Bearcast Music Reviews

Black Lips "200 Million Thousand"

2009-05-11T07:57:00.002-04:00

Written by: Andrew Stecz

Rating: 6 out of 10

The Black Lips, hailing from Atlanta, Georgia, (and not welcomed in India) release their 5th album, 200 Million Thousand in 2009, interpreting previous lo-fi/garage rock generations through the gaze of their previous 4 albums. “Take My Heart” sets the tone with a miniature glam-rock riff reminiscent of T. Rex (instead of the New York Dolls), and its refrain with a lo-fi ethereal call for solitude and devolution leading into the fun times “Drugs,” which lives in a summer breeze, a Plymouth Barracuda, and decadence - The myth of Rock. Slowing it up to the Byrds-like guitar, “Starting Over,” nothing new in is added to the Black Lips language and nothing grown on “Let It Grow” as the band channels Neil Young’s prolific solos between verses and drunken squeal thereafter.

Cute and desolate, “Trapped In A Basement” documents a girl’s experience of The Cave, exposing her daddy’s-little-girl relationship for its malevolent propensity for stupor it possesses. The single “Short Fuse” is another uninspiring restrained rocker, the quintessence of the band’s aesthetic, seems to be played with the garage door closed for fear of either someone hearing or waking the neighbors, I am not sure. Adorable as can be, “I’ll Be With You” harks back to the 50’s as the singer yells his refrain of desire over soft rhythm and guitars, as the swampy “Big Black Jesus of Today” starts to develop a bit of attitude the album lacked thus far only to be lifted by the airy “Again & Again.”

The Black Lips begin on the next three tracks to delve into a catrnistic urbanlia – new and old – with “Old Man” cutting very close to The Velvet Underground’s “Venus In Furs” with its minor chords, effervescent chorus, and tribal percussion, but without The Ostrich (though some heads are surely buried), debauchery, and venomous viola. The next in the trilogy is the hip-hopped rocker “Drop I Hope” with a sample of a galvanizing speech for defense of…something (civil rights?), and finally the lively “Body Combat” is a dancer for the college bacchanal. Ending sentimental, “Elijah” and “I Saw God” limp to the end, burning what fumes are left and framing the album as best it can, not deviating too much from what can be found in the previous 40 minutes, or the previous 4 albums for that matter.

Moreover, the album is decent (6): not a waste of time, but surely not worth the 6-7 listens I needed to get the energy and focus to write this review. A 6 is a high rating for this album, I was preparing myself for a garage-rock album and I got basement-rock. I am not sure if the band is incapable to amp up the sound, the attitude and/or their thesis of their songs but they need to “start over,” and now; move out of the basement, or open the garage door, and possibly take fewer drugs (or write fewer songs about them) and let their blood flow and not their kisses onstage. I LOVE GARAGE ROCK – I love the Sonics, the Velvet Underground, the Fleshtones, the Animals, early Stones, Pere Ubu, Captain Beefheart, Chrome (and many others)…but this is not that sound. 200 Million Thousand is a derivative of that sound, bound and gagged without the lash, dreams and shiny, shiny leather, and further condensed beyond reproach, figuratively and literally – the vocals need to breathe and grow, not compacted electronically.

This album, and the band, is essentially an infantile renaissance of all the aforementioned juggernauts (all of whom I recommend that everyone track down one way or another), which is not a bad thing, but is not performed well to even that order; Royal Trux, and to a lesser degree the White Stripes, exercised this aesthetic much more convincingly (and energetically) on each of their self-titled debuts (Royal Trux consisting of a caustic minimalist set of legendary proportions, but only as a warm-up to their epical and dirty masterpiece Twin Infinitives). I guess The Black Lips need to heed their own lyrics and get loose, and stop being short fuse, be the deluge of fire and brimstone, the point of no return, not T. Rex but The New York Dolls – do as they’ve said, not as they’ve done.

Blue October "Approaching Normal"

2009-04-16T15:10:00.002-04:00

Written by: Colin M. Lutz

Rating: 6 out of 10

Even though I’m really not big on lead singer, Justin Furstenfeld’s eye shadow, I have to remind myself that it is rock and roll and anything goes. I really like the first track on the album “Approaching Normal,” but it is very misleading. The song “Weight Of The World” is a very dark almost spooky start to an album. And it’s really the only song besides “Been Down” on the album that fits all the creepy artwork all over the album cover.

Blue October is full of power chords, heavy jams, and screaming lyrics, but at times I here a very pop-like band, especially in songs like “Jump Rope.” Although, Justin’s lyrics in his songs are very good, for example in the track “Jump Rope,” “you can add a little blush just to paralyze your school crush.” The best song on the album is “The End,” and I am very picky about when bands name a song “The End” because the Beatles and the Doors both did songs with the same name, so Blue October has some huge shoes to full. But, as it turned out the song was actually very well done and explained for me the album artwork with how disturbing the song was. The song is about a guy sneaking up on his wife and finding here sleeping with another man, so he bust into the house and blows them both away and then turns the gun on himself.

I give this band a 6 out of ten, because they need to decide what kind of theme they are going to have on their albums. For me, it really does not work to have heavy metal and pop songs on the same album.

The Broken Spurs "Give It Your Blood"

2009-03-17T13:49:00.002-04:00

Written by: Ryan Ostmann

Rating: 7.5 out of 10

If AC/DC (of the 80’s), Jack White, and Mick Jagger got to together to raise four children they’d probably be all dead, but the souls of four rockstars would emerge and they’d be named The Broken Spurs.

They beautifully describe themselves and I couldn’t disagree after listening to their newest self-recorded album “Give It Your Blood” as follows:

“If there were four girls and a stack of vintage Stones records on one side of a brick wall, the Spurs would go through the wall-not around or over it, but directly through the center, emerging on the other side bleeding, horny and already writing a new song. Which brings us to "Give It Your Blood," the Spurs' aptly titled debut album. This is relentless, fearless music that celebrates rock n roll, all of it pooling together in a sticky, passionate mess.” Sounds enticing if you ask me.

Rockin’ out of Louisville their style is made up of sprawling classic rock licks and simple catchy rock n roll lyrics. It’s definitely working for a new and upcoming band recording from their homes in Louisville, KY. They’ve been making it up to Cincinnati, Chicago, and Indianapolis giving up their blood for the gods of rock.

The band recorded its self-released debut album, "Give It Your Blood,'"at the house, as the describe is “neat and colorful” -- the opposite of the grim, worn-out rock bars where the Spurs usually play. "It was comfortable," Ashley said. "If we ever hit a wall, we'd just turn the amps off, get in the hot tub and throw some steaks on the grill." "We'd 'drink' about it," said Adam Kramer, the Broken Spurs frontman. The Broken Spurs are earning fans with kinetic shows teeming with rock 'n' roll attitude -- and, yes, beer -- and a classic style comparable to "Exile On main Street"-era Stones. The band brings no artsy pretense or political peachiness, which is what ruggedness of rock n roll is all about right?

The Spurs' decision to record 'Give It Your Blood' at Ashley's house was less about finances and more about capturing an authentic analog sound evocative of the band's buzzed-about live performances. "We're all about straight rock 'n' roll, and we're all about the crowd," Kramer said. "We're solely about the crowd shaking their asses, having a good time and partying their asses off." Before the Broken Spurs, Kramer was known for acoustic songs fit for 'The Anthology of- American Folk Music."

Their mission is to see the crowd get loose and ‘Shake, baby Shake!’ Check Out their MySpace for upcoming shows: www.myspace.com/thebrokenspurs

A Kid Named Thompson "Life Generally"

2009-03-12T20:25:00.003-04:00

Written by: Colin M. Lutz

Rating: 4 out of 10

It’s still a mystery to me how people call this type of style punk, if anything its pop-rock. “Life Generally” is the newest EP released by the three men all the way from San Antonio, Texas, A Kid Named Thompson. The bands name reminds me of the album produced by the Goo Goo Dolls called “A Boy Named Goo,” but they sound nothing alike. A Kid Named Thompson sounds just like Fallout Boy or Simple Plan, capturing the emotions of young love and life in their lyrics. The best track on the album is the third “It’s Been So Long.” Be careful when you take the CD out of the case, because there is a picture of a man’s butt. There is also a picture inside the album cover of a few candle holders with pictures of mother Mary on them next to a couple of beer bottles. Love the symbolism. All and all I will give this band a 4 out of 10 rating because there is really nothing different about their style of music from any other. But, still give these heartbreakers a chance and listen to “Life Generally.”

Sara Lov "Seasoned Eyes Were Beaming"

2009-03-12T20:20:00.006-04:00

Written by: Michael Woodson

Rating: 8 out of 10

Every once in awhile, a female vocalist comes along that I seem to fall in love with. Sarah Lov happens to be the next love of my life. Her CD, "Seasoned Eyes Were Beaming" is one of the most relaxing, chill CD's I have heard in a long time. Nearly every song on the album is at a slow tempo, and each one showcasing her voice as much as possible. If you are looking for a more upbeat album, this is not the one for you. But to relax and be able to think, Sarah Lov's CD is rather astonishing. At times, I got a little bored because of that fact that most of the songs are slow, but it's definitely a "mood" CD, meaning you've got to be in the right mood to want to listen to this. The final song on the album entitled "Fountain" is one of the most beautiful songs I've heard in a long time. Like a happier, female version of Damien Rice, this CD really is great.

Nat King Cole “Re:Generations”

2009-03-11T10:52:00.001-04:00

Written by: Johnathon Ashcraft

Rating: 9 out of 10

Nat King Cole was a wonderfully talented musician during his era. Now with modern bands and artists Mr. Cole comes back to life with this tribute/remix album entitled Re:Generations.

Some of Nat’s best songs are reinvented in this album. Artists like The Roots, Cee-Lo Green, and Will.I.Am come together to make this project possible. Some of my favorite songs on this album were already favorites of mine but I like them even more now that they have a modern flair to them. Songs like “Lush Life” and “Anytime, Anyday, Anywhere” were my favorite songs on this album. When the artists came into the studio and remixed Nat King Cole songs they did a fine job. Some of them even recorded the songs themselves making this a combo remix and tribute album.

If you like Nat King Cole then you should already have this album or be getting ready to go by it. If you like jazz and remixes I would advise picking this album up too. Also if you just like good music no matter what genre then I would advise you to at least check this album out. This album is very well put together and sounds great. Nat King Cole might be gone from us physically but his music still lives on in the ears of his fans.

Gretchen Phillips "I Was Just Comforting Her"

2009-03-06T18:28:00.002-05:00

Written by: Michael Woodson

Rating: 6 out of 10

Gretchen Phillips has a style, unlike many female vocalists. The opening track reminded me of Lily Allen, but after that, she was all her own. For me, it's hard to enjoy a song if the music doesn't match the tone of the person's voice, and I personally don't think her voice meshed well with the instrumental work going on. It was hard to concentrate exactly on what I was listening to, or to really know what she was saying. On the upside, each song was entertaining in its beat which kept me from turning it off before it was done.

Wild Light "Adults Nights"

2009-03-06T18:11:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 8 out of 10

The members of Wild Light originally united while in high school. Hailing from New Hampshire, the group disbanded for a bit to pursue college aspirations. In the summer of 2005, Jordan Alexander, Seth Kasper, Timothy Kyle, and Seth Pitman would reunite in their hometown. Taking the musical pursuit more serious this time around, the band began working diligently in the basement of their single family house. Their club gigs in Boston generated considerable buzz and earned them an opening spot with Arcade Fire (whom Tim Kyle had once played with) and LCD Soundsystem. Wild Light then tagged along with Arcade Fire as an opener on their European tour. They would eventually release a self-titled EP in 2007. With more live shows under their belts, the band would venture to Los Angeles in 2008 to work on a full length album.

From New Hampshire all the way to California, there is a definite coast to coast appeal on the debut album from Wild Lights. They may even have had visions of asphalt in their heads when crafting “Adult Nights” as it is perfectly suited for a lengthy road trip. Reflective and introspective, it has the heartfelt passion to rekindle personal memories of yesteryear. The lively textures, catchy pop jangles, and bittersweet vocals are ideal with the windows rolled down and a cool breeze blowing through your hair.

Retrospection does not necessarily breed joyful moments as the opener “California On My Mind” implies. But the lyrical vexation of “Fuck today / Fuck San Francisco / Fuck California” is skillfully kept in check with auspicious layers of guitar and harmonica. The transcontinental undertone becomes eminent immediately into the second cut. “New Hampshire” coneys a recollection of lineage interwoven with some reverb and harmonious backing vocals. The invigorating spirit of running away is prevalent in “Call Home” with the stanza “Go and get your things now, we’re going for a ride / I’ve seen the arrow in my path, I know this has gotta be a sign.” Coming home can be an awakening experience as suggested in “The Party (Oh, My God!).” The bopping melody and accompanied synth line embellish the passage “And now we come home, and it hurts just to breathe around here.”

Wild Light has put together a rather impressive debut. “Adult Nights” could just as easily have been overwritten and overproduced into a collection of sappy ballads or soundtrack material for some teenage television series. Instead the material warrants a level of seriousness while the band’s playful approach helps avoid pretension. There is an aura of hope and inspiration when listening to the entire album. The theme of life journeys and completing the cycle can really jolt the inner spirit. Or at the very least, it might inspire you to jump in your car and just drive, with the album playing through your stereo of course!

New Found Glory "Not Without A Fight"

2009-03-06T18:08:00.001-05:00

Written by: Adam Gress

Rating: 9 out 10

New Found Glory’s latest release, “Not Without A Fight,” is full of great pop punk songs. It was produced by Mark Hoppus of Blink-182, who has also produced albums by Motion City Soundtrack, The Matches, and Idiot Pilot.

My favorite song on “Not Without A Fight” is called “Tangled Up.” It’s a really good song, I can’t think of any flaws that it has.

Another great song on this release is “Reasons.” It has some pretty acoustic strums in the verses and a cool riff throughout the chorus.

While New Found Glory have put out a very catchy album, “Not Without A Fight” is not with out its flaws. In the chorus of their first single, “Listen To Your Friends,” I don’t especially like the rhythm of the guitar that is played for half of it. Other than that it was a good choice for a single. I’m not particularly into the song “Such A Mess”. It feature some gang vocals, which I’m not a fan of, and besides that it does get sort of repetitive.

Overall, this a great album by New Found Glory. I would definitely recommend driving to you local music shop, or just click your way to the iTunes store.

AG Silver "Love Keeps No Score"

2009-03-06T18:06:00.003-05:00

Written by: Colin M. Lutz

Rating: 8 out of 10

These rock anthem musicians from Grand Rapids, Michigan say they play rock’n’roll because they cannot escape its power, I agree. AG Silver has so much potential, but is held back by their grandparents who say rock is just nonsense. Well, they apparently have never heard the song “Rock And Roll Ain’t Noise Pollution” by AC/DC. I am most impressed by lead vocals/piano/guitarist Jon Ornee and bassist Aaron “Oh Woah” Cowan who are truly masters of their instruments. I love the album cover of “Love Keeps No Score”, the crinkled up piece of paper, because it reminds me of an Andy Warhol LP cover. It says on their promotional pamphlet that this band is for fans of U2, Queen, and Snow Patrol. I agree with this statement, but in the song “Falling Still” I here a lot of Maroon 5, only harder of course. Then in the track “Now Or Never," which is the most explosive song on the whole album, I here hints of The Killers and Franz Ferdinand. My favorite track on the album is “The Only One” because of the call and response between the vocals and the piano halfway through the song. The bass rift in the last track, “Onto Something," can make anybody’s toes start tapping. I am giving this band an 8 out of 10. This album “Love Keeps No Score” is a must listen too!

Bearcast Music Blog Update

2009-03-02T10:12:00.002-05:00

Dedicated Readers,

Because of a recent act of plagiarism that has been brought to my attention, the music review for the album "Goodbye to the Machine" by the band Hurt has been removed from the site.

Even though this blog encourages students to express their opinions of music, plagiarism is in no way tolerated and all entries from the contributor who committed this act have also been removed from the site.

As the editor of this blog, I apologize for any work that has been discredited and I will speak with all of the music reviewers about the seriousness of this wrongful act.

Thank you for reading our blog and please continue commenting on our work! As students, we welcome and appreciate any constructive criticism.

Ryann Walton
Music Director
music@bearcastradio.com

Parachute Musical "Everything Is Working Our Fine In Some Town"

2009-03-01T18:40:00.003-05:00

Written by: Johnathon Ashcraft

Rating: 8 out of 10

Parachute Musical is a piano driven pop/rock band. They are from Nashville Tennessee. Parachute Musical is led by singer song writer Josh Foster. They are made up of piano, guitar, bass, and drums with occasional orchestra players such as oboe and trumpet. They have a pop sounds mixed with saloon pianos and Broadway oriented vocals.

The songs are fairly catchy. Songs like “Dear Jacksonville” have a really catchy melody and fun to sing vocals. The songs are very well put together and each has its uniqueness. Parachute Musical reminds me of bands like Something Corporate because they are both led by a pianist lead singer. Overall the music is very well done and sticks to its pop oriented sound with Broadway musical accents.

If you are a fan of piano pop/rock then Parachute Musical is for you. The musicians are good and the singer has a nice voice. So if you like pop piano bands then check Parachute Musical out and buy their album “ Everything Is Working Out Fine In Some Town."

The Vines "Melodia"

2009-02-26T22:45:00.003-05:00

Written by: Ryan Ostmann

Rating: 7 out of 10

The Vines fourth album, "Melodia," came as a surprise for most of their fans after their troubles with frontman Nicholl breakdown and struggle with his Aspergers Syndrome, bassist Matthews walking off stage and leaving, and the band's parting with Capitol records. It seemed their Rolling Stone cover, Letterman, and mainstream popularism days were in the past. But they managed to get back together for a new start (evident in their evolved catchy tunes). Returning to their original producer of their first two albums, Rob Schnapf, The Vines are ready to get back on track to success with "Melodia." I'd say its a step but they're not quite there yet.

