Boasting a 35-year career with all of the original members intact
(though they’ve added members along the way), The Adicts are an undeniable
staple of the global punk rock scene. This Clockwork Orange garb wearing veteran
squad’s latest release Life Goes On celebrates their lauded feat of sticking to
the gameplan for so long with a rabble-rousing display of tumultuous
tavern-ready working class punk rock (“Full Circle”, “I Love You But Don’t Come
Near Me”) with a bouncy three chord and the truth delivery that harkens back to
the group’s glorious salad days. Contagious as a cold yet as simple as basic
math, this troupe’s freewheeling nature and devil may care attitude shines
across their latest 13-track endeavor, sliding in and out of fits of snide and
controlled upbeat recklessness that punk purists will undoubtedly enjoy. (www.peoplelikeyourecords.com) - Mike SOS
Dropping a 12-track full length record after just releasing their eponymous
introduction a few months back, California quartet Gypsyhawk’s sound stays the
course, offering up a blues-soaked vintage rock ride full of tasty guitars and
good time boogie (“The Rabble and the Ruled”) on Patience and Perseverance. In
fairness, a few of the tracks can be found on both releases, not making this a
completely new endeavor. Nonetheless, this unit still pays as much homage to
Thin Lizzy allowed by law without having to cut Scott Gorham and company a
check, yet this outfit cleverly inject a few hazy hits of stoner rock goodness
to balance the whole endeavor out from being a full-on tribute (“The Bokors
Procession”). Throwing down oodles of hip-shaking shuffles and twin guitars
aplenty with touches of Fireball Ministry by way of Five Horse Johnson moments,
Gyspyhawk’s trip through 70’s hard rock yields an enjoyably powerful excursion
into past glories of the days of rock ‘n roll yore. (www.creator-destructor.com) - Mike SOS
NYC indie rock quartet Risk/Reward took their music smeared
with an unmistakable Big Apple attitude to Chicago to record with underground
icon Steve Albini, resulting in a rousing 11-track eponymous offering.
Rhythmically driving with a slight alt country jangle permeating throughout
underpinnings of hard rock and punk (“Breakin’ Hearts”), songs like “Want” sound
like AC/DC translated by Husker Du while “Fault” provides a slab of slow cooked
melancholy akin to The Replacements or Soul Asylum and “Buybacks” displays the
band brightened and upbeat side like a cross between Wilco and Social
Distortion. Blurring edges between roots rock and shoegaze with a punchy
panache, Risk/Reward have made a big sounding rock record with hooks for days
and underground cred galore. (www.riskreward.bandcamp.com) -Mike SOS
Earth’s auspicious debut has been
re-released thanks to the kind folks over at Southern Lord, who restored the
collection of tracks once released as two separate parts into its seven-track
intended from and renamed it A Bureaucratic Desire For Extra-Capsular
Extraction. Delving back into the band’s formative years when the group employed
a heavier and dirtier lineage akin to its Pacific Northwestern upbringing, this
reissue illuminates the importance this groundbreaking squad has had on the
modern underground metal realm, as the redundant cryptic drone heard on cuts
like “German Dental Work” still manages to feel as oppressive and foreboding as
it did twenty years ago while guest spots by a young Kurt Cobain and full-time
contributions by Joe Preston help to solidify the legacy this trailblazing
drone/doom metal has created. (www.southerlord.com) - Mike SOS
After all these years, German rockabilly outfit Mad Sin keep the party
pumping with their raucous blend of punk, surf, country, and blues on the
19-track Burn and Rise. This unit has a storied past both on and off stage and
the veteran band’s quirky sound reflects their lifestyle (“Back from the
Morgue”). Armed with a rebellious vocal delivery and mixing it up between
upright bass body movers (“Am I Human”), weepy slide guitar twang (“Fur Immer”)
and quick tempo barn burners (“No Control”), Mad Sin maintains the ability to
produce a diverse array of styles without losing a grip on their clear cut
street punk attitude, making this album a must have for modern day greasers. (www.peoplelikeyourecords.com) - Mike SOS
Ambient Queens, NY duo For Every Story Untold demonstrate the
wherewithal to compose hauntingly beautiful music as indicated on the tandem’s
four-song EP Hideout. With discernible influence coming from the likes of
Portishead and Cowboy Junkies, this group provides a lush background of cymbal
crashes and whispering synths while an ethereal female vocal delicately weaves
in and out of the multi-layered instrumental presentation (“From Under Paris”).
Commandeering a balance between serenity and majesty, For Every Story Untold
successfully fuses heart-wrenching shoegaze properties with ambient alternative
rock to create a captivating strand of music with a cosmically enhanced
cinematic scope perfect for escaping the world by (“Hideout”). (www.foreverystoryuntold.com) - Mike SOS
Talking to Walls is a quartet from Connecticut whose 12-track
offering entitled We Were Not So Tall employs ample amounts of indie rock guitar
jangle, strong vocal harmonies, and a soulful alternative rock appeal
(“Crossed”) to make a noticeable dent on the college rock scene (“Running Out”).
Stylistically steeped somewhere in the 90’s between Goo Goo Dolls and Gin
Blossoms with a touch of gloom via The Cure for good measure (“Tomorrow”), this
troupe maintains an infectious sense of melody and keeps interests piqued
throughout yet it’s on cuts like the bagpipe-led “Song for Megan” and the lush
instrumentation found on the dream pop tune “Chiaroscuro” that demonstrates a
reach that goes far and beyond past the expected beer pong soundtrack circuit.
(www.talkingtowalls.com) - Mike SOS
Iron Thrones is best known for winning the Scion No Label Needed
unsigned band contest, allowing them major label luxuries of recording,
promoting, and visibility while making their sophomore effort The Wretched Sun.
