Hail Of Bullets…Of Frost And War
The disc opens with an instrumental track, which can be considered an addendum to the review of Aletheian’s Dying Vine posted on Revolt a couple of weeks ago. It discussed the difference between powerful, relevant instrumentals and meaningless disposable tracks the band didn’t know what to do with. Instead of rehashing the entire argument, go check it out in Revolt’s review archives. Once you have, listen to the …Of Frost And War’s opening track, “Before the Storm (Barbarossa).” While completely different from everything else on the album thanks to the orchestral strings, it helps set a tone for the rest of the CD. The soft and low-key introduction sharply contrasts the blistering guitars showcased over the next 50 minutes. The effect evokes a “quiet before the storm (or war in this case)” feeling. The opening blast beats of the album’s first real song scream familiarity by way of German band Heaven Shall Burn. If Heaven Shall Burn hadn’t dropped Iconoclast (Part One: The Final Resistance) earlier this year, you would swear …Of Frost And War was their latest. That is, until vocalist Martin van Drunen unleashes his first snarl on “Ordered Eastward.” The song’s first lyric destroys any illusion of a Heaven Shall Burn knockoff. Granted, Hail Of Bullets still shares a similar sound (which is a good thing) but in no way copies their fellow Germans. The comparison really matters in the way Hail Of Bullets adds a ton of distortion to their guitars. It creates an ambient and ever-present noise, drawing out each chord almost infinitely. The technique makes for an epic and breathless onslaught of your senses that doesn’t allow the listener a moment to breathe. …Of Frost And War moves very well. Not in a “Let’s dance!” sense obviously, but in regards to pacing. The guitars provide a really strong and distinct rhythm, especially on songs like “Stalingrad,” which relentlessly chugs through to its conclusion, much like a battalion of troops would as they march towards their target. It marks another way the album’s theme lends itself as a driving creative force that helps to distinguish Hail Of Bullets from other death metal acts out there. One of the album’s few drawbacks is the tracks can sound very similar at times. It never gets boring but all the songs start to bleed together. It stems from the very same distortion that gives the album that raw and epic feel. In the end, it’s a minor problem on an otherwise incredibly strong debut from Hail Of Bullets. …Of Frost and War has all the death metal fury a seasoned fan could want but without the pig squealing vocals and unrecognizable, low-tuned guitars that turn off newcomers to the genre. – KYLE ANDRUKIEWICZ Learn more about Hail Of Bullets by visiting hailofbullets.com.  The Heysyoungbored&broke
“Elbow Culture,” on first listen, establishes The Heys as a band with a strong Guided By Voices influence. Unlike the rest of the album, which owes more to the British-based garage rock tradition, the song is classically lo-fi indie. “Pressure” attempts to steal the opening bass line from the Pixies’ “Gigantic,” and then starts with a guitar lick that sounds suspiciously like that insanely popular OK Go treadmill song. “Young Bored And Broke” has, as all the tracks do, a really moving, punchy guitar lick, but it’s the song’s frank address of relatable circumstances that makes it memorable. “Arms & Legs” opens with the line, “When the color starts to fade to gray and nothing goes your way / You don’t know what you’re going to do, you know you’re following from altitude.” Occasionally, the dark, overwrought lyrics detract from the music, as on “Arms & Legs.” Something about “Hey” calls to mind mid-90s alternative rock, like a hit by Bush or the Foo Fighters. The brooding, self-conscious lyrics again threaten to overwhelm the song, but the guitar and drums rescue the song from melodrama. “Get It On” is a slow-paced, downbeat song about a break-up. “Get It On” is a little awkward – throughout the duration of the song it seems The Heys want to burst out with one of their fast, hard-rock numbers – and shows the band attempting a difficult medium. “Aint Wot You Say” is one of the best songs on youngbored&broke. The song has a great lick, the Beck-inspired repetition of “na-na-na,” and that same OK Go-inspired chord progression. “Take It Easy,” the album closer, sounds like the last song of the night: heavy, tired, and full of regret. One minor issue on youngbored&broke is the production. The songs are there, but the lo-fi production and monotony of instrument choice don’t allow the songs to live up to their full potential. I look forward to future releases from The Heys, hopefully with larger budgets. – JULENE PAUL Add The Heys on MySpace by clicking here. Less Than JakeGNV FLA
The album opens with the short “City Of Gainesville” which works well as the introduction. The beat and tempo are a little gentler than what the track prepares for, but the song segues so well into “State Of Florida” that it would be easy to think it was all a single song. The lyrics make an immediate insider reference to Gainesville, which will appeal to those from the area but can also be appreciated by all listeners as a clever rhyme. “State Of Florida” has a significantly increased pace and pulls in the almost frantic feel that many Less Than Jake songs possess. With a good bridge and some fun guitar-work, it’s hard not to like the track. “Does The Lion City Still Roar” begins with a fantastic horn introduction that pulls in everything entertaining about ska music. The minor key sets the track apart from the first two and the rawness of the vocals adds genuineness to the song. “Summon Monsters” also makes good use of the horns but the song simply isn’t catchy as those that come before it. However, the nod to the agonies of being a teenager has its entertainment value and the spoken dialogue halfway through the song is used well without becoming distracting or kitschy. “Handshake Meet Pokerface” makes up for the somewhat forgettable “Abandon Ship” and has some rather catchy lines such as “she says the mornings always taste like turpentine.” As with many other songs on the album, the tempo is danceable and the track doesn’t belabor the point, keeping under three minutes. “The Space They Can’t Touch” is a standout on GNV FLA. The great use of something as simple as running scales at the end of the verses adds a little something different while not being so unusual that the track feels like a reach. Sadly, “Conviction Notice” doesn’t have the same uniqueness that “The Space They Can’t Touch” does. There’s nothing wrong with the song, but it doesn’t have anything much to make it stand out in a sea of 13 other tracks. As with the beginning of the album, GNV FLA uses a set of two songs to wrap things up. “The Life Of The Party Has Left The Building” is different from anything else on the album. A slow pace, distorted vocals and the sense that it would be best at a high school dance circa 1950, might make listeners wonder if Less Than Jake is going in a new direction or if the track was accidentally included on GNV FLA. However, like “City Of Gainesville,” the song works as a lead-in to the next, “Devil In My DNA.” The last song is signature Less Than Jake. Full of energy and a good balance between the horns, guitars and drums, it’s the perfect way to wrap up this collection. It’s good to see that a band that has been around as long as Less Than Jake isn’t getting sloppy on their records, but, at the same time, the songs aren’t especially different from earlier work by the band. However, sometimes it’s comforting to find that one’s favorite group hasn’t completely transformed themselves in an effort to gain more fans just because of the latest trend in music. GNV FLA is a fun album that displays all the things Less Than Jake is good at and has become known for. – EVELYN MISKA Read our interview with Less Than Jake by clicking here. Natalie Portman’s Shaved HeadGlistening Pleasure
