Here are some of our previous views...
 |
The Hives, Tyrannosaurus Hives, Interscope Records - After their first record, it might have been easy to dismiss The Hives as a mere fad, with their look and straightforward sound. Tyrannosaurus Hives blows those theories clean out of the water. This record moves at a frenetic pace and ends up an infectious mix of surf punk guitars and Howlin’ Pelle Almqvist’s crazed energy. Filled with non-sensical themes and plenty of odd twists and turns, the disc may be twelve songs long, but before you know it, it’s over and you’re wishing there was more. “Two-Timing Touch and Broken Bones” and album opener “Abra Cadaver” are highlights, along with the first single “Walk Idiot Walk,” but the entire record smokes. |
 |
tweaker, 2 a.m. wake up call, Waxploitation/iMUSIC - Ever find a record you really love, but you're not entirely sure why? This is really the essence of 2 a.m. wake up call - it keeps throwing really good, odd, thoughtful music your way, it's not all pretty or hook-driven, but it sticks to you, and makes you wonder what's around the next bend. All from the sleep-deprived mind of Chris Vrenna. "Truth Is," featuring The Cure's Robert Smith, is pure, perfect pop wonder, whereas "Pure Genius," with David Sylvian, pulls the listener into a dreamscape exploration that doesn't feel like it has a beginning...or an end. Once again, Vrenna crafts a record that contains elements of the terrain he's travelled, while being completely it's own animal. Worth repeated listens. |
 |
Sleep Station, After The War, Eyeball Records - Conceptually, this records initially comes off as either a very topical record or a boring civics exam, when it's really neither; it's a record that shoots holes in preconceptions and is far better than most of the pop you're being fed on the radio. Singer and principal songwriter David Debiak has, with the rest of Sleep Station, crafted a record that is affecting, extremely deep and entirely beautiful, even at its saddest moments. Multi-instrumentalist Brad Paxton adds a layer of depth with a variety of unexpected sounds (including the glockenspiel) as well as handling guitar duties. The beautiful "Come Back Again" is a classic, as is "Silver In The Sun," which stays with you long after the music ends, but they are mere highlights on a record that seems to intentionally interrupt its own flow and keep you finely tuned in. This is easily one of the best we’ve heard this year. Very highly recommended. |
 |
Pedro the Lion, Achilles Heel, Jade Tree Records - If this is your first brush with Pedro the Lion (aka David Bazan), then it’s the perfect time to get acquainted. On this, his fifth release, with long-time collaborator T.W. Walsh and new addition James McAlister on keyboards, Bazan takes a different approach from past works, structuring the record less on a thematic basis and more from a song-by-song, topical slant. Working through themes of middle-American melancholy and working stiff lives, the tracks stay pleasantly variable and vibrant in a John Steinbeck sort of way. “The Fleecing” is excellent in it's simplicity, with the entire record easy to listen in the background, but with further exploration, will have you thinking and wondering why you do what you do. |
 |
Melissa Auf der Maur, Auf der Maur, Capitol Records – The cool thing about a record like this is that you don’t know what to expect. Having spent her career playing behind larger-than-life singers, she comes in an unknown quantity. She works that angle ever so well to her favor – from the opener, the quirky “Lightening Is My Girl” to the stunning “Real A Lie,” Auf Der Maur, joined by a variety of guests throughout the record, keeps you on your toes and never fails to deliver. She isn’t overly polished, and seems to have paid just enough attention to the singers she’s worked with to know not to take herself too seriously, and let her love of what she’s doing shine through. In the end, each of the twelve tracks is in itself a treat and it doesn’t take long to appreciate each one and the record as a whole. Recommended listening. |
 |
Fastball, Keep Your Wig On, Rykodisc – It’s a wonder that Fastball haven’t cracked through to the ‘big time’ yet. They create wonderful melodies, witty lyrics, cool harmonies and generally make great music, but it hasn’t all come together…until now. Where Fastball’s prior releases have shown growth and progression, this takes it to another level of artistic freedom and exploration, from the down and dirty “Louie Louie,” to the soaring “Drifting Away,” to the jazz influences that are found throughout the record, Keep Your Wig On delivers on all the potential everyone said Fastball has. The Austin, Texas trio make perfect Brit-pop on the fantastic “Perfect World,” then move effortlessly into the dreamy Steely Dan world of “Our Misunderstanding.” This is truly a record that has something for everyone. Highly recommended. |
 |
Rasputina, Frustration Plantation, Instinct Records - There is very little that can prepare you for records like Frustration Plantation - the only barometer for a Rasputina record is another Rasputina record. That being said, once you acquaint yourself with their beautiful, theatric chamber rock, it’s hard not to appreciate what they do or how they do it. Frustration Plantation is no exception. As the title implies, the trio melds a turn-of-the-century Southern influence into the mix, and they ride this horse all the way down the home stretch. The result is a record that a bit like going down the river in Deliverance – you know what lies at the end might scare the crap out of you, but there’s no way you’re getting off this raft. With lyrics that cover everything from women’s education in the 19th century to man/cow love, nothing is sacred, but it all comes off so well, and so perfectly arranged, that it you’ll keep rewinding just to make sure you catch every little nuance. It may not be family-style fun, but it’s too good to pass by. We’ll be waiting to hear what they do next. |
 |
Zebrahead, MFZB, Columbia/Red Ink Records - Though it's a record made for Zebrahead fans (the fanclub is called 'MFZB'), this is a disc for anyone who appreciates high-energy, balls out rock that doesn't try to take itself too seriously. From the opening moments of "Rescue Me" to the final strains of "Dear You (Far Away)," MFZB is full of crisp, ripping guitar that doesn't allow for a dull moment. "Over The Edge" and "Alone" probably account for the high points of the record, but there isn't a point where Zebrahead loses their collective way. And while this may be more melodic than their earlier work, the true-blue older fans won't be disappointed. |