This Minnesota-based quartet’s stunning six-track 41-minute affair is custom
made for fans of forward thinking heaviness and showcases just why their victory
is well deserved. This squad’s progressive meets post metal hybrid sound is
flawlessly executed and has been masterfully captured to highlight this unit’s
cohesive shifts in mood and atmosphere, allowing Iron Thrones to confidently
stand up amongst the works of influences such as Mastodon, Opeth, The Ocean and
Between the Buried and Me. Bolstered with an ingrained sonic savagery able to
effortlessly crush skulls (“Ever Flowing”) yet demonstrating an innate ability
to dynamically dial back the attack with acoustic interludes and orchestral
elements creating titanic ebbs and flows (“I Once Had the Crown”), it is
refreshing to see that a contest judged primarily on musical merit still exists
today and moreover, that it has been won by a band whose musical output is
nothing short of sensational. (www.ironthrones.com) - Mike SOS
UK
rockabilly stalwarts Frenzy return with their 13th studio album In The Blood.
With a career spanning well over two decades, this trio embodies the true spirit
of their chosen genre with bouncy songs that contain a prominent upright bass
leading the charge and setting the tone (“hero”). Brazen with an uncanny knack
for concocting the winning formula of contagious choruses, slinky riffs and
downhome cowpoke rhythms perfect for shaking your wares at the local juke joint
to, Frenzy’s 10-track offering provides a no frills and straightforward joyride
for modern day greasers and pin-up queens to get their ya-ya’s out to. (www.peoplelikeyourecords.com) - Mike SOS
For their fourth release and first on a major label, Minneapolis' Motion City Soundtrack have taken all the best elements of their prior work and once again teamed up with Blink 182's Mark Hoppus as producer (he also produced their second disc Commit This To Memory) resulting in the best disc of their career. First and foremost the songs on My Dinosaur Life have substance and depth both lyrically and musically, elements that are lacking in the majority of largely interchangeable pop/punk bands saturating today's market. One difference here over previous Motion City Soundtrack discs is that Jesse Johnson's Moog is not quite as prevalent as in the past, but is definitely still present and sets them apart from the pack along with hooks that are literally all over place. Along with infectious standouts like "Worker Bee", "Her Words Destroyed My Planet", "Delirium", "Stand Too Close" and "A Lifeless Ordinary" listen for them also mix things up with tense, edgier songs like "Disappear" and "The Weakends", and "History Lesson", an anthemic bar tune reminiscent of Flogging Molly. (Columbia) - Geoff
Italian female fronted nu metal comes courtesy of circuit vets Exilia, whose latest offering My Own Army slaps pieces Otep’s metallic rage, Lacuna Coil’s stealthy songwriting and My Ruin’s audacity together to form a solid but formulaic strand of rock. Teeming with a bevy of textbook modern rock twists that commercial radio craves with a punchy songwriting acumen that skillfully skirts the line between mainstream rock and action movie metal (“I’m Perfect”), this 12-track release falls prey to nu metal cliché quite a bit (“Far From the Dark”, “Magnolia”) yet redeems itself thanks to a brazen vocal performance whose tough and throaty delivery keeps attention spans alert under the generic brooding atmosphere. (AFM) - Mike SOS
NYC outfit The Defibulators import the down home sounds of truck stop country, bluegrass and honky tonk to the Big Apple on their provocative 17-track affair Corn Money. Any band that has its own coloring book has to be a guaranteed hoot, and this raucous septet is just that, embodying southern fried swing with just the right touches of tear in your beer country (“Your Hearty Laugh”), ragtime frolic (“Honey, You Had Me Fooled”), and whacked out mountain music (“X-mas Ornament”). Armed with hyperactive fiddle, stacked male-female vocal duels, jug and washboard accouterment, knee-slapping melodies, and guitars whose twang cry out for a two-step (“Dum-Dum”, “Go-Go Truck”), this unit’s punkified take on old-time music turns Americana on its head with a bawdy and bodacious delight. (www.thedefibulators.com) - Mike SOS
Angst-ridden and teeming with grit, Year Of Severed Ties showcases a multitude of rock ‘n roll wares from NYC singer/guitarist Kim Rose. This 12-track offering supplies a significant array of hard rocking hooks (“Escaping Me”, “Reason Behind You”) that fall smack dab between the cathartic vibes of Evanescence and the refined edge of Incubus, complete with a slew of monstrous skin bashing (“Unjust”) and a vitriolic vocal delivery by a lady whose not gonna take it anymore. Laying down steadfast streams of punchy guitars over a rock solid rhythm section (“Broken Frames”), this disc exhibits Rose’s adoration for the harder side of ‘90s alternative rock with enough modern rock sensibilities that make for a well-rounded listening experience (“Made”). (www.kimroseonline.com) - Mike SOS
Calling his modern blend of music “mutant jazz”, acclaimed San Francisco guitarist John William Gordon contrives a fiery fusion that deftly combines jazz and rock auras on latest release Technot. This 10-track eclectic exhibition throws down a dazzling and dizzying instrumental smorgasbord showcasing both Gordon’s smoking six-string benedictions with the rest of his trio’s solid chops propelling a smoldering experimental take on traditional standards and practices. Imparting a world music exercise for outer space, Gordon and crew consistently display a vigilant virtuosity that commands attention while their free-form jams like “GVOL” and “Back Room Flow” convey the proper atmosphere needed which increases the headspace in order to wander. www.johnwilliamgordon.com - Mike SOS
With nothing more than the distinctive, beautiful vocals of Kay Gillette, Joseph Barker's simple guitar work and some subtle keys on a few songs this 6-cut EP from the Minneapolis' 2-piece Bella Ruse has an infectious folksy jazz sound loaded with hooks. While there's not a bad track to be found, highlights here include "Push On", "Heart Of Everyone" and "Hold Me Close" (you can actually hear the smile in Gillette's voice on this song, which shows you just how expressive her vocals are). The band is currently in the studio working on their full-length debut and if it's as good as this EP expect it to be one of my top discs of the year. (www.bellaruse.com/) - GeoffMojo Rising - Feel What You Feel
