With real blood-and-guts death metal being subverted by the dominant European melodic version and the burgeoning U.S. metalcore movement, old-school bands like Aborted, who really seem to worship at the altar of mid-'90s Carcass, have become something of a rare beast. You won't find any Maiden-esque guitar interplay or clean vocals here, just hyper-technical, grind-influenced brutality. The Archaic Abattoir isn't, however, filled with the kind of knotted math problems that the genre frequently succumbs to; tracks like "Blood Fixing the Bled" and "The Inertia" actually feature classic-sounding metal riffs that'll instantly stick with you. At the other end of the extreme, a good portion of the album is executed at blast-beat speed with this Belgian quintet firing off a fierce staccato volley of hellish sounds in every direction. Most impressive of all is the fact that Aborted mix in traditional metal influences (though much differently than their melodic death-metal brethren) without ever compromising The Archaic Abattoir's sheer ferocity.
-Adem Tepedelen

AGAINST ALL AUTHORITY/COMMON RIDER
Split [Hopeless Records]
[Fans of Anti-Flag, Operation Ivy and Chuck Berry take note.]

Grab the mohawk glue and start pushing your studded belts through the loops of your torn jeans because punk stalwarts Against All Authority have returned with no remorse. Staunch in their anti-war stance, their side of this split record is filled with biting political rhetoric and cutting three-chord riffs. Tracks like "Lied To" and "Barricades" are flat out rebellious anthems against our country's war agenda. Hard-edged reggae track "World Dominator" serves as a fluid segue to the Common Rider portion of the disc, filled with four outtakes from 2003's This Is Unity Music sessions. Sadly, Michaels chose to disband the Common Rider project after a brief tour in support of their last record. Luckily, fans have these final four offerings, tinged with quirky upstrokes, '50s R&B riffing and contagious sing-alongs. Michaels successfully resurrects a blues-based rock style that your grandparents probably shimmied along to ions ago and makes it his own with the addition of his catchy yet introspective lyricism. As a whole, this record is a testament to punk's simplistic poignancy as well as its adaptive spirit.
-Francis J Corva III

APES
Baba's Mount [Birdman Recordings]
[Fans of Butthole Surfers, The Boredoms, and Deerhoof take note.]

Acid rock is alive and well in the sound of the Apes. With this metaphysical journey through bizarre vocal effects and fuzzed-out power rock, the Apes build a sense of astonishment. Using a concoction of field recordings, piano, and vibes - just about everything except for a six-string guitar - Baba's Mount rocks harder than most guitar rock bands. If Ozzy Osbourne reformed Black Sabbath with Butthole Surfers as the backing band, then you may understand why songs like the title track are so damn freaky. From the fantasy folk of "Ornaments and Windchimes" to the Farfisa-frenzied "Organ Syrup," expect to be blown away. And just when you thought things were weird enough, the tribal rhythms and hallucinatory samples will do their devil's work to push you over the edge. Recorded in a remote cabin in the woods of Pennsylvania, it may have been a good thing that no one heard them at the time.
-Andrew Duncan

THE AQUABATS
Charge!!! [Nitro]
[Fans of Devo, Talking Heads, and Mystery Science Theater 3000 take note.]

These rubber-suited superheroes make basement art-punk with geeky pride. Sure they sound a lot like Devo, but Charge!!! escapes the trappings of imitation art by either paying homage to (their dedication to The Misfits on "Fashion Zombies!") or poking fun at others (and even themselves), resulting in a collection of fun and funny material. They play music the way those zombies danced in Michael Jackson's "Thriller" video as they take cinematic jabs with "Tiger Rider Vs. The Time Sprinkler!" and synth-punk rocker "Meltdown!." With "Nerd Alert!," they just may be referring to themselves. It only took six years to come up with this smattering of silliness, not that we were holding our breath. But for the moment, Charge!!! is worth its weight in gold. The band says it best on the finale "Awesome Forces!:" "We are your average-ordinary-superhuman-punishers-of-evil-rock-and-roll band/We cannot die for this is our destiny."
-Andrew Duncan

AT THE DRIVE-IN
This Station Is Non-Operational [Fearless Records]
[Fans of Fugazi, The Mars Volta and Iggy Pop take note.]

If you're a true At The Drive-In fanatic, chances are you already own the majority of the work on the audio portion of this release. This is still a necessity purchase, though; it features not only tracks culled from their full-length and various split 7" recordings, but also previously unreleased b-sides, remixes and covers of Smiths and Pink Floyd songs that showcase the band's tendencies beyond the horizon of the post-hardcore landscape. For those of you who only know of ATDI as the former endeavor of members of both Sparta and The Mars Volta, here's an opportunity to get acquainted with the band's revolutionary sound. Chronicling the evolution of their music - laden with off-kilter grooves, angular guitar work and obtuse lyricism - This Station should no doubt whet the appetites of the unassuming. And as if the music weren't convincing enough, the videos and behind-the-scenes commentary on the DVD portion of the release should deal the final converting blow. From footage of the band in their unharnessed live form to the social conscience of the "Invalid Litter Dept" video to hearing the members speak on their passion as musicians, this release truly is a testament to one of the most important bands of our generation.
-Francis J Corva III

ATHLETE
Tourist [Astralwerks]
[Fans of Coldplay, Keane and Radiohead take note.]

