The new album from transcontinental super-group 13 & God (comprised of The Notwist and Themselves) is a combination of contrasting sounds: whimsical melodic bits & pieces of rock-pop, free-rap, and SP1200 beatsmithing. At first listen, the obtuse angles of 13 & God's release tend to obscure the listener's ear with various abstract planes of aural scenes, but with a few more listens, the subtle angles and tones of these genre-benders begin to unravel slowly. Stand-out tracks like "Men of Station" blend warm tones of piano, guitar and electronic melancholia; "Perfect Speed" reeks of '60s fuzzed bass lines and a danceable break reminiscent of the bigbeat days that'd even make Norman Cook happy; and "Ghostwork" is an unexpected collection of swinging hip-hop beats, despondent ambient tones and a somewhat heavy timbre that travels throughout the composition. It's a refreshing breath of air that comes to light after the subtle nuances and melodic tones rear their heads that makes this release stand out from the rest.
-Chris Galvin

A FRAMES
Black Forest [Sub Pop]
[Fans of Wire, The Fall, and Joy Division take note.]

Vocalist/guitarist Erin Sullivan's robotic, monotone vocal melodies don't much vary from song to song, but they are essential to the singular bleakness of the A Frames' sound. He (yes, Erin's a man) offers a deliberate monologue of dark, expressionistic lines in a repetitious meter that he and his bandmates Ð all masters of taught, metronomic rhythms Ð use to build their short, angular songs around. They only manage to avoid recording the same song 14 times by experimenting with industrial noise, textures, pace and the addition of a female voice (which is equally detached) on a handful of tracks. Though songs like "Death Train," "Eva Braun," "U Boat," and the title track would seem to indicate this Seattle trio's third album is, in fact, a WWII/Nazi-inspired concept record, the lyrical themes throughout Black Forest actually range a little wider, though they're not much cheerier. Yeah, the A Frames won't exactly put a smile on your face, but they may well get you moving. Despite the rather miserable tone to the lyrics/vocals, much of the music is fantastically hypnotic and danceable, in a morose sort of way.
-Adem Tepedelen

THE ADOLESCENTS
Complete Demos 1980-1986 [Frontier Records]
[Fans of Agent Orange, Channel 3, and Descendents take note.]

The Adolescents turned 25 in January of this year, and this disc is a sonic scrapbook from the band's toddler and childhood years. Despite the varying quality of these long-hidden demo tracks, this collection is a fascinating and important look at the genesis of one of the most influential punk bands in music history. Some tracks are simply entertaining for their historical value, but the majority are clean enough to crank loudly. Starting out with four songs that were recorded in Tony Cadena's mom's garage in 1980 on a single-microphone tape deck, to the last two numbers that were properly taped at the Casbah in 1986, this behind-the-scenes listening experience allows us to be the fly-on-the-wall with time travel capabilities. This release can also serve as a tutorial for diversity and insight to all the so-called "punk" bands that wallow in contemporary sameness. Here is a must-have for all Adolescents fans, and for anyone with a respect for genuine punk history.
-Marcus Solomon

ARMOR FOR SLEEP
What to Do When You Are Dead [Equal Vision]
[Another tired genre rescued from the edge of tedium. Fans of intelligent emo take note.]

Usually when the phrase "buzz band" is bandied about, it means the group in question sucks a rather large knob. Not in the case of New Jersey's Armor for Sleep and their second album for Equal Vision, What to Do When You Are Dead. Sure, a kazillion bands out there are slogging the gist of Armor's sound; the clean-shaven vocals, sweeping guitars, tasteful infusion of electronics, and that post-Sunny Day Real Estate sheen. But the precision with which this band exorcizes their inner emo demons smoothes over any feelings of slight nausea. Maybe it's the clever lyrical theme of life after death and the striking CD booklet art that comes along with it, or perhaps it has something to do with producer Machine (Clutch, Lamb of God, King Crimson) and his pitch-perfect studio wizardry. Either way, the songs on this CD spring to life in a way not thought possible in the era of watered-down emo. And sure, this album is bulk-loaded in its first half (still haven't quite latched onto that back set), but nothing stops me from putting tracks one through five on repeat and calling this pure gold.
-Jason Schreurs

BECK
Guero [Interscope]
[Fans of Plastilina Mosh, Kinky, and eclectic alternative music take note.]

We all have that moment where we think, if I knew then what I know now, what a difference it would've made. That's the feeling one gets with Guero, which basically boils down to a mature sequel to Odelay. Beck polishes up his style with a variety show of indie rock, quirky sampling, and an odd mixture of country western, blues, and exotica a la Martin Denny. Leave it to Beck to write his most obscene song by using Spanish slang ("Que Onda Guero") with horn samples that'll make any hydraulic go into overdrive. Other highlights include the Beach Boys-like summer affair of "Girl," the massive tambourine jam of "Black Tambourine," and a dance-floor hit called "Hell Yes." The intensity level dies off toward the end as he's left to a couple of toned-down ramblings. It may not be Beck's finest moment, but the songs that do matter are worth their weight in gold.
-Andrew Duncan

CAESARS
Paper Tigers [Astralwerks]
[Fans of Oasis, iPod commercials, and IKEA take note.]

