Tomside52

Issue #12 – August 2003

Album of the month:

Death By Stereo; Into The Valley of Death

Epitaph

Don’t let the fact that these guys are playing on the Warped Tour fool you, because there’s nothing pop-punky about Death By Stereo, and that although they’re actually from Orange County. Instead Death By Stereo, here three albums into their career, still keep things brutal and political, mixing an angry hardcore/punk-attitude with downright heavy, metallic guitars. There really isn’t that much to say about “Into The Valley Of Death”, except that it’s this months certain pick as “Album of the Month.” The furiously screaming metal anthems and the catchy and cool melodic singing should make this album appeal to all kinds of extreme music fans. Melodic singing and screamo? No sorry, this has nothing to do with nu-metal. The lead-singer kinda reminds off Mark Salomon of Stavesacre at times, though. (JJJJJ-)

The Rest of this month’s albums

Alley Cat; Imperial Level

Self-released

27 year old Albert Richards, aka Alley Cat, has been struggling to earn himself some respect within the music industry instead of, as said in the press release, living the violent Jamaican ghetto life, and even though the major record-labels have yet to come knocking, Alley Cat hasn’t failed to impress his native reggae fans. On “Imperial Level” Alley Cat takes his reggae upbringing and mixes it into a cool, bombastic hip-hop jungle. This guy will do alright. (JJJ---)

Ankh; Expect Unexpected

Metal Mind Productions

(Provided by Pitchfork Promotion)

Ten years ago Ankh were described as the newest major progressive rock group. I think it’s safe to say, though, that in terms of popularity these people are not exactly major. In terms of musical-capacity and ideas, however, they’re probably exactly that. The music of Ankh is not something that you just like on first listen, or at least most people won’t. It’s the kind of music that takes time to grow on you – that takes time to fully be understood. Now, I am not saying that I am really getting this, but it does grow on me more and more after each listen. Musically we’re talking electronic progressive rock music with deep roots in folk music. So if you’re looking for something a little different than what you hear on the radio every day, then Ankh might be worth checking out. (JJJJ--)

Baratro/Entity/Undead; Blood Beyond The Sand (3-way Split)

Goregorerecords

Alright dude, here’s a pretty cool metal split-album. Baratro start things out with a brutal mix of death-thrash featuring lethal riffs, good melodies and a thundering rhythm-section. Entity is next up, serving it up just as brutal and aggressive, but with the occasional odd twist of Tourniquet, making them stand out a little from the rest. While Baratro and Entity had the chance of showing what they were made with 5 tracks each, Undead has only three tracks to show for, but even though they don’t do things any differently, perhaps besides a few a little more catchy guitar-riffs, they do it just as convincingly as the other two. (JJJJ--)

Barbatos; Rocking Metal Motherfucker

Displeased Records

No matter how stupid the album-title may sound, it’s actually a pretty good description of what is in store for people wanting to check out the sounds of Barbatos. From start to finish, these Japanese monsters do their own metallic rock-fest, and I can guarantee that it’s not something that’ll be easy on your ears, as it blasts away in a furious tempo and a garage-like sound, kind of like if Motorhead was more of a extreme metal-band. There’s nothing new here, but people just wanting to bang their heads against the wall, while listening to some furious noise, might as well want to listen to this while doing it. No masterpiece, but not that bad either. Oh, and one more thing, isn’t the album-title a little too close to that of Scepter’s new album “Fucking Metal Motherfucker”? (JJJ---)

Bastille; Off With The Head

Frantic Records

As a reviewer I am always looking for bands that have something new to say. Bands that sound fresh and do things the way no other have done before. Just like most of the other bands reviewed in this issue, Bastille isn’t doing much in order to break new ground on this, their debut-release “Off With The Head,” but in this case, it’s ok, as I didn’t expect them to. I read their promo-papers that kind of prepared me for what I was about to listen to. For the most part this middle-aged musicians go about it in a straightforward rock fashion, while adding a Celtic touch here and there, while leaning heavily on progrock soundstructures in order to keep the machine running. The best way of describing Bastille is probably by saying that they sound like a cross between Peter Gabriel and Steve Hatchet’s less advanced solo-material. (JJJ---)

Beecher; Breaking Down The Fourth Wall

Calculated Risk Products

(Provided by Hero PR)

After a split-CD and an EP on In At The Deep End, in 2002 Beecher found themselves without a record-deal. In October, though, it so happened that Martin Ives, who’d been thinking about starting his own record-label heard the band. He instantly signed the five guys from Manchester and Calculated Risk Products was born. Beecher is another band in the long series of British metalcore bands that desperately need to be heard. Like a lot of other bands these days, they fuse hardcore-aggressions with metallic riffs, synths, modern rock sensibilities and emo-scapes. Beecher, however, have found their own sound and don’t rely on copying their peers. Favorite cut: “Ladder Theory”, just check out those riffs, man – they’re huge. (JJJJ--)

The Beers; The Beers Hotel

Self-released

These days, when a band has a “the” at the beginning of their name, you can almost be certain that terms like “the 70’s”, “rawness”, “garage-rock” or “punk” are terms the band is well aware of. So with The Beers. They play a sloppy and rather raw kind of 70’s inspired garage-rock with some punk-inspirations here and there. But with the retro-revival starting to see an end to itself, it’s not too likely that The Beers will get their 15 minutes of fame. They’re not really up there with The Strokes and The White Stripes either - not that they sound particularly muchh like either of those bands, though. I guess what I could’ve used would’ve been a sound that was a little less sloppy and a singer that sang in tune a little more often. (JJJ---)

The Brian Johnstown Massacre; Spacegirls and Other Favorites

The Committee To Keep Music Evil/BOMP

Starting their career back in 1990, The Brian Johnstown Massacre finally pull it together and let the masses hear some of their early super rare performances. Originally released in 1993 in a limited pressing of 500 vinyl copies, it’s likely that this re-release will put a smile on the obsessive garage-rock fan from now and until Christmas, if not even longer. How about from now on and until eternity? I don’t know. All I know is that I’ve forgotten all about this tomorrow. I mean, it’s cool and all in it’s own “charming raw demo-like garage-setting” kind of way, but it’s not something I am going totally crazy over. If it was that good I guess it wouldn’t have been that limited in the first place, right? I don’t know. This is probably something converted fans will enjoy the most. (JJJ---)