I wouldn't say the album is exceptional but it definitely holds a new crisp and regains that Nirvana-esq sound which they frequently are compared to. As a Beatles fan, and an advocate for Jet's "Get Born" album, I can say I enjoyed the tracks with that perspective. There is a nice variety with a good selection of their popular more up beat as well as some soothing downers. The album consists of 14 quick tracks adding up to a little over a half hour of playtime. Overall I'd give it a 7 out of 10 and expect progress in the future if they hold themselves together.

The Barrens "Worming"

2009-02-26T22:40:00.002-05:00

Written by: Colin Lutz

Rating: 7 out of 10

It is almost ironic that The Barrens are from the Big Apple, because if you close your eyes and listen to the last track “The 3rd Gift” you can feel the taxis flying by you. “Worming” is The Barrens’ self-released first attempt at an album, so I cannot wait to hear what they come up with after having some experience. In the this band of five, four men and one woman named Debbie Chou, have created such an original and refreshing sound it gives me a sugar high. When comparing them to other bands I would say they are a mix of The Black Angels and Oasis, which is really good company.

“Death 2 Me” the first track on the EP is so explosive, I love the mix of grunge, punk, and psychedelic rock. Which out of the five tracks is the best, who knows and who cares, there all amazing. I’m still hooked on the last track “The 3rd Gift”, it reminds me so much of Oasis. I give this album a 7 out of 10, and I can’t stress it enough how excited I am about this group. As of right now The Barrens are only having shows in and around New York City, so hopefully they will branch out and share with the rest of the country. Now, I will be the first to admit that have high standards when it comes to music, but “Worming” blew me away.

The Takeover UK "Running With The Wasters"

2009-02-24T11:14:00.001-05:00

Written by: Johnathon Ashcraft

Rating: 6.5 out of 10

The Takeover UK is a pop/rock band from Pittsburgh Pennsylvania, not the UK. They sound most similar to bands like The Strokes and The Hives. The have a old school punk sound mixed with power pop melodies and vocals. This album is due out in March and it sounds, to me, like every other punk rock/pop band.

This album is mediocre. Most songs have catchy lyrics that are easy to sing along to. The songs that stand out to me are, “Ah La La” and “Running With The Wasters”. The guitars and bass are nothing special. They play basic rhythms and have mini solos every now and then. The drum go along with the songs pretty straight forward beats. The lyrics are decent and the singer has an okay voice that gets the job done. This band has that mediocre, unoriginal to them and they don’t stand out in my book.

So if you really like bands like The Strokes then take a listen to this album. I am going to avoid this album and probably never listen to it again. So overall this Strokes like band is mediocre and if you into that then go out and buy this album.

The Lovetones "Dimensions"

2009-02-21T11:07:00.003-05:00

Written by: Mark Hixenbaugh

Rating: 10 out of 10

With the release of their 2002 debut “Be What You Want,” the Lovetones quickly earned audience recognition and loads of critical acclaim. Their musical talent was noticeably evident in their ability to conjure pop tones embellished in 60’s era psychedelia. Australian frontman Matthew J. Tow drew rave reviews and lofty songwriting comparisons with the likes of Ray Davies, Bowie, Lennon, and McCartney.

Extensive touring for the album was followed by Tow hooking up with another notable indie-psych band, The Brian Jonestown Massacre. After providing writing contributions to the band’s release “And This Is Our Music,” the Lovetones supported BJM on a tour throughout Australia. The release of their “Stars” EP was followed by their second full length album in 2005, “Meditations.” The band somehow managed to squeeze in recording sessions with a successful and widespread European tour in 2006. The resulting material evolved into their third release, “Axiom” (2007).

The Lovetones’ inclination towards a blend of psychedelic rock with underground pop has culminated in an apex of sorts with their latest effort, “Dimensions.” The band triumphantly draws from inspirations of yesteryear while maintaining a significant degree of originality. Tow’s maturation as a songwriter and his tenure with BMJ is evidenced in each track. He and the rest of the band (Matthew Sigley, Serge Luca, and Chris Cobb) willfully muster a surreal experience that is less an imitation and more an emulation.

The hypnotic atmosphere of “Dimensions” is skillfully presented in the instrumental opener “Moonlit Suite (Her Room).” Sweeping, psychedelic pop is the mantra for the album’s first single, “Journeyman.” “Two Of A Kind” firmly resonates with a genuine Beatle-esque spirit. The lush vocals and gentile chords of “Look At The Waves” are truly capable of ethereal transport. Collaborating with BJM auteur Anton Newcombe pays big dividends on the dreamy track “A New Low In Getting High.” “There Is No Sound” faithfully emulates the delicacy of vintage Simon and Garfunkel. “Song To Humanity” evokes an avant-garde spirit reminiscent of early David Bowie.

The Lovetones have truly solidified their status as masterful artists and modern day crusaders of psychedelia. “Dimensions” represents a quintessence of indie rock in all of its free-form psychedelic glory. What is old has certainly been made new again. Indeed, The Lovetones, along with a handful of other bands, personify a contemporary movement by psychedelia to gain more mainstream prominence. If this release is an indication of what is forthcoming in the genre, then increased prominence and a new wave of notoriety are certainly perceivable.

Latvian Radio "Seven Layers of Self Defense"

2009-02-20T10:01:00.002-05:00

Written by: Colin Lutz

Rating: 3 out of 10

Tons of people criticize AC/DC for having songs that all sound the same, well they have never listen to the album “Seven Layers Of Self-Defense” by Latvian Radio. All the songs have the exact same structure and the same beat, not very creative if you ask me. Not to mention that the lead singer sounds like he should audition for Kidz Bop! Now maybe I’m being a bit harsh, but nothing really stands out about this band at all. The lyrics and music in this entire album just seems to be below average for this day and age. If you like a real simple and smooth sound, and do not have high standards for vocals, then this is an album for you. Also, I tried to find some information on Latvian Radio, but nothing could be found or I was looking in the wrong place. I will give this LP a 3 out of 10 because it really just was not that great.

Sparks "Exotic Creatures of The Deep"

2009-02-17T21:31:00.002-05:00

Written by: Johnathon Ashcraft

Rating: 8 out of 10

Sparks has been around since the 1970’s. They have a very uniques style and sound of music. They combine opera, piano bar, and disco sounds together to get a new wave feel on some old music styles. The have opera style vocals with disco beats and they throw in some synths and piano parts to get their sound. It works for them and they create some different music.

This album was released 37 years after their first debut LP. It has a new wave sound to it but still keeps their signature sound as well. They have some unique lyrics that can be catchy at times like in the song, “Let the Monkey Drive”. Most of their songs will make you feel like your in a piano bar that is also a disco club. They combine all types of instruments like strings, guitars, synths and piano. It creates a great new unique style that everyone can listen to and at least enjoy a little bit. It reminds me of a mix between Queen and a typical 80’s new wave band. Overall, their style of music works for them.

This isn’t my type of music but I enjoyed the uniqueness and creativity this band has. I would recommend taking a listen to this and if you like it then go out and buy this album.

Iran "Dissolver"

2009-02-13T16:56:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 9 out of 10

You’re only as good as your most recent effort. In the case of the music industry: You’re only as good as what fans have come to expect from you. It’s fascinating how perspectives of an artistic endeavor can be influenced based on the knowledge of the artist’s body of work. With an initially clean palette, one may choose to formulate an analysis with an open minded approach. There are no reference points or works to compare to. Adversely, having a familiarity with prior material can greatly dictate whether future undertakings are deemed acceptable or admired.

That sort of audience approach may have proven disadvantageous to a musical group like Iran. At least for the loyal and knowledgeable fan base, there is a yearning for the “old” or some semblance of it. What a difference six years makes! Or at least that might be the ideal response for the dedicated followers. Those who are familiar with the noise-pop, experimental rockers from Brooklyn (by way of San Francisco) may catch themselves uttering these same words.

The foundation of Iran’s previous material was steeped in lo-fi, fuzz-induced indie rock. Their widely accepted sophomore release, “The Moon Boys” (2003), seemed to signify a band discovering it’s musical identity. With comparisons to the earlier works of Pavement, Sebadoh, and Smog the group teetered successfully between avant-garde and accessibility. Their effective and deliberate method to cloak pop hooks with utter noise was their trademark, and was evident in tracks like “We Could Go Away For Awhile” and “San Diego.”

With a substantial amount of time between releases the band has experienced a natural degree of evolution. One notable change is guitarist Kyp Malone uniting with the more recognizable TV On The Radio. The other is the distinctive songwriting approach that Iran brainchild and frontman Aaron Aites gravitates toward, less noise and more melody. Upon first listen of their latest release “Dissolver” it’s apparent there is a noticeable element of textural chaos infused with pop normalcy. The question raised from many devotees is, “Is it enough?”

“Dissolver” presents a variance of style that should please the audience, old and new. The loyalists will likely appreciate the hodgepodge of buzz that permeates “Baby Let’s Get High One Last Time Together,” immediately proceeding into cacophony soaked “Digital Clock and Phone.” The hope is that steadfast followers will also revel in the more constrained, but no less catchy, offerings like “Buddy,” “Where I’m Going,” or “Can I Feel What?” That fellow TVOTR band member David Sitek is enlisted for producing duties may help explain the shift in musical direction. A new base of listeners is certain to emerge with more conventional rock tracks like “Airport ’79,” “Evil Summer,” and the Weezer-esque opener “I Can See The Future.” Regardless of the marked departure from discord and feedback there is no less a sense of ambition on “Dissolver.”

Artists have the inevitable task of walking the line between progression and routine. A step too far in either direction can result in alienation from loyal supporters. The flip side is the notion that a new and different audience may emerge. The adage of “If it isn’t broke, don’t fix it” may provide a less risky songwriting approach and a more sustained listenership. What is the fascination with crafting songs if the element of risk is eliminated? Iran’s “Dissolver” is evidence that complacency is not their underlying motive for making music. A degree of transformation is sometimes necessary, even if it means taking risks.

Trouble Andrew "Remixed and Remastered"

2009-02-12T20:54:00.003-05:00

Written by: Michael Woodson

Rating: 8.5 out of 10

Trouble Andrew, known better as Trevor Andrew, is absolutely one of the most original musicians I have listened to in a while. The opening track "Chase Money" has some of the most interesting lyrics that are both ironic and entertaining. The following tracks, "Bang Bang," "Uh Oh," and "Young Boy" are all slightly different from each other, keeping my attention.

Trouble Andrew has a full sound, catchy beats and great lyrics. His mixture of hip hop, dance, and pop is very different than anything else I've heard, a refreshing difference to most of the stuff out in the mainstream today. Who would have thought this professional snowboarder would be this creative musically.

The Vox Jaguars "The Vox Jaguars"

2009-02-12T20:52:00.003-05:00

Written by: Michael Woodson

Rating: 7.5 out of 10

With a CD of only four songs, The Vox Jaguars waste no time catching out attention with each song being upbeat and interesting. The opening song "Swagger" is the best on the album, but before you know it, the album is over. Even though I knew there were only four tracks, it seemed like it was one continuous song. The biggest difference, for me, was between "Swagger" and the third track "Song for the Girl." Other than that, they all sound a little too the same.

Personally, I found the lead singer's voice to be slightly annoying at first, mainly because it wasn't what I expected with the background music. The more I listened, the more I got used to it. Although I sound mostly negative, the short CD is overall entertaining.

Trentalange “Awakening, Level One”

2009-02-12T11:37:00.001-05:00

Written by: Johnathon Ashcraft

Rating: 5 out of 10

Trentalange is the solo project of Barbara Trentalange. She has played with performers like Crooked Fingers, Calexico, and Micah P. Hinson. Her solo album has a unique rock/electro sound to it. She mixes the typical rock rhythms and riffs with electric melodies and beats. The combination of this music and her vocals creates a different musical experience.

The music is, most of the time, mellow. There are psychedelic guitar riffs mixed with soothing keys. The beats are slow but sometimes become upbeat to mix well with the melodies. There are a few songs like “Heavy Metal Astroman” that has heavier guitar and drum parts. Also in this song the synthesizer is very eerie sounding which adds to the overall feel of the song.

Her lyrics are unique and catchy. They are easy to listen to and can easily be sung along to. She has a good voice but it is not unique. Sometimes are lyrics are weird and are hard to understand the meaning of. Her voice and the music flow well together and make a unique sound.

I was expecting something a bit different from this album since the description says “Trentalange’s music is a balance of raw power, vulnerability, early heavy metal and disco beats”. In this whole album I didn’t once feel the raw power of Trentalange. To me there was hardly any emotion put into her songs and they have an overall monotone feel to them. The music is decent and the vocals are okay but it just doesn't turn out very well. I do not care for the album and would not recommend buying or even listening to this album.

The Boxer Rebellion "Union"

2009-02-06T17:18:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 9 out of 10

From a historical perspective, the Boxer Rebellion refers to the social uprising that occurred in China one hundred years ago. Whether this significant moment provided inspiration in the naming of the band is uncertain. What is certain is an uprising musical spirit is the cornerstone for the aptly and identically titled London quartet.

The Boxer Rebellion’s initial emergence began in 2002 when American-bred vocalist Nathan Nicholson ventured to England as a student. There he would meet the Australian born guitarist Todd Howe. The group was rounded out by Englishmen Piers Hewitt (drums) and Adam Harrison (bass). They began playing live shortly after and caught the attention of notable record label Poptones. Through the release of a few early singles, buzz picked up for the band that culminated in the recording of “Exits,” their full length debut.

The group’s latest material, entitled “Union,” is a precisely executed balance of epic and raw production that many bands struggle to achieve but rarely succeed. “Union” demonstrates the successful sophomore leap that can catapult a band to a heightened level of notoriety. Where their highly regarded debut “Exits” (2005) showcased a more organic and unrefined sound, their most recent material is a sweeping effort that flows rather seamlessly through each track.

The harmonious chorus that Nicholson croons on “Flashing Red Light Means Ago” echoes the haunting vocals of Thom Yorke. The momentum continues into “Move On” and “Evacuate” led by Hewitt’s pounding rhythm section. Harrison’s pulsing bass line effectively drives “Soviets” from start to finish. Howe’s invigorating guitar on “Misplaced” recalls the authenticity that Coldplay was possessed. “Evacuate” is the first single from the album and a sure-fire radio hit. “Spitting Fire” and “Semi-Automatic” are likewise worthy for the airwaves.

The Boxer Rebellion has drawn previous critical comparisons to the Verve and the Black Rebel Motorcycle Club. The London backdrop has certainly influenced their steady progression. Listening to this latest album recalls the intriguing melancholy of Radiohead, the dreamy atmosphere of Snow Patrol and Athlete, as well as the anthemic conjoining of vintage U2.

The Boxer Rebellion have apparently managed to avoid a sophomore slump and appear to have manifested an intriguing, escapist signature sound. What many fans would likely not want to witness is the pitfall succumb to by the likes of Coldplay, an over indulgence in grand scale production. Reaching to greater heights is suitable to a degree, but the essence of longevity is remaining grounded. Until then, their sensible course of action is to flourish in the moment.

Andrew Bird "Noble Beast"

2009-02-02T11:02:00.002-05:00

Written by: Eric Ransbottom

Rating: 8 out of 10

Intellect binds with melodious arrangements and conspicuously infectious lyricism amalgamate so consummately alongside distinctive instrumentation denoting music that typifies the epitome of Andrew Bird. OK, so I can’t match Mr. Bird in vernacular, or musicianship for that matter, but my appreciation for his unique style of music is unparalleled. Noble Beast [Fat Possum], Bird’s fourth release under his own moniker, is a showcase of his fanciful style and scrupulous song craftsmanship.

Andrew Bird’s music is not easily classifiable. It seamlessly bridges gaps between completely unrelated musical breeds; acoustic and electronic, celtic and jazz, minimalist and majestic. Beyond genre Bird transcends even himself. None of his live shows are similar just as none of his recorded songs are the same when performed live. Having seen Mr. Bird three times at three completely separate venues, Southgate House, Stuart’s Opera House and Memorial Hall, I have been presented with three completely uncorrelated experiences. One show Bird was accompanied by loop-master Dosh, another was just him and his imagination in a masterfully reverberant opera house and the third was him as the headliner of a highly anticipated and attended festival. Much like his live performances the tracks on the new record are all unique and perfect in their own way. They also feature many other musicians. Bird cites, as the inception of this album, that frequent collaborator Martin Dosh approached him to start something new. Dosh takes care of most of the looping and electronic work on the album and Andrew, as always, takes extra special care of the lyrics. Unlike other albums, he divulges, that Noble Beast began with the lyrics. In his telling New York Times blog posts, he recounts the process, or rather spontaneity, of producing the lyrics of a song. If he can’t summon the words he wants by documenting them in his blog his last resource is sharing his sketchbook of lyrical poetry with his adoring fans, as he did at the MusicNOW festival last year. Regardless of how he does it, the lyrics ring loud and clear over all of the album, which are delivered by Andrew’s incessant moans and new found jaunty caroling.

Like 2007’s Armchair Apocrypha’s opening track, Fiery Crash, Noble Beast begins with Oh No emerging from hibernation, which blossoms into a Seven Dwarfs-style whistling march; and from there “it’s off to work we go.” Much of the album springs hope eternal and is perfect music for the current weather but, at the same time, almost recants the declaration of rebirth by stating in Souverian, “If you promise spring then I know you are a liar / ‘Cause in the spring tender grasses won’t burn easily / Though thrushes sing still my lover won’t return to me.” His subject matter on this album seemed to be more relationship and emotion based than his previous works. This is accentuated by his vastly more complex command over his vocals on track like Masterswarm which begins sounding like a track off a Damien Rice or Jose Gonzales record, but on Effigy he and songstress Kelly Hogan harmonize with hopeless elegance on a bed of tender strings which are, later, upended by the skittish moans and freight train pulse of Not A Robot, But A Ghost.