NPSH is great at what they do. Their beats are fast-paced and catchy, they utilize their instruments to complement their sound, they have modernized ‘70s disco, and they have avoided their album sounding like one 46-minute song. But the most intriguing thing about this album is not their ability to put together a more-than-decent dance track. Instead, what is most interesting is the intentional lyrical humor present in a handful of songs. For most fans of dance music, lyrical depth or meaning holds little to no importance, so NPSH says, “Why not have some fun with it?” With titles like “Me & Yr Daughter,” “Sophisticated Side Ponytail,” and “Bedroom Costume,” it’s easy to guess which tracks might be a little more entertaining than others. Of these humorous tracks, the most hilarious of all is “Beard Lust.” “Beard Lust” is a song written entirely about facial hair and the acts of growing it, caring for it, and shaving it. In fact, the entire second verse is a story about trying to grow a beard while on a fishing boat. When it doesn’t grow in the right way, the story’s narrator decides to shave it but doesn’t have any shaving cream. Despite this, he shaves it anyway, and everyone on the boat hears him screaming from the pain. The simple fact that a song about beards exists is hysterical in itself, but the entire lyrical content of “Beard Lust” is sincerely priceless. Additionally, it can best be stylistically compared to MC Hammer or other ‘90s rappers. Again, many people are likely to think this song is beyond stupid, but for those who don’t mind a little humor, this might be an album favorite. Another one of NPSH’s entertaining tracks is entitled “Bedroom Costume,” though it’s not nearly as ridiculous as “Beard Lust.” In “Bedroom Costume,” the only ridiculous thing about it is the lyrical content, which makes this song an even more intriguing experience. The beat and melody of this song are pretty high-quality and very pleasing to the ear. In this song, the band’s only female member, Claire England, makes a wonderful vocal contribution, and the song becomes a duet between England and lead vocalist, Luke Smith. Paying no mind to the lyrics of this track will have you enjoying this song just like any other mellowed-out dance tune. But on top of the song’s good quality are those amusing lyrics which give this track that extra ability to stand out. Though some people will undoubtedly argue this album might not be worth their time, taking their advice will make you miss out on what could be your favorite album of summer ’08. The ability to fuse personality and humor into music and still make it sound good is a massive achievement, and there is no doubt that many bands have crashed and burned at this attempt in the past. But whether you’re listening to it for musical quality or entertainment value, NPSH’s Glistening Pleasure has so much to offer all-around. Blast it in your car, on the beach, or by the pool; NPSH is the perfect companion to the summer sun. By the end of Glistening Pleasure, it’s almost definite that you’ll be in a better mood than you were before. – JESSICA KENNEY Add Natalie Portman’s Shaved Head on MySpace by clicking here. Alkaline TrioAgony & Irony
“Calling All Skeletons” is a really strong album opener. The contrast between the dark, plaintive lyrics and the song’s frank, rhythmic execution make it a great choice for a second single. “Help Me,” the lead single, is purportedly about Joy Division lead singer Ian Curtis. Despite the dark subject matter, “Help Me” is a smart choice for radio play – the song appeals to a mainstream audience, rooted primarily in pop conventions. “Over And Out” is a really depressing song, apparently about a suicidal war veteran suffering from post-traumatic stress disorder. I like the political statement, but the song is just way too heavy for a good listen. “I Found A Way” opens with muffled, overlapping voices, and then incorporates lyrics that are the stuff of emo jokes: “Stumbling through the dark with a broken heart / All alone at it, once again.” The song is a definite fan pleaser, and steals a lot of its synth-pop beat from bands like Panic At the Disco. “Do You Wanna Know?” is trademark Alkaline Trio: classic, radio-friendly pop with non-radio-friendly lyrics, in this case regarding a break-up and the ensuing depression it causes. “Love. Love. Kiss. Kiss” doesn’t really seem like an Alkaline Trio song – give the same melody and lyrics to Kelly Clarkson, and this would be a poppy love ballad. It’s a great tune, but depending on your level of cynicism, by the hundredth time you hear the repetitive “Love, love, kiss, kiss” you may have skipped to the next track. “Into The Night” is the perfect way to end Agony & Irony. The easy, sing-a-long chorus is like karaoke for emo kids. This is meant as a compliment. One of the worst aspects of the emo genre is the sacrifice of melody for style. Though Agony & Irony comes from a mature band, the album doesn’t shine with the wisdom of experience. But on Agony & Irony, Alkaline Trio does what they do best: lament relationships, emotions, and the past, and gives listeners some great tunes while at it. – JULENE PAUL Learn more about Alkaline Trio by visiting alkalinetrio.com. Soilent GreenInevitable Collapse In The Presence Of Conviction
Album opener “Mental Acupuncture” starts with a quick spurt of a riff and transfers into a big guitar melody that injects moments of fast guitar and drum licks every few seconds. This spontaneous writing will keep your ears in tune for the remainder of the album without simply just being random. Many of the bursts repeat in some form or another, or are slightly changed from instance to instance. Most of this is done with help from quick drum fills, as the drums take the lead for many of the wavering rhythms found on this track. “Blessed In The Arms Of Servitude” echoes many of these ideas, as the guitars are more reactionary to what the drums are doing. This track sees Soilent Green injecting a little southern flavor into the melody about halfway through the track. Vocals throughout Inevitable Collapse… are gritty without being overbearing or sounding like complete nonsense. Where vocals can be an instant buzzkill in the heavy music arena, these vocals have enough bite to be mean but are not annoying. It can get old after awhile, as this record does clock in at over 40 minutes. The first real curveball is in the banjo opening for “In The Same Breath,” which besides being a shock, works. After reinforcing their roots, the track explodes into a quick burst of fills, followed by a grim sounding verse. Acoustic guitars kick off “Lovesick,” a somber track that eventually sheds its skin to reveal repetitive spurts of different riffs. The wicked sounds that start “Superstition Aimed At One’s Skull” sound like a wah-wah from outer space. These twists and turns make this album even more impressive from a writing standpoint, especially considering the nearly perfect balance of widespread riffing and melodic hooking. It would be a stretch, but in some ways this album is reminiscent of the work of Between The Buried And Me – just minus the keyboards and a touch more on the heavy side than BTBAM’s Colors. Sprawling shred action in “For Lack Of Perfect Words” and the jagged rhythms starting off “All This Good Intention Wasted In The Wake Of Apathy” further display the flexibility of songwriting by the band. If heavy music is your thing, Soilent Green is a band worth checking out – especially if technical songwriting is something you admire. – JASON GARDNER Add Soilent Green on MySpace by clicking here. BaskervillesTwilight
Listening to this album is a progressive realization of what, exactly, Baskervilles is, as well as a constant battle to figure out your feelings on them as a band. At first, you’re led to believe that maybe Twilight won’t be so bad. “A Little More Time,” the first track on the album, is catchy, full, and danceable. The use of piano and violin complement the basic parts of the song, like the drumbeat and melody. The two vocalists, one male [Rob Keith] and one female [Stephanie Finucane], combine their voices to create a harmonized chorus. If every song on Twilight flowed as well as this one did, there would be much less to complain about. Unfortunately, the elements of this song that make it stand out are the exact elements that are missing in other songs. As a result, most of the tracks on this album blur together. After having high hopes from the opening track, a short interlude precedes the next full-length track, “Smash.” “Smash” is a near perfect example of everything that is wrong with Twilight as a whole. For example, orchestral/symphonic inserts do not always fit in with the rest of the song. Every element of any song should fit in with and support the overall sound of that song. In “Smash,” however, these parts become more of interruptions than additions. Approximately 38 seconds into this song, an orchestral section starts off with a violin progression from out of nowhere. Had Baskervilles attempted to incorporate the instruments used in this section throughout the rest of the song, the orchestra break may not seem as random. Instead, it seems that Baskervilles is simply trying to show off that they use different instruments than most bands. Symphonic additions are strewn throughout the album not because they fit, but simply because they can be there. However, in music, or even in life, being able to do something doesn’t automatically mean that you should. Another