Dagonite EP
Moribund Cult
Street: 11.20
Brown Jenkins = meat and Guinness shits
Ever wonder what diarrhea sounds like while it’s still in your bowels? Well, it seems that Brown Jenkins is taking a stab at answering this very question. But I don’t mean this in a negative way whatsoever; in fact, it is mostly music to my ears. Dagonite is 36 minutes of sludgy, loathsome, wet stool straight from Austin, Texas. While in theory it still is somewhat black metal, with the buzzing guitars and raw atmosphere, it actually stews together several styles and influences, resulting in one big uncomfortable movement after the other. While Brown Jenkins dares to tread into somewhat uncharted territory, this could potentially be as much of a curse as it is a blessing. Though I enjoy the content that is here, I don’t know if I could comfortably sit through a full-length release of this, as a good portion of the songs meander about in order to find their end. –Conor Dow

Bulldozer
Neurodeliri
Roadrunner/Metal Mind
Street: 09.10
Bulldozer = Venom + Motrhead + Tank
Coming straight from 1988, Neurodeliri is the last album from iconic Italian thrashers Bulldozer, thankfully re-issued courtesy of Roadrunner/Metal Mind. Not only is it the band’s last record, but it is dedicated to former member Dario Carria, who left the band early on to form his own band, aptly titled Neurodeliri, and later committed suicide for unknown reasons. So the remaining members created the album for him, which still maintains the thrash madness and greatness from their previous albums but added some new stylistic changes, including keyboard work that sounds kind of like a church organ, only more evil. It is a shame the band had to end so early on and the American thrash audience never really gave the band that much attention, but European and Japanese audiences followed them with fervor. Blasphemous, irreverent and all with that kick-ass old-school sound, this final outing from Bulldozer is well worth owning, be it just for its raw thrash glory or its crafty songwriting. –Bryer Wharton

Bulldozer
IX
Roadrunner/Metal Mind
Street: 09.10
Bulldozer = Venom + Motorhead + Tank
It’s kind of strange how the trends change; apparently, when IX was released, the media gave it poor reviews and trashed its overly-Satanic content. Nowadays, it seems like if you play metal and don’t have a little Satanism in you, there is something wrong with you. Well, strangely enough, I’m going to say screw the critics who gave this album poor reviews back in the late 80s. This is by far my favorite Bulldozer record of the four that they released. I’m not sure how much the re-mastering of this re-issue played a part in the production of the record; regardless, the album has a great sound. Compared to their other albums, it is the fastest, most sinister, basically just the heaviest of all of them. This sucker rocks my damn socks off. There is a big underlying black metal influence with the album in its vocals and guitar riffs. Seriously, guys, this record is just as good as anything Venom has ever done, so please, hail Satan and find this album however you can! –Bryer Wharton

Bulldozer
The Day of Wrath
Roadrunner/Metal Mind
Street: 09.10
Bulldozer = Venom + Motorhead + Tank
Originally released in 1984, The Day of Wrath is the first album from this mighty Italian thrash group. Even though this re-issue has been re-mastered, the record still contains that gritty old-school thrash flair with lots of fuzziness going on amongst the blazing guitars and drums. The particular sound makes for a fun listen—yeah, it may sound really similar to early Venom, but so what, that raw and evil sound makes listening to it so great. The band took a big risk playing thrash metal with plenty of anti-religious themes in Italy, a country dominated by the Catholic faith. In fact, before the band released their first full-length, two of its members left the band because their parents wouldn’t let them play the type of “blasphemous” music that the ’dozer plays. This Bulldozer album does just as much justice to the genre as any early Bay Area or German thrash bands ever did. –Bryer Wharton

Bulldozer
The Final Separation
Roadrunner/Metal Mind
Street: 09.10
Bulldozer = Venom + Motorhead + Tank
The Final Separation is the second album from proud Italian thrashers Bulldozer. In comparison to their first record, The Day of Wrath, the band definitely increased their production value; the fuzziness of their first album is gone and the instruments are clear and it’s easy to make out each thrashing riff and wicked bass-line, not to mention the drumming stands out huge, always keeping the tempo nice and fast. So as far as sophomore albums go, this record has surpassed the greatness that was the debut quite easily. Melodies are also more prevalent with The Final Separation. With each album the band has crafted, it carries its own atmosphere. With their first, the mood was a raw, nasty effort; this one has sort of a more rock vibe a la Motorhead and other NWOBHM bands. The solos are definitely plentiful and overall just great to listen to as well. –Bryer Wharton

Change
Self-titled
Hopeless/Sub City Records
Street: 11.20
Change = Modern day “Hardcore,” and “Metal,” l Chiodos, Saosin, Parkway Drive, etc.
When I think of hardcore, I don’t think of many of the bands on Change. I guess I’m more of a traditionalist. To me, hardcore is Sick of It All, Agnostic Front, Madball, Youth of Today, Judge, Gorilla Biscuits, Inside Out, Bold, Instead, Minor Threat, Bad Brains and so on. At some point I lost track of the direction hardcore went in and stopped paying attention. However, when I listened to the 21 tracks and watched the 17 videos on this CD/DVD compilation, most of it was impressive kick-in-your-teeth music, which I could respect, though it’s a far cry from what hardcore used to mean. The multi-layered compilation runs smoothly and is a must for all you new-school kiddies. Pick up a copy at your local Hot Topic and feel warm and fuzzy knowing that 5 percent of the cost will be donated to The Hot Topic Foundation for youth. –Jeremy C. Wilkins

Clock Hands Strangle
Redshift/Blueshift
Team Grizzly Records
Street: 06.15.07
CHS = Humble Rat + Nice Water Hostel + Kind of Like Spitting
Clock Hands Strangle has gone a long way with their first release, Redshift/Blushift, an album with complex poetry set to melody. With their trademark progressive folk style, this intriguing quintet glorified with the solid vocals of Todd Portnowitz, unveils Clock Hands Strangle’s continued growth and strikes a nerve in my eardrum and inner psyche. I fell in love with the musical composition of every song. This band has pure and utter control over their style on every track. Sometimes cold, ever so often humming, occasionally subtle, repeatedly sweet and smooth, this record stands out as one of the most progressive folk and rewarding acoustic debut albums to ever come out on Team Grizzly Records. There's a practiced, almost alert ease throughout the whole record. Depth without being deep, simplicity without being simple: it's hard not to walk away from Redshift/Blushift without a sense of great well-being. -Lance Saunders

Coheed & Cambria
Good Apollo, I’m Burning Star IV, Vol. 2: No World For Tomorrow
Columbia Records
Street: 10.23
Coheed & Cambria = Rush + prog/indie rock + Star Wars
I admit to being a Coheed nerd and have eagerly anticipated each installment of this epic saga. I have followed the storyline, (best as anyone could, given the complexity of it) of frontman Claudio Sanchez’s graphic novels, upon which the music in the band is based. That being said, it’s important to realize before listening to Good Apollo, Vol. 2, that this disc compromises the conclusion in the storyline. The album picks up where the climax from Good Apollo, Vol. 1 began to taper off. The tracks follow the same pattern as prior Coheed and have a similar sound, with a few new twists. There’s a definite feeling of conclusion and resolution that’s much easier to appreciate when put into the context of earlier albums. Without that frame of mind, the album could be a slight disappointment to the casual listener, though it’s a shining end to a beautifully dark tale. –Jeremy C. Wilkins

