Secret Hate
Pop Culture Vomit
Cornerstone / Ras
Mixing punk sensibilities with old fashion rock and roll decibels, Secret Hate comes out swinging on it’s first full length CD. Hailing from the tight knit surf community of Huntington Beach, CA., these five guys know how to have a good time and tear shit up! Taking inspiration from personal experiences, Secret Hate’s songs are like strange stories, transformed into powerful music. The band’s sound covers a sonic range, that goes from fast - driving hardcore, to a pulsing, hard rocking style. They make the transition smoothly, making each sound genuine, and inspired. Singer Mike Davis is on fire, and brings an infectious energy to each track. From start to finish, this is a solid record that really rocks! -Drew Lawson

Tram
Heavy Black Frame
Jetset
These songs weigh heavy upon my small frame. Like those decisions that rattle your brain and clam-up your palms, those that wreak havoc on your heart rate, unsettling your sleep patterns and raise your temperature - Tram’s soft-spoken tones can’t hide feelings of despair. Tram’s slow-mo (think Nick Drake, Belle & Sebastian) mode is comforting, making it the perfect music to mull over the details, to think over the outcomes, to ponder the fruits of your labors - in short, it’s music to discover your capabilities by. -Keith York

The Maulies
On Holiday with the Maulies
Hub City
This three song 7” charmed me from its opening song, Rude Limey, which is about a British guy who the singer liked at first but who she now can’t stand. She oozes with attitude, “We used to call him our favorite British import/But now we call him Satan’s cohort.” The combination of bouncy tunes and rude, crude attitude reminds me of Barcelona’s song about guessing someone’s computer password. A fun and sassy record. -Ben Morss

Kings of Convenience
Kindercore
How can these two Norwegians be so sad when they write such great songs? This record has ten songs all arranged the same way - one or two clean guitars with occasional drums and one or two fairly low voices, and it would get monotonous except that so many of the songs are so, well... they’re really good. You can tell that the lyrics were written by Scandinavians, yet they’re sensitive and effective. I was even moved to compose a verse in their honor, “Their names may contain O’s with slashes/but these sad little pop songs kick asses!” -Ben Morss

Sweep the Leg Johnny
Sto Cazzo!
Southern
I haven’t heard anything this amazing since I don’t know when. STLJ mix the best pieces of Mr. Bungle, Godspeed You Black Emperor!, Rocket From the Crypt and straight ahead groovin’ rock into their own remarkable sound. Their songs are nothing short of sonic masterpieces. Guitar, bass, voice, sax, cello, piano, vibraphone and a whole lot of creativity make this a classic the first time your ears are blessed with it’s awesome power. Any fan of real music should own this. -Tom Minarchick

Wolfie, and the Coat and Hat
Kindercore
This six-song EP is more power-pop than you’d usually expect from Kindercore. Someone let the loud guitars in to live with some doubled male and female vocals and vintage keyboards! My favorite result of this musical cohabitation is the song Calvin Grove, in which each part ends with this killer three-note riff that made me want to jump up and yell, “All right!” So I did. -Ben Morss

A Planet For Texas
You Can Still Rock In America
Diaphragm
If the Supersuckers had grown up in the cornfields of Ohio rather than the deserts of Hell City, Hell, and listened to more Motley Crue and Ramones than Ozzy and Willie, they might have ended up sounding like A Planet For Texas. If samples referencing Ohio from the flick Heathers doesn’t convince you these guys are full of cornfield pride, the chorus of Cowtippin will. Other highlights include an ass kicking cover of Tommy James’ Crimson and Clover, song titles like, Stop Looking at My Girlfriend, and sing-a-long Red Sweater featuring the heartwarming chorus, “Don’t fuck me over.” Dreamy. The players have names like “Diamond” Ike Midnight, the Gunn Bros, and the greatest name in rock’n’roll since Ziggy Stardust, “Reasonable” Steve Texas. As if all of this isn’t enough to get you to mosey on over to the dark side, APFT even have their own theme song Now that is cool. -Karen Graves

Ativin
Summing the Approach
Secretly Canadian
Ativin pull the listener along on marionette strings as they force us, almost as if we were hypnotized, to follow their lead. The trio of guitars and drums lead us to the fourth and final movement in their clandestine seduction - and what we find is something of an umpteenth wonder of the world. Let the noise be your guide as the subtleties of Summing The Approach may not hit you for several minutes after the disc has spun down and then you are left naked, starving and cold on the floor of your apartment. -Keith York

Pinehurst Kids
Viewmaster
4 Alarm
Like a string of fireworks, the songs of Viewmaster explode in quick succession. Quick footed 4/4 rock ‘n’ roll of the Superchunk variety is well established in the neighborhoods across the country but it seems only during the holidays do we break out the special equipment and rejoice with parades, and loud bangs. Like the tiny photographs of a ViewMaster itself, each song encapsulates a time and place for a stereoscope to replay to solo onlookers. The Pinehurst Kids’ snapshots are loud, vibrant and presentable year round to in-laws, out-laws, and indie rock kids across the land. -Keith York

A-Set
7”
Southern
This is one of those records where the novelty aspect of it really overshadows the music. Not that the music is bad - it’s actually reasonably catchy mellow pop somewhat similar to Karate. But the record itself has two songs on each side that each have their own separate groove, so after playing the first song on side A, the record ends and you have to keep setting the needle down to try to find the second groove for the second song. Same with side B. It’s a pain in the ass, and I’d never do it with one of my band’s records, but the music’s cool nonetheless. Plus it’s on blue vinyl. -Scott Torguson