Noble Beast was primarily recorded by Bird in a secluded Nashville studio where he surrounded himself with only “really good people” as stated in a blog post. This led to a very reclusive outlook on many of the albums, his songs are made in his head. Many lines in the album lead one to believe that Andrew is really good company for himself like in Tenuousness, a tale about the hypocrisy of everyday life where the point is to “Procreate and pay your taxes.” He goes on to pointlessly debate knowing “When to stand or when to sit / Can’t stand to stand, can’t stand to sit / And who would want to know this? / Who wants to look upon this?” Another dimension of this album is the fractured structure of many of his songs. In Anonanimal the song slips into a downbeat tongue-twister then two-step’s into a beat rhythm monologue where Bird prompts the listener to “Hold on just a second / Don’t tell me this one you know / I know this one I know this song.” Yes, I do know this song; the song bears striking resemblance to Plasticities from Armchair Apocrypha even going as far as both using “music halls.” Not A Robot, But A Ghost attempts to recreate the Dosh collab Simple X from Apocrypha but falls a bit short. The rhythm of the song is infectious, but repetitive and the lyricism is lackluster. But for these hiccups the remainder of the album replenishes itself with the legendary build of The Privateers and the beauty of the multi-movement piece Souverian.

Upon first listen Beast was not as noble as Apocrypha but upon further exploration the record burrows a nice little nest into one’s heart, mind and soul, much like a number of Bird’s songs graphically detail. I am not a liar when I proclaim this album single handedly will make Spring transmogrify... sorry, will make Spring bloom for the listener.

Bang Camaro "II"

2009-01-31T20:46:00.002-05:00

Written by: Johnathon Ashcraft

Rating: 6 out of 10

Bang Camaro is a very strange group. They have a normal four piece music group that consists of two guitarist, a bassist, and a drummer but when it comes to their singer it gets interesting. They have a choir of singers that can be composed of up to 20 members. On their website they have a section where anyone can try out for the choir part of the band. So the combo of classic metal and group vocals makes a new sound.

I like the music a lot. It reminds me of old 80’s pop metal. I am a fan of old school metal so I really enjoy the music. The vocals on the other hand were not my favorite. I can understand group vocal parts of songs but each song was sung entirely by a group of people. It would have been more effective if they had a single person sing the verses and then the whole choir join in on the choruses. When the whole song is sung by a group it gets a bit annoying and repetitive. The music is solid so my favorite track on this album is the instrumental entitled, “Thunderclap."

This group has a party feel to it and they would probably be a fun band to see in person with everyone singing along but on CD it just fails to grab my attention. The music is a plus but the over used group/anthem vocals really killed this album for me. The music is worth listening to because it is something different but I would no recommend purchasing this album.

Two Tongues "Two Tongues"

2009-01-30T14:46:00.002-05:00

Written by: Ryan Ostmann

Rating: 9 out of 10

Two Tongues, featuring Max Bemis and Coby Linder of Say Anything along with Chris Conley and David Soloway of Saves the Day will be released Febuary 3, 2009. Hands down this album is an awesome fusion the two bands whom I’ve been following since their debut albums. From the first track it had me locked in. If your familiar with bands mother bands you can notice the collaboration immediately with Say Anything’s rhythmic stop and start patterns mixed with Saves the Day’s power punch.

The brilliant song writers and vocalists Bemis and Conley put their heads together and cranked out 13 exceptional tracks. In an interview the two commented on their experience with producing the album:

Max Bemis: “Chris has been my favorite songwriter since I was 15. Ten years later he is now is one of my closest friends. The Two Tongues record is really an expression of the yin and yang; how two "opposite" souls stimulate and battle each other in any truly loving relationship. Chris inspired me as a mentor, hero and friend, and I inspired him as someone who truly cherishes his work that he can respect in his own right. Chris sometimes looks down on himself but is inside a very strong, almost Buddha-like centered soul; I have that whole Steven Tyler/Jerry Lewis extrovert personality onstage but I'm a totally neurotic, restless soul inside. We as two people, therefore, express two sides of a coin. Making the record, and it being the first band either of us has ever been in outside of Say Anything or Saves the Day, was sort of like falling in love for the second time; you have to look outside of yourself and learn to communicate with and trust someone who operates in a totally different manner. Ironically, while making this record I met the girl I am now in love with, so I was experiencing the same thing in the form of friendship with Chris as I was in getting to know this female person. So whether you want to look at the record as songs about two people starting a romantic relationship or this dynamic of how inspiration operates between two people, that's your choice. We hope it functions on both levels. Either way, it's a dream come true for me, and a true labor of love.”

Chris Conley says of the collaboration:  “Working with Max was a dream come true for me. I have never met another musician as inspiring and talented. During a dark period in my life, Max's music lifted my heart, and for that I am forever in his debt. When he approached me about doing this side project together, my immediate thought was, "I would do it with no one else." So my heart was in it from the moment of inception. The process of songwriting and recording was exciting and fluid. As it turns out, we work together quite well! I look forward to our next project together so our learning and growing can continue.”

Needless to say the album went well! I rank it a 9 and highly recommend you grab a copy or check out their tracks on www.myspace.com/twotonguesrock.

Charles Spearin "The Happiness Project"

2009-01-30T11:18:00.002-05:00

Written by: Michael Hamer

Rating: 9.5 out of 10

On first listen, Charles Spearin’s album “The Happiness Project” is a strange and enjoyable mix of spoken word and catchy little tunes. Listen further, and you will find it’s more complex than that. You start to notice all the spoken word parts are matched by instrumentation, either matched in time with the spoken word or repeated in pitch and melody afterwards. And everyone seems to be happy, or at least talking about happiness. Seems appropriate. Listen closer still. Even background noises from these happiness interviews are repeated with horn and piano. Then take the time to read the insert that came with the album and release this is exactly how it sounds.

Charles Spearin often has guests stop by his Toronto home in the summer when he isn’t making music with Broken Social Scene, Do Make Say Think, and K. C. Accidental. Friends, relatives, and neighbors all stop to say “hello”. Spearin took this as an opportunity to make some truly original and inspiring music. He decided to record interviews of his guests centered roughly on the topic of happiness. Sometimes the subject of happiness was never really covered, but nonetheless his friends started calling it “The Happiness Project”. Spearin went back through these interviews listening intently for interesting speech patterns, picking out the little melodies and rhythms that permeate our everyday speech without us being aware of it. With the help of friends, Spearin began putting the melodies together with instrumentation that created a perfectly blended mix of human thought, emotion, stories, and song.

Songs like “Vanessa” can inspire even the most cynical person. Vanessa was born deaf, and tells how she experienced the world and then of the surgery that gave her hearing for the first time. The song “Ondine” has a child whining to an adult about how he wants butter, and it can make you laugh and make you feel relaxed and at home at the same time. “Anna” and “Vittoria” jazz it up, while “Marissa” and “Mr. Gowrie” take it slow and easy. Don’t forget Mrs. Morris, who starts and ends the album with her simple and uplifting views on happiness, who also just happens to employ a very interesting accent and melodic voice.

From start to end, “The Happiness Project” is an incredibly enjoyable piece of brilliance that I would recommend to anyone who has ever sat and pondered, “What is it to be happy?” I’d say, just ask Mrs. Morris; “Happiness is love. Love make you be-bop-be. You’ve got to love people. Love make you happy." That is does, Mrs. Morris.

Fake Problems "It's Great To Be Alive"

2009-01-30T11:14:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 9 out of 10

The coastal town of Naples, Florida is generally synonymous with white sandy beaches, wildlife preserves, and tourism. Tourist cities, like Naples, normally draw eclectic crowds from various regions. So when vocalist/guitarist Chris Farren decided to ditch his solo act and join his school pals, it’s no surprise their style would inherit the same qualities as their hometown. Comprised of Farren, bassist/vocalist Derek Perry, guitarist Casey Lee, and drummer Sean Stevenson, Fake Problems was conceived. From their debut full length release “Watching the Bull Get the Matador” (2005) to “How Far Our Bodies Go” (2007), Fake Problems has emphasized a continuous refining of their sound and a successful culmination of musical styles.

The foursome has developed a maturity throughout their young careers largely through extensive touring. Shortly after coming together, the band started playing local shows, promoting their own CD’s, and selling their own t-shirts. It wasn’t long after that they were playing shows outside of their hometown. The band has approached touring with a “road warrior” mentality. Racking up more miles in their van than many established bands, the group completed a largely sold out tour with the likes of Against Me! and The Riverboat Gamblers.

Their latest tour schedule, in support of their third full length release “It’s Great To Be Alive,” is a whirlwind stretch. Thirty-three shows are booked from Naples, to Chicago, through Seattle, and back to Florida all in the span of five weeks. Judging from the newest material, they shouldn’t have a problem drawing fans to all of their shows. “It’s Great To Be Alive” is a chronicle of the band’s progression towards a sense of perspective. Getting the sound right in the studio was important enough for them that they decided to record the album in Omaha, Nebraska. With the aid of producer A.J Mogis (Bright Eyes, the Faint), the resulting sound is a crossbreed of indie rock, punk, and alt-country.

The hasty opener “1234” opens with an ensemble of horns that jettisons to Farrens’ raucous but potent vocals. The album is chocked full of sing-along punk-induced anthems such as “The Dream Team,” “Tabernacle Song,” and “There Are Times.” Country and folk influences are abound in tracks like “The Heaven & Hell Cotillion” and “Too Cold To Hold.” The brass instruments resonate aloud in “Level with the Devil” and “Alligator Assassinator.” Farrens moves beyond adolescent agony and pens introspective lyrics that are more mature than his previous material. Fans of Sunshine State predecessors Against Me! will appreciate their protest bravado and aggressive delivery. Admirers of Ryan Adams should find the alt-country element pleasing to the ears.

For Fake Problems originating in a tourist town may have contributed to one of their most worthy qualities... dynamic. With each album the band has shown a progression of sorts that refuses to accept sonic restraints. Pushing themselves in different directions, the band is always seeking a new perspective on their music. Fake Problems has successfully managed to emulate their hometown’s tourist crowds, as a diverse and multi-faceted band.

Fake Problems will performing at the Southgate House, Newport, KY on Wednesday, February, 9, 2009.

Loney Dear "Dear John"

2009-01-30T11:12:00.003-05:00

Written by: Michael Woodson

Rating: 9 out of 10

Every CD needs to start their playlist off with one of their strongest songs, regardless if the rest of the album is as good. When each song sounds like it could have been the song that started the album, then you've got yourself a pretty good album. Loney Dear's "Dear John" is a very interesting album, with an upbeat, poppy sound but great lyrics and musicianship. Their sound is a mix of Noah and the Whale and Sufjan Stevens, with some Death Cab for Cutie. I compare, but that does not mean they don't sound original. The first two tracks are fast, yet with lyrics that aren't forgettable. By the third song, "I Was Only Going Out," I was hooked. Loney Dear is an intriguing band, with a sound unlike what is in the mainstream media these days. You won't be sorry to have heard Loney Dear.

Hemmit "RocketRide"

2009-01-30T11:09:00.004-05:00

Written by: Michael Woodson

Rating: 5 out of 10

As I look at Hemmit's CD case for "RocketRide," it reminds me of driving around with my parents, listening to '80s music. Bold fonts, interesting pictures and a common theme--in this case, the theme seems to be space. Their music holds true to that '80s feel, while keeping it more up-to-date with more simple vocals. They've got strong vocals, and they clearly know what they are doing with their instruments, respectively. This band sounds much more full than a band of three usually does, with catchy songs like, "SUV" and "Bruce Lee." However, as the songs went from track to track, I started to have trouble deciphering the difference in each of them. Many of the tracks have almost exactly the same beat and sound, with fairly simple lyrics to accompany them. This makes it hard to stay interested in the band. It seemed as though I was listening to the CD on repeat, and that is not only boring, it's also very annoying. While "Hemmit" has a powerful, full sound, they need some work on where they want to go with it.

Primal Static "Rising in the Bud"

2009-01-28T23:18:00.003-05:00

Written by: Johnathon Ashcraft

Rating: 7 out of 10

Primal Static is a two piece rock/trance band from the DC-area. Greg Thuman and HouFei Yang form this unique group. They combine rock/blues with electric beats and sound effects. Greg is focused in rock and blues guitar. He composed all the songs on this album. HouFei is trained in classical piano. He plays all the keyboards and pianos on this album. Their combined musical talents turn out one unique sounding album.

The first song on this album, “Burning Soul” is a not so good one. The beats sound too fake and are off beat making it sound sloppy. The guitar is decent and is the only reason this song was bearable to listen to. There is a pretty cool instrumental song called, “Overture." It has heavy distorted guitar and some nice full beats. Also there is a piano solo entitled, “Fraulein,” which shows off HouFei’s talents and is a treat to listen to. “Sunrise” is a great blue sounding song with a mellow guitar line.

There are some good songs on this album but overall there songs are a bit too fake sounding. I know it is meant to be electronic music but it is too much for me. They incorporate classic music with new age music very well but I don’t care for the mix. Some songs are good to listen to for about a minute or so but not the whole thing. I don’t care for the vocals because they sound untrained. For example at the end of “Empty Moon” Greg the singer holds out a note and it just sounds weak.

So, if you like a mix of trance, classical, and rock/blues then check it out. But if you have no interest in that music combo then, like me, go listen.

Doug Andrews "Absaraka Runoff"

2009-01-27T12:34:00.002-05:00

Written by: Colin M. Lutz

Rating: 5 out of 10

From just listening to Doug Andrews’ music you can already tell this guy is from the mountains out west. This folk singer and guitarist from Sheridan, Wyoming has a sound that almost puts you right into the Bighorn Mountains of the Rocky range. Reminds me of a young Bob Dylan, but he needs to work on his song writing.

This is Doug’s first album, which has an amazing LP cover of a white blanket suffocating the mountains behind Doug walking down a winding road. My favorite track on the album is the fifth “The Weight Of Dreams” because of the lyrics, “It’s not that I smoke more these days, I just hide it from you less."

Doug Andrews studied music right here in Ohio, at Ohio Wesleyan University, where he learned his love and passion for being an artist. I would recommend this album to the fans of Jim Croce, James Taylor, and most of all Bob Dylan. I do not think Doug has a powerful enough sound to be put up with the likes of the greats, but this is only his first album and there is always room for improvement. I give this work of art a 5 out of 10.

The New Standards "Rock and Roll"

2009-01-24T22:16:00.003-05:00

Written by: Ryan Ostmann

Rating: 7.5 out of 10

After pushing play I sat back and relaxed but surprisingly didn’t fall into a day dream as I do with today’s progressive rock or the average main stream. It set itself apart with their first track “Rock and Roll.” It’s the kind of music that gave me the urge to invite a few close friends over and share a few drinks over some healthy conversation. By no means would I dub the album a party starter although it has a classy jazz flavor that’s an easy listen for any company.

The New Standards consist of three members Chan Poling (The Suburbs) on the piano and vocals, John Munson (Semisonic) on bass and vocals, and Steve Roehm (Billiygoat) on vibraphone. A pianist, bassist (up-right naturally), and a crisp vibraphonist all with highly influenced backgrounds putting the real talent into such songs as "Toxic" (by Britney Spears not written by but yeah you get the idea). Although all the songs on “Rock and Roll” are covers it was really amazing how by turning the pop song "Toxic" into a complex jazz song delivered a whole new experience and mood.

One of the things I always pay attention to when listening to any new album is finding the connection between the title of the album and the actual content. Sometimes its less obvious than others as in the case of this one. When I think of "Rock and Roll" I think of Led Zeppelin—heavy guitar, leather chaps, long hair, and rebellious attitude. Well looking at the cover you’ll see three well groomed men, suited up, and ready for a jazz concert. Probably not hanging out with a bottle of Jack and the roadies after the show but rather a few glasses of wine would probably suffice. Yet "Rock and Roll" is about the elasticity and ever changing form of the genre as Elvis went on to give birth to the Beatles and then on to Zeppelin then onto expanding into a hundred sub-genres all taking from the roots of exciting and energetic "Rock and Roll." So hopefully somewhere in between all the theory and your own pagan god of "Rock and Roll" you’ll find The New Standards. Take a listen, I give them 7.5.

J. Tillman "Vacilando Territory Blues"

2009-01-22T16:11:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 8 out of 10

Talent ultimately finds it way through the vastness of obscurity. Such is the case with J. Tillman. The singer/songwriter has been quietly recording albums since 2004. Much of his previous material was issued in limited quantities or as an import. A relative unknown outside of the artistic community, J. Tillman has managed to forge a music career and a body of work that is rather notable.

Anonymity seems to be a resonating theme in J. Tillman’s (J is presumably short for Josh) repertoire. Very little information as to his personal life and biography is available, somewhat startling in this digital age. What is known is his association to the upper Northwest, specifically Vashon Island, Washington. Tillman has developed musical roots with the Seattle music scene while collaborating with and eventually joining the band Fleet Foxes. Initially a drummer, he played in a couple of indie bands while attending college in New York City. He began writing solo material and recording demos in his spare time which ultimately led to touring gigs with other bands.

Over the past few years Tillman has silently crafted an impressive discography. His fifth and most recent release, “Vacilando Territory Blues,” is a culmination of his matured ability as a crafty songwriter. Whereas his previous recordings demonstrated a tighter and more focused tone, his newest material falls on a much wider spectrum of style. Tillman’s ability to compose songs with a quality of earnest and somberness is wholly demonstrated. The mood is appropriately defined at the onset with the gentle arrangements of “No Occasion.” “First Born,” “Vessels,” and “James Blues” all follow suit with a sense of intimacy and deliberate passages. Tlllman opens things up with the more upbeat and elaborate composition “Steel On Steel” and later with “New Imperial Grand Blues.” The real gem on the album is the epic fable “Barter Blues,” an opus that clocks in at just over seven minutes.

Tillman’s style has drawn several comparisons to the likes of Nick Drake. His ability to pen songs of melancholy and reflection is enough to garner that sort of prudent observation. Beyond the seemingly expected folky sound, the textures of country resonate comparisons to Ryan Adams. Similarities to Will Oldham more likely represent a description of Tillman’s musical depth.