From the sound of it, Athlete's Tourist strongly suggests that this band has been wasting all its vacation time worshiping at the shrine of Chris Martin, because far too much of its music comes off like badly aped Coldplay b-sides. These orchestral pop tracks have all the pomp and circumstance of contemporary emotive rock, yet the songs themselves are about as filling as Chinese takeout. Singer Joel Pott vocalizes every word as if it was his last, yet he rarely entices the listener to empathize with his cause. On the disc's title track, he even plays the pleading soul singer and creates particularly chilly bedroom music. Teddy Pendergrass he ain't! Elsewhere, it's tough to know exactly what he's going on about. For instance, just what the "Modern Mafia" means is anybody's guess. The instrumental textures of this CD are pleasant; they incorporate plenty of keyboards and soaring melodies. And as long as you don't squint and try too hard to understand what Athlete is attempting to say through its music, it's possible - I guess - to still enjoy this recording in an absentminded kind of way.
-Dan MacIntosh

BOREDOMS
Seadrum/House Of Sun [Vice]
[Fans of experimental surprises, re-invention, and drums take note.]

After all these years, if anything can be said of Japanese experimental noise-rockers the Boredoms, it is this: Expect the unexpected. What we find on their latest endeavor are two tracks comprising an astonishing 43 minutes. The first offering, the sea-inspired "Seadrum," is extremely tribal in nature and is therefore oftentimes tempestuous, mainly due to the incredible drum work that's the central focal point of most of the song (yes, an aptly-titled song twofold!). There are brief expanses, however, when the piano and/or vocals come to the forefront and the stormy nature of the composition wanes in favor of a lighter, more airy feel - but it's not often. "House of Sun," on the other hand, is a truly atmospheric piece, lacking any of the aggression and volatility of its predecessor, and has no vocals to speak of. It appears to be composed solely of what sounds like stringed instruments and woodwinds. No matter what the instrumentation, though, it's a tremendously peaceful, dreamy, almost hypnotic piece. More so than "noise-rock," on this album the Boredoms conjure up some beautiful ethnic-sounding pieces ("Seadrum" has an African tribal feel, whilst "House of Sun" has more of an Asian tinge).
-Janelle Jones

BRAND NEW SIN
Recipe For Disaster [Century Media]
[Fans of dirty, sweaty dude rock like Motšrhead, COC and Clutch take note.]

Brand New Sin got their start as God Below, a Syracuse metalcore band with three (!) guitarists. They ditched their original singer, changed their lineup and their name, and adopted a more Southern-stewed rock sound. Recipe For Disaster is BNS's second full-length, and it's chock full of Lynyrd Skynyrd style, bar 'n race car anthems (hear "Arrived" and "The Loner" for a one-two punch). Recipe For Disaster is manly, sweaty rock made by dudes, for dudes. Singer Joe Altier's beefy, brawny vocals complement the blue collar, gettin'-down-after-a-long-day's-work style riffing of Kenny Dunham and Kris Wiechmann, who was once in Earth Crisis, for those of you diligently keeping score at home. While Recipe For Disaster benefits from dynamics (there's an assortment of balls-out rockers and acoustic semi-ballads), it may have a hard time finding its audience. It's a solid record, yet it's inherently geared toward an older crowd of rock hounds, and those very rock hounds are creatures of habit. It's tough to get them to lend their ears to new bands, even if the new bands sound like their heroes of yore.
-Amy Sciarretto

TOM BROSSEAU
What I Mean to Say Is Goodbye [Loveless Records]
[Fans of Woodie Guthrie, Devendra Banhart, and Townes Van Zandt take note.]

Heartbreak, happiness, and hometowns: Tom Brosseau has it all on his new album, including some impressive guest appearances. With the release of What I Mean to Say Is Goodbye, listeners will discover a talented new voice that skillfully mixes traditional instrumental work with innovative vocals. Brosseau offers up simple and beautiful music track after track; there is nothing on this album to skip. It is perfectly produced by Sam Jones, who also produced the Wilco documentary I am Trying to Break Your Heart. Brosseau is a storyteller, and on tracks like "Tonight I Am Careful With You," his story is enhanced by the work of Benmont Tench (Tom Petty) on the piano. "Wear and Tear" picks up the tempo with the help of Pete Thomas (Elvis Costello and the Attractions) on drums. While Brosseau writes most of the songs himself, he does a version of a traditional, "In My Time of Dying." The vocals are stunning and the song rounds the album into an exceptional whole.
-Peggy Robinson

LAURA CANTRELL
Humming by the Flowered Vine [Matador]
[Fans of Emmylou Harris, Tift Merritt and Elvis Costello take note.]

Does it make me a bad person that I regard the unmistakable air of intelligence about Laura Cantrell's new record as a rather significant fault? The song selections here are impeccable, and Cantrell's originals quite lovely, while the fine production by JD Foster splits the difference skillfully between alt-country-chanteuse blandness and real, pedal-steel-and-shuffle warmth. But there's something so knowing, not to say calculated, in every note Cantrell sings that the rawness of Lucinda Williams's "Letters," for instance, gets lost in a smother of overthink. To be sure, the thin prettiness of Cantrell's voice perfectly suits meditations like "Khaki and Corduroy" and flattens delicately the bright smoke of "14th Street," but the superb taste and thoughtfulness she brings to her well-regarded New York history-of-country-music radio show may be responsible for the odd tang of academia that colors the traditional "Poor Ellen Smith." Braininess never dooms a truly talented singer-songwriter, which Cantrell unquestionably is, but country fans outside of latte-sipping NPR-dilettante circles can be forgiven for demanding a little more unfiltered emotion than we're given here.
-Steven Hanna

DDM
Snow on the TV [Dim Mak Records]
[Fans of Suicide (the band not the act), Faust, and Yoko Ono take note.]