Brown Sox; Music To Quilt By

Nine Mile Music

“C is for cookies and that’s good enough for me” grunts some Wrestler on steroids and then you’re surrounded by a legion of sirenal-sounds, guitars crashing in from everywhere, before a death metal assault hits you. That’s how track three goes, but do I care. No, here’s how I go: “Oh, please, give me a fucking break.” And you know what, it’s too bad, because I was really enjoying track one and two. These guys had a really cool, groovy hard rocking and metallic thing going, and to say the very least, their death metal growling doesn’t really fit into it all. So I hoped this wouldn’t happen too much in the songs to come, but unfortunately it did, which kind of ruined this album for me. Don’t get me wrong here, I like death metal. Actually, I like death metal a lot, but in this case I don’t. There could be two reasons and you’re going to pick one. Either the growls just don’t fit into Brown Sox groovy hard rock, or the growler just isn’t good enough and should stick to the melodic singing. (JJJ---)

Bryan Masters; Thundar The Boy Giant

Digital Boy Records

Here’s yet another singer/songwriter from the states, and Bryan Masters isn’t really that different from his American contemporaries, even though the overtly spiritual themes might not be exactly what is on every American singer/songwriters mind these days. Bryan has a lot of the obligatory semi-acoustic marriage of pop, rock and folk, while also gently touching a little blues and gospel along the way. This isn’t bad, even though it isn’t original enough to stick out of an overcrowded scene these days. Favorite cut: “Grace” – the opening track. (JJJ---)

Carol Blaze; IntroMonius

Self-released

What do we have here. Well, for one thing, we’ve the winner in this month’s “far out there” category (if we had one, that is), but sometimes that’s a good thing, right? If I’ve understood this correctly, this is the first part of a series of releases called “Soundscapes of Aliens.” And to be honest, I have no clue whatsoever how to describe the music of the man behind Carol Blaze, A.T. Vish. The fourteen songs featured on “IntroMonius” build upon abstract, dark soundstructures that, at times, almost carry a gothic feel to themselves, while being very atmospheric. There are times when the songs are filled with ambience, and there are times when above all they’re just utterly chaotic. The press release states that the music on “IntroMonius” has been featured in a independent film called “David” released earlier this year, and, really, I think the music of Carol Blaze is very well-suitable as film-music. So, is it any good? Yes, it is, but it’ll take time to get into. (JJJ---)

The Cool Band; On Again, Off Again

Self-released

I guess there are different opinions and definitions of what is cool, but if you asked a thirteen year old school-girl if any of the people on the cover of this CD looked cool, she’d probably laugh her ass off. If you asked the girl sitting next to her if the music on this CD sounded cool, I am pretty sure she would laugh just as much as her friend. In fact, I am pretty sure that the common definition of cool is pretty far from the sound or looks of The Cool Band. Ok, so the name might be misleading, then what? Well, if you’re looking for some straightforward blues-rock, then The Cool Band might be worth checking out, as they know how do play their blues-rock, although they’re not really breaking new ground here, but then again, when was playing blues about breaking new ground? (JJJ---)

Crazy Mary; Burning Into The Spirit World

Humsting Records (JJ----)

Crazy Mary; Knucklehead

Humsting Records (JJJJ--)

Now, here are two of the newest releases from this New York band that has released three other albums prior to these, and while I think the band-members will be glad to hear that I think that they have brilliantly many ideas to work with, and that they’re extremely original in their approach, there’s still one person that just won’t be happy at all after reading this. I am talking about their female input, Sophia Jackson, who handles most of the lead-vocals on “Burning Into the Spirit World”, and while she does her other duties, playing bass, guitar etc, very well, she just can’t sing. She’s terrible, which is why I never really got into “Burning Into The Spirit World”, even though there were obviously other good things about it – just couldn’t get pass the vocals. On “Knucklehead” Sophia still handles vocals on every track, I think, but it almost seems like the members of Crazy Mary have realized that Sophia’s leads were the biggest problem with “BITSW”, and therefore have decided to put a little into the background. Or they haven’t, who’s to say, but no matter what, Sophia doesn’t do as many leads on this album. She mostly handles background vocals and it works out way better this time around. If you’re looking for something a little different from what you’ve been spoon-fed through the radio lately, I’d advise you to get Crazy Mary’s newest album “Knucklehead” – it’s a great trip through some very cool 60’s inspired psychedelic Zappa-like tunes mixed with the alternative rock of today, heavy on guitars, organs and violins.

Devin Brewer; Dandelion Wine

Self-released

This guy has been said to be playing alternative country, which in my opinion is way off. There’s nothing alternative about Devin Brewer. Instead he’s doing his country and bluegrass the old-fashioned way, while adding a few folksy elements here and there. Devin started his career as a jazz-trombonist, and even though this is pretty straight ahead country, the jazz-background can actually be spotted in places. My problem with this CD is that beside one or two up-tempo numbers, and the fact that Devin Brewer gets a chance to tell his stories, too little happens over the course of these eleven songs. Let me put it this way: it’s too typical. (JJ----)

Doomstone; Disharmonic

Source Of Deluge Records

(Provided by Pitchform Promotion)

...And yet another German metal band. This lot play an aggressive and brutal mix of death metal and thrash and do it fairly convincingly, even though, when it all comes down to it, everything has been heard before. This is the kind of music that is almost certain to get you a speeding ticket if you crank it up loud while being in the right mood. (JJJ---)

Dropkick Murphys; Blackout

Hellcat Records

If you think a band from Canada (The Real McKenzies) doing all things Scottish, including using bagpipes in their songs and singing about whisky, is weird, then I suppose a band from Boston doing kind of the same celtic-punk-rock thing will be equally weird on you. Truth be told, though, Dropkick Murphys are slightly more convincing in their approach than The Real McKenzies, even though there’s really nothing either of these two bands haven’t tried out before on “Blackout.” There are the obligatory middle-class, drunken songs with shouty choruses, bagpipes and lots of punk-attitude, and people who’ve gotten a sweet tooth for that kind of thing, will definitely not be disappointed in “Blackout”, but for the rest of us, I think it’s safe to say that there’ve been better albums released within this field in the past, without saying that this is bad or anything like that. (JJJ---)