shortcoming of Baskervilles’ is their vocalists’ failure to harmonize their vocals. As is clear, the vocalists have two completely different voices. Instead of figuring out a way to make this one of their strengths, it has become one of their major weaknesses. In most songs, Finucane and Keith sing the same part, but they both sing it in the same way instead of alternating octaves or singing different things at the same time. This, too, is present in the song “Smash,” but is also present in spurts in the majority of other songs (“Where Did My Summer Go?” to name one). While they do sometimes attempt to harmonize, such as in “Staying There For Awhile,” their voices do not pair together very well. It’s a bit of a shame that Finucane’s vocals are not used more in this album, as her voice is much smoother and more enjoyable than Keith’s, but this may just be a personal preference. But even if Baskervilles were to go back into the studio and fix all the nitpicky inadequacies, Twilight may still sound like the soundtrack to a bad, indie, Broadway musical in which all the songs sound like each other. Once again, “Smash” is an example of this poor vibe that the album gives off. Other instances of this are in “Where Did My Summer Go?” and “Sweet and Sour.” For a handful of people, this Broadway-esque sound will be an attractive quality. But if you’re looking for the sound of a Broadway musical, go see a Broadway musical, because although they do have a Broadway-esque sound, they are not necessarily good at it. There is one song that is likely to get a little recognition for Baskervilles. This song is called “Caught In A Crosswalk,” and it is the only song besides the opening track that I did not agonize over. There are a few reasons why this song is better than the others, but, in a nutshell, it’s everything that the other songs are not. This song is the only track sung entirely by the Finucane. Additionally, no instrument makes a spontaneous appearance in this song. Every element of this track is evenly and appropriately distributed. Despite all the negative things there are to say about Twilight and Baskervilles on the whole, this track proves that Baskervilles could really make some great stuff if they wanted to. While the rest of the songs on the album are all one big mess, this one is a catchy indie tune that actually deserves some radio play. Twilight is an unconventional album. In some cases, unconventionality is a good thing. In this case, sadly, it is the tragic downfall. One or two good songs on a fourteen-track album is not enough to prove that this band knows what they’re doing with their creativity. Though what they’re going for is an interesting idea, it would probably best for Baskervilles to take their ideas back to the drawing board. – JESSICA KENNEY Learn more about Baskervilles by visiting baskervilles.net. Priscilla AhnA Good Day
Listeners may recognize the first track, “Dream,” from Priscilla Ahn’s performance on The Tonight Show With Jay Leno, or from its appearance in an episode of Grey’s Anatomy. Though “Dream” is the lead single from A Good Day, it is weak melodically and painfully cliché, lyrically. “Wallflower” is entirely better. Equal parts folk, jazz, and pop, the song calls to mind Martha Wainwright on mood stabilizers. “I Don’t Think So” is another light folk ditty, complete with the Bob Dylan harmonica line to prove it. And though Ahn is singing about romance, dangerous territory for songwriters with a flare for drama, she refrains from overwhelming her simple melody. “Leave The Light On” falls into the “Dream” category. While the songwriting is solid, Ahn’s humming and self-indulgent arrangement bury the song’s merits. “Red Cape” is like a B-side by Rilo Kiley or Silversun Pickups: solid, girl-fronted indie rock. It’s my favorite song on A Good Day, but maybe only because I’ll take Liz Phair over Norah Jones any day of the week. “Astronaut” is a simple folk song with a circus-inspired twist. Ahn doesn’t quite pull it off, but the fact that she chooses to experiment shows her potential for growth. “Lullaby” begins with a genuinely interesting arrangement of violin and harp. But the song’s concept – a lullaby for a girl stuck in a small town “where the townies die” and where “no reads anyway, they all watch TV” – comes off as preachy and condescending. “Find My Way Back Home” has Ahn sounding like ‘60s folk musician Vashti Bunyan’s heir apparent. The song showcases Ahn at her best: simple, straightforward, and plaintive. A Good Day has many strong songs, and Ahn easily proves her skills as a songwriter. But it’s her weakness as a performer that leaves A Good Day a flat and mediocre album. Maybe Ahn should stick to songwriting for other musicians. – JULENE PAUL Learn more about Priscilla Ahn by visiting priscillaahn.com. Bella NoirPremonition
Bella Noir is best enjoyed with a good set of headphones. There’s a lot offered in the nooks of the stereo that would be otherwise lost. Tracks bleed from one to the other, creating a homogenous spaceflight that seams the EP together into the same vein. There’s a lot to listen to, but the layers don’t burden the listening experience and individual elements hold their own against the tendency layering has to fudge the ingredients together into a mass. The Peter Hook-ish bassline and mutiny of rapid fire drums on “Stand Closer” pave the way for stabbing guitars, light vox, and a great synth line that come through in crystal clarity. The delicacy of the fragile chimes overlaying the melodies in “On The Floor” are preserved and add the right kind of haunting quality. The band knows what mixes and what doesn’t and they do it with precision. Premonition is neither jarring nor completely ambient, filling a space that works to tantalize the senses from a distance. The slowed rhythms and rapid bursts of drums add velocity to the tracks without seeming to rip the songs out of midtempo. “My Son” sounds like a lost Morphine track with session guitarists. From the opening guttural flutter of artificial sound to the apex of guitar lines, the downer jazz song is filled to the brim with instrumental effects. The clicking rim shots of “Try” switch over to ride cymbals as the transition from bass to flange switches like a streetlight. It’s groovy, snaky, and when the midpoint rolls around, pretty raw. Though Premonitions offers only a 20-minute glimpse of what the band is capable of, the meticulous devotion to filling the ears with the right sounds is promising. Given the time, this band could maybe record the next great ambient rock album. I’m hoping this premonition is for something big on the horizon. - MATT WENDUS Learn more about Bella Noir by visiting bellanoirmusic.com. Puscifer“V” Is For Viagra
Keenan’s strength lies in his ability to turn on a dime and morph a harrowing croon into a fire and brimstone bellow. Part of the reason Tool is such a potent force is that his vocal sustain is able to tie together the grungy speed metal dynamics of his bandmates. When he’s matched with subdued or ambient processes, his signature voice becomes caged and ordinary, and he sounds almost bored with his occupation. Puscifer takes this tendency to dangerous levels with its reliance on synthesizers and “V” Is For Viagra chucks Keenan’s voice into the dustbin altogether. It runs the gamut between a Type-O Negative croak (”Queen B” - “Glitched And Bent” Mix) to bluesy dirge (”Sour Grapes” - “Late For Dinner” Remix). Most of the time, the synth doesn’t even fit this groaning rumble, but “Momma Sed” - “Tandimonium” Mix hits the spot, rubbing out the smooth rhythms with shots of sound. Too many songs sound like Nine Inch Nails tracks taxiing on the runway, but never taking off (ie. most of Sister Machine Gun’s work). “Trekka” - “Desert Porn” Mix plods along as a mixture of apocalyptic factory noises and Maynard’s muttering. Since the song sounds like a soundtrack to a montage of sweaty, determined images of dudes jumping over hurdles or walls, you half expect either “Army” or “Gatorade” to flash at the end. There’s also the remix staple of old 1950s movie sound bytes played repeatedly through an echo filter on tracks like “Vagina Mine” - “Deflowering” Mix. This is one of the better tracks because it focuses Keenan’s raging disgust in breathy delivery over a merciless bass line. Still, this track along with the others practically screams out for Keenan’s to open his pipes higher than conversation volume to break the malaise. Book-ended by an expanse of boring audio glowering is the most unique and blatantly dumbed-down track. Nonetheless, the gimmicky “Country Boner” promises amusement to all of those who think it’s funny to hear someone talk about “fucking Randy Travis with a 12-inch plastic toy.” Of the two mixes on the disc, “Disco Viagra” does the trick with its boppy, Sesame Street whimsy juxtaposed over talk of buggering the Judds. The “Dirty Robot” Mix plays like a bad mix tape of cobbled-together eurotrash electro, with industrial guitars and what sounds like Maynard’s voice pumped through a Casio. “V” Is For Viagra sounds like an interpretive grudge, the kind of music that best accompanies passing out next to a pool of sick in a spinning room. Come on, Maynard, you can do better than this. - MATT WENDUS Learn more about Puscifer by visiting puscifer.com. AletheianDying Vine