Bonfire Madigan
Saddle the Bridge
Kill Rock Stars
One time Tattle Tale singer-songwriter Madigan Shive returns with her second Bonfire Madigan outing. Drawing on a numerous influences, most notably fellow Northwestern songstress Jean Smith, Bonfire Madigan’s music works as low key drama. There are no screaming matches here and few accusations. Rather Madigan’s voice shivers with ache and longing. The songs here are sparse, but not slight. Flanked by Sheri Ozeki on bells and whistles and Tomas Palermo on percussion, Madigan crafts her songs on the cello, letting that instrument’s deep, moody voice resonate with emotion. Whereas many singers in her age group and demographic seethe with fury and resentment, Madigan calls her wits to arms, making observations with keenly sharp “Wrap her up quarter to three, lay her here right next to me,” she sings on Where the Sky Meets the Sea Above. “I cannot look at anymore bodies, David Lynch your films are killing me.” Like much of Madigan’s lyrical approach, it’s a poignant charge that knowingly places the blame back on herself. -Rachel Leibrock

Wesley Willis and the Dragnews
Shake Your Piggy Bank
Coldfront
For those of you who don’t already know the story - Wesley Willis is a schizophrenic, 300 pound black man from Chicago who somehow acquired a keyboard and decided that he was a one-man rock and roll phenomenon. Eventually signed to Alternative Tentacles, he became famous for his whimsical ditties about kicking the asses of super heroes and sucking on convenient appendages of various animals. And although he somehow has changed labels, the 25 songs on this record are more of the same. Each song follows the same format: Wesley talks for a few seconds over a Casio-style beat, (this is the verse) and then half-sings a phrase like “Lick My Doberman’s Cock” (this is the chorus). Then there is a long interval where nothing much happens at all except for Wesley occasionally pressing the “Fill” button. This can be a less than exciting part of his live shows, but here the producers liven things up by putting in random sound effects like that of barnyard animals. Then comes verse three, chorus three, and a corporate slogan (don’t ask me why, ‘cause I don’t know), and it’s over. Every song is the same tempo and almost the same length. The rest is up to you. -Ben Morss

Mr. Scruff
Keep it Unreal
Ninja Tune
Hands down one of the most entertaining discs out there today. Keep it Unreal is all about focused diversity - from Plug-sounding skittering breakbeats, to 80s house (shit, Swing Out Sister remixes would be up Scruff’s alley), deep house (Tracey Thorn collaboration would fit right in), disco (look out Donna Summer!), hip-hop (Dilated Peoples soundin’ funk) all the way to strange shanty town lyrical wordplay about whale fish (Pogues on acid?). No matter the destination, or the stylistic choice, the songs are solid as steel and the sense of humor is as crisp as the dollars outta the ATM. -Keith York

C-Clamp
Longer Waves
Ohio Gold
Warm tones in warm rooms recorded by Dave Trumfio exist now as a document entitled Longer Waves. During the Autumn of ‘98, Frantz, Tom and Nick came together as one unit with a seven song agenda to capture the C-Clamp energies on drums, guitar, keys, melodica and bass. The mural-esque circular patterns that stare back from the jewel case swirl in your eyes as the bass notes drop from the ceiling above. It was already warm in here, and C-Clamp have now made it as hot as a summer sidewalk. -Keith York

16 Horsepower
Secret South
Razor & Tie
In the world of the N’ Snyc, Brittany Spears, Blink 182 and the Backstreet Boys, this band makes absolutely no sense which is why I like them. Sparse, atmospheric and dark moody hillbilly music is the closest I can come to describing this band. I saw this band in NYC and they’re still a mystery to me. That’s a good thing. -JB

Paul Newman
Machine Is Not Broken
My Pal God
Unsure of why such a big dry land mass like Texas would produce steamy, humid textural music like that of Bedhead, Windsor for the Derby or Paul Newman, I keep digging my heels in the dirt and listening like preparing for an oncoming storm. Instrumental, insurmountable music done in the grand tradition of Dianogah as well as the aforementioned fellow statesmen with mathematical precision. As with their other releases, it seems Paul Newman revel in quick turnaround song writing - practice and recording for Machine Is Not Broken was somehow conceived and documented during a two week span. Gushing as I always do when it comes to Paul Newman (each of their Trance Syndicate releases are must-haves), I feel odd in saying I can’t imagine what their music would be like if they all still lived near one another year ‘round and spent months or years writing an album together. -Keith York

Wisdom of Harry
Stars of Super 8
Matador
Having spent some time last summer listening to the EP that preceded Stars of Super 8’s release, expectations were high for this album to measure up. The breakbeat-pinned guitar pop is as evocative and numbingly drugged as any fan (myself included) of the lo-tech groove would expect. In the spirit of low-key techno spiritualists like Looper, Land of the Loops, Accelera Deck, and Remote Viewer (and the contributors to 555 Records compilations), Wisdom of Harry (Pete Astor of the infinitely pleasurable Creation-label launched Weather Prophets) as well as W.o.H.’s alter-ego Ellis Island Sound toys with micro-grooves, toy-like samples, slowly strummed guitars and gentle voices that force you to lean in to the speakers. As your nose approaches the output path, cheeks pull back spreading your lips exposing the pearl-white smile you have long hidden from others. When Third Eye Foundation writes pop, it will be with this intonation and it will be much too late to claim it as pioneering. This is that impressive. -Keith York