Enthral; Subterranean Movement

Displeased Records

With Satyricon signing a major-label deal, it seems like the rock-magazines have been getting new interest in black metal that, for a while there, seemed to have the most interesting days behind it. If bands like Enthral will be getting exposure in these magazines, however, is highly unlikely. Still, Past and Present Music is always looking for new bands to fall in love with, be it jazz-bands, drum & bass bands or black metal bands. I wouldn’t say that I fell head over heals when listening to Enthral, though. God knows that the fucker sounding like a witch burnt on the stake is one irritating pain in the ass. But overall, the otherwise somewhat captivating feel of Enthral is pretty likeable, if not entirely mind-blowing. There’s still some way before these people are up there with their mentors, but hungry black metal fans, finding themselves fed up with the watered down and overtly atmospheric turn the black metal scene took a while back, will most likely find new strength in the likes of Enthral. (JJJ---)

E.M.P. Project; E.M.P. Project

Blue Canoe Records

The three members of this jazz-project, Ellis, Moore and Perkinson, first got together while attending the University of Tennessee in Knowville in 1989-1994, and while they hadn’t seen each other for a while when this records came about, they still sound like they’ve been playing together for, well, ages really. Only a few minutes into this recording it’s already evident that this isn’t going to be a record that’ll appeal to everybody in all its’ complexity and fusion, and the fact that there are no vocals anywhere to be found, doesn’t make it easier on the traditional music-lover. Of course, the hardcore jazz-fan or the music-student, loving everything from the contemporary to the traditional to fusion, will get this, but otherwise this’ll probably slide into the background for a lot of other people. Let me put it this way: These guys are too good to get a big audience. (JJJ---)

Frodo; CPU

CPU Productions

I can’t figure out why this guy calls himself Frodo, when his actual name is Frode Holm, and no, it has nothing to do with the “Lord Of The Rings” movie, if you were thinking that. Frode Holm hails from Norway, but has been living in California for some time. On “CPU”, Frode has taken some of his jazz-fused keyboard background and added it to some soft 80’s pop. I am constantly reminded off names like Wham, Rick Astley and Kenny G, and while there’s definitely more going on than just what the aforementioned artists once were doing, I think it’s fair to say that at least fans of Kenny G will like Frodo. Needless to say, I hate Kenny G. (JJ----)

F-Minus; Wake Up Screaming

Hellcat Records

It worries me sometimes when I see a sticker on an album that says who guests the album, who’s in the band, who produces the album or something like that. On F-Minus’ “Wake Up Screaming” there’s a sticker like that which says: “Recorded by Steve Albini.” I guess that could be a good or a bad thing, depending on who’s reading, but for a lot of rock-fans, only the fact that Steve Albini produces the album will be reason enough to buy it. However, he really hasn’t put many of his so evident trademarks, as he’s been doing with a lot of this post-rock groups lately, on F-Minus’ music. Having been around since 1997, this four-piece knows how to make their angry, garage-like street-punk sound convincing, and that’ll be with or without Steve Albini. Still there really isn’t much fans of punk-rock haven’t heard before on “Wake Up Screaming,” but then again that never was the intention of the band. It’s just fast and angry all the way through, just as punk-rock is supposed to be. Now I just can’t decide which one of the two singers/shouters/screamers is more tough, Erica or Brad. (JJJJ--)

Hyaline; Hyaline

NicePear Records

Here’s one of the more enjoyable independent records in this months pile. Hyaline combine heavy, almost grungy, guitars with atmospheric passages that, at times, sound like a cross between a less adventurous Tool and a poppier Soundgarden. There are traces of new age and world music in the mix, and it works out just fine, but the operatic female vocals towards the end should’ve been left alone. Otherwise this is a nice one. (JJJ---)

Jay Boogie; Boogielegs

Self-released

Imagine how surprised I am finding out that an independent hip-hop artist I’ve never even heard off before, who on “Boogielegs”, an album that I never heard about either, throws a bunch of b-sides and bootlegs around him, actually is better than 90% of all the commercial hip-hop out there. Did I mention that this is only his b-side and bootlegs material? Ok, I did, but imagine how good his other stuff must be? Really, this is one dope rapper, I am telling you. As most other rappers he has a way with words – he’s funny, but more importantly he makes you think. Oh, perhaps you’d like to know that Jay is white. (JJJJ--)

Kill By Inches; Kill By Inches

KBI Music

When I first listened to this album by Kill By Inches, a band that I until now by the way never had heard off, I thought that it was going to be a groove-infected metal-fest from start to finish. A little further into the CD I found the nu-metal influences taking over a bit, and for the rest of the album it was really nu-metal vs. groove metal that ran the show, and to be honest I found myself enjoying it quite a bit. That said, I must also say that if you’re looking for new things, you won’t find it in Kill By Inches, because let’s fact it, stuff like this has been watered down by radio-stations for quite some time now. For what it’s worth, though, if you’re going to check some nu-metal stuff out, you could do a lot worse than Kill By Inches. (JJJ---)

The Locust; Plague Soundscapes

Anti/Epitaph

Oh my gosh, this is the sort of weird album one would expect to come out of Relapse and not Epitaph, but then again, who‘s to know nowadays – both labels have released stuff by Dillinger Escape Plan, haven’t they? Anyway, this is insane, and the fact that the album clocks in little over 20 minutes but features 23 songs won’t change much in that department. And considering the length of the songs, it should come as no surprise that there isn’t left much time for show-off on this, The Locust’s second release in eight years. Instead it’s right to the point, always done in a tempo that isn’t for the faint-hearted. Call it digital-hardcore, futuristic grindcore or just a friggen’ freak-show – it doesn’t matter, The Locust are gonna do their job, which basically, in this case, is pleasing the extreme music-lover. Don’t believe me? Would a band that doesn’t kick ass have song-titles like “Halo of Public Hair and Earwax Manufactured for the Champion in all of Us”, “Late for a double date with a pile of atoms in the water closet” or “The half-eaten sausage would like to see you in his office”? No, I didn’t think so. (JJJJJ-)

Markus Koller; Various Styles Of Music...