"Last time you got the movement; this one's the disaster," proclaims the L.A. duo known as Dance Disaster Movement (DDM) on the subject of their newest release, Snow on the TV. This time around, DDM eliminates the alt-disco finesse present on their previous release, We Are From Nowhere, in favor of a somewhat eccentric brand of aural fit-throwing. "Get Back On That Starting Line" exemplifies this new sound by shunning melody completely in lieu of a dizzying noise-collage hewn by drums and keyboards while singer Kevin Litrow delivers manic vocals, part spoken-word part broken prose. In "Pulse," the disorienting barrage of quirk-noise continues with a driving loop and scattered samples that drop and careen like wine-soaked theater majors. The last track, "Esrever #1," becomes more of a dilemma than a song - a test of willpower over the stop button. The deliberately nightmarish concoction of backward vocals and electric saws lurch through what sounds like a wind tunnel before the song peaks in a cringe-inducing tangle of drilling, surely pirated from a dentist's office. If Snow on the TV truly is DDM's interpretation of the disaster portion of their moniker, here's hoping next time we'll get the dance.
-Andrea Heimer

DECAHEDRON
2005 EP [Lovitt]
[Good to know there's bands that still sound like this. Fans of Frodus, Hoover, and Fugazi take note.]

The D.C. hardcore scene, like most scenes these days, has slipped a bit too much into the experimental realm as of late. Luckily, thanks to this new Decahedron EP, and another by Lovitt label-mates Navies, the discordant cacophony that created the D.C. love affair is not lost. The new batch of songs by Decahedron is a follow-up to 2003's amazing Disconnection Imminent, and shows the band exploring somewhat darker possibilities. Similar to Hoover and their offshoot bands (The Crownhate Ruin, Regular Watts), and still bringing memories of Frodus flooding back (two members are ex-Frodus), Decahedron represent what D.C. hardcore has always meant to me: explosiveness, social relevance, fury, feedback, and momentum building. The EP is only six tracks, two of which are covers (Cop Shoot Cop and Bauhaus), but this only makes their next full-length more anticipated. Also includes a live performance by the band on an enhanced track.
-Jason Schreurs

DRESSY BESSY
Electrified [Transdreamer Records]
[Fans of The New Pornographers, Apples in Stereo, Sun-60, and Polyphonic Spree take note.]

While some may believe only the tormented are creative, Dressy Bessy keep smiling and it isn't hurting them at all. Electrified is jangly toe-tapping fun. But then, what else would you expect from the Denver-based group? This album is great for that beginning-of-summer road trip. The energy is infectious, and while it may not be a classic, listeners won't be able keep from bobbing their heads and singing along. The album starts out strong with the bouncy and danceable "Second Place," which is cute although somewhat predictable. This could prove to be a strength, however, because listeners will be able to sing along even before the song is over. Tammy Ealom's vocals are captivating throughout, but are especially strong on tracks like "She Likes It" and "Who'd Stop the Rain." "Ringalingaling" and "Call It Even" bubblegum their way through biting lyrics, and "Try Try Try Again" is a solid, enjoyable rock tune.
-Peggy Robinson

THE ESOTERIC
With the Sureness of Sleepwalking [Prosthetic]
[Innovative music somewhere between melodic hardcore and raging metal. Fans of Converge and Reggie and the Full Effect take note.]

At this point, the ol' "ex-members of" lists are getting pretty annoying and redundant, yes. But it should be done for this Lawrence, Kansas outfit: Coalesce, Today is the Day, and Reggie and the Full Effect are some of the bands these dudes cut their teeth in. Impressive, really, and it shows here; when the second song, the stunningly good "Ram-Faced Boy," came on the first time I was spinning this, it made me stop whatever I was doing and just listen. The mixture of crazy drumming, emotive singing/screaming, melodic guitar work and a nice balance of abrasive hardcore and melodic rock was just too neat to ignore. As the disc goes on, it starts to get a bit tiring; it could have been a few songs shorter for maximum enjoyment potential. Still, all things considered, this is a pretty unique take on heavy music in general, and although it may alienate a lot of people, it will no doubt reel even more in. Nice layout in the booklet as well, plus the production sound is utterly perfect, wrapping up the sound in something so comforting it could put me to sleep if the music was less abrasive.
-Greg Pratt

EXTOL
The Blueprint Dives [Century Media]
[Recommended only for listeners with long attention spans and the ability to enjoy an artsy metal stew with ingredients as diverse as Meshuggah, Opeth, and a handful of emo and metalcore bands.]

When a band has received this much hype, one begins to wonder whether the members have started paying too much attention to critical expectations. Extol's mix of the ethereal (some might even say emo) and the heavy has its captivating moments, but ultimately ends up sounding like a band that's trying to go in too many directions and ends up sounding confused. The moments of melodious brilliance ("Gloriana," "Pearl") and scathing metallic bursts ("In Reversal") are soon forgotten due to an overemphasis on not trying to be too predictable, thereby ruining the flow. Still, I can appreciate the shifts from the hypnotic to the jarring, and the deft use of rhythmic texture. Maybe I don't have the patience to fully comprehend what some might even call artistic genius, or maybe The Blueprint Dives is just freakin' boring. Sometimes you can be too clever for your own good. Creative does not necessarily equate to exciting.
-Scott Alisoglu

FOETUS
Love [Birdman Recordings]
[Fans of Mr. Bungle, Marc Almond, The The, and, well, Foetus take note.]

