+++MUSIC REVIEWS+++

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Aberfeldy
Young Forever
Rough Trade
Yeah, it’s ANOTHER “chamber pop” or “twee pop” or “mellow ass pop” band from Scotland… there must be
something in the water over there. On their debut release, Aberfeldy shows a bit of an ear for the catchy song
but they aren’t quite there yet. Obviously, with the likes of Belle & Sebastian, The Delgados, and Camera
Obscura hailing from the same land, you’re going to be held to a little higher standard than most pop bands.
It’s entirely possible they’ll be just as good someday, but they need more work.  Great cover art though, some
of the best I’ve seen in ages. (SHREDDING PAPER)


Acid House Kings
Sing Along With The Acid House Kings
Twenty Seven Records
You ever have those bands you always mean to check out, but never get around to it?  For me, that was the
Acid House Kings up until this album, and boy was I a goon for waiting so long.  Part of the apprehension was
due to the name - “acid house” is synonymous to the rave culture in my mind, and me no likey that.  I guess you
just have to chalk it up to them being Swedish, or at least I’m going to pretend that’s the reason.

Anyways, this is what twee-pop is all about; it comes across like classic Belle & Sebastian mixed with some
of the Cardigans early work and a lot of nods to Burt Bacharach. “Do What You Wanna Do” and “This Heart Is
Stone” were instant favorites, so catchy and saccharine-sweet that you instantly know you’re going to wear this
CD into the ground.  The “getting busted singing along in your car” factor is extremely high on this release.

As a bonus, you not only get this fine CD of music, but the  Acid House Kings includes a DVD for karaoke: all
of the tracks from the album as instrumentals with the words on the bottom of the screen, and visuals of the band
doing miscellaneous mundane activities. A brilliant gimmick and neat bonus to accompany a really fantastic
set of pop songs. (SLAP)


Aereogramme
‘A Story In White’ LP
Matador Records
Have you ever heard a band so good that it gave you goose bumps?  A band so instantly appealing
that you tell everyone you know about them, until your friends are fed up with your constant shenanigans? 
Friends and neighbors, meet that band:  Aereogramme.  Sometimes screaming, sometimes singing,
sometimes rocking, sometimes orchestral...always amazing.  Craig B, formerly of Ganger(another
quality group unto itself), formed this band in 1998.  After a couple of singles and eps, this is their first
full length.

Since the world likes to place all music in pretty little packages with bows on top, these guys will unjustly
be described as ‘another band from Scotland,’ and constant comparisons will be made to other Scottish
luminaries such as Mogwai, Belle and Sebastian, Arab Strap, Snow Patrol, and whoever else they want
to dream up.  While these guys are from Scotland, they are not defined by it.  There can be some sim-
ilarities drawn between Aereogramme and Mogwai, but to say they sound alike would be a great and
unjust oversimplification.  The transitions from one style of music to another within the context of individual
songs is a big part of the beauty of this album – to go from something in the vein of folk, to a noisy/post
rock crescendo, and then to mellow out and bring in an orchestra...well, words cannot do justice to fully
describe the scenario.  Needless to say, while most bands might have trouble pulling this off, Aereo-
gramme do so, and flawlessly.

If you like Mogwai, Sigur Ros, Godspeed You Black Emperor!, or other like minded bands (but aren’t
looking for something that sounds like any of them really), you should run to the record store as fast as
your legs will carry you and check this out. (SLAP)


A-Frames
2
S-S Records
The Pacific Northwest has quietly become the best place for new music in the United States, thanks
mostly to Dirtnap Records (The Exploding Hearts, The Epoxies) and all things A Frames.  Their music
is a simple one, yet so few bands are able to replicate it – drums, bass, guitar and monotone vocals, a
sound that’s not unlike a blend of old Warsaw/Joy Division and Gang of Four and Kraftwerk, and songs
about all sorts of shit like robots and science experiments and whatnot.  Some folks call this ‘art-punk’
and ‘angular’ and sure it’s all of those things, but mostly it’s just good.  I think it has plenty to offer the
hipsters, the punks, the mods, and nearly everyone in between.  It instantly transports you back to the
late 70’s/early 80’s but manages to do it without sounding rehashed or corny.  They make you realize
that a fancy sandwich isn’t necessary, when a simple peanut butter and jelly will do the trick nearly every
time. (SLAP)


Against Me!
We’re Never Going Home (DVD)
Fat Wreck Chords
This DVD chronicles an east coast tour by Against Me back in 2004. it has all the staples – plenty of live footage;
documentary bits; interviews with band members, hangers on, and fans; and of course, filmed hijinks. One inter-
esting bit was that the band was being courted by a number of major labels during the time, so it also gives a
glimpse into what it might be like to be the “next big thing”. Decent tunes, well filmed movie, a good view all
around. It also has bonus stuff, as DVDs are prone to have…outtakes and all that. I can’t even claim to have been
a fan beforehand, but I found it all entertaining. (SHREDDING PAPER)