Self-released

After listening a couple of times to this 22 track demo-CD, I can say as much as that I am not particularly fond of this Austrian singer/songwriters music. Over the course of these 22 songs, Markus has moved on from one musical style to another so many times that it gets harder and harder seeing the so much needed thin red line in this project. I am not saying that Markus should only focus of playing one kind of music, because that would probably kill a lot of ideas, but on the other hand the diversity on this thing just comes across as a bit too messy, while desperately lacking a bigger picture. (JJ----)

Metallica; St. Anger

Vertigo

With the release of the almighty Metallica’s new album, the people seem to have divided themselves into two camps. In one camp the people seem to be throughout happy about the new Metallica that finally has taken the route back to their metal-days, only this time actually getting better and heavier than ever. In the other camp, people don’t see much light at the end of the tunnel for Metallica, a band that just seems to get worse and worse with time. As always, I am not particularly agreeable on either of those statements. I mean, sure Metallica have become a lot heavier than on “Load” and “Re-load”, but everyone that has heard “St. Anger” knows that it isn’t as metallic and brick-wall heavy as “... And Justice For All” and “Master Of Puppets” and that it’s not nearly as well put together as “The Black Album”, but to say that “St. Anger” is a bad album from a band empty for ideas almost counts as blasphemy. Sure, Metallica’s best days might be behind them, but “St. Anger” is definitely a step in the right direction for a band that has used most of the 90’s on making tame and radio-friendly rock-music, and besides Lars Ulrich has seldom sounded as tight as he does on “St. Anger.” I think there might be a lot more to squeeze out of this lemon. (JJJJ--)

MJB; Diglayer

Semper Lofi

21 songs of lo-fi lazy-ass-vibe indie rock, and it’s actually pretty cool in all its’ lo-fi-ness. The keyboards are delicious, the guitars and basses are kind of raw, and the drumming has sort of a basement-feel to it. The vocals are a little stressed, a little girly too actually, but still pretty cool. Indie-geeks will love this. There’s also some hilarious spoken word shit in there somewhere, where, I guess, someone from a record-label is talking to the band, telling them that they’re not going to go anywhere unless they’re willing to kiss some ass and to suck some dick, while also comparing playing in an unknown underground rock-band to playing basketball outside your home. It’s pretty funny, if you don’t mind a little swearing. (JJJJ--)

Monika Herzig Acoustic Project; Melody With Harmony

Acme Records

It’s funny, my little brother saw the cover of this album and instantly asked me: “this one was sent to you by mistake, right?” The cover sees a mother and her two kids sitting together, suggesting that this is a happy family, and it’s is quite different from a lot of the other stuff that is sent to P&P (read: covers on heavy metal albums and such). Musically this is also a little different, even though there’s probably more jazz covered in this issue than there’s punk or metal. This is a compilation of 11 soft jazz-songs spanning in a little over an hours worth of time. It’s all done instrumentally, expect when, at one time, Monika’s daughter, Melody, makes an appearance. Monika plays the piano, does all the song writing and produces the album. However, there has been made room for a few cover-tunes penned by the likes of George Harrison and Charlie Parker. Overall, this kind of easy-going and romantic jazz wouldn’t be anything I’d be listening too much to in my spare time, but as I reviewer I survived it - in fact, I’d even advise people into this kind of stuff to check it out. (JJJ---)

Motion City Soundtrack; I Am The Movie

Epitaph

Some people thought that I was a little too quick to jump for joy when The Reunion Show’s latest album came out. Of course, I gave that one five smiles, and people weren’t too happy with that (why, though, is beyond me). So before even giving this one five smiles, I know that the same people are going to get on my back. So be it, then, because this is a really cool album. Emo-pop is getting so freakin’ boring these days, and even though Motion City Soundtrack may not have invented anything new on their Epitaph debut “I Am The Movie”, they’re still one of the more entertaining bands out there, always having another great melody up their sleeve. The nerdy keyboards that also made The Reunion Show’s combination of pop/punk, emo and indie-pop so cool, are also all over this one, making this a record just as enjoyable and throughout cool as the latest from Weezer, Jimmy Eat World and The Reunion Show. Favorite cut: “The Future Freaks Me Out.” (JJJJJ-)

No More Black; File Under Black

Fat Wreck Chords

I am not familiar with the punk-band Kid Dynamite, but none the less Kid Dynamite was the band front-man of No More Black, Jason Schvchuck, left in 2000 to pursue other interests (read: a career in film). However, it didn’t take him long to realize that he couldn’t live without making music, so he and his roommate started writing and playing songs in their living-room, and even though they’ve changed their line-up, like, a zillion times just since 2000, they actually turn out to be a pretty good punk-rawk band. And to say the very least, I think it’s nice to hear a band that doesn’t try to cash-in on the popularity of either pop/punk or emo these days. If you’re getting tired of the endless list of new emo and pop/punk CD’s and you’re looking for something a little more gritty and, well, more punk, then No More Black might be of help. (JJJJ--)

Olio; Colour Of Music

AD4 Records

Olio is made up by vocalist and guitarist Arif, and drummer and vocalist Dehaven, and given the fact that, if the picture in the press-release is correct, Arif is white and Dehaven is black, it makes sense that they, as stated, stand for the abolition of racial categorization. What is not quite as true is their slogan; “Too funk for rock too rock for funk.” This is not too funk for anything, or neither is it too rock for anything else. But this is a combination of funk, rock and pop that sounds like a marriage of Seal, George Michael and Prince, as well as a few other things. (JJ----)

Pushing Red Buttons; Pushing Red Buttons

BlockChordMusic

At first listen, I pretty much bored myself to death, but after a few spins, I found out that these guys weren’t without charm altogether. Ok, 80’s soft-rock compositions this typical, normally aren’t anything the world really needs to hear again, even though it probably doesn’t hurt to hear them again either, but luckily there are a few pretty cool tunes on this disc. Of course, there are also a few misses, and the vocal-harmonies can get a little bit tiring and a little too sweet, but when you hear a song like “Voice of Reason,” you can just as well forgive all the negative stuff and concentrate on the positive. Now, listen to this voice of reason. (JJJ---)

Radiohead; Hail to the Thief

EMI Records

Since the release of “Ok Computer” I’ve been a big fan of this band, and even though their electronic direction on “Kid A” and thereafter was great, I always liked their rock-settings better. “Hail to the Theif” has been said to be the record, where the band supposedly should be heading back to their roots, while still firmly holding on to the electronics from “Kid A” and “Amnesiac.” And what can I say, that’s true. But is it the perfect marriage of the two? Well, not really. Don’t get me wrong. “Hail to the Thief” is a good album, and judging from a lot of all the other crap released these days, this is still all the way up there somewhere, but judging from the previous Radiohead-albums, I just don’t see “Hail to the Thief” as the next masterpiece in the row. Some British reviewer said it best, I think, when he said that the songs on “Hail to the Thief” didn’t sound like good songs, but like good ideas. Of course, there are good songs on the album, but some of them were probably better when they were still ideas floating around in the head of the composers. (JJJJ--)

