THE QUINLAN CHRONICLES - Reviews by Rich Quinlan

BRAINDEAD - No Consequences (www.burnbridges.net)

Braindead is any living up to their moniker; this Philly five-piece is a smart, introspective outfit that creates passionate hardcore in a traditional fashion but without sounding uninspired. In “Guilt and Shame”, vocalist Stevie Vainberg laments “is it wrong that I that I think too much/ Or am I the only one thinking?”. Braindead does not preach but clearly wants modern society to look at itself and recognize the ugliness of reality. The band combines honest criticism with furious riffs that reminded me of hardcore of yore; there are no heavy mosh-part breakdowns (excluding the one indulgence on “Presented In”, but c’mon, these guys are young), as the band uses frustration to furl their playing. “So Single” and “An Exercise in Bad Taste” continue the theme of social collapse, as Vainberg admits that “nostalgia is my weakness and I’m stuck/So single/And I will forget about you all”. This closing line is delivered within a mass of rich harmony, belying the disgust that motivates it. The closing “A Wake for a Dream” not only features clever word play in the title, but it is also much more existential than your typical hardcore; (A man, he stands in front and looks me in the eyes and says, ‘can you see it?’ ‘Can you understand it?’”). Although this track melts into a throng of static that overstays its welcome, No Compromises is an excellent record.

REV THEORY - Light It Up (Interscope)

VERSE - Aggression (Bridge Nine Records www.bridge9.com)

I am telling every person reading this to do whatever you can to get this record. Verse is poetic, powerful, and the songs on Aggression play out like short stories about a failed American dream and an even more destructive American foreign policy. Glancing at the disc I see an impressive list of suggested readings, and this band is not only suggesting Noam Chomsky or Howard Zinn, but also Gore Vidal and John Steinbeck. Besides appealing to my English teacher side, I am floored by the relentless expression of heartfelt anger on each of the dozen tracks. Of course, I am not terribly surprised by this intelligence considering the boys hail from Providence, Rhode Island, a hub of intellectualism and daring thought. Verse is resurrecting the original ideals of hardcore that have been watered down or lost over the past few years. “Old Guards, New Methods” encapsulates the frustration felt by most in the wake of Katrina (“Nothing for the ninth ward, just more of the same, wealthy wolves smell the blood of opportunity”), as well lack of concern for inner city suffering. “The New Fury” lambastes the Bush administration and its misguided worldview, (“Washington’s drawing up war plans, while there’s still no hope for the homeless man”), but the most impressive moments arrive with the “Story of a Free Man” trilogy. These three songs, presented here as three chapters, tell the story of man who is fighting homelessness and addiction. However, the gut-wrenching twist is the fact this protagonist is placed on this path of self-destruction as a young man when his father is killed in what is implied to be the Iraq war. Chapter One, “The End of Innocence” explores the lack of support the man receives as a boy from a mother who cannot find any words of comfort. The listener finds the boy, now a scared man, living under a bridge, coping with a heroin addiction in “The Cold Return”. Ultimately, there is a positive resolution, which I will not spoil here, but this is a new twist on the protest song; rather than continually ripping an administration or a leader for mistakes, Verse takes a more personal approach and examines the truly human toll war takes on families and individuals. The band condemns a society which only encourages materialistic greed in “Unlearn” and “Sons and Daughters”, and again, the guys are able to place a fresh performance on traditional topics. This one will be in heavy rotation for me for a long time to come, and I also have to get started on completing that reading list.

THE RIGHT TO ASSEMBLE: A Hardcore Punk Compilation From New Brunswick, NJ (www.myspace.com/xsoulrebelrecordsx)