The Aggronauts
Reggaexploitation!! (7")
Liquidator Music
My dear god, this is terrible. White boy reggae from Spain, just what the world needs. At least I assume they’re
Spanish, as the only info I can find is in Spanish and I haven’t been to high school Spanish class since 1994. The
best thing this release has going for it is the impressively hot chick on the sleeve of the record.
(SHREDDING PAPER)


A Is Jump
My Ice Fingered Ghost
Future Appletree Records
Sometimes you get a stack of promos by bands you’ve never heard and if you’re not in the right frame of
mind, after a couple of duds you’ll just expect them all to be bad. And then it is about that time that you run
across something like A Is Jump and you get happy because all is not lost, there is good music out there
after all, good music you’ve never heard of and bands with unfortunate names that still make quality music.
I’m hard-pressed as to lay down exactly what these cats sound like – mellow, intelligent pop for the most
part; a lot of the framing of their songs reminds me of Death Cab for Cutie without particularly sounding
like them (although there are moments when you feel as if the singer here is channeling Ben Gibbard)
There are also a number of moments where a feeling of classic psychedelic pop comes over you ala the
first Shins record, which is owed only slightly to the songwriting but moreso to the production of this record.
Outside of the name of the band, I can’t think of a single bad thing to say about these guys, and if quality
pop music is the name of your game you would be remiss to overlook these kids. (SLAP)


Akron/Family
Meek Warrior
Young God Records

 - 7.5 out of 10 -

I’ve never been a big fan of the term “freak folk” to describe what the kids are doing these days with some
acoustic guitars, a delay pedal and repetitive layering of vocals; but the nice thing about any genre name is
that despite how silly that name might be, it gives you an easy way to refer to a specific style and most folks
know where you are coming from.  I mention this because Akron/Family often gets grouped with the freak-folk
bands, which is a perfectly fitting descriptor of this New York City-based quartet about half the time.  Then
there is that other half of their music, which couldn’t be any more all-over-the-map if you had a globe and a
handful of darts. Sunny pop, krautrock, noise…you name it, they find a way to work some element of that
sound into their recordings.

This album in particular, Meek Warrior, finds them following along that same path, this time with extra help
from some of the members from Do Make Say Think and Broken Social Scene.  The Young God website
makes it sound as if this is a hold-over until the band records another album, a collection of random tracks
individual band members had been working on alone, fleshing out and recording each track with the full band
later (which I suppose means they generally work in a more collaborative style and this is a departure from that). 
Regardless of how it is rationalized, if you are a fan this is a new album and pretty damn entertaining one at that. 
Most tracks lean towards the more folky side of the band, all fine and good and no complaints from this listener;
but they still manage to work in a few mindfucks, most importantly the opening track “Blessing Force”, an epic
9+ minute rocker that goes from Oneida-style repetitive rockin’ to more straight-forward folk to some weird
variation on blues-rock and finally dissolves into noise and chaos to end it all.  Truly, it is in this song that I per-
sonally think best represents the many sides of this talented band, with their ability to swarm all over the map
musically and still somehow tie all of that together in a listenable fashion. (SLAP)


Alice Despard Group
Thinning of the Veil
Arlingtone
I’ve never been a big fan of women with deep voices singing over folky music, and unfortunately that’s exactly the
type of voice that sits large and out front on this disc of music from the Alice Despard Group. The songs are all
decent enough I suppose, and I’m sure if the right people happened across this they would be into it (read: people
really into Joan Baez, Indigo Girls and that sort of stuff). I’d be quite remiss to say this is bad, and instead I’ll just say
‘not my cup of tea’ and defer you to look for some tracks on the web so that you might check it out and decide for
yourself. (SHREDDING PAPER)


The All Nighters
Drink the Night
New Regard Media
You don’t here many new bands these days practicing the age-old art of instrumental surf rock, and doing it
as well as the All Nighters. The recording might be a little low budget but they more than make up for that with
the quality of the music involved. It sounds a little like classic Ventures surf rock, the work of Shadowy Men on
a Shadowy Planet, a little Friends of Dean Martinez, and even the occasional hot 70’s boogie riff here and
there…good times all around. Like most albums of this nature I have to be in the right mood to sit through the
entire thing, but that’s more a function of my short attention span than anything. If you have ever had a hankering
for the surf rock, you’d be hard-pressed to find anything that has come out in the last few years to top this.
(SHREDDING PAPER)