J. Tillman has created an array of beautiful work without creating too many waves. His career, like his musical style, follows a quieter yet significant path. Like a gifted artist would, he pursues his craft with a passion for creativity and less concern for gratuity. So many artists like Tillman exist in relative obscurity, and struggle to emerge. It may not be until the end of his career that his work may be truly discovered and appreciated. Until that moment arrives we can count on Tillman’s continued course in producing compelling and unadorned music.

Fusion Body "Strawberry Cough"

2009-01-22T12:32:00.002-05:00

Written by: Jeremy Heck

Rating: 3 out of 10

Strawberry Cough is the debut album from Fusion Body. The sound is Latin and Electronica tones over a dance club beat. This album is first and foremost a dance CD. It has the same tempo throughout the whole album for purposes of being played in a club. Songs often seam together unnoticeably. This is done so that when such music is played in a club it keeps the crowd moving without interrupting them with time changes. The result is that the music lacks dynamics. It is boring if you just want to sit and listen to it, and this is a rather long album. Perhaps the album is better if listened to one song at a time.

The album actually starts out decent with somewhat genuine sounding Latin instrumentation on “Picky.” Even when the dance beat comes in it stays interesting. The guitar, piano, and saxophone provide smooth ornamentation over the beat. However, that beat doesn’t stop, and by track two, “Gotta Go,” the sound gets too club-like. After that it alternates between boring and annoying with maybe a few interesting sounds every now and then along the way. Don’t bother with Strawberry Cough unless you want to play loud music for a party full of people who don’t care what they’re listening to.

The Bakerton Group "El Rojo"

2009-01-22T12:30:00.002-05:00

Written by: Jeremy Heck

Rating: 7 out of 10

El Rojo is the third official release and second full length from The Bakerton Group. The Bakerton Group is made up of the four original members of Clutch. Listeners won’t find the bellowing, testosterone drenched yells of singer Neil Fallon here, but they will get a taste of the groove driven guitar riffs familiar to Clutch fans. The CD is all instrumental, so it may not be for everybody. However, it is a rock album, and it will probably be enjoyed by anyone who likes to listen to long jams here and there. Keys player Per Wiberg from Opeth appears on the album adding a little extra zest to the band’s solid guitar hooks.

The overall sound is somewhat reminiscent of some ‘70s rock like Foghat, Deep Purple, Steppenwolf, Ted Nugent, and even Pink Floyd. The great thing about El Rojo is that it stays catchy enough to listen to actively, but the steady rocking instrumental jams also make it good background music to listen to while focusing on something else. “Chancellor,” “Peruvian Airspace,” and “M.(F).H.S.” stand out as the catchiest tracks, but the album is good all the way through. El Rojo is recommended to lovers of rock music who don’t always need vocals to satisfy them.

The Sheepdogs "Big Stand"

2009-01-22T12:25:00.003-05:00

Written by: Johnathon Ashcraft

Rating: 7.5 out of 10

What do you get when you take four shaggy haired Canadians and have them play some good old rock and roll? Well, you get The Sheepdogs. In their album “Big Stand” they show their musical talents off fairly well.

Their first track on this album, “Let It All Show”, gives you a taste of what is to come. This song also gives you the sense of what type of music they play. The sound is a very classic 70’s rock mixed with some smooth blues guitar riffs. The Sheepdogs reminded me of bands like Creedence Clearwater Revival and a bit like The Kinks.

All of their songs especially “The First Year” have a very relaxed but rocking sound and feel to them. They harmonize vocals and guitars very well. They have catchy, easy to sing along with, lyrics. They play their type of music very well and for people that like old classic rock they will take kindly to The Sheepdogs.

I think The Sheepdogs are good at what they do but it isn’t my cup of tea. I like their guitar riffs and their blues influence but other than that I personally would not buy this album. If you like real classic rock mixed with blues then I would definitely recommend this album to you but if you don’t like classic rock then stray away from The Sheepdogs.

Tera Melos "Idioms Vol. 1"

2009-01-22T11:56:00.002-05:00

Written by: Adam Gress

Rating: 9 out of 10

Tera Melos, a math rock and roll communications company (band) from Roseville, California, just released their newest EP, “Idioms Vol. I.” “Idioms” is composed of five covers: “Meant For You” (The Beach Boys), “Koka Kola” (The Clash), “Tame” (The Pixies), “Blast Off” (Rivers Cuomo), and “Hey Sandy” (Polaris).

I first listened to the Rivers Cuomo cover, and I was a little bit disappointed. It’s not bad, but I was expecting them to do something else with it. Luckily, no trend of disappointment developed. The only other song that I'm not too much into is "Meant For You." I never had much of a love for The Beach Boys so I can't really appreciate it.

My favorite song on the EP is “Tame,” the Pixies cover. I have to say that I like it better than the original. The Pixies’ version sounds really out-of-breath, while Tera Melos’ version sounds much more fun and full of energy. Overall, what I would consider a great cover.

Unlike many covers that I hear lately, they managed to do the songs justice and put their own style and personality into it.

I wouldn’t recommend buying this because the EP is available to download for FREE after you sign up to their mailing list. All the info is on their site: myspace.com/teramelos.

Tera Melos is currently headlining a tour with Astronautalis, Everybody, and Poor School.

Oh No Not Stereo "003"

2009-01-22T11:45:00.002-05:00

Written by: Colin M. Lutz

Rating: 5 out of 10

“003” is the third album released by the duo from Hollywood, California. However, in this third album, Skyler Nielsen (vocals, guitar) and Mykul Lee (drums) added two new musicians to Oh No Not Stereo. Michael Rosenthal was brought on as the new bassist and Pat O'Donnell plugs in as the second guitarist. With over four years of touring under these boys belts they know how to put on a killer show. There style is something for people to dance to, although they do show their softer side in songs like “12 Years Later,” which is a very moving piece where Skyler Nielsen shows of his mad piano skills.

They remind me of Sugarcult, Panic at the Disco, and Fallout Boy. I do believe that this band is only going to get better with time, and that this album is only the beginning of their growth together. Their sound and style as of right now is to common, but I do hear a little style of all their own. The best song on the LP to me is “Hurricanes.” I will give this band a 5 out of 10 because if you are looking for something that is truly original and never been heard before “003” is not your piece of pie.

Animal Collective "Merriweather Post Pavilion"

2009-01-22T11:42:00.002-05:00

Written by: Eric Ransbottom

Rating: 9.5 out of 10

Animal Collective’s recent release of Merriweather Post Pavilion [Domino] has not come devoid of controversy. Following the release of a subpar EP effort, Water Curses, and a supposed leak of tracks off the new album by fellow animalia musicians Grizzly Bear the anticipation for this album was unbearable (pun intended). Avey Tare and the gang, as always, delivered. The album ebbs and flows with the ease of a knife through butter, or maybe even a Lion In A Coma.

Named after a Columbia, Maryland musical venue designed by Frank Gehry, Merriweather Post Pavilion is Animal Collective’s third full-length effort in 5 years. The album is reaffirming for most fans who sensed a rift between the band when both Avey Tare and Panda Bear released solo albums, Pullhair Rubeye and Person Pitch. Rather what seems to have happened was the two furthered their own styles and were able to amalgamate said styles to the always incessant beat of Geologist’s electronics and create a more mature sound on this record. Avey Tare shows much refinement in his vocals on Bluish, a beautiful, bubbly soundscape about the nostalgia of past love that departs to a ringing Of Montreal-esque love field. Most impressively both Tare and Bear harmonize majestically throughout the album, both with shaky warbles in Summertime Clothes and cadenced falsettos in Also Frightened. Maturation aside the core of classic Collective still shines on; intermittent yelps, repetitive refrains and electronic ecstasy.

There is a strong influence with much of the ambience throughout the album coming primarily from Panda Bear; many water bubbles and otherworldly quavers sound as if they are directly off Person Pitch. But not all influences on MPP are strictly inter-band inspired. There is a strong afrobeat theme in practically all of the songs but most notably, Lion In A Coma and Brothersport sound as if they could be produced by Fela Kuti himself. This is not to say that this record will be spun at dance clubs because there are still moments of whimsical, long-winded bliss. The dissonance of the first track In The Flowers coupled with the funk groove of My Girls (my personal favorite track), peppered in with the aforementioned alien groans makes a sound that is purely and ineffably Animal Collective.

Best known for combining the experimental attributes of Brian Eno with the lilting vocal style of Brian Wilson of the Beach Boys, this album signals a departure for the boys from Baltimore. Gone are the days of fifteen minute dream ballads; no tracks on MPP eclipse the six minute mark with most of the songs hovering around four or five minutes in length. Though they are nowhere near Vampire Weekend in brevity the indie kings are in competition for catchiness. Not since the former’s album release last year have I listened to a record, track after track on repeat, and had the melodies stick in my head so zestfully.

Though the shorter time of tracks and vivacious melodies have, ultimately, made this album the most accessible of the Collective’s collective it is not necessarily a negative by-product. For a band who is shrouded in controversy, and is accused of being the “demise of structured music” this is a fantastic response proving that they can be catchy, melodious and altogether beautiful if they want to. This album is a great early year gift and will remain a consistent good-listen throughout 2009.

The River Raid "The River Raid"

2008-12-08T12:58:00.002-05:00

Written by: Adam Gress

Rating: 2 out of 10

The River Raid, who come from Recife, Brazil, recently released their first full-length album that is self-titled. The first track on this self-titled debut is called “Electric Kool”. I didn’t expect anything good with a title like that. That’s what I got.

Almost the entire time that I listened to “Time Up,” the second track on the self-titled album, I felt like it would go somewhere good. This never actually happened. It’s very anticlimactic. In “Alcool,” I’m convinced that I was hearing some rapping through the verses, it’s nothing special though. The more I listen to it I get reminded more and more of Kid Rock and that isn’t a good thing at all.

The only other latin-type music that I’ve really listened to is The Mars Volta, who create what I would consider very creative music. The sound that I’m hearing with The River Raid feels very recycled, and while listening, I couldn’t even really hear where the latin was supposed to be.

BB Brunes is one band that I saw on a music channel, and later bought in the Virgin store in France. While they weren’t anything way different, they could write a good song. I’m just saying that because they are the only band that comes to mind where I don’t speak the language that they sing in. When I listen to music I don’t usually listen to the lyrics, until I want to sing along. I’d really like to find more foreign bands that I could add to my playlists. Unfortunately, it won’t be happening this week with The River Raid.

Scott Weiland "Happy in Galoshes"

2008-12-05T10:15:00.002-05:00

Written by: Kyle Pope

Rating: 9.5 out of 10

Scott Weiland tries to leave this year on a "happy" note with his latest solo release, though he is probably nothing less of miserable. Known for being the frontman for 90's juggernaut Stone Temple Pilots and the rock n' roll supergroup Velvet Revolver, is also famous for his charismatic stage presence and drug addiction. While claimed to be off the heroin since 2002, this year has been a rather rough for the aging frontman. Going through a divorce, losing a brother, and being despised by Slash fanatics for quitting Velvet Revolver, Scott has no reason to be Happy. Fortunately depression is great song inspiration and if anyone has a reason to indulge in that, it's Weiland. He does that. "Happy In Galoshes" is a genre-crossing, tasteful, hodgepodge of musical insanity driven by a man whose been exposed to shames that some of his contemporaries didn't survive (For example: Layne Stayle or Kurt Cobain). The album has enough edge for hard rocking Stone Temple Pilot Fans and is deep, focused and creative enough to attract fans of Radiohead or Beck. His charisma on the album is equivalent to a modern day Jim Morrison.

The lead sing, "Missing Cleveland," sticks to what he is best at, pure rock, but he almost immediatly shifts gears to a Dylan-esque "Tangle With Your Mind." Continue on and you'll find a Radiohead like ballad called She Sold Her System Then he produces beautiful ballad, possibly for his wife, called "Killing Me Sweetly," that could easy climb the charts really quick if released as a single. From that point on it gets weird, but in a pleasing way with the epic "Beautiful Day" and the shaky, firm closing "Be Not Afriad," a catholic church hymn if I'm not mistaken. Throw in the David Bowie cover "Fame" with the famed techno artist Paul Oakenfold and you got yourself one of the twisted folk story of one of rock's last remaining great frontmen.

Todd Hannigan and The Heavy 29's "Volume 2: Courtside For The Apocalypse"

2008-12-05T10:10:00.002-05:00

Written by: Colin Lutz

Rating: 7 out of 10

I’m very critical when it comes to creating your own sound and style as an artist, and I have to admit that Todd Hannigan and the Heavy 29’s album “Volume 2: Courtside For The Apocalypse” is a style I have never heard before. The closet artist that comes to my mind is Jack Johnson, but that assumption does not do any justice. Not a very heavy sound, but then again not as soft as the delicate Jack Johnson. Todd and the Heavy 29’s sing about how the world views their ideas about peace and how society affects their everyday lives. In the song “Weight Of The World” there is a line that Todd Hannigan humbly sings, “got to get to school for some higher learning, got to hit the road cause my gypsy heart is burning."

Their message is clear that there are other ways to live one’s life that society does not see as an effective member of a community. But, if you go even deeper, is it not the people who have found happiness the people who are in fact the effective members of society. Not to say that the musicians in this group are bad, because they are not at all, but they are completely over shadowed by the lyrics of Todd. I will give Todd Hannigan and the Heavy 29’s album “Volume 2: Courtside For The Apocalypse” a rating of seven out of ten for their ability to capture the free spirit, which lies deep within us all. Todd Hannigan was born in Connecticut, but moved to Ventura, California as a very young, where he was heavily influenced by the surfing culture.

David Homyk "True Story"

2008-12-02T17:33:00.004-05:00

Written by: Brian Costello

Rating: 9 out of 10

David Homyk is a rare, unique talent as he writes, produces, and arranges all of his own material while being unsigned to a record label. This is actually a shame as he is so talented that one wishes a label executive would take notice. His debut EP, "True Story," is one of the few amateur works available that really shines.

The best way to describe Homyk’s music and voice is almost like an American version of Liam Gallagher and Oasis. However, more pop-ish records like “All in All,” “Addicted to You,” and “Knock, Knock” give off more of a Justin Timberlake-like feel. But the majority of the album has a somewhat bitter-sweat vibe as songs like “Hard to Make a Friend,” “It Makes You Believe,” and “Fool in the Middle” deal with either failed relationships or relationships deemed to fail. Though these subjects may not be the most cheerful, Homyk creates these records in a way that are ironically enjoyable.

However, the feature in which the album lacks is versatility. Although no song ever sounds the same, the aim and subject matter, however, are. Every song is directed towards a woman, whether it is in a positive or negative manner. Nonetheless, Homyk’s work is one of the few albums out there by an unsigned artist where the skip button won’t be necessary.

Her Space Holiday "XOXO Panda and the New Kid Revival"

2008-12-02T17:22:00.002-05:00

Written by: Danielle Driehaus

Rating: 7.5 out of 10

“XOXO Panda and the New Kid Revival,” a new album by Her Space Holiday was released in early October 2008. Having never heard anything else from this band I did not know what to expect. The eighth track entitled “The World Will Deem Us Dangerous” is the song that made this album click for me. The song is an anthem of sorts, sending out the message “the world can be cold and cruel, but we can laugh about it dance about it cry about it ‘cus we’re all fools”. Normally such a limited tone of voice from the singer would turn me off, but I found Marc Bianchi’s monotone vocal range intriguing. The vocals are the common thread tying together the uniquely different sounds of each track.

The tracks were not all individually fantastic, but collectively they came together to what I would say is a successful album. From what I’ve read this is a different sound than any Her Space Holiday Album. If this is the case, I’d say I’d like to hear more of this sing-along-esque jam session sound. The lyrics are whimsical and are accompanied by equally lighthearted music, even whistling in some cases, like in the song “A Day in Review.”

I’d recommend this album to anyone who enjoys a nice walk in the park on a crisp fall day, or anyone who likes folk-tastic sing-alongs about dealing with emotional issues in our everyday lives.

Religious Knives "The Door"

2008-12-02T17:16:00.004-05:00

Written by: Mark Bordicks

Rating: 3.5 out of 10

For this week I listened to a group different than the usual standardized alternative band, and was not swept off my feet from what I heard. The band was Religious Knives and the album is “The Door.” There are only six short songs on this CD, and as far as the songs go, they seemed a bit rough for what I am used to listening to. Usually I prefer calm and conformed alternative, but this band seemed very aggressive and rough as far as tones coming together. This band is commonly compared with groups such as “Burning Star Core,” “Pocahaunted,” and “Robedoor.”

While they are listed as an alternative band, they also are often referred to as psychedelic, drone, experimental, and noise. This album appears to be the least listened to out of their four records according to last.fm, but this is also their most current album only being released in October of 2008. I have no tracks that I prefer on this CD, and there seemed to be no credible listing of the most popular tracks on the web, so you must listen yourself to see if this band is worthy of your time. I would not buy this CD personally, but if you are into experimental alterative noise, then this might be worth listening to for you. In all, this was probably the least favorite band that I reviewed so far this year, and I probably will never listen to them again.

Chris Braid "Chris Braid"

2008-12-02T17:14:00.003-05:00

Written by: Leah Addison

Rating: 6 out of 10

This unheard of musician and his band was impossible to find any information on. His myspace claims that he "sounds like" David Bowie, The Rolling Stones, The Doors, Oasis, and The Killers are all a stretch. It's clear that this band is trying as hard as they can to sound like David Bowie, because he is the king of Glam Rock, but they fail. No song stuck out to me as a great song.

Heartsrevolution "Switchblade EP"

2008-12-02T17:07:00.002-05:00

Written by: Alex Peytchev

Rating: 9 out of 10

Heartsrevolution is an interesting boy and a girl duo. They started off in LA and have currently moved to NYC. Their style is experimental electronics and they say they want to steer clear from the music that is played in clubs. They want their music to sound more experimental. "Our music does not fit the formula for music that is played a lot in clubs, I see the word 'Electro' quite a bit but we don;t want to have anything to do with this, because as a whole, the way that this genre is described is something we don't want to be part of." And in their latest release - Switchblade they have really created some interesting music.

