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Jersey Beat Columns - The Quinlan Chronicles


THE QUINLAN CHRONICLES - Reviews by Rich Quinlan


TUBERS - Anachronous (No Idea Records www.noidearecords.com)

Maybe it’s the Florida heat, or the humidity, or the insects, or the fear of alligator attacks. Whatever it is, America’s haven for overpriced vacations and aging New Yorkers produces some pretty cool music, and you can add the Tubers to the list. Initially, Rich Diem’s vocals seemed to be a bit too forced for my liking, but his strained voice grew on me by the third listen to this disc, and I found myself intrigued by the group dynamics of this four piece, particularly when the guys shout together in perfect congress. There is a lot of noise here with some surf-rock overtones, but this is not beach music. The dual guitar playing of the aforementioned Diem and Matt Sweeting make for angular, challenging riffs that will remind some of acts such as Fugazi or Drive Like Jehu. The opening trio of “High Tide, It’s Inside”, “The Expense of Flight”, and “Coconut Thunder” make for a strong opening, but the most dynamic tracks are saved for later in the record. Anachronous improves as it plays with highlights coming in the form of “Small Signs, Big Posts”, “These Quantum Leaps are Killing Me” and the closing title track. Diem and Sweeting rightfully attract most of the attention here, but do not sleep on the work of bassist Jeff McNally and drummer Jacob Hamilton. Their ability to hold flawless time allows for the two guitarists to tinker with start/stop aesthetics and more experimental stylings. Much of this is a fierce, taxing collection of songs, but the Tubers display a pop knack on “Pale Sunbather”, a more harmonious, less atonal assault upon the senses. This is not easily palatable, which is why I like it, and the Tubers are worth your time.

VINCA MINOR - Isolation (www.vincaminormusic.com)

Luxuriant, haunting, and beautiful in its stark majesty, Isolation is a record that must be heard in one sitting. However, that being said, I am uncertain of when you might want to pop this one in your cd player. Each of the seven tracks is a dreamy soundscape which creates feelings of warmth and comfort, as well as unsettling sentiments of, well, isolation. Vinca Minor hopes to aspire to the level of John Williams and score films; I believe he is well on his way to generate stirring and lush musical scores. This is music that does not deserve to be lost in a film however, if Vinca Minor’s music is to be featured in a movie, then it should be used like his inspiration Williams’: it should be part of the action itself. The opening “From Here, Eternity” and “Ignition” both clock in at well over ten minutes, making this a wonderful album by which to write, relax, or contemplate, but this is not going to light up the room at your next party. When Vinca Minor includes vocals, which Matt Menovcik does on four of the pieces here, the vocal delivery is understated, as on the gentle “Waves” or the nascent “Raindrop”. “Holding Pattern” takes on a wraithlike feel through the use of thin keys and ambiance that is both intriguing and chilling. There are moments when Menovcik’s creations sound like the music that one may hear passing through the halls of an aquarium, but before one can become too relaxed, “Holding Pattern” becomes noticeably more muscular and threatening around the ten minute mark. This ability to lull the listener in before unleashing an unexpected burst of force is what makes Isolation such an absorbing listen. One cannot simply expect the songs to fade out, for Menovcik includes enough darkness to keep this interesting. There is something menacing hovering in this isolation, and the listener is kept guessing about what the next musical corner may bring. The eight and a half minute “Descent” is both melancholy and striking. This combination of the luxuriant with the sparse and the sorrowful with the hopeful make Isolation a complicated, challenging, but ultimately buoyant listen. The closing “Your Arms” may be the finest example of all the above, with Menovcik breathily espousing how “no one really cares/I wish they really cared”. Apparently, Menovcik is a significant fan of David Lynch, and one can certainly hear that throughout Isolation. Moody and sophisticated, this is a fascinating disc; just be sure to explain this one to your friends first.

PIANOS BECOME THE TEETH - Old Pride (Top Shelf Records www.topshelfrecords.com)

Screamo is one of those difficult genres to accurately describe - Is it hardcore? Post hardcore? Pianos Become the Teeth will not help to answer this question, but they will impress people on Old Pride. I hear some well-versed influences, such as At the Drive-In, but there are also fresh elements to the band’s sound. Kyle Durfey has a powerful and highly expressive voice, and his delivery is passionate throughout each syllable. The eight tracks here feature intricate guitar interplay from Mike York and Chad McDonald, as both men offer highly involved, meandering riffs on “Quit Benefit”, “Pensive” and “Jess and Charlie”. One aspect of the scream vibe I never liked was that I felt the vocalist and guitar players dominated the sound, but this is not the case here. It is impossible to ignore the skills of this highly precise rhythm section in the form of bassist Zac Sewell and drummer David Haik, especially Haik’s furious drumming on “Quit Benefit”. These two guys are a team whose combined force helps to drive much of the record. There is a maturity to this band, for they are willing to experiment with their sound and create songs that play out like short stories. The tracks twist and turn without becoming convoluted or unnecessarily technical. The bombast is surely there, but Pianos Become the Teeth do more than blast away at you; there is a certain theatrical quality to the record that will surprise some listeners. This is both heavy and melodic, raging and refined; Pianos Become the Teeth are attempting to resuscitate a struggling genre. This does not completely eviscerate my criticisms of the scream style, but I am more taken with this than I would have expected.

JUDGEMENT DAY - Peacocks/Pink Monsters (www.stringmetal.com/judgementday)

Can one make heavy music without guitars? Can the word “metal” be associated with a cello and a violin? How do these guys make strings sound like this? Judgement Day is a band that will generate more questions than it answers, but Peacocks/Pink Monsters takes the idea of a unique artistic vision to new heights. The twelve songs here rage with tangible fury that one would usually associate with a thrash metal act, but this trio of violinist Anton Patzner, cellist Lewis Patzner, and drummer Jon Bush craft music with great intensity. This is not a metal band playing with a symphony or an act looking to “challenge” itself by adding classical elements. Judgement Day is a classically trained trio who happen to be able to do things with their strings that others have simply not attempted or conceived. “Cobra Strike”, “Death March” and “Excelsior” jump out at me as the three most luminous pieces on the disc. These tracks blend elements of fury and noise to create sounds that are piercing and punishing. This is the type of act that Frank Zappa would have appreciated, for they blend extreme elements of rock and roll with the most expected instruments of classical. There are no vocals, so the listener is swept up in the band’s inspirational musical visions. Additionally, there is a video capturing the creation of the cover art. The “Peacocks/Pink Monsters” painting is a story in itself, and is worth exploring if you are an artist or someone like me, who is fascinated by people with brilliant minds. The fifty minutes delivered by Judgement Day can be beautiful, majestic, eerie, and scathing-the band forms soundscapes that are simply stunning in their breadth and complexity. The more reserved “Improvisation” is just as it is titled: a live, studio improvisational piece that three radiant performers create instantaneously which moves from a gentle introduction through a rousing song construction that ends with a barreling conclusion. There is a bold statement being made by this trio and that is your ears can lie to you about what conventional music should sound like. I was three songs into the disc before I read that there was not a guitarist present. I am forced to rethink to my interpretation of what strings can do, and I find myself enthralled with this band. This is also a record worth picking up if you are a metal fan-Judgement Day is a heavy and punishing act, and any metal fan with technical or progressive leanings will undoubtedly love this. Every so often, musicians come along that truly makes you think about how limitless the world of music truly is - for me, that epiphany came through Judgement Day.

SNACKTRUCK - Spacial Findings 1-7 (www.noidearecords.com)

This one may confuse some people, but it is a delightful ride. Traveling musically and sonically along the similar lines of Lightning Bolt and Hella, Snacktruck includes one soaring guitar (Matt Krofcheck) and two thunderous drummers (Frayser Micou and Christian Newbie). However, rather then overwhelm the listener with a wall of force, Snacktruck picks and chooses their moments of attack. “Second Level” is both intricate and bombastic, alternating between moments of beauty and raw power. “Life Prism” comes alive in a swirling mass of sound accented by guitar noddling that is impressive in its finesse. The band stop with hair trigger precision and I am impressed by the ingenuity on display here. There are surprises aplenty here, such as the keys from Krofcheck that highlights “Blooms (Horrible)”. With no vocalist present, one is commanded to listen to the dizzying array of musicianship on Spacial Findings. There is something here for fans of Don Caballero and their ilk; namely, intricate, angular guitar playing that challenges conventional song structure, exemplified by the noisy “Gravi-Thorn”, and the dynamic, richly textured “The E/The NY”. This closing effort begins with a jazzy introduction before surrendering to thick, chugging riffs that then lea the listener into a wall of sweeping arrangements before closing with a swirling ball of noise worthy of Merzbow’s approval. Very unique and recommended.




HOPE LANE IS A DEAD END - Illuminate (www.myspace.com/hopelaneisadeadend)

Hope Lane plays melodic hardcore that is solidly delivered, particularly when they focus on the heavier aspects of their sound. The opening “Taking Flight” is a bruising effort that features backing vocals that detract from the general intensity of the work. However, the more aggressive “Up to our Necks” and the furious “Botched Blueprints” display how much potential these young New Englanders have. “Quotients” is the most unique track musically, as it varies between punishing and technical guitar playing from Josh Bodah and Dan Evans. Conversely, “1984” simply attempts to decimate the listener with sheer brutality. Dave Douchette’s vocals soar with a combination of raw force and harmony, with “Ten Times Platinum” as the best example of this kid’s verbal acrobatics. Drummer Nick Diminico and bassist Joe Mcintosh are a formidable rhythm section that carries each tracks on their collective backs. Once you move past the opener, Hope Lane has put together an impressive effort.

OUTBREAK - (Think Fast Records www.thinkfastrecords.com)

This makes old timers like me get fired up and should get the kids going crazy. Outbreak offers ferocious hardcore in a classic style. Each of the fifteen pieces is delivered with breakneck rapidity, and at times the songs can actually be too brief. (“HL” and “Human Target” in particular), but efforts such as “Temporary Hype” rage with more musical sophistication, while “Digital World” has a classic breakdown that is pure hardcore excellence. The shout along vocals of “Analyze/Criticize” will strip paint and I was left in awe of this band. The blinding speed of “Multiple Personality Disorder” and “(Work)ing Dead” will elicit references to any number of luminary hardcore acts for these guys were clearly raised on the classics. The thick groove of “Too Paranoid for Politics” assists in the creation of an infectious chorus. There is nothing flashy or overly sophisticated here; Outbreak simply rears back and lunges itself at you as one cohesive musical force. I would have to imagine these guys must be incredible live.

VINYL

AIRFIX KITS - “Playing Both Sides” b/w “Leaving” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

Airfix Kits contribute two very tight pieces of guitar rock with snarled vocals and a cool, throwback vibe, ala Mission of Burma or Gang of Four. Both tracks have a similar sensibility, with the A side being a bit stronger. “Playing Both Sides” has a more memorable hook than the noisier, more angular “Leaving”. Both efforts come and go quickly, and if you are a fan of post punk’s first wave, you may want to check this out.

COCONUT COOLOUTS - “The Last Man You Will Ever See” b/w “The Monsters Crash (The Regular People’s Party)” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

A few months late for Halloween or maybe really planning ahead is Coconut Coolouts. This act plays 60’s garage surf punk that happens on this release to ahev a Halloween theme. This reminded me of great 90’s indie surf acts like man or Astroman?. for Coconut Coolouts play a brand of fun, harmless surf that is groovy and intentionally lo-fi. The B-side gets a little goofy when the monster voices come in and take over the party, but these guys are clearly having fun, so I’ll give them a pass.

GOODNIGHT LOVING - “Nothing Conquers Us” b/w “Scary Bad” 7-inch EP (Dirtnap Records www.dirtnaprecs.com)

Sounding like band that could have played alongside Carl Perkins, Goodnight Loving has an innocence about them that is both earnest and honest. With a 50’s garage sound merging with a hefty dose of Merseybeat, Goodnight Loving will attract old time pop fans with the hook friendly “Nothing Conquers Us”. The down home goodness of “Scary Bad” was equally palatable, but the A-side was the more memorable of the two efforts for me.


