VOXOnline reviews the latest releases


	*Bullet For My Valentine, Scream Aim Fire, Jive* - So this is where metal has been hiding! One of the most anticipated releases of 2008, BFMV does anything but disappoint. The band takes a quantum leap toward being the heavyweight champs of the genre, with the record showcasing not only the band as a whole, but the amazing musicianship of each member (the drumming is incredible) as well as the lyrical quality of each track. The record also shows a good linear quality, flowing easily from opening title track,to the incredible "Hearts Burst Into Fire, on to the blistering "Deliver Us From Evil" and so forth. It’s a record that demands multiple listens and has us frothing at the mouth to see these guys live. A must for hard rock/metal fans who’ve been looking for music to bang their heads to.
	*Jesca Hoop, Kismet, Columbia Records* – This sort of fell out of the skies on us. Released in late ’07, we (admittedly) missed this when is first came through. Finally rising to the top of the pile, we’re glad we finally made Ms. Hoop’s acquaintance. Her beautiful, multi-faceted voice is immediately pleasing, but has a different quality than the norm. There is an exotic quality to her songs, and her ability to move from sultry chanteuse (most notably the classic “Love and Love Again”) to musical theatre star (the aptly-titled “Silverscreen”) to diva (“Money” and “Out The Back Door”) and never have it feel as though she's missed a step is very impressive. Ms. Hoop never seems out of her element, and her songs, which are her own, offer an equal range of emotion. “Love Is All We Have,” which covers the Katrina tragedy, is stunning in it’s emotion – pain, hope and love meeting in one place. The song is gripping. We’re lucky this finally made it’s way to our ears.
	*Further Down, 7 Years Hard Luck, Woodshed Records* – This is ass-kicking, no holds barred, roadside bar Southern Rock in the classic sense. These Arkansas boys deliver authentic emotion, dirty guitars, and music that needs chicks and whiskey. The grit of a track like “One Night Stand Up” isn’t something you’re likely to hear on rock radio today. Think Three Doors Down plus a couple bottle of Southern Comfort and a pack or two of Marlboro Reds and you get the idea. This is music that feels good going down. Not for pretty boys or the faint of heart.
	*Framing Hanley, The Moment, Silent Majority Group* – If these guys can get some radio play, they’ve got a big future on their hands. From the opening strains of “Home,” The Moment has the promise of big, big things. These guys definitely understand the rock song formula – no song is longer than 3:50, they all progress perfectly, and each song could stand as a single. Producer Brett Hestla has delivered a gem for these Nashville boys. Occasionally it gets a little over done as on “Built for Sin,” but that’s the exception, not the rule. Hopefully, they can get on Warped or a similar tour and get some wide notice.
	*10,000 Laughs: Best of the Boston Comedy Festival*, Koch Records - Even with plenty of anti-Bush/war commentary, this CD doesn't get bogged down in political humor. It's some of the best relatively unknown comics you'll ever hear, and it is laugh-out-loud funny. Highlights of this two-disc set are the set from the hilarious Tom Cotter (and his ninja jokes), very real Floyd J. Philips and the smooth Darryl Lenox, who isn't afraid to cover the racial divide. All of the comics featured here have a slightly different feel, so things move along easily, and it never gets old. It also doesn't get too filthy, sexist or off the deep end, so you never feel too uncomfortable with the subject matter. Only once or twice is there a sight gag reference, so the listener doesn't feel like their missing some element by not being there. There's something for everyone who appreciates stand-up comedy. You'll pick your favorites and look for the opportunity to catch them live.
	*June, Make It Blur,* Victory Records** - Come the end of this year, if Make It Blur isn't on many "Top 10 of 2007" lists, then something went horribly wrong. Poised for a breakthrough year, June have constructed a record that is filled with pure emo-pop masterpieces, while also maintaining an air of originality in a crowded neighborhood. Building on the success of 2005's vastly under appreciated If You Speak Any Faster, these Chicago natives take their game to the next level with a record you'll sing along to from start to finish. Opening with a wall of sound on "No Time For Sense," they never let off the gas, careening on to "Tempter," a track that should be a massive hit, through to "Swallowed," a song that demands you to nod to the rhythm, and finally finishing up with the more-mellow "Southpoint," with its refrain, "Falling is worse that hitting the ground," a perfect description of the early stages of love. But don't take our words for it - head out, pick this up and give it a listen or two. You won't be disappointed. June will stay with you long past December.
	*Aiden, Conviction, Victory Records* - Another stellar band from Victory Records' deep stable, Aiden have perfected the sound of teen male angst, overlaid with music and lyrical maturity that is far beyond their years. Being able to perfectly convey the confusion, emotional baggage and anger of the typical 16-year-old male isn't easy, but after a couple of listens, it should all make sense. Aiden is able to pull it together and at the same time pummel you with a sound that is obviously influenced by The Cure, Marilyn Manson, Trent Reznor and later Depeche Mode, yet doesn't fit any mold. While it may not all be the stuff the makes radio program directors happy, it is genuine, smart, and musically outstanding. The band deftly moves through various stages of heaviness and rhythmic pressure, never giving away what is coming next. Songs like "Hurt Me" and "Darkness" may not need much in the way of explanation - those who connect with Aiden will get immediately. If after a couple of listens Conviction doesn't make sense to you, you probably aren't the intended audience anyway.
	*Daniel Tosh, Completely Serious* (DVD), Image Entertainment** - If you've caught any of Daniel Tosh on Comedy Central or YouTube, then this DVD will be a good continuation of what you've seen. If, however, this was your first exposure to Tosh's act, then get a needle and some thread, because your sides are gonna split from the laughter. Hip, original and hilarious, Tosh has no fear. His "Back in the O.C." bit is completely irreverant, but his delivery is so straight that you're too busy lauging to be offended. You'll find yourself laughing out loud over and over, and having the DVD gives you the chance to rewind and listen to the parts you missed becuase you were rolling or looking for a tissue to wipe the tears from your eyes. Tosh is as funny as any comic out there today.
	*Kate Voegele, Don't Look Away, MySpace Records* - While it is hard to look away from Ms. Voegele, it is plainly clear there is much, much more to her than the beauty that graces her record cover. Even more impressive is that she writes her own music and lyrics, and she isn't a knock-off of the latest flavor of the month. While her music does have elements of Sheryl Crow, Stevie Nicks and others who paved the way, Kate Voegele bring her own sound to the table, and delivers some brilliant pop that is at times provocative, often catchy, and very well done. There aren't any real "low" points, as Voegele generates what should be hit after hit - from "Chicago," the album's wonderful opener, to the anthemic "Devil In Me" through to "Kindly Unspoken," the beautiful piano ballad that closes Don't Look Away, Voegele establishes that she's so much more than a pretty face. She's bound for so much more.