Connie Price and The Keystones
Tell Me Something
Ubiquity Records
Street: 01.22
Connie Price and The Keystones = The Dezi Arnaz Orchestra + Sly & the Family Stone + Peanut Butter Wolf
Whoever is in charge over there at Ubiquity Records deserves a big hip-hop high-five. Big Daddy Kane and Percee P on one record (someone tell Rick Rubin he can cut off that curtain of smell he calls a beard) the ultimate formula for a hit record has been found. Seriously, though, this album has great beats and great rhymes—so why does it just casually slide through like a pork salad from Cafe Rio? –Makena Walsh

Corpus Christii
Rising
Moribund Cult
Street: 11.20
Corpus Christii = Marduk (new) + Watain + Glorior Belli
Portugal’s Corpus Christii has made quite the name for themselves in the past 10 years. Rising is a pretty impressive release packed with 13 tracks, including an intro and an outro, which clock in at just under an hour. The vocals are the most unique thing about this band to me, which take on more of a gravelly “shout” rather than any grim screeching or roaring. I guess I can see why these guys are prolific, but overall, this album doesn’t have much of a lasting impression on me. The song structures are effective, but there’s not really many moments in all of this that would bring me back for more. Rising is recommended if you like black metal, but not so much if you’re for something that pushes any of the typical boundaries. –Conor Dow

Cyclone
Brutal Destruction
Roadrunner/Metal Mind
Street: 10.08
Cyclone = Anthrax + Exodus + early Metallica
According to Cyclone’s bio, when the Belgian band first released Brutal Destruction in 1986, the thrash competition was fierce and the band fell under the radar of the scene, ultimately falling into oblivion. Also another pointless fun fact about the band before the full-length came out: one of the members was Fear Factory’s Christian Olde Wolbers, who lived in Belgium prior to moving to the states and joining up with Fear Factory. As a thrash lover of all sorts, it is a shame that this band got passed over in the scene; I would have loved to be able to hear more from the band just based on the greatness of Brutal Destruction alone. The guitars are tight as hell and when they aren’t slamming your face into the pavement, there is a slow, nice, groove aspect going on. The vocalist is just plain awesome, partially sounding like Joey Belladonna, but he throws in some screams and extremely high falsetto vocal shrieks that are totally unique to the genre. –Bryer Wharton

David Shrigley
Worried Noodles
Tomlab
Street: 10.23
Worried Noodles = David Byrne + Liars + Trans Am + 36 others
Known for his crude line drawings that depict silly, hairy, aggressive psychosexual characters with significant deformities in absurd situations, David Shrigley abstracts his weirdness into words with Worried Noodles. This two-disc compilation is 39 various indie-rock artists who crafted songs from Shrigley’s poems. Most of the tracks are obnoxious, like Shrigley’s drawings, but amusing all the same, as with the lyric, “Give that baby its bible back.” However, the mega-song booklet of drawings and lyrics would have been satisfactory enough. –Spanther

Dirty On Purpose
Like Bees
North Street Records
Street: 01.15
Dirty On Purpose = Yo La Tengo + Big Muff + Williamsburg irreverence
The first track on Like Bees, “Audience in the Room,” caught my attention immediately. As soon as the guitars start, I thought of My Bloody Valentine’s Loveless, an album I hold in high regards as the recording with the fuzziest guitars ever. Dirty on Purpose have an unmistakable original tone. Their shoegaze pop songwriting makes easy reference to Yo La Tengo, but to me, early Sonic Youth comes to mind. The remainder of the EP includes a new instrumental track, a true-to-the-original cover of “Send Me an Angel” (remember the 80s BMX movie, RAD?), and two tracks recorded but left off of last year’s stellar release, “Hallelujah Siren.” The cover is catchy, the instrumental track is kind of sleepy, and the two “B-sides” kind of seem like leftovers. These are all fine qualities for an EP release and if the new song is an example of what is to come from Dirty on Purpose, I will be sure to continue to pay attention. –Davy Bartlett

D.O.A.
The Black Spot
Sudden Death Records
Street:
D.O.A. = D.O.A.
The Black Spot, originally planned to be recorded in 1995, was briefly sidetracked by the death of D.O.A.’s drummer, Ken Jensen. In fact, that’s what this re-release is all about: a tribute to all of the friends D.O.A. has lost in the past years. The album contains what D.O.A. is known for: smooth punk rock tunes, politics, humor, and Joey Shithead’s strange (one could even call it silly) singing voice. The Black Spot even has some of the best work that I’ve heard from D.O.A.—“I Know Who You Are” being one of my favorites—and I highly suggest this to any fan of Canada’s favorite punks. –Josh McGillis

Doro
All We Are – The Fight
Locomotive Records
Street: 11.20
Doro = legendary hard rock vocalist
The worldwide popular Doro Pesch states, “I wanted to do this album for true fans,” and that is most likely so, because I know this isn’t the female vocalist’s best work; it is a collection of rarities, featuring five audio songs and five videos. Two of the videos are also audio tracks, so there is a bit of repetitiveness going on with the album. The music pretty much plays the themes of 80s hard rock, a couple power-ballad tunes, and a Led Zeppelin cover. The songs are fun, as brief as they may be. “All We Are,” a song that Doro originally wrote for her first band, Warlock, is great to sing along to and so is “On My Own.” The videos are a mix of live and music videos all featuring the blonde rocker Doro in her true form. The live vids are definitely the highlight of the disc, showing plenty of crowd shots and pretty much giving an idea of how popular Doro really is. Hardcore fan or not, the CD is a fun look into Doro and just a sample of her great hard-rock material. –Bryer Wharton

The Eels
Useless Trinkets/Meet the Eels: Essential Eels
Geffen Records
Street: 01.15
Eels = Captain Casey + Marcys Playground + Jon Brion
The Eels are a very abstruse band. I say that because of their innate ability to follow through with brilliant albums—one after another. This time around, they thought it would be a good idea to drop a CD/DVD gem; Meet the Eels: Essential Eels & Useless Trinkets. This collection of B- sides, soundtracks, rarities and unreleased tracks from 1996-2006 carves the Eels in stone as one of the most acclaimed alt-rock entities of their time. Filled with oldies that deliver a sense of comfortable nostalgia and new tracks that hold true to the Eels sensibilities, I couldn’t be any happier with this double-disc release. This package also includes a large handful of BBC performances, unique live versions of “Novocaine for the Soul” and “My Beloved Monster,” tracks from films like How The Grinch Stole Christmas and Levity, and tracks which frontman Everett performs with a 28-piece orchestra. In short … dopey-dope. –Lance Saunders

Electric Wizard
Witchcult Today
Candlelight/Rise Above Records
Street: 11.18
Electric Wizard = Fucking Electric Wizard!
Electric Wizard is pretty much regarded as a “holy” band in the realms of stoner rock and doom metal, and for good reason: Dopethrone single-handedly helped define the sludge-metal genre upon its release. The problem is that Jus Osborn lost his rhythm section (and most of the bad-assness) of his band before 2004’s We Live. Granted, Liz Buckingham’s presence alone on “Witchcult Today” demands respect, but it’s just not enough to make this amazing. Now, don’t misunderstand me—this is still one of the best releases of this year, and is in no way short on the heavy, but it’s just not the Electric Wizard we’ve all come to know and love. Not that it matters … it just gives us all the more reason to load a bowl and ingest the low-end. Pick it up for “The Satanic Rites of Drugula,” and let the Sabbath-worship commence! –loveyoudead