764-Hero
Weekends of Sound
Up Records
Unlike other bands that seem to live by that live-fast-die-young, it’s-better-to-burn-out-than-fade-away credo, Seattle’s 764-HERO appears to be content to let its sound mellow and deepen with age. Whereas the band’s previous efforts seemed slight and secondary in both thought and execution, Weekends of Sound, the band’s third full-length record since its 1995 debut, is a solid exercise in indie rock-mournful lyrics, lilting melodies and a dash of irony. Singer-songwriter John Atkins writes sad little tunes about love, loss and the pursuit of happiness. “I’m so scared of ending it,” he sings on Out Like a Light. “You won’t let me. It’s your turn to listen, and you will.” Originally conceived of as a duo, John Atkins (guitar, keyboards and vocals) and Polly Johnson Dickinson (percussion) are now permanently flanked by bassist James Bertram. Maybe it’s the addition of a third party that gives 764-Hero its new, more palpable sense of being. Maybe it’s just maturity and experience. -Rachel Leibrock

Sum 41
Half Hour Of Power
Island
If NOFX took on Blink182 what remained would be Sum 41. What I Believe and Summer are the kind of stand out tracks that could be found on any pop-punk sampler. -HecklerGirl

A-Set
The Science of Living Things
Tree
What seems like a parallel course taken by Her Space Holiday’s Marc Bianchi, Albert Menduno has abandoned his family, hit the streets, grown up and arrived home safely. Having left his friends (including Bianchi) behind in groups like Mohinder, Calm, Duster and Haelah, Menduno is striking out on his own with A-Set. The Albert-Set is whimsical coffee house pretension-free folk rock that has more energy than the Mekons’ discography. Upbeat pop songs masterfully crafted by a man who has spread his wings many times before, but has only now, with his most recent project, found a nest to dwell. Soon after completing The Science of Living Things Albert returned to the recording studio to offer up two more song ideas (The Way it Used to Be 7”) comprised of his drums, guitar and lyrics. Honesty can hardly be avoided, certainly not go unnoticed in the A-Set’s return home, and both documents are proof positive that the truth shall set us free. Welcome home Albert. -Keith York

Victory at Sea
The Dark is Just the Night
Slowdime
Thinking of how Walter Cronkite moderated the black & white footage of World War 2 in the television series Victory at Sea, it is easy to imagine the tension and pacing of the band who shares its name. Explosive, cannon-like snare and kick hits break the stillness of the night with a thunderous carefully crafted roar. Much like the unease presented by Ruby Falls, the trio of Victory at Sea build-then-release in a math-rock style rarely witnessed as beautifully outside of Louisville’s rock bloodlines and perhaps Polvo. Much like the television series in its umpteenth repeat on cable television, with each new sitting, one gains more from the experience as most other content becomes wallpaper. The Dark is Just the Night, like good television and film, sucks you into a fictional world and forces one to forget the troubles of the day. -Keith York

Richard Davies
Barbarians
Kindercore
Few artists can bridge the gap between pop and folk as good as Richard Davies. After a handful of solo releases, Richard has developed a small but loyal legion of fans that understand his quirky, off-kilter humor. Barbarians is an album filled with life experiences, heartache, and passion. Amsterdam and Great Republic are standout tracks. One listen to Barbarians will make you think of driving in your car in Napa Valley with the windows down. The music is personal, honest, and moves me unlike any other in this genre. -Eddie Jorgensen

Steve Von Till
As the Crow Flies
Neurot
This is seven tracks of deeply haunting and beautiful acoustic scores from Neurosis guitarist Steve Von Till. If you didn’t know Steve you’d have a hard time figuring out that this guy plays guitar and sings in one of the most loud and apocalyptic metal acts there is today. As the Crow Flies is one of the most mellow and ambient acoustic albums of the year, but I probably shouldn’t use the word acoustic because that sounds like bland guitar work - this is more on par with symphonic orchestration. Continuing to delve further into musical progression, this is a must for any true Neurosis fan. Neurosis’s last album, Times of Grace, experienced some of the soft subtle textures that are present on this release, but this album is a solo effort and the unique atmosphere achieved here is all Steve’s. Get this one and celebrate. -Brad Oates

Golden
Golden Summer
Slowdime
Golden are somewhat instrumental rock - meaning that whatever vocals are present are used as instrumentation rather than lyrical. Just so you get a visual, the cover depicts four men wearing sunglasses and posing with their semi-vintage equipment in a field with some mountains in the background. In fact, three of the four graphic surfaces of this record have these guys posing in sunglasses and three of the nine songs contain the word golden. Now this only hints at the sound, but the set up does in fact begin to shape what you hear - a very fuzzed out sounding summer rock. The guitar buzz of Blue Cheer meets the mathy-ness of Chicago instrumental indie rock. There is a very garage vibe to the recording, the instruments sound tubey and warm and I have to say that Golden is really an adequate description. This is a lot less dissonant or jazzy than most instrumental rock and there are even some very interesting and bluesy solos that erupt from time to time. -Anthony Pappalardo

Cars Get Crushed
Evolution to Thrust
Mod Lang
Lingering like daydream stares forcing the thoughtful to remain still, Cars Get Crushed songs restrict movement and distraction. Like any prescription mood stabilizer, Evolution to Thrust curbs anxiety, depression and hyperactivity as it numbs the spirits, slows the body’s hormone production while keeping the patient on a level plane. The slightly atmospheric revisioning of a shoegazer Slint hits the stereo with Polyfreeze and refuses to give up until album closer Corsair. The daydreams evoked by the passion in these guitars, keys and percussion are from somewhere distant and at times appear blurry on the horizon. Trace your own path from evolution to thrust. You can hear it in here. -Keith York