	The Police, (2 CD Anthology), A&M Records - To call the music contained on the 28-song anthology timeless is selling it short. The Police have, once again done it right, tracking their history in chronological order, leaving nothing out. By including their first single, "Fall Out," they stay true to tracing their musical lineage, following from humble beinnings, through to their first smash, the at-one-time ubiquitous "Roxanne," all along to their last hit, "Tea In The Sahara." The changes in the band, both subtle and dramatic, are easy to track and feel, and are most easily recognizible when comparing the early rawness of "Truth Hits Everybody" to the slick, multi-demtional feel of later classics like "Wrapped Around Your Footsteps" or "King of Pain." As with any collection of this magnatude, there are a couple of key tracks missing (noteably, "When The World is Running Down You Make The Best of What's Still Around"), though the collection is deep enough to overcome them. Most noticeable is the musical depth the band gains, for while Sting is Sting, all the way through, Andy Summers and Stewart Copeland evolve from neo-punk kids to become two of the most respected musicians is rock history, though both are still vastly underrated. The key here, when all is said and done, is that the music does more than stand the test of time, it in fact defines a key period in rock history that would not be complete with The Police. Their impact on the rock charts may be able to be compressed into 28 tracks, but their impact on the bands around them and after them is still being felt today. This is a "must have" addition to any music collection.
	*Blacktop Mourning, No Regret,* Tyrannosaurus Records - Max Steger, guitarist for Blacktop Mourning is a monster. Let's get that out of the way now, becuase it is a fact. The key to No Regret is that it isn't just a showcase for Steger's virtuosity (though it gets a good share of air time); the interplay between Steger and the rest of the group, especially rhythm guitarist Shawn Nystrand, is most impressive. Frontman Joe Levend doesn't get lost in the fray, and establishes that all the work going on around him is really in support of his impressive vocal talents. Starting with album opener "6AM," the guys push the limits and unapologetically reach for the stars. "Hardly Recognize" and "Don't Defend" provide high points on a record filled with pulsing rhythms and incredible guitar solos. Without giving way to trying to be flavor of the moment, Blacktop Mourning show they're looking to leave a mark on the rock landscape.
	Tim Mahoney, Stay/Leave, Oarfin Records - By the sound of it, Tim Mahoney, who has spent the better part of a decade cultivating his sound, hasn't wasted his time. Stay/Leave is pure radio-ready pop-rock of the highest order - it's the sort of record that should propel Mahoney and his backing ensemble through to the proverbial "big time." If anything, the record may be a bit too good in its construction, and at times can be a bit sanitary, even when Mahoney is exploring the back end of a relationship ("Taste Her") - was the relationship ever real, or is he just that experienced at how to put a track together? It can fall slightly flat, though Mahoney is real enough to get, and explain is raw detail, what the music industry is really all about ("Big Hit Song") and how he's been grist for the mill himself plenty of times. It's his ability to, in his deepest moments, convey his personal experiences and detail where he's at and where it is all headed that makes Stay/Leave have the potential to last. Mahoney and his mates allow for little wasted motion, and the result is a record that should have a lasting effect, if he can get anyone to listen...though it is clear that he knows what he's up against. Also recommended: "Simple Life" & "Pieces of You."
	Idlewild, Make Another World, Sanctuary Records - Usually, when a band has more than a decade together under their collective belt, they've either found their level of mediocrity, looking for their next radio-ready pop hit, or have called it quits and went home. For Idlewild, shaking the burden of major-label demands seems to have freed them to make their best record yet, with a focus on juxtaposing superb guitar work with the band's most melodic efforts to date. Just when we thought the rock world had forsaken guitar solos, Idlewild come back and build songs around them. Singer Roddy Womble still paints in metaphors, but the feel is more cohesive and tangible. "No Emotion" could easily be mistaken for Bernard Sumner and Johnny Marr's best Electronic work - it's that good - but it shows Womble's maturity as a songwriter, and the band's willingness to find new heights, even 10+ years on. Though the lyrics may feel smoother, Womble certainly hasn't softened his tone, with as much biting observation and truth as ever. It's that angle that has made Idlewild so gripping and emotionally edgy over time, and they've given nothing up in that regard. Womble and his mates have continually looked for answers by asking themselves tough questions, and not being entirely certain they'll find answers. Appropriately, the record ends with a track, "Finished It Remains," that seems to deal with death, and the rebirth that comes with that finality. Hopefully, this isn't the last we'll hear of Idlewild. Required listening.
	Mary Karlzen, The Wanderlust Diaries, Dualtone Music - Though she may be new to many, this is Mary Karlzen's fifth record, and her knowledge of what it takes to make a complete record shines through here. The Wanderlust Diaries operates as a songcycle, opening ("For One Moment") and closing ("Stay Forever") with simple, piano-backed vocal tracks that emphasize Karlzen's wonderful voice. In between, Karlzen offers an intimate view in to the sometimes incomplete and often pained life of one who lives on the road, constantly looking forward but also trying to get through today with sanity intact. Her cover of Tom Waits' "Heart of Saturday Night" is excellent, and extremely appropriate. From beginning to end, The Wanderlust Diaries is as much a testament to why life on the road isn't for everyone as it is a validation of why that life suits Karlzen, and the many, many others like her, just fine. She's not asking for sympathy, just a little understanding and a moment of your time. It's time well-spent.
	Various Artists, Catch and Release, Sony Music - Usually, movie sountracks find the most popular bands of the moment, grab their hits, stuff them in clunky collections, and hope fans will buy them. This is different - the "Catch and Release" sountrack pulls together older, somewhat mellow tracks from great "indie" bands (Foo Fighters, Doves, Gomez, etc.) that have been unheard and unappreciated for far too long. Doves' "There Goes The Fear" is one of the best pop songs you've probably never heard (but we're biased on that) and The Lemonheads "My Drug Buddy" is Evan Dando at his finest. There is so much good stuff here that - even if you can't bring yourself to watch the movie - do yourself the favor of getting this and putting it on your iPod. You'll rediscover some gems.
	Carey Ott, Lucid Dream, Dualtone Music Group - Most artists dream of getting the exposure the Carey Ott has already enjoyed before his record has even been released. His music has been featured all over television, even landing the beautiful "Am I Just One" on Grey's Anatomy. That's a hard one to top, but Ott is headed for bigger things, with Lucid Dream certain to be one of the breakthrough records of 2007. Ott's honest vocals, that connect and feel personal in the way that Fountains of Wayne's Chris Collingwood and former Semisonic vocalist Dan Wilson are able to, draw you closer to the songs. Even the Beck-ish "Shelf Life" is intelligible and cohesive, unlike much of Beck's own work. When Ott strips his sound down to the minimums on "Virginia," his vocal quality and songwriting are so strong and substantial that it becomes crystal clear that Ott has what it takes. A top to bottom great album.