FACE VALUE - Rode Hard, Put Away Wet: Clevo HC 1989-93 (Smog Veil Records www.smogveil.com)

If you were not in Cleveland in the late 80’s and early 90’s, and I was not, you missed a classic DIY hardcore act. Rode Hard, Put Away Wet is a monstrous, 31 song, hour-long collection of three LP’s and one demo put out by Tony Erba and his mates in Face Value. I remember hearing about these guys while a dopey college DJ, but listening to it so many years alter puts this band in clearer perspective; this is amazing hardcore energy at its most pure. The guitar playing of Anthony Brown is heavy and brisk, while the rhythm section of bassist Tony Hinton and drummer Scott Doland allow the band to range from thick and punishing to awe-inspiringly fast. The collection actually begins with the band’s 1991 LP, The Price of Maturity, and moves back to 1990, before jumping ahead to 1993, and then concluding with the band’s first demo in 1989. Throughout the compilation, one hears the progression and refinement of raw energy and commitment to a sound. All sixteen tracks on the 1991 classic are fantastic, but my fists were flying to “Men From the Boys’, “Naiveté”, “Torn Up” and “Emotional Addiction”, but everything is great. The Coming of Age tracks are a little faster and more one dimensional, but the shout along breakdowns on “Can’t Take Much More” or “Holding the Grudge”, and the blinding speed of “Nothing to Prove” are just furious. I love every second of the first nineteen tracks, and then comes the heavier, more melodic Kick It Over record from 1993. This four song barrage is highlighted by the band’s most daring work, the seven minute long “My Brother’s Keeper”. This track features several shifts in tempo and ferocity as well as a lengthy solo and clearly displays a more mature and experimental side of the band. Face Value evolved quite considerably in just a few years and this is the best example of this increased proficiency. It is even more striking when juxtaposed with the band’s 1989 demo. The “Clevo Hardcore” five song demo is pure youthful exuberance. The quality is rough and the playing borders on the chaotic; it is short, it is amazing and I love everything about it. “Someday” is relentless in its attack, and this intensity is matched by “Help Yourself” and “Coming Back to Haunt You”. Occasionally, retrospectives attempt to exaggerate a band’s legacy or significance, but every syllable of praise lauded upon Face Value is deserved here. If you missed them or just miss them, pick this up immediately.

ESPRIT DE CORPS - Under Constant Influence (www.myspace.com/theedc)

Esprit De Corps are going to impress a great many people with their brash, swirling sound. Under Constant Influence is a five song explosion of musical substance with Chris Gardner’s vocals out in front of an impressive act. “Wild Herb” includes shout along break downs accented by subtlety by keys from Alex Cutbirth. In only fifteen minutes this band delivers more than most can do in an hour. When Gardner screams “You’ll never find another boy quite like me, I promise you that’, he makes his resentment, anger, and sorrow tangible, while he and fellow guitarist Gordon Joines produce a crushing wall of force. Love, or at least the pain it brings, is a reoccurring theme, as the band emphasizes loss and agony on several tracks. “On Conquering” includes the line “And I said it to you too, I said I love you”, a line that would be innocuous enough if it were not for the post-hardcore fury being generated behind it. “Forget the Titanic, We Sink Faster” begins with a rousing yelp of “we’re fucked”, and Gardner does not let up as he dismantles a former relationship. “We were only eighteen/fucking eighteen/You promised you’d love me/I don’t care if you were young”. This is extraordinarily smart punk with a dynamic aura and technical finesse. If you are yet to experience this ac, I suggest you do it immediately.

THE HIT AND MRS. - Ashes of Bridges (www.thehitandmrs.com)

This Ohio three piece play a distorted brand of alt-folk rock that is solemn and features an understated intensity. “Cold, Cold Days’ and the title track are well constructed pieces that are bluesy and ambient, particularly the latter. Nelly’s monotone vocals do not offer much in terms of range, but he says quite a bit with his delivery. The songs on Ashes of Bridges range from dour (“Time is Running Out”) to downright poppy (“Shame”, “My Poor Grammer”, “Come on Baby”), but the guitar playing of Nelly allows for each track to have a distinctive personality. The aggressive “Let It Ride” is my favorite of the bunch, for the track features a dirty riff, a great opening howl, and lyrics like “you shirt’s undone/ it’s taking my libido for a run”. V.Stak leaps off the record as a powerful and expressive drummer, best heard on “Saint Maria” and “Out of My Life”. Anchoring these unique visions is the bass playing of Bubba whose backing vocals offer a level of warmth to the playing. The Hit and Mrs. Is comprised of three solid players who sound like they are having a lot of fun borrowing from various influences to create something unique. The closing “Alone Forever” is a fitting bookend for this disc, as the band returns to its methodical, blues-inspired playing, before concluding with a mass of speedy noise. The closing cacophony of chaos is representative of the band as a whole; the listener has no idea what is to come, but it is usually something very cool. (“Alone forever/ and so goddamn happy”)

SUPER 400 - Sweet Fist (Response Records www.responserecords.net)

Super 400 celebrates and pays homage to the true legends of rock throughout their twelve song effort, Sweet Fist. Fans of Led Zep, Cream, and the Yardbirds will adore every second of this disc. The soaring “Another Heavy Wood”, the bluesy “Sand Hill” and “Thought it was the End” and the rugged closer “White Bird” are all gems on this disc. Only a trio, the band’s airtight playing is reminiscent of the heyday of power rock, such as “Dreamboat’ which sounds like Bad Company, circa 1975. The rambunctious cover of Carol King’s “I Feel the Earth Move” was a wonderful surprise and is incredibly radio ready, but programmers would be wise to give a chance to any of the tracks here. The vocals of Kenny Hohman are warm and resonate with power, while bassist Lori Friday takes the helm for the empowering “Flashlight”. The band can alternate between high octane rock energy and more subdued beauty, such as the lush acoustic “Devil Song”. This was a very pleasant find.

VENDETTA AGAINST - Shifty Eyes (Tasty Treat Records www.tastytreatrecords.com)

Vendetta Against offers pieces of sardonic folk punk in which they rip the modern society in which we wallow. “Gekko Rides Again” opens with the phrase “I want a bailout/gimme some money”. The band uses simplistic riffs to say quite a bit. “No Time to Lose” addresses the blind nature of the news watching public and reminds people that “you are just a tool/ignorance is cruel.” The songs are very quick, with only one of the four efforts clocking in at over three minutes. My personal favorite is “What I’m Grateful to Forget”, for the chord progression reminds me of “Forming” from the Germs. I am taken by the closing “Fallout Crunchies”, another sarcastic take on the state of the world. (“Get your politics from cartoons and celebrities/Always heed the words of TV personalities”) This is not revolutionary music, but it is a fun listen. It may not stay with the listener very long after hearing, but Vendetta Against are not out to reinvent rock music; they are using a straight forward approach to express ideas with which many of us would most likely agree.

WORN IN RED - In The Offing (No Idea Records www.noidearecords.com)

Worn In Red play raw and scathing post hardcore with a flair for musical artistry. This Virginia act is clearly worthy of your attention. The guys claim that this record would be loud at any volume and they are correct; the thunderous, churning riffs of Joe Lusk and Brendan Murphy drive this relentless four piece. The opening duo of “Vital Joys” and “Piled Like Bricks” explode with visceral aggression, while “When People Have Something to Say” is a complex labyrinth of sound. The tracks centers around a heavy slab of guitar force while drummer Brad Perry hammers away with a staggering mixture of power and fluidity. Worn In Red alters tempos and levels of intensity on the majestic “Resigned, Not Resigning” and “And You Knew”. I love the passion of “Mise En Abyme”, a song that allows for the skills of bassist Matt Neagle to shine through with greater clarity. The guitar tones of this song shift from beautifully symmetrical to pummeling, just as on the closing “Fort Reno”. Virginia has a proud tradition of producing some very impressive acts, and Worn In Red can rightfully take their place among the state’s finest exports.



THE DIMES - The King Can Drink The Harbour Dry (Pet Marmoset Records www.petmarmoset.net)

Being both a New Englander and a history teacher, I am instantly intrigued with the American history primer that is the Dimes’ The King Can Drink The Harbour Dry. With twelve songs about different eras of Boston and some of the city’s more interesting characters and locations, this belongs on the History Channel as readily as your stereo. The music played by the Dimes perfectly mirrors the times they describe; lush, sweeping melodies seemingly arrive from a different point in history, while vocalist Johnny Clay croons with warmth rarely heard. The Dimes are a beautifully articulate folk band with elements of pop which distinguishes them from other acts of this ilk. The songs move along briskly, with the Dimes offering a cheat sheet of significant people and events in American history. The Great Boston Fire of 1872 is summarized in “Damrell’s Fire’, while Clara Baron (founder of the Red Cross) is referenced in “Save Me, Clara”, as a wounded Civil War soldier calls out to be rescued. Haunting and poignant, the Dimes construct a richly textured record of complex harmonies and gorgeous arrangements. There are light hearted pieces, such as the sweet “Abigail”, a track about Abigail Adams, wife of one president and mother to another, and the closing “Boston (Trimountaine)”, which provides listeners with a musical walking tour of the city. I am attracted to the darker tracks here, such as”Charles Street”, which depicts one of Boston’s more famous and notorious prisons, which is now a magnificent hotel, “Webster Thayer”, one of the most infamous judges of the twentieth century; he was responsible for the decision to execute Sacco and Venzetti, two Italian immigrant anarchists accused of murder, and “Lovely Mary Dyer”. Dyer was hanged for standing up against an anti-Quaker law in Boston. (Massachusetts Bay being a strictly Puritan colony at the time) The Dimes display their staggering appreciation for Boston on “The Ballad of Winslow Homer” and “Celia’s Garden”; the latter describes a stunning painting by Childe Hassam of Celia Thaxter. These are not your typical song topics, and one will learn quite a bit while also being swept away in the musical majesty. I am greatly impressed with this, for all of this New England lore is delivered by a band from Portland, Oregon!


SURFER BLOOD - Astrocoast (Kanine records www.kaninerecords.com)

From the opening riff of “Floating Vibes”, you are hooked by the infectious playing of Surfer Blood. With both bubbly guitar playing that seamlessly morphs into noisy bursts of force, this is a band of youngsters who are rejuvenating the art of indie rock. The fuzzy, bouncy “Swim (To Reach the End)” reminds one of former classics like Archers of Loaf or Sebado, but these kids are refreshingly contemporary as well. The drums crack and the guitars surge over you in a wave of power before giving way to a huge, sing along chorus. The soaring guitar work on the instrumental “Neighbour Riffs” blends effortlessly into the raucous “Twin Peaks”. This raw nugget includes a break down that will leave the listener stunned and wildly impressed with the band’s versatility; they provide bass-heavy, African flavored stylings in the track and it is superb. The warm harmonies “Fast Jabroni” are contrasted by the lo-fi “Slow Jabroni”. The latter still manages to allow the harmonics of vocalist JP Pitts to fight through a wall of distortion. At nearly six minutes, this track rivals some of the best work of Teenage Fanclub or Ride.
This is an interesting interpretation of what pop music could be, for one has to do a little heavy lifting as a listener to fully grasp Surfer Blood, but Astrocoast is fantastic from start to finish. The crisp “Anchorage” includes a sterling drum sound and more guitar force while Pitts wails, “I don’t spin my wheels/I got no wheels to spin”. The closing “Catholic Pagan” is a rollicking track about giving up cocaine and having the whiskey shakes. These are not your typical indie rock song topics, but this is not your typical band. Go out and snag this right away while Surfer Blood can still be your little secret. The world will soon hear from these guys.


 

LOCH LOMOND - Night Bats (www.Hushrecords.com)

Portland’s Loch Lomond play expansive, soaring pieces with rich instrumentation and complex texture. Ritchie Young is the mastermind here, but he is surrounded by equally skilled compatriots. Jade Eckler contributes stirring, ethereal vocals to the atmospheric title track which carry this lovely anthem. The disc begins with two lush efforts (“Ghost of an Earthworm” and the title effort) before shifting gears slightly with “Spine”, a more angular song, driven by Young’s acoustic guitar and warm vocals. I am most intrigued by “Holiday”, a cover of an old Bee gees tune that includes angelic piano accented by myriad of instruments, including glockenspiel and flugelhorn. The closing “Wax and Wire” includes a rousing vocal delivery over the top of a labyrinthine bed of strings, bells, and magnificent varied percussion. This is challenging pop and well worth exploring.

AD FRANK AND THE FAST EASY WOMEN - Your Secrets Are Mine Now (Archenemy Records www.archenemy.com)

Predictability is not part of Ad Frank’s repertoire. Within the opening three tracks, you are treated to a steady, shaking rocker in the form of “Open Up the Patio”, a heartfelt, lovelorn slab of sardonic wit with “The Vampire Who Chose Death’, and then the almost inexplicable, bouncy, could-this-really-sound-as-much-like-Erasure-as-I-think-it-does, “Winterthru”. While the concluding piece of this triumvirate is not my favorite, it is quickly forgotten when the guitar kicks in “Bones and Ashes”, and Ad Frank –best known as the former frontman of the longlived Boston indie band Miles Dethmuffin - announces that “my life is a lie”. There is a darkness that hovers throughout much of the music here, but this is not somewhat wallowing in depression; rather, much of the lyrical content comes across as man growing accustomed to his existence and accepting what the world has brought him. Proof of this is includes “You Are I Am”, and “If I Was a Band” (“If I was a band, I’d break up”-brilliant!), two songs that reverberate with pop energy, and the rollicking “Man on Fire”, in which Frank asks “is it too late to be good?”. Sarah Rabdau adds haunting vocals to “The Cuddle” and “A Note on the Type”, another story of life lay bare done with a sense of twisted humor. Rock, jazz, and pop come together perfectly along with insightful, honest lyrics, making Ad Frank’s first release in nearly five years well worth the wait.