Aussie dance-rock team Mojo Rising meld the best elements from both the excessive ‘80s commercial front a la INXS and Duran Duran and the manufactured funk-driven thump of bands like Maroon 5 and the cheeky balladeering of acts like Hootie and the Blowfish together to form this duo’s five-track offering Feel What You Feel. Decorated with a dash of blue-eyed soul worthy of more than a good night out on the town that helps an overall sense of authenticity to peak out from the Pro Tools sanitizer, this slickly produced effort makes up for its near deal-breaking lack of lyrical depth with a slew of dynamically charged grooves inside of well-arranged compositions bound to make a dance floor hopping. Mojo Rising’s blend of middle of the road rock and pop goes down smooth and keep spirits high for certain, but for those who keep a keen interest in the mainstream music machine, this disc is bound to sound all too familiar to make it worthy of spins beyond a random good night out on the town. (www.mojorisingband.com) - Mike SOS
Resilient NYC rockers Impostor Syndrome continue the daunting mission of churning out edgy tunes brimming with grace on Rose Colored Sabatage. This five-track presentation illuminates this quirky quartet’s superb command of the signature jagged melody over sinewy groove concoction while Kristen Persinos’ silky smooth vocal style alluringly delivers intricate interpersonal lyrical content with arresting conviction (“Rose Colored Sabotage”). Possessing the comfort zone to crank guitars up and dig into a grunge groove (“Plastic Wrap”) as easily as slip back into an alt-rock meets Pink Floyd smorgasbord (“Black, One Sugar”), Imposter Syndrome’s shadowy aura and impressive musical dexterity fosters the lost art of organic composition that sets them apart from the pack, as this release aptly displays the tools necessary to build sturdy songs that progress to satisfying ends. (www.impostorsyndrome.net) - Mike SOS
NYC’s Midnight Fistfight recall a time when denim and leather was the uniform and the attitude was fast and loose on their Sunset Strip soaked five-track debut The Main Event. Equipped with a gritty guitar tandem whose nimble fretwork and on the money Guns ‘n Roses and Skid Row by way of AC/DC and Faster Pussycat riffs (“My Cocaine”) gel with lead vocalist Dan Pyro’s Dionysian lyrical double entendres and credible cock rock delivery (“Booze & Bitches”), earning this offering an all access pass back to the glory days of arena rock and hair metal’s excesses and successes. (www.myspace.com/midnightfistfightrules) - Mike SOS
Tim Ripper Owens - Play My Game
After providing vocals for the most notable metal bands in the world for well over the past decade, Tim “Ripper” Owens finally steps out as a solo artist on his 12-track debut Play My Game. Bringing a mind-blowing cross-section of the metal friends he’s made along the way to the party (an impressive list that reads like a who’s who in the metal realm), Owens and associates dole out a lesson in traditional metal excellence with a modern edge (“No Good Goodbyes”). Channeling his former band Judas Priest and Dio as main sources of inspiration for his powerful vocals, the harbingering aura of “The Shadows Are Alive” and the wild caterwauls accompanying the extra-terrestrial pounder “The Cover Up” help Owens decisively cement his own identity while a surprisingly cohesive considering the vast array of hands in the mix multidimensional metal attack utilizes British metal swagger and American hard rock grit to get the job done (“Play My Game”). Despite the over the top six-string bravado of the likes of Craig Goldie, Doug Aldrich, and Carlos Cavazo leading the rhythm section towards a studio session feel, Owens’ powerful pipes and old world compositions ground this all-star affair long enough to strike a balance between sound like a musician’s clinic and a metal album with mass appeal. (SPV) - Mike SOS
We Insist! - The Babel Inside Was Terrible
The French avant-garde rockers We Insist return with another ceiling-shattering collection on the 11-track The Babel Inside Was Terrible. Inhabiting the edge shared by like-minded boundary breakers like Tool, System of a Down and Queens of the Stone Age, this eclectic unit consistently pushes its music into strange and wondrous territories without sounding crammed in or forced. Thanks to a vast musical acumen and distinct overall sound highlighted by a raucous rock ‘n roll delivery spearheaded by a saxophone played through a guitar amp, this veteran squad embraces the luxury of total musical freedom without losing its backbone. Implementing a barrage of left of center rock hovering around the headier sphere of influence a la King Crimson and Mr. Bungle, We Insist will keep those who crave convention defiant music pleasantly occupied. (Exile On Mainstream) - Mike SOS
Charetta - Defying The Inevitable
Charetta is a NYC-based female fronted hard rock outfit whose latest nine-track effort Defying The Inevitable is adorned with a barrage of heavy-handed and well-composed melodies whose tendencies to work within the confines of atmospheric metal falls somewhere between In This Moment and Lacuna Coil (“On The Line”). Featuring a skull-rattling bottom end crunch that combines Staind and Chevelle (“Stop the Cycle”) alongside a powerful female voice that proudly wavers in between breathy and bad-ass (“Too Far In”), this quartet’s ready for the radio modern hard rock is balanced with nasty riffs (“Love Your Lies”) and angelic vocal anguish (“So Convincing”, “Never”), passionately meshing driving grooves with overwhelming outpourings of emotion to create a refined album ready for mass consumption. (www.charetta.com) - Mike SOS