Random Eyes; Eyes Ablaze

Self-released

Here’s another Finnish goth-rock band that leans heavily on moody soundstructures, metallic guitar-riffs and female vocals. They don’t sound very different from a lot of the other bands that make music like this these days. Random Eyes are not quite on the same level as Lacuna Coil or The Gathering, but they’re not really bad either. Actually, “Eyes Ablaze”, their new CD, is quite good, and with the success of a band like Evanescence, I have no problem imagining a band like Random Eyes gaining some attention from the bigger labels, even though they don’t have the ear-friendly-ness of someone like Linkin Park to back them up. (JJJ---)

The Residuals; Cogs In Wheels

Microscopic Records

Last month I told you all that I wasn’t very impressed with the debut vinyl-EP from this band, but that their first full-length was way better. Well, this is their first full-length, and I still think it’s easily better than the EP. It still isn’t an album that will change the world of lo-fi indie-pop. The sound is a little better on this one, the songs seem to be a little more structured and even though the lead-singer sounds like a girl, he sounds more convincing than previously. As I said, this won’t change the world, but I am certain that this is the testimony of a band growing and getting better with time. (JJJ---)

Reverend Freakchild; Hymn Hustler – Howlin’ The Blues

Treated & Released Records

Past and Present Music is all about covering as many different things as possible, and when I say that, it’s because I, as a reviewer and music-lover, tend to enjoy listening to a lot of different musical-genres. Of course, there are one or two that I’d rather not touch, but that’s the way it is I guess. Anyway, usually I enjoy a good portion of howling blues, but for some reason Reverend Freakchild, who according to the press release also plays in another band called The Lucky Devils and sings in a gospel choir, just leaves me cold. I mean, I love the guitar-playing in the opener “Preachin’ Blues.” Actually, that whole song is really enjoyable, but after that things just seem to drag on a bit, and even though there are a few high-lights among the ups and downs on this album, there unfortunately are more downs than there are ups. (JJ----)

Rickie Mann; The Little Things

Ram Jam Records

Having opened for well-known artists such as Jefferson Starship, Survivor, George Jones, Molly Hatchet, Steve Wariner, Daryle Singletary and Tim McGraw when playing in other bands, Rickie Mann must have tried a thing or two in his musical career. However, his dream of making a hit-single hasn’t come true yet, and it probably won’t after releasing his new album “The Little Things.” Not that it isn’t a well-produced and well-written album, it’s just that it’s not the kind of music that tends to sell millions of copies and get endless airplay, at least on a commercial level. But within Rhythm & Blues circles, I am sure that “The Little Things” is going to be a crowd-pleaser. It has that “feel-good” R&B-touch and a mellow rock n’roll kind of sound. I would’ve like a little less harmonica, trumpets and saxophones in there, but that’s how it goes I guess – not everyone can get what they want all the time. Hopefully the upcoming Rickie Mann album will provide him with that hit-single. What can I say, I just love happy endings. (JJJ---)

Satellite; A Street Between Sunrise and Sunset

Metal Mind Records

(Provided by Pitchfork Promotion)

Wow, here’s a debuting progrock band that is above the average, and I just hope that other people than me will be able to hear/see that. With songs lasting well over 10 minutes, it should come as no surprise that these guys aren’t the next radio-friendly thing to come around, but on the other hand, Satellite actually have some pretty catchy things going at times, making them stand out a bit from a, at times, too complex and “over-my-head” progrock scene. That said, there’s still enough complexity and progressiveness to be found on “A Street Between Sunrise and Sunset” to make even the most die-hard progrock fan happy, so no worries there progrockers. (JJJJ--)

Section A; The Seventh Sign

Lion Music

I can’t say that I know much about Torben Enevoldsen, even though I’ve been living in Denmark for years now. However, as it comes out from the press release, Torben is a gifted guitarist, who has been cranking out some serious instrumental music in the past. Now, however, Torben heads for a vocal album, and he has found help in Andreas Lill (Vanden Plas), Gunter Werno (Vanden Plas), Derek Sherinian (Planet X) and singer Andy Engberg (X-Lion’s Share). Needless to say, this turns out to be a progressive metal album bordering on melody and complexity. It’s quite good too, sounding not too unlike a cross between Enchant and Vanden Plas at times, although never threatening either of the previously mentioned. (JJJ---)

Serah; Late Harvest

Great Northern Arts

Having a history of releasing new age music, Serah moves into pop-territory, even covering traditional pop-songs like “Sailing”, “Stand By Me” and “Will You Still Love me”, on her new album, “Late Harvest”, even though there’s still an ambient/new age kind of atmosphere to spot in the overall soundscape. Having musicians that have played with just about anybody who has been anybody within the music industry for the past 30 years, it comes as no surprise that the musical side of things is without its’ faults. And perhaps that’s what bothers me about this record – it’s too damn perfect. In fact, it’s so perfect that it gets boring at times. But if you’re a perfect and polished kind of person, then go all out on this one. (JJJ---)

Slow Coming Day; Farewell To The Familiar

Tooth and Nail Records

It’s almost unbelievable how many of these emo-pop bands that are produced by Ed Rose (Get Up Kids, Appleseed Cast etc.), and Slow Coming Day is yet another band that this guy has got his hands on. In that department, and by that I mean the production-department, there’s nothing wrong with this album. But when it comes to the music, these four guys (two aged 22 or two 21) seem a little wet behind the ears. They’ve got some interesting things going, but mostly they just sound too damn much like their favorite bands, which I believe to be Brandtson and Jimmy Eat World. Give these guys a year or two, though, and they’ve probably come up with something a little more fresh and interesting. (JJJ---)

Spike Ivory; Touch Of Madness

Self-released

A lot of guitar-based singer/songwriter albums have been sent to us lately, so when I was about to put this one in, I didn’t really expect all that much, as a lot of what I’ve heard lately has been standard stuff. And when hearing the first song on the disc, I thought to myself, that this was just going to be another standard singer/songwriter album without anything to get excited about, but already in track two, the title-track, things started to look a little brighter. Musically Spike Ivory goes about it in a 50/60’s rock n’ roll manner, while adding some blues to the mix. At times he sounds like the most melodic side of the Beatles, at others he sounds like Richie Valenz doing a love-song without the latin-influences, and at others he just gets that blues going. Personally, I am enjoying the melodic 60’s choruses the most, and for anyone enjoying a catchy pop-tune with a memorable chorus, a song like “Julie” won’t disappoint. Towards the end of the album, though, there seem to be more fillers than thrillers, but overall I was pretty impressed. (JJJ---)