CLOAK/DAGGER - Lost Art (www.jadetree.com)

Always one of my favorite labels, Jade Tree strikes again with Cloak/Dagger a punk band in the truest sense of the word. There are dozens of potential references one could make to describe this band, ranging from Black Flag to the Dead Kennedys to Mission of Burma, but rather than inundate people with comparisons, you are best left to hear this glorious effort for yourself. None of the thirteen tracks here ever clock in at more than three minutes, and the energy is infectious. Jason Mazzola kicks things off on “Millions Billions” be imploring that he wants to “be paid for nothing/I want to be paid for being cool”; this sardonic start summarizes that acerbic view the band takes towards a good many things. With blazing guitar, and a rhythm section that performs with military precision, each track is fierce slap in the face, but I really love “Broken Wrists”, “Lower Eastada”, “Tragic Sleep” and “Same Old Story”. The band bridges a gap between hardcore fury and an old fashion garage delivery. The energy on tracks like “Deathbed Rebels” is exhausting for the listener, and must make for one wild live show. However, the band is more than just speed and howls, for there is strong song writing and some contagious hooks ringing throughout the record, as heard on efforts like “Eyes on the Wall” and the title track. It would be easy for any band to splash a little Ramones with some Heartbreakers and call themselves a punk band; Cloak/Dagger use classic influences to create something that sounds very updated and inspired. This one is going to be in my heavy rotation for long time.

SOMETHING TO BURN - Transitions (Soft Drive records www.somethingtoburn.com)

Scott Weiland emerges from post-Velvet Revolver obscurity with a new record label called Soft Drive records and its virgin voyage is the act Something to Burn. If you are a fan of big album rock, this is for you, reminding me of bands like Sponge, and to a lesser degree, Rev. Theory and Seether. The guitar work is steady but not exemplary, the vocals are harmonic, and the rhythm section is steady; in short, this could be any band trying to make it at the local battle of the bands. The guys later tempos at time, attempting to pummel the listener on the loud/soft dynamic of “Start Again”, and then displaying a music more gentle side on “Home”. However, most of the tracks are in the mid tempo rocker vein, such as ”Now and Forever”, “Say Goodbye” and “Beyond”. Something to burn likes to start with a large rumble during the introduction of the song, then allow for vocalist Greg Wayne to take over before the band comes crashing back for a big chorus. You have heard this a million times, and while there is nothing terribly wrong with this formula, it is just that; it is formulated. You can predict each drum fill and high note like you were watching a second rate horror movie. The band harps on the fact that they want to create an “album” experience, and that part is true; they have a created a sound, it is just a repetitive one. Keep trying, Scott.

HIGHER GIANT - Al’s Moustache (Black Numbers Records www.theblacknumbers.com)

If there ever was a case for labeling a band a punk rock super group, Higher Giant is it. With members from acts like Warzone, Lifetime, Token Entry, and The Arsons, Higher Giant’s pedigree is incredibly impressive. However, the band would fall flat if they merely lived off their resumes. Instead, Higher Giant offers four pieces of incredibly tight, driven anthems that have plenty of punk punch, but do not omit great harmony. Ernie Parada’s vocals are instantly recognizable and carry efforts like “See You Later Chopstick” and my favorite of the four, “Union Square”. Do not be fooled into thinking that this is form of a pop record, despite some of the infectious hooks. Enough intensity is heard to satisfy even the most furious hardcore fan. I am highly impressed with this release, and it acts as a wonderful bridge between last year’s The First Five and whatever brilliance lays ahead.

RATIONAL ANTHEM/THE STRAIGHT A’S - Use Your Delusion I (Traffic Street Records www.trafficstreetrecords.com)

The Guns N’ Roses reference makes me a little nervous, as it is about fifteen years too late, but what lies inside more than make sup for a questionable cultural allusion. Rational Anthem and Straight A’s are both more fun than words can describe, as they play incredibly speedy punk-pop with plenty of grit behind it. Rational Anthem clearly grew up on Screeching Weasel, and we can all attest that there is nothing wrong with that. Sure, you have heard the formula of “You Tell Me” or “Call the Weather” before, but it works well here. The slightly angrier “Call the Weather” is my choice of the two, but you cannot go wrong with either effort. Straight A’s had me smiling from the opening seconds of “Pet Project” and had me roaring with “Pop Punk Boys are Girls”(I’d go so far as to compare a pop punk boy to Christian Aguilera”). If you blink, you will miss the three tracks from the Straight A’s, but it is worth multiple listens and this split is definitely worth your hard earned cash.

THE RINGERS - Hurry Up and Wait (www.1234GoRecords.com)

The Ringers, a Brooklyn by way of New England four-piece, play controlled chaos. Their brand of punk seems like it is always on the edge of unraveling into one heaping mess, but somehow the band generates enough harmony to hold it all together with Replacements like grace; that is, to say, no grace at all. “Thirty Three on Forty-Five” and “Good Things Go” rattle and shake with abandon, while the country swagger of the closing “Motels, Jailcells, and Hospitals” takes me by surprise, but it is a nice change of pace. Garage level production only adds to the mystique of this act, about whom I knew nothing prior to this release. The band comes and goes quickly, providing seven songs in just over nineteen minutes; true punk rock attitude and energy. Hurry Up and Wait is a solid release from a band with real potential-I would like to hear them with a better budget, for their work has a complexity that catches you off-guard. Some of the guitar work on “Long Distance Calling” or “Canned Laughter’ is very impressive, as is the sing along vocals. This one is pretty cool.-Rich Quinlan

ATREYU- Congregation of the Damned (Hollywood Records)

Atreyu is one of those bands who earned a little success and everyone started calling “sell-out”. I cannot imagine what the hipsters will say about Congregation of the Damned. Something tells me that Atreyu and their true fans will not care. As a listener who does not have a dog in this fight, Congregation of the Damned is a solid piece of twentieth century heavy music. Granted, efforts like “Coffin Nails”, “So Wrong” and the far too quiet closer “Wait For You” are clearly written with the girls in the crowd, but there is still enough anger for the boys. The sludgy stomp of “Black Days Begin”, and the speedy “Gallows” are impressive, along with the shout along aspects of the title track. The guys in Atreyu know how to write a good hook, as heard on “Storm to Pass”, and “Insatiable” sounding like a classic metal band. This will snap a few fingers and maybe a few necks, but the more extreme metal fan will probably shy away from this. The production seems too crisp and clean and this just smacks of Hot Topic mall success, but Atreyu do what they do quite well-they are loud and heavy but not dangerous. I like what I hear on this disc until the nightmarish closer. The songwriting is mature and polished, two signs of ten years spent touring the world fiercely and not altering their mission very much. There is consistent energy across the record, and if you liked their previous material, you will love this. If you do not like Atreyu and are looking for reasons to mock them, you will find a couple of targets on Congregation of the Damned; however, if you just like your music loud and your guitars in your face, you’ll dig this.-Rich Quinlan

FRIENDS OF FRIENDS - Deep Search (www.myspace.com/tallyfriends)

From the opening seconds of Deep Search, you are bombarded by the drumming of Adam Reid, and there is no let up on the record. Friends of Friends thunders through a disc that blends slabs of punk (“Stillness Illness”, “Desert Bed”, “Endless Bummer”), with off-kilter harmonies, and some brainy guitar noodling (“Land of Left Behind”). Even when the tracks meander, as the aforementioned effort does, one cannot fault the effort. This will be embraced by fans of more angular rock as well as traditional straight forward punk. Vocalist Nick Serino has a surprising range, as he fluctuates between a gruff howl and surprising melody, even getting a little breathy on “Restless Legs”. There is nothing revolutionary happening on this release, but the influences from which this band borrows combine to form an exciting sound, brimming with adequate anger and energy. The record is emotionally charged, passionate, and heartfelt with is both noisy and coherent. Nearly everything about the record challenges you as a listener, and if you don not mind doing some work to enjoy your music, you will enjoy this. I personally liked the labor.-Rich Quinlan


LUCERO - 1372 Overton Park (Universal Republic)

Where have I been? This is Lucero’s sixth album but my introduction to their punk, blues, soul sounds. Blending elements of punk energy with Southern-fried boogie, tracks like “What are You willing to Lose” and the raucous “Halfway Wrong” are rousing slabs of Memphis influenced rock. The name of the record itself refers to a loft in which the members lived while in that legendary musical city. The bluesier side of the band comes out on “Sixes and Sevens” and “Darken My Door”, two songs that could light up any bar in the nation. Jim Spake, best known for his work with Al Green and John Hiatt adds his soulful horn playing throughout the disc; his work exacerbates the quality of playing here without ever overshadowing it. When the guys slow things down, as they do “Hey Darlin’, Do You Gamble”, there is a winsome honesty that permeates the songwriting, making this a down-home slice of pure American music. People who admire John Doe, or the aforementioned Hiatt, will adore this record.-Rich Quinlan

NO FRIENDS (www.noidearecords.com)

Everything old is new again. That adage is never truer than with the raging hardcore of No Friends. Featuring a varied cast of characters, ranging from Tony Forester of Municipal Waste to three members of the underappreciated New Mexico Disaster Squad, No Friends is a proud return to Gorilla Biscuits, Naked Raygun style hardcore; namely, extreme aggression mixed with a surprising dose of harmony.(“Broken Windows”, “Black Hearse”) Violent outbursts such as ”Set in Your Ways”, “Have You Ever Heard of Aspirations?” and “Clean Up Crew” would have been blaring at any skate park in the 80s’, but this is not simply a re-recording of past glory. This is archetypal guitar punk with a twenty-first century vibe. No Friends are both classic and somehow fresh. “We’ve Got No Friends” is channeling Agnostic Front while “Sans Opinion” will split your face open with a buzz saw of a guitar riff. There is nothing to disparage about nineteen minutes of adrenaline riddled fury, so this is a mandatory listen.-Rich Quinlan

PRINCETON - Cocoon of Love (www.kaninerecords.com)

Cocoon of Love is a perfect title for Princeton’s new full length, for the band wraps you tightly in a blanket of heartfelt, endearing, indie pop warmth with a few delicate characteristics that will separate them from their peers. “Sadie and Andy” has a Beatles-esque aura that begins a majestic collection of tender songs. Matt and Jesse Kivel, twins from Santa Monica, experiment with elements of shoegaze pop (“Sylvie”), lighthearted horns (“Shoe Some Love, When Your Man Gets Home”), and Leonard Cohen melancholy (“Stunnder Shades in Heaven”). When not re-writing the rules of indie pop, the band delivers lush pieces such as the gentle “The Wild” and the bubbly “Korean War Memorial”. The Kivel brothers, along with drummer David Kitz and keyboardist Ben Unsen, construct a record on which pop sensibility abounds and melodies cascades, as hard on the lovely “Martina and Clive Krantz”, which features Echo and the Bunnymen style harmonics or the Cure-like “”I Left My Love in Nagasaki”. “Shout It Out” features subtle Caribbean style playing that adds a little spice to an already hook-laded effort. I normally look for music to snap my neck and bury me under a wave of fury; maybe I’m getting more mellow in my old age, or I’m just growing up and appreciating great musicianship, but either way, I am smitten with Princeton.-Rich Quinlan

SCENE OF ACTION - 20 Minute Hourglass (PopSmear Records www.popsmearrecords.com)

This trio from San Francisco displays all of their wares on 20 Minute Hourglass, a varied and, at times, exhilarating release. The noisy, kinetic “Jaded” kicks the record off with a ball of distorted fuzz and equally scruffy guitar playing. The track bounces off the walls like a hyperactive child sucking down Pixie Stix and Joel Montgomery’s vocals overflow with youthful abandon. The more electronic “Sexception” is a nice counter punch to the opener. With a thick bass line and hypnotic vocals, Scene of Action demonstrates an ability to balance rock and electronics in prefect harmony. The guys stumble a bit on “What’s a Boy to Do?”, a near carbon copy of something Trent Reznor would have left on the cutting room floor. You are just overwhelmed by the fact that you have heard this before. The second half of the disc moves away from the more raucous aspects of the openers and is a more controlled pop record, particularly the mid-tempo “On My Own”. While musically sound, one is left a touch confused as to what type of band Scene of Action wants to be: are they a rollicking, no frills, rock band, or are they more inclined to follow indie rock aesthetics? They have the talent to win either way, but they should pick a side and go with it, although I am a larger fan of the introduction than the conclusion. The closing “You Pardon Me” is a genteel track that does not distinguish itself insofar as its own identity. In the end, Scene of Action is three skilled players. They just need to get on the same page musically.-Rich Quinlan


HIGHER GIANT - The First Five (Creep Records www.creeprecords.com)

Higher Giant give you five pieces of roaring punk pop with catchy hooks and infectious vocals compliments of Ernie Prada. However, while the band may know a good pop lick when it hears one, this is not sugar coated bugglegum kid’s stuff. There is enough crunch guitar riffs to satisfy the edgier rock fan in you. “Friday the 13th” and “The Well” kick things off in grand style with the latter emerging as a real gem, both musically and lyrically. (this is a great Seinfeld reference buried in there.) I am also impressed with “the Dealer” for it featured more aggressive guitar playing, while “caballero” shows off the rhythm section of Alex Volonino and drummer Dave Wagenshutz a bit more, for it is a touch slower and more prodding then its predecessors. The concluding “dangerous” spins a yarn about a disastrous relationship. Overall, iw as impressed with the energy and consistency on display here. Worth your while.