All State Champion
S/T
FiveOneInc.
Man, was I ever happy and surprised when I popped this short player in the CD player! Apparently they already
have something of a following in Canada where they’re from, but they were a totally new experience to me (plus,
I stopped paying attention to what Canada thought was good when the Barenaked Ladies got popular…I’m still
waking up in the middle of the night with nightmares over that band). All State Champion have found that intriguing
balance of music that could appeal to both indie kids and the sheep who listen to Clear Channel-owned modern
radio at the same time. The EP starts off with a bang with “The Greatest”, which has a great At the Drive In feel to it
(sans afros of course), and then the release proceeds from there to show a wide range of influences, but the ones
that most notably comes to mind are Braid, Texas is the Reason, and Fireside, all bands I have a great love for.
Here’s to hoping that this EP is just the tip of the iceberg for these young bucks, because I eagerly await their next
release. (SHREDDING PAPER)


Amalgamated Sons of Rest
S/T
Galaxia
I like Will Oldham – but with pretty much anything he puts out, you know what you’re getting into. This time around
he’s part of an indie super group called Amalgamated Sons of Rest, a trio which also features Jason Molina (Songs:
Ohia) and Alasdair Roberts (Appendix Out). This is a decent one-off EP, and while each member contributes two
songs each, the overall feeling that emanates from this is pure Will Oldham. Sure, the other two guys work generally
doesn’t steer too far from his work anyways, so it’s not like there’s a lot of competition here to sound all that different.
Certainly worth looking into if you’re already a fan of any of the featured artists, as it’s a fine listen that will only add to
their already well stocked stable. (SHREDDING PAPER)


Animal Collective
Strawberry Jam
Domino Records

- 8 out of 10 -

I never quite understood all the buzz behind Animal Collective...sure, they were making some interesting sounds, but
the songs weren't terribly listenable in my opinion. This new record “Strawberry Jam” is a beast of a different color
though – it would appear they took their layered freak-folk style and infused a heavy dose of pop sensibilities into the
new songs. There are any number of reasons how this might have happened – the band maturing, a shift in my own
sensibilities as to what a pop song is, just to name a couple; either way, the bottom line is a find myself playing this CD
over and over, trying to sing along even if I don't always know what the hell they are saying. I wouldn't be surprised if the
band's newfound catchiness turns off some of their older fans, because it is a departure from their origins; but no doubt
it will attract a new group of listeners as well, because as much as I've listened to this release I'm definitely signed on to
check out future albums as well.  (SLAP)


Anti-Flag
Death of a Nation (DVD)
A-F/Scrambled Visual
Everytime I see/hear these guys, I still can’t believe they are so young and have accomplished so much…makes
me feel like a real loser. Anyways, this DVD is mostly live footage shot of the band over the course of a few con-
certs in late 03/early 04. The quality is surprisingly good – multiple angles for the filming, sound quality is pass-
able (the source of the sound seems to be the cameras and not the sound board, and comes across a little too
trebly but no egregiously so). There are also additional materials on here, like videos and interviews and what
not. If you like and are familiar with Anti-Flag, you know what you are getting – plenty of anti-government/
anti-Bush ranting, which I agree with in theory but find their execution a little heavy handed.  But if you are
already a fan of the band, you’ll probably really like this – seems to pack quite a bit of stuff on here.
(SHREDDING PAPER)


Antiseen
Badwill Ambassadors
TKO Records
Growing up in North Carolina, I’ve known of the legend of Antiseen for years, and even caught a show or two
by them during my high school years. And while I can’t say that I listen to them very often these days, hearing
their new disc “Badwill Ambassadors” only proves to me that they haven’t lost a step. Their Motorhead-like
aural assault mixed with all things redneck/white trash is certainly an entertaining combo, and I can just imagine
ne’er-do-wells I grew up with getting a kick out of every note. (SHREDDING PAPER)


Antiseen/Electric Frankenstein
Split (7 Inch)
TKO Records
By now you should probably know what you are getting with Antiseen – they’ve been producing their southern
rock version of Motorhead for as long as I can remember, and this track is no different, but it’s a pretty damn
good track. The flip side has Electric Frankenstein doing their 70’s hard rock thing and doing it well. Both tracks
are catchy and entertaining, and if that isn’t enough to convince you the vinyl on this release is this great marbled
white and green that would be worth owning even if the music sucked. (SHREDDING PAPER)


Anti-Social Music
Sings the Great American Songbook
Peacock Records
This album is one odd duck – members of the Hold Steady and Ida and other groups form a “music collective”
to bang out some improvisational jams. The end result is a bizarre cross between free jazz and musical scores
from old Bugs Bunny and Tom & Jerry cartoons. Not really my cup of tea, but these cats are quite obviously
talented at this sort of musicality. I can’t imagine putting this on to listen to intently, but I suppose it would make
nice background music…although I’d probably find myself looking around all the time for a rabbit dressed as a
lady trying to fool a short, surly cowboy with a moustache. (SHREDDING PAPER)