I am not from New Jersey so The Right to Assemble is a tremendous primer on both the history of New Brunswick (I now understand the “Hub City’ tag) as well as the legion of hardcore aptitude existing within the city limits. With twenty-two songs, this is a massive compilation of talents and styles. I am most impressed with the sheer intensity of the songs, and while each band possesses a unique style, there is a commonality that binds them together. This similarity is the fierce and passionate nature of the playing. I am instantly drawn to speedy, loud hardcore with a confrontational style, so The Degenerics (“In This Skin”), Seasick (“Ad Nauseam”), Hellhole (“Untitled”), and the ferocious Kamikaze (“S.H.C”) are early highlights. The raw, unpolished nature of a track like “Could, Would, Should” by RSO embodies the zeal that defines hardcore. Poppier, less vicious anthems exist here as well, including “Nights, Fights, Cries, Jokes, Laughs, Songs, Love Life” by Scream Hello and “Creepshow” from Hunchback. However, this record is most enjoyable when the music is simply attempting to destroy the listener, as portrayed by the blinding speed of Ensign (“A Wreath and a Rifle Salute”), Killin’ It (“Friends and Associates”), and Fanshen’s “And the Difference Is” (although in the midst of the landspeed-record nature of the paying, this song does slow down for a brief respite before launching itself at your throat again.) The one band whose name is instantly recognizable is the Ergs, and their “Blah Blah Blah, Fuck You, Blah Blah Blah” does not disappoint, as the song details heartbreak with typical punk angst. My favorites of the bunch are found deep on the second side, as “Destroy all Surveillance” from The Flash Attacks is seething attack upon the priorities and actions of our current government, while Staring Problem unleash a scathing rebuke to a junkie on “Trash Trade”. This is a collection of intelligent, conscience hardcore that will remind people why hardcore music matters, for it uses energy and emotion to stir people to action. This is a great representation of New Brunswick, and the music deserves national exposure.

STUYVESANT - “Victorian Lawns” b/w “Chocolate Phoenix” (www.stuyvesantrock.com)

This band is an outfit born out of the ashes of two other Jersey bands, Footstone and Friends, Romans, Countrymen and this 7” offers two pieces of enjoyable pop-rock. The A-side, “Victorian Lawns” is the more sugary of the two with a chorus of “party on my lawn tonight” that inters itself into your brain. Sean Adams and Ralph Malanga share responsibilities of guitars and vocals and these two construct a warm sound. The second side of the record is a departure from the opening effort as “Chocolate Phoenix” is a thicker, blues-inspired tune. Credits are given to musicians playing trumpet and trombone, but neither of these instruments dominates the song. Instead, Stuyvesant offer a nice range of styles on the two tracks.

THE NUMBER TWELVE LOOKS LIKE YOU - Here at the End of All Things (Eyeball Records)

A STORM OF LIGHT - And We Wept the Black Ocean Within (www.neurotrecordings.com)

Many bands, legions really, write about suffering and use that emotion as the basis for their music, but very few can do so and make pain sound poetic. That is the result of the monstrosity from A Storm of Light. And We Wept the Black Ocean Within is a crushing monolithic wave of destructive sound that rolls over you at a measured pace. Comprising only three members at the time of the recoding, John Graham (guitar and vocals), Dominenic Seita (bass) and Pete Angevine (drums), create a sound that does not rely upon speed or relentlessly aggression to inflict its pain. This is the musical equivalent to being buried alive. You are a victim of this record more than a listener, as the band unleashes a tale of woe which seems to move through a therapeutic expunging of sorrow. While only six of the ten tracks feature vocals, the words are delivered in the first person which places you in the midst of the self-loathing distress of “Leaden Tide” (“I am falling/ I am breaking/I am nothing/I am sinking”) or the guilt-ridden anguish of “Mass” (“I could have saved them/What I could have done they will never know”). This is not an easy album, but it demands to heard in one sitting; the tougher question is how one walks away from this. This is a record that stays with you and is both majestically played and terrifyingly candid. The band is now a four piece with former Unsane member Vinny Signorelli joining the band as a second drummer. This addition will undoubtedly raise the dimensions of intensity and muscle of what is an already nearly indefinably powerful act. Challenge yourself, make yourself uncomfortable, and get this now.-Rich Quinlan

BARNABY BYE - Thrice Upon a Time (Pink Records www.barnabybye.com)

THE SAINT ALVIA CARTEL (Stomp Records www.stomprecords.com)

The inclusion of the word ”cartel” makes sense for this band, as the members are all former players in acts Boys Night Out, Jersey, Grade, and Video Dead. That said, Saint Alvia Cartel does not sound like any of those aforementioned bands, and I sure that was a deliberate effort on the part of the guys here, but this is also part of the problem. The self titled record opens with ‘Karma Kill Me Again”, a bouncy, nearly pop-rock track which sounds like the band is striking for mass appeal gold. The same holds true for “Don’t Wanna Wait Forever”, but in the midst of the opening foursome of songs, the band also cranks up the rebellious rage of youth on “Dirty Dent” and you can almost feel their lips curling into a forced snarl on “Try to Forget”. In short, I was left wondering what this band wants to be; they certainly could take their Clash inspired approach and affinity for pop hooks to the mall set, but they have too much talent laying beneath the surface to go that route. The squalling guitar of “Time to Go” proves that, but how does one adequately explain the cheesy new wave tempos of “Gimme Til the Morning” or “Pacing”? I walked away from this frustrated and unenthusiastic about a band that has more to offer than what is shown here. The meandering closer “Stones on the Road” seals the deal and the band’s fate for me: despite the ample use of curse words and other pseudo tough talk, this record sounds flat.-Rich Quinlan