Sturm; Fragmente

Source Of Deluge Records

(Provided by Pitchfork Promotion)
Oh, my God, there just is no stopping the Germans in crashing out a new metal album... well, all the time really. Sturm have been around since 1996, but have yet to truly rise from the ever growing German metal underground, and if I have to be totally honest about it, I don’t think they’ll be climbing much further up the ladder after this release. It’s not garbage, though. In fact, there are places they’ve added a nice mix of tempo changes and catchy riffs on this album, but as a whole “Fragmente” just seems to weak to take these guys to the top. Maybe next time. (JJJ---)

Sufjan Stevens; Greetings From Michigan The Great Lake State

Asthmatic Kitty Records

I was probably the only reviewer on the planet who wasn’t into Sufjan Stevens’ last album “Enjoy Your Rabbit,” but for some reason his experimental offerings on that album were too much for me. “Greetings From Michigan The Great Lake State” isn’t nearly as weird and experimental as that album, but to go from there and to say that Sufjan Stevens has turned into just another singer/songwriter with an indie/post rock background is pretty far fetched too. Other than being good music, the album is also a tribute to Michigan, the state where Sufjan was born, which the title also suggests. But what does Sufjan sound like now? Well, not like anybody else, really. The best I can do, however, is to compare him to artists like The Danielson Family and label-mate Half-Handed Cloud. With the change that has taken place in Sufjan’s music since “Enjoy Your Rabbit”, I cannot possibly imagine what will be coming next. I bet he doesn’t know either. (JJJJ--)

Sutrobath; Aqiatoca

Self-titled

Here’s a records that tested my patience a bit in the beginning, as it was fairly melancholic, which perhaps wasn’t exactly what I was expecting. After a few listens, though, it tends to get better. We’re talking goth-like atmospheres without this actually being goth, progrock-stylings without this actually being progrock and psychedelic passages without this actually being overtly psychedelic. I especially like the acoustic guitars that come in spades throughout the album, while some of the chanting tend to leave me cold. Overall this should please fans of melancholic and atmospheric rock-music. (JJJ---)

Tomorrow’s Eve; Mirror Of Creation

Source Of Deluge Records

(Provided by Pitchfork Promotion)

Out of the three Source Of Deluge albums I’ve reviewed in this issue, I think this one is clearly the best one. This is the second album from this German progressive metal band. These guys have everything to make a progressive metal album interesting. They have the melodies, the complexity and they have the technical ability to make it all work. These guys will do just fine, even though they’re not quite up there with the likes of Vanden Plas just yet. (JJJJ--)

Tungsten; The Abuse

Tungsten Music

Tungsten have been around since the mid 80’s without ever gaining any commercial success, which is understandable if they’ve acted all along as they do now. The truth is that Tungsten would much rather release their music independently than get involved with commercial record-companies, who are known to kill all artistic freedom and originality. Not that this is particularly original, though, but at least it’s pretty cool to see a band that won’t sell their soul for popularity. The only question now is, would anyone sign these guys? I don’t know? We’re talking pretty straight ahead uncommercial heavy metal with some thrash influences thrown in, and at that it’s quite alright, but not a master-piece of any kind. Check it out for free at www.tungstenmusic.com. (JJJ---)

Týr; Eric The Red

Tutl

Although lacking a bit of their live-energy, Týr’s two previous recordings – “How Far To Asgaard” and “Ólavur Riddararós” – were two pretty good records, and also what made Týr famous in their homeland Faroe Islands as well as in Iceland. It comes as a surprise then, that after a period of defeat and struggling (read: having had to change singer two times and not getting to the finals in the Faroese music-competition Prix Føroyar), Týr return stronger than ever. Týr made a name for themselves by combining the more progressive side of heavy metal with classical influences, as well as tacking aspects from traditional Faroese folk-music and ancient Norse mythology and history, and why fix what ain’t broken, as they say, ‘cos Týr are very much following the same formula as previously on “Eric the Red.” Perhaps leaning even stronger towards the Nordic side of things this time around. This time there are two Faroese pieces normally used when dancing the famous Faroese chain-dance transformed into metallic compositions, as well as one Danish folk-song, a cover of “The Wild Rover,” and six other “home-made” songs, of course, also drawing inspiration from the Nordic mythology, history and tradition. There’ve been many bands that have tried to combine heavy music with traditional Nordic music. The only difference is, though, that where most others have failed miserably, Týr easily succeed, proving once and for all that they’re an original band with original ideas to be taken very seriously. If labels like Century Media, Metal Blade and Nuclear Blast can’t see the potential in a band like Týr, I guess it’s their loss, ‘cos these guys are gonna make it (if they don’t decide to call their quits anytime soon, that is). (JJJJJ-)

Vallejo; Stereo

VMG Records

After a few albums on smaller levels, Vallejo released “Into The New” on Epic Records in 2000. Of course, the hopes were set high for a release on such a major label as Epic, but within long Vallejo realized that Epic had no intention to make rock-stars out of them, which once again proves how this industry works. Luckily, Vallejo didn’t go all angry and bitter, even though they’ve probably had their share of both in the following period, and luckily Vallejo made it through to the other side. Vallejo play a happy “feel-good” kind of pop-rock music with some latin-flavored rhythms in the mix, and it’s really well-suitable for setting the mood for a good, sunny day. Funnily enough, the coolest track on the album, “Mexican Radio”, is a bonus-track. Epic Records could’ve made a smash-hit out of that one. (JJJ---)

Vantage Point; Road To Nowhere

Self-released

In our May-issue, I reviewed a three-tracker by this Scottish band (not Irish as I said back then), and as you probably noticed, I didn’t like it very much. Therefore I was kind of surprised to see that the band sent me their new release even if I gave their single a rather negative review. Respect. So now I’d really like to be a big fan of theirs, but it hasn’t come to that yet, though. Still they’re way better on this 12-track album than on the previous single. This time around they’re not as straight-up traditional heavy metal, even though they’re obviously still a heavy metal band, but now there’s more of a classic hard rock feel added to the overall sound. The high-pitched vocals, that - after all - are less apparent than on their EP, still seem a little ridiculous in places and have a way off irritating me, but other than that this band has made progress. (JJJ---).

