March CD Reviews (in alphabetical order)

A NORTHERN CHORUS
BITTER HANDS RESIGN
SONIC UNYON RECORDING COMPANY
I actually quit reviewing CDs for several years—in part because of music like this. I never really knew what it was called. Thanks to the fine people at Team Clermont Publicity (who specialize in promoting it, apparently), I've learned that it's called "dream pop." Me, I like to call it "music guaranteed to put you to sleep in under five minutes" or "elevator music for people on Oxycontin." It makes an emo band like Death Cab for Cutie sound like Black Sabbath. A Northern Chorus hails from Ontario, Canada, and this is the band's third full-length. Like the other dream-pop discs I've heard, the songs are meandering, formless, and tend to melt into each other. The five-piece added Alex McMaster on cello and vocals to its usual line-up, and the cello definitely brings a beautiful but melancholy touch. -tekolote

ACTION ACTION
AN ARMY OF SHAPES BETWEEN WARS
VICTORY RECORDS
While Victory has a rather impressive lineup of young bands, perhaps Action Action should be the one that receives the most attention—and not because they're so musically different from their labelmates, but because they may be the best (apologies to Taking Back Sunday). On their sophomore release, the boys of AA have crafted an album that uses their '80s influences to create a modern sound that is both original and amazing. While lesser bands such as The Bravery and She Wants Revenge may receive more airplay, it is Action Action who make it alright to borrow from the '80s, because their music sounds genuine and fresh, not created to jump on a fad. AN ARMY OF SHAPES BETWEEN WARS is one of the first must-own albums of 2006. -Jeff Srack

AMPS II ELEVEN
AMPS II ELEVEN
SMOG VEIL
The Mistake by the Lake has gone up and done it again, as Cleveland quintet Amps II Eleven uncork a raucous rock 'n’ roll rebellion with their eponymous, earth-shaking 12-track offering. Songs like "Bourbon Sprawl" truly embody the feeling of having a fifth in ya, while the bad-ass back-alley boogie on tunes like the deliciously-titled "Dirty Handshakes" assuredly contains enough grime for all. Exposing the underbelly of the rock world never sounded as booze-infested, whore-lovin', or just plain fun as when this band of outlaw rockers truly evoke the smell, feel, and spirit of 1974 that has evaded us and been repackaged into easily-digested mall rock à la Jet. Looking for danger, baby? Amps II Eleven will hold the door wide open for you. www.amps2eleven.com -Mike SOS

ANTI FLAG
FOR BLOOD AND EMPIRE
RCA RECORDS
With America on the brink of becoming a police state, Anti Flag's new album hits really close to home. Being on RCA hasn't toned down their passionate songs of injustice at all. Perhaps the only difference between THE TERROR STATE and this album is a sound that comes across more polished. Justin Sane and his comrades tackle issues like the Project for a New American Century, the WTO, and the American media. "Depleted Uranium Is a War Crime" ends the album with one of the strongest tunes on the disc and features Rage Against the Machine/Audioslave (Rage Garden) guitarist Tom Morello. Yet another stellar release from one of the best politically-motivated bands today. It's music with a message that's well worth picking up! -Matt Edmund

ARCHITECTS
REVENGE
ANODYNE RECORDS
This quartet used to be a The Gadjits, a ska band, though it's very hard to tell that from listening to REVENGE. Given the band's radical change in direction, a name-change was deemed appropriate. The Architects' music mixes punk and rock 'n' roll into a tasty, booty-shaking treat somewhat similar to Orange County's own Bullets and Octane, but with vocals that sound a little bit more like Rancid's Tim Armstrong and choruses that bow slightly in the post-hardcore direction. Lyrically, the album is dark (not surprising, considering the title of the disc). Standout tunes are "Reciprocity", "Widows Walk", the harmonica solo on "Time to Flip the Record", AC/DC's rocking style of "Tempt Me Fate". My only quibble is that some of the songs sound a bit more alike than I like on an album. Still, a very good record! -tekolote

BAD WIZARD
SKY HIGH
HOWLER
NYC's Bad Wizard bring the boogie back to rock, as the quintet's nine-track release reacquaints the lower half of the body to rock music—with solid results. From the breakaway guitar solo of "Jealous Man" to the devilishly clever cowbell intro and heavy-metal guitar gallop of "Strawberry", there's a whole lotta shakin' goin' on courtesy of this outfit, who could not only single-handedly host the I LOVE THE '70S show on VH-1 and sound entirely convincing throughout. MC5, AC/DC, Molly Hatchet, and a lot of liquor and drugs equals this bad-ass band whose '70s rock salvo hits its peak on the fire-and-brimstone delivery of "13X Around the World". www.howlerrecords.com -Mike SOS

BARAKUS
BARAKUS
SELF-RELEASED
The likability factor is high for Barakus. Their vocals have a dramatic quality about them that will surely draw comparisons to The Doors. That's not to say that this is all beatific sweetness, however. There's also a gutsy element underlying these aural proceedings. They're an American band, but you'd swear these folks had some British in 'em, too. These ears hear a touch of Echo & the Bunnymen, for instance, and hints of precious outfits like Suede. These seven songs range from the social commentary expressed through "Love and Money" to the inner-looking "Ticket to My Soul". When they lead the charge with "Rise Up with Me" here, it's hard not to get off your duff and follow right after them. Barakus just has an intangible charisma. -Dan MacIntosh