“As the Fall Breaks” showcases the first method almost flawlessly. The band uses only two chord progressions for the first two-and-a-half minutes of the song, switching seamlessly back and forth between the two yet each time subtly adding a new element. There is a brief interlude in the middle of “As The Fall Breaks” but when the song kicks back in, it showcases a variation of the second riff introduced at the beginning. Other bands may do the same thing but Aletheian elevates themselves by making these dynamic patterns the focal points of their songs and using them to build a musical narrative on each track. Dying Vine’s other strong point comes from their blend of so many different genres. Some of these may sound a bit odd but at various parts during the album, Aletheian infuses the best elements of Gothenburg, progressive, melodic, death, and even ‘80s arena metal. Surprisingly, Aletheian is even identified as a Christian band. For those of you that would - don’t let it turn you off from the album. Aletheian doesn’t preach and they don’t let their beliefs dominate their music or their lyrics like some other bands might. The album does have its drawbacks though. Frontman Joel Thorpe gives a decent but largely forgettable performance on vocals. Even worse are the clean vocals provided by guitarist Alex Kenis. If his European, Broadway opera, ‘80s vocal styling sounds familiar, you may recognize them from the other band his voice plagues, Becoming The Archetype. Even if you do happen to like those type of vocals, you will admit Kenis does them worse than most. The best example comes from the album’s worst track, “Open Grave,” which coincidentally is the only one to prominently feature Kenis’ voice. For a re-mastered and re-mixed album, the production work is also surprisingly sub-par. The guitars completely dominate the tracks and relegate the vocals and drums to background roles. That’s not necessarily a bad thing considering the guitars are Aletheian’s strong suit, but even they sound muffled in parts. In fact, Alan Douches, who did the clean-up work on the album for Metal Blade, may have made that decision consciously. Still, a little more balance would have served Dying Vine well. Instead, it comes off like the band was trying to hide its ineptitude by burying the drum and vocal tracks. Another nitpick about Dying Vine is the instrumental track. This is an epidemic that goes far beyond Aletheian but it’s just as good a time as any to bring it up. The band uses the nearly four-minute instrumental “Burnt Offerings” to separate the original album from a cover of Cynic’s “How Could I” added for the re-release. Bands should only use instrumental tracks sparingly and when they do, they need to serve a specific purpose. Separating new and old material does not cut it. Instrumentals work best when they set the tone or provide atmosphere to an album. They can serve as an intermission for the listener to give them time to either catch their breath or think about what they just heard. Instrumentals can also operate effectively as long intros or outros that connect two disparate songs to one another. Above all, they must remain brief. Aletheian, and so many other bands, fail on all of those counts and end up presenting a useless filler track that leaves the listener scratching his or her head. (Wow…it feels good to get that off my chest.) These flaws play insignificant roles in an otherwise promising major label debut from Aletheian. While Dying Vine doesn’t reinvent the wheel, it displays incredible music writing talent and shows of some very strong guitar playing. It will be interesting to see how Aletheian will evolve and maintain their mixture of diverse styles when they get back to writing new music for their next album. – KYLE ANDRUKIEWICZ Learn more about Aletheian by visiting aletheian.com. The Feelings MutualThe Feelings Mutual
It is safe to assume the members of TFM have been following the works of Dave Grohl for quite some time, as their EP hints at Foo Fighters and Nirvana as two prominent influences. In fact, the very first thing you’ll hear in the opening track, “Monolith,” is a stolen but slightly tweaked guitar riff from “Times Like These” by Foo Fighters. Immediately afterwards, you’ll notice the off-key vocals. It becomes evident rather quickly the singer’s clean vocals need some work. One thing the singer does do well, however, is yell. Though his yelling is reminiscent of the vocal styles of both Dave Grohl and Kurt Cobain, it is one of the strong points in which TFM can take pride. Another case where originality suffers is in the final track, “Sleep.” Once again, the introduction to the song may be most accurately compared to Nirvana or Chevelle, until the song breaks into a Brand New-like chorus. As in other songs on The Feelings Mutual, such as “Monolith,” “Soul Korea,” and “Ring Me Out,” the chorus in “Sleep” is repetitive and short. This means that four out of the five tracks on this EP have a one- or two-line chorus that is simply repeated over and over. For any band, this weakness is debilitating and quite noticeable. For TFM, it’s just one more inadequacy to add to the list. So, what’s good about TFM? As much as this EP has already been bashed, it does have its three minutes of glory. “Ring Me Out” is the one song on this album that sticks out among the rest. In this song, the vocals do not suffer much at all, and they are beautifully combined with a catchy drumbeat and a supportive high-pitched guitar riff. It’s even complete with a fully developed instrumental bridge! When compared with the rest of the EP, this song is outstanding and exponentially more enjoyable than the rest. What shows that it really is a good song, though, is that it would still be just as enjoyable when taken out of the context of the other four tracks. As mentioned before, TFM’s self-titled release isn’t the worst thing to happen to music, but it certainly isn’t the best. They are similar in style to Status Green and The Kickovers, both of which are decently talented, yet have failed to really get their names out there. As a result, these bands play bar gigs in front of crowds that consist mostly of locals, friends, and people who couldn’t find any other plans that night. This is a likely fate for TFM. While they’re fairly entertaining, they are not revolutionary, and it would be unwise for the members of TFM to quit their day jobs. – JESSICA KENNEY Learn more about The Feelings Mutual by visiting thefeelingsmutual.com. Blowing TreesBlowing Trees
Blowing Trees has the feel of a session with the musicians playing in one room while the singer does his thing in an adjoining one. The vocals generally mesh with the rhythms, but they rarely find real synergy with the intricate layers and for the majority of the time, they’re downright grating. “Pass To Carry” sounds like a Dashboard Confessional song with an army of guitars, but with the same tween breakup vocals. “A Different Tune” hardly lives up to its name. Its formulaic structure and incessant “yeah, yeahs” add up to a flaccid tune. For much of the hour-long album, Chris Maddin’s vocals are maddening (haha), but on a couple of tracks like “California Skies,” he calms the falsetto beast. It’s a dreamy flight that focuses around a swirling, phased guitar and a breathy vocal melody that’s light on the squinty-eyed flourishes. It doesn’t tickle the spine, but it gets the head moving and gives a welcome reprieve from a bulk of dull-ass songs. In general, Blowing Trees succeeds when it errs on the side of prog, which normally isn’t a tactic that garners too many bands praise. “Goblins” builds its depth off a warbling array of guitar effects and oscillating phasers before ascending into a rare, effective falsetto that sounds straight out of Styx. Unfortunately for Blowing Trees as a whole, this isn’t even good prog. Too often are the inventive guitar lines sullied by the vocals and in some cases, the dangerous tendency to include string filler on tracks like “Goodnight Lungs.” It’s impossible not to hear the pedal ingenuity through the fluffy slop, from the helicopter distortion on “Goodnight Lungs” to the updated Jimmy Page leads on “Running Blind.” Unfortunately, the devious mastery of twisting the fretboard into digital candy is all too often lost in the woodwork. At times, as on the fluorescent ballad “When The News Hits The Stores,” the layering serves only to fill dead space and codas on songs that would seem peripheral even with chemical aids. Although chunks of Blowing Trees hit the right chords, it doesn’t seem likely that the band can condense and play to its strengths in such a way to lift itself out of the funk that hangs over this album. Sadly, it looks like this spacey Lonestar State band is liable to blow out of sight. - MATT WENDUS Learn more about Blowing Trees by visiting blowingtreesmusic.com. 2*SweetSleep Without Dreams