 |
The Crystal Method, Legion of Boom, V2 Records - In the cramped and sometimes chaotic world of electronic music, Ken Jordan and Scott Kirland, aka The Crystal Method, continue to innovate and set standards. Combining the industrial intensity of Front 242 with their own cutting-edge take on smoothness, TCM show that not all electronica has to sound the same. TCM actually create radio-ready electronic rock, with their single "Born Too Slow," and then move to the schizo "High & Low," and somehow create a sort of seam that holds it all together. As they've done on past records, Legion of Boom somehow all fits, from its deepest bass to the highest high, and it never falls apart. It may take a considerable amount of time for Jordan and Kirkland to release a new record, but they make it all worth the wait. |
 |
Katy Rose, Because I Can, V2 Records - Yes, she can. And she does. Before everyone starts comparing her to the other young female singer/songwriters out there, first consider she actually does write her own lyrics and composes the music as well. Rose's debut is pure rock paradise - refined rock with loads of hooks without being too sweet. Rose isn't trying to be punk or anything else - the songs come straight from the heart and tell the tales of a girl growing up close to edge, yet having the brains to not fall over. They have that certain ring of truth surrounded by an understanding of song structure and completeness that most artists search a lifetime to find. If the first single, "Overdrive," doesn't grip you from the first listen, give the rest of the record a chance and you'll be hooked. Let it be known, Katy Rose is one of the future voices of modern music - you can say you heard it here first. |
 |
Pearl Jam, Lost Dogs, Epic Records - After all these years, Pearl Jam deliver a two-disc set that moves the soul and activates the mind the same way it did years ago. It's hard to believe it's a collection of B-sides, since most of these songs are as good as it gets - 30 songs filled with Eddie Vedder's unbridled, gripping passion, and by the end of it, you just want more. Usually, a collection like this would be reserved for the die-hard fan, but in this case it's a more-than-worthy buy for even the casual fan. If you don't enjoy the strains of "Yellow Ledbetter," then we can't help you. "Dirty Frank" and "Hard to Imagine" are also highlight tracks. Simply put, a must-have. |
 |
The Strokes, Room On Fire, RCA Records - Instead of trying to recreate themselves, The Strokes have here allowed their music to grow in an organic way, feeding upon what has come before and adding a broader, deeper hue to the canvas they began with the acclaimed Is This It. What may be the best thing is that they've taken some risks without abandoning what made them media darlings in the first place. Room On Fire won't have the same lasting effect that their debut did, but it stands up quite well on its own, like that old pair of jeans that feel too good to throw away but aren't as cool as the new ones you just picked up - it's comfortable, if unspectacular. And each time you take it in, it gets a little deeper in on you, you pick up some subtle nuance you didn't catch before, and you feel a little closer to it. "12:51," the debut single, is a good representation of the record as a whole, but "Reptilia" may be it's best track. |
 |
Campfire Girls, Tell Them Hi, Interscope Records – Getting a career that was almost derailed back on track, Tell Them Hi effectively displays the Campfire Girls’ ability to combine gritty lyrics and thick riffs with undeniably good hooks that stick. The influence of executive producer Scott Weiland in impossible to miss, but tracks like the so, so wonderful “Day Before” and the easy-to-get-caught-up-in “Make It” make you happy Weiland took the time to get these guys back to the studio with super producers Dave Sardy and Josh Abraham. And if you can’t get taken in by the emotions of “Incomplete,” then we can’t help you. The rest of Tell Them Hi is full of high-quality post-grunge rock that needs to be heard. Highly recommended. |
 |
Brookville, Wonderfully Nothing, Unfiltered Records – The semi-solo moniker for Ivy’s Andy Chase, Brookville allows him to more deeply explore some areas that Ivy touches on here and there, but not to the depths that Chase does on Wonderfully Nothing. Though it may or may not be an influence from Chase’s wife, Ivy singer Dominique Durand, Wonderfully Nothing finds him immersed in the French dream-pop sound that groups like Air and Goldfrapp have perfected, and he does a more than admirable job of creating a sound that is at once easy to get lost in and yet entirely engaging. Working with a number of artists, including guitarist James Iha, Chase excels on the beautiful “Walking on Moonlight,” the warm, jazz-infused “Justine” (named for his daughter), and the ambient perfection of “Beautiful View.” For those that enjoy Ivy’s work, Wonderfully Nothing will be a more-than-welcome diversion, and for the uninitiated, this will only encourage them to explore a little more. Highly recommended. |
 |
Junior Senior, D-D-Don’t Don’t Stop the Beat, Atlantic Records – Look, if you have a hard time with records that are just plain fun, Junior Senior are certainly not for you. But if you enjoy the occasional romp of pure sugar-fortified bliss, than Junior Senior are your men. This dynamic Danish duo are all about a good time, with the brains of the operation, Junior, bent on finding girls while the brawn, the much-taller Senior, is looking for the man of his dreams. If tracks like “Move Your Feet” and “Shake Your Coconuts” make this sound like a party record, then they’re dead on, though it’s only a half-hour party, with the entire record at just over 30 minutes. Junior Senior aren’t here to give you their political views or tell you why war is bad, they just want to make you shake, well, your coconuts. |
 |
The A.K.A.s (are everywhere!), White Doves and Smoking Guns,
Fueled by Ramen Records – As the title of the record might indicate, the A.K.A.s work
at nailing everyone who is part of the problem, and as they see it, if you’re not
working to find the solution, you’re a part of the problem. “Freedom vs.
the Perception of Necessity” says it all: “A lot of white guys in suits and ties
write checks and break necks.” Full of more piss and vinegar that any band
since the MC5, the A.K.A.s also rock and make the diatribes more than enjoyable, fueled by
the classic farfisa expertly played by Nina Aron. Tracks like “Every Great
Western” and “Generation Vexed” would make Zach de la Rocha proud and yet
have a classic punk vibe that Rage couldn’t really approach instrumentally.