BAYSIDE
SELF-TITLED
VICTORY RECORDS
So, Bayside decided to give their second album the self-titled moniker because they've added new band members, making this album a new beginning. That's all fine and dandy, but I have the perfect title for it: "A Little Killer, Mostly Filler." While the Alkaline Trio-meets-The Smoking Popes sound is impressive at times (especially the standout guitar playing), for the most part, the band is rather bland and faceless. The major setbacks occur when the music slows down—mostly because lead singer Anthony Raneri's everyman voice isn't strong enough to carry a tune. Perhaps if Bayside could carry out the intensity of the first two tracks throughout an entire release, they might be a band worth listening to; until then, let Bayside go by the wayside. -Jeff Srack

BETWEEN THE BURIED AND ME
ALASKA
VICTORY
How a band hailing from North Carolina comes! i up with ALASKA as an album title is perplexing, but not nearly as head-scratching as this 11-track, schizophrenically sonic sojourn. Between the Buried and Me confidently display all of the dastardly metallic devices needed to blow your head clean off your shoulders on tracks like "Roboturner"; but it's during songs like "Selkes: The Endless Obsession" (where the band gets all Opeth meets Genesis on your ass) and the acoustically-led Caribbean feel of "Laser Speed" where you can actually see why this band is one of the most brilliant on the extreme music scene today. Lose your inhibitions (don't fret, tough guys, there's enough testosterone here to fill your most violent urges) and soak in the progressively pummeling beauty of ALASKA. www.victoryrecords.com -Mike SOS

CASIOTONE FOR THE PAINFULLY ALONE
ETIQUETTE
TOMLAB
Electric loops play as the backdrop to the poetic lyrics of Owen Ashworth on this release by Casiotone for the Painfully Alone. The music is quite simple, filled with synthesized beats and ambient sounds, while Ashworth speaks words that paint vivid pictures. His delivery reminds me a little bit of Tom Waits. The songs are quirky, and the listener not only identifies with the lyrics but enjoys listening to them. Many guest vocalists appear on this album, including Katy Davidson from Dear Nora and Sam Michens from The Dead Science. Usually something this musically simple would be a downer to me, but the lyrics and warmth of the stories won me over. -Matt Edmund

CLAWFINGER
HATE YOURSELF WITH STYLE
NUCLEAR BLAST
Rap-metal pioneers Clawfinger come back swinging as hard as ever on HATE YOURSELF WITH STYLE. This latest endeavor is an uncensored, unashamed 11-track release that not only showcases the outfit's penchant for creating engaging and powerful music but also does its share of providing some inspired debate. From the opening title "The Faggot in You", straightaway you know this is not an ordinary band—and this is what has made them such an entity throughout their 18-year career. Willing to stick their necks out by writing about controversial topics honestly, songs like "Right to Rape" and "Hypocrite" hit as hard with words as they do with chords. This Swedish band is powerful and have political and socially-conscious wares to offer. www.nuclearblastusa.com -Mike SOS

CONSUMPTION
OUT OF THE ASHES
SELF-RELEASED
Consumption's vocalist Gina Turner may have a name that rhymes with that of the incomparable Tina Turner, but don't expect any roof-raising R&B rock from this band. Sadly, this "other" Turner sings more like Pat Benatar (at her best), but more often she's like that chick from Quarterflash. In other words, there's a whole lot of feminine whining going out here (albeit to the constant beat of drums and guitar strums). These six songs are packed with yearning emotion—which will no doubt wear on your nerves fast. At least Benatar had the guts to, in manly fashion, hit you with her best shot once in a while. It would do Gina Turner well to likewise harden her heart now and again. Until then, we're stuck with this mushy mess. -Dan MacIntosh

COWBOY MOUTH
VOODOO SHOPPE
ELEVEN THIRTY RECORDS
New Orleans-based Cowboy Mouth is your classic good time, rock-it-to-the-walls, everyone-have-as-much-fun-as-we-do bar band. They'll have you up and out of your seat, shaking your ass and getting sweaty and all up on your neighbors within the first couple of songs; and then they'll have you running up your bar tab like nobody's business. This new release is great, with a nice variety in the songs, as well as two tributes to fellow Hurricane Katrina survivors. Although it's sometimes hard to judge a band on its studio work whose métier is live performance, the feeling and energy are definitely here, just not the sweat and likker. Especially fine songs are "Joe Strummer", "Misty Falls", and the title track. Cowboy Mouth is Fred Le Blanc on drums and vocals, John Thomas Griffin and Paul Sanchez on guitars and vocals, and Sonia Tetlow on bass. -tekolote

DAIKAIJU
DAIKAIJU
REPTILE RECORDS
This self-titled debut disc from this oddly-named band is the most original take on pulp surf I have heard since Man...or Astro Man?. What Daikaiju has added is prog rock (King Crimson to Yes), all the while driving the surf themes right down your throat. The members also have odd names: Secret Asian Ma, Dymaxion Lee, Brain Conflict, and Mr. Nein—but these cats rock it hard and sweet. Instead of this disc being a straight genre piece, Daikaiju has produced an A+, absolute stud. Some of my favorite titles include "Farewell to Monster Island", "Daikaiju Die!", and "The Daikaiju Who Loved Me". Perfect. -H. Barry Zimmerman