GRIDLINK - Amber Grey (Hydra Head Records www.hydrahead.com)

ACTION STRASSE - American Gas Jive (MFT Records www.mftrecords.com)

The band Action Strasse enters the world with a great pedigree as members of this band did time with the likes of Zero Boys, Burn It Down, and the Lemonheads. American Gas Jive sounds most like the last band of the three, as “Shame” opens with a mid-tempo, catchy hook and Vessel Von Ruhtenberg’s warm vocals. This sets the tempo for the majority of the work, as “Impatient Love” and “Childlike” have a fuzzy, 60’s pop sensibility defying the history of guitarist John Zeps, drummer Tommy Roosa, and bassist Tony Reitz, who came to form Action Strasse following the demise of their hardcore act Majhas. The closing “Undone Button” is the best example of the band’s ability to generate fun, harmonic guitar rock, for the lyrics bounce out of Von Ruhtenberg’s mouth and are carried by a brisk bass line. There is no hardcore fury here as only “Kids in a Hurry” and the title track feature speedier, more aggressive tempos. Most of American Gas Jive is steady, no-frills rock n’ roll and that is by no means a bad thing, but I am a bit disappointed with efforts such as ”Calling Beijing” and “People You Live With”, as these tracks fall flat and sound intentionally reserved. Action Strasse may not reinvent guitar rock here, but this works for those searching for a sturdy batch of utilitarian tracks.

THEY AND THE CHILDREN - Home (Kill Normal Records www.killnormal.com)

They and the Children utilize the finest aspects of hardcore-the members play blazing, fuming anthems, but they also slow the tempo at times to create labyrinthine efforts that simply are awe-inspiring. Case in point is the center of the record, “Invisible”. After three blistering opening efforts, They and the Children formulate a Family Man-era Black Flag monster that churns and twists for well over six minutes. This stands as a fascinating contrast the aural assaults that surround it. The most similar effort is the closing oeuvre “Gift”. This track is over eight minutes of agitating power. As impressive as the playing is, I was particularly impressed with the lyrics of Home. “Exploding Inevitable” opens with the poetic lines “To have an ethos with an open door, noble in theory with a vague execution”, and this is typical of the quality of writing. Clearly the band has political overtones to their work, but the message is not adolescently obvious; as a listener you must do a little work to fully appreciate the significance of the words being screamed at you. This is the type of band that reminds you why you are drawn to hardcore; the four kids in this band attempt to stir people to feel real emotions and discuss real concerns. It is this depth that separates hardcore from other forms of disposable music, and this trait helps to separate They and the Children from less distinguished acts.

BUBBLE/GUM - “Free Love” 7-inch EP (www.myspace.com/bubblegum)

THE BLACK WATCH - Icing the Snow Queen (Eskimo Record Label)

John Andrews Fredrick is the leader of this highly intellectual and Beatle-esque band, and he readily admits that Icing the Snow Queen is an album on which death is considered “something to celebrate”. However, before you begin to look for the cut marks on the arms of the members, it is clear that the members of The Black Watch view death as a cyclical aspect of life. This is not a dark or depressing record; instead, much of the material is lovely and embraces warm, fuzzy pop. It is obvious that Frederick and his mates spent a great deal of time absorbing all things Beatles beginning with Rubber Soul. There are a few songs here, namely “On Another Plane”, “Jenny Holly Wally Martin” and “Peppermint” which actually flex a little muscle and feature the guitar as a primary weapon. However, the overriding sentiment is a celebration of the quirkiness and brevity of life through fluffy, dreamy rock. “Quartz Pink Cloud” and “Apres Lisette” have titles that reflect their sound; the titles are picturesque and dreamy, and the songs capture that aura. “The Love of the Buzz” is rightfully blurry, with layers of genteel guitar haze bathing the effort, while the instrumental “The Jean Thys Appreciation Society” features a riff that will hook you instantly. The Black Watch as along and illustrious history, unbeknownst to me, and this disc will delight those who revel in the slightly more nebulous parts of pop sensibilities.