SIX FINGER SATELLITE A Good Year for Hardness (Anchor Brain Records www.myspace.com/anchorbrain)

After eight years away, Six Finger Satellite reemerges with A Good Year for Hardness, another slab of mind-altering electro-punk that defies conventional descriptions. Throughout the 90’s career, 6FS separated themselves from their flannel draped compatriots by using Moog synthesizes, keytars, and dressing in suits. Adored by many, misunderstood by most, the Providence, Rhode Island outfit seemingly vanished for good in the early twenty-first century. However, after remerging last year with Half Control, the band has put forth an impressive release on Providence upstart label, Anchor Brain. The noisy, yet melodic hooks abound on tracks like the opening “Hot Food” and “P.Wilson”. I loved the thick groove of “Midnight Rails”, while I was equally impressed with the bass heavy “Swamp Wanda”. The band’s central components, namely J. Ryan and Rick Pelletier are back in the fold and for many long time fans, the sound of 6FS will be again instantly recognizable. There are not many people who sound like this act and that has always been their greatest strength. However, they also have the musical chops to back up their individuality; just check out the stammering, stomping force of “Broken Brain”. This is a very welcomed return for a band that seemingly has not lost a step.



THE SWEET ONES We Work Harder (Crafty Records www.craftyrecords.com)

I am always nervous about a band when their best track is a cover tune. That is exactly what happens here with the Sweet Ones, three hard working guys who want to have fun but deliver a record with a few holes. These guys could possible rock the local bar, and maybe that is all they want to do, but I am not too impressed with efforts like the noise-for noise’s sake “Trauma” and the acoustic punk stylings of “Split My head”. The disc gets off to a good start with the bouncy, sing-along fun of “Join the Club” and the jangly, rollicking “Soul Boat”. However, after these two are done, your only other highlight is the aforementioned cover, “Nothing to say”, originally recorded by the Fever Monument. The other efforts range from mid-tempo yawners (“Hippy Johnny”) to off-kilter instrumentals (“Got Watt?”) I think the Sweet ones want to have a good time, but I’ll pass.

EXETER - Grey Noise/White Lies (www.engineerrecords.com)

This Austin, Texas four piece merge a variety of styles into one unique sound. Upon a cursory listen, they come across as a dreamy, hazy, shoe gazer act, but that’s only the beginning. There is a subtle pop aesthetic running rampant on tracks like “The Romantic” and the surprisingly contained “Red Dress” as well as an unexpected heaviness as well. The dual guitar arrangement of Mike and Cam provide the unanticipated crunch, and this is when the band shines. Slower efforts like “Numb” tend to drag at times, but bursts of inspired noise will hold your attention. “Sweet and Low” emerges as one of the band’s finest moments, for they again stretch themselves and craft a straight forward, driving piece. Some of the work blends together too much, most notably “Everyday Parade” and “Window”, resulting in an unsettled collection of songs. However, there is some real promise here if Exeter figures out exactly what they want to be. Are they a noisy, more artsy style act as their title track and closing “Planet X” indicate, or are they a bruising guitar rock act which they prove they can be on “Widowmaker”? I prefer the latter and think the band could make a name for itself pursuing that sound. I guess I will wait and see.

 

TALK NORMAL - Sugarland (www.rbrRecords.com)

Dark, brooding, and impossible to ignore, Talk Normal points a finger in your chest and challenges you to listen to them. You would be wise to heed this band, for Sarah Register and Andrya Ambro are on to something here. Raw noise and yelped vocals overlay a mechanized grove on “In a Strangeland”; this is only the second track on the record and this band does more by two songs than some acts do in a career. This is not easy to listen to, but worth the challenge. Elements of very early Sonic Youth abound, as screeching guitars, muffled shrieks and poetic lyrics assault you from all sides on “Hot Song” and the brilliant “Warrior”. This also reminds me of some of Laurie Anderson’s more unique spoken word efforts as Talk Normal are crafting a new type of art. However, this is not without its rhythmic qualities, they are just more difficult to pick out in the midst of the noises contributed by Ambro, such as the slower, daunting “Mosquito”. Register uses her guitar as a conduit of chaos; a sprawling, squawking animal that generates an ambient atmosphere that is both intimidating and awkwardly lovely on “Transmission Lost” and the vicious “River’s Edge”. Their interpretation of Roxy Music’s “In Every Dream Home a Heartache” will not remind anyone of Bryan Ferry, but they magnificently twist the track into something wholly unique. This a rugged, angular, surly release that I think is absolute genius. Find this now.



WHEN ICARUS FALLS - Over the Frozen Seas (Get a Life Records www.getaliferecords.com)

This thirty minute, three-song EP transfixes you with sprawling, majestic beauty that combines the most gentle of musicianship with shrieks of terror and pain. The opening “Black Tree” begins solemnly and innocuously, as a serene beat cascades throughout the opening moments with tender piano accompaniment. Then you hear the vocals. Screams and cries of unfettered agony begin to dominate the song before they suddenly end and the track returns to its subtle beginnings. If you ever envisioned a band blending black metal and jazz, and thought it would be a good idea, check out When Icarus Falls. More subdued singing emerges as the song enters its six minute mark and the listener will be simply awed by the juxtaposition in styles as the more menacing howls return. The track fittingly ends with a detonation of noise before the hushed intro of the title track appears. There is something incredibly stunning about the art crafted here. The magnificent ambiance envelopes you as you await the next explosion. Tranquil piano fills the room as the song begins to purposely build towards a riveting crescendo. When it hits its climax, the combination of composed piano and tortured vocals make the song both terrifying and beautiful. The song descends into a soothing abyss before erupting again. Finally, the closing piece of the trilogy, “They Created Lies Which Everyone Uses” begins. The song opens with only the faintest sound of noise as it begins constructing itself over the course of several minutes. The track plays out like a perfectly directed suspense thriller: you know something is bound to happen but have no idea when it will occur. One sits in rapt attention as the band alternates between poignant quiet and raw, tormented vocals. This track does not contain the same intense culmination as the earlier efforts, but the pinnacle lasts several minutes as When Icarus Falls sounds as if they are on the verge of explosion. You simply do not hear bands like this. Impossible to categorize but even more impossible to ignore, this is a riveting release.



ALICE DONUT - Ten Glorious Animals (www.alternativetentacles.com)

One of the stalwarts of true alternative and underground music have returned with a new release on their old label as Alice Donut celebrates thirty years of confusing and delighting listeners. Ten Glorious Animals will fit in quite well with any Alice Donut collection, as the band creates a challenging, funny, and multi-faceted record. The opening “Mrs. Carradine” is a bit too meandering for my taste but “No More Room” and “Wide” reminds people of the post-punk roots of Alice Donut. “Wide” is particularly hilarious, as it recounts the story of Idaho Senator Larry Craig’s encounter in a bathroom stall. “Why can’t you bitches get off his back?/ He’s got a wide stance, man./Time to go into biblical rehab man”. Other impressive efforts include the dysfunctional love affair detailed in “Lorelei and Henry”, the warm vocals of Sissi Schulmeister on “Don’t I Know” and the self-deprecating “Shiloh”. (Gonna get famous and rich/Got a gig with the Unsane and 7 Year Bitch”) “Old Dominion” and “Prog Jenny” are two awkwardly timed, mid-tempo rock nuggets that will confound listeners with their lyrical content and musical dexterity. (“Would you prefer to die at sea all alone or be smothered by a candy striper at home?” asks Tom Antona) “The Cavalry” is a gentle piece that surrenders to an atypical rendition of the Pixies’ “Where is My Mind?” Alice Donut is not for everyone and Ten Glorious Animals stays true to their history; it is great to see a band remain committed to a sound and an unconventional approach to making music.

PORTUGUAL.THE MAN - The Satanic Satanist (www.equalvision.com)

This is another of those records where you either fall in love with immediately or you just cannot hear the attraction. I fall into the latter group here, as Portugual.The Man have a sound that borrows from 60’s pop and then splices it together (literally) with a series of loops and effects. The results can be charming, such as the infectious “Lovers in Love”, and “Everyone is Golden” or it can be just too slow and oblique, such as “The Home “or “Let You Down”. I personally look for a greater sense of humanity in music, and that includes some occasional sloppiness and earnest miscues. There is great talent on display, but it feels as if every nuance was calculated and deliberately included. The closing “Mornings” suffers from this, as does the opening “People Say”. The members of Portugual.The Man are clearly gifted and have a great musical background, for their influences are varied and complex. If you believe that Sgt. Peppers or Dark Side of the Moon are the pinnacle of mankind’s musical achievement, you will by richly satisfied by The Satanic Satanist. Maybe I just miss the boat on this type of act, but this was yawn-inducing for me.

SOUL CONTROL - Cycles (www.Bridge9.com)

This is not your little brother’s hardcore band; Soul Control takes hardcore and looses the straps a bit for a free flowing, noisy, but incredibly excited record that is over too quickly. The band’s sound reminded me slightly of Verse, and Cycles was produced by Jay Maas, who has worked with that aforementioned outfit. There are moments of pure hardcore outburst, such as the riotous “Beyond Words” and the blazingly fast “Ashes to Iron”. However, much of the disc seems to borrow from the heyday of 90’s noise to add a new twist to an old recipe. “Pursuing Ghosts”, “You’d Sing, Too”, and “Life Cycle” feature guitar playing from Jim Connolly that is not just speedy, but is also remarkably thick and bruising. Vocalist Rory Vangrol screams his way through each effort, but his vocals sound like a fourth instrument and never strains to be heard above the fray of the playing. I am particularly impressed with drummer Ryan Pitz, whose pounding playing kicks off most of the songs, and then anchors the tracks as he is nicely complimented by Eric Anagnostis on bass. “Fundamental Forces” and “Flux” have elements of Fugazi, Unsane, and the Cows all wrapped into raucous anthems. This band is a touring machine and the crowds have plenty of scream-along choruses to shriek themselves hoarse. I for one would love to see this band in a live setting, for energy comes blaring through the speakers at you. I loved every ear-splitting minute of this. Find it immediately.


VINYL

BEL AIR - “Into the Sea” b/w “You Can’t Do Much” EP (The Broadcast Collective www.myspace.com/belairtheband)

The A-side, “Into the Sea” is a rollicking, sweeping track that is majestic and instantly hooks you. Excellent guitar work abounds, particularly on the meticulous solo, but there is a subtle ruggedness that accompanies the 60’s pop vibe and sly piano. This is a very complete song with a little something for everyone-it is rocking enough for rock fans, but also serene enough for those who appreciate more satiable indie pop. “You Can’t Do Much” begins with sparse keys and ethereal guitar before melting into a haunting, mid-paced crooner. Lovely female vocals express despair about having a broken heart and broken wings with a warm, lush delivery. Bel Air can clearly take their musical visions in numerous directions, and I am impressed with their efforts here.

TIGERS JAW - “Spirit Desire” (www.tinyengines.net)

Tigers Jaw had me hooked with their colored vinyl, but I am easily impressed. However, the music is even cooler than the vinyl as “Spirit Desire” is a thick, plodding track about a relationship in flux. It reminds me of the salad days of indie pop punk, as Tigers Jaw blends a variety of styles and emotions into a complex track about an equally complex relationship. “We Are Great, There is Only One” absolutely leaps out of your speakers with an enthusiasm that simply cannot be feigned. This is an honest group of kids evoking the spirit of the Archers of Loaf or one of dozens of other quirky, off-kilter, pop aficionados with impressive skills. “Crystal Vision” closes the release with a dense wall of guitar warmth and an understated vocal delivery including gems such as ”it’s harder to be honest when you’re young”.) A very promising release from a fun and talented act.