Eric Matthews
The Imagination Stage
Empyrean Records
Street: 01.22
Eric Matthews = Brian Wilson + Barry White
In an effort to synthesize his music in both concept and execution, Matthews resolves for transcendence in imaginative dreamland, into “something other-ly.” The Imagination Stage is definitely dreamy. Strings, conservative synth, playful piano, drum loops, and Matthew’s lilting, breathy voice are all composites that elicit filmy-eyed daydreaming. I’m not sure where the “other-ly” comes in, or what’s beyond the smoky glass, but poppy warm numbness is all the rage on this stage. Set in and set out. –Spanther

Floodgate
Penalty
Roadrunner/Metal Mind
Street: 11.20
Floodgate = Only Living Witness + Life of Agony + Down
Floodgate has a specific sound to their brand of stoner rock, mainly due to the fact that the original version of the band contained members of Corrosion of Conformity and Down. The band also features Kyle Thomas of the short-lived but famed thrash act Exhorder. For some reason, Penalty is getting the re-release treatment even though the album wasn’t all that well received when it came out. I can see how it could get mixed reviews; while it’s enjoyable to listen to, the songs run together and nothing really stands out. The band does have that Southern stoner-rock style that has become very popular and the vocals are actually the more original part of the music. The guitar riffs are catchy at times, but again, nothing stands out; the album just seems to fade into mediocrity. –Bryer Wharton

Gamma Ray
Land of the Free II
SPV
Street: 01.15
Gamma Ray = Helloween + Iron Maiden + Manowar
Sequel albums can be a gamble; Queensryche’s Operation Mindcrime 2 was a horrible attempt at recapturing the band’s former glory. But in the case of long-standing German prog/power metal outfit Gamma Ray, they are in luck because this is the first time I’ve heard a full album from the band, so I can’t compare it to anything they’ve done. Land of the Free II captures every aspect that is great in power metal, awesome multiple-layered guitars full of power, crunch and ear-bleeding solos. They have vocals that resemble great 80s metal icons’ but also contain their own sense of being and originality, and they are lyrically fun, positive and catchy as catchy gets. If you crave metal that is diverse, original and hellbent on giving you a great guitar show, then find pleasure in Land of the Free II. Great records stand alone and don’t require comparison, which is exactly what Gamma Ray has done. –Bryer Wharton

Genocide
Apocalyptic Visions
Vn Records
Street: 09.28
Genocide = 2nd-wave black-metal tribute
There are at least 21 metal bands in existence with the name of “Genocide.” Unfortunately, this also depicts how unique this particular band from Germany (one of three) is. However, one thing about black metal is that you are not required to give a shit about what anyone thinks when it comes to forming a band. Although this detracts from any potential artistic integrity by re-hashing the same old shit over and over again, it’s not necessarily a bad thing to stand steadfast—but not necessarily tall—when compared to your peers. All that said, this release is completely old school, drawing from all of the typical influences which makes for a fun listen but nothing rewarding. However, one thing that is notable is the vocals, which are particularly high pitched, and really remind me of Italy’s mighty Nazgl, which is not a bad thing at all. –Conor Dow

Geronimo
S/T
Three One G
Street Date = Available Now
Geronimo = T-Cells + Danny Elfman + Bernard Herrman
If haunted houses were in outer space, and there was sound in outer space, Geronimo would undoubtedly be my No. 1-choice soundtrack. Intensely repetitive and terrifying, this record is seeking more to break ground in electronic minimalist composition rather then rock the clubs or make the “kids” move their “feet.” The soundtrack-like feel of this record works well for driving, avoiding tasks at work, or any other activity where you’d rather feel like you were on a terrifying space quest. There are few valid comparisons to this record; the sound is a unique pairing between acoustic-sounding drums and an onslaught of analog sweeps and guttural guitars. Highly recommended. –Ryan Powers

Giant Mirrors
In The Comfort Trade
Self Released
Street: 01.16
Giant Mirrors = Alexander Kort + Brian Eno + (a young) Neil Young
Experiments are fun. Remember when your first experience with vinegar and baking soda or a lit firecracker flushed down the toilet? I do. My point is, experiments can sometimes turn out better than you ever hoped (i.e., this album). Giant Mirrors was created “by placing two potentially volatile elements together to see if they can produce something worth a second look,” or, in this case, a second listen. In The Comfort Trade is the freshman effort from Giant Mirrors, filled with sound and expression. Lyrics touch on the intellectual and stay afloat with their ever-present vibe of suggestive incoherence. Giant Mirrors has a knack for confusing the listener to the point where you find them holding your attention and choking any thought of disdain while endlessly streaming their chords through your consciousness. –Lance Saunders

The Great Kat
Worship Me or Die!
Roadrunner/Metal Mind
Street: 10.08
The Great Kat = the fastest female guitarist ever!
The story of The Great Kat is an astounding one; her real name, Katherine Thomas, was trained classically, earning a full scholarship to the Julliard School in New York at the age of 15. Somehow she turned her attention away from classical music to thrash metal. Worship Me or Die! is her first album, originally released in 1987. The guitar-playing is downright amazing, full of technicality and faster than a speeding bullet. A female even in the late 80s playing thrash metal was something pretty much unheard of, but it even took more guts and strength for this femme fatal to use lyrics telling people to well, worship her or die, or “Kat Rules!,” or my personal favorite, “Kat possessed your body and your soul, now you shall obey me and be my slave!” The lyrics may be slightly juvenile, but at that time, what thrash metal lyrics weren’t? The whole package shows Kat’s initiation into the thrash-metal genre and provides only an inkling of what was to come. This record is a must-own for any self-proclaimed thrasher. –Bryer Wharton

The Great Kat
Beethoven on Speed
Roadrunner/Metal Mind
Street: 10.08
The Great Kat = Beethoven gone metal
The classically trained Great Kat’s goal to take her passion for classical music and turn it into something more modern was achieved and then some with her second album, Beethoven on Speed. This, quite honestly, is one of the coolest thrash records I’ve ever heard. Kat can shred it up with the best of any thrash guitarist out there, hands down. Like her debut, the music is supremely fast. It isn’t just speed that makes this record amazing; it’s also how Kat composed the classical works and made them fit into metal note for note. The album has songs taken from Beethoven’s symphonies as well as Paganini, along with other original material. Kat’s version of “Flight of the Bumblebee” was actually submitted to the Guinness Book of World Records Pestilence for the world’s fastest guitar-playing. “Funeral March” is Kat’s rendition of a piano sonata by Chopin turned guitar. “Sex & Violins” actually is not a guitar song; the first portion is Kat playing the acoustic violin, and the second is her playing an electric violin. The variety and technicality of the whole album is just astounding, truly amazing. –Bryer Wharton

Horna
Sotahuuto
Moribund Cult
Street: 11.06
Horna = the AC/DC of black metal
Oh fuck, it’s the Finnish kings, Horna! Nothing stops these guys from releasing an impressive amount of material, and doing so since before I had chest hair. Rumor has it that Sotahuuto is a tribute to the mighty Bathory; any respect given to Bathory is nothing but a bonus. While some bands that were around during the incarnation of the 2nd wave of black metal might change artistic direction, get into legal trouble or part ways for various reasons, Horna keeps waving the flag of the Left-Hand Path respectably. This album is probably more of what you’d expect, but packed with a bit more straightforward songwriting compared to the previous, more experimental release, ni Yss. In the scope of black metal, they might not be pushing any boundaries, but they certainly aren’t backing away from what they started. –Conor Dow