After releasing several discs in what could be described as a singer-songwriter mode, Syd is moving towards a more power pop direction with his new EP (available for free download at his site). Although not representative of the rest of the cuts, Upswing opens with "The Big Town", an infectious tune that's a dead ringer for Weezer. Next up is "Mallory", an extremely catchy, hook heavy power pop tune with a bit of a retro vibe, a sound that also shows up on the next cut "The Pattern". Closing out the disc is "Easier Than You", another tune song dripping in hooks, but with more emphasis on keys than it's predecessors. Upswing is well worth checking out and since it's free what are you waiting for? (www.syd-music.com) - GeoffMile Marker Zero - Mile Marker Zero
Connecticut progressive metal mavens Mile Marker Zero display a unique smattering of familiar influences on their eponymous 10-track affair. While footprints from acts like Queensryche, A Perfect Cirtcle, Dream Theater, and Fates Warning are scattered throughout the album, this quintet manage to forge their own sound from the same rich prog launch pad thanks to exhilarating musicianship and tantalizing composition twists within a shadowy atmosphere sandwiched somewhere between Opeth and Porcupine Tree (“Passive”). Showcasing the capacity to both wail away on a dime as well as show restraint (especially on the vocals) when needed (“Crimson Red”), this group of classically trained musicians make the most of their pedigree by portraying an impressive array of delicate melodies and ethereal dramatics without losing basic hard rock insight, taking songs like “Peril Aerial” to new and exciting places without falling prey to usual prog rock excessive pomp and superfluous trappings. (milemarkerzero.com) - Mike SOS
Elwood Emission - Ode To The Ego
NYC’s Elwood Emission is Lucy Kalantari’s one-woman electronic project jam-packed with soul-bearing crooning to a harsh industrial rock soundtrack. The callous vocal and disorted ukuleles that start off “The Invitation”, develop an unsettling sensation furthered by the cross between Alanis Morrisette and Shiny Toy Guns influenced vocals and angst-ridden subject matter (“Despicable”) displayed. Ode To The Ego also throws in snippets of Tori Amos-like catharsis (“Divine”) into the mix, giving this six-track sojourn into Kalantari’s darker side a fair share of lush yet eerie attributes that ambitiously push tracks like the scintillatingly sultry “Run” from the shadowy recesses to the spotlight. (A Few Little Notes) - Mike SOS
Alexisonfire - Old Crows / Young Cardinals
Canadian punk hardcore band Alexisonfire has grown considerably from their humble screamo upbringing judging by their latest 11-track release Old Crows / Young Cardinals. Perpetually altering their sound with every release, this album’s switches may prove the most daunting, as the unit’s unique three-tiered vocal delivery has been radically tinkered with, nearly dropping all the squad’s trademark high-pitched wails for a more common yet genuine (and way less grating) earthier punk rasp. While songs like “No Rest” and “Heading for the Sun” get a discernibly gruffer makeover across the board, Alexisonfire builds intensity with the acumen of a unit who has been around the block a few times with the excellently placed keyboards on “The Northern” delving into considerably more brooding states of mind than previously visited. Alexisonfire seem to have comfortably outgrown their former selves in some aspects, even going so far as to proclaim the change in song on “Old Crows”, a maneuver that undoubtedly insures losing diehards in droves. But for those who choose to stick around, this Toronto troupe’s escalating sense of self and collected post-punk output reminiscent of bands like Thrice solidifies this disc by celebrating the exploring new avenues without pandering to the pressures of commercial success. (Vagrant) - Mike SOS
German quintet The New Black purposely channels a hard rock from North America appeal on their eponymous debut disc. Sounding like a hybrid with Nickelback’s hooky choruses and commercial flair, Black Label Society’s fretboard gymnastics, and Hellyeah’s sinewy swagger, this outfit’s mammoth whiskey-fueled guitar chugs and piledriving bottom end is solidified with a metal cowboy appeal that fans of Shinedown will appreciate (“Why I Burn”) and a modern hard rock sound tailor made for action sports highlight reels (“Wound”). While some derivation from the blueprint would knock this disc out of the park, all of The New Black’s ass-kicking elements are in place and uncoil at the right times to offer a listening experience for the gym or the pub that won’t disappoint. (AFM) - Mike SOS
Emery – While Broken Hearts Prevail
Transplanted
Left with only one original member in the fold (Andreas Kisser for those keeping score), Sepultura continues to trudge on Cavalera-less with the entity's latest release A-Lex, a conceptual album based on cult novel A Clockwork Orange by Anthony Burgess. This 18-track affair attacks with the fervor this act has championed since the split in 1997, audibly conveying a commendable slab of the throbbing tribal stomp and unabashed heaviness this band helped to invent back in the early '90s ("What I Do", "The Treatment"). Sounding as sharp and blistering as ever ("Sadistic Values", "Strike"), especially vocally thanks to Derrick Green's seething submergence into venomous death metal pits of despair ("Moloko Mesto"), there's even a few of the band's trademarked nuances revisited here ("Filthy Rot", "The Treatment", "The Experiment"), properly placed to effortlessly flow into the group's current paradigm. As with virtually every concept album, A-Lex suffers from some bloat (the off the mark classical homage "Ludwig Van" seems too self-indulgent even though it fits storyline wise), yet the good outweighs the bad here long enough to keep the skip button from getting hit. Sepultura will probably never be the same as the glory days sans a full-on reunion, but this incarnation's noble flying of the flag and willingness to take risks overall renders a rewarding listening experience for those tuned in to this trailblazing troupe's new directives. (SPV) - Mike SOS
Hanson Brothers – It’s A Living