TORCHBEARER - “The Worst is Yet to Come” (myspace.com/xsoulrebelrecordsx)

Wow! Furiously intense hardcore commands your undivided attention over the course of four blistering anthems. Amit Sharma’s vocals left me in awe as she yelps and wails his way in the midst of noisy, scornful, punk. The opening “Spy Report” instantaneously wants to smoother you musically without leaving any room to breathe, as you are bombarded by battering, vengeful efforts. While each of the four songs is impressive, the bombastic closer is my favorite, for it has metal overtones but is undeniably a punk effort. Reminiscent of Black Flag at their prime, Torchbearer simply decimates you and when you hear the ominous warning of “I dread this. The worst is yet to come”, you best look for shelter for these guys could be the forbearers of an apocalypse. I loved this.


 

BIG STAR - #1 Record/Radio City (Concord Music www.concordmusicgroup.com)

I only know about Big Star through the Replacements’ ode to Alex Chilton and the theme song to “That 70’s Show”, both of which I enjoy. However, my understanding and appreciation of this early 70’s footnote was nil as I listened to this re-issue of the band’s first two groundbreaking albums from the early 70’s. What I was found myself listening to was a collection of folksy, poppy, sometimes rollicking pop that was quite pretty at times, but did not keep my rapt attention. Chilton had become famous through the Box Tops and ‘The Letter”, a great nugget of soulful pop, but Big Star were clearly products of the early70’s without some of the corniness that also defined that period in rock’s history. Much of #1 Album is acoustic guitar driven, such as “Watch the Sunrise”, the sweet “When My Baby’s Beside Me” and the more psychedelic “The India Song”. Additionally, the blueprints of thousands of indie-popsters can be heard on the opening “Feel” and “Give Me Another Chance”. Guitar is more pronounced on the quasi-snarl of “Don’t Lie to Me,” and “In the Street” is a great song (it sounds even better when Aston Kutcher is not lip-synching it.) Chilton is surrounded by skilled players, most significantly Chris Bell, and Bell’s departure after #1 Album altered the sound of the band a bit as Radio City lacks some of the warmth of its predecessor. The guitar is more prominent on Radio City, particularly on “You Get What You Deserve” and “Mod Lang”, but the record does not convey the same tenderness in tone and structure as #1 Record and makes for a less interesting ride. Chilton playfully drops his own band’s moniker in “O My Soul”, but efforts such as “Way Out West” and “Back of a Car” sound flat. Big Star harkens back to 60’s pop on “She’s a Mover” and the lush ‘September Gurls,” but come up short with the piano-driven “Morpha Too” and the folksy “I’m in Love With a Girl”. This one is suitable for only the most dedicated fans; this may overwhelm those who simply want a few key tracks.

DOUG GILLARD - Call From Restricted (347 Records www.myspace.com/douggillard)

Doug Gillard has made a name for himself in a variety of bands, most famously with Guided By Voices, but he is now ready to emerge as a formidable solo artist. Call From Restricted features warm, subtle guitar playing and equally captivating vocals. From the opening tale of maturity, “Time is Nigh”, through the more boisterous hook of “From What I’ve Done”, Gillard emerges as a multi-faceted and immensely gifted player who contributes every note and word to this magnificent listening experience. This is the blueprint for brooding indie-pop, and I adored “The Temperament Twist”, a track featuring a more foreboding guitar riff that still retains a lush sensibility. “Entwined” is carried by atmospheric, fuzzy guitar, while the charming “No One Above You” includes a more pronounced drumbeat and delicate vocals. One of the true highlights here is “Gibraltar”, a song of magnificent beauty that is rivaled by equally captivating “Gogol was Rollo”. “Gibraltar” kicks unveils a string of restrained, haunting pieces, including “Love, Blinding Love”, the sensuous “(When Will You be) Driving By” and the serene “Without the Lights”. This is a gem of a record from a performer who can take pride in his back catalogue but is creating an equally impressive personal library.

RED COLLAR - Pilgrim (www.redcollarmusic.com)

In the light of recent events, it is somewhat ironic that Red Collar feature a member named Michael Jackson, but this band does have its fair share of pop awareness. Pilgrim is an undulating collection of guitar tracks that range from the aggressive to the serene, but each contains memorable hooks. The opening “The Commuter” bores itself into your head, while “Radio On” and “Used Guitars” channels 90’s indie pop with a scratchy riff and warm vocals. The band diversifies itself on “Tools” and “Tonight”, two slower, mid-tempo pieces that stand out in the midst of the guitar happy nature of the discs other nine tracks. The yelp of “Hey, come on! Let’s go, go, go!” found in “Stay” belies the more reserved nature of that track, and the Red Collar has a rare ability to balance boisterous energy and self-control. Reminding me a t times of glimmering 90’s gems, such as Archers of Loaf, Red Collar can reel you in with a big hook and then hold your attention with some instrumental or vocal gymnastics such as “Hands Up”. This track is my favorite of the bunch, as the aggression is palpable, with a close second coming in the form of the closing “catch a Ride”. Red Collar is not reinventing anything, but their abandon is impressive. The disc sounds as if the band is ready to explode and I have a feeling these guys could decimate a club with their enthusiasm and pure love of playing. This is worth checking out for Red Collar is playing rock n’ roll without any filler or pretense; this will be a breath of fresh air for some.

THE NEW UP – “Better Off” EP (www.thenewup.com)

“Dear Life” kicks off this five song EP with a solid blast of wah wah guitar and the soaring vocals of ES Pitcher. I was intrigued by the band at first listen, for it is rare that flute is heard outside of Jethro Tull, but there it was “Better Off”. This band seems to marry elements of grunge, punk, and new wave with a splash of something wholly unique to create a sound that is both familiar and unexplored. However, the record really sold me with “Bitch”, a bombastic effort that revolves around a thick guitar riff and highly prominent drumming. Pitcher is the star here, as her voice can vary between breathy and furious as she carries “Fuck You Roger Until further Notice” solely by the strength of her pipes. Guitarist Noah Reid also shows off his dexterity on this disc, exercising his talent through a myriad of tricks and solid riffs. The closing piano ballad “Wait” seemed out of place and was a disappointing ending to an otherwise surprisingly good release. I look forward to the third piece in the band’s planned trio of thematic releases.

THE LAST RESORT - You’ll Never Take Us ( www.iscreamrecords.com)

Nearly three decades into their existence, the members of The Last Resort are the stalwarts of skinhead ethic, and the music on You’ll Never Take Us is classic Oi! punk, with fourteen punches of hook-laden blasts about boots, braces, and beat-downs. Typical themes abound here, including skinhead unity (“Cockleshell Heroes”), crooked politicians who only exploit the system (“Crucified Nation”), and a general frustration with the inequities of society (“Land Fit for Heroes”, “Changing of the Guard”, and “String ‘em All Up”). Two members of Anti-Nowhere League, guitarist Keith “Beef” Hillyer and bassist John Pearce join vocalist Roi “Millwall” Pearce and drummer Chris “Jonesy” Jones. Together, the boys stomp through a record of pure anger and adrenaline. The opening fury of “My Retribution” does not dissipate over the course of the disc, with other sing along anthems including “Running Man” and “War Widow”. From the cover art to the lyrics, The Last Resort celebrates the working class in a commemoration of hard work and a struggle against lazy, overfed, privileged business and political leaders. “Better Life” is a rebuttal to all of those who have found themselves in debt and in financial situations which are overwhelming them. (“Bankruptcy’s the only way to go/Debt collectors at the door/What’s the point when we’re all poor/We’re on the march”). There are many bands that attempt to utilize Oi in their sound, but The Last Resort is the living emblem of the sound and lifestyle.


FLIPPER – Fight / Love (www.MVDaudio.com)

Fight and Love see the return of the seminal early 80's hardcore pioneers Flipper with the special addition of Krist Novoselic (you know, from Nirvana). Fight is a live recording that gives a great overview of Flipper’s brilliant yet tragically underappreciated career. Opening with the sardonic line, “we’re a band, are you an audience?”, Bruce Loose and the guys tear into “Way of the World” and “Shine”, two old gems from Flipper’s early days. Fight is an ideal primer for all types of Flipper fans, both the old and the very new, for there are a number of cuts from their latest release, Love, including the biting “Be Good, Child!” Other dusted off nuggets include “Ha, Ha Ha”, “Sacrifice” and the closing noise-fest “The Lights, The Sound”. The heavy low end of Novoselic and drummer Steve Depace carry this sonic extravaganza, while guitarist Ted Falconi shines on all songs, particularly “Triple Mass” and “Night Falls”. Having missed Flipper in their earliest inception, and really only being introduced to them through Kurt Cobain’s choice of t-shirts, it is a pleasure to hear this band back with such ferocity. The thick sludge of “Why Can’t You See” from Love is a punishing, meandering effort that accentuates Loose’s gruff, pained vocal delivery and Noveselic’s melodic and recognizable bass work. Recorded and produced by legendary Jack Endino, Fight is a flawless live effort from a band that is not a nostalgia act, but still very much a viable musical force.

Love, a new recording, proves this to be true with a collection of ten thunderous tracks. The closing “Old Graves” is bruising as it crawls along, dragging the listener through broken glass as it travels. This is a deafening compilation of force from a band that proves that one can age gracefully and angrily, for Love is a groove-heavy, hook-rich record. "Transparent Blame” rolls and rumbles with unstoppable force, while “Live Real” could teach modern punks how real racket should sound. The years have been good to Flipper as they sound energized, youthful, and angry on Love, and despite its comforting title, there is nothing that connotes images of relief or warmth here. Novoselic is a welcomed addition and his bass is featured prominently and with good reason, his bass lines are the backbone for such highlights as “Love Fight” and “Night Falls”. Sadly, however, he will not be on tour when flipper takes their madness on the road. Love reestablishes Flipper as a band of critical importance. Hopefully, they will stick around bask in the glory they so richly deserve.

TERRY ANDERSON AND THE OLYMPIC ASS KICKING TEAM - National Champions (DoublenaughtRecords.com)

Twangy, Southern-fried, and rollicking rock n roll dominates a wickedly fun, smile-educing record from Terry Anderson’s Olympic Ass-Kicking Team. This is no frills rock n roll played in the purest sense of the word. The fun “Goin’ or Comin’” kicks off the record and the track is infectious. Fans of Petty or Springsteen will adore the earnest songwriting on slabs of Americana such as the anti-Barry Bonds “Willie Mays” (You’re not half as cool as Willie Mays”), “Is We or Ain’t We” and the hard-hitting guitar rave-up “Pow’ful ‘Merka”). The country-flavored “You Had me at Get lost” is hilarious take on a miserable relationship, featuring lines like “That restraining order really got me hot”. Terry Anderson’s warm vocals and steady drumming are the epicenter of the band’s sound while rich backing vocals make each track a densely textured slab of big hooks and contagious choruses. The bluesy “Found Missing” perfectly embodies the band’s love of rock’s earliest influences, while also providing a renovation of the classic sound. Some of the slower pieces, notable “Wrong for That” and the closing “Feel right Now” did not work for me, but when the guys plug in and elevate the intensity, as they do sporadically throughout the record, I was hooked. This is an old fashioned driving album in which each track will help the miles pass more quickly. Pick this one up.


NECKTIES MAKE ME NERVOUS - (“I’m the Captain and I’m Telling You) This Ship is Fucked" 7-inch EP (Code of Ethics Records)

Neckties Make Me Nervous create a gem of a second release with (“I’m the Captain and I’m Telling You)This Ship is Fucked, a five track collection of speedy punk with a limited production quality but limitless passion. “Kids do the Darndest Things (When They’re Totally Fucked” and “Liberty Street” feature scathing social commentary wrapped around angry riffs. (“You better hope you’re white in the red and blue lights”-“Liberty Street”) “Hopeful Arrows” is another charged piece of contemptuous social observations, this time about war and poverty. Huge, sing along choruses and chugging guitar work swirl around a bruising rhythm section to create exactly the type of music I adore. The band’s reflective, honest lyrics are steeped in reality; there are no happy endings, but no one here is whining either. The abrasive hardcore of the closing “Apartments” is a perfect conclusion to an already damn near perfect effort. An unflinching look at domestic abuse, the track includes raw vocals and furious playing. The guys here go five for five on this release; a rare feat and a band worth celebrating.

THE BLACKOUT - The Best In Town (Epitaph.com)

I get a little nervous when bands are described as the “hottest new” something, but The Blackout lives up to the hype. This is one of the most promising acts to come out of England in a very long time. Dual vocalists add great depth and intensity to the majority of the work on The Best in Town, as immediately illustrated by the bruising opening “Shit the Fuck uppercut”. The band displays a multitude of personifies here, ranging from incredible melodic and pop oriented to furiously aggressive. There are straight ahead rock anthems, such as” Save Our Selves” and the radio ready “said and Done”. The former includes a harmonious hook that buries itself in your brain, while the later benefits from excellent guitar work. The title track is slightly too poppy for my taste, but the band quickly make sup for it on the belligerent “The Fire”, the thunderous “This is Why We can’t have Nice Things” and the closing gem, “We’re Going to Hell…So Bring the Sunblock”. However, the stand out anthem is the staggeringly unforgettable “Children of the Night”. Despite a title that may be confused with something from Dio, “Children” is a punching track that will lure you in with a rich melody and then overwhelm you with force. This is bandwagon worth jumping aboard right now.