The new album by Sweden's Caesars is a mix of jangly guitar power-pop and moog-infused '60s psychedelia that'll leave you feeling as neutral as that other "Sw" country over there in Europe. It's not that Paper Tigers doesn't deliver some good songs. "Jerk It Out" is undeniably catchy and quite deserving of iPod overkill. "It's Not the Fall that Hurts" and the title track will wash over you warmly, but the album as a whole leaves you with the general impression of: "And?" The songs are neither compelling nor offensive. You can see the Oasis-inspired direction they're going for, but they lack brashness and songwriting skills that make their UK counterparts interesting. The production here is the most memorable aspect of this recording, but only because it sounds so deliberately reminiscent of a type of sound. In fact, the whole effort sounds like a knockoff of all kinds of Britpop, but none of it really stays with you. If this were a movie, you'd wait for it to come out on DVD before watching. Or HBO. Put this album on at a party when you need some music but don't want to alienate your guests with the more eclectic stuff from your collection.
-Jonathan Dale

THE CAPITOL YEARS
Let Them Drink [Burn & Shiver]
[Fans of The Velvet Underground's Loaded and The Who's A Quick One take note.]

Being capable of complex, nervous pop, askew swooping rhythms and unbridled brittle subtlety doesn't mean those elements need be applied at every turn. Since taking on (finally, after ten years) a full buzzing band in which to record, singer/songwriter Shai Halperin (the occasional chirpier Lennon/Beck sound-alike who recorded the jerkingly eclectic Pussyfootin, Meet Yr Acres, and boombalastic Jewelry Store nearly alone, nearly at home) has taken his sardonic, crushing lyrics to lean epic and brusquer anthems without losing the supple intimacy of his lyrical and vocal nuances. While the moistened harmony crooning that runs through "Juicers" may recall Acres (as well as the chug-clipped vibe of the Velvets) and its hickish ballads (a too brief "Going Down," the title track) some of Halperin's humming solo past, this Years is a total overhaul dedicated to grandeur. The Bic-lighter bliss of the over-lording "Mounds of Money," the skanky hooks of "Solid Gold" and the Who-bashing "Lucky" show off a range and ruggedness few knew the humble Halperin had in him. Capitol!
-A.D. Amorosi

CARIBOU
The Milk of Human Kindness [Domino/Leaf Records]
[Fans of Neu!, Elf Power, and Plastiq Phantom take note.]

There is no stopping Dan Sanith. With a new band name, transforming from Manitoba to Caribou, Sanith is all over the musical spectrum with a more expressive palette for experimentation. And just when you think you know Sanith, he throws a curve ball, leading you off in another direction. On "A Final Warning," Sanith looks to prog-rockers Neu! by focusing on its repetitious rhythms and driving beats. If you think seven minutes of that is not enough, try the roadhouse sound of "Bees," with Sanith's best imitation at sounding like someone who walked off the set of Easy Rider. Sometimes the experimentation can get lost in translation, but Sanith never strays too far from his original cause. Even with the highs and lows, he has created a lush landscape of '60s psychedelia and '70s prog-rock, all housed in a post-modern electronic environment.
-Andrew Duncan

CHAB
Dub, Edits and Whiskey-Coke [Saw Recordings]
[Fans of The Faint, Fabric 20: John Digweed, and Fabric 19: Andrew Weatherall take note.]

You may know him as Moogwai or Star, but Italian-born Francois Chabloz has established himself as a force not to be messed with on the progressive-house scene. His resume includes remixes for Nelly Furtado, Murk and Cevin Fisher. His first release, A Night Out as Moogwai in 1999, catapulted Dub, Edits and Whiskey-Coke to huge success and parlayed Chabloz on to bigger and better things, such as signing to Paul Oakenfold's Essential Millennium compilation. Almost immediately after working with Oakenfold's label, Chab's unique sound was being requested by DJs worldwide. So much so that his tracks have appeared on six Global Underground compilations alongside such big names as Anthony Pappa, Danny Howells, Steve Lawler, Seb Fonatine, Satoshi Tomiie, and Deep Dish. Dub, Edits and Whiskey-Coke is a great, refreshing mix of funky bass lines, melodic keyboard synth lines and moody atmospheric tones. Think The Faint meets Fischerspooner with a smidgen of Felix Da Housecat's '80s glam sound mixed throughout. With stand-out singles like "Closer to Me" (feat. JD Davis), "Monster," "Lover," "Five" and "My Memory," it's not a big surprise that Chab is well respected and well sought-after in the progressive-house scene.
-Chris Galvin

COMEBACK KID
Wake The Dead [Victory]
[Fans of fast-and-furious hardcore bands like Figure Four, Bane, Reach The Sky, and Ensign take note.]

Though there seems to be no shortage of bands fusing metal and hardcore these days, few of them seem to be favoring the hardcore side of things, instead opting for a more Slayer-inspired sound. In stark contrast, Comeback Kid Ð formed by two Figure Four ex-pats Ð stick pretty close to the hardcore party line with their compulsively up-tempo rhythms, slash-and-burn guitar attack, and raw, passionate vocals. The band's second album, Wake The Dead, is an extraordinarily focused and well-executed explosion of punk rock fury that only occasionally incorporates metal riffing. In these rare instances, this frenzied fivesome pauses from its relentless assault to lay down a knee-buckling breakdown (most notably on "Partners in Crime," "Our Distance," and "Final Goodbye"). Though barely a half-hour long, it pretty much starts out at a full gallop and only picks up steam as it goes. And by the time the chunky closer "Final Goodbye" rolls around, you're ready to say hello to track one all over again.
-Adem Tepedelen

DESPISTADO
The People of and Their Verses [Jade Tree]
[Fans of Cap'n Jazz and other broken-up bands kids will be talking about for years take note.]