The key to enjoying Sleep Without Dreams is to listen to it in a vacuum. Don’t go to the band’s MySpace page because while they fit the image they project, thinking about them in those terms confines the music. The infamous appearances of a Hot Topic logo and make-up in the band’s promotional pictures will only lead to unnecessary snap judgments. Also, you should forget 2*Sweet’s inane attempt at creating a genre for themselves. In theory the concept of “doom pop” could work but in this case it creates expectations the band doesn’t deliver on. You will find plenty of pop but nothing more than subtle metal influences, although the band clearly has an appreciation for southern rock. The album starts ominously with “Dreamcatcher” and “Rested Eyes Tell No Lies.” Both start off like one of those ridiculously cheesy songs found on a Halloween compilation in the $1 bin at Wal-Mart that people play on their porches for trick-or-treaters. Sleep Without Dreams’s second track also introduces the love-it-or-hate-it style of lead singer Justin Pence. Here, he is at his worst. Pence goes high-pitched during the choral preludes and then does the exact opposite on the next song, “What I Did On My Summer Vacation,” by lowering his voice to give it a faux-operatic depth. The two instances create some of the most annoying and cringe-inducing moments on the album. By far, the vocals are Sleep Without Dreams’s biggest fault. Thanks to decent back-up from his bandmates, however, the damage isn’t crippling. Additionally, in an instance of contradiction warned about at the beginning of this review, one could argue Pence’s voice adds a distinct flavor to 2*Sweet that would leave them more ordinary and plain without it. On “Life’s Black Ice,” Pence’s voice provides the song’s hook and makes it just one of a number on the tracks on the album that stay with you long after you finish listening, even though you aren’t sure you liked it the first time around. The album’s strongest quality - pop music with a clear southern rock bias - comes blasting in with the opening riff to “What I Did On My Summer Vacation.” It disappears quickly but the song’s bass provides an underlying theme throughout that erases whatever ill will the first two tracks might have created. That influence can be found on nearly every track for the rest of Sleep Without Dreams and only becomes more pronounced as the album rolls on. It comes to a roaring conclusion with the best song on the record, “Dateless For Armageddon.” Among the fastest and most frenetic tracks, it truly is the culmination of everything 2*Sweet has built in the preceding 38 minutes. All the disparate elements come together in perfect harmony: the southern rock riffs, the subtle metal influences, and the pop choruses. It will leave you wanting more, which is a good thing because it will take a couple of listens to wrap your head around what 2*Sweet is trying to do with Sleep Without Dreams. There’s a lot to like and dislike throughout but stick with it because in the end, it’s definitely worth the time. – KYLE ANDRUKIEWICZ Add 2*Sweet on MySpace by clicking here. Elvis Costello And The ImpostersMomofuku
“No Hiding Place” opens with Costello crooning, “In the not-very distant future, when everything will be free.” His vision of the future, in regards to a relationship or otherwise, ironically echoes much of his past work. “American Gangster Time” is an old-fashioned garage rock number, a combination of early Rolling Stones, early Kinks, and modern music from The Hives and the Caesars. “Turpentine” could be an outtake from Costello’s 1978 album, Armed Forces. The album, which included hits like “(What’s So Funny ‘Bout) Peace, Love and Understanding” is often considered the pinnacle of Costello’s career, and “Turpentine” retains that melodic, easy, yet sharp intersection between pop and post-punk. The opening guitar on “Harry Worth” shows the influence of Elvis Costello’s collaboration with Latin rock band Los Lobos. The fat, distorted guitar and jazzy, bossanova vibe of the song has Costello’s genre-bending songwriting on display. “Drum & Bone” is a bluesy, acoustic track. Rilo Kiley’s Jenny Lewis sings on the song, and some smartly placed organ adds a Question Mark and The Mysterians, late ‘60s tone to the song. “My Three Sons” represents Elvis Costello’s sappier tunes, from mid-career albums like King Of America. “My Three Sons” is a slow song on the album that may delight fans of Costello’s later work. “Pardon Me, Madam, My Name is Eve,” the product of a writing session with country legend Loretta Lynn, is a straightforward, simplified pop song resonating with the influence of musicians like the Beatles and Simon & Garfunkel. The final and strongest track, “Go Away” is this generation’s version of Costello’s massive hit, “Pump It Up.” With help from Jenny Lewis and one of the more triumphant guitar licks of Costello’s 30-year career, “Go Away” is moments from being picked for a jubilant iPod commercial. The one minor criticism leveled at this album is regarding the production quality – the album is lo-fi at best. But the less-than-slick feel of Momofuku reflects the ease and fun with which the album was produced, and shows that the 53-year-old Costello still knows how to rock out like a teenager. – JULENE PAUL Learn more about Elvis Costello by visiting elviscostello.com. The Ting TingsWe Started Nothing
Listening to We Started Nothing is a rather confusing experience. It’s easy to pick up on the style that The Ting Tings are going for, which is along the lines of electro-indie pop, and on some songs, they execute it incredibly well. Unfortunately, other songs or sections of songs will leave you feeling almost irritated and overwhelmed by the question, “What were they thinking?” The first instance of this curiosity is found in the song “Fruit Machine.” “Fruit Machine” as a whole isn’t bad. Its beat is danceable and fun, and White’s delightful British accent makes this song, among others, all the more pleasant. But just when you find yourself really getting into “Fruit Machine,” that previously pleasant flow is abruptly interrupted by an obnoxious, high-pitched “Ka-Ching!” sung by White. Though this interjection theoretically fits the theme of the song, as it mentions putting money into a fruit machine, it sounds more like the shouting of an annoying anime character. If it weren’t for this “Ka-Ching!” being repeatedly inserted throughout the second half of the song, “Fruit Machine” may be one of the album’s better tracks. Unfortunately, this bothersome sound puts this track among the list of songs that you may want to stay away from. Mixed feelings come along with the song “Traffic Light.” On one hand, this song does not fit in with the rest of the album. In contrast to the other fast-paced and dance-based songs that inhabit We Started Nothing, “Traffic Light” is the only slow, jazzy song you will find. On the other hand, putting this song’s differences aside will show that it is actually a decent tune. For the first and only time, White shows off the clean version of her vocals, which are not used nearly enough in the rest of the songs. When she sings as she does in this song, her voice is nothing short of beautiful. An additional perk to this song is that it’s written completely in traffic metaphors, comparing the song’s subject to a traffic light or a roundabout, advising him or her, “Don’t misread the signs.” It’s not exactly poetic genius, but the metaphors do add a little extra something to this song. Most confusing about this album is its title track. Typically, the title track of an album is one of the best, but this is not the case on We Started Nothing. Not only are other songs on this album catchier and altogether more enjoyable, but “We Started Nothing” may actually be the worst track on the album. Despite White’s mostly solid vocal performance over the course of the album, the use of her voice in this final track is outright irritating to listen to, as she attempts to sing notes that are not included in her vocal range. After hearing what White’s