Switchblade is a great album in my opinion. The samples they use are quite good sounding and the effects used are remarkable, which change for each track. My favorite song of this album is the first song "Switchblade." I would also add that people should be able to dance to this album, it really provides enough to make people move.

Death Cab for Cutie "Something About Airplanes"

2008-12-02T17:04:00.003-05:00

Written by: Michael Haas

Rating: 7 out of 10

"Something About Airplanes" was originally released on August 18, 1998, marking the first full-length album from Washington based indie rockers Death Cab for Cutie. Now, ten years and five albums later, Death Cab has reissued their debut album as a deluxe edition with new artwork, linear notes, and a bonus disc featuring their first ever performance. The performance was recorded in Seattle’s Crocodile Café, on February 25 1998, highlighting tracks such as “Your Bruise,” and “Amputations,” from their debut album. In addition to a cover The Smiths’ “Sweet and Tender Hooligan,” with Harvey Danger singer Sean Nelson. While the sound quality of the performance is less than perfect, it is clear that Death Cab have a strong presence on stage, which they would later come to be known for. Although by far not their best installment, "Something About Airplanes" provided a solid base for Death Cab to build from. Highlights of the album include “Your Bruise,” and the creeping “Bend to Squares.” For die hard Death Cab fans this is a must have in order to see how the band has grown and where they started. For those just starting to look into Death Cab you might want to start with another album such as "Transatlanticism," or "Plans."

Rivers Cuomo "Alone II: The Home Recordings"

2008-12-02T16:51:00.002-05:00

Written by: Matthew Ray

Rating: 7 out of 10

This record is a second look into a more personal side of Rivers Cuomo, the lead singer of Weezer. He recorded all 19 tracks in his home studio. With the success of Weezer and a large fan support base, Rivers still seems to stay humble and just happy that he can do what he wants. Rivers home studio is a barn in his backyard only the size of a very small bedroom.. Once again he portrays stories of his life and its adventures in a smart but punk attitude with his delivery. Within this album comes personal writing he wrote about each of the songs and what provoked his emotional and lyrical content. Songs span from a high school girl who was the best looking at her school who one day up and left her small town life for a stolen car and the New Orleans strip to getting stoned and sniffing glue in some sort of pod.

The music on this album takes some twists and turns as well, having a few prolific power chord thrashing anthems similar to what we know from Rivers. Then as the album continues we see some weird skits, and the different faces of what Rivers Cuomo is as an artist and a person. I appreciate his honesty in these recordings and that he has the balls to release this widely, but for the most part I was deterred from majority of the material on his "Alone II." Some standouts though that mainly caught my ear were “I Want to Take You Home Tonight," “My Brain is Working Overtime," and my favorite song entitled “Walt Disney." These songs just seemed the strongest and seemed to be recorded the best. The chorus on "Walt Disney," “My fingertips and toes are frozen to the bone, Give me an hour before you throw me in the cold” seems like it is sung perfectly for the mood of this happy tune by Rivers. The music on this track is very light with patterned tambourines and guitar slaps that beg you to tap your knee. To me those are the songs by Rivers Cuomo I enjoy most, the ones that just seem to lay in the back of my head all day, songs reminiscent of, “Island in the Sun” or anything off The Blue Album. All in all I was glad I listened to this album but its very unlikely that I’ll listen to it more than twice, sorry Rivers.

Spit Hot Fire "Spit Hot Fire"

2008-11-26T18:56:00.003-05:00

Written by: David Talmage

Rating: 7 out of 10

“Spit Hot Fire,” the self-titled first full length from the New York City band known as Spit Hot Fire is doe sure to impress. I have to admit I was expecting the same old indie sound that has become so popular in the New York City scene, but I was pleasantly surprised with a fun alternative, reggae, rock album that somewhat reminded me of the latest 311 release. This album combines heavy rock riffs while grooving to some reggae and hip hopping through each track.

Singer-songwriter and guitarist Bryce Alvord tells tales of fun, exaltation, loss, anger and a whole lot of passion in the comedic yet raw and straight pressed album. This album has a great mix of reggae styles with gnarly bass lines and sick vocal tracks that just kick start your engines into party mode. There sound is simply refreshing to my ears and I for one and my excited to hear more from these guys in the future. Sure I’m not hoping that this reggae, rock, indie music starts becoming the fad out of every major city in the country but it sure wouldn’t hurt for these guys to put out another album or two.

If you are fans of bands like The Police, 311 or Sublime then you need to for sure check out this fresh new sound straight out of New York that’s bringing a whole new edge to the indie scene. Be sure to check out the tracks, “Far From Home,” “Playin’ Girl,” and “My Baby Likes Ladies Now” which are my personal favorites. Overall I’d say go grab this album, its simply refreshing.

The Bodies Obtained "From The Top Of My Tree"

2008-11-26T18:53:00.003-05:00

Written by: Davide Talmage

Rating: 3 out of 10

A little to insane for my taste, The Bodies Obtained album “From Top Of My Tree” wasn’t really anything I could stand to listen to. These Detroit natives must have been embarking to another world when they were writing this album. A mix of experimental rock (minus the rock) and electronica that creates the cluttered and ambiguous sound known as The Bodies Obtained.

I simply can’t stand the vocals first off. It seems like they are trying to pull a Bright Eyes and mix it with electronica but I simply get lost in all the random instrumentation that seems to overpower all vocals. Now I'm not saying that there aren't some ten second riffs throughout this album that I like to listen to. But once that ten seconds is up it’s back to a cluster bang of swirling melodies and very bleak lyrics. In some parts it reminds me of the band Sky Eats Airplane, except it doesn’t have any real structure. There was too much going on and usual I’m all for a complex album, but it has to be well written and this album in my opinion is lacking.

This ongoing documentation of electronica, experimental rock and synth could be a masterpiece but it’s simply lacking guidance on their exploration. Take me to funky town and shoot me in the foot, face or head but do not go out and get this album unless you are dying to be wrapped up and have your mind blown apart beyond all recognition.

Japanese Motors "Japanese Motors"

2008-11-26T18:48:00.003-05:00

Written by: Brian Costello

Rating: 6 out of 10

Japanese Motors’ self-titled album was recommended to me by a friendand therefore, I had pretty high expectations when listening to this album. So were these expectations met?

Somewhat. Overall, the best way I can describe the O.C. garage band’s sound is as an early to mid ‘70’s rock, more specifically like the Rolling Stones. This is actually a surprising compliment. While many bands have tried to emulate bands before them, Japanese Motors pulls it off pretty well. Now were they trying to? Probably not, but the fact that they do gives them much credit.

The album starts off nicely with on ode to summertime, “Single Fins and Safety Pins.” But then it begins to go downhill. The lead singer, while he does sound like early Mick Jagger (adding more to their Rolling Stone-esque sound), is barely audible throughout the CD. If studio effects had not altered his vocals, then there would be no problem. But alas, they did making the album difficult to understand what these songs are about. The one exception is the celebration to hippie life, “Spendin’ Days” and the portrayal of a bad relationship, “Misery and Profits.”

However, what saves the album is the music itself. As a band, Japanese Motors pull off a sound that many would either find dated or unmarketable. The band really shines on the musical tracks “Pseudo Elitist Vagueness” and “Interlude.” And although the vocals may be hard to hear, the music itself really seems to fit with the feel of the song titles.

In the end, the vocal-effects weigh down the album, but the music lifts it back up.

Isobel Campbell and Mark Lanegan "Sunday At Devil Dirt"

2008-11-26T18:44:00.004-05:00

Written by: Gina Gaetano

Rating: 6.5 out of 10

“Sunday at Dirt Devil” by Isobel Campbell and Mark Lanegan, a strange combination of musical talents, creates an eerie and enjoyable oddball. On the album’s opening track, “Seafaring Song,” is a haunting vocal number, with Lanegan’s, of Queens of the Stone Age, deep, rumbling voice creating interesting contrast with Campbell’s, formerly of Belle and Sebastian, ethereal one. With an appropriate minimalist acoustic guitar backing and excellent harmony, this track is a quality way to open the album, showcasing the vocal abilities of both parties.

“Who Built the Road” is a melodic tune with a wonderful string arrangement and both solos and duets from Campbell and Lanegan. Their voices are highlighted the most when the two sing together; they complement each other incredibly well. One of the most interesting tracks on the album, it moves quickly, in comparison with some of the others, which tend to drag. Roughly halfway through, the album delivers “Come on Over (Turn Me On),” an expected and necessary sexy track, which does not disappoint. Jazzy string lines and an arpeggiated backing create a swinging verse, which builds throughout. One of the more stimulating tracks on the album, this track is a stand out.

The album’s weakness is in that there is a lack of variation. All of the songs are great, but they are also all more or less the same. While a listener can be enthralled with idea, it grows old by the album’s final track. Campbell should have taken more prominent vocal lines; Lanegan’s growl almost becomes a hindrance, while Campbell’s voice remains pretty and refreshing. A few standouts make this album worth having, and the sheer talent is undeniable, but this is a classic case of taking one’s musical niche just a little too far.

A Block of Yellow "Do I Do"

2008-11-26T18:41:00.003-05:00

Written by: Mark Bordicks

Rating: 6 out of 10

This week I listened to a band not quite like any of the other ones I have listened to in weeks past, however I am not sure whether this is a good or bad thing. The band is called A Block of Yellow and the album was “Do I Do." The best way to describe this artist is a sort of New Age, folksy type sound, with a very upbeat tone. Ordinarily upbeat would be positive, but in this case I found it to be a bit overbearing and annoying after listening to most of the CD.

This band is known for its distinctive ABOY sound, and is often compared with other bands such as the Kinks, Stone Roses, and the Supremes. I have not heard any prior work from this artist, but I have a hunch that much of their previous stuff is just more of the same. Out of all of the tracks, I would have to say that the few that I enjoyed included 2, 8, and 12. In all I would say that this artist is perfect for someone who is into folk or New Age music, but for my personal taste it was a bit to upbeat on my ears. I personally would not purchase this album, but I still feel that it is worth a listen for you to make your own judgment.

Friendly Fires "Friendly Fires"

2008-11-26T18:35:00.002-05:00

Written by: Josh Wade

Rating: 5.5 out of 10

Friendly Fires, a new rave music trio, makes its way into the U.S. music scene after starting some small blazes over in the U.K. The group hails from St. Albans, Hertfordshire in the United Kingdom and first hooked up musically while in grade school to form First Day Back. They stayed together all the way through their teens, but broke up when they started university. They decided to reform in their mid-twenties as a dance inspired band whose inspiration comes from the likes of Carl Craig and Prince and can be compared to the rising-stars MGMT.

This indie band has made some noise over in the U.K. and their single "Paris," from their new self-titled album peaked at #13 on the indie charts there. "On Board," another one of their singles may be recognized as the catchy song featured in commercials for Nintendo’s Wii Fit.

This album could definitely be better as you can see hints of genius but they occasionally love on their electronic instruments a little too much. Friendly Fires has the ability to catch you attention with their witty use of effects and creative beats but could just as easily alienate a listener when they go off the deep end. Their bassist, Ed MacFarlane said, “The hardest thing I think is to know what to leave out, to know when something is enough.” Less is definitely more on some tracks they just try to do too much.

Hush Arbors "Hush Arbors"

2008-11-26T18:32:00.002-05:00

Written by: Adam Gress

Rating: 1 out of 10

Hush Arbors, also known as Keith Wood, recently put a new addition to their fairly large discography. Their newest CD is untitled, and is on the record label, Ecstatic Peace!.

I didn’t really know what to expect before listening to this CD, the only band that comes to mind when I think of folk is The Color Fred, which I really don’t think truly is folk. If MySpace says it is, it is. Right? Though I just checked, and it says “folk rock”, so maybe that’s true.

The first song on Hush Arbors’ untitled release is called “Water." This intro track is pretty much just noise and improvised guitar, and I don’t think it has anything to do with the rest of the CD, other than to foreshadow what the rest of the CD may be; a headache. “Follow Closely” definitely just gave me a headache. The guitar part that repeats at different parts during the song doesn’t sound like it was thought out. There are two tracks of guitar playing that attempt to create a harmony. They failed. The third track, “Rue Hollow” sounded like it might be a little better, the guitars actually sound at least a little bit better, even though they sound like they were taken out of a book that teaches the reader to play fingerstyle guitar. The vocals don’t do anything for this song either.

Maybe other people dig this music, but it’s definitely not for me. I would never buy this, and I sort of regret listening to it at all. I’m definitely going to stick to The Color Fred for anything “folk”, and maybe that song, “Folkin’ Around,” by Panic at the Disco. I wouldn’t recommend even looking at the cover, you’ll probably regret it.

The Cure "4:13 Dream"

2008-11-26T18:29:00.002-05:00

Written by: Alex Peytchev

Rating: 8 out of 10

Here I am again reviewing The Cure, a British band that formed is West Sussex. Robert Smith, being the only constant member of The Cure also participates in this album. After passing several deadlines this album was finally released on 28 October 2008.

I saw The Cure live during the Ultra Music Festival held every year in Miami, Florida. The lineup included them on the main stage and the songs they played were pretty good sounding. This album is an improvement in my book. The tempo has gone down slightly and the tonality of all songs matches my tastes better. “The Only One” is my favorite song of this album, it just sounds good enough for my tastes. For a person that enjoys listening to electronic/synthesized sounds and The Cure, Shiny Toy Guns might be the perfect band for them to listen to.

I wouldn’t necessarily buy this album for personal listening but I would enjoy it if The Cure showed up again on the Ultra Music Festival.

The Coronas "Heroes or Ghosts"

2008-11-26T18:05:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 5 out of 10

In the mid-1970’s a group of teenage lads from Dublin, Ireland assembled a rock band and called themselves U2. The young quartet developed a musical chemistry and began promoting themselves by playing in local venues. They eventually took their native country by storm and became a huge commercial success. The Coronas, like U2, also hail from Dublin; but the comparisons abruptly end there.

The founding members of The Coronas, Danny O’Reilly and Graham Knox, were lifelong friends who decided to venture into music at an early age. At fifteen years old they recruited close friend Conor Egan and another schoolmate and began performing gigs in Dublin pubs. After experiencing a period of typical growing pains - break ups and name changes - they discovered guitarist Dave McPhillips and worked steadfastly on developing their sound. Their continued
live performances generated a loyal following and ultimately resulted in a label signing. Their debut full length album, “Heroes Or Ghosts,” was released shortly after.

The sound on “Heroes Or Ghosts” is straightforward alternative pop/rock, nothing really groundbreaking here. The compositions exhibit a “paint-by- numbers” mentality that will unlikely engage an intelligent listener. That’s not to say the band doesn’t posses any musical talent. There is clearly a level of skill evident in the album, but the direction is sorely lacking in ambition or meaningful purpose.

If The Coronas’ target demographic is the American preteen population, they may have succeeded. The acoustic-driven, sappy ballad “I Choose Love” is ideal soundtrack material for a campy teen chick flick. The album itself is riddled with one cliche after another, right down to the “hidden” track as a finale.

The lyrical content is far from enlightening, and many of O’Reilly’s verses are excessive ramblings of love-struck/heartbroken themes. Inexperience, immaturity, and a simplistic common theme of drowning in one’s sorrows are plainly obvious. In “San Diego Song” O’Reilly proclaims, “We sleep all day and we drink all night / We are not wasting our time.” This scenario is needlessly revisited in “Decision Time” with the revelation, “You know I’m filled with doubt but I’ve been drinking” and again in “The Great Divide” with anguish, “I’ve lost my girl and I drink too much.”

Despite all of these shortcomings the Coronas are a big hit in their native country. The material offered is not entirely void of substance. Serious moments of potential are touched upon in songs like “Grace, Don’t Wait!,” “The Talk,” “Real World” and the title track. The band has definitely made a concerted effort to reach out to their fan base with an impressive website that even includes guitar tablature for young Coronas wannabes.

A legendary group like U2 certainly understands the notion that their global appeal was largely due to, among other things, an ability to truly connect with their audiences. With an attempted sense of urgency in his voice, O’Reilly offers a trifling plea, “Pray... it’s not too late to make change.” He and his fellow bandmates may want to heed their own message in the event of subsequent album releases. Hopefully they emulate a large portion of their current young listening audience by growing as individuals and eventually blossoming into something extraordinary and meaningful

The Kindness Kind "The Kindness Kind"

2008-11-20T22:06:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 8 out of 10

Recently it has been suggested that the once vibrant and alive music scene of Seattle, Washington is experiencing a demise. According to an article published in Paste magazine, city ordinances have impacted various Seattle music venues to either close their businesses or shift their focus to a different demographic. Economic strife has forced many local artists out of the once-thriving musical mecca for alternative confines such as Portland, Oregon.

If this is truly the scenario, then someone failed to give The Kindness Kind the memo. The Seattle-bred band has managed to flourish in the midst of a perceived local decline of musician support. The Kindness Kind has come to embrace everything of the Evergreen State. The band’s conception can be traced back to songwriters Nicolas Danielson and Charles Larson, who met one another while on tour in 2005. An artistic collaboration between the two eventually led to the assembling of the rest of the group.

In 2007, The Kindness Kind recorded their debut album, “A Novel.” The result was an initial success as their material made the CMJ chart and the band received positive reviews. The Toronto Star labeled them as "one of the best new groups emerging from Seattle.”

For their most recent self-titled release, “The Kindness Kind,” the band utilized various studios and recording locations in Washington State. Never losing touch with their roots certainly paid off. The Kindness Kind has produced a worthy follow up album that resonates a textured sound of indie rock bliss. The band cites Air, The Pixies, Cocteau Twins, Blond Redhead, and Blur as musical influences. The new material offers more of an authentic throwback to vintage Smiths and The Cure.

“The Kindness Kind” is an atmospheric and dense album with spacey electronic elements intermixed. The alluring, haunting vocals of Alessandra Rose are accentuated throughout the album with skillful musicianship and crafty songwriting.