Without getting too down on myself about this, the recently disbanded Despistado passed through town a few months back and I couldn't bring myself to get off the couch, or more likely away from this keyboard, to go see them. Damn. It's quite likely the same sentiment is coming out of the Jade Tree camp, one of their most promising bands folding up and calling it an evening right before the release of their debut album. Even more of a jab in the ribs: The People of and Their Verses is a revelation of jangly guitars, ear-to-ear smiley vocal flirting, and a drummer with expendable appendages. Oh, and a few appropriately placed handclaps. But ain't that always the rub: the best bands exuding their genius potential and then casually calling it a day? But listen to the Saskatchewan, Canada claustrophobia of "Victim" and tell me this band won't be missed for their kinetic, brash indie rock cum melodic punk. Eerily similar to another lamented, one-album Jade Tree outfit, Cap'n Jazz, Despistado crooner Dagan Harding has more than a passing resemblance to Tim Kinsella (Cap'n Jazz, Joan of Arc, Owls). No doubt this is another band we shan't soon forget.
-Jason Schreurs

JOHN DIGWEED
Fabric 20 [Fabric UK]
[If you like this CD, you'll like: Sasha Ð Involver, Chemical Brothers Ð Push the Button, Sasha & Digweed Ð Northern Exposure.]

It's always a treat to get a new mix from legendary and superstar DJ John Digweed. Getting a new mix from Digweed is like opening up a box of Cracker Jacks and looking for the surprise inside: You never know what you're going to get, and Fabric 20 is no exception. Technically, Digweed has always been spot-on when mixing records, and his ability to music program is what sets him apart from other DJs. Digweed's ability to meld various styles, genres, and beats can transport the listener to somewhere else. Yeah, that might sound a little clichŽ, but it's true and that's the beauty of Digweed's skills. There are a lot of great tracks on Fabric 20, including Adam Johnson's "Traber;" longtime San Francisco producer DJ Rasoul's "True Science;" Chicago's DJ, producer and major beer consumer Angel Alanis' ever-so-delightfully titled "Knob Job;" and Slam's "Lie To Me." While some of these names might not be familiar to you now, this disc will have you thanking Digweed for introducing them to you.
-Chris Galvin

DORIS HENSON
Give Me All Your Money [DeSoto]
[Fans of the Dandy Warhols, Modest Mouse, and even Echo & the Bunnymen take note.]

Yeah, see a skinny tie or two in the band's promo picture and it's hard to not start mentally tucking this Kansas quintet into some pre-determined category. Pop the disc in and you should prepare for an entirely different experience, however. Doris Henson may be embracing a new wave-inspired sound, but it's remarkably unselfconscious and very British leaning. Best of all, the band doesn't just rely on a single band or era (hello, Interpol, Strokes, et al.) for its inspiration; it brings together similar elements into a remarkably cohesive and fully realized sound. There are washes of Paisley Underground psychedelia, spasms of early-eighties post punk, and the ear-friendly melodies of classic late-seventies power pop. Give Me All Your Money is a little dark, a little light, but always interesting. The songs, rather than the band's sound (or look, style, etc.), are given the primary importance they deserve, and as a result, not a single one is anything less than exceptional.
-Adem Tepedelen

DOVES
Some Cities [Capitol]
[Ethereal, lush guitar-pop that doesn't sound as much like Coldplay as the media will trick you into believing. Fans of the Verve, Stone Roses, and the Libertines take note.]

Having been on the UK music scene since 1998, it's quite surprising that this Manchester, England trio hasn't really found radio play across the pond yet. One could chalk it up to the barrage of comparisons to Coldplay and Oasis Ð and we need another Coldplay or Oasis like we need a hole in the head. But if anything can push them off the British charts and onto the playlists of iPods across America, it will be the release of their newest effort, Some Cities. Introduced to the U.S. in March 2005, Some Cities kicks off with the driving, percussion-laden title track; then raises the bar higher with the catchy, jangly, soul-tinged single "Black and White Town." As the album progresses, it morphs into a chameleon of vocal and musical styles Ð "The Storm" is the inexplicable love-child of Air and Wilco; "One of These Days" has a full, sweeping, Pink Floyd-esque ambience; and "Walk in Fire" could've been crooned by Bruce Springsteen himself. The latter half of the album returns the group to their signature eerie, atmospheric sound, but the strategic peppering of eccentric gems like "Someday Soon" and punchy, toe-tapping tracks like "Sky Starts Falling" keeps Some Cities from being just another mediocre byproduct of three English dudes.
-Meghan O'Dell

THE EVENS
S/T [Dischord]
[Fans of ambitious folk rock from DC scene notables take, um, note.]

It's a tad unfortunate this will likely be heralded as Ian MacKaye's new band when drummer/vocalist Amy Farina (The Warmers) steals the show. Sure, MacKaye seems comfortable and in his element for The Evens' brand of protest song folk rock, stripping down the type of material he leaned toward on Fugazi's latest, The Argument, to a lyrically direct yet musically inventive sing-song. But Farina, oh Farina, she of the velvety, endearing voice (or is that dorky? Either way, cool) and limbs-a-flailing percussion. It's hilarious and inspiring to hear her just go for it with crash symbols smashing and tom-toms rolling. Without her hyperactive drum action (moments here are simply eye-bugging), this CD wouldn't have nearly as much punch. As it stands, The Evens demands repeated listens; MacKaye maintains his veritable knack for writing the perfect "fuck you" song (no matter how quiet), and Farina provides more than enough measured storytelling balance. But, really, there's so much more here as the songs cover all volumes and emotions, created only with baritone guitar, things you bang on, and two distinctly human voices. Lyrics aren't exactly chopped tempeh either.
-Jason Schreurs

GENERAL PATTON VS. THE X-ECUTIONERS
S/T [Ipecac Recordings]
[Fans of Faith No More, Mr. Bungle, and hip-hop take note.]