Valley; A Year Of Setting Goals

Self-released

If this is what has come out of one whole year of setting goals, then I think Valley need to set bigger goals. I mean, they’re not bad or anything, but they do sound a lot like many other American bands out there. Musically they’re pretty straightforward, never going out of the ordinary, playing their modern pop-rock with a few hints of semi-acoustic college-pop that has been so popular in the states for the last decade. As I said, they’re not bad, although they’re obviously lacking a little originality. Other than that I guess that album-title kind of ruined it for me too, you know. (JJJ---)

Various Artists; Change The Game

StyleEfx Productions

StyleEfx Productions is a brand new hip-hop label based out of Boston, Massachusetts, and “Change The Game” is their first release. It’s a pretty cool CD too. We’re talking 20 R&B and hip-hop tunes coming in various styles. The majority of the stuff here is good, but there are a few misses along the way too. “Wanna Be Your Man” by Woodson Michel is so bad that it almost makes me sick. Luckily, though, there seems to be tons of potential here, which listening to artists like Iceman, Thrilla, The Uninvited and Ralph G proves. (JJJJ--)

Various Artists; Prix Krem 2003

ÚF

“Prix Krem 2003” is a compilation of tunes taken from the finals in the Faroese national music-contest Prix-Føroyar. This year six bands made it to the final, all of them rock bands, and all of them really good in their own way. However, there were a few surprises along the way, bands you’d think would make it to the final, slipped and fell – you know how it goes. Anyway, MC Hár, a band that has been a steady musical-force in Faroese music for the last ten years, made it to the finals. Not surprisingly, as they reached the number three spot four years ago. However, they didn’t end up in top three this year. Still their two tracks featured on this disc are both top-notch, even though, they’re really, just more of what one has come to expect of MC Hár: Cool metal-riffage, rap and melodic vocal choruses. Don’t think nu-metal, though. Hatespeech also go way back, even though they just recently got back together. These guys were Korn-copycats and Adidas-wearers long before the pop-chicks started to get all rebellious. I don’t think they sound much different today, than they did in their hey-day, even though they’re probably better today than ever. On this record, Hatespeech delivers the heaviest and most extreme part. And no, they didn’t make it into top-three either. Braquet, the third band that had to leave without anything, is a Christian progrock band, and while being utterly technical players, they come across slightly boring in “Block.” The more quiet “Eingonga” works better, but I think it’s fair that these guys didn’t win. Makrel, a band that, among other things, features ex-members of Diatribes, ended up at the third-place. Fair judgement, I think. “Time Is Now” is a cool, atmospheric and melancholic pop-number, while “Wonderland” is more rocking in nature. Deja-Vu, another band featuring ex-members of Diatribes, ended up on second place, while Gestir got the first place. Personally, I think that was a really tough call, at least judging from the two tracks from each on this record. Both bands play atmospheric rock music, sounding not too unlike Coldplay, Radiohead and Sigur Rós, but where Gestir lean a little more on the depressive and yet somewhat angelic sound of Sigur Rós, Deja-Vu go about it in a more catchy manner. I think it’s ok that Gestir got the first place and Deja-Vu the second, but I just can’t decide which track I like the most: Gestir’s “Brøl” or “Deja-Vu’s “Anxious One.” Perhaps the latter. (JJJJ--)

Various Artists; Written On The Hood of An Old Car

Bobbysox/Castle Hill Music

Even though this may come across as a compilation album, it’s really the work of songwriter, musician and producer Bob Velvin, who, after having gathered a growing number of songs, wanted to get some of Nashville’s finest to perform them. So besides writing these songs, Bob Velvin has arranged and produced the whole thing, as well as played some electric and acoustic guitar, keyboards and tambourine. Pretty impressive, don’t you think? Musically this is a marriage of soft-rock and folk leaning heavily on horns, cellos and such. Personally, this is a tad too nice and Nashville-sounding for my tastes, but it’s all done pretty convincingly and professionally. Nashville-lovers as well as soft-rock and folk-fans might want to check this out, proggers, goths, punks, metal-heads and post-rockers need not apply. (JJJ---)

Viva Voce; Lovers, Lead the Way

Asthmatic Kitty Records

I really don’t hear that often from Asthmatic Kitty Records, which probably is because they’re a small label and don’t release that many albums, but when I do receive something from them, their albums almost always instantly win me over, and such is also the case with the new Viva Voce album “Lovers, Lead the Way.” Viva Voce is a husband/wife duo that has been playing for some years now releasing some critically-acclaimed CD’s in the underground. I haven’t heard much of their previous albums, but I sure like this one: Nice guitar-oriented pop/rock with an indie twist and the amazing vocals of Anita Robinson. They kinda remind me off a band like Morella’s Forrest, only these people have a better sound throughout, while also having stronger songs and not being all that lo-fi. “Lovers, Lead the Way” is a record that finally should have people all over taking interest in this band. (JJJJ--)

VLE; Book Of Illusions: Chapter III

Self-released

Back when Past and Present Music was in Danish, I reviewed the two previous chapters in VLE’s trilogy “Book Of Illusions.” Now, after some time, the third chapter is out, and it builds quite nicely further on what was created in the two first chapters. The CD starts out really well with some ambient soundstructures. Actually, when VLE, this one-man project, goes about it like that, it’s when this project is at its’ best. The classical moments are good too, but there are times when some extremely loud and unpolished black metal guitars kick in, switching the peace with total mayhem, that it doesn’t work. Black metal parts have worked before for VLE, but this time around the black metal parts should’ve been left out. Other than that I found myself enjoying the final chapter of this trilogy, but because of the reason mentioned above, I think I liked the two first chapters better overall. (JJJ---)

When Thunder Comes; Evolution Of Thunder

Frantic Records

According to the press release that came with this CD, When Thunder Comes was once (1983) called Mission, but due to the fact that several other bands were going under that name (and I am thinking about one in particular right now), they had to change their name. Their first album was called “When Thunder Comes”, so they went with that one. Since then the band has been releasing music that has charted in USA among other places, but today there isn’t much buzz around When Thunder Comes it seems. They’re on their own independent album, Frantic Records, still trying to promote an album that was released in 1998 (yes, this one). But having given this record a few spins, I am glad they do. “Evolution Of Thunder” is a great collection of 18 classic rock songs full of melody, passion, atmosphere and even some Celtic influences here and there. (JJJJ--)