The Houstons
Still
MoRisen Records
Street: 01.01
The Houstons = melodic Drive By Truckers + Yo La Tengo
I wonder if North Carolina is far enough south to inbreed the culture of country music in every person, creating a need to sing about loss and redemption. Originally, Justin & Matt Faircloth were just a two-piece known as The Houston Brothers. Taking a break beginning in 2004, it seems they may have experienced the event of their own songs (like cheating death) before reforming with additional members into the part-country, part-indie-pop, multi-instrumental production of The Houstons. This isn’t redneck country music. This is lush and orchestral, well-timed and highly produced alt-country. Not as traditional as Band of Annuals, but just as beautiful with piano, violin, guitar-pickin’ and deep vocals sounding at times like Jeff Tweedy. If you want music to follow up Kevin Drew’s solo album, I highly recommend Still. –Jennifer Nielsen

Intronaut
The Challenger
Translation Loss Records
Street: 10.30
Intronaut = Mastodon + Skitsystem + Slayer
Hmm. I don’t know whether to be stoked or annoyed with this release. Essentially, an EP with four new songs, five live tracks and a remix, “The Challenger,” seems like more-or-less a gauge for this band’s mass appeal. While the new stuff available here is pretty heavy and, well, “mathy,” I’m having a hard time paying it much attention. The musicianship is second to none, and the songwriting is stellar, but these lads would have been better off hunkering down and writing an entire full-length as opposed to wasting decent tracks on this unnecessary release. However, if you like metal and are looking for something more challenging than Lamb of God, Killswitch Engage, or whatever other band FYE’s currently touting, this is an excellent starting point. –loveyoudead

Jesu
Lifeline
Hydra Head Records
Street: 10.23
Jesu = Godflesh + Techno Animal + Head of David
I literally don’t have the faintest idea how to explain Jesu to the uninitiated, so I won’t even try. Rather, I’ll stick with a quick overview of Justin Broadrick and Co.’s latest EP. In short, it’s almost overwhelmingly intoxicating. The mix of absolutely crushing guitar, drum programming, and back-in-the-mix, downtrodden vocals make for an entirely ethereal listen. The third track on the four-song EP, “Storm Comin’ On,” features the legendary Jarboe on vocals, and she gives an astounding performance, at once reminding me of her most upbeat Swans performances coupled with Kate Bush. From beginning to end, this EP (as with other Jesu releases) is almost maddeningly repetitive—in a good way—and entirely addictive. –loveyoudead

King of Prussia
Save the Scene
Kindercore Records
Street: 01.29
King of Prussia = Belle and Sebastian + Matt Costa + incense
Take Tommy Chong petting a baby deer, a polo/khaki combo, the stinging musk seeping from the pores of every Abercrombie and Fitch store and a gentle summer breeze, and put it all together at a pro-choice rally and you've got King of Prussia. I promise you'll picture the exact same thing—pinky-swear. If clarification is required, the answer to this band is in the title of track 2, Shades of Hippiedom. "Save the Scene" is 100 percent relevant to what's going on in popular music today. Its "peaceful, easy-feeling" tunes coexist with a more serious and sometimes political lyric, making it perfect for collar-popping kids who are too cool for the Top 40 and less than prepared for the underground. It's a harmless collection of catchy numbers, and goddamnit, if the cool kids like it, then you know it's good. (Insert thumbs up). –Jessie Price

Larry the Cable Guy
Christmastime in Larryland
Warner Bros
Street: 10.30
Larry the Cable Guy = Potty jokes + 60 minutes of pain
I suppose before I begin, I should say that I was not a big Larry the Cable Guy fan before listening to this disk. That being said, this disk fell short of even my meager expectations for Larry. The album is set up as a classic radio show, with a mix of skits and faux advertisements blended together and poured into a giant cup of patriotic poor taste. This album literally feels like it was written on the spot in the studio with nothing but a tape recorder, some circa 1980s sound effects and a bottle of cheap scotch. None of the jokes even attempt to reach above the belt in this sad testament to why saying “Git ‘r done” should probably be punished by having your mullet removed. –Jesse Kennedy

Lizzy Borden
Appointment With Death
Metal Blade
Street: 10.30
Lizzy Borden = too many 80s bands to list
Starting up in 1985, Lizzy Borden has become a staple in the glam/shoc--rock scene. Each record since ’85 has been conceptual Borden elaborates on the concept for the new record obviously about death: “Being overly morbid would bring nothing new to the concept … Death is all around us … waiting to strike fear in the living … I tried to explore those ways in the most poetic way that I know how.” Honestly, the only way you could tell this record didn’t come straight out of the 80s is its production value from knob-turner Erik Rutan, who normally dabbles in death metal, so this is something new for him. The end result is a strikingly fun 80s metal romp packed with stellar guest performances from Rutan, as well as George Lynch, Dave Meniketti and Corey Beaulieu, all coming from completely different bands. If you love guitar-based rock/metal with a fun concept or are just plain stuck in the 80s, give Mr. Borden the credit he deserves and own this glorious package, not only for the music but the great photographs/liner notes. It’s all campy, but it’s fun as hell. –Bryer Wharton

London After Midnight
Violent Acts of Beauty
Metropolis
Street: 11.6
London After Midnight = Marilyn Manson + Velvet Acid Christ + Rammstein
To be honest, London After Midnight is a band I’ve heard of for years, but I had never actually mustered up the courage to listen to. Having made this confession, this release is pretty much awesome. Any industrial/rock band that can successfully integrate a flute and a full brass section into a song called “America’s a Fucking Disease” automatically gets kudos in my book. Vocally, LAM reminds me a TON of Marilyn Manson when he was at the top of his game, while musically being much more fulfilling and less one-dimensional. Easy on the ears, heavy on the ideology and wholly fulfilling. Good job, fellas. –loveyoudead

Mago De Oz
A Costa Da Morte
Locomotive Records
Street: 11.20
Mago De Oz = Skyclad + Blackmore’s Night + Jethro Tull
In all honesty, I had never heard of Mago De Oz before listening to this double-disc live record from the Spanish prog-metal band. But after listening to it many times, I’m interested in digging up the band’s catalogue. Unlike most European prog/power metal bands, Mago De Oz has the guts to use their native language, Spanish, of course, that in itself is a statement of the unique style of music the band plays. There is a plethora of instruments being used along with the traditional guitars, bass and drums, like violins, flute, keyboards and much more. The diverse assault of great guitar work with elements of folk and Celtic styling is huge, making everything upbeat and full of wonderful melodies. The only complaint I have is that the vocals are a bit too high in the record’s sound mixing, and no offense to the band, but the stage banter is all in Spanish and there is a hell of a lot of it, I mean a hell of a ton of it, so it’s frustrating after a while not to know what the singer is saying. Anybody know Spanish and want to help me out? –Bryer Wharton The Mahones Vs. Catgut Mary (split)
World Heavyweight Championship
Mustard Finnegan’s Good Time Rock-n-Roll Emporium
Street: 11.12.07
The Mahones & Catgut Mary = Flogging Molly + The Pogues + The Dubliners + Dropkick Murphys
Though I don’t listen to much Celtic punk, I was impressed with The Mahones’ and Catgut Mary’s split EP. They both have more of a Celtic sound than a punk sound, which was pleasing. I would have been very disappointed to find another Dropkick Murphys knock-off band. With a more traditional Irish sound, The Mahones deliver an album that could turn a blues bar into a friendly pub. Catgut Mary also has more of a traditional music style, but packs a gruff, very aggressive singing voice l Dropkick, but better. It seems to me that in a title fight, these two would knock out the biggest Celtic punk groups around. –Josh McGillis