voice can do, one has to wonder, how can this even happen? It is clear that The Ting Tings have a lot to offer as musicians, but songs such as this one are a major setback to the band’s progress. So, instead of listening to the album in its entirety, you might end up hitting the “stop” button a few minutes early in order avoid this last track. Of course, as previously mentioned, this album has a few gems, namely “That’s Not My Name,” “Shut Up And Let Me Go,” and “Keep Your Head.” Of these, “That’s Not My Name” is undoubtedly The Ting Tings’ best song. Over the course of five minutes, the song progresses from being just some good song to irresistibly catchy. It’s got all the things that a good song needs – enjoyable verses, a strong chorus, and even a bridge that fits well into the song. What was most impressive about this song, though, was its buildup at the end; the bridge and chorus are overlapped, and backup vocals by De Martino are added. These elements come together in a stirring climax that will more than likely make this song the favorite of anyone who listens to the album. In comparison to this song, the rest are good, but not nearly as great. Even though We Started Nothing is made up of only ten short songs, the album could have done without a few of them and could have been shortened to a six- or seven-song EP. Regardless, The Ting Tings have already built up quite a following here in the US, having sold out their upcoming shows in Los Angeles, New York, and Boston. This shows that they’re obviously doing something right, but their music definitely leaves room for improvement. Although We Started Nothing has its faults, you should keep your eye on The Ting Tings in the future. – JESSICA KENNEY Learn more about The Ting Tings by visiting thetingtings.com. Clock Hands StrangleRedshift/Blueshift
The album opens with “Redshift,” a calming track that starts off slowly but eventually builds up halfway through the song. CHS uses instruments like keyboard and trombone to provide that short, folk-orchestra-like burst. You’ll quickly notice that this is a pattern throughout their songs, and this is how they balance simplicity and fullness so well. Though beats and chords set a basic foundation to the song, songs like “Redshift” and the following track, “Cemetery,” demonstrate just how intricate these simple parts really are. One of the best qualities of Redshift/Blueshift is the variety present within the band’s style. For example, “Cemetery” is made up mostly of instruments that are typically found in an elementary school music classroom, like triangles, maracas, tambourines, and jingle bells. Then, tracks like “Perspective” use electric guitar and drums to create a less abstract song, but still use piano, xylophone, and trombone to add a little bit of flare to the classic sound for which CHS is aiming. So, although their music may be influenced by artists like Bob Dylan and John Lennon, they have updated traditional folk and made it their own. Another one of CHS’s fantastic qualities lies in their lyrical drive. Their lyrics are more than just rhyming lines, but real poetry that is made to complement the instrumental composition perfectly. One example of this can be found in “Elegy For A Star,” which is poetically addressed to a star in the sky and is paired properly with a matching tempo and style. CHS’s music is meant to be interpreted as an art form, making for a deeper, more intimate connection between band and audience. “Blueshift” marks the end of CHS’s musical journey on Redshift/Blueshift. It is rather different from “Redshift,” the opening track, in that it is much slower and presents more of a Blues vibe than the rest of their songs. However, this plays into the message that comes along with the album as a whole. The album’s title shows the album is meant to travel from one extreme to another, making this track a part of a larger picture. Redshift/Blueshift is an artistic display of the thoughts of CHS’s members. This shows that, not only is this band passionate and talented, but they are able to execute that passion in a way that makes it observable to the naked eye (or ear, in this case). Those who have given up on modern music may be impressed by what CHS has to offer. This debut album has set high standards for their upcoming release, which is to be titled Wail, Batten, Sport, Clip, Clasp, Sunder, Dwindle, Die, and is due out in September. Keep your eye out for these guys; they may be making a name for themselves in the near future. – JESSICA KENNEY Add Clock Hands Strangle on MySpace by clicking here. Spark Is A DiamondTry This On For Size
A pointless intro in “Diamonds Are Forever” repeats the words “spark is a diamond” behind a slightly techno blip of music. Thankfully this first track is only 29 seconds long. From there, it’s quite obvious the band is going for a dance-core vibe, with constantly looping guitars and a drum beat that sounds like a sped-up disco song. Unfortunately, the drums and guitars do little to change things and each song sounds vaguely like the last. Things would have fared better if Spark Is A Diamond tried a few different guitar tones instead of just fuzz for the entire record. The title track starts off with a good hook, and is a decent song if you can tolerate the vocals. However, even if you like this song, you’ll hear much of this for the rest of the album. “Try This On For Size” is the best track on the record, as it truly combines the dancing elements of the music with the (supposed) hardcore edge of the vocals. And despite the lack of variety on the album, Spark Is A Diamond matches what they do on the second track for the rest of the album. Clever song titles like “_____ _____ Has A Deathwish,” “Check Your Lease, You’re In Fuck City” and “President Of The Wrong Crowd” provide a chuckle, but in reality the songs aren’t much different from one another. A few diversions from the dance-ready tunes include “Interlude,” which sounds like it could be straight out of a Nintendo game. Thankfully, there are no vocals for this track, and it is slightly enjoyable. “Re-wish // Death mix” sounds like a skipping record, literally. This track has a more laid-back techno or trance feel, which works. Most of the vocals are suppressed on the track, focusing more on the music and computer sounds going on in the background. Spark Is A Diamond could have had something great here. But when all is said and done, they just didn’t get the job done. - JASON GARDNER Add Spark Is A Diamond on MySpace by clicking here. Dream BitchesCoke-And-Spiriters
“Bad Luck Bill” is an aggressive track with tinny vocals and fuzzy guitar riffs. The melody is simple and spare, though the instrumentals can get a bit in the way of truly hearing the vocals. Nonetheless, the lyrics are amusing with lines such as “Bad Luck Bill gave me the finger” and it’s too bad that they are sometimes difficult to hear. The song doesn’t have much variation to it but segues nicely into “Hierarchy Island” with such a smooth transition that listeners may not realize it’s a different track until the melody gets going. Unlike “Bad Luck Bill,” the vocals have more of a sing-song quality to them and are balanced better with the instrumentals. “Bronxy Marie” takes a completely different approach and is placed well in the song order. Removing the electric guitars, drums and distortion, this track allows listeners to focus on Yoki Kikuchi’s and Ann Zakaluk’s vocals. Although their voices aren’t all that strong, the pairing works well together and suits the melody and harmonies. As different as it is from the other tracks, these differences are what make the song stand out from the rest. “Mother’s Day” is a good combination of what works well on tracks like “Bad Luck Bill” and “Bronxy Marie.” Slower paced with a better balance between vocals and instruments, Kikuchi and Zakaluk’s harmonies are tight and well-planned. The song builds as it moves into the chorus, which also pulls in drums and develops a slightly harder sound. As with many of the Dream Bitches’ songs, the actual lyrics are entertaining with acerbic lines such as, “I don’t have to pretend I care what some bitch from you know where is doing coming over here.” “Me And The Major” has a good, bouncy feel to it and the only possible complaint is that it might have been better a little earlier in the song order as the middle of the disc slows down significantly. Unlike many of the other tracks, “Me And The Major” also has some build-up whereas songs like “Bad Luck Bill” tend to remain the same tone, pace and style throughout. Coke-And-Spiriters is an interesting album, but isn’t the sort that will appeal to a wide range of fans. Dream Bitches uses some good approaches and ideas, but the music feels somewhat dated and the album may have seemed fresher if it was 1995 instead of 2008. – EVELYN MISKA Learn more about Dream Bitches by visiting dreambitches.org. We Shot The MoonFear And Love