DARK HAVEN
YOUR DARKEST HOUR
SELF-RELEASED
This California-based quintet channel their inner Swede on this five-track offering, resulting in a pulse-quickening, heart-pounding, non-stop metallic tour de force. Complete with lush keyboards, drilling guitars, gravel-throated vocals, and destructive drumming, Dark Haven's crisp songwriting and epic recording stands head and shoulders above most unsigned acts, giving the big boys in the genre like Soilwork, In Flames, and Darkest Hour a good run for their money. Look for big things from this real-deal metal outfit. www.darkhavenmusic.com -Mike SOS

DEAD BETTIES
SUMMER OF 93
HEARTCORE RECORDS
Brooklyn three-piece hardcore punk act Dead Betties is screaming and gouging their way to the top of the truly alternative music scene. The music—which is the point of rock bands—is highly emotional, aggressive, and real. Bassist/singer Joshua Starr is the star of Dead Betties, a fantastic original voice of the future. His voice shatters glass and then melodically ties you to the chair. SUMMER OF 93 is a solid-as-hell disc worth your time and hard-earned cash. -H. Barry Zimmerman

DEAD HEART BLOOM
DEAD HEART BLOOM
KEI RECORDS
Boris Skalsky played a vital part in the Spiritualized-informed space-rock group Phaser; and though his newest venture, Dead Heart Bloom, has a name that sounds informed by a melting pot of Hot Topic's favorite bands, the self-titled debut blows any of these thoughts out of the water. Not only does the record offer an ethereally haunting rendition of Johnny Cash's "Folsom Prison Blues", it delivers a gorgeous array of string arrangements and dark storytelling that Nick Cave could appreciate—all while managing to shift gears into sunnier numbers that tell nothing of the record's other half. Musical adventurism is at play, and it's worth a few hand claps. 130 words can't give the record its due. Let's just say it's pretty damn great. -David Barker

VENICE IS SINKING
SELF-TITLED
SELF-RELEASED
Venice Is Sinking is an immensely talented band whose sound harkens back to the glory days of the shoegazing movement. Their self-titled album was in my CD player for less than two minutes before I unwittingly fell in love with its lush soundscapes and undeniably infectious melodies. The layering of Daniel Lawson's and Karolyn Troupe's vocals help deliver the lyrics in a way that borders on ethereal; and the unique addition of viola, flute, and organ help carry that sensation. The nine-track album clocks in at just under an hour, coming to a close in a gorgeous ambient wash of sound. Think Slowdive or Coastal if either had thought to add viola or flute to the mix. –Josh

DIVORCEE
MUSIC FOR CLEAN-UP MEN, BREAKDOWN AND IN-BETWEENERS
PRINCESS RECORDS
Started by Minneapolis singer/songwriter Ryan Seitz as a demo project to record his growing collection of songs, Divorcee offers up some sweet pop nuggets that are reminiscent of a cross between The Beatles, Oasis, and Radiohead. It's the group's second release. (The first, LOVESICK, came out in 2001.) The trio includes Seitz on guitar and vocals; Jon Herchert on guitar, vocals, bass, and keys; and Matt Novachis on drums and percussion. The guitar work on the disc is really sweet and lyrical and the vocals are strong, with lyrics that are easy to hear and appreciate. I especially liked "Brand New" and "Still Life", with their deft lyrics, very melodic guitar hooks, and catchy choruses. Definitely a must-have for fans of sweet Brit pop! -tekolote

DROP DEAD, GORGEOUS
BE MINE, VALENTINE
RISE
Despite half the band still being in high school, Drop Dead, Gorgeous manage to stir quite the calculated mess up on its six-song EP. BE MINE, VALENTINE is stocked with screamo from top to bottom, as the screeching vocals are relentless, as are the jarring guitar noises heard on tracks like "Well, I Never Knew You Were So Much Fun". If The Bled were crossed with Poison the Well, the end result may just be this Denver quintet, whose high-pitched guitar attack and demonic bottom end make for quite the unsettling listen. www.riserecords.com -Mike SOS

ELECTRIC SIX
SENOR SMOKE
METROPOLIS
Electric Six's electronically-tinged arena rock may sound like it's supposed to parody dance music, but that's the beauty of it all. These guys are for real, and the dance-rock nuances are so very intentional. In fact, when playing SENOR SMOKE, this Detroit outfit's 15-track feel-good sophomore effort, the feeling that a drug-fueled orgy has just been unleashed is expected. This is the ultimate white-boy funk, as songs like "Bite Me" and "Dance Epidemic" complement both Foreigner and Kool & the Gang perfectly, only with tongue firmly planted in cheek. Yeah, it's a little on the metrosexual side of the fence, but damn, the beers will fly down the gullet when this disc is playing at the next soiree you attend. www.metropolis-records.com -Mike SOS

FIVESPEED
MORNING OVER MIDNIGHT
VIRGIN
Phoenix's Fivespeed pack a sonic punch on their major label 10-track debut, as this quintet's sound falls somewhere between Taproot's metallic malaise and Saliva's tugging of the heartstrings. Heavy-handed tracks like "Blame It on You" exhibit nu-metal dexterity, while "Lights" finds the band tapping into its inner sanctum for a mid-tempo soul-searching à la Staind. Undoubtedly MORNING OVER MIDNIGHT sounds huge, rocks speakers, and is primed and ready for the radio—but the real question remains: does today's fierce face of rock radio have room for Fivespeed? www.virginrecords.com -Mike SOS