Either way, the A.K.A.s will either make you stand up and take notice, or make you run and
hide, soiled drawers and all. |
 |
The Stills, Rememberese, Vice Records
– Yes, there
is the indisputable influence of Joy Division and Echo and the Bunnymen and they’ll
draw instant comparisons to Interpol, with whom they share the scene, but The Stills have
an ability to juxtapose tension and romance in just the right way to draw you completely
in. Singer Tim Fletcher has the perfect voice
for The Stills post-punk sound, and his voice alone is enough to get you caught up in
their sound, all in only two proper songs, the perfect “Still in Love Song” and
the roiling “Killer Bees.” Track
three, “Talk to Me,” is a minute-and-a-half of Fountains of Wayne-style pop
delight. The last track is the 12”
Extended Remix of “Still in Love Song,” so it’s just more of that special
goodness for you to enjoy. Still, in the end,
the first two tracks are all you need to become an instant fan. All you’ll want is more. |
IMAGE |
Hyaline,
Hyaline, NicePear Music – As their name
would suggest, Hyaline work in an way that is easy to follow and look through, yet at the
same time, their sound is a amalgamation of tones and styles that are quite unlike any
other band in rock. With the heaviness of
Godsmack, the melodic qualities of Alice in Chains and a little Jethro Tull thrown in for
good measure, the LA-based quintet are able to create deep, rich undertones that flow in a
groove that is irresistible. Overlay that
with the throaty, guttural delivery of lead vocalist Danny Timko and plenty of driving
guitars, and you’ll begin to get an idea of what the Hyaline sound contains. Highlights include “Candy Jar,”
“Between the Lines,” and the over-eight minute “Muse,” with it’s
tribal rhythms and multitude of styles. These
LA vets show a great level of potential and talent. |
IMAGE |
Matches F.C., [EP], Fire Records
– With a
four-song sonic blast from this NYC trio, Matches F. C. work at combining the over the top
sound of bands like Kiss with the gritty, straightforward sound of Marc Bolan and T. Rex,
while maintaining the glaminess of both. The
first single, “Hot Sugar,” is a Stones style love song, where love is anything
but emotional. The other three songs work in
that same, NY, raw, CBGB-on-a-Tuesday-night style. “Come
On Over” has a great blues feel and solid groove.
There is also a ‘hidden’ fifth track, which is a bombast of guitar
solo and cymbal crashes that somehow works as a fitting end to four tracks that come
before. Try and catch them live in NY and let
us know what you think. |
 |
The Agony Scene, The Agony Scene, Solid State Records
– At first listen, the easy assumption would be that these guys are fresh out of the
Scandinavian death metal scene, but they’re just gold old American boys with a
penchant for brutal, punishing metal. With an uncanny ability to move from shrill
scream to demonic growl, vocalist Michael Williams leads The Agony Scene through ten
blistering tracks, highlighted by opener “We Bury Our Dead at Dawn,”
“Shotgun Wedding” and a devastating cover of the Rolling Stones’
“Paint It Black” that would make Mick crap his ‘Depends.’ For
fans of Cradle of Filth or In Thy Dreams, this is made especially for you.
Ultra-intense, it’ll leave bruises all over you. |
 |
Dashboard Confessional, A Mark, A Mission, A Brand, A Scar [w/ Bonus DVD], Vagrant Records – The most telling moment in this collection doesn’t even take place on the CD; pop the DVD in, and about 15 seconds in it hits you: Chris Carrabba, the heartthrob of countless girls and young women, is the voice of a fair part of a generation. With a roomful of fans – mostly young, of what appears to be all cultures and races, and a pretty even split along the gender line – singing along to every word, collectively louder than Carrabba and his acoustic guitar, it’s stunning. It’s the definition of what emo music has come to mean: inclusion and an honest account of the heart’s yearnings. A Mark itself is filled with Carrabba’s best work yet, and though it isn’t as genre defining as his previous full-length, The Places You Have Come to Fear the Most, it is far more accessible and widely appealing. Tracks like “Hands Down” and the sweet “As Lovers Go” are wonderful in not only their well-constructed melodies, but especially in their deep wordplay and gravity. No, Chris Carrabba doesn’t cut much new ground here, but he does show he’s the best at what he does. |
 |
Alien Ant Farm, truANT, Dreamworks Records – After scoring their biggest hit via their cover of Michael Jackson’s “Smooth Criminal,” followed up by a deadly bus crash that almost took the life of AAF singer Dryden Mitchell, the question was whether the band would even produce a second record, let alone one that would prove to be nearly as memorable as truANT. Produced by Robert and Dean DeLeo of the Stone Temple Pilots, truANT shows remarkable growth and a clear sense of direction for the Southern California foursome. The fact is, the best songs from ANThology were never released as singles, so this will come as no surprise for AAF’s serious fans, but truANT clearly displays Mitchell’s development as a writer; their musicianship has always been outstanding. From the grippingly sad “Sarah Wynn” to the Latin-tinged “Tia Lupe” to the addictive first single “These Days,” truANT is the sort of complete record that you don’t often come across any more. Highly recommended. |
 |
Bleu, Redhead, Aware/Columbia Records – Bleu McAuley may get placed in the singer/songwriter genre, and quite properly so, but he approaches things quite differently than the majority of the others out there, with more guitar work and heavy pop leanings. Taking four cuts from his initial offering, Headroom, and his stellar track from the 'Spiderman' soundtrack, “Somebody Else,” reworking them a bit, and seamlessly adding them to seven new tracks, Redhead ends up a record that’s great to listen to, from beginning to end. A wonderful highlight is “Could Be Worse,” co-written by Jellyfish’s Andy Sturmer, which contains just enough of Sturmer’s influence to make it interesting without making it a total tangent from the rest of the record. The epic, soaring guitar work on many of the tracks only enhances Bleu’s strong voice and his lyrics make for good listening and reading. For fans of modern singer/songwriter, guitar-based work, this is essential listening. |