Since the beginning of time, Jim Thirlwell has been the creative force and inspiration for industrial, experimental, and independent music. In 1978, he joined the no-wave movement in London alongside Throbbing Gristle and Cabaret Voltaire. In the early '80s, he moved to New York and started what we know today as industrial music. Nearly 30 years later, Thirlwell has released Love, his newest album in over three years. Driven by harpsichords and full orchestrations, this album is a romantic epic inspired by '60s psychedelia, darkened theater, and mysterious film scores; Love is the perfect score to a modern remake of Beyond the Valley of the Dolls. This album is not solely industrial; instead, it shows a more eclectic approach to album writing. Longtime fans need not be afraid that Foetus is going soft. Thirlwell still maintains his signature sound of harnessed chaos. On "Aladdin Reverse," the mood builds from a slow impending rhythm with claustrophobic lyrics to an explosive chorus reminiscent of 1995's Gash. "Not Adam," the album's first single, opens with a harpsichord followed by a chorus reminiscent of the Beach Boys on PCP. Love also features a haunting duet with Elysian Fields vocalist Jennifer Charles called "Thrush." Each song seems to be a representation of love in all of its bipolar forms. Overall, this album is very listenable and often catchy; this is perhaps one of Foetus' greatest efforts to date.
-Samuel Doty

THE HOLD STEADY
Separation Sunday [Frenchkiss]
[Fans of Lifter Puller and World/Inferno Friendship Society take note. Wait, did anyone even like those bands?]

And now for something completely different ... Yep, the latest from The Hold Steady, featuring two dudes who used to play in Lifter Puller and a keyboard player from World/Inferno Friendship Society. Don't expect anything like you've heard from them before, though, because on Separation Sunday, The Hold Steady foray even deeper into the rambling, stream-of-consciousness of singer/songwriter Craig Finn. Finn is a rambling weirdo here, like a Starbucks-sipping version of Tom Waits; busting out hilariously sarcastic and occasionally poignant diatribes which illicit smiles, frowns, and the odd belly laugh. Finn isn't exactly singing here as much as he is talking, a style that does get tiresome after a few tracks. But if you can trick your mind into following his smoky drawl and piecing it together with the rocked-out barn-burners on here, then things make a bit more sense. While some tracks just limp along like something wounded in the back alley at night, others like the AC/DC-by-way-of-Ben Folds "Stevie Nix" are primed and ready to go. If you're in a musical slump, strap this baby on.
-Jason Schreurs

HOPEWELL
Hopewell and the Birds of Appetite [Tee Pee]
[Fans of Mercury Rev, U2, and the Doors take note.]

The instant those flatulent horn bleats open the gloriously mish-mashed "Trumpet for a Lung," you know you're in for a psychedelic-pop treat; Hopewell frontman Jason Russo's term back in the mid-'90s as a Deserter's Songs-era roadie for Mercury Rev was obviously spent taking copious notes. With Rev/Flaming Lips production mastermind Dave Fridmann behind the boards, Hopewell's second LP boasts plenty of the lush largeness of Fridmann's trademark fat-bottomed carnival sound. Occasionally, sure, you start to think the album is like cotton candy wadded-up and swallowed in a gulp - "Calcutta" is a slightly-too-easy crib of the "Smells Like Teen Spirit" riff, while "Square Peg Teeth" is only just gorgeous enough to get away with lifting Jonathan Donahue's great "Car Wash Hair" right off the first Rev record - but cheeky record-geek references aside, underneath the bordering-on-world-class production job there are songs here that suggest Russo is a formidable songwriting talent. Recipe for a satisfying evening: cue up "Praise Twice," "Sugar in the Honey," or "God Is Near (A Diamond Suture)," and set the stereo on endless repeat. Ardently sincere in spots and occasionally bombastically drugged-out, this disc is big, beautiful, and very worth your time.
-Steven Hanna

JULIETTE AND THE LICKS
You're Speaking My Language [Fiddler Records]
[Fans of Iggy and the Stooges, Patti Smith, Blondie, and arena rock take note.]

Since last year's EP, the touring has continued and two members have been replaced. Lewis' vocal range has improved, thus widening the scope of the band's repertoire. Across its 12 tracks, arena rock bangs against punk-infused jams, shimmies into '80s girl-pop/rock, and raises its lighter for three ballads. The Licks do not always succeed in blending these influences, nor is it clear why they delayed this disc to deliver only nine new songs (a hackneyed intro and alternate, inferior versions of "American Boy" and "Got Love to Kill" are included). Like a Bolt of Lightning was a fun, rockin' time, but You're Speaking My Language is a rollercoaster ride of peaks (the title track, "Money in My Pocket," "I Never Got to Tell You What I Wanted To") and valleys ("This I Know," "Long Road Out of Here"). Lewis rocks naturally, but on the slow tunes her phrasing often sounds contrived, a blurred mirror of her heroes. With the strongest material stacked in the first half, the overabundance of mediocre, inflated ballads that follow disrupt the album's flow. In light of its promising EP and live show, this effort is an uneven, disappointing showcase for a talented band.
-Natasha Padilla

MANIC HISPANIC
Grupo Sexo [BYO Records]
[Fans of Adolescents, Cadillac Tramps, and Weird Al Yankovic take note.]