In fact the rest of the band doesn’t hesitate in their opportunities to share the musical spotlight with Rose. Leading off with Brian Todd’s resounding bass on “Beautiful Souls” to Charles Larson’s brash riffs of “A New Sense,” the group demonstrates their ability to perform harder cuts. Nicolas Danielson’s dreamy keyboards of “Lotus” and Kevin Bray’s dynamic percussion of “On and Off Again” round out the lush and elaborate sound.

Seattle will most likely never reproduce the grunge rock phenomenon of the 1990’s. Hollywood probably won’t be filming a sequel to Singles in Jet City anytime soon. And there will certainly never be another Jimi Hendrix. But based on the outcome of a band like the Kindness Kind, all signs seem to point favorably toward the future of the Seattle music community. Their anticipated success will not only pave the way towards their future, but will also help ensure that the musical spirit of the city remains intact.

Dillinger Four "Civil War"

2008-11-19T19:58:00.003-05:00

Written by: Adam Gress

Rating: 9.3 out of 10

This November, Dillinger Four released “Civil War,” which broke a six year streak of not putting out any substantial amount of work. The new CD is somewhat of a departure from their previous albums, in that it is not quite as loud and in-your-face, but I would have to say that this was the most enjoyable CD that I’ve reviewed so far.

While no songs on “Civil War” are bad songs, my favorite songs are “Contemplate This On The Tree Of Woe,” “Gainesville,” “Ode to the North American Snake Oil Distributor,” and “A Pyre Laid For Image and Frame."

Another song I thought worth mentioning is called “Parishiltonisametaphor." It begins with a bluesy piano part that turns suddenly into a power chord driven work of art that’s flooded with lyrics. Some of the lyrics that stuck out to me were “Pretty little casualties in temporary tragedies born from same place self-doubt grows, cold and hollow red carpet ready pose, but around here “diva” ain’t much of a compliment." Prior to listening I thought the title would have nothing to do with the song, I was wrong.

My least favorite song is the first song on “Civil War." It’s called “A Jingle For The Product." It’s not totally bad or anything, it just doesn’t have that good flavor like the rest of the songs do. Luckily, it is the first song, so you can just start with the second track and not have to worry about skipping it halfway through.

Prior to listening to Dillinger Four, who formed in 1994, my only thoughts when I heard the name were that whenever I searched on iTunes or the internet for Dillinger Escape Plan this band also came up in the results. At this point I definitely enjoy Dillinger Four more than that other band with Dillinger in its name.

I think that I would definitely buy “Civil War”. I haven’t listened to this type of music much in a while, but maybe I should. I recommend buying this CD.

J.P. Hoe "The Dear John Letters"

2008-11-19T19:55:00.002-05:00

Written by: Leah Addison

Rating: 6 out of 10

JP Hoe, originally from Canada, has an eclectic sound, but not in a good way. His sound is inconsistent and his album reflects that. There is no steady flow in the way the songs are arranged; it goes from an acoustic ballad to an alt-country song to a folk song to... His voice is not unique along with his guitar riffs or instruments. The only reason I gave him six stars is because I really like his song, "Completely," which kind of sounds like a Wallflowers tune with usage of the harmonica. Other than that one song, nothing is original or unique about his sound. He would probably make a good Christian/Gospel singer.

Innerpartysystem "Innerpartysystem"

2008-11-17T20:53:00.002-05:00

Written by: Mike Haas

Rating: 6 out of 10

Innerpartysystem was formed in 2006 in Mohnton, Pennsylvania. After releasing an EP in November of 2007, the band returns with their self-titled debut, released on September 30th, 2008. Their sound combines synths, keyboarding, programming, and sampling over a series of filtered vocals to create another version of electronic dance music. With comparisons to Interpol and Shiny Toy Guns, Innerpartysystem’s alternative/electro-rock has begun to draw attention.

The band’s first single “Don’t Stop,” was recently used in the sports video game Madden NFL 09, and is accompanied by a rather disturbing but very innovative music video in which the band offers it’s take on media. The album however, is slightly less innovative. Despite a number of solid tracks, the album possesses a certain redundancy, which is faced by many of their peers in the same genre. The band captures an audiences attention with a catchy hook or chorus like that of “Don’t Stop,” but past that fails to keep audiences’ attention when they do not produce more of the same catchy hooks. With that said, by the second half of the album you start to feel like you’ve heard this before. The tracks start to run together and you begin to forget what it is you are listening to. However, if being played at a rave or intense dance party that might just be a good thing, in which case this album would be quite entertaining. If you like electro-rock you should check out this CD because there is plenty of it here.

Jack's Mannequin "The Glass Passenger"

2008-11-17T20:50:00.002-05:00

Written by: Mike Haas

Rating: 7 out of 10

After his departure from Something Corporate in 2004, singer-songwriter Andrew McMohan soon began work on his solo project Jack’s Mannequin. By 2005 McMohan released his first album “Everything In Transit,” under his new band name. The release incorporated many of the same power pop sounds of Something Corporate, but added a summery, feel-good aspect that wasn’t as prevalent in his previous work. Then in early 2005 McMohan was diagnosed with leukemia and was unable to tour in support of his new record. Now three years later, McMohan is cancer-free and returns with his second JM release “The Glass Passenger.”

The album starts off strong with the upbeat “Crashin,” with McMohan proclaiming, “I want to hear some music, and with the rock stars I’ll flicker and fade.” The album continues to build with tracks like “What Gets You Off,” “Bloodshot,” and the classic piano ballad “Hammers and Strings.” The first single “Resolution,” is also another strong installment serving as a testament to McMohan’s struggle over the past few years. All in all, the album is very consistent. For fans of Something Corporate and JM’s first release there is nothing to be disappointed about here. McMohan continues to strengthen his songwriting skills, and with this album will keep fans interested to see what he produces next.

Keane "Perfect Symmetry"

2008-11-17T20:47:00.002-05:00

Written by: Alex Peytchev

Rating: 9 out of 10

The album "Perfect Symmetry" was unexpectedly released with a big change from the previous three albums of Keane - a piano rock band from the UK. They are doing away with some of their guitar melodies and relying more on synthesizers. They have also experimented with instruments such as the saxophone, musical saw, and other string arrangements in this album. This album also has a cool cover – it is composed of the eyes of the band members represented in small triangles. It was made by the Korean artist Osgang Gwon.

The genre is piano/alternative rock and the first song starts right in that rock direction. Rock lover would really enjoy listening to this CD. “The Lovers are Losing” has some pretty interesting synthesizer feel to it. I will also add that this might be one of the few least-boring rock albums you might hear out there in the wild.

I still think that their song called “Somewhere Only We Know” is their best track, which is from their "Hopes and Fears" album.

The Whipkey Three "The Whipkey Three"

2008-11-17T20:43:00.002-05:00

Written by: Alex Peytchev

Rating: 8 out of 10

The Whipkey Three is the newest album by Matt Whipkey – a vocalist, pianist, and guitarist who also plays harmonica and the bells. His band – Anonymous American has completed this album jointly with band Sarah Benck and the Robbers. The end result is a great album in our hands. With all of this in mind I have to add the four Omaha Entertainment Awards received for Best Rock, Americana, Singer-Songwriter, and AAA.

This album is a good addition to the rock scene. My favorite song would be "I Know, I Know." It just sounds right for my taste. Most of the songs sound like rock with some small touches of pop and americana here and there. This CD would be a perfect buy for someone that adores rock.

After listening to this album I would have to say that the artists got their inspiration from bands like Coldplay and Thirteen Senses. Balancing melody, aggression, subtlety and power, Whipkey’s songwriting easily places the band in upper echelon.

J. Roddy Walston and The Business "Hail Mega Boys"

2008-11-17T20:38:00.004-05:00

Written by: Matthew Ray

Rating: 9 out of 10

A rock band from Baltimore, Maryland with attitude and enough facial hair to keep you warm through the cold weather, J. Roddy Walston and The Business self-released album "Hail Mega Boys" shows signs of a band waiting to be heard. A group of four talented guys make up the line up of these bar rockers who create some of the catchiest groups of songs I’ve heard from a strictly rock band in awhile! Their sound ranges from wailing vocals reminiscent of Freddy Mercury to southern twang guitar leads similar to those of Lynard Skynyrd.

At first I wasn’t sure what to think of this album after having no previous knowledge of the band and glancing at the creative artwork that embodied the band members as cartoon renditions of centaurs and sphinxes. Once I put the album on though my ears were graciously amused. The opening track “I’ll Tell You What” got my attention right off the bat. From there the album continued to amuse me, mainly of how easily the band seemed to maintain a vintage sound. While writing and listening to this album I could have easily mistaken it to be from a late 70’s record crate. So, I was impressed yes, but also very intrigued by the fact that in America there still lays a great rock and roll band that has yet to be found. All I’m really saying is that I really think this band has some big potential to be spreading their music on a larger level. It’s pretty rare that I become an instant fan of a band, but I just can’t deny the fact that I really like what I hear on "Hail Mega Boys." Maybe the same could be said by you? So if you're looking for a good fall album that’ll keep you happy even when it’s not so happy outside, put on that sweater your deranged, bar hopping, biker chic mom sewed called J. Roddy Walston and The Business "Hail Mega Boys."

Origami Ghosts "Short Momentum"

2008-11-17T20:35:00.002-05:00

Written by: Colin M. Lutz

Rating: 5 out of 10

This band from Seattle, Washington has come out with their new album called "Short Momentum." Origami Ghosts is far from a folding career, in fact this may be the best yet. They remind me of a softer Modest Mouse, without the screaming. The main thing, which causes me to relate them to Modest Mouse, is the fact that the lead singer sounds like Isaac Brook. The one thing that I wish the band would do more of is jamming out, they have a unique groove to them that they do not take advantage of. Almost need a Pink Floyd jam session in their album somewhere.

My recommended tracks on "Short Momentum" are "Harlem," "East Station," "Conditional," and "Sparks." I will give this band a 5 out of 10, because I believe they can improve so much. This style of music is not going to get you pumped before a big game or is it all night party music, but if you need something to study for class with this album is right up your alley.

MC Frontalot "Final Boss"

2008-11-17T20:16:00.003-05:00

Written by: Brian Costello

Rating: 0 out of 10

Since the success of the Beastie Boys and Eminem, many Caucasian rap fans have tried their hands at rap/hip-hop in an attempt to match that level of success. Some have been moderately successful while others should be greatly forgotten. MC Frontalot (yes, that’s his real stage name) is way down on the ladder.

To put it plain and simple, MC Frontalot is the worst rapper I have ever heard and "Final Boss" is the worst album I have ever heard. I, myself, mostly listen to rap and have heard a lot of rappers, and naturally a lot of horrible ones, so for me to say Frontalot is the worst really says something. But then again, I’m not sure what I was expecting with a name like MC Frontalot.

Upon listening to the first song, “Wallflowers,” I already knew I was in for a ride I would greatly regret. The song instructs its listener to “do the Margaret Thatcher,” what ever that is, and from then on it only gets worse. I noticed on the track list that there were featured guests, so I thought, “Well, at least these guys might be good.” But oh no, I was seriously wrong. In fact, they might even be worse than Frontalot with lines like “It’s better on top like whip cream,” on
“Canadia” and “A Skit about Vocations” where an interview literally raps about sea food.

Listening to this album, I wasn’t sure if this guy was serious or if it was just an act ala “Weird Al” Yankovic. So I visited his Myspace page, and I still have no idea. All I know is that it better be an act, because if his is a serious act, then I feel ashamed as a listener. But even if it is just a joke, it’s not a funny one.

As a typical listener, the album is a painful experience, but as a fan of rap/hip-hop, it is an even more painful experience. The album is an embarrassment. Do yourself a favor and stay away from it as possible. However, by reading this review, you have already acknowledged its existence.

That Handsome Devil "A City Dressed In Dynamite"

2008-11-17T17:55:00.006-05:00

Written by: Dave Talmage

Rating: 6 out of 10

“A City Dressed In Dynamite” can simply be described as a funkadelic trip down the way of Gnarles Barkley and Acrobats. Their second album, proves to be a hit amongst those funky, alternative rock fans. When listening to this CD you simply think your surfing down in Santa Barbara with Gnarls Barkley in the 60’s.

I'm not going to lie, this album is extremely dynamic to the point where you don’t know whether or not your listening to a French man talk about death or That Handsome Devil talking about life and death. An album with a lighting of a start that lyrically gives a glimpse to what the album’s all about with “Damn Door.” Overall I feel like this album would be a favorite of those alternative funk rock fans. This album goes from head on surf rock to slow whimsical ballads pouring their heart out on the floor and surfing on it. I’d have to say if your looking for the high points of this album you need to check out “Wintergreen,” “Rob The Prez-O-Dent” and “Viva Discordia.”

I’d simply say this is one gnarly album and you should give it a listen if you're into that groove. This album is a soulful, ghostly jazz, smooth and sexy album that is hard for you experimentalists out there. These guys just got done playing in Boston and Brooklyn and are back at home relaxing and keeping their creative juices flowing. I’m looking forward to seeing what era these boys will come out collaborating with next.

Blackmarket "The Elephant In the Room"

2008-11-17T17:51:00.003-05:00

Written by: Dave Talmage

Rating: 9 out of 10

Two, wait no! Three thumbs up for Blackmarket’s “The Elephant In The Room” album released on Modern Savage records. I have to say I’ve never heard of these guys before but once I got done listening to “Magic Tricks” I was hooked. I'm a sucker the driving drum and bass and screeching guitar riffs over an intense vocal performance.

For this album Blackmarket teamed up with Sean Slade (Radiohead) and Matthew Ellard (Weezer, Elliot Smith) and recording this gnarly album in about a month. These guys bring a fresh new wind to their genre and the industry itself. When you listen to this album you're going to be drawn into experiencing all the excitement, disappointment, pain, love and loss in the story of Blackmarket. These guys are on top of their game and every track is sure to impress. The album is simply infectious, songs like “Bad Call,” “Shelia,” and “Talk Too Much” will spread in your head like cancer.

These guys have a new music video out for their hit single “Sheila” you should for sure check out. Too bad these guys are overseas right now playing in Munster, Luxembourg, and even Vienna. It’s safe to say this isn’t the last we’ve heard or seen of Blackmarket. If there's one CD this year other than the new Have Heart that I think you should really consider buying, it’d be “The Elephant In The Room” by Blackmarket.

Get Help "The End Of The New Country"

2008-11-16T19:30:00.002-05:00

Written by: Alex Peytchev

Rating: 7 out of 10

Tony Sakicky’s Get Help was created with the assistance of Mike Ingenthron. Tony hired Mike as his multi-instrumental performer. Both created this album and exceeded their expectations which were to make enough money to pay for gas for the tour. They really wanted to do it for the fun of it, but it turned out more successful than expected. And here we sit today with one great album.

Most of the songs on this CD are easy to listen to. I would say it is more of a modern rock/experimental style. The album overflows with electro-folk samples from time to time. The vocals are on par with the tempo of the songs. If I was a fan of rock music I would buy this CD, but being an electronic music fan I have to say the amount of synthesized sounds is not enough for my liking therefore I will not be likely to purchase this CD. I liked the fact that this album was created with having fun in mind, not money. The small folk soul to this album can be heard in “All else fails” and also “Carne Asada.” Most of the songs sounded flat but my fave would be “Temporary Speed Zone,” because of its acoustics.

Copeland "You Are My Sunshine"

2008-11-14T17:39:00.002-05:00

Written by: Dave Talmage

Rating: 9 out of 10

Copeland’s “You Are My Sunshine” is my favorite Copeland album in front of “Eat, Sleep, Repeat” and “Dressed Up and In A Line.” I’ve always tried to keep up with these guys ever since about 6th grade and throughout the years these dudes have done nothing but put out great albums. They know what their doing and this being their 8th to date album release is truly something to admire. This indie band that hasn’t lost the roots from their first album.

After listening to “You Are My Sunshine” three times through straight, I walked away feeling like I had just won the lottery. Songs like “The Grey Man,” “Chin Up” and “To Be Happy Now” take you to another world. This album is an emotionally driven masterpiece, something that any person could pop in for an evening with their certain significant or insignificant other. What I found was in this album I get a hit of influences from bands like Postal Service and Damien Rice. One thing I loved was the complexity and simplicity in “The Day I lost My Voice,” where vocals carry the whole song extremely well and slight trumpet spoofs and automatic drum machines rain a simple beat to the inner soul. If there was one album I thought that you should possibly pick up it’s this one, now you may not be as big of a coinsurer of this brand of music as I am, but anyone and everyone can appreciate and benefit from having this album on their iPod. If you like bands like Lovedrug, Mae or As Tall As Lions then give these dudes a moment of your time.

The Takeover UK "It's All Happening"

2008-11-14T17:33:00.002-05:00

Written by: Dave Talmage

Rating: 6 out of 10

With their debut EP “It’s All Happening,” The Takeover UK has successfully grabbed my attention with a surprisingly enjoyable mix of punk and pop. The dudes are impressive musicians and their songs are full of hard hitting choruses and a charming mix of power chords, hooks after hooks. The only thing I'm not always digging is the vocals and I feel like on the CD they are just a little too posh spice.

Let's face it pop is pretty much overcoming the world today and wether your ok with that or not, you have to give these guys a chance because I think I see good things in the future for these guys. They are compared with bands like The Hives, The Strokes, The Kooks and some would even say The All-American Rejects. On songs like “Lean On It” I really enjoy the backup vocals and the bridge but for the most part the song is just a little to dance dance for my tastes. These guys have a good chance at hooking up and getting on some mainstream charts in the near future. I hate to say it but it’s because the EP is just so darn catchy. If you like an album that will get stuff in your head then this is for you.

These dudes from Pittsburgh, Pennsylvania are on tour with Army Navy, The Shys and The Von Bondies all the way through the end of the year. Stop by and see if you get swept up by the sheer catchiness these guys are spitting out or not, ball's in your court.