Showcasing a punk hardcore hybrid that takes its lyrical content strictly from the game of hockey, Hanson Brothers (the band, not the characters from Slapshot) play with a straight-up raucous energy on their latest live offering It’s A Living. This squad's Ramones meets the Misfits in the penalty box sound is bolstered by heroic tales on the ice and group sing-alongs aplenty, as this 27-track release gives a good idea of what happens when power play mentalities and power chords collide. Containing members of No Means No, if you want to let off some steam and not lace up the skates, this disc provides the next best alternative than getting creamed into the boards. (Southern) - Mike SOS
Down and dirty rock 'n roll merchants Who Rides the Tiger produce a bongload of filthy riffs and sinister rhythms on the 10-track Transylvania Baby. This shadowy
Fresh off previous effort Enemy Of God, German thrash titans Kreator return sharper and more focused with another batch of devastating thrash metal goodness titled Hordes Of Chaos. Showing no signs of slowing down, Mille Petrozza and company blast through the gates whether you like it or not with all guns blazing ("Warcurse"), giving contemporaries such as Slayer ("Absolute Misanthropy", "Destroy What Destroys You") a run for thrash metal supremacy. Infusing the tried and true thrash metal method of their '80s selves complete with guitar gymnastics galore while exhibiting a bevy of hooks like never before ("Hordes of Chaos", "Radical Resistance"), this veteran unit's ripping rejuvenation renders this album with the warmongering aura that reaffirms Kreator's spot amongst the thrash metal elite. (SPV) - Mike SOS
If you didn’t know any better you would think that this debut from the Austin based 11-piece T-Bird and the Breaks was some long-lost 60’s funk/soul/R&B disc, but with a modern sounding production. With the powerful and incredibly soulful vocals of T-Bird (aka Tim Crane) upfront and backed with an extremely tight band, horns and 3 female backing vocalists Learn About It is impressive from start to finish. Over the course of nine cuts they mix things up from the bluesy “Blackberry Brandy” and the Temptations’ like drive of “Two-Tone Cadillac” to the hearfelt soul-drenched ballad “Sunday On My Own” and the horn-driven stomp of “Stand Up” tackling them all like they’ve been together for 30 years. Learn About It has been spending a lot of time in my CD player lately and is definitely a front runner for my best of 2009 list. (tbirdandthebreaks.com) - GeoffPeter Buffett – Imaginary Kingdom
After spending the first twenty plus years of his career composing and recording electronic based and Native American influenced instrumental music (often for TV and movies and even earning him an Emmy) Peter Buffett finally stepped up to the mic for his 2006 disc Staring At The Sun. Now back behind the mic for the third time, his latest disc, Imaginary Kingdom is a solid collection of tunes with mellow, electronic-driven elements of pop, the occasional funky groove and dance beat and even some faint hints of Prog Rock all wrapped up in a tight little package that’s often strangely reminiscent of a modern day Alan Parsons Project. (Beside Records) - Geoff 
As soon as you hit the play button and the toe-tapping sounds of “State 163” hits your speakers, you know you’re headed for a good time. With the infectious thumping upright bass of Joe Cook leading the way, Paul Keating’s captivating weather-worn vocals singing his well-written stories and Micheal Connelly’s fiddle and Tim Dolan’s banjo rounding things out this Seattle four-piece tear thru fourteen extremely catchy tunes described aptly as everything from bluegrass and alt-country to old-time and folkabilly. (thedandeliongreens.com) - Geoff
Over the course of 7 cuts this Lynnfield, Massachusetts band moves in a lot of different directions and handles them all like pros. Starting things off is "Hard To Resist", a tune with a melodic punk vibe, but with a sound that really sets them apart from the pack ("Last In Line" is another cut with this same feel). Next up is "Actors", a catchy track that strangely enough sounds to me like a poppier version of Bad Religion if they threw in some new wave. The next two songs continue the diversity with the angular melodic punk of "She Said" and the jangly rock of "Red Handed". The four-piece closes the disc with a bang with the aggressive punk of "Say Good Night" and a remixed version of "Actors". We Are The Mystery Tramps is really fun disc that shows great promise for this band. (themysterytramps.com) - GeoffSinaloa - Oceans Of Islands
Metal Church - This Present Wasteland
The latest installment from Metal Church is the 10-track This Present Watesland. Retaining the group's traditional metal sounds, don't expect anything new or different from these scene vets, but do expect some powerful and killer vocals courtesy of latest throat Ronny Munroe ("Deeds of a Dead Soul") in addition to a smattering of mid-paced metal assaults such as "Breathe Again" and "A War Never Won". If you dig the band's early days and also like the works of Savatage and Iced Earth, there's enough classic metal goodness and solid straight-ahead metal available from the latest incarnation of this metal giant's affair to spark the senses. (SPV) - Mike SOSNYC hipster noise rockers The Unstoppable Death Machines take the listener on a robotic rock 'n roll joyride on their eponymous four-track affair. Distorted guitars meet dance rock rhythms with a slew of industrial overtones with a strangely constructed pop sense is the style this trio employs on cuts like "Body Bop" and the body-moving "Not So Ninja", opting many times throughout the duration of this EP to replace traditional sounds with electronic blips and bleeps with walls of feedback to give off the vibe of being locked inside the dark realm of a video game as a pervasive post-grunge rock point of view propels their version of the Williamsburg world tour. (www.myspace.com/theunstoppabledeathmachines) - Mike SOS
Long Island rock troupe Tauk take their advanced college rock sensibilities and dress them up with a mature platter of jazz and funk on their five-track self-titled offering. Referencing everything from Steely Dan to Phish on cuts like "Roll With the Punches", this band's assassin-like solid chops, expert musical interplay between instruments and wonderfully composed songs such as the rousing "All Ears" evoke a deeper shade of soul than the usual tie-dyed contingent can muster. Tauk produces timeless music that truly containing something that virtually everyone who can call themselves a fan of rock music can dig into and groove with. www.taukrocks.com - Mike SOS