GRANDADDY
JUST LIKE THE FAMBLY CAT
V2
For its fifth and final full-length, Grandaddy concocts yet another superb blend of out-of-this-world atmospherics and lo-fi pop. Unfortunately, the band members have decided to go their separate ways, but as we've seen via the current resurrections of formerly-influential bands, it's possible that Jason Lytle and the rest of the group will have a hankering for a cash-in reunion in maybe around a decade or so. Most easily discerned as a combination of SUMDAY's hooks and THE SOPHTWARE SLUMP's droning guitars and lengthy songs, JUST LIKE THE FAMBLY CAT serves as an appropriate and worthy swan song for a short-lived and under-appreciated band. If you like the idea of The Flaming Lips meeting Built to Spill, here ya go. -David Barker

HAWTHORNE HEIGHTS
IF ONLY YOU WERE LONELY
VICTORY RECORDS
With its 2004 debut, Hawthorne Heights hit pay dirt with the emo anthem "Ohio Is for Lovers", which propelled them onto the top of the playlist of every teenager with a broken heart. Unfortunately, that remarkable song was the only bright spot on a rather unremarkable album. So what does the band do for a follow-up? Make essentially the opposite album, one with no great singles but that is a solid effort from top to bottom. What this album shows is that Hawthorne Heights is in essence a better-than-average emo act that got lucky and wrote one hell of a track. Maybe I'm just expecting too much from them, because I know this album will make their rabid fan base happy...but for the uninitiated, there is no really need to buy it. -Jeff Srack

HELLBATS
DARK 'N' MIGHTY
HAIRBALL RECORDS/PSYCHOBILLY-U.S. LABEL
Hellbats is a French quartet that neatly mixes psychobilly with metal riffage. Band members are Elibats on vocals and lead guitar, Tom Toxic on drums, Nick Elek on slap and bass, and Pantus on guitar. This 10-song disc has two instrumental numbers, one of which fades into a very traditional rendering of "Silent Night" by another artist. Why? Why do they think Jerry Lewis is funny? They're French! It's probably some sort of ironic gesture. The music is definitely tight, and I'm betting these guys would be fun to see live (given that psychobilly bands usually are more fun live than on record). Whether the metal overtones will kill it for traditional fans or whether this will get some metal fans into psychobilly remains to be seen. –tekolote

IF ALL ELSE FAILS
DO NOT FORGET TO BE ANGRY
BASELINE MUSIC CO.
For the members of If All Else Fails, eight years is an awful long time. Eight years without an album—but the wait is finally over! DO NOT FORGET TO BE ANGRY could be considered a kind of "best of" album. It features 12 tracks that span a wide spectrum of musical genres (ranging from up-tempo rock to driving, melodic ballads). I was really impressed with the versatility of Ryan Murphy's voice, as well as the lyrical content throughout this effort. "Inside the Lie" proves to be my favorite track, with its political content that's to the point yet subtle in delivery. I love the way this disc flows from one track to the next. Independent music at its finest. -Matt Edmund

IF HOPE DIES
LIFE IN RUIN
METAL BLADE
If Hope Dies have got their metalcore stance perfected, as LIFE IN RUIN aptly exhibits this Upstate NY quintet's brutal brushstrokes. From dead-on screaming vocals that run with blood to the chugga-chugga guitar goodness found strewn about the entire 11-track disc, songs like "Time Is Not on Our Side" denote an outfit content on spewing forth hearty dollops of venomously vitriolic verse with the proper helpings of pounding rhythms and metallic melody in tow, whipping the pit into a frenzy. Merging the East Coast's slash and burn style (à la Hatebreed) with shards of Swedish technicality, LIFE IN RUIN is an album capable of creating utter chaos. www.metalblade.com -Mike SOS

ISOBELLA
SURROGATE EMOTIONS OF THE SILVERSCREEN
GRANADA RECORDS
Isobella is Laura Poinsette on vocals and keyboards and Brad Richardson on guitars and programming. This is the Tampa, FL, duo's third release. The press release describes it as "sultry dream pop," but I personally felt like the closest it came to any of those words was the fact that it would be great to put on if you were having trouble sleeping and maybe then you'd dream. The nine songs are meandering, formless, and indistinguishable from one another, with the vocals so low-key that they are hard to focus on. But who really NEEDS to hear "we are an emulsion of depravity like the yellow buttons on my coat I am larger than before but I can't unravel your lapel" (from "P to M"). Warning: DO NOT listen to this disc while driving: you're sure to fall asleep at the wheel, resulting in something regrettable. –tekolote

KHANATE
CAPTURE & RELEASE
HYDRA HEAD
Yet another spooky offering from the mind of doom-meister Stephen O'Malley. This time it's NYC-based Khanate's chance to cast your under their spell. And with its slow, plodding riffs and hair-raising shrieks leading the charge, this disc definitely falls under the category of uneasy listening. With two tracks totaling 43 minutes laden with gloom, foreboding terror, and well-measured fright tactics, CAPTURE & RELEASE is the perfect soundtrack to torture someone to. www.hydrahead.com -Mike SOS

KIMYA DAWSON
REMEMBER THAT I LOVE YOU
K RECORDS
Barely-there instruments and simple lyrics help define REMEMBER THAT I LOVE YOU, which has a very folksy sound reminiscent of Daniel Johnston at times. In some cases, the vocal melodies are so simple that they're hardly noticeable, making some of the songs sound almost spoken-word. It does take a bit of getting used to. I started getting into it about halfway through and especially enjoyed "Underground". This is a fun album with a slew of quirky and cute songs that made me smile—which, according to Kimya's one-sheet, is her only real objective. –Josh