The latest full-length offering from the chingasos known as Manic Hispanic is another side-splitting tribute to more of our favorite punk rock classics. Grupo Sexo has 11 tracks of first-rate, reworked covers from bands like Green Day ("Welcome to Paramount"), Circle Jerks ("Grupo Sexo"), Fear ("Big Chorizo"), Descendents ("I'm Just a Cholo"), Minor Threat ("Out of Step-With la Raza") and more. As always, the expert guitar work of El Hokey Loco (Steve Soto) and crew is great listening even without paying attention to the comedic modifications. Vocalist El Hefe (Gabby) is muy bien with his well-delivered tongue-in-cheek orations, and he could easily hold his own in the world of stand-up comedy. Take a listen to what happens when talented musicians know not to take themselves and their music too seriously. Turn it up, pound some cervesas, and learn to laugh at your punk idols, yourself, and everything else. I can just imagine the late Joe Strummer of The Clash laughing and singing along to the honorific bastardization of his "Police and Thieves". ÁOrale yeah!
-Marcus Solomon

MAYDAY
Bushido Karaoke [Saddle Creek]
[Fans of Bright Eyes, Dwight Yoakam, and Whiskeytown take note.]

Mayday's Ted Stevens is probably the least distinctive of today's Omaha songwriters, but that's like saying emeralds are the dullest glittering jewel. His idiosyncrasies are less compelling than Conor Oberst's, and his emotional scalpels not as sharp as Tim Kasher's, but on Mayday's newest Stevens seems dead-set on becoming indie rock's great country troubadour, a kind of emo Marty Robbins, and damn if he hasn't made a solid stab at it. From the dusty underworld travelogue "Standing in Line at the Gates of Hell" to the cornhusks-and-spaghetti western drive of "Father Time," Bushido Karaoke is a '50s-inflected song cycle that would be perfect for the soundtrack to a WB-network biopic of Johnny Cash, assuming they'd be too cheap to snag the rights to "Ghost Riders in the Sky." The problem is, the record doesn't hang together: Its scattershot second half is full of songs where Stevens awkwardly assumes other people's voices, and the strongest track by far is a cover of Gillian Welch's "I'm Not Afraid to Die." Still, when an autumn draft chills you in just the right way, or a contented cat purrs just so in your lap, you'll find Stevens's lovely, subdued melodies poking their way back into your head, and you'll be glad to have them there.
-Steven Hanna

MELVINS
Mangled Demos From 1983 [Ipecac]
[Fans of the Melvins take note!]

You'd have figured after trotting out so many versions of their first record - it was originally released as a 6-song 7" in 1986, expanded to an 8-song LP in 1991 and turned into an all-inclusive 26-song CD in 2003 - that there would be little left in the Melvins early archives. Guess again. Turns out they recorded a bunch of songs with original drummer Mike Dillard back in 1983, two of which ("Snake Appeal" and "Set Me Straight") were later recorded for that repeatedly reissued debut. The rest of these Mangled Demos, however, provide a pretty entertaining snapshot of the Melvins as teenagers: a bunch of small-town hoodlums bashing out their Northwest version of West Coast hardcore. The songs are almost all in the "loud fast rules" vein and rarely top the two-minute mark. The recording quality is surprisingly decent, though it's clear that many of these were just rehearsals and some of the untitled tracks seem to be unfinished. What's probably most interesting about this particular batch of songs is the obvious influence they must have had on a young Kurt Cobain, who idolized the Melvins during this period. Slower, heavier tracks like "Set Me Straight" and "Matt-Alec" could just as easily have been outtakes from Nirvana's Bleach.
-Adem Tepedelen

THE NARRATOR
Such Triumph [Flameshovel]
[Fans of the Amphetamine Reptile roster, ...And You Will Know Us By The Trail Of Dead, and the Pixies' Bossanova take note.]

If you've never heard of The Narrator, you should get acquainted. Unfortunately no review will give justice to the craftiness and passion their debut full-length has to offer. But thanks to The Narrator, the Chicago indie rock scene will never be the same. Overjoyed with spastic time signature changes and guitar chord jabs that'll pierce through the bone, Such Triumph is a flurry of the beauty and the beast. Sometimes the waters need to be muddied; this symphony is tainted with churning rhythms and overproduced drum cadences, flailing through a whirlwind of rock standards with punk-rock insanity. Whether it's the cavalry sounds of "Ergot Blues" or the roaring rhythms and feedback of "Now Is the Time for All Good Men," you will not be disappointed. Such Triumph overflows with intensity and diversity, bringing back the spirit of the old Amphetamine Reptile label while tossing its remains over the cliff.
-Andrew Duncan

NINE INCH NAILS
With Teeth [Interscope Records]
[Fans of Ministry, post-OK Computer Radiohead, and dark wave take note.]