Mike Patton working with hip-hop musicians? It's nothing out of left field, really. The song "Epic," his big hit as the former frontman of Faith No More, definitely has pronounced hip-hop leanings. This time around, the ever-eccentric singer embraces hip-hop under the guise of General Patton (get it?) and teams up with the New York-based X-ecutioners. It's a marriage made in apocalyptic heaven; the DJ crew creates the chaotic, groove- and beat-inspired soundscapes, leaving Patton free to indulge in the avant-garde and theatrical tendencies he previously mined in his other band Mr. Bungle. Needless to say, this conceptual work plays up to the war games angle throughout the album's 23 tracks. Along with the dominant rap and rock sounds are elements of jazz, lounge, funk, and country, not to mention inserted cheesy movie dialogue (Dirty Harry included). At times, the ever-colliding sounds and noises seem way over-the-top, yet Patton and his army manage to rein it all in under heavy sonic artillery fire. Patton is rather convincing as a commanding authority figure through his maniacal bluster and bravado; in one moment he takes on the role of a drill instructor. If not a medal of valor, this conceptual work warrants a salute.
-David Chiu

THE HIDDEN CAMERAS
Mississauga Goddam [Rough Trade]
[Fans of Magnetic Fields, Polyphonic Spree and Belle & Sebastian take note.]

There are only good things to be gained from a Canadian folk band that writes political and obscene but danceable sing-a-longs. And as The Hidden Cameras' new album Mississauga Goddam proves, just such a band exists. With frontman Joel Gibb in the lead, and often up to thirty people supporting him, Hidden Cameras create music that at one moment captures the gentility of lulling a baby to sleep, and at another the excitement capable of commanding the attention of throngs of fans hoping to take part in carefree and united adventures in pop music. From the first track to the last, this album is catchy. And beyond the pretension of the band's image, their sound is refreshing. Gibb's voice is simple and melodic. Though the songs can sound repetitive, there is also a multilayered quality to them that is impossible to fault. And with lyrics like "I believe in the good of life," you can easily find yourself liking their spunk, independent of the actual music. If you've been looking to fill the hole left in your heart from childhood when you really loved those magical, good-natured, free-spirited sounds of greats like Raffi, you might very well want to check this out Ð but beware that this newer version involves the occasional (OK, constant) sexual reference.
-Ashley Graham

KADDISFLY
Buy Our Intension; We'll Buy You A Unicorn [Hopeless]
[Fans of At The Drive-In and Project 86 take note.]

Oregon's Kaddisfly has joined the latest wave of free-spirited indie bands to fuse some life back into rock music. Taking a jam-band format to a modern progressive sound while adding melody and passion, Kaddisfly fills its sound with youthful passion throughout each song. This is not another pre-calculated, whiny emocore band in any sense. They show that they can write emotion-driven music without expressing the same one repeatedly. The main focal point here is frontman Chris Ruff's melodic yet expressive vocal style. Whether he hits the mid-level notes or simply sings, he creates a mood that is often otherwise lost within a band's sound. The band's musicianship is strong and compliments Ruff's vocals without overbearing any part of the overall sound. Kaddisfly has created a powerful record of songs unequivocal to many of their contemporaries' releases.
-Rei Nishimoto

KLUTE
No One's Listening Anymore [Breakbeat Science Recordings]
[If you like this, check out anything by Roni Size, London Elektricity, Photek, Teebee, or Blu Mar Ten.]

"To me, drum & bass is a form of music which has always been out on a limb. As far as I am concerned, people taking chances is the future, and I would like to think that my material falls into that category," states Tom Withers, the man behind the Klute. Nothing could be closer to the truth with his latest offering. Since his first full-length release Casual Bodies, Withers has always gone out on a limb to produce envelope-pushing music. His latest, No One's Listening Anymore, is a perfect example of his uncanny ability for thinking outside the box. In this two-disc release, disc one includes plenty of tasty little gems to make a straight listen-through without necessitating the fast-forward button. Take, for instance, the half-step breakbeat complimented by a dirty little bass line and the catchy vocals of "Give Me Faith." And then there's the lofty atmospherics and sculptured sounds of "Coconut Teaser." Disc two runs the gamut of drum & bass with everything from steppy, mellow, loungy breaks (the gritty "Second Skin") to rolling breaks ("Acid Rain"). Whatever the tune, it's sure to be something you've never heard before. And yes, it is futuristic music. And no, electronic music is not dead.
-Chris Galvin

LAST DAYS OF APRIL
If You Lose It [Bad Taste Records]
[For the pop lover in you! Fans of Swedish music similar to Kent and Fireside take note.]

For one reason or another, this band just simply cannot get noticed over here in the States. Last Days Of April have existed for about seven or so years, making quite a name for themselves in their native country of Sweden. And from what I hear around the campfire, they were even nominated for a Swedish Grammy. So then why hasn't their fourth full-length received any attention stateside? Your guess is as good as mine, but people are sorely missing out on a fine gem of a band. This time through, Last Days Of April tend to focus on their rockier tendencies a la Fireside (or their American equivalent, Quicksand) without sacrificing neither their lush nor subtle melodies. I hope a U.S. label will identify with this record and release it. Their last record on Crank just seemed to go nowhere, but this may resonate with more listeners. In any case, this release may be difficult to find, but it's worth every penny and time devoted to it.
-Ray Harkins

LOVE AS LAUGHTER
Laughter's Fifth [Sub Pop]
[Fans of Lync, Superchunk, and Stephen Malkmus and The Jicks take note]