 |
Silverstein, When Broken is Easily Fixed, Victory Records – We know this record has been out for a while, but we had to tell you about it. Silverstein may have their beginnings in the thriving Ontario, Canada, emo-core scene, but to try and place them firmly in that genre would be far too restrictive. As singer Shane Told leads you through his own emotional minefield, it’s easy to initially miss the elements of metal and punk that exist within Silverstein’s music; it’s in subsequent listening that you discover the building blocks that make Told and his mates so much more than an emo band. On “Giving Up,” as Told moves back and forth from his vicious growl to his wonderful singing voice, the raw pain of his conversation with himself (“How can I say I love you back/You never made me happy”) is driven along by the guitar work of Neil Boshart and Josh Bradford, which sounds like vintage Metallica. Then, just as you get comfortable with the lilting strains of “Last Days of Summer,” the song explodes into a molten emo masterpiece. If you’re looking for the next step in rock music, let Silverstein take you by the hand and drag you through the neighborhood. Don’t say we didn’t warn you. |
 |
Poleposition, XO Edition 2, Polar Music – Much like the cinematic pieces that Rui Guerreiro and Daniel De Silva, the men behind Poleposition, have become known for, XO Edition 2 is as much about mood as it is anything else. The aptly titled opener, “Boulevard,” is filled with the palpable angst of a piano line searching for its destination. The feeling of careening down narrow side streets, just ahead of the fuzz, is inescapable. Each of the five tracks on this amazing EP use the interplay between vocals and music to create mood shifts and swings that convey a message, even when it’s about “The Tragic Death of Porn Starz.” Poleposition’s cosmopolitan electronica is occasionally thrilling, often sublime and always engaging. |
 |
Teitur, Poetry & Aeroplanes, Universal Records – Hailing from the Faeroe Islands (get a map), Teitur is a modern-day troubadour – his music holds a pristine beauty and, at the same time, a constant longing and palpable ache. At times sounding a bit like Paul Simon, at others recalling Sting, Teitur’s lyrical poetry is filled with glowing imagery and emotion. Working with the likes of bassist Pino Palladino, Matt Chamberlain on drums and Ruppert Hine playing a variety of instruments, Teitur has surrounded himself with more than ample musicianship and assured that his music will get the best treatment. The superb “Rough Around the Edges,” which deals with the realities of growing up, and the gripping title track, which explains the trials of being a traveling musician, are two outstanding examples - on a record packed with them - of songwriting at it’s best. For those who enjoy the singer/songwriter genre, Poetry & Aeroplanes is a necessary addition to your collection – and one you won’t stop enjoying any time soon. |
 |
Yellowcard, Ocean Avenue, Columbia Records – Every band is looking for something that sets them apart from the crowd – something to make people notice. What sets Yellowcard firmly apart from the rest of the pop-punk logjam is that they have a violinist, Sean Mackin, who isn’t just there for show. Before you laugh and discount them, you have to give Yellowcard a chance. Somehow, they make it more than just work; the violin ends enhancing every song and adding a depth and feel that most of the other bands in the genre don’t possess. Even on their supercharged first single, “Way Away,” Mackin’s work expands the sound and plays well off singer Ryan Key’s vocals. Though most of the songs fit very well into the pop-punk formula, it’s that extra layer that makes a bit fresher than it otherwise would be. “Empty Apartment” is another standout that seems destined to be a single. Ocean Avenue provides a refreshing take on the current trend, and one that was much-needed. |
 |
Spitalfield, Remember Right Now, Victory Music – You can always count on Victory Records to have their finger on the pulse of what’s next in punk. Though punk has morphed into a few different forms, Spitalfield are going in one direction we enjoy traveling: perfect hooks, thoughts about life that generally aren’t filled with misery, and plenty of crunch. As for Remember Right Now, what’s not to like? Songs like the reflective “Am I Ready” are easy to relate to; you’re on you way there, you’re there now, or you’ve been there. Each of the tracks work; you feel the connection. Fans of JEW, Further Seems Forever and Yellowcard, Spitalfield is band that you need to get familiar with. Recommended. |
 |
Ben Lee, Hey You, Yes You, F2 Records – Breaking free from the moniker “Claire Danes’ Boyfriend” and following up the critical and popular success of Breathing Tornadoes, Ben Lee has it firing on all cylinders. Here working under the tutelage of producer Dan the Automator, Lee has put together a record that isn’t looking to hoe some new road, but instead solidify his place in the crowded singer/songwriter universe. The result is a smart record that functions on a few different levels, without reaching too far from the foundation, as on the intense-but-radio-friendly “Something Borrowed, Something Blue” and the very pretty “Chills.” They’re very different songs, but have a sort of commonality that holds it all together. Hey You flows nicely and works to make a cohesive unit filled with catchy tunes and wonderful guitar-oriented pop. |
IMAGE |
Stunt Monkey, [self-titled], UTR Music – Stunt Monkey have single-handedly created their own musical genre; we call it ‘spoof-punk.’ It’s got all the energy that the current pop-punk movement has, but these guys are funnier (and apparently more fun) than blink-182 and take the Sum41 experience to the extreme. Word is, they throw all sorts of odd stuff at the crowd in their live shows. Either way, the music hums along like a power saw, cutting grooves as it goes along. The first single, “Girlfriend Likes Girls,” with its subject matter and big-time hook, gives a good taste of what Stunt Monkey are all about. “Your Mom Is Hot” is set to be the new theme song for all the MILF hunters out there. If you’re looking for something undeniably fun, here it is. |