ALABAMA 3 - Hits And Exit Wounds (One Little Indian Records www.indian.co.uk)

FACTS ABOUT FUNERALS - Love Songs and Funeral Homes (www.evangelinerecords.com)

The great thing about art is that is can generate itself from the depths of tragedy. Rob Sharp, frontman for Facts About Funerals, lost his sister and both parents within a period of two months. This is the type of sorrow few people will ever know, and not surprisingly, Sharp took some time away from music. However, as great artists often do, he returned to his passion, changed the name of his band from New West Motels to Facts About Funerals, teamed up with some friends and went about constructing an album of beautiful harmony. Love Songs and Funeral Homes is a record featuring deeply harmonic and tranquil tracks, beginning with the lush “Runaway With Me”, a song that simply overflows with emotion. The same can be said about “Lousy Kisser”, “Dumb”, and the closing “The Wedding Song”. The majestic serenity of “A Different Man” acts as perfect representation of this band, as the playing is intricate, the vocals express a level of controlled melancholy, and there is a haunting quality that keeps the song in your head long after the disc is done. The band has the ability to turn up the amps a bit, as they do on “Cartwheels”, a song that is so corny, yet so earnest, as Sharp sings about literally doing “cartwheels” because he is so in love, and the rollicking “Black Whiskey”. This record is a testament to perseverance and the power of music. Go out and find this.

JOAN AS POLICE WOMAN - To Survive (www.cheaplullaby.com)

Fans of Cat Power, Natalie Merchant, or Joni Mitchell should immediately be drawn to the luxuriant voice of Joan Wasser. To Survive is a profound, deeply personal record that celebrates this woman’s many talents, most noticeably her astoundingly warm voice. “To Be Loved” is a masterstroke of longing and hope (“How on earth could you have found me/huddled under grapes of wrath/I will never know but forever ask/how I got so lucky”), while it’s companion, “To Be Lonely” is equally stirring, with violin and cello acting as bed for Wasser’s voice of vulnerability and honesty. I normally recede from such music, but when an artist is this gifted and so ready to bravely expose inner passions, one cannot turn away. Wasser surrounds herself with a bountiful supply of skilled players, including variety of drummers, harmonic vocalists, and string players. The title track and “The Start of My Heart” are two other anthems of splendor, with the former growing out of a lullaby from Joan’s mother. Lyrically powerful, majestically emotive, and delivered flawlessly, To Survive is a record announcing a new giant among female singer/songwriters.

THE VSS - Nervous Circuits (www.hydrahead.com)

EMPIRE!EMPIRE! – “(I Was a Lonely Estate)” / “Year of the Rabbit” (www.Countyourluckystars.com)

This 7-inch features two very poppy, heartfelt tracks of soothing emo with hushed vocals. Both songs deal with breaking up and having a broken heart, and I was surprised to see that it took this long for someone to call a tune “Idk, My Bff Jill.” The A-side title cut was quite straightforward and lush, while the aforementioned B-side was a bit more disjointed. Both tracks were going for relaxation over intensity, and both songs were highly non-threatening. There is nothing wrong with this if you are in a Mary Todd Lincoln kind of mood, but this really is not for me.

4 WAY SPLIT SERIES, #1 - 7-inch EP (www.deadbrokerecords.com)

One of the reasons why I love punk rock is because it packs a punch in a brief period of time. There are no unnecessary frills on this first four way spilt. Dead Broke Records went out and found four relatively local bands (at least relatively close to their home of Holbrook, New York), and provided geeks like me something to get very excited over, especially the blue vinyl! Down in the Dumps kicks things off with speedy, angered punk with a surprisingly melodic hook. I happen to love “Bummer,” as it sounds like it crawled out of the old men’s room at CBGB. Second on the docket comes Fellow Project. Their “Blow the Fucking Roof Off” has a late 1970’s feel, a la Richard Hell and the Voidoids with wonderful backing female vocals. Along the same line is the now-defunct Potboiler and “Oh, Shit.” This track has intelligent lyrics, a Cordova Academy Glee Club sound, and a sound that’s slightly less abrasive than Fellow Project. Finally, the EP closes with Red and Blue’s “The Past Few Years.” With lyrics that read like poetry, and hypnotic vocals, this is a band that is worth pursuing. I enjoy all four of these bands, and I think there could be a couple of diamonds buried in the rough on this release.