The Mary Onettes
The Mary Onettes
Labrador
Street: 05.07
The Mary Onettes = The Cure + New Order + Modern English
More than simple nostalgia for the 80s, these Swedes remind why dream-reverb guitars, charged beats, and resolute love lyrics are still shaking dance floors and causing tweens to weep and impregnate (possibly simultaneously). The influences are obvious, but these black pea-coated lads blend their pastiche well. Furthermore, they aren’t blushing around the bush; The Mary Onettes are making earnest pop songs in the vein of the most memorable acts of the era. The only problem: the bush is looking rather indiscriminate. —Spanther

MC Frontalot
Secrets From the Future
Level Up/Nerd Fervor
Street: 04.06
MC Frontalot = Optimus Rhyme + MC Chris
Secrets From the Future is the second studio album from the acclaimed godfather of Nerdcore, MC Frontalot. I was first turned on to nerdcore by MC Chris. I heard the track “Fett’s Vette,” which is a tune about bounty hunter Boba Fett and his Corvette. The term “nerdcore” was coined by Frontalot in 2000 when he released his demo, titled Nerdcore Hip Hop. Creative parody and comedic rhyming help paint the nerd-personae of this hip-hop movement. “I Hate Your Blog” is a track where Frontalot vents about the stupidity of personal web logs and how people insist on sharing their views with no one who cares. The album is filled with thumping, tight grooves featuring drummer The Sturgenius, bassist Black Lotus and keyboardist Gm7. DJ Snyder is also featured scratching on a few tracks. Not only is this album hilarious, but it will certainly make your ass move. Long live nerdcore! –Michael De John

Mike Ladd
Nostalgiator
Definitive Jux
Street: 01.15
Mike Ladd = Langston Hughes + Bad Brains + RJD2
The 10th creative invention of “artist’s artist,” poet laureate and genre-spanning innovator Mike Ladd is a delight from start to finish. Lacking a specific genre to tie together the eclectic album’s 11 tracks, suffice it to say that each song’s quality is a unifying enough force. From the electro-funk fun of “Housewives At Play” to the bluesy and spiritual “Sail Away Ladies,” Ladd takes one back to a time when music was still interesting—an intentional bid for comfort classicism, judging by the album’s title. Like visiting one’s cinematic adolescence re-discovering “The Secret of Nimh,” the record unlocks weird and forgotten memories. –Makena Walsh

Milkdrop
MilkDrop Presents: Hidden Prescriptions Volume One
Soul Providers Crew/NeverHeardofEm Entertainment
Street: 3.18.07
MilkDrop = that annoying guy after the show challenging everyone to a battle + the person who takes that person seriously enough to accept the challenge In 30 years, when the earth’s oil reserves are depleted and global warming has drastically altered the planet’s climate, only those who are able to adapt to the oppressive conditions will survive—by reverting to hunting and gathering in the Alaskan wilderness. I bring this up because MilkDrop will undoubtedly be one of the many millions of people who are either too stubborn or slow-witted to acclimate to the harsh climate conditions. Boom bap is great, sure–but these banal invocations of its ghost are more pathetic than Ice Cube’s performance in “Are We There Yet?” (Columbia Pictures). –Makena Walsh

Murder Mystery
Are You Ready for the Heartache Cause Here it Comes
Self-Released
Street: 01.29
Murder Mystery = Lou Reed + Fountains of Wayne + The Oneders
To borrow the phrases of Jesus, “Let those who have ears to hear, listen, and let those who have feet to tap, tap them, dammit!” If you have feet, you will find yourself tapping them to this debut album by Murder Mystery. Each song has a rocking and simple backbeat that could have easily been on the soundtrack for That Thing You Do! The interplay of the rhythm and lead guitars provides a solid drive and a hip-swinging jangling melody. The vocals are reminiscent of Stephin Merritt of Magnetic Fields, with a similar timbre and out-of-the-blue lyrical quirkiness. My favorite example is the lamentation that, “I couldn’t stand to see your face in the arms of another man,” on “Tell Me I’m Your Man.” Lyrical and musical cuteness pervade these songs. In fact, this album is so cute and catchy I curse myself for liking it. Screw it. Where is my poodle skirt? –Joey Richards

Mystechs
Escape from Planet Love
Omega Point Records
Street: 2006
Mystechs = Debarge – Technotronic + New Kids on the Block – Weird Al Yankovic
When you pull a pink CD out of a case with dildo-laden artwork, you almost know what you are getting yourself into: more trouble than a South African whorehouse. This is no exception. The real question is how someone could meaningfully produce such a shit sandwich. The ironic (?) rap is not funny, the beats are tired, and the choruses are anything but catchy, melodic, or even fun. Mystechs sound like a ponytail-dude’s idea of a joke band. Ill-executed, soul-wretching and awkward, I wanted to slink away from the music and look elsewhere during the entire length of the record. Please, someone assassinate every member of this band. –Ryan Powers

Mystechs
Hot Tub of Blood
Death by Karaoke
Street: 05.22.07
Mystechs = Mushroomhead + Mindless Self Indulgence + I.C.P.
There is quite honestly nothing redeeming about the Mystechs’ Hot Tub of Blood album. The thing reeks of n-metal crappiness trying to fill the record with so many different styles that makes the record go in no direction and in no possible way can be taken seriously. The vocals, both male and female, along with the lyrics, are totally stupid and inspire absolutely nothing. How this band has put out nine albums and actually made two crappy movies based on their albums is beyond me. The band can barely play and their sound comes off as extremely hollow as a three-piece. I feel like I’ve lost some brain cells just listening to this record a few times too many. The whole act of sounding humorous, tough or original doesn’t work for this record at all; stay far far away from Hot Tub of Blood. –Bryer Wharton

Necronoclast
The Plague
Moribund Cult
Street: 11.20
Necronoclast = Blut Aus Nord + Krohm
This is an interesting release from a one-man black metal project out of Scotland. Seven songs in length, The Plague creates a bleak and dismal atmosphere with the use of tinny guitars, retching vocals and a great deal of crashing cymbals. The music effectively makes use of both black metal and funeral doom to bring forth a contemptible mood comparable to that of Xasthur or Taarma, without the watered-down production. While I don’t think this is a bad piece of work, I definitely think Necronoclast has the potential for improvement as time goes on. There’s something underlying here that works really well, and if there’s anything to get excited about here, it’s the fact that this is the first of hopefully several releases with Moribund. With a late November release, the gloom and doom is delivered here just in time. –Conor Dow