 |
Damien Rice, O, Vector Records – Damien Rice must be a very giving guy, because this is quite a gift he’s given to the music world. With a keen ability to draw you completely in and have you believe he’s singing every lyric with total conviction, as though you’re hearing him sing it for the first time, Rice makes you a part of his own world. In the end, you feel like you’re his friend, and he’s selected your shoulder as the one he’s going to lean on. The exchange between Rice and Lisa Hannigan on “The Blower’s Daughter” is so intimate and exquisite, and is instantly a classic. Tracks like “Delicate,” the album opener, and “Amie,” with its superb grace, leave an indelible mark on your heart and soul. Damien Rice has made a record that doesn’t create a new genre or reinvent the wheel, but he’s so good at what he does that it sure feels that way. A must-have. |
IMAGE |
Tokyo Rose, Reinventing A Lost Art, SideCho Records – Instantly addictive, Reinventing A Lost Art is like a designer drug – you don’t know what got you hooked, and something feels so wrong about it, but you know you love it. Laden with massive hooks and a giant-size helping of the ubiquitous pop sensibilities, Tokyo Rose take more than a few pages from Jimmy Eat World’s book. Mixing sing along melodies with a sufficient amount of crunchy guitars yields radio ready tracks like opener “Saturday, Everyday” and “Word of Mouth,” which seem perfectly suited for summer pop-punk glory. |
 |
Various Artists, Warped Tour 2003 Compilation, SideOneDummy Records – It’s that time of year again, kids! All your favorite punk and pseudo-punk bands hit the road for what has become the most revered and cohesive tour out there. What better way to capture the enthusiasm than 52 songs by the bands that have made Warped what it is? They’re all here: from The Used (“Just A Little”) to perennial Warped attendees Less Than Jake (“ASAOK”) to the amazing Dropkick Murphys (“Walk Away). It’s probably the best deal for the money out there as well. |
IMAGE |
Lucerin Blue, Tales of the Knife –
Tooth & Nail Records – It may be easy to label them a Christian band, but Lucerin
Blue don’t pummel you with their beliefs; it’s probably far more accurate to
call their music spiritual in nature, rather than religious. While that may not please all of the
fundamentalists, Lucerin Blue’s music goes a long way in not alienating the rocker
kids they most want to appeal to, which in the end allows the message to spread further. Tales of the Knife is a diverse blend
that moves from the emo-core of opener “Game” to the post-grunge of “Chorus
of the Birds,” to the poignant and pretty closer, “This Letter.” In Tales of the Knife the Canadian
quartet have a record that shows versatility and a great emotional touch. |
IMAGE |
Various Artists, The Animatrix- The Album – Warner Brothers Records – You can always rely on super DJ Jason Bentley, the music supervisor on this record, to put together the perfect soundtrack. Having done the same thing for 'The Matrix' Trilogy itself, Bentley knows what fits, and he does an expert job here, with tracks from Supreme Beings of Leisure, Meat Beat Manifesto, Juno Reactor and others. What you end with is the right music to match The Animatrix DVD, and also fit it in well with feature films. Tracks like “Conga Fury,” Juno Reactor’s contribution to the disc, are so in the vein of what 'The Matrix' and it’s offspring are all about, that it’s very easy to imagine a scene from the DVD while listening. In this combination of tracks, Bentley effectively communicates the flow and essence of what the visuals are all about. |
|
S.T.U.N., Evolution of Energy, Geffen Records – When you’re ready to get your ass kicked, get this record and crank it up. Evolution of Energy is one of the most incendiary, adrenaline-inducing albums to come along in some time; it brings to realization all the things you know Rage Against the Machine could have been and mixes it with the subversive energy and fire of Queens of the Stone Age to produce a sound that’s instantly addictive and will have you chanting right along. What you have is a record that incites you to pay attention, dares you to take action and blows the doors off of everything else. If tracks like the burning “Movement,” the brilliant “Here Comes the Underground” and the epic first single “Annihilation of the Generations” don’t make you a member of the S.T.U.N. movement, then we can’t help you. A must-have. |
 |
Fountains of Wayne, Welcome Interstate Managers, S-Curve/Virgin Records – Our favorite quirky New Jersey pop gods make their return with a record that continues the FOW tradition: perfect melodies and interesting, thoughtful stories all wrapped inside of a three-minute pop song. On “Halley’s Waitress,” about half-way through one of the greatest melodies this side of the White Album, you laugh and realize the song is about an anonymous waitress and her poor career choice. Chris Collingwood and Adam Schlesinger write the sort of songs that make you want to delve in and find out more, yet are easy to get lost in. These guys even make a song called “Hackensack” sound good. Highlights are the amazing “Bright Future In Sales,” the anthem for every working stiff, and “Valley Winter Song,” a work that tugs at your heartstrings. Very highly recommended. |
|
Woven,
8 bit monk, Interscope
Records – Drawing comparisons to Radiohead, among others, Woven make the sort of
music that fuses drum and bass and rock, yet also ads some heady intangibles that push it
along. There are elements of Nine Inch Nails in there, lurking, but never rising
above the surface. Often brooding, occasionally mind-altering, 8 bit monk
is a tenuous juxtaposition of organic and electronic that somehow never quite falls over
to either side. With a sense of subdued chaos, tracks like “Sync or Swim”
and “Astral Low” bend the mind to grasp the different elements as they coalesce
and diverge. The fact is, after their previous EP, Eprime, and this release,
we’re still left wanting, needing more. It’s the sort of music we wish we