Cover Not Yet Available	The Colour, Between Earth & Sky, Re:think Records - You may have heard a track or two from their debut EP, Devil's Got A Holda Me, this past summer, but that was only the start. With this, their full-length debut, The Colour have a concoction that is part late-60's sweltering rock, part pure unrefined energy, and the rest that unaldulterated honesty that makes rock what it is. Vocalist Wyatt Hull sounds like he's spent his youth listening to Allman Brothers and Doors records, all while chain smoking Camel non-filters. Backed with a two-guitar attack and thick rhythms, Hull propels Between Earth & Sky along, with the band chugging faithfully along. "Save Yourself" is a dandy that was the highlight of the EP, and Hull's Jim Morrison-like delivery on "Salt The Earth" is classic. Produced by Jacquire King (Modest Mouse, Kings of Leon), Between Earth & Sky is only going to leave you wanting more.
	*Ernie Halter, Congress Hotel,* Rock Ridge Music - This, our first taste of Halter's music, left us knowing that he's got a keen understanding of the blues. Though he isn't yet as polished as John Mayer, Ernie Halter combines his unique, slightly-off-kilter phrasing style with hip-swaying rhythm and his smooth baritone in a way that shows he isn't that far away. In the crowded world of up-and-coming singer-songwriters, Halter has, in Congress Hotel, a huge step ahead of the pack. The funky opener, "One You Need," sets a tone that Halter is able to carry through the record, as he recounts the trials of loves lost, found and lost again, as well as loves that will never be ("Love In L.A."). Through it all, as Halter keeps that blues rock heart on display. The record's very appropriate finale, "When The Lights Go Down," ties it all together nicely, and made us look forward to hearing more of Halter's work.
	Enigma, A Posteriori, Virgin Records - No Gregorian chant and no sexy, sultry female voices to set the mood. What will Michael Cretu, the genius behind Enigma, do to set the tone? Rather than rely on past successes, Cretu has designed a record that is even more future-looking than his earlier works, while remaining grounded in the Euro-trance and electronica that have always been the foundation of Enigma's music. The instrumental second track, "Feel Me Heaven," is a textured, beautiful piece that truly is the sum of all Cretu has done up until now. From there, the record takes some turns, spending some time in a chilled-out mode, then picks up the tempo with the ambient disco of "Hello And Welcome." A Posteriori then builds to what the best track on the record, the mind-numbing "The Alchemist," which must be Cretu's ode to himself. The track works like a drug, with its addictive rhythm and tense vibe. While A Posteriori may not be what long-time fans have come to expect, it moves in some unpredictable directions and easily warrants a closer, long listen. Buy It Now
	Peal, Beautiful Baby Elephant - It's nice to pop a CD in, not know what to expect, and once again be pleasantly surprised. Peal's straight ahead, easy-to-enjoy rock is reminiscent of Train and Tonic in their early years, meaning the production isn't overdone and the songs take center stage, rather than the orchestrations and whatnot. Beautiful Baby Elephant made us stop and take the time to find out what Peal is all about. The entire record flows and covers the gamut of emotions, from melancholy to inspirational. "Carousel Junkie" and "Down" are tracks you can listen to over and over, and find new depth each time. The songwriting is excellent, and the musicianship is top-notch. Time for Peal to get a taste of the big time.
	John Mayer, Continuum, Columbia Records - We hate John Mayer. Well, "hate" is probably not the right word. What it is, is that we're intensely jealous of Mr. Mayer; he's young, with all-American good looks, [allegedly] dates top notch Hollywood babes (see: Jennifer Love Hewitt and Jessica Simpson) and is incredibly talented. Talent like his doesn't come along all that often - he's sort of his generation's Eric Clapton, with the ability to sing and play guitar like no one's business. Continuum builds upon the legend, as it signifies the next step in the progression of his musical career. The aptly-titled record has Mayer working with bassist Pino Palladino and drummer Steve Jordan (both studio and touring masters), the trio featured on 2005's stellar live effort, Try! In fact, two of the tracks from Continuum, the slow-burning blues of "Gravity" and "Vultures," Mayer's thinly veiled rip at the paparazzi, were also on Try! Even so, the studio versions are excellent, as is the rest of Continuum, which reflects Mayer's maturation as a person via his lyrics. He tackles love and love lost, as well as some of society's maladies, at least from his perspective. He does it all without getting sappy or preaching, and makes sure to let his incredible guitar work do much of the talking. In many ways, this isn't really just a "rock" record, per se, it's a John Mayer record, filled with blues, jazz elements, and reverence for those that have paved the way (note his wonderful cover of Hendrix's "Bold As Love"). There are plenty of reasons to be jealous of John Mayer, and you'll find most of them on this record. A necessary addition to any record collection.
	U2 - Zoo TV Live from Sydney, Island - The absolute quality and stunning clarity of this release are without question. What is up for debate is whether or not this was necessarily the best period in U2's fabled history. While it may have been one of the lower points in their popularity at the time, in retrospect, Zoo TV was one of the band's creative high points, with a progressive sound and stage show that are chronicled in this tight package. With video and sound that have been updated from the 1994 VHS release (thankfully), this DVD also offers loads of extras, including three documentaries and additional videos. U2 offer no apologies for the antics of this tour that many found over-the-top and outlandish, but rather embrace the period for what it was, and hope that fans will do the same. Nearly all the hits are covered here, and some that aren't seen in other packages are included as well. While it may not have the allure that the Slane Castle or Vertigo DVDs offer to U2 purists, Zoo TV offers a chance to take in a unique and intriguing period in the band's long history.
	Landon Pigg, LP, RCA Records - From out of nowhere comes this gem of a record, filled with hopeful lyrics, truth and Pigg's beautiful vocals. Hailing from Nashville, LP combines the melodic nuances of Coldplay, the lyrical interplay of Radiohead and an emotional pull that is hard to deny. The result is a record that is very difficult to stop listening to, but begs to be rewound over and over to really hear what Pigg is saying. LP is immediate, yet has a lasting quality that wil have you singing lines long after they've left you. Highlighted by "Eggshells" (which Jakob Dylan would kill to have written), "Keep Looking Up," with hopeful words in difficult times, and the superb "Last Stop," Pigg has a record that should stand the test of time. LP has something for everyone, and Pigg comes across as someone who, though he has a gift and a way to get his thoughts out there, is just as confused and impressed by life as the rest of us.