TENSION ENVELOPES (For The Ear Records)

The Tension Envelopes are from New Jersey. I was able to find that they are also a very lo-fi, fuzzy power-pop band that remind me of early Dinosaur Jr. The trio blends discordant pop and a steady rhythm section to sound like shoegazers such as Ride or Teenage Fanclub on a sugar rush. The guitars pop on “Telescope “and “The Imagineer” are warm and densely textured. The latter features wistful, pixie-ish female vocals compliments of D. Heilman and a rollicking bass line from Billy Rubin“. Misty Slurs” is a speedier track driven by an almost hyper-kinetic drum beat and melodic vocals. “On the Top of the World” is a slightly more aggressive piece with Pete delivering melodic, yet monotone vocals, accented by lush female background accompaniment. The concluding “Your Favorite Martyr” is again carried by Heilman’s singing and warm guitar playing. This is the type of band that still has room for growth, but I guarantee they would light up a small club.

THE COLOR OF VIOLENCE - Youthanize (www.epitaph.vcom)

The Color of Violence attempts to make the sound of organized chaos. Youthanize is a polyrhythmic explosion of force that features members of From First to Last (Travis Richter and Derek Bloom.) Unfortunately, this is not anything revolutionary in terms of grind core. The disc is part grind, spazzy, math-core and even some unapologetic noise. I give the boys credit, as they open with a Pixies cover (“Rock Music”) before attempting to intimidate on “Large Hardon Collider” and “Me and My Enormous Spiritual erection”. Coming and leaving in what seems like mere seconds, each track is a test of endurance for the band but this does not compare to the likes of Cripple Bastards, Agoraphobic Nosebleed, or Magrudergrind. “Crapandemic” and “Exen I Use to be Sex” are interesting and should hold one’s attention, but does not leave me battered and bloody like real grind should. The obligatory bonus track takes the band in a very different direction musically, but I become disinterested fairly early. This is not weak by any stretch, but it simply does measure up with the true leaders of grind bedlam.

MEAT PUPPETS - Sewn Together (www.megaforecerecords.com)

The classic country rock stomp sound of the Meat puppets dominates Sewn Together, giving it a down home sensibility. This record will remind fans of the glory fays of the Puppets as well as acting as a wake up call for those who may have missed them. The smooth, breathy style of “Blanket of Weeds” and “Sapphire” are two highlights for me, with the latter’s delicate lyrics resonating in my head. (“Let’s fly off together/I’ll love you forever”) Gentle piano accents “Clone”, while the ethereal, laid-back “Smoke” is just a beautiful piece of musicianship by the Kirkwood Brothers. The band can still play pop with an edge, as they do on “I’m Not You” and “Nursery Rhyme”, the latter possessing a fuzzy underlying riff. “The Monkey and the Snake” has a light-hearted, honky-tonk feel to it, while “S.K.A.” is slightly darker in nature, and the dichotomy of sound here reveals the vast talent still present in the Meat Puppets, making their reunification in 2006 more about creating great music than nostalgia. This is a solid, highly diverse, and majestic release from a band that always deserved more acclaim.-Rich Quinlan

PRETTY WHORES - Teens of USA (www.prettywhoresmusic.com)

I am in love! “Teens of USA” is one of the most enjoyable anthems I have heard in ages-just pure fun, garage rock energy. Imagine the New Bomb Turks jamming with Damaged-era Black Flag and you have a semblance of what pretty Whores sounds like. For anyone who questions the vitality of rock n’ roll, they should crank up “No Control” or “When Are You Going to Start to Study?” for an injection of infectious, kinetic vigor. Unadulterated, unpretentious anthems abound on this eight-track, self-released effort. Granted, some of the songs begin to sound a little similar, but it is a sound worth repeating. Anton, Viktor, and Viktor create a massive wall of force, full of rollicking hooks and surprisingly harmonic vocals. The bass lines of the aforementioned “Study” and “Midnight Showdown” lead to huge riffs and great sing along choruses. This band returns to the core of rock music-namely relentless fervor and Pretty Whores eschews any forced labels. This is pure rock done with a brilliantly controlled recklessness, sounding like a 21st century MC5 on “Part of the Scene” and the closing “My Hometown”. These guys deserve to be huge.-Rich Quinlan

WITCH HUNT - Burning Bridges to Nowhere (www.alternativetentacles.com)

Witch Hunt helps to announce a renaissance for Alternative Tentacles in my eyes. Male/female vocals soar over violent, at times even grind core style playing. The call and response vocals on the opening “Blind Eyes Blind Lives” introduce a series of skillfully delivered punk, overflowing with raw emotion and intense playing. The intelligent lyrics (see specifically “Counting Down the Days”, “Silence”” and “Treadmill March”) and crushing grooves (every song) which dominate the record separates Witch Hunt from lesser competitors. “Septa Death” and “Sick Industry” are two more fast-paced, flesh tearing anthems that are perfectly juxtaposed with the sludgy “Void” and the Zen Arcade style of “A Slow Decay”. The diversity of the playing keeps this continuously interesting as the band seems to reinvent itself with each passing track. Janine and Nicole Enriquez share vocal responsibilities with Rob Fitzpatrick and each bring a unique style and level of intensity. There are moments of warm harmony, such as ”Everyday” and “Plastic Dream”, which fight to exist within the waves of aggression. This is a great release.

 

BELLINI - The Precious Prize of Gravity (www.temporaryresidence.com)

With Steve Albini turning the knobs, I can always rest assured that the finished product will be impressive, and Bellini’s The Precious Prize of Gravity certainly fulfills my expectations. The rugged, time-bending beats of “Waking Up Under a Truck” set in motion a hard-hitting, thunderous, 10-song release. Giovanna Cacciola’s voice is haunting, particularly on the angular, start/stop rhythms of “Susie”, when she warns, “You don’t know me, yet!” There is a dark. ominous tone throughout the record, as mesmerizing instrumental “The Man Who lost His Wings”, the lush “The Painter” and the closing “A Deep Wound” all resonate with deep emotional conviction trough war, albeit challenging, guitar and intricate rhythms. The apex of the band’s prowess comes on “The Thin Line”. Dedicated to a lost loved one, the recurring refrain of “It’s not hopeless” is a gut-wrenching masterstroke that reflects the brilliance of the record as a whole.

CROSS STITCHED EYES - Coranach (www.alternative tentacles.com)

This is why Alternative Tentacles is such a legendary label: Cross Stitched Eyes is a classic agro-punk band that harkens back to a simpler, angrier time. Guitarists Tim Crow and Kris Hutto would make East Bay Ray proud on songs “Cross” and “Eyes”, while a Killing Joke influence shines through on “Rot” and “Suffer”. The fast, incredible tense “Face” and “Substance” are tightly coiled ferocity that teeters on the edge of chaos. Even when the band locks into a great groove, such as ”Stitched”, the band still sounds as if they could explode into chaos at any moment. Each of the fourteen efforts are short, terse, passionate pieces that inject new life into a style that has been sadly ignored for too long. Every second of this disc is perfectly played and there is not a wasted note. Find this immediately.

THE PICTURE – “Bluebirds” EP (www.thepictureonline.com)

This band could be big: they are a radio programmers dream if you are running station that caters to bands who plays it safe but has immense talent and just enough pop-rock goodness to keep it from being boring. Coldplay and U2 fans alike will salivate over the opening “Another Army” as vocalist Robert Abel channels his early 80’s Bono while Chris Buckle’s piano helps to illuminate the track. “The Shadows” opens with a quasi-dance beat with stirring keys and enough ethereal guitars to hold your attention. The mainstream rock of “Battling Giants” may be the best single of the bunch, as the guitar work is finally allowed to take center stage. The latter portion of this disc continues this trend with “Deer Crossing” and the closing “Devious”. I was impressed with this, but The Picture is just too commercial for my liking. This has the potential to be a cross over success, but I will not be among those buying.




THE DAREDEVIL CHRISTOPHER WRIGHT - In Deference to a Broken Back (www.ambledown.com)

Beautiful strings, soaring vocals, and oft-kilter musicianship highlight a quirky, eclectic, but unabashedly catchy effort from The Daredevil Christopher Wright. The opus “The East Coast” is a multi-leveled, richly textured gem accented by violin and magnificent harmony which suddenly shifts gears, much like the life it details. This combination of several songs in one occurs throughout the disc. Even the more conventional “Clouds” has a multitude of tales to tell and styles to display. The Daredevil Christopher Wright write stories about the less glamorous, but entirely human aspects of life, such as ”A Conversation About Cancer”, the twisted love tale of “We’re Not Friends” and the gentle tones of “War Story”-a song of stolen styles, broken arms, and dead singers. The melancholy title “A Near Death Experience at Sea” belies the swinging tempo and gleeful vocals that makes it irresistible. A similar sound is heard on a track bearing the band’s name de plume. This is a story of a man dying in an attempt to excite people, but the band investigates the darker side of human nature with serene acoustic guitar and violin. This is not my favorite style of music and I would not normally seek this out, but I am lucky this fell into my hands, for I feel better for having an opportunity to listen to this.

JOHN DOE AND THE SADIES - Country Club (www.yeproc.com)

Oh, the drunken promise. We have all made them, but have your drunken promises ever materialized in to a collection of country classics with a few originals sprinkled in for flavor? Of course not, unless you are John Doe, whose inventive punk work with X and solo work always challenged conventional thinking. Doe approached the Sadies backstage one night about creating a country record, and the result is Country Club; fifteen tracks of pure country goodness from well known giants of the genre, as well as a handful of work from Doe and his friends. Even if names like Merle Haggard (“Are the Good Times Really Over for Good”), Waylon Jennings (“Stop the World and Let Me Off”) and Tammie Wynette (“Till I Get it Right”) do not make your boots quiver, there are nuggets here for everyone. I found myself chugging down the honky-tonk style of “Just Dawned on Me” and the instrumental “The Sudbury Nickel”, two of the album’s originals. Some of this is a little too slow, such as the aforementioned Wynette effort, as well as “Help Me Make it Through the Night”, originally done by Kris Kristofferson, but to my ears, I could only see Conway Twitty in an ill-fitting leisure suit strumming (barely) at his guitar while his hair defied gravity. The fact that the originals are largely the stand-outs here proves that Doe can hootenanny with the best of them and a full album of original work would be greatly appreciated. The covers were fun at times, such as an impressive take on Johnny Cash’s “I Still Miss Someone” or the ode to Detroit with Bobby Bare’s “Detroit City”. In the end, you will find yourself skipping over the covers and indulging in the originals.

BOB MOULD - Life and Times (Granary Music/ www.bobmould.com)

For some, this may come across a “new” Bob Mould, as Life and Times is a crisply produced, largely pop oriented record. However, upon closer listening, there is everything here that defines Mould as a performer and songwriter. The lyrics are honest, the playing is warm, and the songs are expertly and passionately delivered. At barely thirty-six minutes, the ten songs on Life and Times deliver powerful images quickly and then move on. There are classic punk moments, including the raging “Argos”, but much of the work is free from some of the noise drenched chaos of Mould’s days with Husker Du, and lean more towards the trend started twenty years ago with the release of majestic Workbook. Voice quivering a bit, “Bad Blood Better” features Mould singing lines about wishing for death , while “MM 17” speaks of dreams. This theme is revisited on “Wasted World”, when Mould opines “when I grow up, I want to keep my dreams with me”. Mould has never shied away from addressing personal demons and unhealthy relationships, and this continues with “I’m Sorry Baby, but You Can’t Stand in My Light Anymore”. While the line about tasting “last night’s sex” may seem a bit juvenile for a man of his age, I applaud Mould for having the willingness to still surprise people. The punk in Mould has still not grown up and we are all better off for it. Life and Times feels like a celebration of life’s little agonies as told by a brilliant storyteller. There is a sense of self-control and a worldview evident on the disc that only occurs with maturity and suffering through turmoil, both large and small. Full of balmy harmonies and lyrics that offer insight and understanding, Life and Times seems to answer some of the questions first raised on Workbook. There are a few moments that do not work for me, such as the whimsical “City Lights’, but the majority of this album is quite intense in terms of Mould’s focus, as heard on “Spiraling Down’, a track highlighted by a blistering solo. Life and Time is the work of an artist who is confident in his talents, and also inquisitive about what defines one’s life.