had made. |
 |
Acceptance, Black Lines to Battlefields, The Militia Group – With much the same pop sense and emo flair as Jimmy Eat World, Acceptance’s semi-full length (7 songs, two of which are live) mixes up-tempo rock with soaring vocals and a focus on song development. The tracks all move fluidly, working from a point and seeming to travel their own natural journey. It makes for very easy listening, though not a lot of chances are being taken here. “Seeing Is Believing,” with its wonderful harmonies, is made for summertime radio as is as good as anything out there. Black Lines is certainly an emotional ride – “Permanent,” the opening track, is heart rending in its sincerity and the title track is equally as gripping. |
 |
Flashlight Brown, My Degeneration, Hollywood Records – When you can write what is basically a punk song about playing Dungeons & Dragons, you know you’ve stumbled on to something. That’s what album opener “Ready To Roll” is all about: getting some platinum and picking up and elfin bar whore. Seriously. It works, though, as do most of the tracks on My Degeneration. A series of off-color love songs and geekish observations with lyrics that border on the bizarre, My Degeneration is the sort of record you end up listening to over and over, just to try and get the words. Combine that with surefire hooks, especially on “Lose the Shades” and “Butterball,” and you end with a debut (American, anyway) that’s more than worth the $10. |
 |
Hot Hot Heat, Make Up The Breakdown, Sub Pop Records – Like the bastard son of Andy Partridge, Hot Hot Heat singer Steve Bays warbles his way through this collection of supremely catchy tunes. Mixing English Settlement-era XTC with indie flare, tracks like the ultra-angular “Bandages” are bursting at the edges with energy, yet somehow avoid spinning out of control and create a style that is exclusively Hot Hot Heat’s. Make Up The Breakdown is packed with miniature masterpieces, each moving in it’s own odd direction; “Aveda” works as a geek love song, while “Oh, Goddamnit” delivers it’s message musically, if not lyrically. Then, as if for good measure, Make Up The Breakdown ends with the wide open guitars and smooth piano of “In Cairo,” which shows there’s probably more amazing things to come from Hot Hot Heat. Highly recommended. |
|
Gob, Foot In Mouth Disease, Arista Records – It should first be noted that this record was produced by Mark Trombino, who produced blink-182 and Jimmy Eat World, which gives a good idea of where this record heads. Then take into account the record was “executive produced” by wizard/Arista boss L.A. Reid, and you’ll know what’s up here. Putting those two at the helm of a Gob record means hits, and Foot In Mouth Disease doesn’t disappoint. Considering Gob have always been known for sugary hooks, it’s a match made in hit heaven. Basically, Foot In Mouth Disease is a sequence of radio-ready tracks that should finally get them the breakthrough exposure they’ve been waiting for in the US. From the summer fun of album opener “Lemon Aid” to the very American Hi-Fi-ish “I Cut Myself, Too,” Gob should be in heavier rotation as the temperature rises. The high point of the record (there aren’t really any low points) is the profanity-laced “Give Up The Grudge,” which as close to Punk as this record comes. |
 |
Suzanne
Vega, Retrospective – The Best of Suzanne Vega – A&M
Records – Most people seem to have had a love/hate relationship with Suzanne
Vega. Maybe it’s her monotone sort of singing or the overexposure
“Luka” received. The fact is, this record shows that there is so, so much
more to Suzanne Vega than the casual fan would ever expect. The beauty of a track
like “(I’ll Never Be) Your Maggie May” is eye opening, mostly because the
majority of people probably have never heard it before! The required stuff is here,
like “99.9F,” “Tom’s Diner” and “Blood Makes Noise,”
but it’s the other songs that make this compilation wonderful. The jazzy feel
of “Caramel,” the emotion of “Gypsy” and the pure pop sense of
“Left Of Center” (from the Pretty In Pink soundtrack) should not be considered
filler – they are what make Retrospective complete. Maybe it’s
just been long enough for “Luka” to fade a bit, but whatever the case, hearing
Vega again in this complete, easy-flowing set is a welcome refresher. |
 |
Nada Surf, Let Go, Barsuk Records – Not to be confused with Avril Lavigne’s release, Nada Surf’s first release in four years is the sort of record that speaks to you from the initial listen, with emotions that run deep and exquisite songwriting. Where their other great release, Proximity Effect, may have had more classic indie rock moments, this record has a sense of maturity and importance that only comes via time. “Happy Kid” is the sort of song that speaks to everyone who has been through the awkwardness of early adulthood and survived intact, yet it also works as a primer for those just embarking on the journey. “Inside Of Love” has so much sad beauty and pain, but it offers a perspective not often available. Nada Surf have a knack for letting songs build on their own and letting them work themselves out, in a way that feels very organic. Recommended listening. |
 |
Pete Yorn, Day I Forgot, Columbia Records – It’s hard to imagine not liking Pete Yorn. His debut, musicforthemorningafter, is a testament to abilities of the American singer/songwriter genre. Day I Forgot has many of the same qualities that made Yorn a critical success, but it shows a willingness to travel down some different roads and Yorn’s ability to mature in his own skin. The result is a more straightforward approach that, while it may not have the breakthrough impact that …morningafter had, offers up loads of emotional moments and catchy hooks. It’s Yorn’s clear vocals and yearning delivery that make him more than memorable. The sweeping hooks of “Come Back Home” and “All At Once” are standouts along with “Crystal Village.” |
 |