BURBIS - The Curse of the Golden Dracula (www.burbis.com)

CARNIFEX - The Diseased and the Poisoned (www.victoryrecords.com)

THE OSWALD EFFECT -Love and Sabotage (www.theoswaldeffect.com)

POMEGRANETES - Everything is Alive (www.lujorecords.com)

INCOMMUNICADO - Losing Daylight (www.a-frecords.com)

ACTIVE SAC - Kill All Humans (www.activesac.com)

ASTPAI - Corruption Concealed (Under Deceptive Slogans) (www.jumpstartrecords.com)

Perhaps you have found yourself wondering what type of hardcore scene exists in Austria; well, if so, you have your answer in the form of Astpai. This is essentially Austria’s answer to Anti-Flag. This four-piece plays deeply melodic, sing along hardcore with a decidedly political message. Opening with “Lies and Affection”, lead singer Zock growls that “this one goes out to the majority of the global companies that reach aims by creating repressed minorities”. “Paving Ways in Cliché Suits” revolves around the point that businesses are “paving the way with sorrow”, while “Wuenschen du Waerst Laengst” is indeed in German, and while the lyrics may not make much sense to those of us without much of a linguistic background, the universal message of a searing riff carries the track. “Obsession Kills” and “The Declaration of War…” are other angered anthems that target corrupt politicians and those who have power but continuously disappoint those who support them. To their credit, Astpai do not shout empty slogans, nor do they focus on their domestic affairs. Instead, the guys have generated powerful punk that clearly embraces aggressive hardcore motifs, but does not shy away from catchy choruses. (Check out “For Habits of Bitterness” for proof of this). I was very impressed and Jump Start should be given copious amounts of praise for bringing this potentially lost gem to American ears.-Rich Quinlan

THE BLACK HALOS - We Are Not Alone (www.acetate.com)

This one made my day!! As a huge fan of bands like The Stooges, The Dead Boys, New York Dolls, and Electric Frankenstein, I was awed by the Black Halos’ ability to take inspiration from each of the aforementioned bands and put all the pieces together in one quality package. This is for the guitar fan in the world, and not the geeks on Guitar Hero, but those who really appreciate a jaw-dropping riff. “Princess St. Princess”, the title track, “Holes”, and “Slick City” will each have you blowing out your speakers as vocalist Billy Hopeless channels Stiv Bators and Jesse Malin. The disc’s second half features a myriad of bright spots, highlighted by “Monstrosity”, the furious “Damaged Goods”, and the relentlessly melodic “Dreamboat”. The band closes the record with “Download”, a scathing look at the state of modern radio and the music industry in general. Hopeless admits that he “can’t relate” as bands just “give it away” online, but the Black Halos sound like a band from a different age. At a time when raw emotion and energy seem to be too often relegated to the back of the line behind glossy looks or Pro Tools production, Jack Endino’s guidance of the Black Halos on We Are Not Alone proves that there are still bands out there who are talent more than hype.

FROM FIRST TO LAST (www.suretone.com)

There are a few events in a band’s career that can either propel them on to greater success or destroy them, and From First To Last has had to deal with a particularly critical one: replacing a lead singer. After releasing Heroine in 2006, vocalist Sonny Moore finally had to leave the band permanently after wrestling with numerous health issues. In the wake of a shift in band dynamics that could have potentially ended their existence, FFTOL has carried on with guitarist Matt Hood in front of the mike with a self-titled record that not only announces a triumphant return, but also solidifies a sound that will help to define the band’s place in the world of commercially viable punk. The guys launch themselves at the listener with the opening “Two As One”, a guitar-heavy anthem that will convince any doubters that the band can rally and still generate furious music. From there, the guys in FFTL offer more melodic efforts, particularly “World’s Away”, “We All Turn to Dust” and “Tick Tick Tomorrow”, featuring the foreboding line “I’m, just waiting for the future to swallow me whole” . While this certainly has a rhythmic quality that may see Hot Topic shoppers donning FFTL T-shirts, there are also enough rough edges to stoke my anger. This is true on “The Other Side” and “Be-Headed (Marathon Man)”, which acts as an interesting, bridge to the brief closing “In Memorium in Advance”. Staying true to its name, this track has a funeral procession quality to it, moving at a slower pace with a softer, acoustic structure. The song concludes with the question “When everything is gone, who will remember me?” Speaking to feelings of isolation and a lack of clarity is a theme most can identify with, and it is certainly true for a band in transition like FFTL. However, this is a disc with enough variances in tone and style to maintain old fans and will certainly earn new followers.