LYLAS
LESSONS FOR LOVERS
FICTITIOUS RECORDS
Warning: this album is not recommended if you are driving an automobile or operating heavy machinery. If the debut album from this Nashville outfit has one major setback, it is that it's incredibly boring. If you can play this CD from front to back without having to stop it to take a nap, you are a better person than me. This is the kind of slow acoustic pop that could put a crack addict to sleep. It's not even half bad; some of the tracks are kind of cute and almost touching. But seriously, if Lylas wants to get noticed, they have to liven things up, because this album will make a great soundtrack for a dentist's office. -Jeff Srack

MIKKI JAMES
GUESS WHAT…
XEMU RECORDS
This band's past includes the support of Lenny Kravitz; guest appearances from members of Tonic, The Black Crowes, and Uncle Cracker; and comparisons with Mikki James, pegging this as another band going along with the NYC sound.—but GUESS WHAT… manages to make me forget it "was recorded at Kid Rock's White Room Studios" for a few minutes to engage myself in its energy and enthusiasm. Though the record changes pace on a track-by-track basis and revels in a big rock sound, it just can't compete with all the other bands doing it a bit better. Then again, that's just me. I can picture a ton of people digging this. -David Barker

MODEY LEMON
THE CURIOUS CITY
BIRDMAN
Is it just my imagination, or has the rock trio configuration been making a mighty comeback of late? This might just be another fine hallucination I've gotten myself into, but rock has almost certainly been stripping itself down to its bare basics in recent years. This is a grand trend. Pittsburgh trinity Mody Lemon get lumped into the whole psychedelic/garage genre, although their latest music just sounds like pure and angry rock 'n' roll to me. This is a CD of loud guitars, bass, and drums, with only slightly louder vocals. It never sounds like these boys are trying to ape, say, The Seeds; instead, they play with plenty of heart and volume, and singer Phil Boyd is as smart as he is passionate. Three's certainly wonderful company here. -Dan MacIntosh

MOTH
IMMUNE TO GRAVITY
HEY DOMINGO! RECORDS
This is one of the best records that I've heard in ages! It combines the best of '80s-influenced power pop/rock with an angst-tinged indie sensibility that appeals to the contemporary listener. This band was actually signed to Virgin Records, but things fell apart and Moth later ended up on a new label founded by former Virgin staffer Todd Sullivan, who liked the music back when the band was still on that label. Brad Stenz, who writes the songs (as well as providing vocals and guitar), is a gifted, intelligent, passionate songwriter whose every lyric and note impresses here. My favorite numbers are "Helpless", "Girl on Girl" (very funny), "Perfect", and "Supermodel". In addition to Stenz, Moth is The Billionaire on guitar, Kevin Hogle on drums, and Eli White on bass. Seriously, I would put this at the same level of power-pop mastery as Weezer's BLUE ALBUM. –tekolote

NASHVILLE PUSSY
GET SOME
SPITFIRE RECORDS
Nashville's Pussy's new lowbrow opus opens with the sound of a rapidly-played pinball machine—and it doesn't get too much classier than that. Nashville Pussy is one of the most blatantly offensive names in all of alternative rock, and I'd love to see them on a double-bill with The Butthole Surfers for the offense factor alone. They actually sport a couple of hot chicks who play their instruments and coo backing vocals. Vocalist Blaine Cartwright, as a matter of fact, has an endearingly gritty singing voice that nicely brings to mind classic Alice Cooper. The sound here is akin to a much less sophisticated ZZ Top, so think of this as ZZ Top on a night when they're too drunk to play well. -Dan MacIntosh

NOTHING LEFT TO LOSE
THE LAST BATTLE HYMN
ZERO YOUTH RECORDS
THE LAST BATTLE HYMN is Nothing Left to Lose's debut disc, and it's a very strong start. Vocalist Tyler Wakefield has a great set of pipes, making the lyrics very easy to hear and enjoyable to listen to. (We all know that punk rock has been the excuse for some sorry vocals over the years.) I was very impressed by the way the group combines punk, hardcore, and metal guitar in a very lyrical way and has solid lyrics worth listening to. In addition to Wakefield on vocals, band members are Adam Christensen and Brent Young on guitars, Brian Roe on drums, and Travis Weil on bass. I really liked "Armies Rise" and "15,000 Dead". If you're willing to give a chance to a punk band that is a little bit different musically, pick up this disc. You won't be sorry. –tekolote

PAINT BY NUMBERS
PLASTIC
RISE RECORDS
This is one of those albums that makes me scratch my head. Is the album good? Yes. Is the album good because the band blatantly rips off Thrice, Taking Back Sunday, and Jimmy Eat World? Yes. So my review is this: if you don't mind it when bands sound like other, better bands, then go ahead and pick up PLASTIC—you won't be disappointed. The vocals are strong, the lyrics sincere, and the songs have that ability to stick into your head and follow you around all day...but this is because the songs sound exactly like something you have already heard a million times. Who knows? If Paint by Numbers can evolve, maybe one day bands will be emulating them, because they obviously have the talent. -Jeff Srack

PARADISE LOST
PARADISE LOST
DARK ELEMENT
Halifax, England's Paradise Lost is releasing their 10th album of dramatic metal. In fact, in their press kit, Paradise Lost claims that they began the "gothic metal" movement back 1991 with their album GOTHIC. The songs on this self-titled CD are full of themselves, dark and gloomy as a way of life and true to their tedious roots. In other words, Paradise Lost has released another stellar goth-metal album. Nick Holmes, Gregor Macintosh, and company are still bringing the sin and isolation to the wayward among us. If you dig the genre, Paradise Lost will make your little devil inside howl with delight. -H. Barry Zimmerman