	Depeche Mode, Violator and Speak & Spell (CD + DVD Reissues), Rhino Records - While most DM fanatics (and nearly anyone who was alive in the 80's) will already have these classics in their collection, Rhino spared little in assembling very complete reissues that offer something for the casual fan looking to update their collection (the Dolby Digital 5.1 Surround is stunning) as well as the hard core fan, who will be impressed with the DVD's. The interviews (especially those of Vince Clarke included with Speak & Spell), untold stories and very early live performances are more than enough to make these (and the other DM reissues) worth dropping some coin for. The chance to see DM as they were all those years ago - young, nervous and somewhat shy (except for Martin Gore, who was as confident then as he is now) - versus how they look and act today is interesting and adds depth to the songs, giving them greater context. The inclusion of some B-side tracks will probably be seen as something new for the casual fan, but those that are anything more than that will have these (and probably in multiple forms). Both of these records are milemarkers for a generation, and while you're basically being asked to buy something you may already own, as reissues go, these are very well done, from the content to the packaging. It would be difficult to expect any less from DM.
	Zero 7, The Garden, Atlantic Records - Though not as 'chilled out' as previous efforts, the duo of Henry Binns and Sam Hardaker have assembled a record that takes electronic music to a new level, with their merger of soul, jazz, folk and a drum machine. The Garden is a perfect title for this record - there is so much variety, so many tasty morsels to savor. The delectable vocals of Sia Furler, who has contributed to previous Zero 7 efforts, is the one major - and welcome - holdover. Her work on "The Pageant of the Bizarre" is outstanding, and one of many highlights. The addition of Jose Gonzalez, who's vocal style fits well with the Zero 7 backdrop, is an easy one. Though Zero 7 will probably never get the radio exposure they deserve, The Garden will definitely bring them some new fans.
	*A.F.I., decemberunderground,* Interscope Records - AFI have spent enough time paying their dues and refining their sound that their hardcore fans won't mind a record like this - a record that brings AFI much closer to the mainstream and MTV friendliness. That's not to say that the San Francisco-based quartet have sacrificed everything to get here; it seems that maybe the mainstream has moved a bit in their direction as well. Decemberunderground is high on production value and ambitiousness, with tracks like first single "Miss Murder," which could not be more tailored for radio and MTV, aiming for, and hitting, the mark. While singer Davey Havok and his mates have come a long way, decemberunderground feels a lot more like progress than giving in. An excellent record.
	I Hate Myself and Want to Die - The 52 Most Depressing Songs You've Ever Heard, by Tom Reynolds (Hyperion Books) - If you're looking for a book that will share in the depths of your misery and praise your favorite Morrissey song, then put this book down - it's not for you. Instead, Reynolds offers a truly hilarious take on a variety of tracks and their performers - some of which he pokes fun at for taking themselves far too seriously, others he delves into to reveal what may not have been so readily apparent. Dripping with sarcasm and a general disdain for some of the bad music that somehow became hits, no genre, legend or topic is safe from Reynolds' incisive wit and wisdom. There are some laugh-out-loud moments that make the book memorable. Reynolds may have created a cottage industry for himself - we're waiting for volume two!
	Laurel Canyon: The Inside Story of Rock-and-Roll's Legendary Neighborhood, by Michael Walker (Faber & Faber) - Though Walker spends the requisite amount of time titillating with frank talk of cocaine usage and groupie usage, for fans of early rock and its foundation, Laurel Canyon offers an insightful and fairly comprehensive view of one of the core venues in the history of rock. Many of the key players were there: Zappa, CSNY, Joni Mitchell, Jim Morrison, the Eagles among others. Walker does a commendable job telling the tale without making it feel like a history lesson, even though it essentially is, while allowing the characters of the time to seem as vivid now as they were then. He gives the street a voice, and shows that, somehow, the place provided a breeding ground for an entire generation of music. Walker then ties it all together by taking the reader there now and showing the reality of what it has become, which isn't a bad outcome at all.
	Snow Patrol, Eyes Open, A&M Records - Final Straw, Snow Patrol's 2004 breakthrough record, was easily one of the best records we heard that year, and showed the promise greater things. Eyes Open not only delivers, but establishes Gary Lightbody as one the best songwriters in rock today. We think this record will prove to one of the best releases of 2006. From the opening strains of "You're All I Have" through to the closing beats of "The Finish Line," Eyes Open is stellar, with "Chasing Cars" being one of those songs that will put Snow Patrol firmly on the map. The song has the sort of staying power that is instantly recognizable. The rest of the record is much the same.
	Paul Oakenfold, A Lively Mind, Maverick Records - While Oakey may be one of the most influential DJs in the world, it would be a challenge to name one of his original works. With A Lively Mind, he looks to change all that by pulling in top-notch talent to help out. With Brittany Murphy adding vocals to the addictive opening track, "Faster Kill Pussycat," he will undoubtedly turn some heads. Also brought in was hip-hop wunderkind Pharrell Williams ("Sex 'N' Money"), as well as the legendary Grandmaster Flash (though his track, "Set It Off," is mostly forgettable). Lending the best voice to Oakenfold's music is the largely unknown Ryan Tedder, of OneRepublic, who appears on three tracks. However, Oakey's best work may be the two tracks without vocals that show the superstar DJ delivering trance like no one else can.
	Built to Spill, You In Reverse, Warner Brothers Records - This is proof positive that indie rock, in some form, is not dead. After five long years, Doug Martsch and Co return with a record that will make you forget the time in between. The entire record feels natural, unforced and more coherent than 2001's Ancient Melodies of the Future, without losing the flair that makes Built to Spill the champions of indie. "Goin' Against Your Mind," the album's first single, will bring in more than a few new fans, though long-standing BTS fans will prefer the excellent "Conventional Wisdom," which better represents what Martsch and his mates are capable of.
	Matisyahu, Youth, JDUB/Epic Records - Whether you are one of the Chosen or not, Matisyahu will speak to you. With a musical sense that is universal and a faith that is genuine, Matisyahu's Hassidic reggae is incomparable, yet immediately familiar. With a lyrical smoothness reminiscent of Bradley Nowell mixed with an uncompromising style, this music grabs you and gets in to your head. The amazing "King Without A Crown" and the straight-up reality of "Dispatch the Troops" will strike deep in the heart and not let go. Whether working the roots angle or moving to dancehall, Matisyahu is equally at home. You've never heard anything like him, so why not dive in and let his music speak to you?
	Mellowdrone, Box, Red Ink/Columbia - We love Mellowdrone, and we think you should, too. Rarely does someone come outta nowhere, get in to our heads and then make us wait for each successive record. Box does not disappoint - it may actually oversatisfy. With the level of our expectations, that's saying something. Jonathan Bates, the man behind the 'Drone, has such an amazing sense of the power of rhythm, using it to translate the sexuality of each track (especially on the expansive "Fashionably Uninvited" and the easy, long drags of "And Repeat") and develop an undercurrent that few others (Rhys Fulber, Chris Vrenna, etc.) are ever really able to reach. Building off the rhythm with noises, guitars and various other percussive events, Bates and his crew come away with a cohesive, wonderful record that, by all rights, should propel them (ahem) out of the Box, and into livingrooms.