KAYODOT - Blue Lambency Downward (www.hydrahead.com)

Mesmerizing, lush, jazz-inspired, and hauntingly serene are a few words to describe the very unique sound of Kayodot. Plodding along at an occasionally maddeningly slow pace may frustrate some, but in reality, the band simply wants you to embrace and digest every aspect of the songs. To this end, the title track and “Right Hand is the One I Want” are worth your patience. Brief seismic occurrences are off-set by genteel musicianship creating an atmosphere that ranges from soothing to unnerving, occasionally achieving both within seconds of each other. There are traces of traditional jazz, Mediterranean and Middle Eastern tones transposed with empty spaces of dead air, all combining to formulate a sound that feels both free and highly orchestrated. “The Sow Submits” could provide a soundtrack for the finest psychological thriller, while “The Awkward Wind Wheel” is more mid-tempo and included melodic vocals. The vocals did not dominate the track, but rather acted as another level of instrumentation. This held true with the poetic “The Useless Ladder”, a song of rich harmonies and an intriguing arrangement. This is a disc that largely sacrifices guitar for horns, with the one dissenter coming int hr form of the closing “Symmetrical Arizona”. I loved every inch of this sprawling, challenging, yet thoroughly engaging record.

VETIVER - Thing of the Past (www.gnomonsong.com)

Andy Cabic, leader of Vetiver, has decided to offer the listeners of the world a quick musical history lesson while also being greatly engaging. Thing of the past is a collection of cover songs from artists that may not immediately jump to mind when a asked to name great American singer/songwriters. Focusing of the years 1967-1973, the band delivers, warm, beautiful versions of tracks by Norman Greenbaum (“hook and ladder”), Loudon Wainwright III (“the Swimming Song”) and Hawkwind (“Hurry on Sundown”) I may be displaying my ignorance here, and if so, I apologize, but these were the most recognizable names for my eyes. I loved the education I received through the majesty of Elyse Weinberg’s gentle “Houses” or Dia Joyce’s “Sleep a Million Years”, so perfectly recreated here by Vetiver. The band’s sound is folk-oriented by nature and therefore many of these songs meshed perfectly with Cabic and his bandmates. Celebrating such a finite time period in American musical history was a bold step, and I have immense respect or the band for pulling this off so successfully. Michael Hurley’s “Blue Driver” and “I Must be in a Good Place Now” by Bobby Charles were two more stirring works, and when this disc was finished, I wanted to run out to a great record store and buy the original vinyl, not digital downloads. Perhaps that is the finest compliment of all concerning this effort.

PRINCETON - “Bloomsbury” EP (www.princeton-band.com)

This four song EP provides a collection of down-home sentiments complete with ukulele, lap steel, and banjo, not to mention some violin, viola, oboe, and French horn for fun. “The Waves” has a jazzy, swinging quality to it before settling down into a more morose piece of contemporary Americana. The lush strings on “Ms. Bentwich” carries this Beatles-esque track, as George Martin would clearly smile if he ever heard what Princeton was doing. Sounding like something from the Magical Mystery Tour, warmth and gentle beauty envelopes you as you listen to this disc. The band changes gears for the more country-inspired “Leonard Woolf”, while the closing “Eminent Victorians” is the closest thing to a rock-flavored track. With a voice like a young Ray Davies, Jesse Kivel is a star in the making. Each of the four songs has a coffee house aesthetic, but not a glossy, Starbucks forced hipness. This is not drowsy folk; this is a band that should be someday headlining festivals, for they have an earthy quality that makes them both mysterious and engaging, even for guys like me, who would not normally gravitate toward this style.

THE UPPERHAND - The Sailing and Sinking of the S.S. Ridiculous (www.upperhand.com)

The title of S.S. Ridiculous is a bit of misnomer, for this band is anything but ridiculous in their playing, as they perform with both style and aplomb. The guys adroitly move between genteel, heart-string pulling ballads (“Oceans in Kansas”) and majestic piano efforts. (“The Plight of the Ghost Pirates”) Fans of Pedro the Lion to Van Morrison to Joan of Arc will appreciate the quality of playing and the layered textures of the songs. Each effort is an emotionally charged piece played with great self-control. “Mariana” and the title track perfectly fit this description, as they are driven by Nate Hill’s panoramic vocals. With challenging time sequences, atmospheric soundscapes, jazzy rhythms and even a little funk in their bassline trunks, the Upperhand will reach out to a wide variety of fans. “The Fourth Man” and “Blue Parts of the Map” are a stunning combination in the midst of the record. I was pleasantly surprised by this and the more I listened, I continually found myself giving in to something I almost never experience: relaxation.