PAUCITY
AN UNTITLED ALBUM
FRICTION RECORDS
Paucity makes instrumental music that is related to jazz fusion, as well as rock, soundscape, and soundtrack music. The music is warm and nice and evolves into more rockin' sections without becoming harsh or abstract. Paucity's sound revolves mainly around the keyboard work of Moah. AN UNTITLED ALBUM is a great "snowed in" or "pensive afternoon" disc. You can really wrap yourself up in what's going on on this 40-minute album. Some moviemaker in Hollywood is looking for AN UNTITLED ALBUM right now and doesn't even know it...yet. -H. Barry Zimmerman

RANDY
RANDY THE BAND
FAT WRECK CHORDS
The latest effort from Sweden's Randy continues with the driving rock and catchy melodies that the band has been steadily gaining recognition for. The band rips through 15 fresh new tracks without any pauses or breathing room. The songs have an element of pop but don't come off as whiny or over-produced. The guitars and bass are tight and precise, and the drums thunder on, keeping the entire powerful sound together. Tunes like "Teenage Tiger" rocket at a quick speed, while tracks like "The World Is Getting Bored" slow down the tempo without sacrificing the melodic hooks or intensity. The only reason this disc has left my home stereo in the past week is to transfer it to my car. RANDY THE BAND is Randy's best effort to date and a must-have for any fan of catchy punk rock. -Justin Sellout

SECULAR END
REVENGE OF THE PHOENIX
CELLAR DOOR RECORDS 2005
Secular End is a quirky rock band formed in Phoenix and transplanted to band mecca Austin. They're led by Secular Dan (a cool dude) on vocals and guitars, Saint Theresa on bass and cool chick vocals, and Ralph Barr on drums. REVENGE OF THE PHOENIX is a solid, cool disc. The songs within are well-arranged, tight, clever, and very hummable. Some of the standout tunes include "Machines are Slowly Taking Over My Pulse", "Sweet Reaper", and "Hey Judas". Secular End is ready to pop, so get on board so that you can still say that you were there in the beginning before anyone else. -H. Barry Zimmerman

SEVENDUST
NEXT
WINEDARKRECORDS
Veritable hard-rock road dogs Sevendust lost an original member, underwent major music-industry strife, yet they still come back swinging with NEXT and its 13 tracks. This is easily this Atlanta band's most spirited and heaviest album since their debut, displaying that the boys have found their sledgehammer grooves again—thanks in part to new arrival and nu-metal guitarist extraordinaire Sonny Mayo (Snot, Amen, hed PE), whose crunching presence breathes new life into the band. If you gave up on this explosive quintet, songs like the devastatingly harmonic "Pieces", the aggressively charged "Silence", and the anthemic "Ugly" firmly cement Sevendust's place back atop the hard-rock hierarchy. www.sevendust.info -Mike SOS

SHILOE
GUARDIAN EAR OF THE RADIO NURSE
SELF-RELEASED
Shiloe's press packet quotes a DJ who calls them the best rock band from L.A. since X. Well, in the years since punk's heyday, we've seen greats like Red Hot Chili Peppers and Guns N' Roses come along, which means a quote like that raises expectations sky high. Shiloe is guitarist/lead singer Ken Ramos, Melissa Pleckham on bass, and Jenean Farris at the drums. They sound like a garage band during "The Rat", while "Lady in the Attic" has a creepy gothic, Bauhaus/The Cure thing going for it. Although this disc is a mere four songs long, the band sounds confident throughout. Time will tell if we'll be mentioning Shiloe in the same breath as Red Hot Chili Peppers and Guns N' Roses...but this small musical slice certainly holds promise. -Dan MacIntosh

SPONGE
THE MAN
IDOL
Shedding some emotional baggage without shedding their grungy skin, '90s rock troupe Sponge may sound a tad irrelevant in today's rock realm—but who could've predicted Motley Crue would be packing arenas in 2006? Sounding as angst-ridden as ever while keeping the guitar lines dirty yet simple, songs like "Glue" and "The Man" may not contain standout riffs like on the band's breakout hit "Plowed", but after hearing the heartbreak on the acoustic "For All the Drugs in the World", you can tell this Detroit act has come full circle. Laying down its pain in the most convincing of ways, THE MAN finds this band compellingly retracing its steps back from the where are they now file back to the dusty rock 'n' roll trail. www.idolrecords.com -Mike SOS

STONE JACK JONES
BLUEFOLK
FICTITIOUS RECORDS
Born and bred in the coal-mining communities of West Virginia, Stone Jack Jones's music should be and is an inherently dark array of Americana. Incorporating organs, Moog, mandolin, and a guest appearance from Patty Griffin, BLUEFOLK (his sophomore effort) makes Jones a distinct American troubadour, maybe what Tom Waits would have sounded like had he embraced Appalachian folktales instead of the Beat poets. Occasionally some electronics pop up, and they manage to fit in flawlessly, keeping with Jones's tradition of experimentalism. It's not the easiest thing to pop in and listen to, but BLUEFOLK is a twisted, complex, and ultimately notable release. -David Barker