There's something genuinely endearing about Laughter's Fifth. A veritable cornucopia of soulful, quirky rock 'n' roll/pop, Love As Laughter's fifth album begins quite strongly. It's mellow, but still powerful and edgy with songs like "In Amber," the more subdued "I Won't Hurt You," and "Survivors." Vocalist/guitarist Sam Jayne (who started LAL in '94 after his previous outfit, Lync, disbanded) knows how to bring the rock, as evidenced particularly on "Every Midnight Song." Although exceedingly sedate initially, it gradually builds momentum, with the tempo quickening and chaotic, distorted guitars and more urgent vocal stylings appearing. The quirky/eccentric aspects of LAL sometimes lie in the lyrics (see "In Amber:" "I was all frozen/Did you see me as Encino Man?/Did you like me at the popsicle stand?") or the charming musical flourishes (the handclap-beats on "Dirty Lives," "I Won't Hurt You"'s sweet guitars and group vocals). These aspects are especially abundant on the quirk-fest that is "Canal Street," which ends with the musicians' discourse/commentary atop instrumentation they feel possibly sounds like "that Weezer song." On Laughter's Fifth, the guys only falter with the lackluster "Pulsar Radio" and "Corona Extra," but following these two mediocre compositions, LAL finish as they began Ð strongly Ð with the six-minute-plus "Makeshift Heart."
-Janelle Jones

MAGNOLIA ELECTRIC CO.
What Comes After the Blues [Secretly Canadian]
[Fans of Nebraska-era Springsteen, the various Jason Molina projects, and just plain honest music take note.]

Jason Molina and his rotating gang of musicians return, for the second time under the Magnolia Electric Co. moniker (Songs: Ohia being the other most common one), to deliver arguably some of his best music to date. Few rival Molina's ghostly presence and even fewer write music as haunting and honest as these eight songs. Talent teamed with an uncanny comfortableness within rootsy Americana just seems to pour from every note of What Comes After the Blues, creating an album that stirs the listener to the core.
-Sean Patrick Rhorer

THE MIGHTY NIMBUS
S/T [Candlelight]
[Fans of Black Label Society, High On Fire, and Down take note.]

For those who find recent rock music to sound too polished, here's something that should get your juices flowing. Taking the best parts of dark, insanity-driven rock music with a slab of sludge, their creation of music in the backwoods of Minnesota has made The Mighty Nimbus a band that will excite rock fans for ages. This is not for the faint-hearted. The guitar tones, compliments of Dinis deCarvalho and Erik Larson, thunder through the speakers with their vicious low-end and rumble right through. Dan Soren's howling vocals create an eerie vibe that compliments the music well. The sound of this record is very much comparable to such bands as Crowbar ... and hell, even old Saint Vitus. Not all music is supposed to be pretty, and these Minnesotans have proof they created this with dirt under their nails. It's been a long time since rock music has been this exciting, and I'm glad to hear The Mighty Nimbus has joined the assault.
-Rei Nishimoto

THE NERVOUS RETURN
Wake Up Dead [La Salle Records]
[Fans of Rolling Stones, Iggy Pop, and The Damned take note.]

Travis Barker has started his own record label, and may one day regret signing a better band than his own. Not to disparage that man's obvious talent and success, but it's good to know that while Blink makes millions of dollars by entertaining legions of eighth-graders with sticky-sweet power pop, Mr. Barker still knows what superior music sounds like. The Nervous Return skillfully combines the best elements of glam, punk, pop, discordant psychedelia, and other elements that don't have names yet. If commercial radio stations are paying attention to what the people want, they will pull their collective heads out of their wealthy, boring asses and put this CD on heavy, daily rotation. Every song on this ten song full-length album has obvious hit potential. Simultaneously rude yet appealing, beautiful then ugly, taught and relaxing, deep while being shallow, serious but mad, these four gifted artistes make a greatly impressive noise. Go buy this right now, and if you don't like it, consider yourself stupid.
-Marcus Solomon

NOFX
Insulted By Germans (Again) Limited Edition 7" [Fat Wreck Chords]
[Fans of Narcoleptic Youth, The Dickies, and Mad Caddies take note.]

The fatheads at Fat Wreck had a great idea! Instead of putting out one new album with all-new material, why not put out 12 seven-inch singles (with all-new material) over the period of a year? Make these singles available to the select few who sign up to the NOFX monthly singles club (pun intended)? Even better, offer the first 3,000 subscribers their monthly fix on even-more-limited-edition colored vinyl? So they did, and here is the first. This initial release is lemon yellow with nice green highlights. It is a thumping, pumping tune in the well-established NOFX tradition of high-speed, tight, cleanly recorded melodic punk with witty, socially sarcastic lyrics. "Insulted by Germans (Again)" has an interesting fusion of a swing-like drum beat backing a rockabilly-ish bass, meshing with the familiar buzz-saw guitar work. It is apparently about the band having been insulted by Germans during a past European tour. Vocalist Fat Mike makes many astute and comical observations about how people behave in various countries with the culmination that "Americans win the prize of the stupidest of all." Ganz! Sehr gut! The b-side is a shredding, spiced-up cover of The Dickies' "Fan Mail." The Dickies is my favorite band in the world, so this biased reviewer is very pleased. Get this, and be sure to check out The Dickies stuff, too.
-Marcus Solomon

THE ONE AM RADIO
On the Shore of the Wide World EP [Level Plane Records]
[Fans of Tristeza, The Postal Service and The Mercury Program take note.]

With today's digital editing and pro-tools, some artists don't even really need to leave the house in order to create an amazing record capable of selling hundreds of thousands of copies. Hrishikesh Hirway has been playing under the moniker of The One AM Radio for quite some time, and although he always seems to fall in line with bands of the "screamo" ilk (such as Jerome's Dream and Orchid), TOAR is on the complete opposite side of the spectrum. On the Shore of the Wide World is actually an EP of remixed songs from the last album, A Name Writ in Water. For the casual fan, this may not be the best introduction to Hirway's work, but it's interesting regardless. If you can imagine what Ben Gibbard would have sounded like if The Postal Service had decided to do a bunch of downers before they recorded, then you're in the ballpark. This EP is a worthwhile investment, and hopefully for Level Plane and Hrshikesh, this will take off and gain immense exposure; it certainly has that potential.
-Ray Harkins

OF MONTREAL
The Sunlandic Twins + bonus EP [Polyvinyl Records]
[Fans of psychedelic pop, being retro, and danceable indie rock take note.]