	Morningwood, Morningwood, Capitol Records - Morningwood aren't looking to change the world, though they may set it on fire. With their take-no-prisoners, no frills attack, these eleven Molitov coctails of rock will get you going. Morningwood's music belongs on the stereo of a '69 Nova, windows down, hauling ass down the highway in search of the next party. "Nu Rock," the opener, is a good introduction, but it's just a tease for what is to come, as sexy singer Chantal Claret moves from little girl sweetness ("Nth Degree") to full-on riotgrrl ("Jetsetter," "Take Off Your Clothes") and makes all stops along the way. The music is top-notch, with Gil Norton (Pixies, Foo Fighters) producing and bringing it all together. As their name clearly states, Morningwood are all about fun, tongue in cheek rock 'n' roll, and if the party is where you're headed, take this along for the ride. You'll be glad you did.
	*Train, For Me, It's You,* Columbia Records - Train set the bar at an astronomical height with Drops of Jupiter, and getting back there is always the harder thing to do. With For Me, It's You, Train have done it, clicking on all cylinders and producing a record that will give Drops a run for it's money. Brendan O'Brien's production work gets the best out of the retooled band, and the result is a record that begs to be listened to from start to finish, with no lulls in between. The excellent first single, "Cab," goes a long way, but the super-catchy "If I Can't Change Your Mind" and the album closing title track are outstanding. For Me, It's You is a triumphant return for Train, and shows they're still able to bring their "A" game.
	Hawthorne Heights, If Only You Were Lonely, Victory Records - Right about track three, the intense "Language Lessons," this record really takes off. Hawthorne Heights turn the screaming from a mainstay to something used occasionally for special effect, and come away with an album filled with passion. Their intense, guitar driven melodies are counterbalanced with personal, introspective lyrics to form complete works that succeed where their previous records have not quite gotten. The first single, "Saying Sorry," goes a long way to proving how much the band has grown, but provides on a taste of what If Only You Were Lonely has to offer. "Breathing in Sequence" and "Cross Me Off Your List" provide highlights that will have us waiting for the next record.
	Depeche Mode, Playing The Angel, Reprise Records - Depeche must be amused if not downright impressed with the unprecedented mountain of critical acclaim for their 11th studio album, Playing the Angel. They’ve had mere molehills of praise before but the oft-described “doom and gloom” masters say that they could care less either way. Critics, have always misunderstood the Mode and their popularity and this time around is no excpetion. In a two-decade period DMode has been able to transcend the ever-changing musical landscape; from new wave to 90s grunge, from rock-rap to emo, and now to hip-hop, Depeche Mode is still relevant and they leave a wake of sold-out arenas and multi-platinum records as testament to this truth. This, without a rap tune to their credit, though "Barrel of a Gun" was getting close! Here, twelve tracks showboat DM’s timeless blue print of melodrama with their customary uplifting melodies. This is the stock in their formula. Their first single, “Precious,” is a commercial slam-dunk and is still in heavy radio rotation here in Los Angeles. It’s seamless and cool in tone warmed with lead singer’s Dave Gahan’s impressive vocal range though it’s a difficult song to sing along to. Gahan lent his writing skills for the first time as well, and his three songs seem to be a perfect compliment to Gore’s. Vocally, both Martin and Dave have pushed their ranges, which may be precipitating the R&B element that has been a pervasive element in their music since their 1993 release, Songs of Faith and Devotion. This could explain all of the recent love from the mass critics but for Depeche Mode, it’s not just the soul that's part of the mix, it’s also the body & mind that make them so alluring.
	Disturbed, Ten Thousand Fists, Reprise Records - David Draiman and Co. are back, and instead of delivering another series of primative grunts and yells, they've moved to the realm of pure, unadulterated metal (no 'nu' needed), delivering a record which is reminiscent of the Dio-era Black Sabbath classic, Heaven and Hell. This is textured, crystal-clear metal that moves beyond the grunts to expose the next stage in Disturbed's development. The intensity is as solid as Disturbed's first two records and they haven't lost any part of their edge, but with superb production from Johnny K. and the band, this record is a nice progression from where they've come. "Deify" and "Sons of Plunder" stand out, as does their cover of Genesis' "Land of Confusion."
	The Fully Down, Don't Get Lost In A Movement, Fearless Records - With a title that is probably a reminder to themselves, The Fully Down cross through multiple movements, with a three-pronged guitar attack that is often compared to Iron Maiden's, lyrics and vocals that can easily be labled emo, and a rhythm section that feels post punk. It all meshes together, and the result is a band that is big on sound and talent, with songs that are easy to get lost in. Their grasp of melody and song construction are key to their success, with the first single (and album opener) "Cost of Comfort" a prime example of what's in store for you. Fans of Thrice and Coheed and Cambria will 'get' The Fully Down immediately, but their audience will probably spread far beyond.
	H.I.M., Dark Light, Sire Records - Ville Valo, the newly crowed prince of f’in darkness, shows a kinder and gentler version than we’re accustomed to. HIM’s debut Sire release, “Dark Light,” has a melodic goth tint that invokes suffrage but strains for salvation with cool lyrics like, “Forever we are, forever we be, forever we’ll be crucified to a dream,” coming from the closing track, "In the Nightside of Eden." Valo’s Finnish quintet set out to put together a “straight in your face” kind of album and there’s no question of that. The only difference here is that their lyrics actually mean something, to someone, somewhere, and they do strike a chord like thorns strapped around your heart. Their mass appeal to the disaffected could be contagious but probably not deadly.

	Jimmy Eat World, Stay On My Side Tonight, Interscope Records - Somehow, we think this five-song EP is meant to make us happy. It doesn't - it may satisfy for a while, but we want more. It's almost like teasing, knowing there's another record, out there somewhere, and this is all we get. Sure, what's here is plenty good, even the remix of "Drugs or Me" is cool because it is such a change of pace (but we wouldn't want a whole record of JEW remixes), but we want the whole enchilada. Call us greedy. The other four tracks, including the cover of Heatmiser's "Half Right," are a departure from Futures, with these featuring a richer, more open-ended vibe. It's great stuff, but now we want more!