Exist Dance
Transmitting From Heaven
Exist Dance
Don’t judge a book by its cover. What on the surface looks like the outside a compilation of 11 dance tracks from a variety of different LA-based producers is actually the work of the Exist Dance label owners - Tom Chasteen and Michael Kandel. Recording under aliases Tranquility Bass, Eden Transmission, Voodoo Transmission, High Lonesome Sound System, Up Above the World and Tylervision (whose Purdy Deyenol was co-produced by Kanel and Tyler Vlahovich), these sampler geniuses pull out all the stops in their delivery of 4/4 dance-hall stompers. Likely their most notable track is Cantamilla which still resides in P.A. systems across the land. Definitely part of your dance curriculum. -Keith York

Delta 72
000
Touch & Go
Rooted in late-60s rhythm & blues, the Delta 72 are poised to deliver yet another high-energy album and lots of tour dates. With a solidified line-up (former members have come and gone in their 6-year existence), the Hammond-armed Rolling Stones sound is prepared to split apart ear drums. With Mark Boyce (Boss Hog) on keys and Royal Trux at the helm, Delta 72 unleash the blues equivalent of drug-psych-metal god’s Monster Magnet. Shedding much of their sound cloned from the Make-Up, the mods & emo kids are gonna run scared as the heavy Memphis-Philadelphia-Detroit sound is stacked up high and staring vigilantly at Jon Spencer’s tight pants. This is rock ‘n’ roll like we used to hear blaring from behind our older (hessian) brother’s locked bedroom door. -Keith York

Radio 4
The New Song and Dance
Gern Blandsten
Radio 4 are taking cues from bands like the Clash and the Cure (among others). When bands are referenced to the Clash it’s usually to their classic ‘77 punk sound, but people don’t seem to recognize that they also wrote amazing pop songs. Aside from their revolutionary mixing of reggae, soul, and straight ahead rock into the punk rock recipe, the Clash were writing brilliant, stripped down pop songs. That’s the influence you’ll hear in Radio 4’s music. Just catchy as shit pop rock that has that certain something that’s irresistible and rarely found in a respectable way that isn’t contrived. The Cure also (a long, long time ago) made great pop songs before Robert Smith got depressed about having millions of dollars and international fame. Three Imaginary Boys and even Seventeen Seconds had great examples of how a driving bassline and jangley guitar could create pop rock ear candy. Take the previously mentioned influences, throw in a little of the less chaotic Mission of Burma and a dash of the less dance oriented Gang of Four and you’re on your way to having Radio 4. I’m impressed that they were able to not only choose such great influences, but to completely create their own sound out of them. Highly recommended. -Tom Minarchick

The K.G.B.
Dreamworks
The K.G.B. mix it up with a tight, funky pop sound, and quirky, unique lyrics. The singer’s voice is really cool too. They remind me of Citizen King a little, but I like these guys better. These guys will probably blow up, and get all famous and shit! -Drew Lawson

Bangs
Sweet Revenge
Kill Rock Stars
“Got no time for the broken-hearted, this here train’s gonna jump the track,” coos Bangs’ vocalist/guitarist Sarah Utter on Train Wreck, the third track on the Washington trio’s sophomore album. With glossy-sweet vocals, classic Sugar-Sugar guitar riffs and a snarling, girl-in-trouble ethos, Sweet Revenge is a candy-coated collection of hot stuff rock’n’roll. Rounded out by Kill Rock Stars publicity queen Maggie Vail on bass and vocals and Kyle Ermatinger on drums, the Bangs evoke a bittersweet sense of love-gone-wrong that’s neatly balanced by a pitch perfect pop structure (plus it’s clear they’ve done their pop homework - check out their cover of Cheap Trick’s Southern Girls). Lines such as “and now the rain is coming down and we’ll never be the same” may read like a cliched teen angst ballad on paper, but on record they’ve fleshed it out into a fully ripe, palpable set of angry, messy, very real emotions. -Rachel Leibrock

Blackalicious
NIA
Quannum Projects
For those familiar with Sole Sides, DJ Shadow and folks like Lyrics Born and Chief Xcel, NIA was on their shopping list long before it makes its way to store shelves in blister packs and shrink wrap. Deep in thought, these sinista’ beat junkies deliver a numbing collection of skunk fueled beats and rhymes to those headz living far beyond their NorCal HQ perimeters. Taking plenty of opportunities to trick your mind, Blackalicious drop experiments like scientists with petri dishes. Bunsen burners flare up colorfully as the chemically altered poetics hit the lab. Stand back, gear up, wear eye protection and spark this one up. -Keith York

Ominous Seapods
The Super Man Curse
Palm Pictures
If you like stoney, quirky, psychedelic-tinged rock, look no further. There has been a demand for the Grateful Dead throne over the last ten years (Phish, Moe, Widespread Panic, String Cheese Incident, etc). While many bands do have some of the same followers, few carry the inherent vibe that is so necessary to a good, grass-roots (hippie) band. Too Much Fire On The Brain is a great rockin’ opening track that is the perfect introduction to the Seapods. Ominous Seapods are a rock-n-roll band that knows how to jam. This album is a great follow-up to their last effort. If you enjoy the subtleties of bands like Moe and the feel of a Cream or Blind Faith album, this is worth checking out. -Eddie Jorgensen