The Ants
Victory Side
Sick Room Records
After a few listens, I’m still unsure what to make of this Ant’s CD. Certainly not what I was expecting from Sick
Room Records, a label more known for it’s math rock and punk stuff than weird & silly folk music. And not silly
in the Dead Milkmen/funny lyrics type of way, but something about the singer’s voice just makes it hard to take
the music seriously. And maybe it’s not supposed to be taken seriously, I dunno. A lot of the time the vocals
have this singing/talking quality, which when combined with the off-kilter music, makes me think of what a folky
version of the early Pavement might have sounded like. I’m still not sure if I like this, but either way it’s inter-
esting if nothing else. (SHREDDING PAPER)


Appleseed Cast
Peregrine
The Militia Group
I’ve not been sure what to classify the Appleseed Cast as for a while now…they might have started out rooted
in the Lawrence, KS emo scene from the mid-90s that was so huge, but after their first couple of records they
diverged so far off of that path that to consider them emo now would just be silly.  The review of this album on
Allmusic somewhat jokingly makes reference to “Midwest post-rock”, but honestly this is a good a descriptor
of their sound as about anything else, if you’re really itching to put a label on things.  If you were to try and
combine elements from Tristeza, The Cure, Mogwai, the Notwist…maybe even a little Sigur Ros when they are
at their rockingest, you’d have the general idea of where these guys are coming from, even if they don’t really
sound like any of those bands per se.

On first listen, and maybe even the second and third listens, my reaction was “good, enjoyable record that
sounds like their last record ‘Two Conversations’”... but as I dug deeper I got a feeling that things had been
switched up in very subtle ways, ways that seep into your brain after you’ve digested the album a few times. 
Most notable of these changes is the drumming; not only is there a new drummer with a decidedly different style
(think Doug Scharin from June of 44, if that means anything to you), but the organic drums are paired up with or
played off of lots of electronic beats so it gives a wholly new texture to these otherwise atmospheric, noisy pop
songs.  There’s even some slide guitar on one of the songs for chrissakes, and somehow it works.  Bottom line,
this is a very good record, and a continued step in the right direction for a vastly underappreciated band. (SLAP)


The Appleseed Cast
Two Conversations
Tiger Style Records
I’ve enjoyed The Appleseed Cast’s output for some time now, specifically their Low Level Owl series. But I was in no
way prepared for how much their newest release, ‘Two Conversations’, would sweep me off my feet. Known for chang-
ing their sound somewhat with every release, this album finds the Cast taking a much more straight forward approach
to their songs, with the experimental noisescapes present in the Owl series at a minimum or incorporated fully into the
songs. Some might still consider these guys ‘emo’ because of their lyrics about relationships and tendencies towards
wearing their hearts on their sleeves, but their music is so far beyond and above the emo norm that you would be hard
pressed to classify them as such anyways. The Cast come across like a three way brawl between Cursive, Radiohead,
and Mogwai, and come out sounding like none of them. With the music they have putting out for the last few albums,
you can mark my words that The Appleseed Cast will be a touchstone for a whole new generation of musicians in the
years to come, and for good reason – they are simply playing some of the best new music out there, anywhere.
(SHREDDING PAPER)


Arab Strap
The Last Romance
Transdreamer Records
On their sixth full length album, it actually sounds like the depressed lads in Arab Strap have turned a corner
and become…happier?  At least that was my initial impression, until you listen a little more closely and realize
that their lyrics are just as morbid and downtrodden as ever – “sometimes there’s nothing sexier than knowing
that you’re doomed” is just a random sample line from one of their songs, and that’s actually rather tame for
their doom-n-gloom output.  What has happened, though, is that Aidan Moffat and company have become
more upbeat in as far as the tempo of their songs - which to a fool like me equals “happier” since I rarely pay
attention to lyrics.  But Arab Strap are the rare exception – Moffat is so damn good at telling stories with his
songs it’s hard to resist, often feeling as if you are eavesdropping on that crusty old drunk at the local bar as
he regales the bartender with his tales of woe.  Their uniquely Scottish take on life and music sounds like what
you might get if you locked Nick Cave and the Black Heart Procession in a dank Glasgow pub for a few weeks,
only on this go around someone must have slipped some uppers into their pints because I never would have
thought this band would produce and album this up-tempo and full of hooks.  Is it the best album they have
released?  It’s still too soon to tell for me, but it’s a damn good album at least on par with their finest work.
(SLAP)


