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)

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

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

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

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)

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)

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)

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

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

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

ATREYU- Congregation of the Damned (Hollywood Records)

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

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)

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

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

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)

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)

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)

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)

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

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 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)

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)

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)

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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