NOFX
They've Actually Gotten Worse Live
Fat Wreck Chords
Street: 11.20
NOFX = An iconic 90s band who don't care that they're past their prime
Live albums can never truly recapture the experience of being at an actual show, but with NOFX, that might not be such a bad thing. Following up the aptly titled I Heard They Suck Live, They've Actually Gotten Worse finds the band heckling the audience, talking amongst themselves, getting drunk and playing the occasional song or two. Actually being at a show where the band fucks up song after song and makes fun of the audience for having paid to get in would be irritating in real life, but They've Actually Gotten Worse is pretty damn entertaining. Chockful of old songs ("Green Corn"), new songs ("Indifferent Drum"), rare songs ("What's the Matter With Parents Today?") and short songs (eight of 'em in six minutes), the only thing that would make this album complete would be NOFX's 18-minute magnum opus, "The Decline." Still, pretty damn good for a band who sucks live. –Ricky Vigil

Otep
The Ascension
Koch Records
Street: 10.30
Otep = a wimpy n-metal version of Crisis + Kittie
Months ago, I received a promo copy of The Ascension via Capitol Records and it was given a review. But lo and behold, the album didn’t make its original release date due to the merger of Capitol Records with Virgin Records, and everyone that had worked with Otep was fired, so the band went label-shopping again to get the promotion they wanted for their new album. Unfortunately for Otep, no amount of promotion can save The Ascension from being boring n-metal filled with false angst and its female singer Otep Shamaya trying to be poetic or one of those hard-ass girls. Most of the riffs and breakdowns sound like they’ve come from Korn records. The album was a waste when I got it and it still is, chock full of filler. How this band keeps trudging and has fans I’m not sure about, but then again, there are lots of poor bands with a good fanbase, so I won’t worry myself about it. –Bryer Wharton

Papertrigger
Riot Lovers
Self-Released
Street: 12.18
Papertrigger = Franz Ferdinand + Queens of the Stone Age
Papertrigger sounds more important than they actually are. They have learned well from melodramatic indie rockers of the past decade. The minor chord attempts at melancholy barroom jazz on “The Inner Party” are mildly enjoyable once the saxophone enters, but the vocals and remainder of the song are pointless and self-indulgent. The final track, “Sidereal,” with its piano-accompanied falsetto vocal work, seems like a last-ditch effort to be Ben Folds. That said, I do enjoy the last nine minutes of the song once the piano and vocals cease and the ambient noise begins. The end of this song sounds like the halcyon, drawn-out conclusions of recent Flaming Lips offerings. I suggest that if you still have the pile of Arctic Monkeys, Panic! at the Disco, and Franz Ferdinand albums you have not thrown away yet, wait and put this one on top. –Joey Richards

Pestilence
Spheres
Roadrunner/Metal Mind
Street: 09.10
Pestilence = Atheist + Cynic + Death
Perhaps the most underrated album from Pestilence is their 1993 swansong, Spheres. Metal Mind/Roadrunner re-issued a best-of-Pestilence album a while back and it only featured one song from the Spheres album on it; strangely, it was that song that snuck its way into the title of the best-of record, “Mind Reflections.” Spheres came to the dismay of many fans used to the total brutality of past Pestilence records. With Spheres, the experimental atmosphere may have come well before its time. The guitar distortion is mind-bending and the use of keyboards adds to this strange and unique atmosphere. The vocals are all over the place, dramatic and truly mind-bending, along with the lyrical content. There are also melodic interludes using jazz tempos and multiple instruments not normally associated with metal. The whole record for its time was a dramatic change of style for death metal in general. Thankfully, it has been re-issued with a few bonus tracks—limited as it may be, get it before it’s gone again. –Bryer Wharton

Photon Band
Back Down to Earth
Empyrean Records
Street: 01.22
Photon Band = Jimi Hendrix + the Beatles + The Monkees, on shuffle
We have all heard bands doing their version of 60s and 70s rock; Photon Band actually sounds like it is from the 60s and 70s. You name it; the Beatles, The Who, maybe even The Jam—Photon Band is going to bring you a familiar sound. The man behind the band, Art Di Furia, has been (re)creating these psychedelic rock songs since 1994, touching on all the classics and never leaving the era. This latest release is the heaviest, most soulful, most Hendrix-esque of the bunch. It has enough string-bending, whammy bar, slides and reverse crash hits to tide us all over until the next decade. I really enjoy this album, especially some of the bluesier tracks like “Thinkin ’Boutchoo” and “Just Between Me and You,” but next time I am in the mood, I will probably just put on “Electric Ladyland.” –Davy Bartlett

Rahim
The Same
Dimension Arts
Street: 11.13
Rahim = The Appleseed Cast + Minus The Bear + French Toast + 30 Knots
This simple, two-song single speaks volumes and hints at what the band’s upcoming album, Laughter, will have to offer. “The Same,” is the single from the upcoming album that lends a hand to showing what the new band lineup is capable of and “When She Arrives,” the non-album B-side, is no less impressive and I dare say, rivals the album track! While listening to Rahim, it becomes apparent that what makes them a great act, and what makes this single great, are the less-noticeable things. The backing vocals, the subtle percussion and noises that are incorporated ever-so-lightly in the not-so-distant background, make the songs full and make the music work together as a whole. –Jeremy C. Wilkins

Ratos De Porao
Brasil/”Feijoada Acidente?” International/Anarkophobia/Just Another Crime
Roadrunner Records
Street: 11.20
Ratos De Porao = Filth + Slayer + Cattle Decapitation
Mass reissues are fun. Roadrunner Records has reissued four of the band’s 12 albums, and it is quite entertaining to hear their sound develop over the course of all four albums. Ratos De Porao is the perfect blend of hardcore punk and metal; the vocals are more punk rock while the guitar work is highly reminiscent of Slayer. While all of the albums are good, none of them really stand out from the pack. My favorite of the bunch was “Feijorda Acidente?” International, which features the band playing covers of Black Flag, GBH, Circle Jerks, Dead Kennedys and many other hardcore legends. –Jeanette Moses

Satan’s Host
Satanic Grimoire: A Greater Black Magic
Moribund Records
Street: 11.20
Satan’s Host = Watch Them Die + Sodom + Celtic Frost
With the success of Satan’s Host’s newest offering, Burning the Born Again…, Moribund has decided to re-release the band’s out-of-print 2004 record, Satanic Grimoire. These Colorado-based blackened thrashers are quickly finding a place amongst my favorite bands for many reasons. The band plays thrash metal with an old-school flare heavy on the evil imagery, occult and well, just everything Satanic. The music, while with its backbone heavy in thrash, contains a lot of black-metal riffing, even some death metal blast beats. Every song evokes its own imagery and each is ultimately diverse and raw and grim as it gets. The first part of the album is a bit slower paced, atmospheric with the top-notch drumming setting crazy tempos all amongst painful black-metal screams. The second half speeds up the intensity and brings out some ultimate thrash and extreme raw power. Find a place in your Satanic heart for this incessantly evil thrash troupe and join in with Satan’s Host! –Bryer Wharton

Severe Torture
Sworn Vengeance
Earache Records
Street: 11.20
Severe Torture = Suffocation + Vader + Deicide
The Dutch Severe Torture have been around for quite a while and pretty much has always rumbled the underground, never receiving big acclaim in the death-metal world. As to why, I’m not sure—they’re just as brutal and talented as the big boys in death metal. Upon my first listen, I couldn’t quite get into the record; this is one of those albums that takes a few listens to truly enjoy and find the underlying technicality and greatness in the songwriting. The songs are mid-paced to fast, but nothing ultra-speedy, they just embody that sort of rumbling effect. The fact that they don’t use blastbeats in every song actually makes me appreciate the record more. They rely more on tempo, great groove-filled riffing and howling solos. Also, it takes a few songs in, but there is actually some great death-metal vocal variety on here as well. –Bryer Wharton