The Dead Trees "King of Rosa"

2008-11-12T18:51:00.003-05:00

Written by: Leah Addison

Rating: 8 out of 10

The Dead Trees, who are originally from the Boston area, impress me with their sound out of their debut LP, King of Rosa. The album starts off at a good pace with foot-tapping drums and electric guitar. The Dead Trees continue through their album with a basic four-man quartet of guitar, bass, drums, and vocals. The simple musical elements that they impose catch the attention of those who listen to Cru Jones and Danny and the Nightmares. Towards the middle of the album, I notice more Beatles-like quality in their sound when I listen to the song, "Loretta." The album becomes appropriately soft and soothing near the end, rounding off an excellent first album.

The Organ "Thieves EP"

2008-11-11T08:28:00.002-05:00

Written by: Brian Costello

Rating: 5 out of 10

Fans of Vancouver’s “The Organ” were pretty sure it was time to call it quitswhen the band split up back in 2006. However, a year later, the all female Indieband quietly got back into the studio to record six unrecorded songs meant for their follow-up to their 2004 album, Grab That Gun. So really, the EP, Thieves, is something for their fans…because I’m not sure how many other people could enjoy it.

While the music isn’t bad, one of the problems is the vocals. Even though they can be heard from time to time, often it sounds like the vocals were recorded live, which can lead to the listener having difficulty hearing what the singer has to say. Thus, leaving the listener the listener unable to understand the lyrics and therefore not knowing what the songs themselves are about. However, unlike most artists, the lyrics to the songs are printed inside the CD case, so if listeners get lost, they can simply read along to the songs. The problem is, the lyrics don’t seem to make sense, as they seem more like poetry than song lyrics. But these girls still get credit for providing lyrics, which is rarely done anymore.

The final topic to note is that this EP contains only six songs, and they are some of the shortest songs you will ever here. This is probably the shortest album I have ever heard, as the overall time length is seventeen minutes. This could be a plus or minus depending on who you ask. If you’re a fan of The Organ or just like the music, then you might be disappointed that the EP runs
under twenty minutes. On the other hand, if you’re not a fan or don’t like the music, then you’ll be glad it ends quickly. For me, I am somewhere in the middle. Overall the music isn’t bad and the lyrics are provided for the listener, but the vocals get lost in the music, and “lyrics” seem more like recorded poetry and therefore don’t work for me.

Matisyahu "Shattered EP"

2008-11-11T08:22:00.002-05:00

Written by: Matthew Ray

Rating: 8.5 out of 10

Well it’s been awhile since we’ve heard anything from this Jewish rapper/reggae sensation, Matisyahu. Finally, 2 years later after his last release of ‘Youth’ he brings us some fresh material, but in a sigh only a 4 track E.P. With this new release entitled "Shattered," Matisyahu furthers his ever enlightening sense of mixing soulful reggae/hip-hop with meaningful lyrics about life and its journeys. This E.P. stays strong to the common Matisyahu sound of earlier releases, but instead of showcasing his rapping and overtly amazing beat boxing skills "Shattered" is largely compiled of melodically sang anthems. This is true for the last 3 tracks on "Shattered," but one of the strongest tracks is “Smash Lies,” the opening track on this E.P. This is the only song that is mainly hip-hop driven. It delivers an overwhelming amount of new effects that Matisyahu hadn’t really previously used, one in particular is the talk box used on his vocals on the first verse. From there, everything from gang vocals are applied to a background of Matisyahu beat boxing to a sample of a sitar being plucked in a Middle Eastern tone.

The next 3 tracks left on this E.P. give way to little taste of a maturing Matisyahu. All of these stick to common ground topics that any person struggling or looking for guidance can gravitate towards. That’s what Matisyahu is so well known for, being able to evoke raw emotion from this world and turning it into his own personal marching band. That would leave any audience in a semi spiritual trance. With “So Hi So Lo,” “Two Child One Drop,” and “I Will Be Light” you can hear the truth in the words all accompanied by instrumentation that transfixes a beautiful struggle. From the ups and downs of anyone’s daily life to a view of a child born into a war zone of evil with nothing. We as a people know we’re still growing and naturally care about all human life, Matisyahu just rings this bell oh so nicely, and shows us a little light into the cave we’ve dug. I highly recommend anyone who hasn’t heard of this native Pennsylvanian, Hassidic Jewish rapper to give him a listen, and to anyone who previously knows of him to give him some support. Artists like Matisyahu are of a special bread and it’s people like this who continue to write music from the soul and heart, no matter who you are or what you look like.

Yoome "The Boredom of Me"

2008-11-11T08:19:00.002-05:00

Written by: Michael Hamer

Rating: 7 out of 10

In a Yoome world, I imagine two people in space traveling at the speed of a feather, both with a slow moving turntable and rapping at a beat-poetry-speed. Yoome is actually a collaboration between; Serengeti, a Chicago native known for his innovative approach to rapping about racial disharmony, politics, and his own personal struggles, and; Renee Louise Carafice, an Icelandic indi-folk artist. Not exactly the lineup you would expect for the sounds produced on Yoome’s first album.

Yoome isn’t something to get excited about, which is exactly what they want. It’s more music for laying down to, relaxing and letting your mind wonder. Though the repetition of some of the chorus lyrics can become tiresome, the rest of the lyrics sound fluid and effortless. While their album “The Boredom of Me” is certainly enjoyable and listenable, I doubt I’ll find myself listening to this album on repeat. It’s just not infectious enough to have lasting power, though you might get an itch when you’re in an especially melancholy mood. For now I’ll suggest giving it a listen, but don’t expect it to be your favorite.

Past Lives "Strange Symmetry"

2008-11-11T08:15:00.002-05:00

Written by: Adam Gress

Rating: 7.5 out of 10

About a year ago, one spectacular band, known as The Blood Brothers, split up. Two bands were formed after the breakup, Jaguar Love (which I already reviewed) and Past Lives. The members of Past Lives include Jordan Billie as the vocalist, Mark Gajadhar on the drums, Morgan Henderson on guitar and keyboard, and Devin Welch on guitar. Every member was in The Blood Brothers, but Welch was only a member more early on in their career. More recently, he was in a band called Shoplifting.

“Strange Symmetry” opens up with a song called “Beyond Gone” that features xylophone, or something like that, along with mostly laid-back instrumentals from the rest of the group, except for a small section of noise about two minutes into it. Billie’s vocals fit very well into the song. This was the first song that I heard from Past Lives, and I was very disappointed. Having actually listened to the entire song now, it’s okay, not the best on the EP.

A drum roll at the end of “Beyond Gone” jumps into the title track, “Strange Symmetry,” quite perfectly. It’s upbeat, and a bit louder feeling than the previous track. The ending for some reason reminds me of Sesame Street, but it is a good ending.

“Skull Lender” is my favorite track on Past Lives’ debut EP. My favorite part of the song is the chorus, where the guitar parts and the vocals make a change, trading dischord for riffs sound much more happy, unlike it’s angrier counterparts on the rest of the song.

“Reverse The Curse” starts out with what could very easily fit seamlessly into a video game soundtrack, but then starts stabbing the listener with ascending, single guitar notes, while Jordan asks, “Oh well, what can you do?"

The final and longest song on the EP is called “Chrome Life”, at an epic three minutes and fifty-five seconds. With a title like that, I would expect a song that fits more in the rap genre, which may be what they’re going for in this one. It starts out with some guitar feedback, and a drum beat based on hitting the rims.

Prior to spending the time to review the CD, I didn’t really like the music that much. Having listened to it more, it grew on me. If you were a fan of The Blood Brothers like I am, or just want to try something a little bit different than your average slice of music, then I would recommend giving Past Lives a try. Jordan Billie has a very unique voice; if you don’t really like vocals that aren’t ordinary, this may not be for you. I don’t think that I will buy this, I will most likely buy their first full length if they can write some great new songs in addition to the song you find on here.

18th Dye "Amorine Queen"

2008-11-11T08:11:00.002-05:00

Written by: Gina Gaetano

Rating: 8 out of 10

18th Dye’s “Amorine Queen” is a great interpretation of hard rock that shows talent and insight, despite not being for everyone.

This album, which leans pretty frequently into the stoner metal genre from the noise rock label for which they are known, does a great job and switching styles.

The first track, “Island vs. Island," begins with an ambient guitar line leading into breathy almost Bowie sounding vocals. Without the vocals, this track could easily be mistaken for something post-rock and heavy, circa Japanese band Mono. The chorus proves to be heavier and faster with an array of voices chanting the central lines.

“Chinese Spoon” features an oddly charming and obnoxious violin swell throughout the chorus. This track creates a fabulous build from the hushed introduction to the loud choruses. Tempos are changed in a split second, displaying a true talent. Perhaps the track’s only misstep is misplaced vocal distortion during the verses; it gives an elementary feel that contradicts the
excellent instrumentation.

A cohesive drumbeat opens “Big Sky” into a sort of pseudo world jam. Dissonance and a sitar create an irresistibly danceable vibe, with the last minute or so turning into a jam session to completely get lost in.

A catchy but simple track, “Text is My Killer” boasts in the lyrics precisely what its title says, and only that. A breakdown nearing two thirds of the way of this track keeps interest, and a series of ‘ahs’ only exaggerate the song’s claim.

The whole album is deliciously weird, though not too accessible for the casual music listener. It is doubtlessly easy to see the talent that 18th Dye possesses, having released their first album in 1992. After a hiatus, “Amorine Queen” should be taken as a serious return to the music scene and a solid album for any fan of stoner/noise/hard/pysch rock.

Snow Patrol "A Hundred Million Suns"

2008-11-11T08:09:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 8 out of 10

This week I came across a CD that for many is considered long overdue, and that CD is none other than “A Hundred Million Suns” by Snow Patrol. As many of you are already aware, Snow Patrol is commonly compared to bands such as Coldplay, Feeder, and the Kaiser Chiefs, but I would say that they seem to have their own particular style that cannot be compared to any other artist.

Snow Patrol is an indie/alternative band, which has been around since the late 90’s producing hits such as "Chasing Cars" off their 2006 album “Eyes Open” which is one of their all-time best selling albums. I would say that this album did not quite live up to the reputation of its predecessor but with time I believe that this album will grow on me like the last one did, and nonetheless I would still buy this CD. I have no particular dislikes with this artist, however I am very partial to the last CD so it is going to be hard to persuade me to make this one my new favorite. My favorite tracks are 2, 3, and 10 but I think that this CD is still worth a shot to listen to, especially if you are a Snow Patrol fan or a fan of a similar artist.

Crystal Antlers "EP"

2008-11-07T15:13:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 9 out of 10

In order to generate enormous pre-debut album buzz the following criteria are suggested. First gather members for the band with very distinct styles and images. Social misfits and cultural diversity are a plus. Second, create a trademark sound complete with screaming vocals, vicious bass hooks, relentless guitar, an onslaught of percussion, and an eccentric organ. A cross genre arrangement infused with garage, prog, and psych is highly recommended. Third, hit the road and leave a lasting impression on audiences with vigorous and witty live performances. Onstage shedding of clothing and provocative stage names such as “Sexual Chocolate” are permissible.

Although not guaranteed to yield positive results each and every time, this strategy has certainly boded well for Crystal Antlers. The Long Beach, California product has arrived with a sonic boom via the release of their recording debut, appropriately titled “EP.” Produced by Mars Volta keyboardist Ikie Owens, the technical proficiency is validated with a seamless mixture of audio extremes converging into one harmonious palette of noise.

Crystal Antlers is a melting pot of musicians, individually resembling anything but members of a rock band. Collectively they form the nexus for uncompromising and scorching neo-psychedelic rock. With various influences at work, their sound is largely unclassifiable. The end result is a hybrid of organized chaos, intricate in structure. From the opening seconds of feedback leading to the explosion of percussion on “Until The Sun Dies, Pt. 2,” the album soars like a high speed jaunt into oblivion. “A Thousand Eyes” is executed with dynamic shift changes all the while maintaining genuine prog-rock sensibility. The atmospheric organ riff of “Owl” leads into a brooding composition that successfully refrains from dreariness.

Aside from a bona fide quality recording, Crystal Antlers understands that stage performance is an integral portion of their persona. The band has garnered numerous positive reviews of their live shows, mainly attributed to the wildly energetic showmanship on display. If you haven’t witnessed them live, simply head to their Myspace page and check out their streaming concert footage. They perform with the adrenalized ferocity of a punk band and the tripped out psychedelic funk of a ’60’s garage band.

Crystal Antlers has successfully grasped the art of convergence. Not only in a merging of distinctive individuals, but also a union of musical styles. The assortment effectively lends itself to unrealized potential and the anticipation of a satisfying full length debut. The only hint of disapproval may be in the actual name of the band. For one reason or another, Crystal Antlers fails to conjure an image befitting of their design. As a creative contributor, I am offering“Nexus
Crystals” or “Ivory Tusks” as name suggestions in honor of all Warcraft geeks.

Victor Bravo "Sky Full of Messages"

2008-11-07T15:10:00.002-05:00

Written by: Mark Hixenbaugh

Rating: 6 out of 10

“Punk’s not dead.” Or so was the battle cry of The Exploited in 1981. The huge cultural movement that was “punk” from the early 1970’s through the 1980’s overshadows anything that wishes to define or associate itself with punk today. Although several current bands who fall under the genre - Green Day, Against Me!, and the Dropkick Murphy’s - produce quality material, the spirit of punk rock seems to have vanished like the passing of Joey Ramone.

Classic punk was as much a byproduct of a sociological period as it was an evolution of standard rock. That hasn’t stopped current, or up and coming punk bands from identifying itself amongst a lineage of revolting rock greatness. So many people these days continue to listen to classic punk like the Clash and the Sex Pistols, and aspire to make great music like them.

Victor Bravo is part of the new generation punk movement which looks to plant its own footprint in the genre. As a two member, guitar and drum arrangement hailing from New York City by way of Maine, the band consists of Collin Daniels and Daniel Collins. Born in the same town, in the same hospital, and in the same week, these guys could very well be joined at the hip.

The fiery noise of Victor Bravo has been honed in the same New York City backdrop that punk predecessors - such as the Ramones, the New York Dolls and Iggy Pop - made their mark in. Their sound on “Sky Full of Messages,” their third self-released EP, thrives with a combination of the vintage lo-fi of 60’s garage rock, the attitude of 80’s punk rock, and the crunching chords of 90’s grunge. The band compares their sound to the likes of the Dead Kennedys, Husker Du, and Gang of Four.

Their lyrics cover the gambit as they seek inspiration from failed or dysfunctional relationships (“Kick You Out”), the war in Iraq (“Make the Escape”), the President’s self-righteousness (“Final Friend”), and coming of age (“Long Face”). “Alien Homeland” is described by Collin Daniels as, “wanting to feel a sense of home and the anger of not being able to find it.” Of course the trademark angst of punk is attempted in the aptly titled “Motherf**ker.”

Although the sound quality is present at times, the essence of punk can’t be duplicated to the standard of it’s heyday. The art of audio revolution had reached it’s pinnacle during that era. While “Sky Full of Messages” won’t have anyone forgetting about “Rocket to Russia” anytime soon, they are truly intent on wearing the mantel of punk tradition. With the country currently experiencing economic turmoil, themes of angst and revolt might certainly be the calling card for expression. Although the album fails at igniting the flames of rebellion, Victor Bravo is at least aware of the spirit of protest.

Astronautalis "Pomegranate"

2008-11-05T11:06:00.002-05:00

Written by: Gine Gaetano

Rating: 7.5 out of 10

In a way that only he can, Astronautalis combines the musical styling of others to make something all his own. The album’s first track “The Wondersmith and his Sons” features some
rapping, for which Astronautalis is known, and very Modest Mouse-esque vocals. The beat is catchy and is reminiscent of anything off of Beck’s “The Information.” A quality opening track, the tone is darker and more serious, which is perhaps an indicator of a more serious album and Astronautalis. “17 Summers” does a stellar job of mixing male and female vocal duets, a melancholy melody, and the signature rapping. A bright trumpet line cuts through the almost haunting vocals, and the song concludes with a lovely (and perfectly tuned) a cappella line. In a style similar to Menomena, “My Old Man’s Badge” uses sparse percussion and synthesizer laid behind a distorted vocal line. Weird and creepy, this track is a stand out.

“Two Years Before the Mast” breeds a chivalrous feeling; this track is meant to inspire epic journeys. A marching beat and a beautiful female vocalist create a peppy and forward motion, with listeners unable to resist their muscles’ urge to move. A change about halfway through brings eerie vocals and then frantic rapping. This track does what Astronautalis does best – combines out of sorts elements into one polished and unique result. In an unexpected twist, the second to last track is 2:45 of silence, which interrupts the flow of the album, but provides a good waiting period before the last track. Upon investigating this, it is a secret track not listed on the album.

“The Story of My Life,” the final track after the silence, is almost entirely rapping, with two different voices. A dark and heavily hip-hop song, it feels more like some of Astronautalis’ earlier work. This is the perfect conclusion to an album filled with both triumphant and disappointed tones; its introspective feel is the ideal way to culminate the themes. A quality hybrid album, Astronautalis takes the best of current indie rock favorites and adds his own spin. Good for both dancing and reflecting, “Pomegranates” niche lies in being versatile and universally appealing.

Joel Plaskett Emergency "Ashtray Rock"

2008-11-04T10:49:00.002-05:00

Written by: Alex Peytchev

Rating: 7 out of 10

After splitting up from the band Thrush Hermit in 1999, Joel Plaskett became solo rock artist and has since become very famous on campus radio charts. Joel has won Juno Awards and one East Coast Music Award. "Ashtray Rock" is Plaskett’s fourth album, he intended this one to have a nostalgic feel to it and that’s why he chose songs from his old days with the Thrush Hermit.

This album is filled with rock feel that will urge some people into turning up the volume on their stereo. I particularly liked the second song named “Drunk Teenagers." Plaskett seems to have hit the spot of this album with this song. All songs seem to be on par with my tastes. I would defiantly purchase this album if it had some electronic element added to it, especially to "Face of the Earth."