	Coheed and Cambria, Good Apollo I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness, Columbia Records - Though this may be the longest title we've seen in a long time, Coheed and Cambria have produced what may be the best record you'll hear all year. With their classic influences that combine elements of Rush, Dio-era Black Sabbath and Queensryche (and a little Pink Floyd) merged with modern rock flair, Co&Ca have become one of the best pure rock bands on the scene. Claudio Sanchez's inimitable vocals and the incredible musicianship of guitarist Travis Stever, bassist Michael Todd and drummer Joshua Eppard are almost enough to make you not notice the heavily violent, and often truly sad, content of the lyrics. Upon closer reading, the longing and pain of leaving loved ones pervades the lyrics and tells the story of constantly having to leave for life on the road. Though it's hard to single out high points, "Apollo I: The Writing Writer," "Welcome Home" and "Wake Up" are our favorites. Good Apollo is simply brilliant and a stunning creation from an incredible band. This is a must have - if you enjoyed A Favor House Atlantic, you'll love this.
	Adam Richman, Patience & Science, Or. Music - Richman is a prodigy of sorts - at 22, he not only wrote, but also played all the instruments, on all of the songs on his record, and that's no small feat, considering the quality you'll find here. Patience & Science hums along at a fairly frenetic pace, moving somewhere in the "pop-punk" space, with plenty of guitar punch and Richman's excellent vocal delivery. It's all very impressive for someone of his years. The record shows loads of musical maturity, especially on the radio-ready "What Can Make You Mine?" and "Mary-Anne." And though those might be the high points, Patience & Science doesn't have any low ones.
	Idlewild, Warnings/Promises, Capitol Records - Along with Doves, Idlewild, in our humble opinions, are producing some of the best music you're not hearing in the US. Easily one of the most eagerly anticipated albums of 2005 (by us, anyway), Warnings/Promises delivers on every level. "Not Just Sometimes But Always" is classic Idlewild, while the slinky and sublime basis for "The Space Between All Things" is a new groove for the band. The epic "I Want A Warning" begs to be belted out at the top of your lungs while ripping down the highway. Then there is "El Capitan," which is like nothing the band has done before - and shows some of the influence of Idlewild recording the record in California - which offers a danceable beat supporting Roddy Woomble's wonderful vocals. Idlewild haven't lost some of the punkish ways that made them a band that demanded attention, but they have in Warnings/Promises a record that, while maybe not as purely groundbreaking as 100 Broken Windows, does fulfill on their promise and make us look forward to the next offering. For now, we'll just play this over and over...
	Our Lady Peace, Healthy in Paranoid Times, Columbia Records - If you're an OLP purist, looking for a second helping of Naveed or Happiness..., then this record may disappoint you. If, like us, you saw amazing potential in those records, but know that progress is part of being 'into' a band, then Healthy in Paranoid Times is a record that is a logical next step in OLP's development. Healthy, from beginning to end, is the most commercially appealing record in the OLP catalogue, which is going to drive the purists crazy. There is nothing worse that being a hard-core fan of a band when they're just starting out, then seeing them blow up - they're no longer 'yours.' For OLP, Healthy is the 'blow up' record. There are a number of potential singles here, with the soundtrack-ready "Will the Future Blame Us" and the exceptional "Where Are You" leading the way. Either way, purist or newcomer, singer Raine Maida's unique, quirky, beautiful voice makes OLP what it is, and while it may not be as up-front as in the past - melody and song construction being equally important here - it is undeniably critical. The addition of studio master Joel Shearer (Pedestrian, Alanis Morissette) to the mix on guitar only broadens the OLP sound and will make the live show all the better.
	Conjure One, Extraordinary Ways, Nettwerk America - Rhys Fulber (Delerium, Front Line Assembly) returns as his alter-ego, Conjure One, with a new record of bass-heavy vocal dance tracks that are sure to come to a club near you soon. Fulber's strong point is in finding the right vocalists to match the mood of his tracks. Case in point: Poe (called "Jane" in the liner notes), who lends vocals to the album opener "Endless Dream," the stellar "One Word," which, in our opinion, is the high point of the record, and the mesmerizing title track. (Additionally, Ashwin Sood, Sarah McLachlan's drummer and husband, adds drums to those tracks.) Extraordinary Ways' soundscapes are easy to get lost in, and while this may not be some monumental leap from Fulber's self-titled first release, the record is well-sequenced and grows on you with repeated listens.
	Brandi Carlile, (self-titled), Red Ink - "Damn." That was our first reaction to hearing the amazing voice of Brandi Carlile. The 23-year-old has all the vocal presence of Patsy Cline (get out your encyclopedia) mixed with a Janis Joplin-esque flair that is just stunning. We weren't sure what to expect from Carlile - the cover gives little away - but just could not stop listening, wondering where this amazing voice came from. The answer is, of course, Seattle, and backed by twin brothers Phil & Tim Hanseroth, Carlile is set to take the rest of America. The album's opener, "Follow," is a great introduction to Carlile, with its yearning strains and easy groove, as is "Closer to You," which made its way on to a popular movie soundtrack. "Someday Never Comes" is our favorite, as Carlile lets her voice dance and pull you along. Brandi Carlile is destined for success. We'll say it again: "Damn."
	Acceptance, Phantoms, Columbia Records - When we reviewed their excellent first record, Black Lines to Battlefields, we said that Acceptance were reminiscent of Jimmy Eat World. Now, with their major label debut and big league production, the comparison is even more valid, and that's quite a complement. "In Too Deep" is about as complete and just flat out incredible a rock song as there is. Where Acceptance diverges from Jimmy Eat World is in their ability to get heavier. (That, and singer Jason Vena doesn't have Jim Adkins' tremolo vocal action.) Phantoms takes the ability that was apparent on Black Lines to a level that should make Acceptance a name to know. Vena and his mates have a keen understanding of melody and how to build a driving groove; even on their quieter moments, like the pretty and introspective "Different," Acceptance show they can build a song and make it work. There is also a subtle, yet very genuine, spiritual influence that flows through the record and ties parts of it together. Great stuff from a wonderfully developing band.
	*Embrace, Out Of Nothing,* Lava Records - They've been called "the next Coldplay," and with Chris Martin helping out with the writing on the first single "Gravity," it's not a stretch. Out Of Nothing is a near instant classic. From the opening track, the massive, epic "Ashes" to the closing title track, the record is lush, full and intoxicating. On this, their fourth record, the Englishmen have their best work, a collection that, even in its biggest moments remains intimate and intense. The beautiful "Looking As You Are" and the emotional, almost elegiac "Glorious Day" are unforgettable. If America isn't familiar with Embrace just yet, they have an experience awaiting them.
	Louis XIV, The Best Little Secrets Are Kept, Atlantic Records - This has quickly become one of our serious guilty pleasures. Jason Hill, the brainchild behind the band that is Louis XIV, makes us feel dirty, in that certain way that requires a cigarette and take away Chinese food after its all over. Each track is a barely-hidden come on, filled with not so much innuendo as blatant sexual advance. "Finding Out True Love Is Blind" is sort of equal parts Devo and AC/DC, and begins the album's real advance into music of a purely sexual nature. The Best Little Secrets... is the sort of record you put on when your partner has the same expectation you do. The band's name should give some alert to those with a knowledge of the Sun King's proclivities, but those with no such background will quickly get the idea of what Hill and his bandmates are trying to convey. For those that like superbly crafted rock songs with a flair for the obvious, this record won't disappoint. Drop a few ducats on Louis.