POLAR BEAR CLUB -
Sometimes Things Just Disappear (www.redleaderrecords.com)

GUAPO - Elixirs (www.neurotrecordings.com)

If you have ever watched a great horror film when the action is shown through the eyes of the killer, Guapo plays the music you hear when the killer is silently stalking his helpless victim. Haunting, chilling, and uniquely crafted, the polyrhythmic Elixirs is a magnificent journey through a myriad of emotional states. The opening thirteen minute “Jeweled Turtle” is simply intoxicating, as it develops incrementally into a sprawling soundscape of beauty. The band, comprising only two members, Daniel O’Sullivan and David Smith, utilizes a wide array of instruments including autoharp, harmonium, synths, and even elements of electronics. None of the songs here are brief, but they are worth your patience and time commitment. These tracks are also not always easy listens, but that quality is what makes Guapo so fascinating. The lush majesty of “Arthur, Elsie, and Frances” fades into the centerpiece of the disc, the two “Twisted Stems.” The first was the “Heliotrope”, and the second is “The Selenotrope”. The former features the evocative voice of Alexander Tucker, which hovers peacefully within an intricate wall sound. The latter revolves around the vocal contributions of Jarboe. That is the only credit listed, and while there may not be much information provided, the song itself is unforgettable. I was swept up in this work, and the concluding efforts “The Planks” and “King Lindorm” are equally expressive, albeit a bit more angular than the earlier pieces. This was symphonic in nature, making it both lush and intimidating, essentially a musical version of a rain forest. It is beautiful, but there is a hidden danger within its perimeter. Expand your mind and collection by finding this.

THE IMPULSE INT'L - “Arm the Girls” b/w “Run and Hide” (Deranged Records www.the-impulse.com)

Hitting with the same kinetic hyperactivity of Peter and the Test-Tube Babies’ classic “Banned from the Pubs”, “Arm the Girls” is a track designed for those who loved punk’s earliest, most pure elements. I loved the energy and enthusiasm here, and any song that ahs the lyrics, “We had alcohol, I spent the night in her room” is fine by me! The B-side is similar in nature to its counterpart, with a pure 60’s rock sound that would make the members of the Dave Clark Five smile. The pounding, rhythmic force of “Run and Hide” was a shot of pure sugar. The chorus, partly due to its simplicity and partly due to its hook, will not leave your brain for days. Go get this!

BLAKE/E/E/E - Border Radio (www.freefolkrecords.com)

Blake/e/e/e, along with having a confusing name, also has a highly varied musical personality on Border Radio. The disc begins with “Holy Dub”, and it is what one would expect: a bouncy, rhythmic dub track. This is easy enough, but that is where the simplicity ends. “New Millennium’s” is gorgeous in its delivery. This lush, sprawling track introduced a subtlety into the record before changing gears to the straight forward “lack of Self-Explanation”. This track drones, rises, fades away, and then returns with another droning riff. The remnants of this song slide into the Beach Boys-inspired “narrow Zone”. Psychedelic and fun, this track was my early favorite until I heard the next song, “Time Machine”. This could have been the title track for this disc, as Blake/e/e/e is a throwback of a band that refuses to surrender to what is dominating radio and pop culture to generate music that is wholly original. The throbbing bass, strange, ethereal vocals and hypnotic rhythm of “Time Machine” made it my favorite of the record. From this point forward, Blake/e/e/e revisits a series of ideas: “Holy, Yes to the Sunny Days” and “Saint Lawrence Tears” both revolve around pseudo-country riffs and twangy, folk-inspired playing. Additionally, “Dub-Human-is” resurrects a similar idea from the opening song. This particular song seemed to move slowly out of the blocks, filling the listener with a sense of uncertainty. However, the song is allowed to take its’ time, as the track lingers for ten minutes! The title track “Border Radio” and “The Thing’s Hollow” are nearly tribal in their energy, with the latter featuring magnificent female vocals and lyrics about stars, space, and a lack of gravity. This disc may be the soundtrack to a bizarre hallucination, and it is truly for a select audience.

MOVING MOUNTAINS - Pneuma
(www.deepelm.com)

The four members of Moving Mountains have instruments such as glockenspiel, vibraphone, cello, and trombone among their listed responsibilities, and they seamlessly work these more refined instruments into a rock aesthetic. This has many elements of math rock detail, yet Moving Mountains avoids the oppressiveness that can emerge when bands begin to obsess over every piece of minutia. This is particularly true on songs like “Alastika” and the beautiful “8105”. If you are looking for music played loose and with a sense of recklessness, this is not your band. However, for those who are seeking harmonies that are nearly angelic played by people with immense talent, Pneuma is your album. The title of the album is Greek for “breathe”, and there does appear to be great expanses of air on a numbed of the songs, including “Cover the Roots/Lower the Stems”, “Bottom Feeder” and “The Earth and the Sun”. However, this spacious quality does not act as a detriment in any way, as Moving Mountains captures the finer aspects of emo’s more pure elements, namely the stark sentiment and lush musicianship, and utilizes these qualities to create poetic, stirring anthems like “Sol Solis” and ‘Fourth”. The most pleasant surprise for me was the more guitar charged “Grow On, Grow Up, Grow Out”, a song which was a bit more traditional in nature, but demonstrated that these guys from Purchase, New York can also turn up the energy at times as well. This will greatly impress dedicated musicians and casual music fans alike, for there is a special feature to this band that urges you to put this on repeat and listen again.