SUPERCREEP
SUPERCREEP
UNIVERSAL
Supercreep is the solo vehicle for Jodi Delli Santi after he dropped his band and the "s" from its name and decided to take the show on the road alone. What that act yielded is the 12-track, self-titled release by this New Jersey native who bridged and tunneled it to the East Village for a great deal of musical inspiration. From the Rival School feel of "Polite" to the electro-rock vibe (à la The Bravery) of "The Haze" to the Strokes-esque laissez-faire feel of "Mushroom Cloud", nary a hipster should be without this disc, which practically provides a blueprint to the indie-rock scene of NYC without getting messy or convoluted. If you dig highly-produced dance rock with a little dirt under the fingernails, Supercreep's debut is worth a listen. www.supercreep.net -Mike SOS

SUPERDANGER
FIGHT! FIGHT! FIGHT!
AFTERNOON RECORDS
The guitarist in Superdanger started learning guitar in 2003. He's a phenomenal guitarist—the axe-work on FIGHT! FIGHT! FIGHT! is moderately basic and simple—but the songwriting present on this record is something else, as the trio serves up 11 solid indie-emo numbers in the vein of a rough-edged Weezer with Dough Martsch replacing Rivers Cuomo. Call it nerd-rock or power-pop, but FIGHT! FIGHT! FIGHT! is an infectious debut, capable of calling all listeners to overlook its tendency to casually mimic the formulas of so many other bands with the same roots. The energy, three-part vocals, and enthusiasm seem to foreshadow a bright future—and it sure as hell is fun. -David Barker

SUPERKOLLIDER
ATOMIC CLOCK
RYFO RECORDS
Superkollider is a Boston-based four-man, modern, radio-friendly metal outfit. ATOMIC CLOCK reeks of MTV metal (Sevendust, Stained, etc.). I am not hearing much originality...but I am not sure that's the point. Vocalist Terry Boisclair is utilizing the lessons of a thousand scream-blasters and Alice in Chains-wannabe choruses. This is another album for angry conformists. -H. Barry Zimmerman

THE FLATLINERS
DESTROY TO CREATE
STOMP RECORDS
This Canadian quartet plays good old-fashioned punk rock and ska-punk. The Flatliners are Chris Cresswell on guitar and vocals, Scott Brigham on guitar, Jon Darbey on bass, and Paul Ramirez on drums. They actually were successful enough with their DIY approach to get this disc played on national radio, and the rest is history. The group mentions influences like Rancid, The Clash, and Suicide Machines—all of which are clearly audible in the music. The 13 songs on the disc definitely made me look forward to hearing more from these guys—hopefully sometime soon, since this was originally recorded in 2004 and just re-released by Stomp. The best songs are "My Hands Are Tied" and "There's a Problem". -tekolote

THE NEVER ENDERS
AIR RAID ROMANCE
INDIANOLA RECORDS
The Never Enders (Michael Sonbert on vocals, Tony Costanza on bass, Chris DeMeo on guitar and vocals, Greg Soman on guitar, and Chachi on drums) are from New York and have been playing together since 2003. If you are into the sound that is so popular now (whether you call it mallcore, emocore, screamo, or post-hardcore), you'll like this disc. I liked the fact that the songs are definitely more pop and rock-influenced than metal-influenced. All of the songs are extremely catchy and tight. Standouts are "California Against New York", "Love the Way It Hurts", "Top of the World", and "Part of Me". I'd recommend AIR RAID ROMANCE to anyone who likes this kind of music but demands variety and solid songwriting. I wouldn't be at all surprised to hear this on the radio or see The Never Enders on MTV very soon. –tekolote

THE OCEAN
AEOLIAN
METAL BLADE
When you name your band something as broad as The Ocean, you best be prepared for questions. Well, at least this German troupe—who incorporate six different vocalists on this recording—play a versatile array of metal that meshes the ambiance of Neurosis with the crushing might of New England metalcore like Converge (whose singer, Nate Newton, appears here). Pushing forth a sprawling 10-track affair as lush as it is perilous, tracks like near-10-minute "Austerity" shift mood and time signature effortlessly, while "Killing the Flies" demonstrates the collective's belligerence by exposing its bruising side. There's a lot to take in on AEOLIAN that requires a love of heavy music and an undistracted ear; but once you offer that, you'll understand the power of The Ocean's intricate approach to extreme metal. www.metalblade.com -Mike SOS

THE STORY CHANGES
LAST NIGHT A ROCK BAND SAVED MY LIFE
FUTURE DESTINATION RECORDS
I'm going to say that The Story Changes is energetic, with engaging poppy punk stuff that reminds me of Cadillac Blindside, Jimmy Eat World, and Foo Fighters. Jamie Woolford from The Stereo produced it, and we all know how memorable his work can be. The Story Changes isn't a band that will likely be heralded as an important band in the early part of our century, but for the dark days when Fall Out Boy and Taking Back Sunday reign supreme, The Story Changes is a bit of light on what's pretty much the same playing field. -David Barker

THE VERY FOUNDATION
SMALL RESERVES
VELVAFONIC RECORDS
There's really no mistaking that The Very Foundation's SMALL RESERVES is a rock album. It presents raw, driving rock like only a three-piece band can deliver it. One thing that may help separate The Very Foundation from other rock bands is their desire and ability to infuse other textures into the music. They play around a bit with samples and keyboards, and they even lap steel to help make it stand out. These guys have a lot of potential, and I'll be interested to see what they can do with their next release. –Josh