Producing his seventh album to date under the moniker Of Montreal, Kevin Barnes and his troupe of performers return with yet another release packed to the gills with enough psychedelic charm to win over even the most diehard Sgt. Pepper look-alike. Fusing a charismatic use of instrumentation and electronica with good ol' indie-pop roots, Barnes and company dive into the world of the ever-so-popular retro rock sound, yet avoid taking the easy route of sounding like another Stooges rip-off (instead opting for Bowie-esque dance parts and obviously Beatles-influenced riffage). The only real drawback, as is all too common with psychedelic records, is the weird, spaced-out portion of the album that dips a little too indulgently into the atmospheric realm.
-Sean Patrick Rhorer

THE PB ARMY
Spine for the Snapback [Sin Klub Entertainment]
[Fans of Queens of the Stone Age, Clutch, and Monster Magnet take note.]

Spine for the Snapback is the second release from this Toledo, Ohio heavy-rock trio. A self-proclaimed "stoner pop-metal" band, The PB Army ups the ante on all fronts this time around. The heavy parts are heavier, the stoner moments are a moody respite from the band's otherwise full-throttle assault, and the pop comes through the inherent catchiness of the material. Improved playing and songwriting emits a level of conviction absent from 2002's Inebriates, Equivocators, and Mockers of the Devil Himself. Most noticeable is singer/drummer Keith Bergman's varied vocal styles. A Neil Fallon/Josh Homme hybrid with a dash of Les Claypool for humor, Bergman adds roars, dirty vox, and harmonies in all the right places. Guitarist Micah Shimborske's loose, aggressive riffage drives songs forward, while Mahlon Orrin's bass lines appropriately split time mirroring guitar parts, pounding out rhythms, and laying down new grooves. You'll find rah-rah handclaps on "Moderation," a hardcore style sing-along chorus on "Viva Los Alamos," and a thrash-metal salute on "Bringing a Knife to the Gunfight," alongside more standard hard-rock fare like "Trouble in the Woodshed" and "A Hole in the New Leaf." The PB Army succeeds at churning out high-energy rock 'n' roll that is definitely not just for beer drinkers.
ÐNatasha Padilla

PITCH BLACK
This Is the Modern Sound [Revelation]
[Fans of Hot Snakes and ambitious garage punk take note.]

A bit of a hit and miss from Oakland's Pitch Black. Trouble is, I can't decide whether it hits more than it misses. As is evident in the album title, these guys aim to broaden their boundaries on their second offering; the band's 2003 self-titled debut opted for a more standard horror/garage-punk vibe. Part of the problem on This Is the Modern Sound is Pitch Black's attempt to do too much, too fast. The band scrambles to create a "modern sound," but end up coming off like they're constantly aware of how different they're being, rather than a band organically finding themselves in an original place. Admittedly, a lot of moments here are pretty cool, echoing some of the advancements in melodic punk made by the vastly superior Hot Snakes. Keys are integrated into some of these numbers via recent addition Jeremy Goody, and tastefully so (this coming from a reviewer who cringes at most synth action), but something about this album still falls limp. Maybe it's the non-committal vocals of Kevin Cross and Martin Munroe (who are no Rick Fork, that's for sure) or the slightly muted production sound, I dunno. Probably a smokin' live band.
-Jason Schreurs

SAM PREKOP
Who's Your New Professor [Thrill Jockey]
[Fans of Tortoise, Archer Prewitt, and Gastr Del Sol take note.]

Stepping away from the band that's become a household name in the Chicago scene while not wandering far from The Sea and Cake's signature sound, Prekop is giving his solo career another shot. And why wouldn't he with the gorgeous constructions of his self-titled debut. Fellow Sea and Cake residents Archer Prewitt and John McEntire join a who's who of Chicago musicians Ð Town and Country's Josh Abrams, Tortoise's Rob Mazurek, and Chicago Underground Duo's Chad Taylor Ð to create this simple masterpiece. Who's Your New Professor whimsically fills our eardrums with Prekop's breathy and carefree vocals as he showcases a need for variation. From "New Dot," a song that could easily fill a smoky nightclub with its simple rock, to the light, modern fusion of "Density" and the modest jazz procession of "Magic Step," Prekop takes as much care into modern aesthetics as he does contextual placement that can only be fueled by such accomplished musicians. What a delight.
ÐAndrew Duncan

PRIMORDIAL
The Gathering Wilderness [Metal Blade Records]
[Fans of goth and power metal take note.]

Irish metalers Primordial are back, and this time they've decided to offer up another slab of something I like to call folk metal. It's appropriately dark; there's all kinds of Lord Of The Rings-type imagery, and the songs have decent riffs behind them. The problem here is that the parts don't add up to anything that's very good. The songs plod along, usually staying around a full minute longer than they need to, and the vocals are so run-of-the-mill that you don't really care what they're about. Primordial did try to grab the heavy train by getting Billy Anderson to produce, but once again Billy has the low end turned up so loud it drowns out a lot of the music. Don't get me wrong, it's all still there, but so overpowered by the low-end aspect that it becomes largely annoying after maybe three songs. There's a lot of this type of thing in metal today Ð this amazing idea of a dark foreboding war between man and the elements or a record that looks as if it's going to tear your face off with its pure darkness. Then you put the album on, and suddenly you have the soundtrack to some Middle Earth battle that you must've missed out on. This pretentious, over-the-top, "look at us we're dark" thing is getting old, mainly because the music that's backing it upÑlike with this albumÑis more silly than scary.
-Iann Robinson

THE RESIDENTS
Animal Lover [Mute]
[Fans of Grateful Dead jams, the strangest things Danny Elfman has done, and bug fucking take note!]