Swedish melodic metal machine Evergrey re-emerge with Torn, a solid 11-track affair that finds the group rediscovering their progressive roots while keeping subtle hints from the mainstream metal style found on their last few offerings intact. Tracks like "When Kingdoms Fall" and the In Flames-esque "Nothing is Erased" showcases this squad's prowess to nimbly straddle the line between genres without irking the diehards, while "Numb" and "Fail" showcase this unit's ability to create tracks that are perfectly balanced between brooding and heavy . While the amount of truly memorable songs found here is a bit low, the superior quality of the songwriting, the sterling musicianship displayed across the board, and the rekindling of their early sound makes Torn a surefooted step in the right direction for Evergrey. (SPV) - Mike SOS
After a 15-year layover, the seminal Florida metal troupe Cynic have triumphantly returned with Traced In Air. This stunning eight-track endeavor picks up where the cult outfit's 1993 release Focus left off, as this disc reassures that Cynic's mindblowingly technical assault is not only firmly intact but sounding fresher than ever ("The Space For This", "Integral Birth"). Remaining at the forefront of the progressive end of the metal spectrum, whirlwind time signature switches, jazzy fretwork, complex percussion, and bevy of vocoder-laden vocals (with a good portion of death metal growls strewn in) are conscientiously woven together to create a rich musical tapestry which truly embodies fusion metal at its finest, rendering a welcomed comeback for Cynic. (Season Of Mist) - Mike SOSThe Human Abstract - Midheaven
The Human Abstract return with their sophomore effort, the conceptual 10-track release titled Midheaven. Chock full of prog-rock excess, poppy hooks, and flashy instrumental flourishes, this California outfit, now a quintet thanks to the addition of an omnipresent keyboardist, merge screamy Warped Tour punk rock pretense with odd-metered time signatures and spots of metallic musical chaos filtered in for a scattershot listening experience. Tracks like "Calm in the Chaos" could have come from old school Dream Theater archives, while cuts like the schizophrenic "Breathing Life Into Devices" and "Metanoia" showcases glimpses of this group's past direction rounded out with a mainstream sound that could have come from bands such as Avenged Sevenfold or Between the Buried and Me. Despite parts of this disc shining (especially guitar-wise), the overall vibe radiated by this slipshod affair seems a bit too self-absorbed and muddled to make a lasting impression, as the band's lineup changes and stylistic shiftings seemingly still need some time to sink in. (Hopeless) - Mike SOSThe Headie Berrie - Morning Toast
Taking rock 'n roll back to its blues-based smoky backroom roots, the Long Island quintet The Headie Berrie unfurl their colorful guitar rock flag on the quintet's four-song EP Morning Toast. This act's no-frills approach to the basics comes complete with a hard rock yowl yielding to tasty bits of harmonica strewn in for good measure and trippy bell-bottom musical jams infused with a bevy of wah-wah guitar bravado ("Blank Tablature"), melding the attitudes of arena rock heroes from the '70s through the grunge era "(Musician"). Capable of making their large than life retro rock sound convincing thanks to their monster chops and durable riffs ("Mushroom T"), this throwback troupe turns the burners up for a raucous ride bursting with badass boogie that folks who like to kick out the freedom rock will totally latch onto. (www.myspace.com/theheadieberrie) - Mike SOS
Dynamite Club - Fusion Era
Japan and New York team up for a noise rock jamboree courtesy of Dynamite Club and their latest 12-track sojourn Fusion Era. Channeling a slew of System of a Down, Frank Zappa and Mike Patton's finest moments while blessed with the capacity to turn delightful pop melodies into near death metal experiences at the drop of a dime without sounding forced, Fusion Era embraces the chaotic spirit of hardcore punk while remaining heavily steeped in the freewheeling nature of the theatre of the absurd. Lyrics such as the ones found on "Eye Like to Look" and "Besame My Love" are borderline disturbing when read, but add the calculated cacophony and disjointed delivery audible from such gems as "12 Questions for the Psychedelically Impaired" to the equation and the ridiculousness not only matches beautifully but actually begins to make sense. Those not inclined to take a trip to the more adventurous side will loathe this disc's entire 19:33 runtime, but for those in need for a quick fix of crazy, you can't go wrong with the madness associated with Fusion Era. (Caminante) - Mike SOS
The Microphones - The Glow Pt 2
The latest offering by Pacific Northwestern lo-fi one-man band The Microphones is actually a reissue from 2001. Nonetheless, it requires multiple listens for the baked-in subdued goodness to soak into your big musical brain. Containing hushed melodies and tranquil rhythms accentuated via simple yet elegant instrumentation, the folksy feel and organic aura of this 20-track affair emits an engaging charm and earthy feel that reverberates through your soul. If you dig tripped out yet mellow music injected with a sense of lovelorn melancholy, then this disc (which comes with a bonus disc chock full of alternative versions, other tracks, and assorted other goodies) will be a welcomed addition to your collection. (K Recs) - Mike SOS