Samiam
Astray
Hopeless
To me Samiam will always be a little secret passed between friends. A smile exchanged when you catch someone humming one of those unforgettably infectious pop-punk tunes or a bonding moment of sing-a-long to a fully cranked stereo at the end of a shift on a Friday night. Although time has passed since we last heard anything from Samiam and the boys are now back on an indie, Astray is exactly what you would hope for it to be, a great record you want to share with your friends. Full of songs with kind of heart you want to capture and make your own. If you’re a fan of old Samiam you can pick up Astray with out hesitation or doubt. And if you don’t know old Samaim but enjoy pop-punk and looking for something deeper that the shallow pond of Boy meets Girl that feeds the bunk of bands out there then you need to check this out. -Monica

The Up On In
Steps For the Light
Big Top
Anyone who has spent so much as five seconds talking to me about rock and roll knows that my favorite band is Jawbox. When this band called it quits a few years back I was disappointed, but then I was rewarded with Burning Airlines a band that featured that band’s guitar players and vocalists. Rock and roll! The Up On In is the new project of Jawbox’s former drummer, Zach Barocas, and I really wanted to hate it’s pretentious, jazziness sans vocals, but I don’t. The musicianship is tight and complicated enough so as to impress their fellow music snobs but still be accessible to the rest of the world. -Karen Graves

Strung Out
The Element of Sonic Defiance
Fat Wreck Chords
The thing I like about Strung Out is the fact that they are really an undercover metal band. I know what you are thinking, “Dude, there are no metal bands on Fat Wreck Chords. Fat Mike wouldn’t allow that.” Oh yes he would, and has done so for the last 5 years. Okay, so I’m not trying to say that Strung Out is the new Motorhead or anything, but after listening to this eight-song EP I realized that the dark lords of metal have this band in the palm of their hands. And yes, that is a good thing. This EP is full of heavy guitar riffs, the double bass pedal, and wirey guitar solos. In other words - it rocks. I’m stoked these guys went full-on metal, the world needs more of that. Forget these dorky boy bands, let the kids listen to Iron Maiden, Slayer and... um... Strung Out. This EP gives me a good excuse to put on my cutoff jean jacket and tie a bandana around my leg at their next show. -Brad “Hesh-Dog” Gobdel

Towa Tei
Last Century Modern
Elektra
As a founding member of Deee-Lite, Towa Tei made a name for himself early in his career of electronic music. Towa Tei’s latest release, Last Century Modern, is one more progression in his unique style of electronic music. Towa Tei’s first release Future Listening had a very French lounge sound, whereas his next release, Sound Museum was more on the house tip. Last Century Modern combines aspects of both albums and includes even more genres of music to create an electronic masterpiece, containing unique world music sounds from France, Italy, and a few other distant lands. The CD starts out with a track you might hear in a funked out Italian restaurant, then changes it up a bit with a track more on the house tip, only to be followed with some straight up drum and bass. The tracks A Ring and Butterfly show Tei’s funky style with their tight snares, wicked basslines, and smooth lyrics making them standout tracks. The CD moves on between weird samples, house tracks, and even some old skool funk. Last Century Modern is Towa Tei’s best work yet. -E-love

Crooked Fingers
Warm
Eric Bachmann (ex-member of Archers of Loaf, solo recordings as Barry Black) joins forces with Brian Causey (Man or Astroman) in his latest foray into mature melodic song writing. For those familiar with his resume, Crooked Fingers represents the missing link between Bachmann’s earlier efforts - dissonant herky-jerky math-rock as well as quiet, slow meticulously orchestrated pop, will find this album fitting comfortably with their preconceived notions. With a great deal of flare and confidence, Crooked Fingers harness’ the ability to tip boats over, to cause wakes among placid pools, to shake up the mind with keenly aware lyrics and instrumentation that, like a sponge, pulls from the listener. -Keith York

The Explosion
Flash Flash Flash
Jade Tree
Remember when you’d be hanging out with your friends skating and listening to 7 Seconds or Operation Ivy back in the day? Those were the good old days, right? Carefree days with your friends that felt like they’d never end and the feeling that you’d stay that close forever. That music was the soundtrack to those good times. Well, The Explosion take that melodic punk and mix it with early Rancid or maybe early Bouncing Souls. In the same vein of that unity-filled, uplifting punk rock of the past. Nice to hear something so new, yet so familiar. -Tom Minarchick

The Stereo
New Tokyo Is Calling
Fueled By Ramen
I thought Three Hundred was a great pop record right from the start and even as my CD collection continues to expand I find myself revisiting it quite often. This is a feat that few manage to conquer. Standing the test of time is much more difficult than putting out a piece of addictive ear candy that loses its shine a few months in. New Tokyo Is Calling is only an EP but J. Robbins steps in on production once again and if you liked Three Hundred you won’t be disappointed by these 4 new tracks. Straight up pop/rock filled with the kind of shine that doesn’t fade away. -Monica