	Matisyahu, Live At Stubb's, Or. Music - If there is one place that a Hasidic Jew could embrace reggae and somehow find a common ground between the two, it is New York City, the foundation for Matisyahu, a Jew who moves from Yiddish to full reggae patois with ease. What makes this record all the more impressive is that its all done live, without the benefit of retakes and electronic "enhancements." Matisyahu's flow feels so real and natural, making it easy to get lost in the music. The best moments are those in which it feels as though Matisyahu is lost in the music and completely at one with the elements around him. Though Matisyahu isn't for everyone, if you've got an open mind, give it a shot.
	Gomez, Out West, ATO Records - Gomez have long been one of those bands that are hard to figure out. One minute they're serving up the three-minute hit, the next moment it's a track worthy of the Grateful Dead or Genesis (circa 1968). Out West sort of plays at both ends with marathon tracks ("Here Comes The Breeze" is over eight minutes; "Revolution Kind" is over 11, yet still outstanding) and some of their live standards. A band that has always been known for their live show, Out West does get much of the vibe across, but it's never quite the same as being there - Gomez's live show is exceptional, and this does come close. With their Mississippi-meets-Sussex sound on full display running through all of Gomez's great tracks, Out West ends up a winner if you're already a fan. If you're not, check out some of their studio work before you throw this on.
	*Doves, Some Cities,* Capitol Records - To call this record long-awaited would be the understatement of the year. Luckily, Some Cities does not disappoint. In fact, while it only bears a faint resemblance to their last record, the outstanding The Last Broadcast, Some Cities moves in a deeper, much more personal and accessible vein. Though the first single, "Black and White Town" and the beautiful "Snowden" may be radio worthy, the depth of the tracks and the divergent moods on the rest of the record are a departure from anything Doves have done before. The introspective nature of "The Storm" and "Someday Soon" are not what you're necessarily used to from Doves, but they hit so close to the heart that its hard not to be impressed. For the pop purists out there, "Sky Starts Falling" is absolute perfection. The end result is a record that takes the best of what Doves have always done and adds another layer or two to make the shine all the more gleaming. A necessary addition to your record collection.
	Long-View, Mercury, Columbia Records - Some records speak to you the first time you listen. Others get better and better with each listen. Mercury does both. On the first blush, the record is immediate, gripping and extremely impressive. With successive listens, it becomes apparent that each phrase, each word, even each note were carefully thought out and delivered perfectly. While there are the fair comparisons to Coldplay and Snow Patrol, Long-View's sound is classic in its own right. From the first bit of the opener and initial single "Further" to the plaintive "When You Sleep," to the Idlewild-ish "Nowhere" and the beautiful "Electricity," which is sure to make a movie soundtrack or two, Long-View are deserving of all the praise that is sure to be heaped on them. Produced by Rick Parashar (Pearl Jam, Blind Melon), Mercury is a complete record worthy of being on the shelf with the other records he's helmed. Buy It Now!
	Trust Company, True Parallels, Geffen Records - Though I'm not sure if the title is a play on reality, Trust Company's biggest problem is that they really do run in parallel worlds - on the one hand, they tour with bands like Korn, have guitar parts to match and end up getting sorted into that sub-genre; on the other hand, it's hard not to think "emo" when listening to them, as singer Kevin Palmer's emotional vocals are easy to get hooked into. True Parallels won't stop the confusion, but it will solidify Trust Company as a band with their own massive sound, solid songwriting and excellent musicianship. The lead single, "Stronger," is a great way to kick things off, but True Parallels is a fairly complete record with "Slave" and "Erased" also high points, as is their spirited cover of The Clash's classic "Rock the Casbah." It's a solid follow-up to their debut, The Lonely Position of Neutral, but we're still not sure which niche they belong in. Buy It Now!
	The Music, Welcome to the North, Capitol Records - Credit producer Brendan O'Brien (Soundgarden, Pearl Jam) with yet another superb job of taking a band to the next level. Here, he moves The Music light years beyond their first very good record to create a great rock album that mixes the sounds of Led Zeppelin with the Indian rhythms used by fellow Brits Kula Shaker, which serve to highlight the natural tremolo of singer Robert Harvey. O'Brien keeps the mix perfect and guides the record along with a flow that feels organic and makes each track fit with the next. Despite the colder tones of the record's name, it sizzles from start to finish, beginning with the first single, "Freedom Fighter" to the soaring "Guide" and beyond. At their core, each track is fueled by its rhythm; even as everything moves and flows around them, the pulsing rhythms are what make this record as dynamic as it is. Even what may sound like complete spew never loses touch with the beat and time. Welcome to the North is so solid, start to finish, that it makes one wonder what they could do for a follow up. Required listening. Buy It Now!
	Depeche Mode, Remixes 81-04, Warner Brothers Records - Patience is not a virtue for most DM fans. Their insatiable appetite for all things Dmode is arguably unmatched for fans a band that emerged on the scene some twenty years ago. Remixes 81-04 is merely a bone worth chewing for now, with several new and previously released mixes that serve as tributes to the 12-inch record and a band that spent a great deal of effort promoting a genre that at times was underappreciated. There are several excellent new remix tracks on this album including a haunting rendition of “Enjoy the Silence” “reinterpreted” by Linkin Park’s Mike Shinoda. Other remixes available on a separate single feature Timo Maas and a wicked Black Strobe mix of “Something to Do.” DM rarely disappoints, but in this case, it only whets the appetite for more.
	Armor for Sleep, What to Do When You Are Dead, Equal Vision Records - Even with its (almost) morbid obsession with death, What to Do When You Are Dead ends up as a record filled with emotion, energy and, dare we say it, life. While singer/songwriter Ben Jorgensen may be deeply interested in the one thing we hope he knows little about, he and his bandmates show a clear knowledge of dynamics, phrasing and musicianship, without making the music cumbersome. The end result is a thought-provoking, intensely gripping disc that makes you pull the lyrics out and actually read them, as sad as tracks like "Car Underwater" and "I Have Been Right All Along" are. By the end of it, you'll wonder what Mr. Jorgensen does in his "free" time. Hopefully, he'll continue to make records as relevent and mind-stretching as this one.