THE STEREOTYPERIDER - Songs in the Keys of F and U (Suburban Home Records www.suburbanhomerecords.com)

Some bands just cannot catch a break and Stereotyperider are among them. After languishing in punk-pop obscurity, watching far less talented bands sell millions, vocalist Mike suffered a nearly debilitating nerve injury. Now back on the mend, the band releases an album of chugging, fist swinging riffs, tight rhythms, and vocals that leave their poppier days well in the past. “Luck”, “Not Sayin’ It”, and “Problem Solved” all include monstrous hooks and an aggressive style that blends old fashioned punk energy with hardcore grit and creates something new. I love the twin guitar attack, for this allows Stereotyperider to do something rarely heard in this genre: well played and interesting solos. “Twon Song” and the dense ”Dave’s Fault” each include this feature. This was a nice surprise from a band I remembered, and it is great to have them back.

THE BOY LEAST LIKELY TO - The Law of the Playground (+1 Records www.plusonemusic.net)

Upon listening to this, I considered giving it to my five year old son, but then I realized I did not want to insult him. This is bubbly, far too happy pop that sounds like the music you hear on any awful children’s morning show. I could certainly see these guys on the road with the Wiggles after the pseudo country-pop of “Saddle Up”. When the second track, “A Balloon on a Broken String” wafts across the room with the opening lyrics, “I’m not a boy, I’m a big, fat balloon”, I have to admit, I’m done. This did not come with any form of information, but with a little research, I came to realize that this band is just two guys trying to make fun, goofy music. They do achieve their aims, but They Might Be Giants or Ween does this sort thing far more effectively. The Beatles-esque pomp of “The Boy with Two Hearts” is cute, but when the band blends country twang with cheesy electronic sounds on “The Boy Least Likely To Is a Machine”, I could not suppress my laughter. I am unsure of who would like this, and maybe I am just missing something brilliant. I know that there are bands out there somewhere more deserving of a record deal that these guys.

LITTLE BRAZIL - Son (www.anodynerecords.com)

Indie rock story tellers Little Brazil return with a poignant human tragedy on Son. The ten songs unfurl like a novel, beginning with two innocent individuals meeting on the beach in the summer of 1973. The work recalls their love, marriage, struggles, birth of children, separation, and eventual suicide of one of the partners; (I do not want to give it all away here!) heartrending yes, but above all, brilliant. “All I want is my family back” cuts through you on “Separated”, but the impressive musicianship here takes a solid idea and transforms it into a staggering record. Son is humanity at its most raw and vulnerable. The honesty with which Landon Hedges writes is awe-inspiring in its ability to dissect suffering and loneliness. Under waves of J Mascis style guitar, notable rhythms, lush piano, and majestic vocals, Little Brazil create a record that may hit close to home for some, but you need not be familiar with marital struggles to be stunned by the skill on display on “What’s the Problem” and the triumphant buzz of “The Wedding Glass”. The closing explosion of cymbal crashes on “Gold” concludes a stirring collection of songs. This is simply an emotive gem of a record.

LIVING WITH LIONS - Dude Manor (Black Box Records)

Five passionate Canadians pump out guitar heavy but highly catchy punk-pop across six easily palatable efforts. This is not revolutionary, but it is slickly produced and crisply played. It is loud, but not the least bit dangerous-my favorite moment of the record is the stock instrumentation of “Intro”. Songs like “Mark has Bedroom Eyes” and “A Noisy Noise Annoys the Boys” are clever titles, but the traditional shared vocals and predictable loud/soft dynamics give this a well worn sentimentality. In their defense, this is a re-release of material recorded way back in 2006. There is a very good chance that by the time of their debut full length’s release this summer, the band’s sound may have evolved. This is pleasant enough ear candy but nothing to make you forget about any of the thousands of other acts also playing like this. A style, by the way, that should not be labeled as “hardcore” as in their liner notes. This is mainstream and Hot Topic accessible, not a hardcore band.-Rich Quinlan


AUSTIN LUCAS - Somebody Loves You (www.suburbanhomerecords.com)

Whether it is Ghostwriter or Greg Graffin’s solo work, there have been pieces of Americana music that I find to be irresistible, and I will add Austin Lucas to that list. Somebody Loves You is a gritty, front porch collection of sincere, powerful songwriting. With his father Bob at the recording helm, Lucas delivers eleven warm tracks of lost love, personal examination, and redemption. This is the sound of the American mid-west and Lucas makes reference to the ‘Southern Indiana hills” where he was born. (“Wash My Sins Away”) The soaring harmony of the title track belies the bitterness expressed, while “Singing Man”, “Precious Little Heart” and “Life I’ve Got” are delivered with the soul of a preacher. The heartbreaking “Go West” is my personal favorite of the group. This tear-educing treasure has Lucas saying farewell to a lover named Emily as he croons wistfully, “You know you got my blessing, but you can’t expect these eyes of mine to watch you leave”. Each song spins a poetic and personal yarn which draws you in Lucas’s tales of woe and celebration. While it may be hip to label this “alt-country’, I believe this is the sound of the heartland reaching out to the rest of us, and it would serve the nation well to listen.-Rich Quinlan

VINYL


PSYCHED TO DIE - “Sterile Walls” ( www.gravemistakerecords.com)

This young band with a fantastic name delivers seven blistering punk anthems, full of sharp lyrics and biting musicianship. I love every track here and there is not even the hint of a let-down as one moves from side A to B. “Onward Armageddon” is an atypical end of the world track; rather then hoping to avoid oblivion or blaming others for causing it, vocalist Mike Yannich wishes he could make it happen. Efforts like “New Hampshire Man’s Quandry”, “Permanent Solution” and “Five Year Plan” are each odes to heartbreak, confusion, and the perils of growing up. Yannich laments on “Five Year Plan” about how his “friends are getting married, buying suburban homes, and I’m just sitting here complaining in my room alone”. “Staged Reality” is a less then subtle slap at television’s escapism and the drones who tune in every week to watch people surrender their last remnants of self-respect. The closing title track is a sad commentary about the state of the world as Yannich is satisfied to be institutionalized for life: “Don’t have to pay no bills, don’t have to answer no phone”. This is a nearly perfect releases from one of my favorite new bands.


THE WONDER YEARS/ALL OR NOTHING – Split 7-inch EP (www.nosleeprecs.com)

In the press material accompanying this release, the phrase “hardcore-flavored punk-pop” was used. I guess these two genres could not be completely isolated forever, but are we reaching a bit here? I think so, because I hear far more punk-pop than hardcore on this split EP. The Wonder Years from Philly feature a wall of sound that is more warm than intimidating on ‘An Elegy for Baby Blue” and “Don’t Open the Fridge”. Both tracks crackle with youthful exuberance, but this not for the hardcore kid in you. Yes, they may be speedy and loud, but The Wonder Years are heavy on the pop. This holds even more so with their English counterparts, All or Nothing. All or Nothing race through two bubblegum flavored nuggets, with “Summer Vacation in Providence” emerging as the stronger of the two. There is nothing not to like about either of these bands if you enjoy your pop sensibility to be accessed with a little speed. In the end, this is a solid release from two skilled bands, but please do not call it hardcore.


THURSDAY Common Existence (www.epitaph.com)

Thursday’s sound has always been challenging to describe accurately in terms of style and structure. I have always shied away from the “post-hardcore” tag, largely because I have no idea what that actually means. For me, Thursday is a passionate, emotionally charged, and intensely human band with six very skilled musicians. The opening “Resuscitation of a Dead Man” kicks off Common Existence with a boisterous, swirling mass of force announcing that Thursday are embracing their heritage, but as their Split EP with Envy displayed, are also willing to expand their musical horizons. The asymmetrical, kinetic playing of “As He Climbed the Dark Mountain” hits hard, and it is obvious that Thursday are in the midst of a tremendous effort. The song ebbs and flows before pausing for a gentle interlude that fades so tenderly into “Friends in the Armed Forces”. This song is the milestone of the disc-a guitar fueled wall of energy, fittingly progressing with the intensity and precision of marching troops. Lyrically, vocalist Geoff Rickly delivers articulate, fervent tales of human misery without sounding like a complete Malthusian. He finds a commonality among suffering, as it is an aspect of humanity which is inescapable and should be embraced and not feared. The acoustic guitar, studio tricks, and sweeping theatrics of “Time’s Arrow” reflect a band that is evolving and becoming more sophisticated and confident in their own abilities. “Unintended Long Term Effects” is a return to what makes Thursday so intriguing, as they roar with controlled ferocity while keyboardist Andrew Everding serenely accents the furor. The sweeping playing of “Circuits of Fever”, along with the haunting vocals on “Subway Funeral” and the closing “You Were the Cancer” allow for the record to finish as impressively as it began. “You Were the Cancer” instantly captures your attention and slowly rises to a magnificent crescendo after progressing slowly as it opened. Common Existence brazenly announces a great return for Thursday - just don’t call it a comeback.

ASOBI SEKSU - Hush (www.polyvinylrecords.com)

This incredibly gifted duo performs a collection of songs that becomes progressively more dynamic and lovely over the course of Hush. There is a gorgeous, nearly divine quality to each effort, from the ambient beauty of ‘I Can’t See”, or the pop sensibility of “Transparence”, to the haunting intro of “Sing Tomorrow’s Praise”. Even the more traditionally structured “Me and Mary” is made exhilarating through the luxurious voice of Yuki Chikudate. This is a band that could take its music in any direction, for everything they play is passionate and vibrant. One is instantly struck by the warmth of Chikudate’s voice with the opening “Layers”. This song is a perfect theme for the work as a whole, for every moment is a complex, intricately structured work that is ingenious as much as it is entertaining. Guitarist James Hanna is classically trained and it is apparent of songs like “Glacially” and “Familiar Light”. This is painstakingly crafted music that does not lose it humanity. This is not abstract math rock which becomes too dense for the casual listener, like me. It retains a vulnerability and warmth that defies its complexity.

THE POLES - Twelve Winds (www.doubleplusgoodrecords.com)

The Poles have rare ability to compose murky, brooding music without sounding self-indulgent or self-pitying. Vocalist Todd Lemiesz has a rough, raspy, and instantly infectious voice that commands attention. The band also features bassist Matt gentling from Archers of Loaf, one of my all-time favorite acts, and there is a certain Archers quality to some of the material here. The meandering, intimate “gasoline”, the title track, and “Dark is Electric” are examples of this band’s refreshingly unique approach. These tracks are simultaneously dense and ethereal with Lemiesz’s voice emerging from the depth of air-tight playing. Pounding work from drummer Jon McDuffie and guitarist Bruce Rogers create a dark ambience during the exceptional “Trampoline days”, and the masterpiece “Fire in the Woods”. This track even features a brief homage to Zeppelin’s “No Quarter”. Twelve Winds is an intriguing release from a band to pay careful attention to, for they offer something very rare right now: a sense of true originality.-Rich Quinlan

 

THE RED JUMPSUIT APPARATUS - Lonely Road (www.virginrecords.com)

The Red jumpsuit Apparatus is one of those bands that the kids seemed to know about but I had never really heard much of their material; I did not miss much if Lonely Road is indicative of who they are. Lonely Road is clearly pandering to the major label masses, as TRJA play incredibly safe pop that at times feature majestic harmonies, but is overall quite syrupy. This is alterna-pop at its least threatening, for Lonely Road is ridiculously slick in terms of production, with much of the record coming across like a Disney-like version of a rock band. I don’t know if the sugar rush of “Senioritis” or “Pen and Paper” will win over fans, but these tracks may send them into diabetic shock from the sickly sweetness of it all. I am completely put-off by the pseudo Sgt. Pepper’s arrangement of “Godspeed”, the closing, banal attempt at depth that comes across as farcical. This sounds remarkably self-indulgent and bloated. I’ll pass on this.

 

TRUE NATURE - "Feels Like Centuries" (TrueNatureBand.com)

The five-song EP is a rich tapestry of skills, as Lou Barlow (not the one from Dinosaur Jr./Sebadoh) works with legendary bassist Tony Levin and guitarist Gerry Leonard. The resumes between these two include stints with John Lennon, David Bowie, Rufus Wainwright and Peter Gabriel. Rounding out the line-up is esteemed producer Aaron Comess. Each song is a spaciously textured, intricate work with the gentle “Woman” existing in perfect juxtaposition to the more intense “My Freedom Lies behind the Sun”. As intricate as the playing is, there is an equal level of depth to the lyrics. Aging well, Barlow writes with a mature perspective about a complex and frustrating world. “Truth I Have to Steel”, the aforementioned ”Freedom” and the closing “Too Close to See Who We Are” are all examinations of where people fit within society and how our own thoughts can become impediments in our lives. Each track unfurls a new level of complex beauty with each song an emotionally driven passionate ode to how we all collectively suffer in a society that has lost its sense of security. Yet Barlow does not labor upon the negative. He investigates loneliness and sorrow, but he also explores how a return to the basic elements of nature can heal us as a people. The shaman gracing the cover of the disc acts as a perfect metaphor for the musical soul-searching and healing done by True Nature.