Sol
Let there be a Massacre
Van-Records
Street: 05.22
Sol = Skepticism + Sunn0)) + ultimate doom!
Sol is the lone project of Emile Brahe, handling all vocals, guitars, bass, drums, accordion, clarinet, banjo and other instruments. This is top-notch funeral doom at its best, darkest and most diverse I’ve heard in quite a long time. The music is painfully slow, with demonic vocals spewing forth hatred that is creepy as hell. I cannot get over the heaviness of the album; it just plows you over, leaving every bone shattered. The guitar tones are almost inhuman, beastlike, setting up an atmosphere that is truly sinister and new to the ears of this reviewer. If you have an inkling to get sonically punished or just love the funeral doom genre and have been looking for something in the same realm only with an added flair and total despair, do whatever you can to find Sol, turn out the lights and get it on with the darkness! –Bryer Wharton

Six and Violence
Bastards of the Universe
Dignified Bastard
Street: 10.30
Six and Violence = FEAR + Reagan Youth – everything good about them + a migraine
Six and Violence sounds like FEAR. As far as I’m concerned, that’s all there is to them, although I would swallow my hatred for FEAR and say that I would rather listen to them than another 60 songs of Six and Violence. The music, aside from the drums, is so disorganized and chaotic that I feel as though my world is crumbling down around me when I listen to it. The drums are actually quite impressive. With two drummers in the group, it seems like that’s only part of the two CDs that is actually planned, organized, and practiced. Occasionally, I would hear a song that sounded like Reagan Youth (i.e., chainsaw guitar, etc.), but that all went to shit after, say, 20 seconds. Fans of FEAR may like this album. Anyone who appreciates music and ability will probably toss this in the microwave. –Josh McGillis

Spektr
Mescalyne EP
Moribund Cult
Street: 11.06
Spektr = Thorns + Anaal Nathrakh
After a pair of releases from Candlelight Records, France’s Spektr doesn’t seem to be losing any momentum. This is a surprisingly enjoyable EP which assumes a frightening style and an unsettling, claustrophobic atmosphere. The release contains four quick tracks which average about five minutes each of buzzing but spacious black metal. The third track, “Maze of Torment,” is a completely ambient droning break before the finale. What is unique about this style is that the guitar work is more used for texture rather than melody, similar to various black-noise projects such as Wrath of the Weak or Velvet Cacoon. The difference is that the riffs aren’t repeating you into a trance, but instead tossing the song direction over the listener’s head. The songs also alternate measures going from fast tremolo and blastbeats to slow, strumming chords and half-time beats. Pick this up; it’s a unique gem, and hopefully, a hint of things to come. –Conor Dow

Stage Disaster/The Deficit (split)
S/T Split
Warbird Entertainment
Street: 11.27
Stage Disaster and The Deficit = 7 Seconds + Agnostic Front + Cro-Mags – everything good about all of them
Stage Disaster is the only reason to even look at this album and their only good songs are “The Reaper” and “Collision.” Although they’re from Germany, Stage Disaster has a heavy New York hardcore influence that one can hear as soon as the first song starts. Unfortunately, they just aren’t as good as NYHC pioneers. On the song “Beautiful Bitch,” the lead vocalist attempts to sing, but sounds more like a tone-deaf mule, as do the “Whoa-ohs” on “Way To Go.” The Deficit sounds a little like 7 Seconds because of their more melodic approach, but they fail miserably at it. The vocals sound like any other shit you’d find on X96. Their music isn’t anything special, either. –Josh McGillis

Tyrant Throne
Abominations EP
Self-Released
Street: 01.14
Tyrant Throne = Cannibal Corpse + Morbid Angel + Deicide
Brutal death metal has pretty much become clich in the metal world, with bands at each other’s throats to sound heavier than the next. This troop, hailing from Jordan, aren’t out to win any growling or blastbeat competitions. There is always comfort in something that you know and love and that is just what Tyrant Throne provides. A homage to the originators of brutal death metal, they even add a cover of the oh-so-gory “Staring through the Eyes of the Dead,” from Cannibal Corpse. The six songs on this EP are straight-up crushing, be it in their speedy death-metal transitions or groovy blasting. The fun part about the EP is that it encompasses pretty much every style of death metal, but with their own unique charm. It makes listening a blast instead of a chore, and in the end, that is all any band can ask for when all is said and done. –Bryer Wharton

Various Artists
Def Mix Classics
Defected Presents
Street: 11.26
Def Mix Classics = Leather Sheets
Roll up your satin shirts, pull out your cargo pants and get ready to dry hump somebody’s sister until you throw up all over your fake Rolex. Imagine the absolute worst club in the world, full of leather jackets, ponytails, hair gel, and dancefloor fingerbanging, and you pretty much have an idea of what Def Mix Classics is all about. Plump full of remixes of Mariah Carey, U2, Brand New Heavies, and Toni Braxton, this album goes beyond the so-bad-it’s-good irony ( l Night at the Roxbury) realm into a cesspool of douchebaggery that is making me want to strangle myself with Abercrombie and Fitch sweatpants. –Ryan Powers

Various Artists
Guitar Hero III: Legends of Rock
Interscope Records
Street: 10.23
Old rock + new rock
This is not only an album with some of the key tracks from the video game, but also an expansion pack for owners of the Xbox 360 version of the game. With this disk, you get a coupon to download three new tracks for your Guitar Hero III video game from Xbox Live. There is a distinct lack of the classic-rock songs that are scattered throughout the video game, but that only makes this album more relevant to most people who want something to listen to rather than to play. There’s a fairly diverse mix of popular rock and lesser-known songs to keep this album in the tray for a while. There are a few songs that you may only want to hear once, but I guess that’s why there’s a >>| button on every stereo in the world. No, there’s nothing so new or alternative that your friends will ask you how you got to be so cool by finding this gem, but if you want the new content for your game, this is one way to get it and a passable album to boot. –Jesse Kennedy

Various Artists
Night Owls 4—A Shot In The Dark
Syntax Records
Street: 12.04
Night Owls = Tupac + Saint Paul
The fourth edition of the Night Owls series will give you a bigger adrenaline rush than finally telling your boss at work exactly what you think of her over-scheduling you during the school week and how everyone knows that her firm, mountainous breasts are obviously fake. This album’s fist-thumping potential is so great it almost conceals its underlying born-again lyrics–I go to Pigeon John for my Jesus rap, thank you. –Makena Walsh

Various Artists
Saw IV Soundtrack
Street: 10.1
Wow … just … fucking … wow. Not only have I never been a fan of movie soundtracks, but I absolutely despise the current need for an “edgy” soundtrack to accompany horror flicks. What the fuck ever happened to awesomely creepy themes? Halloween? Friday the 13th? Apparently, movie execs would rather replace mood and atmosphere with mall-metal and bad remixes of good industrial songs (see: the Deftones remix of Skinny Puppy’s “Spasmolytic,” previously available on the Remix:Dystemper album). I had a little hope, because they had decided to include The Red Chord on this particular soundtrack, but even that isn’t enough to mask what this release really is: a mall-metal starting point for kids who think the Saw movie franchise is actually good. If you’re up on Avenged Sevenfold’s, Every Time I Die’s, or The Red Jumpsuit Crapparatus’s nuts, by all means, hunt this pile of shit down. Craptacular. –loveyoudead