Almost thirty years into their deliberately offbeat careers, The Residents are still that enigmatic sparkle on the very edge of the known pop-music universe. The rhythm tracks of Animal Lover are based entirely on animal noise mating patterns; specifically cicadas, frogs and whales. But you wouldn't know it unless you were told, or were listening with (to paraphrase the late, great Dr. Gonzo) the right kind of ears. This is a melodious and strolling record full of shrill voices, ethereal meanderings and songs about murderous chickens and hot monkey love. It's creepier than it is funny, and the pacing is a bit too slow for those of us accustomed to traditional pop music, but it sparkles with a curious and novel charm, not unlike something Danny Elfman might do if he were writing a musical about animals after staying up all night baking to the Grateful Dead's Infrared Roses.
-Michael Coyle

THE ROCKET SUMMER
Hello, Good Friend. [The Militia Group]
[Way over-the-top pop that may cause heartache and toothache alike. Fans of Weezer, shiny pieces of plastic and FM radio take note.]

I guess there's some kinda buzz that I'm just not paying attention to building around The Rocket Summer, which is essentially the brainchild of Bryce Avary, who is 22 and probably has more get-up-and-go than I could stand to deal with in person. At least that's the impression that I get when spinning this album, as it's filled with upbeat, anthemic rock songs that are light on everything sonically but heavy on the energy and emotion. To be frank, I find myself thinking about '80s sitcom theme songs a lot while listening to this disc. I mean, the first song here, what is that, the Bosom Buddies theme? But here's the catch: I think this album is great! No doubt this kinda stuff will grate on a lot of people as it has nothing much to do with underground music at all, but these are well-crafted songs that are so damn endearing you'd have to have a heart of stone to not enjoy them. I mean, check out "I'm Doing Everything (For You)" Ð cutest song of the year, as infectious as it is annoying, as awesome as it is ludicrous.
-Greg Pratt

SHIPPING NEWS
'Flies the Fields' [Quarterstick]
[Fans of lowercase, Rodan, and June of 44 take note.]

At first listen, Flies the Fields is overwhelming, spewing forth with more emotion than any human can divulge in one sitting. It's hard to immediately get a firm grasp on this heavily instrumental band. It's not that this album is a difficult listen, it's the fact that the power this band can exert is dangerous. And they don't hold back. Their first song "Axons and Dendrites" displays an endless pounding of intensely driven rhythms forced into your cranium until finally the band explodes into the actual vocal section of the song. Dig deeper and you find a brooding underworld of chugging rhythms and surrealistic conceptualism as Jeff Mueller's voice closely waxes and wanes to each note. The way each member plays off one another is flawless. Before you realize it, you have just dived into the murky water and have sunk to the bottom with the band before every sound comes crashing at you, beating from every side. It's enough to make 'Flies the Fields' one of the essential listens of 2005.
ÐAndrew Duncan

THE SMITHEREENS
God Save The Smithereens: Deluxe Edition [Koch Entertainment]
[Fans of The Kinks, Fountains Of Wayne, and Superdrag take note.]

Few power-pop bands that critics love actually sell a respectable number of albums. While never achieving multi-platinum status, The Smithereens have gone gold and platinum in their 25-year history. And yes, there were a few video hits in the midst of that Top 40 success. God Save The Smithereens is a two-CD release in the style of a Rhino Records reissue. A highlight on the first disc, the reunion album that is God Save, is a cover of The Beatles' "I Want to Tell You," as recently featured on a George Harrison tribute disc; its seven other bonus tracks round out disc one to 21 selections. Although frontman Pat DiNizio's 1997 solo album Songs & Sounds makes up the first 12 songs of disc two, even casual fans will be interested to listen all the way through, as its seven bonus tracks are versions of Smithereens hits (i.e. "A Girl Like You," "Blood & Roses") as performed by DiNizio live in Spain. Forty songs in total, correct. The members of The Smithereens may not be at their poppiest with God Save or Songs & Sounds, but this is one case where the bonus tracks make the product worth your time and consideration.
-Darren Paltrowitz

THE STATIC AGE
Neon Nights Electric Lives [Tarantulas]
[Fans of The Cure and The Exit take note.]

A number of terms accumulate in an attempt to expound upon the sound seeping from this release by Burlington, Vt. natives The Static Age. The pastels of the cover art foreshadow the mood that is to follow within. A despondent, debonair ambiance radiates from lovelorn tracks such as "Ghosts" and "It Never Seems to Last." All the while, this solemn mood is contrasted by more exhilarating melodies as demonstrated by "Saltstick." This group has undoubtedly made the most of their individual talents, and in doing so have produced something great. The mechanical drumbeats give the entire album a strong backbone, which is only enunciated by the opulent-sounding keyboards. Classic bass tones that sound as though they come from nothing less than a Fender sans amp move on places the arid drum skins simply cannot. However, the overlying guitar and vocals of Andrew Paley define the band's characteristic exudation of emotion. This album is perfect for the lovelorn, as well as those just looking to relax and forget the convolutions of the day.
-Tyler White

SUNSHINE
Moonshower and Razorblades [Custard]
[Fans of Tora Tora Torrance!, PiL, and Gene Loves Jezebel take note.]