With it's catchy hooks and a sound that mixes classic power pop with New Wave, "Why Is This A Problem", the opening track on this debut EP, sets the bar high for this Columbus 4-piece. Unfortunately the next 3 cuts on the disc seem to lose that New Wave vibe, and while they're all solid melodic power pop tunes they just don't have something that sets the opener apart. Thankfully the closing cut "Bleed Me" finds them heading back in the right direction, with strong hooks and a little bit of that New Wave vibe back in the picture. Overall The Big Get Even is definitely worth a listen and makes The Slang a band I'm looking forward to hearing from again. (theslang.net) - GeoffCultivating their unique sound in the fertile free-thinking pasture which spawned Primus, Faith No More, and Metallica amongst countless others, veteran Bay Area alternative metal band Unjust takes more than their fair share of risks and trails off the primrose path without hesistation to get the most from a song. While their fiery delivery and massive soundscape are still steeped in the deeds of the horned hand, Unjust continues reaching further to make offerings dynamic as possible on their new album, the 12-track To Lose A Name. Cuts such as the Thrice meets 36 Crazyfists inspired "In Search of a Ghost" and the Dredg meets Chevelle groove propelling "The Part" are just a few examples of Unjust's juicy juxtaposing of meaty hard rock with grandiose rock operatics, a style that allows Unjust to take expansive musical detours while exploring the hard rock sunconscience. Add in the weepiest guitar this side of Alice in Chains on "Choose Nothing" as well as a hearty helping of modern day space rock a la Muse all over the map ("The Cloud Collectors") for a tantalizing listening experience for those who appreciate
a prominent display of dramatics in their searing hard rock mix. (Kool Arrow) - Mike SOS
NYC's Heavy Creatures have developed their own special blend of organic rock reliant on viscous grooves and a sweeping ethereal spirit showcased on the quartet's latest eight-track excursion The Cymbal And The Skull . There's an underlying darkness swirling through the Moog keyboards and Neil Young-esque fretwork that emits a kind of barren Midwestern farm night scene on cuts like "Crimson Canyon" while the hypnotic shuffle of "Landing of the Fall" harkens back to the days of surf rock psychedelics as interpreted through the walls of a dank metropolitan rehearsal space. Meshing entrancing drone rock with a free love make peace not war sensibility, the smoky vibes emanated by Heavy Creatures teeter on the brink of rock 'n roll danger with a tribal swagger with an underscored riot grrrl grit leading the charge. (myspace.com/heavycreatures) - Mike SOSThe Morning Of - The World As We Know It
Look out Paramore, here comes The Morning Of, a sextet whose melodic pop rock style is poised and ready to take over the airwaves. Polished to a spit shine and containing contagious hooks and unexpected instrumentation, this 13-track affair's secret weapon is the boy/girl dual vocal approach which screams for mainstream exposure galore. Younger indie pop rock fans will find little to fault from this High School Musical-esque piano punk rock explosion, as it makes for a nice gateway into the world of rock from the Jonas Brothers for the teenage sect. (Tragic Hero) - Mike SOS
Six - Between The Warning And The War
Between the barrage of burly vocals and metallic pounding rhythms, Orange County hard rockers Six throw down slabs of modern hard rock that lean on the heavier side of the spectrum on their 13-track Between The Warning And The War. Propelled by a well-balanced blend of pissed off angst and hook-laden choruses, "A Guide to Living Alone" sounds like a Mudvayne B-side, while "Perfect Life" transports Henry Rollins-like introspection into a Sunset Strip biker bar anthem and "Inside Out" demonstrates the band's underground savvy with a big Downset-esque moshpit refrain leading the charge. Somehow managing to reflect the slickness exuded by Californian hard rock while maintaining a hard as nails persona usually reserved for an East Coast troupe, this powerhouse quintet churn out the goods to give Disturbed and Hellyeah a run for the top spot on the hard rock throne. (1605) - Mike SOSMadison Project - I Am The Target
When pop-punk decides to grow up, it should sound like Madison Project's I Am The Target, a wistful 10-track display of purposeful power chords with new found mature themes. This group keeps the backbeat of their boyhood booming and the pop sensibility in the forefront on "Take It All" and "Sedation", sounding like something from Butch Walker as translated via NOFX, while the fancy fretwork featured on "Faces" could have came from any of the mid-'80s hard rock explosion acts strengthened with a refrain straight from STP. With no shortage of hook happy tunes, "Burn It Down" takes a turn down Tom Petty lane and "The End" straddles the middle of the road like a well-versed bar band, yet the greatest achievement made on this album is Madison Project's ability to fan their raucous day's fllames with a refined grace, giving their brand of rock songs a broader appeal than most. (Thunder Creek) - Mike SOSTotimoshi - Milagrosa
Totimoshi meld the dense roar championed by bands like Melvins and the earthy tones of artists like Neil Young on their latest offering, the 11-track Milagrosa. Throw in some subdued Tex-Mex rawk and smooth production by Helmet mainman Page Hamilton for this Bay Area trio's intriguing minimalist twist on the stoner rock genre. Channeling expansive desert rock as much as histrionic hard rock a la Thin Lizzy ("The Whisper") with a new found bare bones approach accentuating the deep grooves found on "Fall and Bound" and the folksy campfire acoustics exuded on "Forever in Bone", Totimoshi spreads its wings and charters new grounds, shaping their trademark rumble into new forms of psychedlic post-hardcore that weigh heavy on the brain long after the initial listen. (Volcom) -Mike SOS
Dominci is a progressive metal unit fronted by former Dream Theater singer Charlie Dominici. The project's latest release O3 A Trilogy - Part 3 completes the triad of albums recently put out by the group, following the musical patterns of Dominici's former band pretty closely. Heavy and brooding ("March Into Hell") with solid musicianship abound (especially on longer tracks like the album's closer "Genesis" and "Enemies of God"), chances are if you're a fan of dramatic progressive metal, this eight-track affair will appeal to you and your more distinguished taste. (Inside Out) - Mike SOS
Tripping Horse - Tripping Horse