TOM VEK
WE HAVE SOUND
STARTIME INTERNATIONAL
Tom Vek is a difficult bird to figure out. He admits to being influenced by bands like Pearl Jam, The Smashing Pumpkins, and Everclear, but you don't hear a lick of grunge herein. Instead, Vek sounds a little bit like a less-electronic Gary Numan. His off-kilter singing voice is almost as detached as Numan's vocalizations. The percussion on this work clangs like a sputtering, nearly broken-down automobile. The instrumentation is sparse, to put it mildly. This leaves Vek's "wandering in the wilderness" singing voice to take center stage much of the time. During some moments, you might just feel like you're in the presence of a one-man Kraftwerk, which makes it awfully hard to warm up to Vek. Ah, but what the Vek, right? -Dan MacIntosh

THE TONY DANZA TAPDANCE EXTRAVAGANZA
THE TONY DANZA TAPDANCE EXTRAVAGANZA
CORROSIVE
With a name like theirs, this band either has a great sense of humor or is a complete waste of time. Thankfully, the first is true—and damn, these guys are brutal (almost as brutal as watching an entire hour of WHO'S THE BOSS). This spastically sublime quintet play disjointed noise rock with tinges of metal and thrash, and their song titles, which include gems like "Cliff Burton Surprise" and "Big Pun's Not Dead Because I Just Saw Him at Krispy Kreme", are priceless. If you like your psychotic smackdown served with a sense of humor, these guys deliver. www.tonydanzatapdanceextravaganza.com -Mike SOS

ULTRA DOLPHINS
WHY ARE YOU LAUGH
ROBOTIC EMPIRE
This trio of manic, spastic hardcore enthusiasts can musically put all the moshers to shame while engaging all the forward-thinking punks into figuring that this is what Refused was predicting back in 1998. While WHY ARE YOU LAUGH doesn't contain any material not found on early EPs, it does put six of them into a nice, affordable teaser for Ultra Dolphins' upcoming Robotic Empire debut later this year. There's a good bit of this stuff out here on the East Coast, but this band do it as well or better than everyone else—even though they get only underground attention. Go pick it up (and if you know they're playing near you anytime, you'll shoot yourself if you don't go). -David Barker

VAUX
BEYOND VIRTUE, BEYOND VICE
ATLANTIC
It's a shame that Atlantic Records and Vaux parted ways before this 11-track album was released, as this Colorado sextet truly embody everything right about rock music on BEYOND VIRTUE, BEYOND VICE. Taking ample influence from Warped Tour alumni, grunge-era superstars, grimy punk players, and Radiohead's radiance, songs like "Cocaine James" infectious romp inside your brain while retaining a darkened aura. Able to transcend the intangibles and keep the music first, songs like "A Simple Man" create atmosphere, tell a story, and rock. When was the last time a song you heard did all three? Hopefully order will be restored and this disc will be widely available for the rock world to fully embrace. www.vauxrocks.com -Mike SOS

VENICE IS SINKING
SELF-TITLED
SELF-RELEASED
Venice Is Sinking is an immensely talented band whose sound harkens back to the glory days of the shoegazing movement. Their self-titled album was in my CD player for less than two minutes before I unwittingly fell in love with its lush soundscapes and undeniably infectious melodies. The layering of Daniel Lawson's and Karolyn Troupe's vocals help deliver the lyrics in a way that borders on ethereal; and the unique addition of viola, flute, and organ help carry that sensation. The nine-track album clocks in at just under an hour, coming to a close in a gorgeous ambient wash of sound. Think Slowdive or Coastal if either had thought to add viola or flute to the mix. –Josh

WHEATUS
TOO SOON MONSOON
MONTAUK MANTIS RECORDS
Raise your hand if you remember the song "Teenage Dirtbag", which was released at the beginning of the decade. Now, keep your hand up if you know who sang the song. That's what I thought. So when I found out that this almost-one-hit-wonder act was still releasing albums and not working at the local Wal-Mart, I was shocked. And while Wheatus is never going to change the music business with their musicianship or introspective lyrics, they are a completely harmless act who write nice little pop-punk ditties. You might even like it if you can get passed the singer's voice (which makes that hairy guy from Coheed sound like Johnny Cash, his voice is so high). Nothing special, but let's at least give them a hand for surviving near-stardom and fighting through obscurity for this long. -Jeff Srack

WITHERED
MEMENTO MORI
LIFEFORCE
It's ironic how much of the new wave of American metal sounds like Swedish and Norwegian thrash and black metal, but that's the case once again with Atlanta's Withered. Add in some of Mastodon's more majestic posturing and a pseudo-goth metal façade, this seven-track, 37-minute bone-crunching barrage melds the styles with a viscous coating of stoner rock (as evident on tracks like "Within Your Grief"). Changing tempos with savage grace and capable of slugging out a sludge-a-thon on the nine-minute "Like Locusts", MEMENTO MORI is an album rich in metallic influence and executed with pounding precision. Adventurous and abrasive, this disc needs your most metal of attitudes to be properly enjoyed. www.lifeforcerecords.com -Mike SOS

YOUNG CANADIANS
NO ESCAPE
SUDDEN DEATH
Having never released a full-length album, Young Canadians compile all of the tracks from their three EPs plus a slew of live and previously-unreleased tracks. Most of these tracks were recorded at least 20 years ago, but what the recording quality lacks, the band makes up for with tight performances and well-written songs. Most of the tunes cruise along at a solid mid-tempo rock speed, and Art Bergmann's solid vocal attack is adapted to fit each song perfectly. If you are not old enough or an avid-enough record collector to own any of the EPs, this CD conveniently packages virtually everything the band ever did. A good disc of '70s punk rock 'n' roll. -Justin Sellout

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