“The Water’s Edge” is a strong opener for the album and its fast pace and infectiously pop-infused introduction make it hard not to be pulled into the song. While there might not be much extraordinarily original about the track, it’s a well-done pop song and there is still something to be said for that. Similarly, “LTFP” which comes a few songs later, makes it clear We Shot The Moon has a good sense on how to put together fun, rock-tinged songs that will sound good on the radio. Beginning with a pretty piano melody which is sustained through much of the song, “Sway Your Head” offers something slightly different from other tracks. Catchy and tight harmonies on the chorus make it a tough song to get out of one’s head and Jonathan Jones’ boyish voice doesn’t come off as preachy on lyrics such as “you gotta pull yourself back together, give it one more shot, it’s now or never.” While the sentiment may not be ground-breaking, We Shot The Moon manages to pull it off without sounding overly trite. “Tunnel Vision” and “In The Blue” are the ubiquitous slower tracks on Fear And Love. “Tunnel Vision” has a lot going for it once listeners get past the confused simile with which Jones begins the song. However, the use of the piano blended with Jones’ vocals and some interesting guitar riffs make up for some of the silliness of the lyrics. Luckily, “In The Blue” isn’t plagued by the xylophone melody occurring at the beginning of the song which could easily become grating if repeated too much. The track has a bit more energy and a faster tempo than “Tunnel Vision” but the ballad-type sentiment is clearly still present. “Please Shine” also depends on Jones’ vocals and skills at the piano. The track is pretty and has a chorus that will pull at the heart-strings, exactly the sort that holds potential for being used in a dramatic teen television show. Jones is a bit heavy-handed with clichéd metaphors, but most listeners will not find that a major obstacle to the song. There isn’t anything wrong with a bit of harmless ear-candy, particularly at this time of the year. As long as listeners aren’t expecting anything earth-shattering from Fear And Love, the album is a good one. We Shot The Moon has a clear talent for writing pleasant pop songs and that shines through on their album. – EVELYN MISKA Add We Shot The Moon on MySpace by clicking here. |
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It is World War II and you are about to storm the beaches of Normandy. You have the best planes, tanks, and soldiers the Allied armies can offer. There’s only one problem: you lack a killer soundtrack to commemorate this historic day. Thanks to Hail Of Bullets, you won’t have to kick Nazi ass in silence. …Of Frost and War would serve as a better soundtrack for the Germans since it centers on their attack (and subsequent defeat) on the Soviet Union during World War II. It’s an odd theme for an album but it says a lot about the band. Writing music is hard enough without creating a narrative to tie it all together but when a band does, it demonstrates a little extra effort and that’s important for new bands. It shows a dedication not only to their new project but to their craft as well. Ultimately, a strong theme with a cohesive story can lead to a final product much more satisfying than it might have been if it were just a collection of songs. That’s certainly the case with Hail Of Bullets’ …Of Frost and War. The specific World War II theme helps hold the album together, from song titles to lyrics, and gives it a musical consistency without getting boring.
youngbored&broke, the debut album from UK band The Heys, has a title that will resonate with many music fans. Unlike rappers, pop musicians, or even bands like MGMT, The Heys don’t sing about making money and bikini-clad women throwing themselves at limos. Instead, The Heys zero in on an experience most everyone can relate to: being young, bored, and broke. Although in many ways The Heys enforce the idea of an indie aesthetic, musically, they follow in a long, British tradition of the four-piece garage band, sounding equal parts Kings Of Leon, the Kinks, The Kooks and the Arctic Monkeys. 
Less Than Jake’s seventh studio album is packed full of the bright horns and funky beats for which the band has become known. Rather than feeling stale, GNV FLA still has the energy and fun that will make listeners want to get out of their seats and dance. Longtime fans can relax knowing that the band hasn’t made any significant changes in their approach or sound and sticks with what they know works best. With nods to Gainesville, Florida, entertaining lyrics and nice rhymes, this is exactly the type of album that makes one think of summer. Although Less Than Jake has been around for 16 years and is not new to the ska scene, there can be no doubt that the band still gets a tremendous amount of pleasure from making music and sharing that with fans and newcomers alike.
With the band’s name and the album’s track list in mind, one should have a pretty good idea of what to expect on Natalie Portman’s Shaved Head’s upcoming album, Glistening Pleasure. While hitting all the checkpoints that make other dance/electro pop bands like Justice and Daft Punk popular, they also add the zest of personality into each one of their 13 tracks. Among members of the dance scene who are out to have a good time, the humor found in some of Glistening Pleasure’s songs will be an enriching element. Those who differ in musical opinion, on the other hand, might view this album as idiotic and annoying, which makes NPSH the newest addition to the “love it or hate it” category. As long as you remember that music doesn’t always have to be serious, you will be captivated by this album’s undeniable charm.
For a band like Alkaline Trio, releasing their first major label album is a difficult feat. Though it’s taken the Chicago-based rock band five previous albums, on their sixth studio album, Agony & Irony, Alkaline Trio is finally ready to make the jump. Now the trio is faced with the difficult task of simultaneously selling enough albums to please the corporate guys, staying loyal to their fans and not sacrificing their distinctly dark sound for the need to cultivate mass appeal. But Alkaline Trio has always had a poppy undertone to their music, and Agony & Irony is a deft blend of pop and emo, sure to please fans and radio stations. Also, Alkaline Trio shows that they are capable, for the most part, of steering away from the melodrama that overwhelms the music of their contemporaries. 
With Inevitable Collapse In The Presence Of Conviction, New Orleans’ Soilent Green presents the difficulty of finding a genre for this album. To say it is simply metal would not only be incorrect, but would be an insult to the writing talents of the band. At some moments, the band barrels along at breakneck speed with reckless abandon, while at other times you feel like you’re running through a deep, muddy swamp. Though metalcore and sludge metal are just two things you’ll hear on Inevitable Collapse…, the treat with an album such as this is in the depth of the music. Even after several listens, the riffs still have the same impact whether they are axe-grinding chord movements or the occasional melodic movement. This makes for a good and reasonably heavy album that churns with energy and power.
You have to admit that the idea of orchestral indie is worth a few pats on the back. If you’re one of those people who goes out of their way to find odd, obscure bands, Baskervilles’ Twilight will look good on your shelf. On the other hand, if you’re the type of person who isn’t automatically impressed by something that attempts to be different, this is an album you can live without. Baskervilles deserves some credit for originality, but adding violins and trumpets to a song isn’t a fast pass to a five-star review. Intricate as it may be, Twilight could use a lot of work. 
Priscilla Ahn is a Los Angeles-based singer-songwriter and member of the Hotel Café scene, which includes musicians such as Cary Brothers and Ingrid Michaelson. The venue, and its subsequent tour arranged by Cary Brothers, has built a reputation around solo musicians focused primarily on songwriting. On Ahn’s solo debut, A Good Day, the talented musician makes the same mistakes as the company she keeps. Like Cary Brothers, a heavy emotional focus and sappy lyrics take away from her music’s strong, catchy melodies. And what makes A Good Day all the more frustrating for a listener is hearing the excellent songwriting buried beneath Ahn’s sugary vocals and overproduction. 