Tripping Horse are a young act from Austria whose debut 12-track affair shows promise but also exposes the quartet's slew of growing under the microscope. Angst is in season here, as tracks like "La Pistola" releases its aggression via deep grooves and "The Burning Sky" and "Mayday" manage to put on the band's best System of a Down impression, despite songs like "Warchild" trying and to off with both polish and maturity, the end result ultimately sounds like third string grunge at a discounted rate. At the end of the day, this outfit's eponymous introduction lags with the predictability and lack of ingenuity that can only be gained by garnishing more experience both in the rehearsal room and on the stage. (trippinghorse.com) - Mike SOS Bloomngton, IN quartet Sump Pumps channel their inner Devo on the Casio-laden 10-track endeavor Revenge Of the Sump Pumps. Punk rock gone retro served up with a slew of electronic manipulations is what this group does best, singlehandedly running away with the prize for Most Likely to Score the Soundtrack to a Totally Gnarly '80s High School Movie spoof as songs like the Nintendo-esque "The Mechanical", "Underwater" and "State of the Art" keep the robotic pulse pumping. (8bitrecords.com) - Mike SOS
Paint It Black - New Lexicon
Successfully bridging the gap between the chaos Black Flag and the Bad Religion, the volatile Philaldelphia unit Paint it Black truly outdo their past works on the 15-track New Lexicon. Loaded with smart and stinging music that offers oodles of dynamic shifts and enough vocal venom to keep the anger festering way beyond a few listens ("Severance", "White Kids Dying of Hunger"), while Paint it Black does a formidable job of keeping it real, they also do an admirable job of keeping it interesting by enlisting Oktopus (known for his work with Dalek amongst others), to add sonic accutrements to their already bombastic hardcore punk outpouring. The unique pairing from opposite ends of the spectrum results in a distinct album that stands out in the dreaded sea of sameness, while adorned with the crushing intensity and searing sense of purpose reserved for hardcore's elite groups. (Jade Tree) - Mike SOS
A low-key, lo-fi vibe is cast from the 10-track release by Californian and former Thrasher photographer Nik Freitas entitled Sundown. Perfect for the day lounging around the house with not much to do, tracks like the title track and "See Me There" transcend from the coffee house to your stereo with the subtle charm and enlightening insight of some of pop music's most endearing artists, giving this disc a richness that fans of Paul Simon, Elliot Smith, and most of the '70s pop-rock you find yourself singing along to on the oldies station. (Team Love) - Mike SOS
Kassin+2 play the kind of music suited best on a resort while sipping from a drink dressed up with little pink umbrellas...if the resort were on another planet, that is on their 17-track endeavor Futurismo. Laid back with traditional sounds at the forefront at times ("Futurismo", "Pra Lembrar"), this Brazilian three-musician collective find solace in the sounds they grew up on dressed up with modern pop, rock and electronica nuances for a worldbeat kick found in songs like "Homem ao Mar" and the vocally-compelling and percussively driving "Ponto Final". Indulge with your global assertions fully in tow while engulfing the complete experience this ecelctic release offers. (Luaka Bop) - Mike SOS
Roots-reggae rock unit Fear Nuttin Band sound best when commandeering winning mash-ups like "Dun Di Place" from their 13-track disc Yardcore. Meshing dancehall vocals with hard rock histrionics and dub rock devices, Skindred does it fiercer and Hed Pe do it dirtier, but this band can get their Sevendust on ("Rule the World") and flex their muscle, too. Despite an abundance of the obvious and cliche, if just a good time with a hard rock twist is on tap, tracks like "Champagne", "No" and the shake your ass anthem "Real Music" provide a nice mix of cool vibes and hard rock perfect for the rocking the beach at night. www.bodoglife.net (Bodog) -Mike SOS
Arguably the most soulful hard rock act on the scene today, the veteran trio King's X return with a revitalized sound on XV, their 15th studio album. This powerful release is propelled by their trademark blues-rock swagger, brazen grooves and expert songwriting chops working overtime on tracks like the mellow yet intense "I Don't Know", the readyt for rock radio drive of "Alright", the syrupy guitars leading "Blue", and the airy "I Just Want to Live". Add in the incredible vocal wail of Dug Pinnick on cuts like the metallic mosey "Free" and the hymn-like rocker "Go Tell Somebody" and King's X unfurl their big hooks, memorable vocal harmonies, and sophisticated compositions in a terse package, demonstrating that this world-class
Tantric was formed from the ashes of when the singer from Days of the New let the rest of the band go, yet no one from Days of the New remains in Tantric today, meaning that this is, sans the same vocalist, a completely different squad than the original platinum-selling arena rock warm-up act. Or is it? By names and faces, definitely, but if judging by musical output, besides a "wild card" in the form of an added violinist (who adds a roots rock feel to Tantric's beefy acoustic rock), songs such as the title track, the tender "Wishing" and the American Idol gone naughty "Love Song" maintain that modern rock middling malaise and sounds just as ripe for radio and ready for mass consumption as the band's previous work. If you're dying for Three Doors Down, are digging Alter Bridge and can't wait for Candlebox (whose singer appears here), then The End Begins should be a welcomed addition to your collection of American commercial hard rock. (Silent Majority) 
Swinging with a swank and pouty garage rock swagger, the Illinois duo known as The Handcuffs bust out the vintage go-go beats on their 12-track offering Model For A Revolution. Specializing in delivering spy rock with a sultry female voice purring the way to your soul on tracks featuring a bottom-heavy groove like "Can't Get the Girl" as well as the sugary "First Class Bossa Nova", this act comes across like an unlikely cross between The Bangles, The Divinyls, The Cardigans, and Monster Magnet. Exploding with pink bubbles and resonating with the slick hooks heard on "All Shine On" and "I'm Not Laughing", The Handcuffs keep your power-pop senses tingling with their edgy brand of mod rock. (thehandcuffs.com) - Mike SOS