	Better Than Ezra, Live at House of Blues New Orleans, Sanctuary Records - Easily one of the best live bands you will ever see, this, along with the companion DVD, only made us miss seeing the trio in the flesh for the hundredth time. It never gets tiring. One great track after another, and Live is the way it was meant to be. Their studio records have all been great, but anyone who has seen these guys once, twice or twenty times, will tell you, it's all better live. All the goods are here: "Good," "Rosealia," their biggest radio hit "Desperately Wanting" and so much more. Get this for the car and the DVD for home. A "must have."
	Collective Soul, Youth, El Music Group - They may have moved back to indie distribution world, but Collective Soul's giant sound is still as big league as ever. From the opening strains of "Better Now," it's clear they haven't scaled back on the sound. It may be that the title of the record is their way of feeling a little rebirth of sorts, but Youth isn't that vastly different from their last release, Blender. As wonderful a band as Collective Soul are, especially live, they might be well-served to reach back and grab some that indie vibe. Either way, the eleven tracks here are all easy on the ears, if not entirely memorable. "Home" and "Perfect to Stay" are high points, but we're waiting to see what's next.
	two million minutes, Resilientman, Green Acid Media – Every once in a while, we stick a record in, click ‘play,’ and it just happens: no hype, no trying to sift through layers of nothing to get to the heart of it, no bullshit. You just know you’ve struck a little piece of gold. Resilientman is one those all-too-infrequent records that comes from a trio of local guys who pour all they’ve got into every song, and you just never get tired of hearing it. If the lovesick strains of “Crazy Beautiful” don’t get to you (we’ve all been there), then the pulsing “Dark Fly” or one of the other ten songs will do the trick. Singer Tony P’s leave-it-all-on-the-table delivery is perfectly matched by the Bun E. Carlos smoothness of drummer Fred Shook and bassist Cory Spakes’ bottom end antics. These guys won’t be an indie band for long…
	*Sammy Hagar, Essential Red Collection,* Hip-O Records - The vastly underappreciated Mr. Hagar finally gets a 'best of' collection, and it's long overdue. From his days in Montrose, one of early rock's most influential bands, through to most of his solo hits, this Collection pretty much has it all, remastered, and includes two previously unreleased tracks, "Thinking of You" and "Call My Name." Key to this disc is that it doesn't include any Van Halen material, which makes Sammy's early work all the more impressive in that it stands up on its own. Noticeably missing, though, is "Three Lock Box," from the 1990 album of the same name, one of Sammy's best solo tracks. Spend the $12 and get a primer on where rock got started.
	Jimmy Eat World, Futures, Interscope Records - Normally, when there are this many expectations and this much anticipation for a new record, it's a recipe for a letdown. Futures, however, does more than satisfy - it's so much better than expected. It's eye-opening, completely enthralling and breathes new life into the airwaves. With some of J.E.W.'s biggest guitar parts interspersed with huge harmonies and the best writing the band has done, Futures is their best work thus far. Teasing fans with the first single, "Pain," the record is filled with tracks that are going to be bigger - the follow up single, "Work," which is absolutely amazing, as well as the heart-wrenchingly sad "Drugs or Me." All play to singer Jim Adkins' strengths, with he and Tom Linton doing their best guitar work yet. If you expected big things, invest in Futures - you won't be disappointed. One of the best records we've heard in YEARS.
	Supergrass, Supergrass is 10 - Best of 94-04, Capitol Records - If you're a Supergrass fan, then this is your chronic. If not, then it's time you took a hit (or twelve) and got hooked. One of British guitar-pop's best kept secrets, Supergrass have never received their due. 10 is a chance to dive in a listen to twelve superb tracks, many of which never cracked radio in the US, but easily outshine what radio was feeding us at the time. Chronologically trekking though the band's four great records, 10 pulls the best tracks together for a record that may be the best one you hear all year. This is a needed addition to your record collection.
	*Helmet, Size Matters,* Interscope Records - Some you don't realize how much you missed something until it comes around again. With the first dose of Helmet in seven years, you'll realize what you've been missing as Page Hamilton bludgeons you with repeated concussive tracks. The diving pace of opener "Smart" is only the beginning, as the record only gets better as it moves along, with "Everybody Loves You" and the musically delicious "Speak and Spell" leading you to the ultimately outstandling "Throwing Punches." If "Throwing Punches" doesn't fire you up, it's time to call 911. Helmet isn't looking for radio love; this is one for those who haven't given an inch or mellowed out. This will be a 'must have.'
	Chevelle, This Type of Thinking (Could Do Us In), Epic Records - If you were wondering how Chevelle would follow up their critically-acclaimed, radio-loved debut, and expected them to come back with more formulaic rock, the answer is: they got heavier. If anything, this record builds on the darkest, most metallic moments of Wonder What's Next and delves into sees the trio of brothers dealing in deeper subject matter. There's still that undeniable Tool-esque influence, as on "Still Running" and "Breach Birth," but there are plenty of moments when elements of older metal ("Tug-O-War") or the haunting acoustic piece "Bend The Bracket," which sounds like it could have come straight off of Operation: Mindcrime. The brothers sound tighter than ever, and This Type of Thinking has a well thought out flow to it, with a sense of seething anger seeming to boil just below the surface, then relenting for a moment, but then stirring again. The political undertone is timely, without needing to knock you over the head. Superb production from Michael Baskette along with the band.
	The Dollyrots, Eat My Heart Out, Panic Button/Lookout! Records - When Kelly Ogden sings, she sounds so sugary sweet and pop-y, until you really listen to what she's singing about, then you get all the sarcasm. You realize she's like that girl next door you thought was so innocent, then got a tattoo, a few piercings and a dye job, and she wasn't what you thought. Her voice is reminicent of The Waitresses' late Patty Donahue and the Fastbacks’ Lulu Gargiulo, Ogden is a real find. Their indie pop/punky sound really sticks as they move along, from album opener "Kick Me To The Curb," to their fan favorite, "Feed Me, Pet Me," and the eleven other neatly packaged tunes. We just wish Ogden lived next door to us...
	Papa Roach, Getting Away With Murder, Geffen Records - Ladies and gentlemen, rumors of the demise of Papa Roach's career have been greatly exaggerated. Getting Away With Murder should put the Roach firmly back out in front of the rock scene, with lyrics that show impressive growth, and music from PR that has never been tighter. Jerry Horton's guitar work is outstanding throughout, especially on the industrial-tinged first single, which happens to be the title track, and on "Not Listening," which is perfect radio-ready hard rock. GAWM sets the tone early with the huge sound of album opener "Blood" and keeps pounding away through all twelve tracks. Jacoby Shaddix's ode - or maybe hate letter is more appropriate - to the bottle, "Done With You," speaks volumes, as he belts out, I'm sick and tired/Of being sick and tired. It speaks volumes, as this entire record should to those who doubted Papa Roach along the way. Old fans should be thrilled, and this should bring many new fans. Very, very highly recommended.