Verdunkeln
Einblic in den Qualenfall
Van-Records
Street: 05.22
Verdunkeln = Bethlehem + more German craziness
Obviously coming from Germany, with its title, band name, songs, and lyrics all in German, Einblic in den Qualenfall is a journey into a mad psyche, composed of six songs, the shortest at six minutes and the longest over 17. The album is extreme avant-garde and mixes realms of black, gothic and doom metal. All of it is put together without haste; it is dark, atmospheric and all extremely emotional. Parts are noisy with many instruments blazing away, sometimes mid-paced, sometimes fast or other times just plain slow with crazy chanting going on. The whole thing is extremely pagan-sounding, but with the lyrics being entirely German and me not knowing very much of the language, one is left to guess from the sound of the music as to what the ideals may be. Regardless, the record is perplexing in its guitar intricacies with haunting melodic passages coming straight from the depths of hell. –Bryer Wharton

Wagner Logic
Easiest to Grab
Wilderhood Records
Street 12.04
Wagner Logic = Pavement + Pixies
Thank God the genre “indie rock” is still acceptable for random music so I have a way to describe Wagner Logic. More descriptively: “Basementia,” as this Alaskan quartet have dubbed themselves. Which does not make them lovesick emo-pop boys. Easiest to Grab is more adult and bleak than that image. More bleak from realities and tragedies like Guantanamo—visuals of the title track. Or maybe “Basementia” is more literal. Hey, it gets cold far north and guys have to entertain themselves in some way. Like starting a rock n’ roll band with stronger harmonies than melodies (except on spacier, slower track The Bird Song). They all share vocal duties; keeping them minimal and lyrics interestingly sparse, like on my favorite song, “Arizona,” a violent water-balloon road-trip. I don't know if Wagner Logic have sounded like The Pixies since they started playing in 1999, but they're great now. –Jennifer Nielsen

We are Wolves
Total Magique
Dare to Care Records
Street Date = 10.02
We are Wolves = Extreme Animals + Dan Deacon + Maeshi
Total Magique is dominated by analog electronics placed in front of spastic vocals and straightforward minimal rock jams. The sound works well, but lacks the charm of The Maeshi or originality of Dan Deacon. Still, the breakdowns are very well done and the record is extremely suitable for the dance club, as well as a rock club. What brings the sound of We are Wolves into a realm of their own is the superb mix of electronic and rock that favors the sounds of the first and the song structures of the latter. In reality, this is more of a rock record done electronically then an electronic dance record; think if Wolfmother grew up listening to Devo instead of AC/DC. –Ryan Powers

White, Blue, Yellow, and Clouds
Introducing
I and Ear Records
Street: 01.15
White, Blue, Yellow, and Clouds = The Five Satins + a 1950s prom - talent
Turning on the television may cause you to see some former sitcom star hawking a compilation called The Best Slow Dance Songs of the 1950s. White, Blue, Yellow, and Clouds could appear on such an album, although we would need to change the title to The Most Forgettable Slow Dance Songs of the 1950s. On this album, WBYaC attempt to conjure love songs with vocal harmonies, soft guitar, and slow-moving rhythm sections reminiscent of The Platters, Smokey Robinson, and The Five Satins hit, “In the Still of the Night.” However, the vocals and instrumentation make them sound like unimaginative impostors. They perform an unimpressive impression of 1950s doo-wop, adding nothing original or interesting. This album is mildly enjoyable only because the genre itself is enjoyable. The band should have added some upbeat tunes and attempted something more interesting than photocopying a musical genre. –Joey Richards

Wire
Read & Burn 03
Pink Flag
Street: 10.12
Wire = Wire
It's been five years since the last release in the Read & Burn series came out. Read & Burn 03 follows in the same dramatic footsteps as its predecessor by recalling past Wire albums and accomplishments. Four songs long with none of the songs falling under four-and-a-half minutes, half of this album is great, half of it is OK. What is bothersome about this EP is the span of years that Wire dips into from the their old catalog—from 154 to their late-period electronic experiments. Yes, it still moves smoothly, with a deadpan beat and yes, it still is recognizable as the Wire we know and love from the past, but something is oddly displaced about it. Maybe it’s the fact that Read & Burn isn't a full album and they are taking liberties to play around with their own sound, but for this Wire fan, the most I can offer is exactly as the title states: read about and burn this album for your own enjoyment and wait for a proper full-length. –Erik Lopez

Wisely
Wisely
Oglio Records
Street 01.08
Wisely = Rocky Volotato + Van Morrison + Ben Kweller
Get your friends together and a few guitars (acoustic or electric); gather at a wood-paneled Californian desert house built during the 70s. A place with a lounging patio where you can sit out by an orange glowing fire, or lay about inside on pillows and couches. Everyone is listening and drinking … it’s a great party with positive vibes. That feeling is how this album sounds. Feels like Laurel Canyon, where this album was recorded, and Wisely “finally captured what I hear in my head when I write.” Writing his third album (sure to be his biggest); he must have been hearing the sounds of summer, love and vagina. Yes, vagina! It shares the same Latin root word as track 9, “Vanilla”—which is certainly not a song about melting ice cream. Sex and summertime. A great combination, when it would be optimal for you to hear this album. –Jennifer Nielsen

Xiu Xiu
Women as Lovers
Kill Rock Stars
Street: 01.29
Xiu Xiu = Animal Collective + Deerhoof + Wolf Parade + more animal band names
Is it just me, or have Xiu Xiu been putting out a lot of material lately? From last year’s release, The Air Force, and their recent covers and remix album, they haven’t taken a break creating albums in a long while. Anyways, Women as Lovers doesn’t seem like it was just quickly put together or anything, and it even feels like their most accessible album yet. Jamie Stewart continues the tradition of the poetic telling of strangeness with his unique and sometimes yelping voice. While the subject matter of previous Xiu Xiu releases might have turned would-be fans off of Stewart’s writing style, everyone should give this album a chance, as it speaks on behalf of all human emotions in a very interesting fashion. Ranging from pop songs like “no friend oh!” to the simple acoustic-based tune, “Black Keyboard,” no two songs sound the same in the least bit. Although they are all tied together with Stewart’s trademark computerized layering, the songs all have very different feels to them. Any Xiu Xiu fan should be ecstatic to hear this release. –Tom Carbone Jr.

Zillionaire
The Street Lights Have Been Turned Down
New Granada Records
Street: 01.15
Zillionaire = Esoteric song titles + navel gazing
Imagine Jeremy Enigk gathered Sunny Day Real Estate and said, “Let us make an album worse and more annoying than The Rising Tide.” Too bad Zillionaire took on this project instead. The opening track, “I Won’t Let You Down (This Time),” does, in fact, let me down. It is a slow emo groove that whines on and on in a supposedly deep fashion. Unfortunately, Zillionaire is rather consistent on letting me down. The first 10 tracks are throwaway tunes that sound like a worst-of-The Promise Ring offering. The Street Lights Have Been Turned Down makes me grateful for the patriots who developed the technology to download only one song at a time. For this album, that song is the 23-minute long bonus track, “Zillionaire.” This Godspeed You Black Emperor knock-off is the highlight and proves Zillionaire is a band best left in the background. –Joey Richards