Masterminds
The Underground Railroad
Ground Control / NGA
The key to what makes this CD great can be found in the album’s name - Underground. While the title is a reflection of the socially responsible flavor of the album, it is also a metaphoric reference to one rung on the tall ladder toward hip-hop success. On this rung, the underground rung, the Masterminds sit, resting and waiting for the huge leap they’ll have to make to get to the next level. But if you ask many fans of hip-hop, underground is the best place to be. Underground is gritty, and underground is real. In an industry over-saturated with pop-music and commercialism, you’re better off being where Oracle, Epoc, and Kimani are now. But try telling that to any starry-eyed rappers today. They’ve climbed this far, why are they going to stop now? They’ve got a great album, and I think the Masterminds have that finely polished sound it takes to make it. Not only is the record hard-hitting, but it has just enough deflated ego thrown in to make it sweet too. The New York trio sometimes sounds like the mighty Souls of Mischief and at others like the Jungle Brothers. And the rhymes come intelligent - topics include love and protection of children, respect for wives, sisters, and mothers, and genuine love for hip-hop music. Yet the lyrics are totally devoid of excessive violence, drug abuse, and ignorance. Not since we last heard from Jeru the Damaja (Heroz-4-Hire, 1999), has rough-edged consciousness had such a clear voice. -Dave

Margolis
Fenix TX
MCA
If you like Blink 182 you need to check these kids out. I got to see them open for big brother band Blink 182 and it must be said that Fenix TX kicked their ass. They can actually play their instruments live. I’d say the record is 80% solid material, which manages to carry the 20% filler. -Cyanica

Beneath the Surface
Subterranean
Celestial
When the blunt smoke clears, the swinging pendulum light bulb & cord hanging from the ceiling appears. Shaking your head violently to and fro, you try to force the wake-up. Your ears lead you to throbbing PA output, as if infected with narcotics. The downtempo kick drums revolutionize the dream-state. Thankfully, O.D. (Omid Walizadeh) has produced the soundtrack to your delusional half-sleep with vocals by MCs from Alien Nation, Freestyle Fellowship, Of Mexican Descent, Darkleaf, Dilated Peoples, Brothers Manifesto, Shapeshifters, Hip Hop Klan, as well as Global Phlowtations. The noir-ish drama unfolds, gets increasingly complex as the audience is never too sure if the soundtrack or the dream is leading the other. Keep an eye or two peeled around each dark corner. -Keith York

Green Velvet
F-111
Green Velvet explodes on the house scene with his latest release simply titled Green Velvet. Velvet will undoubtedly be blowing up dance floors with his pounding bass lines and driving beats. Along with his hard house sound, Velvet mixes weird samples over his beats. Most of Velvet’s samples are voices of people talking about life and the situations they are dealing with. Without a doubt Answering Machine is the best track on this CD, and basically consists of his answering machine being played over a super dope bass line. Every person that calls him either gives him a hard time or tears his life apart. If you are into some super hard house music, then Green Velvet might be what you are looking for. -E-love

June Panic
Horror Vacui
Secretly Canadian
During the three year void of new material since his last full-length, The Fall Of Atom June Panic has been wrestling with his relationship with god, and the resulting fear of open spaces, as well as the void-filling anxiety human’s hold so close. Despite the ability to fill our emptiness with consumables at the local strip mall, June took it upon himself and his new backing band Silver Sound, to get at the philosophy of God, mini-marts and dime stores full of empty souls. Recorded with the assistance of a whole host of characters (including members of Marmoset and United States 3), June’s songs are now able to amble and breathe before they settle on the floor. Crouched on the bean-bag chairs around a hooka are young Neil Young, Syd Barrett and Bob Dylan staring up at the stereo hearing a little bit of themselves. -Keith York

Hanson
This Time Around
Island
When a band follows up a multi-million selling debut with something rather, um... different, there is a tendency to either wish them well and hope for high sales or to giggle and mock and hope they fall right on their asses. Many big biz artists follow huge first albums with a repeat of the formula in hopes that in playing it safe, the fans will hear the kind of stuff they liked on the first record, they’ll like it even better the second time. (Why “The Industry” feels that an audience would like leftover music any more than they’d like leftovers from the fridge is beyond me.) Not so with Hanson. They’ve taken a risk and decided to venture into choppy surf. They’ve opted to play their own instruments (gasp!). Ladies and gentlemen, the testicles have descended! I never really paid too much attention to Hanson’s freshman effort. Mmm bop? What the hell was that? In the flood of boy bands that came out around the same time, I just couldn’t care less about the brothers. I mean, I noticed that they played their own tunes and that they’re a trio of ugly white kids trying for cute, but that was about all. This time around will not be the embarrassment that many folks are most likely hoping for. It’s groovy pothead music without the twists and turns. The lads clearly have channelled the Jackson Five for the vocals and draw on funky influences for the rest. It appears that the trio took much of the control of the board themselves, which is a lot more than most platinum sellers would do in attempting to follow up such a monster seller. -Reverend Ed

Ultimate Fakebook
This Will Be Laughing Week
Epic
Major labels signing indie bands makes me wonder if this whole scene will just become some big fad, like the whole third wave ska thing, and the whole new metal crap. Let’s hope this scene will stay pure, and play honest music we all can enjoy. One band leads always to another, whether it’s similarities in tastes and music, or by the bands being close knit friends. This is more pop punk than a lot of the emo related CDs I’ve come across. Who said the Fakebook kids sounded like Weezer? I don’t see it, but I can hear something different vocally from these guys. I can’t put my finger on it, but it sounds like singing from the mouth, with high pitched sounds, instead of projecting and singing from the gut. Ultimate Bill rocks the mic with class though. Lets say more pop rock, pop punk, or just fun. - fungus s t ar