Anomie Belle "Sleeping Patterns"

2008-11-04T10:46:00.001-05:00

Written by: Brian Costello

Rating: 4 out of 10

Upon receiving this CD to review, I was informed that it fell under the category of “trip-hop.” Thus, I immediately wondered: what is trip-hop? Is it some form of hip-hop? All I know is that it is supposed to be some mix between hip-hop and house music that originated in the United Kingdom. However, Anomie Belle’s "Sleeping Patterns" seems to be more electronica and experimental than trip-hop.

The album begins in an interesting way with what sounds like an R&B track, giving the impression to someone unfamiliar with trip-hop the feeling that it is a form of R&B. However, the problems with this CD start right away. First off, Belle’s voice is too soft to match the music, causing the music to dominate the songs and making her vocals hard to hear or understand. There are times even, sticking with the experimental factor, that her vocals are manipulated, only making the already difficult task of trying to understand her all the more difficult.

As for the actual tracks, it is hard to distinguish one from another, as they all sound similar. One reason these songs sound the same is because they all follow the same tone and feel and never change. At the same time, while the music dominates the songs because Belle’s voice is too soft, the music also dominates because the songs are mostly just music. In fact, “Amy Song” is a track that is only music, sounding more like it belongs on an adult program shown on late night Showtime. However, “John Q. Public” is one that stands out the best among the others as far as music goes.

There is no doubt that this album is experimental, and while the genre of experimental can be sometimes interesting, in the case of Anomie Belle’s, it’s not.

Chemcoma "You & Isolation"

2008-11-04T10:39:00.002-05:00

Written by: Mark Bordicks

Rating: 8.5 out of 10

This week I listened to yet another new band, and to my surprise they were very good. My initial expectations were not set very high, simply because this is a brand new group and they only have 5 tracks on their album, but they turned out to be very easy to follow. Their songs were not hard on my ears, even though they have a twinge of a metal background, and to my surprise I found many similarities between this band and Evanescence. I am not a big fan of Evanescence, but this band seemed different in the fact that there were more metal based versus emo, and the also lacked the mainstream nature that always seems to follow Evanescence. This is this artist’s first album, and I would say out of the songs on it I like tracks 1 and 5 the best. I cannot say that there is anything in particular I do not like about this artist, and I would definitely buy this CD.

Meaghan Smith "The Cricket's Quartet"

2008-11-04T10:37:00.001-05:00

Written by: Michael Haas

Rating: 5 out of 10

“The Cricket’s Quartet” is the first EP from singer-songwriter Meagan Smith. Smith grew up in a family of music. Her father was a bassist, her mother was a pianist, and her three sisters also sang and played piano. Smith’s first collection of songs includes four tracks and four accompanying music videos that highlight her soft vocals. All four tracks are a slow, cabaret style that almost sounds out of date being played today. Despite being a singer-songwriter, Smith plays no instruments on the EP, leaving the musicianship to her band. After listening to the EP it is clear that Smith’s vocals are the focal point to the stripped down sound. The most promising track is the short, but loudest “Drifted Apart,” which closes the set. In the end Smith sounds old fashioned. Although this is Smith’s first release, it still feels lackluster. Smith is due to release her first full-length album “The Cricket’s Orchestra” in 2009.

Manchester Orchestra "Let My Pride Be What's Left Behind"

2008-11-04T09:50:00.002-05:00

Written by: Michael Haas

Rating: 6.7 out of 10

On October 14th, the Atlanta based Manchester Orchestra follows up their debut LP with an EP/DVD entitled “Let My Pride Be What’s Left Behind.” The EP contains two previously unreleased tracks, as well as three live songs, while the DVD includes a documentary, three live songs, and three music videos. The highlight of the EP is the slow but melodic “I Can Feel A Hot One.” The song begins simply with just singer Andy Hull accompanied by an electric guitar, and slowly adding instruments throughout the song. Another stand out track includes “Badges and Badges,” recorded live in Rock Island, Illinois. The live acoustic version shows a more stripped down side to the band that is a welcomed change of pace. While only a short installment, this EP/DVD will most likely satisfy MO fans until their second full-length album set out for early 2009.

Ray La Montagne "Gossip In The Grain"

2008-11-04T09:43:00.002-05:00

Written by: Kelly Knapke

Rating: 9 out of 10

In about the first twelve seconds of Ray La Montagne’s new release “Gossip In The Grain”, I basically fell in love.

His soulful mellow sounds and raspy voice were enough to not only chill me out, but also put me in a sweet folksy place. Even from the start, you can tell you’re going to hear something interesting.

With influences including Crosby, Stills & Nash and Joe Cocker, Ray conveys a sort of sentimental feeling without coming off sappy or unoriginal. For one, his ode to an unrequited love “Meg White” is clever and beautifully out of left field.

I would say this is creative and thought-provoking music, and a well-done album as a whole. I even made it to the end without being bored. Great work, Ray. I hope Meg gives you a call.

The Knux "Remind Me In 3 Days..."

2008-11-04T09:37:00.003-05:00

Written by: Matthew Ray

Rating: 8.5 out of 10

At first looks, you might overlook this group in its collage of music taste as nothing special or deem them with the newly used term hated by most; that of hipster rap. But in reality The Knux is a very eclectic talented group of two brothers. They’re originally from the inner city slums of New Orleans, but got their start once the hurricane pushed them westward. That is where their ship to success landed them in the Hollywood Hills. Through hard work and a means to create these two brothers by the names Rah Almillio and Krispy Kream gained connections at Interscope Records which helped them land a spot on Common’s Finding Forever Tour in 2007. Here is where they could make waves amongst the public on a national basis.

A year later, this band of brothers seems to be headed in the right direction. With their first release, "Remind Me In 3 Days..." which came out October 28, 2008 their unique garage hip-hop sound seems oh so timely. With their own instrumentation played on all the tracks, a southern swag like Outkast, and witty lyrics The Knux are a refreshing look at how styles can endlessly continue to merge. Sixteen songs are on their first album, a large risk for a freshman release with such an eclectic tapestry of styles. The Knux in my opinion knocked this one out brass-knuckle style for a brand new group, even though they’ve been playing together since adolescent time.

From songs like “Bang!Bang!” to “Cappacino” and “Roxxanne” their infectious choruses and intricate verses showcase their talent as emcee’s and as musicians. Funny thing is, those songs are all in the first five tracks of the album. That’s only a 1/3 of what this album brings to the table. I highly recommend checking out this group. I’ve been repeatedly listening to this album for a whole week now just because I don’t even have to switch tracks. Each song transitions into another song I like, maybe even more so than the previous one. Also my mood has been very in touch with the vibe of "Remind Me In 3 Days..." as of lately. From the title to the guts of The Knux new album "Remind Me In 3 Days..." I was musically satisfied and yet still hungry for more. Can’t wait to hear what these guys can do from here, I hope you give them even the smallest listen when you have a chance if you’re a fan of hip-hop, electro, or break beat music. Keep it real.

Before We Forget "L.T.D."

2008-11-03T09:38:00.002-05:00

Written by: David Talmage

Rating: 5 out of 10

These dudes remind me of early Maylene and The Sons, He is Legend, bits and pieces of Life In Your Way and a inkling of Autumn Without Audrey. Gang vocals, two steps the stereotypical breakdown, some pull offs and the palm muted build ups are all hear. What does that mean? You’ve pretty much found yourself the equation every hardcore, post hardcore hard is using to get signed now a days. I'm sure if these guys got a million friends on facebook they could for sure hit up Rise with my dudes in Prada.

Now I’m not ragging on these guys I’d have to see them live before I pass any real judgement, because we all know the real music isn’t on some CD. I have to admit this six man band from my very own Columbus, Ohio have done pretty good for themselves only being in the scene for about a year. This album does have a lot more to offer you than breakdowns and pull offs, one thing that attracted me was their vocal dynamic throughout the album. I'm a huge fan of group vocals so that’s one point in their favor. A couple tracks I thought were for sure a step above all the rest in turn of dynamics were “ Someone Something," "That One Animal," and "How Long.”

They leave you one a great note with “How Long” at the end of the cd and show the dynamic they’ve been talking up so much. It for sure puts them back into the post hardcore, screamo genre but I think that’s the direction that these guys would grow in the best.

However, they have a long way to go to put out an album that’s going to stand from the rest in their genre. If you in the mood to discover what Before We Forget has to offer then go pick up their album on Stand and Deliver Records.

Gladshot "Burn Up and Shine"

2008-11-03T09:35:00.002-05:00

Written by: David Talmage

Rating: 6.5 out of 10

The third album we’ve seen from artists Mike Blaxill and Debbir Andrews who make up the band Gladshot. Their third album “Burn Up & Shine” is their best yet. With the help of producer John Agnello (Oxford Collapse, Hold Steady, Sonic Youth) “Burn Up & Shine” hit radio stations on October 14th making nothing but positive noise.

When I first picked up this album I was unaware that I’d actually enjoy it. It’s catchy yet fun pop rock style is accented by the amazing vocals on this album. The whole album just flows from the first song to the last, it’s like taking a trip through the woods of the mind and smiling at every new path. They are great writers and musicians and that’s all I need. Mike Blaxill’s voice just flows so smoothly with Debbie Andrews piano playing and with guest vocals by Lisa Lowell from Springsteen’s Seeger Sessions there’s really nothing but good vibes coming from these vocal chords.

The album is laced with a pop/rock/jam band feel that might not always strike the urge to dance across the room but will for sure get your hands clapping and your head rocking. You can hear some of their tunes on shows featured on ABC, MTV, Oxygen and The WB network. I'm also sure you caught these guys lives when they played with bands like Head Automatica, Corey Harris and Michelle Shocked. If your into catchy pop/rock/jam duets then you should pick up this album. As a band they still have a long way to go but they seem to be on the right track.

Kelleigh Bannen "Radio Skies"

2008-10-29T20:08:00.002-04:00

Written by: Leah Addison

Rating: 6 out of 10

Kelleigh Bannen, the unsigned country soul singer gives everyone a taste of her Nashville roots on her first album, "Radio Skies," released in May 2008. Not wanting to originally pursue a career in music, she was pushed to release a country album, which is how the world was introduced to Radio Skies.

Her first album is everything that a country album should be. She sings about heartbreak in "Whiskey Rain" and no-good relationships in "Good For Nothin’." Her soulful voice catches your ear, but doesn’t keep one interested as it sounds the same as any other female country music artist. Granted, she isn’t singing about honky-tonk and tractors. Personally, I believe the best song on her album is "Done," which sings, “I could say that I need you/ I could say that you’re mine/ I could say it wouldn’t hurt me/ Just one more time/ I could say that I love you/ And I’m facing the facts/ But I’ll do anything to keep from taking you back.”

Kelleigh Bannen isn’t a bad country singer; she just doesn’t bring anything unique to the country music table.

School of Seven Bells "Alpinisms"

2008-10-27T23:34:00.002-04:00

Written by: Brian Costello

Rating: 5 out of 10

School for Seven Bells’ debut album, "Alpinisms," can be described in one word: interesting. In many cases, “interesting” can be either a good or bad thing. In this case, it’s both. The band is unique, but their overall work gets somewhat tiresome and repetitive on this eleven track album. To start off, the overall feel for the songs is an odd one. The band itself has the vocals of a ‘60’s hippie band with the delivery and feel of Enya. The music they play however is more modern rock and techno.

Now, one would think that the combining of two different musical decades and genres together would result in a mess. But on the contrary, Seven Bells pull it off impressively to the point where it’s actually pretty enjoyable to listen too, even though “Sempiternal/Amaranth” takes too long to end. However, after awhile, the impressiveness wears off after a while and one might get the feeling that they are listening to the same song over and over again.

Another problem that is apparent is that the album seems to shift gears half way through. The first half’s music tends to come from more traditional rock, but then shifts over to more techno for the rest. Thus, it makes it hard to best describe the overall musical feel of the album. At the same time, because the group’s vocals are soft and genuine, it’s hard to hear what they are saying over the volume of the music. Thus, trying to figure out what these songs are about makes it hard to impossible.

Overall, "Alpinisms" isn’t a bad album, it just tends to loose focus. While the listener may get and enjoyable experience due to the unique blending of hippie-like vocals with modern music with songs like “Face To Face On High Places” and “Iamundernodisguise," the enjoyment will die out as it is repeated throughout the entire disc. So in the end, if you’re interested in hearing something different, give the album a shot, but don’t expect much overall.

Tommy and the Whale "Shot for the Moon"

2008-10-27T23:28:00.003-04:00

Written by: Michael Haas

Rating: 8 out of 10

On October 28, 2008 the relatively new band Tommy and the Whale is set to release their debut album “Shot for the Moon." Despite only being around for about a year and a half the band has already created a lot of buzz around their hometown of Nashville, TN. After listening to their first full-length record it is pretty evident why. Combining aspects of rock, indie, pop, and at times even country, the band creates a sound that is familiar but unique, simple yet original. With an assortment of instruments including piano, guitars, drums, accordion, organ, and banjo the band has constructed a solid album with few low points. Songs such as “Fight For Our Lives,” “World Gone Mad,” and “Blackout” display the bands ability to create well constructed indie/pop sing-a-longs, while songs like “Next Twenty Years,” and “For You I Did Die” show a more stripped down side to the band.

While this album makes for a good listen, there are a few tracks that just don’t seem to make the cut. “Crooked and Blue” is repetitive and at times boring, and “Giving Up the Ghost,” while still a good song, seems a little drug out and overly long. However, Tommy and the Whale has managed to create a solid album that will no doubt only expand their growing fan base.

Shiny Toy Guns "Season of Poison"

2008-10-27T23:20:00.002-04:00

Written by: Dave Berninger

Rating: 8 out of 10

“Season of Poison” is the sophomore album from the Grammy nominated electro rock/dance group Shiny Toy Guns. The Shinys are a quartet based out of Oklahoma. Since their last album, “We Are Pilots” the Shinys lost their most idolized member, female vocalist Carah Faye Charnow in a spat where no one really knows what happened. Charnow was eventually replaced by the band's original choice for female vocals, Sisely Treasure.

With the new member came a new sound. "Season of Poison" has it all with dancey grooves such as “I Owe You A Love Song," silly fun rock songs like “Ghost Town," dark organ rock of “Blown Away,” and ballads such as “Frozen Oceans." This album covers a lot of genre ground. While no two tracks sound alike, they all seem to fit in their place just right to create a satisfying and peppy listening experience. The constant changing of styles as well as guitar/vocalist Chad Petree’s lyrics will hold the interest of most.

One thing this album does very well is lead in from one track to another. An epic experience is hearing the 3 minute dark organ solo to close out “Poison” and lead perfectly into “Blown Away." Overall the album has a dark pop/rock/dance feel to it… if that’s even possible… and it’s solid from open to close. I would definitely recommend checking this out.

Distant Lights "Simulacrum"

2008-10-27T23:16:00.002-04:00

Written by: Mark Bordicks

Rating: 7 out of 10

Distant Lights is a new band that is beginning to become recognized on a more widespread basis as of recently, due to their latest album “Simulacrum.” This artist has a very progressive rock sound, which seems original and clean. “Simulacrum” is their first major album, but if they continue to sound as good as they do here, I think that we can expect to hear a lot more from them in the future.

My preferred tracks were 2, 5, and 7 however 4 and 6 are popular as well. I think I like those tracks particularly well, because of their rhythm and their distinct blending of sounds. I cannot say that I have any dislikes about this artist, although they still need some polishing in order to hit it big in my opinion. I would definitely recommend this CD if you are an avid listener of progressive rock and alternative music, and I hope to hear more from Distant Lights in the future.

Mavis Staples "Live: Hope At The Hideout"

2008-10-27T23:14:00.002-04:00

Written by: Michael Hamer

Rating: 7 out of 10

This live presentation of Mavis Staples is one that any blues and R&B fan should own. Full of standards such as “Eyes on the Prize” and “Wade in the Water," this collection is sure to sound familiar while still being completely original and new. Whomever did the sound for the show know what they were doing, and if it wasn’t for the crowd in the background, you might not even realize it was recorded live.

Ms. Staples has been doing her own thing since 1969, and it certainly comes through with her proud, confident, and smokey vocals. Shivers will be sent down your spine throughout the album, especially when her backing band lays down some of most bluesy licks you’re hear since the early 70’s. For such an accomplished singer and band, the only complaint I can find is that at times it sounds too perfect.

What I mean by that is that because this group has been playing the same blues standards for so long, they have it polished to a point where some of the edge seems lost to training and meticulous practice. Where an excited band might let a note slip or a guitar squeal, this band seems to be way past it. It’s almost as though their polish has allowed some of edge to be blunted, giving the impression that they all might be better studio and backing musicians than a headlining act.

Having said that, I still recommend this album to anyone who appreciates good ‘ol blues and R&B.

Kaiser Chiefs "Off With Their Heads"

2008-10-27T23:06:00.002-04:00

Written by: Kelly Knapke

Rating: 4 out of 10

“Britpop” indie rockers Kaiser Chiefs bring on the catchy yet uninspiring tunes with their 2008 release, “Off With Their Heads." Upbeat and true to the their nature, the album will likely have some success, but doesn’t necessarily offer anything extra-ordinary. What the album’s likeability will really come down to will be how much slightly repetitive foot tappin’ pop one can handle in a sitting.

When you’re a British indie band named after a South African football team who notes both The Clash and The Beach Boys as influences, you’re bound to be a little different. But although The Chiefs had a rather successful release in 2005, "Yours Truly, Angry Mob," I’m unsure of how this follow-up will fare.

I have to admit that while tracks like “Never Miss A Beat” were interesting enough to hold my attention, by mid-album I was a little bored. And by the time “Addicted to Drugs” rolled around, I was pretty much scratching my head. I was excited to see that Lily Allen was featured on “Always Happens Like That," but disappointed when she was little more than a background voice overpowered by just about every element of the song.

Though the Chiefs’ style is mildly interesting and good in theory, this album just seems to slide along and unfortunately become easy to tune out. You had my attention, Kaiser Chiefs, but you just couldn’t hold onto it.