Winterlong; The Second Coming

Lion Music

In 2001 Winterlong - hailing from the very north of Sweden, where, according to the press release, ice-bears and wolves are more common that human life – released their debut-album. Today, only two years further down the road, they’re back at it. Still Winterlong, like so many other bands these days, has had a few line-up changes since then. Their drummer and lead-singer have parted ways with the band, so as a replacement they’ve added drummers Andreas Lill (Vanden Plas) and Anders Johansson (Hammerfall), who both seem to be very active, to play on the album, as well as new vocalist Mikael Holm. And to say the very least, “The Second Coming” is another step in the right direction for this young talented lot, who’ve made songs that tend to stick around longer than the average from “Walley Of The Lost” did. (JJJJ--)

The Workers; East Bronx Epiphany

Self-released

Ok, I said earlier in this issue that a band with a “The” at the beginning had to be a retro 70’s rock band, but I guess that rule doesn’t really apply to The Workers even though they’re quite retro in their sound. It just isn’t the 70’s they’re going after, even though there are hints of that in places. Instead they head for an 80’s kind of sound that borders on new wave and punk. The sound could’ve been a little better, but that’s a minor detail. (JJJ---)

Single/EP of the month:

Amerikan Made; Amerikan Made

Self-released

From the graffiti and Mohawk-look on these people, they’re probably not going to be too fond of me describing them as a pop/punk band. However, their melodic punk songs are so catchy that it’s impossible for me to label them as anything else. Still you shouldn’t be expecting another band along the lines of Blink 182, Good Charlotta or New Found Glory. Amerikan Made are not as slick, and besides they’re way cooler than that. Actually, I am kind of surprised that these folks aren’t signed yet. Anyway, every melodic punk fan should at least have heard the song “Faith” once in his/her life. Also make sure to check out the song “Amerikan Made” that actually starts out like a metal song, but then turns into a mid-tempo rock song. The least punk-influenced thing on there, but still way cool. Check them out now – they’ll be signed one day, you know! (JJJJ--)

Other singles & EP’s this month:

Ambajack; Ambajack

Bradzoot Management

Here’s a Scottish band that combines alternative country, a little folk and a little blues. They’re doing it fairly well too. At times the singer sounds a bit like Bruce Springsteen, but the overall impression is pretty far from Springsteen-territory. In other places Neil Young and The Eagles come to mind, and together with Bob Seger and Tom Petty those are also artists Ambajack claim to be inspired by. Still, none of the six tracks on this CD will go into history as the music that changed the history of alt-country, but then again they probably weren’t meant to either. Looking for some mid-tempo alt-country? Well, Ambajack is one alternative. (JJJ---)

The Blueprint; Ecliptic

Copro Records

(Provided by Hero PR)

Hailed as a super-group of some sorts, these guys probably know what it is to have a pressure on you. At least it wouldn’t be illogical to say that fans of bands like earthtone9, Pitchshifter and Consumed are going to be demanding when a band like The Blueprint rises in the UK underground, and the pressure probably isn’t any less after releasing a critically acclaimed EP (*Zero*Zero*One*) last year. Well, pressured or not, thee guys have once again made a great EP. Perhaps it isn’t anything we haven’t all heard before, and it probably doesn’t beat all the stuff all of the previously mentioned bands have released in the past, but fans of post-hardcore with a metallic edge and a few pop-hooks will definitely have something to smile about here. When should we be expecting a full-length? (JJJJ--)

Dimentianon; Promo 2002

Self-released

This extreme metal band has changed their name from The Forgotten to Dimentianon, and are now ready to conquer the metal-world. Sure, they might feel ready, but it just won’t happen with a three-tracker like this. The sound is too weak, and, well, the songs aren’t good enough. (JJ----)

Les Baton Rouge; Chloe Yurtz

Elevator Music

It’s always cool to hear a band that isn’t afraid of doing things differently than what’s considered to be cool at the moment. It’s not that people aren’t listening to female-fronted punk these days, because anyone watching MTV2 knows it isn’t so, but still Les Baton Rouge aren’t anything like any of those new-school pop/punks. Instead Les Baton Rouge from Portugal, made up by two guys and two girls, have gone all the way back to the seventies and eighties to find their inspiration, and the result is a cool combination of old-school punk and new-wave (why do we still call it new wave? How about calling it old-wave from now on?). Pretty cool. (JJJJ--)

No Illusion; You Should Know

R&R Entertainment

In our June-Issue, we reviewed the first single from this newcomer R&B-group, and as it seems they’re working really hard, because there’s already a new 4-track single out. It’s really more of the same that was heard on the first one, but this time around the production is more modern-sounding, perhaps even a little Timbaland-ish in places. There are some hip-hop beats in there as well, going quite nicely with the modern R&B-sound. Towards the end the girls lay down an accapella version of the US “National Anthem”, which is vocally good, but not something that’ll be tried out in the next Super-Bowl. (JJJ---)

Regin Guttesen; www.xenos.cc

Xenos

Regin Guttesen once released a pretty good Nashville-produced pop-album. Today, slightly more convinced in his Christian beliefs it seems, Regin sounds like a younger but duller Michael W. Smith. As you may have guessed, this is Christian pop-music meant to change the lives of the listeners. Let’s just hope people will still be awake after 15 minutes of this, then. (JJ----)

Rockidle; No Time To Waste

Self-released

Now, here’s a really gifted Irish singer/songwriter. Someone has got to sign this guy, I mean it. Rockidle is the playground of singer, songwriter and guitarist, Derek Hagan, who according to the press release believes that his material stands strong against the musical mainstream of today. And he’s right, even though his music is very comparable to a few artists that have been doing quite well within the mainstream lately. I am talking about artists like Badly Drawn Boy, David Gray and Richard Ashcroft. Derek Hagan knows this, and he says it in the press release, as do all other reviewers that I have seen review Rockidle, and I can’t honestly think of anyone else to compare Rockidle to. Anyway, comparisons are unnecessary, really – “No Time To Waste” is a great EP and if you have any love at all for guitar-based singer/songwriter stuff, then you won’t go entirely wrong by checking this out. (JJJJ--)

Sone; Scratching At The Surface