Folksongs for the Afterlife, Put Danger Back in Your Life, Hidden Agenda Records – Like a pleasant mix of Ivy’s aesthetics and Ride’s shoegazer influences, Folksongs for the Afterlife produce indie pop that is at once immediate yet also lingers well after the songs have ended. Put Danger Back in Your Life, the band’s first full-length, is the sort of record you can listen to repeatedly. That is, after all, sort of the point, isn’t it? Singer Caroline Schutz’s perfectly-suited voice is easily addictive, especially on tracks like the 80’s throwback “Lockaway” and truly amazing “Summer Loop.” There’s not a bad moment on any of the eleven songs and you’ll find yourself rewinding over and over, just to hear certain sections and dig into the lyrics. Highly recommended. |
 |
Vue, Babies Are For Petting [EP] - RCA Records - They're getting pushed into the garage rock category, but Vue have a knack for being a bit more polished and quite a bit less thrashy than their NY counterparts. At times, especially on "Hey Hey Not In Here," the band takes on a classic 70's Brit-infused rock sound. On "Find Your Home," featured here live, and on the title track, singer Rex Shelverton does an admirable job of channeling Jim Morrison's passion and delivery. Word on the street is that the Vue live show is what really sets them apart, so this should be considered a primer. A full-length is due mid-summer. |
 |
The Androids, The Androids, Universal Records – Yeah, you’ve probably heard their hit, “Do It With Madonna,” but don’t judge them by that, though it does show the sorts of hooks this Australian quartet can create. Tracks like “Take It Too Far” and opener “Hey You” are much better examples of The Androids ability to follow lead vocalist and songwriter Tim Henwood’s direction and focus. Occasionally, the music gets a bit too over-processed and comes off sounding like it was constructed by record execs rather than four guys in a garage, but that may be the problem with lots of alternative rock these days. Hopefully The Androids will get another shot – this record shows promise. |
 |
Idlewild, The Remote Part, Capitol Records - With a nod to the Brit punk movement as well as the Smiths & Cure, Idlewild pull it all together in this record that took far too long to reach US shores. The Remote Part has been out in the UK since July 2002, and has produced two massive hits, album opener "You Held The World In Your Arms" and the beautifully gripping "American English." Building on their previous release, 100 Broken Windows, the Scottish foursome continue to show musical growth. "Live In a Hiding Place" is another piece that deserves attention and airplay. Singer Roddy Woomble's lyrics are reminiscent of REM's Michael Stipe in their ability to pierce topics from a different angle and provide a view from inside Woomble's head. |
 |
Taking Back Sunday, Tell All Your Friends, Victory Records - Filled with Adam Lazzara's hardcore vocals, the massive punch of guitarists Ed Reyes and John Nolan and breakneck time signature changes, Tell All Your Friends is not your typical emo/hardcore record. Though it has brought forth plenty of comparisons with another Victory band, Thursday, and there are some undeniable similarities, Taking Back Sunday have focused on their own strengths and delivered some classic hardcore tracks. "Cute With No 'E'" and "Ghost Man on Third" are standouts, with "You're So Last Summer" also of note. |
 |
Switchfoot, The Beautiful Letdown, Red Ink/Columbia Records - Though they may get lumped in with other Christian rockers like Jars of Clay, the sugary hooks in tracks like "Ammunition," "Gone" or "Meant To Live" are undeniably good and deserve closer attention. Comprised of three San Diego-based surfers, Switchfoot broach spiritual topics in a way that isn't too preachy, allowing secular listeners to enjoy the music nonetheless. It's all good, clean fun. Don't let their getting tossed into the "gospel" genre fool you - Switchfoot rocks. |
 |
Marina V., Something of My Own & "Simple Magick" CD-single, Crazy Apples Records - Much more than just a pretty face, Marina will earn many comparisons with Tori Amos, though Marina's subject matter doesn't bear that sort of pained heaviness. The comparison is based on vocal tone and Marina's piano-based music, which is entrancing from it's opening strains. Some of Marina's most gripping work is when she sings in her native Russian, as on "Taet Sneg," which really brings out the sultriness of her voice. Her emotive qualities make the song work, even if you don't understand the words. "Simple Magick" is a wonderful song that bears repeated listening as well. Marina is a true talent on the rise. |
IMAGE |
Louden Swain, Overachiever [EP], 3 Car Wreckords - They tell you they're a cross between Weezer and the Foo Fighters, and the comparisons are valid, but Louden Swain are much more in the same vein and American Hi-Fi, with their rock and roll swagger and tongue-in-cheek deliveries. Overachiever is five tracks of top-notch indie rock. The title track, which closes the EP, is a standout, but none of the songs are disappointing. It won't be long and this LA-based trio will get major label support. Then you'll realize that frontman Rob Benedict looks familiar…oh, yeah! He's that guy from "Felicity"… |
 |
Venus Hum, Big Beautiful Sky, MCA Records - An apt album title, considering how much area they cover with their dream-pop/electronica. Pulling from influences like Depeche Mode, Erasure, Kate Bush & The Cure, singer Annette Strean does her own cloudbusting, pushing her voice in a variety of directions. From the textured lushness of the first single, "Hummingbird," to the electro-funk of "Lumberjacks," Venus Hum take you on quite a ride. The beauty of "Wordless May" stays with you well after the song ends. This, their major-label debut, is a record they can be proud of. |
 |
The Datsuns, The Datsuns [Bonus DVD], V2 Records - Please don't lump them with The Vines or The Hives. The Datsuns are better compared with fellow New Zealanders The D4, though they have a better grasp of dynamics. The Datsuns combine Deep Purple psychedelia with AC/DC energy to warp garage rock into something all their own - it's been years since a cow bell got spanked this much. The trippy "Sittin' Pretty" opens things up and lets you know that this isn't the polished stuff you've become used to. This is like taking a nice early-'70's rock record and throwing it on the turntable. If there's a downside, it's in the second half of the record, where the Datsuns fall under the spell of guitar solos and lose a little in the hook department. |