The Arcade Fire
Funeral
Merge Records
Wow…on first listen it becomes all too clear why this band has been receiving the buzz it has over the last few
months in certain circles.  This Montreal group may never appear on MTV or the OC, but you better be damn sure
that they will take the music world by storm, from the bottom up.  The list of influences/”sounds like” can be quite
long if you try to break it down to it’s constituent parts…The Talking Heads, Neutral Milk Hotel, Broken Social
Scene, British Sea Power, Gang of Four, Bright Eyes, etc…certainly a list of bands that would make many folks
want to check these guys out.  But the way they meld and merge these influences into its own, unique shape is the
real draw – the music sounds so rich and exuberant and full of life that it is like the audio equivalent of one of those
giant boxes of Crayola crayons.  Additionally, the Arcade Fire has embraced the old-fashioned idea of creating an
album - as in the whole thing sounds great together, where the sequencing and song constructions balance and
help each other out, as opposed to just creating a record of disjointed songs as most folks seem to do in the
ADD-addled world we live in now.  This record works best when listened to all at once, not broken up into various
play lists in your iPod.  This is probably the best and one of the most original records of the year, sure to be an
epiphany of happiness to many people as they discover it over the next few months. (SLAP)


Arthur Kill
Addiction
Arthurkill Music
Dear god I think this is the worst thing I’ve ever been given to review. I wasn’t exactly expecting anything spectacular
after looking at the CD case and the picture of the band on the back (yeah, everyone does it get off my back about it
already), but I was going to give it a chance.  I couldn’t even finish listening to the entire album. I try to listen to every-
thing at least a couple of times, but enough was enough. This music is some sort of shiny nu-metal/grunge/industrial
hybrid that I’m sure will probably be really popular, but not to my ears. (SHREDDING PAPER)


Greg Ashley
Medicine Fuck Dream
Birdman Records
Not unlike Lone Pigeon and many other contemporaries, this record is Greg Ashley’s way of telling the world that
he really, really likes Syd Barrett. According to the website this is “a collection of 10 songs pretty much about 10
girls”, and I’d have to say that seems about right from what I’m hearing. Not a terrible record by any means, but it
does tend to drift into the background from time to time. The combination of “Deep Deep Down” and “Lost
Highway” probably account for the best part of the CD, the latter sounding like a long lost cowboy song gone
psychedelic. Certainly worth checking out if you’re already a fan of such music, but don’t come hunting me down
it doesn’t hold your ear – I warned ya. (SHREDDING PAPER)


Ashley Park
The Secretariat Motor Hotel
Darling Records
Who would have ever thought a band this twangy would have ever been on Kindercore? Much like fellow countrymen
The Band, this trio of Canucks has crafted a truly terrific slice of Americana music. They will make most anyone think
of Beachwood Sparks instantly, but this album could prove to be the one to bring them out from under that shadow.
Besides, even though both bands have obviously listened to The Byrd’s ‘Sweetheart of the Rodeo’ a few too many
times, this record sounds like a band who has moved past that and into a territory all their own. It should also be noted
that while this record is a concept album of sorts (all of the songs are based on fictional stories of the fictional res-
idents that stay at the fictional Secretariat Motor Hotel), but you wouldn’t really be able to tell that unless you’re really
paying attention. Easily one of the best records I’ve heard all year in the ‘alt-country’ department, and a welcome
addition to my music collection. I expect to be singing along to this for some time to come. (SHREDDING PAPER)


Askelton
Happy
Goodnight Records
Sometimes you hear a record, and it’s a perfectly good record, but you just can’t get excited about it? That’s
how I’m feeling about this Askelton release.  It’s a decent album – a pop record but not one with a lot of overt
hooks; the songwriting seems fairly strong, and varied – no sameness like plagues so many artists; and they
often employ the “kitchen sink” method of instrumentation, throwing a lot of random bits and pieces into each
song. But nothing here moves me, grabs me, sinks into my head, punches me in the face. I can’t really
recommend or dis this album, but that’s the nice thing about this computer age – cause if you make your way
to their website, you can sample it for yourself and make up your own mind. (SHREDDING PAPER)


Audible
Sky Signal
Polyvinyl Records
This is a very pleasant album…not amazing, but catchy and warm and friendly in a way that makes you feel as
if you’ve already heard it your first time listening. Founded by a couple of dudes from that band Matt Pond PA
(Jim Kehoe and Mike Kennedy), this five-piece have that typical Polyvinyl/mature emo/keyboard-heavy sound
mixed with something pop-like akin to The Shins or The New Pornographers or name your own popular indie-
pop band. No doubt with the right push they could conquer big mountains, but only time will tell if that will
happen. I’m rooting for them. (SHREDDING PAPER)


Audio Out Send
Or Does It Explode?
Flashcard Project
We have a new contender in the arena, vying for best local pop record of the year with Rogue Wave – it’s
Audio Out Send! With their first full length release, AOS have instantly put their name on the map of good
local pop music, at least as far as I’m concerned; and stand as further proof that the number of good bands
coming out of the bay area and beyond is just as good as anywhere else in the US, even if it doesn’t get the
hype it deserves like some other scenes that we won’t mention.