REVOLTING COCKS
- Sexo Olympico (www.thirteenthplanet.com)

Robotic hookers, herpes, incest, and Lou Ferrigno; add it up and it becomes the new Revolting Cocks record. Yes, friends, Al Jourgensen is proving to be the Joe Queer of his genre, as RevCo returns with Al and three young, energized musicians to resurrect the corpse of one of the great underrated bands that revels in all things debauched. Over a throbbing beat, new vocalist Josh Bradford explains how his “hookerbot comes right on cue” (“Hookerbot 3000”), while “Red Parrot” features a frenzied, Ministry-like guitar riff that celebrates hot strippers and getting drunk on Sunday. “Robo Bandits” should be a club staple, with its electronic vocals and hypnotic groove. (“Come take the test/we’ll try not to give you herpes). However, nothing can truly prepare you for “Cousins”. The subject matter here is a beautifully sick story of a summer romance-between family members! At a blazing pace and blistering dance groove, Bradford asks “why walk down the street when you can walk down the hall?” Only RevCo could pull this off, and as much as I am floored by “Cousins”, “I’m Not Gay” rivals it for both quality and entertainment value. This track includes lyrical nuggets like “I’m not gay; I only pretend to be when I’m drunk” and ”It’s hard to be a homo in the Lone Star State/ It’s hard to be a homo in the United States”. If this song is not illuminating clubs nation wide then America is in worse shape than previously thought. Forceful, bouncy, and funny as hell, “I’m Not Gay” is one of several highlights on Sexo Olympico. “Lewd Ferrigno” details the former Hulk as a sex god who has the power to pleasure women at random. If you have missed RevCo or missed Al Jourgensen’s twisted brilliance, Sexo Olympico is a welcomed return.


CANNIBAL CORPSE - Evisceration Plague (www.metalblade.com)

Cannibal Corpse have been unleashing mind-melting death metal upon the unsuspecting masses for over two decades. That fact is staggering enough, but what may be more shocking is that the band seems to be getting better with each release. George “Corpsegrinder” Fisher has one of the most recognizable and crushing voices in the genre, as he can instantly move from guttural growl to terrifying shriek. His articulation is a bit more clear on this record, allowing listeners to truly immerse themselves in the tales of suffering being musically painted before them. The band’s basic tenet of songs about “violent death”, in the words of bassist Alex Webster, remains true on Evisceration Plague, as “Beheading and Burning”, “Evidence in the Furnace”, “Shatter Their Bones” and “Skewered From Ear to Ear” verifies. However, the obvious blood-soaked gore aside, the musicianship here is impressive. Guitarists Rob Barrett and Pat O’Brien work in perfect tandem, crafting riffs that are technically profound, off-kilter at times, yet consistently relentless. “Priests of Sodom”, “Carnivorous Swarm” and the ridiculously fast “Scalding Hail” are all examples of players who understand what death metal fans want, but are not afraid to experiment with tempo and tone. Perhaps these qualities are what separate Cannibal Corpse from the legions of imitators; they helped invent a genre but have never simply re-recorded old work. Drummer Paul Mazurkiewicz and the aforementioned Webster are a vicious rhythm section, even when they slow things down slightly, as on the bruising title track. If people are looking for something wholly different from past Cannibal records, than they simply do not know this band’s history. However, for fans who want their music saturated in liquefied humanity, Evisceration Plague does not fail, and it proves that after twenty years of horrifying the weak, Cannibal Corpse shows no signs of slowing down.


KILLED BY THE BULL -“The Return of the Spell” 7-inch EP (www.koirecords.com)

Koi Records continue to impress me with their arsenal of acts, and Killed by the Bull is another notable act to follow. This New Jersey four-piece mixes and matches metal, hardcore, and even a slight Americana-tinged rock to create an aggressive yet accessible sound. The bass-heavy throb, compliments of Jeff Stevens and his partner in rhythmic crime Bill McVeigh, that dominates the title track coexists in perfect synchronicity with the squalling vocals of Justin Fullam. Fullam’s impassioned wails also dominate “Her Last Week With It”, a song which explores a failed relationship in a fresh and frightening way. (“She drives away, she’s going home/and the it disappears at last/and I’m the new guy, keeping her secret”). The addition of guitarist Paul Chiesa allows Fullam to focus almost exclusively on singing, and his fury is felt throughout both tracks until the B-side collapses upon itself in a wall of noise. Great stuff. Additionally, if you are comfortable with legal downloads, the disc comes with an insert that leads you to page where one can download two additional tracks. These songs are equally striking and worth using your computer for something that you will not have to delete from your history later.

 

CATTLE DECAPITATION - The Harvest Floor (www.metalblade.com)

Cattle Decapitation returns to prove again that death metal is a vibrant and expanding genre. The Harvest Floor (named for the area of a slaughterhouse where the animals meet their fate) is a swirling, scathing, brutal slab of severe mastery. Vocalist Travis Ryan has one of the most unique voices in extreme music and lyrics straddle a line between puss-filled gore and political astuteness. While “A Body Farm” and “Tooth Enamel and Concrete” are odes to obscene levels of disturbing violence (“please pardon the stench and the trunk of a man lying on the workbench”-A Body Farm), “We are Horrible People” and “The Product Alive” detail the destructive nature of humanity. However, Cattle Decapitation are not lecturing you about your carbon footprint-they want all people destroyed as Ryan bellows “humanity is the cancer and I want out!” Musically, The Harvest Floor is the band’s most sophisticated record to date. The brutal low end of bassist Troy Oftedal and David McGraw pummel the listener on all efforts, but “The Ripe Beneath the Rind” and ‘In Axestasy” are particularly intimidating. Guitarist Josh Elmore sounds like a small army of players rather than just one man, as his guitar work goes well beyond the traditional chugging riffs that can bog down lesser death metal acts. “Into the Public Bath” will test one’s gag reflex as Ryan spits lyrics about bathing in waste and digesting a multitude of bodily fluids. However, the band’s most experimental moments arrive with the title track. Blending experimental noise through loops of tape hiss, the song departs into a quiet, nearly gentle lull accented by cello and warm vocal arrangements. Haunting, ethereal, and complex, Cattle Decapitation will stun some listeners and thrill those who understand that bands can retain their original ferocity while also taking chances and expanding their repertoire of skills.


LEATHERMOUTH – XO (www.epitaph.com)

Anger and hatred - these two primal emotions constitute the bulk of the charged release from Leathermouth. I am amazed by this, largely because the band is led by Frank Iero of My Chemical Romance. “5th period Massacre” takes aims at bullies and the uncaring nature of schools for the tragedy of school shootings (“Nobody loves me/Its driving me insane, why do you all hate me?”), while “I am Going to Kill the President of the United States” is pretty self-explanatory, although I am sure this was written before the recent election. Leathermouth is a fast and violent assault upon the senses. Full throttle guitar with metal’s density and hardcore’s unapologetic abrasiveness meshes effortlessly on “This Song is About Being Stalked by Monsters” and “My Love Note has Gone Flat”. Fans of classic power-violence will love this as Leathermouth could have performed with Capitalist Casualties or Cryptic Slaughter in their prime. “Your Friends are Full of Shit’ is another seething verbal attack as “I’ll wear a smile when I stab you in the back, baby” and ‘you are the maggots I never forget” are spit at you with tangible vitriol. This is an amazing way to spend twenty-three minutes.

STATE - You Shouldn’t Stare (www.myspace.com/state)

This one is disappointing until the middle of this disc, and then things change for the far better. Beginning with the title track which sounds a like a funeral march, I am instantly bored and very concerned. The off-beat kinetics of “Summerdale” is a positive step as it displays unique musicianship, but the poppier “Jezebel” and “Everyone is a Saint “ fails to really generate any true energy. However, the pseudo Americana-punk of “Heart Attack” demands multiple listens, and then something snaps in the band as “The Model” and “Carousel” are unruly attacks. I instantly fell for both of these songs and State has the ability to roar with the loudest hardcore band if they chose to do so. The bass-dominated earlier tracks gave way to guitar intensive slabs of force. Unfortunately, this proves to be more of a musical sugar rush rather than the band’s defining trait, as “Attention” and the closing “Sleep” fail to emulate the more aggressive efforts which precedes them. “Sleep” is a proper bookend to the opening title track as it is equally somber and quiet, but it leaves the listener on a dour note rather then the energized passion displayed earlier. In the end, State posses a great amount of talent and could be anything they want as a band. I just hope they choose to go the hardcore route. If not, they can certainly generate accessible mainstream fare. This is a rare feat and I do believe that in one capacity or another, State will become a well known act.

LOVE, SHE WROTE - Oh! And About Last Night… (www.myspace.com/loveshewrote)

If imitation is the sincerest form of flattery, then Fall Out Boy will be gushing when they hear this. Love She Wrote is basically FOB Jr.; a poppy, hook-filled love fest of heartache, heart-break, and sugar-coated angst. The harmonies may be infectious, but they are clearly aimed at fourteen year old girls with their first crush who are ready to take down those Jonas Brothers posters for something slightly (and emphasize slightly) more dangerous. However, those with testosterone or a driver’s license may find this just too sweet for the system, despite the production attempts to beef up the guitar and the low end. There is simply no way to make “This Girl is Fierce” or “December Nights” sound bold. This is a band that could be huge because they are accessible and Miley’s fans have to grow up sometime.


CITY OF SHIPS - Live Free or Don’t Tour 12-inch EP (Forcefield Records www.forcefieldrecords.org)

The opening track of this record, “Bleach Funnel”, is a loud, noisy, beautiful disaster and I was hooked. City of Ships is a band that can traverse a wide swath of musical styles and seems to handle each of them with equally aplomb. The atmospheric intro of “Night Vision” is a perfect set up for the droning guitar and shoe gazing delivery of the vocals. The vocals are a fascinating aspect of this band, for they are pushed to the breaking point on the raw, abrasive “Critical Vulture”, a song accented by sleek, sharp guitar playing as well. A song like “Critical Vulture” gets the listener energized while the very next effort, “King Temp”, is a sludgy monolithic groove that is the musical equivalent of water-boarding. Each time you think you are rising above the wall of sound that is pummeling you, the next wave of force arrives to drag you back under the water. The B-side is equally impressive and possibly more exhilarating, as “20/20” is a battering of a song. This track simply beats you bloody and laughs at you as it does so, while the bass heavy “Hold Tight” was my favorite of the bunch. It is interesting how these tracks end with more subtle conclusions, while “Too Late to Pray’ is straight-forward, guitar fueled anthem with an awesome groove. This is a stirring effort.

OUTCLASSED - This Might Be a Coincidence… 12-inch EP
(www.forcefieldrecords.org)

When a band starts their five song release with a song called “Kick God in the Face, Hail Satan!”, I am intrigued. Outclassed is a magnificent explosion of musical wreckage that writhes and wails with angular guitar, hyper-active drumming and raging vocals. However, somehow, in the midst of this cathartic discharge, one finds moments of actual harmony and soaring skill, such as “The Amputated Hand Book”, another of the immortal titles one finds here. At times frightening, other moments exhilarating, this is a release for those bold enough to accept a man screaming at you viciously for a handful of scorching songs. The most impressive aspect of this disc is the incredible control and precision heard on “Fuck Mark”, and the closing “Missing Teeth”. This is not noise for noise’s sake but music more akin to early Sonic Youth or even Napalm Death. There is a larger purpose to the fury here. This is a very rare type of record in that you are intellectually and physically bruised upon completion.

RSO - Row (www.lostinthefuture.net)

There is something so satisfying about listening to band that plays music with complete disregard for what people will think of them. It is clear that RSO does not care how critics or those too frightened will misinterpret this record; they simply make noisy, invigorating, and sometimes gaudy, other times meandering music that arrives in balls of sound that are both confusing and amazing. The blunt force trauma of the opening “Drowin’” instantly captures my attention and I could not but sit with rapt attention through the duration of Row, even with two efforts (“Drag” and “You Too”) well over the nine minute mark. The highlight for me is the multiple personality case that is “Sell Yourself”. Starting with an oft-kilter intro that sounding surprisingly jazz-inspired, the band then drones on for six minutes with punishing guitar work which I did not want to hear end. While the vinyl release is awesome, there are two greatly appreciated bonus tracks on the cd, including the swirling “It”. However, for those purists who will only hear the vinyl, you are still treated to seven monstrous and unrestrained efforts that reveal the diversity of this band’s musical influences. I am greatly impressed with RSO’s agility in terms of generating truly boundless waves of force. Very cool stuff.

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