Trent Reznor's first studio effort in six years kicks off where The Fragile's "Even Deeper" left off: a simplistic programmed drum beat, quiet vocals, and threatening bass line. Cue mirroring piano melody in place of the latter's guitar riff, subtract the soundscape, complicate the drum programming, add a layer of restrained guitar feedback, then suddenly we're on planet Kid A. Everything abruptly switches to a thumping dance beat and warm piano line a la Radiohead's "Everything in its Right Place" with a chorus of soulful Reznors questioning, "Why do you get all the love in the world?" Next, "You Know Who You Are?" slams in with rapid-fire drums courtesy of Dave Grohl, the "Starfuckers, Inc." of With Teeth with the raw animosity of NIN classic "Wish." The live drumming throughout the CD complements Reznor's direct songwriting approach - a welcome departure from The Fragile's two-disc challenge that had more misses than hits. Reznor combines his sonic strengths with a newfound sense of musical freedom that borrows from multiple genres (metal, funk, soul, new wave, grunge) but is always Nine Inch Nails. The result is a more accessible album that is obvious without being easy. Fans rejoice, modern rock radio breathes a sigh of relief.
-Natasha Padilla

ONEIDA
The Wedding [Jagjaguwar]
[Fans of Xiu Xiu, Lightning Bolt and Led Zeppelin take note.]

Sounding a little like Xiu Xiu's Fabulous Muscles, only with meatier hooks in senses both good and bad, Oneida's The Wedding veers wildly from ethereal meditations to crazed fireside freakouts. Those of you familiar with this Brooklyn noise-rock band's daunting discography won't be surprised to hear that some of the new disc's finest cuts - the heavy-lifting exercise in emptiness "The Beginning is Nigh," for instance - are also its most tiresome, or that its prettiest moments - the vaguely "Battle of Evermore"-ish "Run Through My Hair" - slip through your brain like water through cupped hands. The biggest surprise is the record's confident texturing: rock 'n' roll rears its head out of oceans of simplicity like monsters poking scaly heads out of the seas on ancient maps. Yeah, there's plenty of the '70s-rock riffage that you remember from Secret Wars, and "Did I Die" actually evokes Black Sabbath rather convincingly, but many of its companions are songs built around starkness, like the stripped-down synths of "Lavender" or the banging-the-fingerboard soundscapes of "Leaves." I have no idea who's getting married here, but the reception's gonna leave you with a nasty hangover.
-Steven Hanna

ORTHRELM
OV [Ipecac]
[Fans of torture chamber aural insanity take note.]

Only the perpetual weirdos over at Ipecac would unleash this one onto the world. I can't decide if OV is the biggest waste of 45 minutes ever or the complete opposite; a stroke of self-indulgent genius. Essentially, this is the same wacko drum beat and high-pitched guitar noodle, with dizzying alterations, for the bulk of a one-track CD. Then, at about the 30-minute mark, the floor falls out and this two-piece launch into seriously damaged bursts of doom and mindfuckery before reverting to the original, hmm, riff? This mess all comes courtesy of D.C.'s Mick Barr (Crom-tech) on the noodle and Josh Blair (Supersystem) on wacko drums. The coolest thing about Orthrelm is the nervous anticipation of their demented endurance test; getting through the whole 45 minutes in one sitting is hard enough as background noise. Put it on earphones and turn out the lights, and this is gonna rape your mind. Those known to have seizures or panic attacks should be well advised to stay far away from Orthrelm. You have been warned.
-Jason Schreurs

OXFORD COLLAPSE
A Good Ground [Kanine]
[Fans of Sonic Youth, Ted Leo, and Wire take note. I know, weird mix.]

Do they give an award to "Most-Improved Band" in the world of indie rock? If so, here's your winner, hands down. Oxford Collapse's second full-length is quite the progression from their debut, Some Wilderness, which kinda just came in one ear and shot out the other. A Good Ground is danceable but not annoying or sassy in any way; it features some textured melodies usually reserved for indie rock hall-of-famers like Sonic Youth and Wire; and the vocals are stronger than most bands in this genre while somehow still retaining that nonchalant, cool vibe. In other words, lotsa good stuff going on here. Even more impressive is the recurring theme and repetition which command these 12 songs. Oxford Collapse are keenly aware of what they are doing, spinning a peppy yarn that sticks with repeated listens. A Good Ground is one of those albums that will have listeners obsessively flipping from song to song, looking for the connecting clues to unlock some secret puzzle. Funny thing is, as far as I can tell, there's no secret to unlock. Except for that unanswered bit about how a band so young in their years can be so damn clever.
-Jason Schreurs

PLEASE MR. GRAVEDIGGER
Throw A Beat [Pluto]
[Fans of Murder City Devils, This Moment In Black History, and Some Girls take note.]

Raucous, hectic, chaotic, edgy, and just plain fun, Please Mr. Gravedigger's latest release, the five-song Throw A Beat is one helluva punk/rock 'n' roll ride. From the onset, one might think we're in for compositions that just consist of a brief, noisy aural assault in the vein of Some Girls' insanely chaotic and downright mental sonic bursts, as the listener is first pummeled with the 48-second hardcore blast "You Gotta Tame the Beast Before You Let It Out of its Cage." But this isn't the case, for the four following tracks (although maintaining that spastic, frantic feel for the most part) prove these guys have more up their collective sleeve. Take, for instance, the fabulous three-minute-plus rocker "Wales," which is just raw, punked-up rock 'n' roll, supplemented by texture-enhancing keyboards and shouted, earnest, and passionate vocals that altogether have a very Murder City Devils feel. Basically, these guys incorporate hardcore punk with great rock 'n' roll songwriting. Also worthy of mention is the secret track, which is probably the most hilarious/retarded "song" I've heard on a record in a long time ... No, I won't spoil the surprise.
-Janelle Jones

RAGING SPEEDHORN
How the Great Have Fallen [SPV Records]
[Fans of Biohazard, Eyehategod, Hatebreed, and Iron Monkey take note.]