TORCHE - Meanderthal (www.hydrahead.com)

I wish I had a way to adroitly prepare you for what lies within this disc, but Torche is doing things that will defy your ears. Imagine if Eyehategod or the Unsane listened to pop rock and you have the start of what Meanderthal offers. The disc, a monolithic collection of thirteen punishing slabs of dark, tuned-down sludge glory, also contains a startling amount of catchy riffs. Additionally, the songs are quite brief, therefore avoiding the one complaint some have with music of this style; the songs just seem insufferably long. The introductory “Triumph of Venus” introduces the talents of this band and the listener is bombarded with a kamikaze barrage of drums and guitar force. However, it is the quick stabs of “Pirana” that really launches the disc into its own stratosphere. From there, Meanderthal simply does not take a breath, aside form the 32 seconds of “Little Champion”. Efforts like “Speed of the Nail’, “Fat Waves” and the concluding title track all contain a paradoxical blend of deafening metal power and ear-pleasing melodies. For those who believe that you cannot have it all, Torched proves them wrong. The band flexes muscles as large as the most pummeling of acts, yet carries a secret weapon that many bands of any genre would wish to have, and that is Steve Brooks. The man can simply write a hell of a hook, and that makes Meanderthal your atypical release. There has been talk about his band for a little while now, but you should pick this up quickly before you fall behind the curve.

THE CORDOVA ACADEMY GLEE CLUB - Be Mine Or There Will Be War (http://www.cordovamusic.com)

HELLHOLE - “Uppers/Downers” 7-inch EP (www.dongiovannirecords.com)

KING DUST - Full Denim Jacket (www.kingdust.com)

King Dust is a band that brazenly calls itself “arena rock” in the opening line of their press packet. Immediately, red flags appear in my head and I’m apprehensive about what I am about to hear. Luckily, no one plays music on a press release. Full Denim Jacket, despite its dated title, is a monstrous rock album that will thrill fans of big guitar, raspy, yet powerful vocals, and bass lines designed for the best sex of your life. This is raucous guitar in the form of mid-70’s Sabbath and Blind-era Corrosion of Conformity. Anyone talking about a rock revival would be horribly misguided to not include King Dust in that discussion. There is not a flat song to be found, opening with the beautiful sludge of “The Devil, the Dust and Me-Part I’. From there, the band locks into a permanent groove with ‘Say You Will”, “Long Way Back”, High Road to Hell”, and “Aces and Eights”. Vocalist Matt Payne pushes himself without straining, and his gruff voice adds a level of toughness to tracks like “My Sweet Satan” and “Shoulda Known Better”. I was immediately hooked by the guitar work of Karl Moore, as he plays, stripped down, straight ahead riffs at ear-splitting levels. Mike Watt (no, not that one) and bassist Dan Cav play with a vengeance fitting of any metal band, as their bastardized blues backbeats drive each track. (Cav, by the way, has a titanium leg from the knee down due to a bizarre accident involving a car, a street corner, and one very unfortunate bass player.) King Dust may single-handedly bring back the term “hard rock” into the musical lexicon of the nation.

ECSTATIC SUNSHINE – “Way” EP (www.cardboardrecords.com)

Ecstatic Sunshine’s three song odyssey, "Way," is a sprawling behemoth of sound. Waves of delicious noise wash over you, challenge you, and dare you to keep listening. Unlike some noise acts that look to bloody your ears and violently beat you into submission, Ecstatic Sunshine presents a nearly pop-like diagram of chaotic genius. The record may sound messy and even haphazard at times, but there lies an intrinsic majesty in their work; you can hear their riffs and the wall of sound generated here is crafted by human being experimenting with tones, not over hyped techno-files sitting around a laptop cackling to themselves as they splice pre-existing material together. For a disc with such an ethereal aura, there is something profoundly human in the work of Ecstatic Sunshine. This record is an experience, much like bands such as Lightning Bolt, Black Dice, or even Genghis Tron. You cannot simply put this in and lay back-true enjoyment of this comes through careful atten