AOS has more in common with Rogue Wave than both being great bands – they share similar propensity
towards writing unclassifiable pop songs. So many bands out there instantly strike you as sounding like
something else, whereas both of these bands produce a timeless brand of pop that is neither a rehash of
past sounds nor following the gimmick of the day. In addition, AOS remind me a little bit of the Flaming Lips
in the way their songs are arranged, and also contain elements of electronica along the lines of Boards of
Canada or another similar, mellow electronic group. (Aside – it has been pointed out to me that everyone
gets compared to The Flaming Lips these days, and it does seem to be true. But I stand by my assertion
that there is a similarity here, especially with The Flaming Lips most recent album ‘Yoshimi’. I guess you’ll
just have to listen to the record to know if I’m full of shit or not.)

This release by Audio Out Send is a great pop gem that could slide under your radar if you’re not paying
attention. Seek it out, and ye shall be thankful. I know I am.

P.S. – they have a rad website that makes me think of Dr. Seuss, and I believe you can listen to some of
their tunes there: www.audiooutsend.com (MUSIC SPORK)


The Autumn Rhythm
Secret Songs
Midriff Records
The Autumn Rhythm might come from Boston, but this ain’t no Pixies. Instead, these lads and lady base their sound
more around the likes of Ida, Low, Cat Power, and as a stretch on my part, The Cranberries. The music is decent
enough and Valerie Allen’s vocals are enjoyable, but as a whole the album doesn’t really hold my attention to any
degree. It’s lovely music really…just kinda boring. I’m quite certain there is a crowd out there who would love this album,
and hopefully they’ll become a little more engaging for me next time around because all of the basic elements are there
for a terrific group. (SHREDDING PAPER)


Eric Bachman
Original Score for the Film ‘Ball of Wax’
Merge Records
Eric Bachman can do no wrong in my book.  Small 23, Archers of Loaf, Barry Black, Crooked Fingers...every
release by every one of these groups holds a near and dear spot in my record collection.  This is Eric’s first
soundtrack, but he comes off sounding like a seasoned professional.  A lot of people seem to know him for his
gruff and scraggly Neil Diamond-meets-Bruce Springsteen voice, but the musicianship displayed on this album
is phenominal.  It most closely resembles his Barry Black work (solo project he undertook while still in the Archers,
where he played 90% of te instruments), but you can see the influence from all of his other bands creep in from
time to time.  Odd marching time signatures, strings galore, ambient noises, deft guitar finer picking - this and
even more make up this score, and what a great one it is.  To try and sum it all up would be futile, and beyond my
puny brain.  Just go buy the album, and while you’re at it, buy everything the man has ever contributed to.  There’s
a reason that the Archers of Loaf are considered one of the greatest bands of the last decade, and in my book,
probably the greatest ever. (SLAP)  


Eric Bachmann
To The Races
Saddle Creek Records

 - 8 out of 10 -

This is an album of changes…an album where Eric Bachmann dropped the Crooked Fingers band name and
elected to record under his own moniker (which he has actually done one other time, recording the score the film
“Ball of Wax”, but that material was much closer to his mid-90s side project Barry Black than what he has been
putting out as Crooked Fingers over the last few years).  It was also a change in record labels, moving his outfit
from Merge Records over to the “Connor Oberst & family” stable of Saddle Creek.  But musically…the changes
are minimal at best.  This album is a little sparser than the last few – many of the tracks here are just the man
himself strumming and singing, and then occasionally a cello or violin or some backing female vocals will get
inserted into the tracks.  And these changes are perfectly fine with me – the major selling points of anything
Bachmann is involved with is his strong songwriting and his Neil Diamond-like vocals – everything else is just
a bonus.  The songs contained in “To the Races” are as strong as anything he has put out to date: “Carrboro
Woman” and “So Long Savannah” will be instant favorites to most anyone who gives this a listen.  If I had to
lodge a complaint at all, it would be that the album is just too damn short; at around 35 minutes long, it feels like
it is over before it really gets going.  Still, any fan of Bachmann’s output these last few years under the name
Crooked Fingers would be a fool not to rush out and get this album, a high contender for one of my favorites of
the year. (SLAP)