Hopelifter
The Anthem EP
No Theory
The five songs on this Santa Cruz Quintet’s Anthem EP remind me quite a bit of the music typically associated with the east coast scene, namely DC and Fugazi. The vocals are shouted rather than sung, often in a very Ian MacKaye cadence, each track a seeming call to action. I refuse to assign labels like emo or punk, so instead I’ll just say that this is a strong effort worth picking up if you’re jonesing between Fugazi records. -Karen Graves

Good Clean Fun
On the Streets Saving the Scene From Evil
Phyte
No, they’re not a Descendents cover band, but a fairly new band from DC who, as their t-shirts state, are “putting the Ha back into hardcore.” Whether it was ever there in the first place is debatable, but this positively positive Crucial Youth-like group pulls no punches in poking fun at the oh-so-serious hardcore scene with songs like Victory Records Sucks, Beat the Meat and the vegan hardline spoof In Defense of All Life (“Peaceful protest doesn’t get the job done/ so I wake for the rally, grab my soymilk and my gun”). Also worth noting is their decent semi-Youth Brigade cover of Fight to Unite. Unlike a lot of other joke bands, this one’s musically tight live and on CD (produced by Issa, the funny frontman). If it’s been a long time since you’ve laughed hard, check GCF out for a stage-divin’, finger-pointin’, youth-crewin’ good time. Not recommended for the humorless or easily offended
(hey—that rhymes!) -Shawna K.

Stephen Rand
The Blushing Bachelor
Wormco
Stephen returns to the indie rock/pop landscape after an extended absence with his new backing band His Magic Ponies. Rand, with former Caroline Know bandmate Spike Priggen, and members of New Radiant Storm King and Deep Wound act as conservators of an excitable pop estate. Not since his earlier releases (aside from Caroline Know, he also was responsible for the Loneliest Christmas Tree) on the Bus Stop label has Rand shared his weird and wonderful song writing with the record buying public. With The Blushing Bachelor we find Stephen and His Magic Ponies dusting off the eccentricities of mid-80s guitar pop on labels like Cherry Red, El and Creation, and adding even more detail to the now whitewashed plantation house where he sits rocking in his chair strumming an acoustic guitar. -Keith York

Union 13
Youth, Betrayal, & the Awakening
Epitath
More kick-ass punk from these young L.A. gunslingers. On Youth, Betrayal, and the Awakening, their third album, Union 13 show off their more polished style. Although definitely still raw, and playing for keeps, they deliver track after track of explosive, heartfelt punk, the way mom used to make it. Reminiscent of The Faction, or Code of Honor, this album has the familiar feel of your favorite jeans, or old skateboard. One thing that sets these guys apart from your average punk band though, is that half of the album is in Spanish! Hardcore punk in Spanish sounds awesome! But given that my Spanish sucks big time, I can’t understand a fucking word. But who cares, It still rules. Their lead singer, who comes from Ecuador, has the coolest accent. It is definitely the most exotic punk you have heard in a long time. -Drew Lawson

Bomb Pops
Recommended for Diversion Seekers
Grimsey
It’s difficult to comprehend that as many years have passed (8 if you’re counting) since much of this collection was written and recorded. These are timeless beautiful pop songs, making Recommended sound as if it were a brand new release from a recently formed 3-piece outta Minnesota. Culling from the trio’s archives, these songs draw together a discography released on 7” singles by Audrey’s Diary, A Turntable Friend, Bus Stop and Spin Art from a bygone era in pop-song innocence. For me it’s easy to draw a connection to their sound by looking at bands like Holiday Flyer who, today, employ references to Bryan Hanna’s songwriting craft. Akin to Honeybunch and Galaxie 500, the reverb guitar floats in skeletal melodies as vocals plaintively tell stories of who the Bomb Pops were and why. -Keith York

Krakatoa
Channel Static Blackout
Second Nature
Another fine product from the Second Nature label. Seven tracks from a band that was once just a project, Krakatoa brings hardcore to you with a sense of old school. The guitar is structured like hardcore today, with the influenced sounds of the metal we’ve come across earlier in the era: Iron Maiden, and even bands like Metallica. It’s nice to see something different, a new twist to music that fuels us. Touching, and filled with those old school lead riffs, which makes it fun. Why did the singer remind me of Sean from Coalesce? It’s all good. -fungus s t ar

Nada Surf
The Proximity Effect
Mardev
This band got signed to Elektra in the post Weezer alt pop rush, put out a good record had one hit, and then got dropped. Such is the life of being a one hit wonder on a major label. Nada Surf however is a good band, and hasn’t let this deter them. This is a great pop record, and they’re probably better off on an indie label anyway. -JB

Claudia Malibu
We’ll Find You
Wormco
Playing shows with members of the Elephant 6 must have rubbed off a bit. Claudia Malibu, featuring former members of New Radiant Storm King and The Caroline Know, are a quirky bunch of pop songsters seeking a 12-step program and a healthier disposition. Delightful in it uniqueness, We’ll Find You is for those trying to solve the questions surrounding their known and unknown psychoses. A dose of reality would really kill the wonderful vibe in these songs. For daydreamers, inventors, and the silly at heart (which arguably is all of us). -Keith York

Big Pun
Yeeeah Baby
Loud
Christopher Rios (a.k.a. Big Pun) first hit the scene on Funkmaster Flex’s Mix Tape Volume I. Big Pun then blasted the hip-hop world with his 1998 latin-laced single Still Not A Player from his debut album Capital Punishment, and became the first Latino rapper to have an album certified double platinum. Poised to blow up the scene once again with Yeeah Baby, Big Pun suffered a massive heart attack and died. Yeeah Baby is Pun’s legacy to his hard hittin’ vocal style, witty lyrics and his Puerto Rican pride. -TR