Los Angeles Ð home to Sodom and Gomorrah; a haven to the rich and sleazy, where sex, drugs, and rock 'n' roll rule on a bad night. With Moonshower and Razorblades, you would assume that Sunshine is right at home in the City of Angels as they raise the dead with their songs about sex and vampires Ð "Do you want to dance? Do you want to make love? Do you want to fuck? Well let's go!" The thing is, this group of hedonistic electro-rockers hail from the Czech Republic. With new-wave antics and The Birthday Party ethics, this band has nothing to lose as they just keep getting better with each release. Whether it's the high-energy electro of "Never's Always Never," the Depeche Mode "Master and Servant" gameplay of "Victimisanothernameforlover," or simple shoegazing on "Lower Than Low," Moonshower and Razorblades will have you squirming in red velvet ecstasy and dancing the night away.
-Andrew Duncan

SUPERSYSTEM
Always Never Again [Touch and Go]
[Fans of dance-punk for children and insects take note.]

It's nice to see the band that was formerly El Guapo (Dischord) take their strange insect-core sound and develop it into something more fulfilling under a new moniker, Supersystem. For one thing, the songs here stretch out over the five-minute mark, which helps when the band hones in on electrode sprocket rockers. El Guapo songs always seemed to crash and burn before the two-minute mark. Check out Supersystem's "DEFCON" to see how far this dance-punk genre can actually go; keyboard lines swirling in and out of rambunctious bass lines and shouted vocals. But it's the sequels to El Guapo's gifted children's fable song, "Ocean and Sky," that get the most listens here. "Born into the World" is a lovely little number that evokes childhood memories of innocent days and the odd candy binge, and "Six Cities" sounds like a Dr. Seuss number by way of traditional Japanese music. I know, I know, a lot to take in; but at this point any music my kids and I can listen to together gets many, many spins around this household. Brilliant. Now if only we could get a whole album of the kid-friendly stuff.
-Jason Schreurs

THIS DAY & AGE
...Always Leaves the Ground [One Eleven]
[Fans of Taking Back Sunday, Switchfoot, and Midtown take note.]

This Day & Age is one of the few "emo" bands that has pop-style melodies without sounding emotionally calculated, while adding beautiful keyboard overtones and guitars to add to the overall sound. There's no whining vocals anywhere to be found on this record; Jeff Martin's voice is clean and melodic from start to finish, drawing comparisons to the poppier side of Switchfoot with a slight Taking Back Sunday-style driving-rock element. This blend creates a fresh sound to attract hungry ears. The band works the melodies to its advantage, making the music shine in a huge way. This record potentially could have songs waiting to be featured on a forthcoming sitcom, which is not necessarily a bad thing. This Day & Age is a band that fits its name well, and the only thing holding them back is a big opportunity, which could be right around the corner. Only time will tell how big these guys will become.
-Rei Nishimoto

MARY TIMONY
Ex Hex [Lookout! Records]
[Fans of Helium, Sleater-Kinney, The White Stripes, art garage, and prog rock take note.]

Mary Timony is one of those chameleon-like artists that you're never quite sure what to expect from; you just know it will be good. Now on her third solo effort, Timony has traveled back in time to her guitar years, but retained the minimalist sensibility and prog tendencies that have filtered in and out of her releases since Helium's 1997 swan song. Ex Hex is a fresh start, with Timony and new drummer Devin Ocampo (Medications) as power duo. The cloak of depression shrouding her two previous efforts has been lifted along with most of the fantastical lyrics. Overdriven chords play alongside her typically unusual guitar lines, and sometimes evoke Helium memories ("Return to Pirates," "Backwards/Forwards"). But Ex Hex is far from a return to Helium's glory days; instead, it is a showcase for one of indie rock's most overlooked guitar greats. Timony is simultaneously grounded, playful, and progressive in performance and composition, while Ocampo's energy and inventiveness behind the kit helps build and maintain momentum. Prog-style vocal harmonies, random synth accents, twinkly vibes, and the occasional bass line adorn and fill the arrangements. The production value may be lo-fi, but Timony's music most certainly is not. Intelligent garage music, anyone?
ÐNatasha Padilla

TRANSISTOR TRANSISTOR
Erase All Name and Likeness [Level-Plane]
[The logical progression of metalcore. Fans of The Blood Brothers and Jesus Lizard take note.]

Oh for a world where all bands who tackle the heavy, screamy shit take the time to craft an original sound like Boston's Transistor Transistor have on Erase All Name and Likeness. Just think: We wouldn't have to perpetually suffer through bands intent on hammering us with the same song 11 times, for 40 minutes straight, while they roll around on a beer-sopped floor and lament the last underage girl that dumped them. We could listen to bands like Transistor Transistor as they emit real emotions (gasp) driven by real problems and issues! And songs that change pitch and tone! Wouldn't the world be so much better, folks? But I suppose we should expect no less from a band featuring alumni from Orchid. For those who've heard the other ex-Orchid band, Panthers, and wished for a bit more screaming and chaos, they only need sit their asses down in front of this. Think The Blood Brothers meets Jesus Lizard or, in other words, a fucking great band. Almost forgot, and Kurt "God City" Ballou looms over the mixing board, twiddling its knobs, spraying magic demon dust all over it, or whatever it is he does to make bands sound as raw and angry as humanly possible.
-Jason Schreurs

WATCHERS
Dunes Phase EP (Gern Blandsten)
[Fans of !!!, Moving Units, and Television take note.]

So how 'bout them Watchers! After breaking into the indie-funk world in 2003 with their debut album To the Rooftops, the Chicago quintet is back with another 17 minutes of body-movin' bliss. Don't let any moment of this EP slip through your ears; only two of the seven tracks break the three-minute mark. There is no warm-up nor cool-down, just pure dance delight. The stand-out (and lengthiest!) track here is "The Sway," an especially groovy foray about sexually charged social mobility. That doesn't make sense? Think David Byrne vocals ("This - is the way - of the up-wardly mobile") mingling with !!!, all on top of a reverb guitar backdrop. Sounds good, right? This EP definitely secures Watchers a place among my bands-to-keep-an-ear-on list; I expect only more sonic love to flow forth in the future.
-Jodie Kautzmann

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