Bad Brains
Banned in DC: Bad Brains Greatest Riffs
Caroline Records
A decent anthology of Bad Brain’s career, ‘Banned in DC’ manages to fit songs from their entire career
(mostly amazing, but some less than stellar tracks near the end coming from their later releases) into one
easy package for us consumers. One listen to this album, particularly the first few songs, should firmly set
in your mind why Bad Brains are considered one of the greatest bands of the last 25 years. Their blend
of reggae and hardcore was truly unique, instantly catchy, and terribly addictive. There are not only some
unreleased tracks on this, but it marks the first time that some of this material has ever been put on CD.
If they had only included ‘Don’t Blow Bubbles’, the song Ryan Fabry skates to in the first Plan B video, I
could have proclaimed this to be nearly perfect. But as it is, having all of these songs in one place and
with this quality of sound is easily worth the price of purchase. (SLAP)


The Bamboo Kids
S/T
Get Hip Records
This is pretty run-of-the-mill classic punk revivalist stuff; not bad just nothing special. There are a couple of
instances where I’ll hear a hint of The Exploding Hearts, but I think that might just be some wishful thinking on
my part. These kids are from New York, and are but youngsters…this stuff shows promise but it’s not there yet.
Maybe another album or two down the road and they’ll have the sound nailed. That said, although I have no
basis to rest upon, something about this CD makes me think they would be a great, fun live band. Maybe they’ll
roll out this way sometime and I can put that hypothesis to test. (SHREDDING PAPER)


Bang! Bang!
Electric Sex
Morphius Records
There’s something very Toni Basil going on here…in fact, the first track on this Bang! Bang! EP made me
think of “Mickey” and now that damn song is stuck in my head. And really, it’s only that first song that causes
the comparison in my head, but you know what they say about first impressions…anyways, what you have
here is an EP of dancey-rock with alternating male and female vocals. Given how much crap is out there pop-
ulating this particular field of music, I would have to admit that Bang! Bang! aren’t that bad. I probably wouldn’t
grab them out of the CD pile too often to listen to, but if I was making a party mix I would certainly be tempted
to throw the title track from this on there, it would probably do a good job of making some bootie’s shake.
(SHREDDING PAPER)


Devendra Banhart
Oh Me Oh My...
Young God Records
I’ve been simmering on this review for some time, trying to wrap my head around what it is exactly
I want to say about Devendra Banhart, and his new album, ‘Oh Me Oh My...’.  This much I know - it’s
one of the most original things I’ve heard in a long time.  I don’t know if it’s just that I’m not listening to
the right stuff, but I can’t think of anyone who really sounds like this guy.  See that equation up there? 
In many ways, that’s nothing but a guess.  I can hear hints of Buckley and Johnston in there, as well
as few others here and there, but for the most part this sounds like nothing else I have ever heard. 
You know the only thing that comes to mind when I hear this record - Edward Gorey.  One of my fav-
orite illustrators/artists ever, whose work excites me and creeps me out at the same time.  On top
of that, I could really see Banhart’s work as the musical accompaniment to a viewing of Gorey’s
cartoons - I think the two would go fine together.

Part of me wants to give this a higher rating, and still another part wants a lower one.  On the one hand,
I can appreciate the talent and originality that’s gone into this release.  I would not be surprised in the
least if 20 years from now he’s one of those guys that all of the up and comers name drop as one of their
main influences.  On the other hand, I would say that more often than not I don’t really want to listen to this
record.  There are certainly a number of songs that I like, but there are plenty that I usually end up
skipping also.  Part of me wants to admit that I’m just not intelligent enough to ‘get’ this music, but I also
think that it’s just the sort of music that may not be for everyone, but those that do like it will find it to be
some of the best music they’ve heard in quite some time. (MUSIC SPORK)


B.C. Camplight
Hide, Run Away
One Little Indian
This is what modern day soft rock should sound like…a little bit acoustic pop, a little soul, and all kids of mellow.
Although they don’t particularly sound alike, I think of Josh Rouse’s most recent album when I listen to this, and
I love that album. Both artists have an obvious love for 70’s AM rock, but where Rouse often veers into more
Americana territory, B.C. goes a different direction towards twee/pop-type hooks. This is a very enjoyable
record from the first listen. (SHREDDING PAPER)


Beachwood Sparks
Once We Were Trees
SubPop Records
The sophmore album for the LA-based Beachwood Sparks, ‘Once We Were Trees’, follows along the
same road as their self titled debut cd of 2000.  That is to say, they continue trying their hand at well
crafted songs that blend California pop and the twang from Nashville.  The comparisons to older bands
is obvious – The Byrds, Buffalo Springfield, Crosby Stills Nash and Young, Flying Burrito Brothers, and
even the Grateful Dead; but rather than just rip off these now classic artists, they have taken the sound
they pioneered and brought it into the 21st century.  Some might consider them alternative country - and
while the music does fit that mold with it’s slide guitar, harmonicas, and , the vocals match more closely
to the harmonies of the Beach Boys than to that of Steve Earle or Jay Farrar.