Bella Noir is a lot like the Los Angeles nu-gaze band Midnight Movies. Both bands boast a singer with a doom-tinged voice that cascades through a landscape of layers. The distortion is raking, ambient, and fuzzy at the tips. While the top layer of Bella Noir is shoegaze, the underbelly is undeniably post punk with a smattering of acid jazz. It’s a digitized update to a retro fitting with a lot of refurbished instrumentation to fill the cracks. Throughout the length of the five songs (six if you count the intermission of “Bellow”), there’s a hallucinogenic taste attached to Premonition that makes it go down smooth. More, please.
For better or for worse, Maynard James Keenan is a busy guy. Though Tool fans begrudgingly accept the five year gulf between albums, the wait isn’t due to the diminutive frontman lazing out. When not involved in a record label battle, Keenan’s time is stacked with side projects. First there was the prog “supergroup” A Perfect Circle and most recently, a quirky electronica-infused Puscifer. The band’s first (and probably last) studio effort, “V” Is For Vagina was widely panned by critics. Now, the album has received remixing under the name “V” Is For Viagra-The Remixes. Although Puscifer’s wonky style suits the digital shower treatment, the uninspired remixes on already bad songs add up to weakness, plain and simple. At best, the album will have fans hoping this post-10,000 Days half decade will pass more quickly.
Aletheian’s album Dying Vine originally came out in 2005 on the band’s own Hope Prevails Productions. When Ironclad Recordings, an imprint of the mighty Metal Blade, picked the band up last year, they decided to re-release the album and surprisingly, it shows no signs of decay. Despite being two years old, Dying Vine sounds relevant and fresh. Most of the credit for that falls on Aletheian’s guitar work. The band manages to take a single musical theme and manipulate it in so many different and interesting ways that only the attentive ear will realize they’ve essentially played a variation of the same pattern for the entire song. They will also slowly transform a riff during the course of the song so that it basically tells a musical story with a beginning, middle, and end. The wonderful thing about both of these techniques is they keep the songs familiar but interesting at the same time. This is important for a band that eschews catchy hooks and instead relies on the totality of the song to keep the listener coming back for more.
The Feelings Mutual has everything it takes to be a popular band among their family, friends, and friends of friends. Their first release, The Feelings Mutual, is full of messy vocals and repetitive choruses that could be described as a decent-at-best crack at ‘90s garage alternative. While their self-titled EP isn’t horrendous, it lacks the originality that would otherwise catch the attention of new fans. One or two of their songs contain parts almost identical with songs written by other bands, while other songs may just leave a lingering feeling of, “Haven’t I heard this before?” TFM’s EP probably won’t be included in many people’s lists of favorite releases in 2008. 
Guitar effects and studio digitization are a blessing and a curse, responsible for giving us My Bloody Valentine but also every gearhead-driven band that blankets no substance in “cavernous gymnasium floating in space” sounds. I’m not going to peg Blowing Trees as either, but without digital delay, flangers, and phasers, the band would sound like Lou Gramm singing in a garage with bad acoustics and a couple of guitarists who use Powertab as much as normal folks use Gmail. Blowing Trees cites influences ranging from Arcade Fire to 311 and you can hear bits and pieces of each across the length of their eponymous album, but throughout it all, there’s also a pervasive sense that the San Antonio quartet is unsure of what makes itself tick. The result is an album of very intricate guitar work, uneven vocals that leave an uncomfortable feeling in the ears and leapfrogging back and forth between hammy balladry, genuine prog, and psychedelic rock.
2*Sweet is a study in contradictions. What do you expect from a band that describes its sound as “Doom Pop”? What makes one song on Sleep Without Dreams annoying makes another one catchy and unforgettable. The album’s strengths transform to become some of its biggest weaknesses. If this all sounds confusing that’s okay because it results in an interesting record. Sleep Without Dreams defines the term “hit or miss” but fortunately, repeat listens make 2*Sweet’s first full-length album more the former than the latter.
What true music fan doesn’t love Elvis Costello? Since the late 1970s, Elvis Costello, the stage name of Declan Patrick MacManus, has been producing sharp, smart, funny rock albums of deceptive strength, and experimenting with genres from punk to new wave to jazz and back again. But despite his recent productivity, the aging icon’s latest albums have lacked some of the punch of his early work. However, on his 23rd studio album, titled Momofuku, Costello returns to his early form with great success. Momofuku’s title is homage to Momofuku Ando, inventor of the Japanese Top Ramen noodle product, and reflects the speed and ease with which the album was written and recorded, reportedly in under a month. Momofuku features guest spots from Jenny Lewis (Rilo Kiley), Jonathan Rice, and Tennessee Thomas (The Like).
For only two people, The Ting Tings bring a lot of sound to the proverbial table. The British co-ed pop duo consists of Katie White and Jules De Martino, both of whom make their vocal and instrumental contributions on their recently released album, We Started Nothing. Clocking in at just under forty minutes, this album includes tracks that vary in style of composition, but that also vary in overall quality. Some tracks will have you listening over and over again, while others will have you diving for the “next” button. Though they say that two heads are better than one, certain areas of this album indicate that The Ting Tings may have needed the help of a few more heads. 
For those people who complain that music “just isn’t what it used to be,” Clock Hands Strangle may spark your interest. A simplistic five-piece band from Melbourne, Florida, Clock Hands Strangle’s Redshift/Blueshift captures the sound of classic folk rock without sounding antiquated. While many bands fall into the underdevelopment trap when aiming for a simplistic music style, CHS cleverly avoids making this common mistake by finding ways to make songs sound as full as possible. Their ability to combine simplicity with fullness is a rare but powerful talent. It is this factor that is likely to draw the attention of classic folk fans.
Armed with a fuzzy guitar and grating vocals, Philadelphia’s Spark Is A Diamond attempts to bring a danceable hardcore album to the table with Try This On For Size. All of the parts seem to be there, with gritty vocals from Alison Bellavance, humming and hooky guitar lines from Matt Boylan and backbeat hitting drums from Joe Crawford. The only problem is that Bellavance’s vocals are downright atrocious. In fact, you might not even realize that it is in fact a girl doing most of the vocals, considering she sounds like a dude who wants to scream but can’t find any actual variety to make it interesting. Boylan’s guitar gets annoying after awhile, with Death From Above 1979 coming to mind as an assumed influence for the continuous use of the fuzzed guitar. Even Boylan’s backup vocals can’t really save the day where they appear, since most end up as whispers, shouts or forced singing that doesn’t fit into the sound. You’ll understand what Boylan is trying to achieve, but he just doesn’t pull it off.
Dream Bitches sophomore effort, Coke-And-Spiriters, is a raucous collection of songs. With a sound that would fit in more in the mid-1990s when compared with much of today’s pop-rock and female-fronted bands, this album will appeal to a certain demographic. Those fans of groups like Elastica and Luscious Jackson will enjoy the return to this type of sound. Those who expect girl bands to sound like the Pussycat Dolls aren’t going to be impressed. Despite having a unique and possibly polarizing sound, Coke-And-Spiriters is an interesting album and even if it won’t necessarily make it into Top 10 lists around the world, there is some fun stuff to be found in the collection. 
We Shot The Moon’s full-length debut album, Fear And Love, isn’t the sort of album to chart new territory in music. However, what must be kept in mind is even if they aren’t pushing the boundaries of popular music, what they do, they do well. Fear And Love is a fun album with a lot of perfectly good tracks and is akin to most summertime treats; it’s sweet and satisfies for the moment but may not have the staying power of other, more inventive collections.