Formed in 1998, Raging Speedhorn has released two full-lengths and garnered tons of praise from European press and fans. Now the band finally gets a stateside release. How the Great Have Fallen masterfully showcases Raging Speedhorn's amalgamation of hardcore, metal and sludge. What sets these Brits apart from the rest of the metalcore/sludgecore pack is the effortless way the fusion occurs. The scales never tip to syrupy sludge or blistering metal; instead, they remain perfectly balanced on a hardcore-fueled train to create a scathing, energetic hellride. Raging Speedhorn never loses its mosh, and the thick riffs courtesy of Garreth Smith and Jaye Thompson never dissipate. Frank Regan and John Loughlin's dual vocal assault isn't one part clean, one part scream; it's one part kill, one part killedÑa coherent John Morrow (Iron Monkey) and Phil Anselmo in a bar fight of hardcore gruff. This vocal strength coupled with the band's effective songwriting distinguishes How the Great Have Fallen. Disc highlights include "How Much Can a Man Take," "Slay the Coward," and the title track, which effectively weaves the verse riff from Biohazard classic "Punishment" into a new rock anthem. Raise your pint glass to these lads once they hit these shores; it's long overdue.
-Natasha Padilla

RÖYKSOPP
The Understanding [Astralwerks]
[Fans of Gus Gus, Underworld, Air and Daft Punk take note.]

As a follow-up to the Norwegian duo's surprisingly successful Melody AM, Ršyksopp's latest effort has a lot to live up to. It mostly delivers with its signature blend of wistful vocals and atmospheric house music, while mixing in fresh bits of garage and subtle breakbeats. Branching out in unexpected directions definitely adds freshness to their new material, but some of the experimentation ends up making the flow of the album feel a little disjointed in places. With repeated listens, however, it all ties together nicely with open, airy tracks that feel like the wind blowing through your hair. Easily the most likeable aspect of Ršyksopp's music is how deceptively minimal the production feels. They know how to let the tracks breathe, adorning them sometimes with only the most delicate of synth blips and a straightforward house beat. Rather than sounding flat, however, the feel is ethereal, contemplative, and romantic. There's no mistaking the origins of the music as anything other than European, but the long winter nights and endless summer days of Norway seem to add a longing intensity that sets it apart from some of the more disposable house churned out these days.
-Jonathan Dale

THE RUSSIAN FUTURISTS
Our Thickness [Upper Class Recordings]
[Fans of The Postal Service and Magnetic Fields take note.]

Matthew Adam Hart is The Russian Futurists. The Russian Futurists is Matthew Adam Hart. That alone makes this work; heavy, thick, fuzzy pop music blended with lyrics about love and solitude via witty poetics and clever metaphors, all helmed by just one fellow. Hart is obviously talented, that's given. But is he impressive enough to garner the raves that have been going around about his "band?" Track one of this album is wonderful; the intro notes are catchy and grabbing, and Hart's perfect, rhythmic vocals give the disc an optimistic beginning. With track two, though, the vocals start to wear out their welcome. The sound is repetitive, and by track four you might be glancing at the stereo to see how many tracks have gone by - is it nearing the end? Still only on track two? The songs blend together. On repeat listens, great highlights like "Paul Simon," "Why You Gotta Do That Thang?" and "2 Dots On a Map" emerge, but as far as the bigger picture goes, it can fail to keep that key long-term attention.
-Ashley Graham

SADAHARU
The Politics of Dancing [CI]
[Fans of Rye Coalition, Jesus Lizard, and Akimbo take note.]

An awkward sequencing error in the intro track coupled with indefensible song titles put a sour taste in my mouth right off the bat. I mean, "Lifestyle Tips for the Dead (or: Even a Broken Watch Is Right Twice a Day)," like, what the fuck? Luckily, this Lancaster, Pa. band of extroverts kick and scratch their way back into my psyche pretty quick on The Politics of Dancing. With the same urgent irreverence as their obvious influences (Rye Coalition, Drive Like Jehu, Jesus Lizard, Refused), Sadaharu fly off the edge and never look back. When singer/guitarist Jeff Breil screams "Guitar!" right before the cheeky little solo in "The Haven You Seek Is Your Own," I can't help but smile at the brazen ridiculousness of it all. But the riffs and screams are locked tight; a herky-jerk that would make the members of The Jesus Lizard hanker for a reunion. The only drawback to The Politics of Dancing is that, with each listen, it becomes painfully clear the expiration date on this batch of songs is coming sooner than later. Next album, a bit more staying power.
-Jason Schreurs

SHOUT OUT LOUDS
Howl Howl Gaff Gaff [Capitol Records]
[Fans of The Thrills, Kings of Leon and The Killers take note.]

Stockholm, Sweden's Shout Out Louds may be professing "howls" and "gaffs" (translation: woofs) with their latest effort, but the debut full-length doesn't stand up to the hype. Not to be confused with their Swedish peers in the current scene, The Hives and Mando Diao, SOL favors the subdued over the boisterous and wild. The album starts out with vocals reminiscent of Kings of Leon's Caleb Followill set to the sounds of The Killers, which works until track four drops the ball in favor of a mellow (and boring) sound a la The Thrills. When six picks it back up again, it's just way too late. At their live show, SOL is well-dressed and energetic and the showmanship makes up for the music's low points, but on the album those low points can be devastating. Maybe those who embraced the mediocrity of The Killers will love this, but with that over-hyped, mediocre pop band playing field quickly becoming overpopulated, SOL may be, well, S.O.L.
-Ashley Graham

STATISTICS
Often Lie [Jade Tree]
[Fans of Desaparecidos, Jimmy Eat World, and, cough, Bright Eyes take note.]