Tiara
Again Cast In
Anyway
While some of their early 7” releases depicted Tiara as a rather timid act featuring epic guitar work and shy, muffled vocals, this is not the case on their second CD, Again Cast In. Now becoming the amazing band their earlier releases had hinted at, Tiara seem to be more comfortable being themselves and the singer doesn’t seem afraid of the sound of his own voice anymore - an important step for any band. Sharing Doug Martsch’s songwriting sensibilities, Tiara specialize in textured soundscapes and beautiful lyrical images, bringing to mind acts like Yo La Tengo, Silver Scooter, Modest Mouse and, of course, Built to Spill. These guys just keep getting better and better. I hope they breakthrough and reach the audience they deserve before disc three. -Karen Graves

E Town Concrete
The Second Coming
Triple Crown
Why won’t most wannabe rap/metal groups ever make it? Because whiteboys just can’t rap. You think the loud chug chug will cover up your idiotic panting but it just won’t. That’s what makes E Town so good - lead singer Anthony Martini can rap and the music backing him is raw and heavy. Some moments these guys are headbangin’ and other moments it’s straight Martini spitting off the mic, then it all drops out into the sickest melodic metal tinged guitar work you’ve heard in Jersey since Bon Jovi ran off to Hollywood and became a rockstar. -Brad Oates

Sean Payne
Mind Bender
Peak Performance
Recoil in fear from the ferocity of war drumming. Battlefield explosions come in the form of snare and kick. Dig in mates, the bombing and strafing runs on the dancefloor are relentless. With little time for the weary to rest, the 4/4 percussion drives full speed ahead with the bottom-end torque of a tank battalion. Hard acid trance is Sean’s weapon of choice, as this SoCal DJ mixes up the latest vinyl platters in an uncomprimising party set. -Keith York

The Jazz Cannon
Amateur Soul Surgery
f8
This is a side project of sorts from Billy Cote of the NYC band, Madder Rose. While that band is a little more on the pop side, this project is more experimental and moody. While the instruments sound real, there’s lots of processing and electronic manipulation going on with the end result being an atmospheric little slice of pop. It also gives Cote a chance to collaborate with different musicians. DJ Gadget co-produces and lays down some turntable grooves on several songs. And, while Madder Rose vocalist Mary Lorson sings on two songs and provides backgrounds on several others, the majority of the vocals are handled by Don Greene and Gresham Taylor. I should also mention the cool artwork by ex pro-skater Natas Kaupas with type from Heckler contributor Elliott Earls. -JB

The Plan
This Time Is Not the Place
Matlock
The Plan sound like a supergroup made up of Sleepytime Trio, The Monorchid and End Hits-era Fugazi. Quietly chaotic like the Sleepytime Trio, occasionally schizophrenic in song structure like the Monorchid, and grooving bass, high pitched guitar and spoken/screaming vocals like End Hits-era Fugazi. I like it a lot, but I also like all of the bands mentioned above - if you them too, then go out and pick this up. -Tom Minarchick

Chachi Jones
Mode Switch
Chachi Jones is up for a challenge. Give him a sampler, some free time, and tell him to blow your mind - and he does. In skirting around several genre boundaries, Chachi and his software piloting sound similar to Tom Jenkinson’s Squarepusher releases, but then again has the mutating personality of Luke Vibert (Wagon Christ, Plug, etc.). Opening up the affair, Funk Me Gently is the dissonant, skewed breakbeats and sinister droning key line that Squarepusher and the drill ‘n’ bass followers love. Wen5 is Funk Me on steroids as the attack pattern is more dramatic and drawn out. Gibolomo starts out as a quiet little roller that toys with a groove without settling on one of ‘em - again Squarepusher theme is evident. Funk Me Hard marries a Digital Hardcore gabber break with acid-laced synths for one stirring little stomper. Muji drops the mood to reverb-heavy dub sounds. Keeping the dropped beat mode for another few minutes, Just Funk Me is a Mouse on Mars IDM on lithium. The closer is the best reason for pursuing a relationship with Chachi. 4555 is a structured, fierce drum ‘n’ bass track that once again switches modes and keeps the feet movin’. What could it hurt to jump on that new fangled internet and give him a listen. -Keith York www.mp3.com/ChachiJones

Luddie Clone
The Arsonist & The Architect
Relapse
New Jersey’s Luddie Clone, featuring ex-members of Navi and Angel of Silence, sound like Brutal Truth did during their best Earache years. This is unabashed grind-core played by seasoned musicians (Dillinger Escape Plan comes to mind at times). This is different than most grind-core, as Luddie Clone often change the mood with tempo changes and crashing bursts. This is music that will interrupt you mid-thought, make you forget what you were talking about, and leave you gasping for more. Luddie Clone is urgent music for urgent times. This re-release of their independent EP is welcomed by fans of hardcore, hatecore, and grind. -Eddie Jorgensen

Capitol City Dusters / Aina
Split 7”
Dischord
Indie rock seven inch style. I love the idea of sevens since they just make you come back for more. The Capitol City Dusters makes you want to just jump, and dance along with them. It’s too bad people are too accustomed to just standing with their arms crossed. Aina closes the split with it’s really radio friendly indie rock. I think it’s called “college rock” these days. Just cause it sounds so rock. Well done Dischord! - fungus s t ar

Rah Digga
Dirty Harriett
Elektra