 |
The D4, 6Twenty, Infectious/Flying Nun Records - Another quartet of throwback New Zealanders, The D4 start off with the volume at 11, and it never comes down. With their Ramones-meets-Motorhead onslaught, the D4 don't let their formulaic approach to rock become an impediment. In fact, the music has such a fun quality that it becomes irresistible, without every descending to the Andrew WK-ish goofball status. The rousing cover of Johnny Thunders' "Pirate Love" makes this a welcome release. "Mysterex" is very Ramones-ish, while "Party" is pure, easy bliss. |
 |
A.F.I., Sing The Sorrow, Dreamworks Records - "This is my line/This is eternal," sings Davey Havok in "...but home is nowhere," and with Sing The Sorrow, Havok and his mates have created a record that has the potential to be the Appetite For Destruction of this decade. With their heavy punk influences (e.g. Misfits & Rancid) tinged with vintage Smiths and Depeche Mode flare, AFI has found the perfect middle ground of hook-laden goth-punk and hit the spot that Marilyn Manson aspires to. There's plenty of heaviness too, like the pit punishing "Dancing Through Sunday" and "Bleed Black." Adam Carson's drumming is the foundation for Jade Puget's textured riffs and bassist Hunter's solid low end work, which all outstandingly support Havok's amazing vocal abilities. This is a record that you need to have in your collection. Required listening. |
 |
Evanescence, Fallen, Wind-Up Records - If there's one thing you'll take from this record, it's that Amy Lee's voice is simply stunning. The work of guitarist Ben Moody work perfectly with Lee's ability to move from the subtlest lullabies to cascading melodies to powerful, heavy-hitting rock and never sound out of place. The first single, "Bring Me To Life," which is also featured on the Daredevil soundtrack [see below], puts Lee's abilities on full display and serves notice that Evanescence is ready for the big time. Fallen covers a fair bit of ground sonically, with Lee and Moody showing what they can do. They build on territory paved for them by the likes of Curve, with plenty of success. |
IMAGE |
Various Artists, Atticus …dragging the lake II - SideOneDummy Records - This is really sort of 'who's who" in the skate punk/emo scene - you've got blink 182, their off-shoots, Box Car Racer and Transplants, Finch, Sparta, Alkaline Trio, and 20 others, all of which fit nicely into this package. What makes this really cool is the amount of great unreleased material there is: "Soleil" by Maxine is outstanding, as is "Misled" by Hot Rod Circuit and Sparta's "Vacant Skies." It's simple: if you're into this type of music, then you should get this compilation. You won't be disappointed. |
 |
Further Seems Forever, How To Start A Fire, Tooth and Nail Records - The beauty of this record is that FSF doesn't sound like a band with something to prove. This isn't an answer to FSF's last record, The Moon Is Down, and they aren't trying to show they can survive without former front man Chris Carrabba. What FSF have done here is construct an amazing record that stands completely on it's own - the lyrical work is outstanding and emotionally gripping, especially on the JEW-ish "The Sound" and the cascading "On Legendary." The epic "Against My Better Judgement" is also an emo standout. Singer Jason Gleason's voice is perfect for their brand or emo rock - he makes you forget they ever had another singer. A great listen from beginning to end. |
IMAGE |
mellowdrone, a demonstration of intellectual property [ep], ARTISTdirect Records - mellowdrone, a.k.a. Jonathan Bates, covers more sonic terrain on five songs than most records do in twelve. Working out of his bedroom on basic equipment, mellowdrome moves from the slight instrumental piece that opens the record, "Tinylittle," through to something akin to Badly Drawn Boy's brilliance on "Fashionable Uninvited]". He then moves on to "No More Options," in which his plaintive wail and guitar crunch is along the lines of Ours and their front man, Jimmy Gnecco. Nice first taste. |
 |
Various Artists, Daredevil - OMPST, Wind-Up Records - This is impressive: 20 brand-new songs - no retreads - almost all of which are radio-ready. The spectrum here is pretty broad; there are established artists like Fuel ("Won't Back Down"), Nickelback ("Learn The Hard Way") and Moby ("Evening Rain") and some hard-charging up-and-comers like Evanescence (who have two tracks on the record), Chevelle ("Until You're Reformed") and Seether ("Hang On"). Likewise, there's everything from the harder stuff (Seether, Drowning Pool w/ Rob Zombie, Boysetsfire) to easy rock (Fuel, Nickelback, Hoobastank) and even some hip-hop with Nappy Roots featuring Marcos Curiel of P.O.D. The only real down point is the Nickelback track - you quickly realize that it sounds like everything else they've ever done. The high points are the Evanescence tracks, Chevelle, and long-awaited new music from Finger Eleven. |
 |
Everclear, Slow Motion Daydream, Capitol Records - Fact is, Art Alexakis has learned the art of writing mainstream radio hits. "Volvo Driving Soccer Mom" has already gotten airplay and "TV Show" is a sure-fire hit, as is "Sunshine." The only problem is that most of the songs sound very much the same - Everclear have a pretty recognizable sound, but the variance between songs, at times, is almost imperceptible. It's never a bad listen, but it's not the sort of thing that strikes you as revolutionary. Alexakis' delivery is pretty much the same from song to song, which lends to the sameness of the tracks. |
 |
The Music, Capitol Records - Rarely do you put a record on and think "progressive" and "classic" in the same moment, but The Music are just that. They recall the raw passion of early Led Zeppelin, the ethereal spirituality of Kula Shaker and mold it with a very modern electro vibe. Lead singer Robert Harvey does often evoke the same energy and quality that Crispian Mills did in the mid-90's, and there's just something here, that intangible thing, that sets it all apart. It just works on so many levels. The first single, "T |