Okay, I'm sure Statistics' Denver Dalley, bandmate of Conor Oberst in the underrated Desaparecidos (Saddle Creek), is sick and tired of having his solo project compared to Bright Eyes. So let's not even make the comparison. Instead, let's focus on what Dalley is doing right on Often Lie. From the opening strains of "Final Broadcast," his cheesy but touching ode to college radio, it's clear Statistics are here to revive those fuzzy feelings of mid-to-late-'90s emo rock. Yep, we're talking Jimmy Eat World, Mineral, Sunny Day Real Estate ... Is this perking you up at all? If so, Often Lie is gonna get some serious spins. But, no worries for those looking for something a little more current - it's not all decade-old emo rock on this multifaceted album. More like an ode to those days with a current twist; tracks like the lovely "Say You Will" and the downright contemplative "By(e) Now" could easily stand up against any band the cool neighbor down the apartment building hall is cranking first thing in the morning. And, yes, that includes you-know-who. Oops, sorry, there I go ...
-Jason Schreurs

STEREOLAB
Oscillons From the Anti-Sun [Too Pure]
[Fans of Emperor Tomato Ketchup and Mars Audiac Quintet take note.]

Like David Bowie during the '70s, each Stereolab CD since 1991 has meant figuring out the riffing and spinning its primary composer, Tim Gane, had done that season. Martin Denny astro/oceanic pop? Bossa nova? Sound effects records? Krautrock? By pushing all of its burgeoning interests into each album, Stereolab unwittingly let audiences key into the mind's ear of a band combing through its learning processes. That they did this best, most often and usually with a sense of eerie, opulent reverence through a series of hard-to-get EPs, is the subject of this box - a primer into the hidden heart and burn of a band with number 2 pencils at the ready. Alongside its albums came creepy '50s Euro-jazz enterprises like "Captain Easychord" and "You Used to Call Me Sadness." Or there was the bachelor-pad cha cha pop of "With Friends Like These" or its lusher, loungier sister (the crumbling "Wow and Flutter") and its '60s space-alien cousin, "Cybele's Revenge." Or there's the earnestly interred rainy, French-twee pop (something Laetitia Sadier excelled at) of "Brigitte" and "Allures." Even heavier psychedelic experiments like "Golden Ball" and the heaving drone of "Nihilist Assault Group" are included - sounding crisper and heavier than once remembered. The nicest part of the box, along with its DVD of rare TV appearances, is hearing the late Mary Hansen on the bloopy Venusian pop of "Long Life Love" and such. Good memories are made of such loving epiphanies.
-A.D. Amorosi

TEENAGE FANCLUB
Man-Made [Merge]
[Fans of Teenage Fanclub take note.]

Is there anything less important than a great pop band? Despite making an album only the coldest-hearted could hate in 1991's beloved Bandwagonesque, Scottish rockers Teenage Fanclub slipped beneath the waves a few years back with the kind of resounding ho-hum that greeted their beloved Big Star's scuttling-of-the-ship. They weren't particularly missed, and the years without a new TFC record have differed from the years with one only insofar as there's been less froth on the radio to brighten your day, and there are fewer songs for you to love for a few minutes and then promptly forget. But although the fine new Man-Made spins on your stereo in a clinging cloud of unnecessary-ness, its twelve songs are quite well-written, and Tortoise's John McEntire has produced the disc with crisp beauty. All three of the Fanclub songsmiths have been polishing their craft during the hiatus, with Raymond McGinley earning particular honors for the out-of-the-park "Only With You," and the band's pretty, poppy melancholy sounds as good as ever. Sure, Man-Made is a record where you'll have no trouble turning off the car in mid-song when you arrive at your destination earlier than expected, but it's also full of welcome smiles and sighs. Good stuff.
-Steven Hanna

TOSCA
J.A.C. [G-Stone/K7]
[Fans of Thievery Corporation, Peace Orchestra, Bent, and Air take note.]

Named after their newborn sons Joshua, Arthur, and Conrad, Viennese producers Rupert Huber and Richard Dorfmeister have released another first-rate and eclectic record for 2005. Following their brilliant 2003 release delhi9, J.A.C. shifts and progresses in a different direction to a more upbeat and organic-sounding record. This is probably due to the fact that Tosca has become a proper band with a drummer, keyboardist, and bass player with regular collaborators such as Farda P (former Rockers Hi-Fi MC), Earl Zinger (of 2 Banks of 4), and Austrian rock legend Graf Hadik adding vocal flare. Egyptian-French singer Samiah Fara also makes a very welcomed appearance with her Billie Holiday-esque vocals on the jazzy opus "Heidi BrŸhl." "John Lee Huber" includes an appearance from Chris Eckman, vocalist of Seattle-based band The Walkabouts; he and Huber sing and paraphrase legendary bluesman John Lee Hooker. Of course, what would a Tosca record be without the signature Tosca rhythms, quirky bleeps, and wispy sounds that can be found on the brilliant "Damentag?" And the standout "ZŸri" is a 6 a.m. four-four gem with beautiful acoustic guitars that would make any late night come to a perfect end. With the onslaught of fatherhood, Huber and Dorfmeister have managed to stray away from their traditional forms of production to produce music from within and provide one of their best records to date.
-Chris Galvin

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