Some of the songs catch the band in a meandering, jam-friendly mood, whereas other times they are
straightforward and tight.  The different styles seem to complement rather than subtract from the sound,
and the entire package is quite good.  Some of my personal favorites include ‘Yer Selfish Ways’, ‘The
Good Night Whistle’, and my personal favorite, ‘By Your Side’.  It’s interesting to note that ‘By Your Side’
was originally a Sade song, and while I have reservations in naming a cover song as my favorite by any
particular band, their version is so fresh and different that it actually took me a couple of listens for it to
sink in exactly that I had heard the song before.  Either way, it’s damn good, as is the entire album. 
Check it out if you’re into this sort of music...it’s not groundbreaking, it’s not going to save the world,
but it’s a damn enjoyable record all in all. (SLAP)


Bearsuit
Cat Spectacular!
Microindie
Upbeat-twee-pop that instantly sounds British – I was drawn in from the get-go. Sounds a lot like the Milky Wimp-
shake school of pop music, mixed with the frantic energy of something along the lines of Bis. Incredibly catchy, all
this really needs is to be heard by the right folks and there’s no telling how big Bearsuit could get. There is nearly
an albums worth of downloads on their website, so check it out. And speaking of bearsuits, everyone should see
“Project Grizzly” – it has nothing to do with this band but it’s super funny. Just sayin’, that’s all.
(SHREDDING PAPER)


The Beatings
Italiano
Midriff Records
The Beatings manage to sound like the past while creating new sounds for the future. This Boston group have
been getting comparisons to The Pixies, The Replacements, and most importantly, Husker Du – and justly so.
Singer Eldridge Rodriguez sounds a whole hell of a lot like Bob Mould, and at times the music even sounds like
an updated version of the Du; other times, you can feel an urgency in the recordings that comes across in the
same way that the earlier, punker Replacements did. In addition to Rodriguez, Erin Dalbec adds a female voice
to the mix that might make you think she’s the sweetest girl in the world one minute, and that she might kick you
in the balls the next. They write extremely catchy songs, but intensely rocking at the same time; in other words,
pop-punk that doesn’t sound like the crap you hear on the radio, but more like the stuff you heard on college radio
in the eighties, and hopefully in 2003 as well. (SLAP)


Beep Beep
Business Casual
Saddle Creek
It’s pretty obvious to all out there the 80’s revival that has been sweeping music the last few years has
some staying power…but for every few crap bands that have come from the rehashing (way too many
to mention), a decent group slinks out amongst the rubble.  It is at this point that I present to you Beep
Beep, a fine purveyor of dance rock coming straight out of the Midwest (Omaha, NE to be exact). 
Featuring one of the members of The Faint, the comparisons they are going to get to that group is to be
expected but not terribly accurate.if you think more along the lines of spazzier outfits like The Seconds,
The Ex-Models, Whirlwind Heat, or Dance Disaster Movement, you’ll have a much better idea of what’s
in store.  Additionally, there’s a heavier Fugazi-like bent that runs through many of their songs and the
vocals on occasion sound like a weird amalgam of Craig Wedren (Shudder to Think) and Ian Svenonius
(Nation of Ulysses), thereby making the Dischord triumvirate comparison complete.  Definitely an
auspicious debut and a good listen, proving yet again that a rehash isn’t necessarily a bad thing when
it’s done well. (SLAP)


The Bellakun
Bendicion Maldita
Has Anyone Ever Told You? Records
In my estimation, The Bellakun are the closest we’re ever going to get as second coming of Three Mile Pilot. 
They’re not as awesome as the Pilot, mind you, but rock a very similar style and sound and between this album
and the EP that preceeded it, seem well on their way to being a must-hear group. I suppose you could also
compare their sound to Pinback and Black Heart Procession, but since all of those bands are intertwined in
the former member/shares members sphere, it would be redundant. The Bellakun is made up of a quartet of
Latino dudes from Texas; t is rare and somewhat surprising that a band this talented and easy on the ears is
flying so far below the radar, but hopefully that will change for them soon.  Moreover, you can head to their
website at www.hasanyoneevertoldyou.com and download five of their songs (three from this album and two
from the older EP), and test drive the band for yourself, so to speak.  Definitely recommended. (SLAP)



The Bellakun
…Cantar Para Espantar la Soledad
Has Anyone Ever Told You? Records
The Bellakun is some decently interesting bi-lingual indie rock out of Texas. The title translates to “sing to scare
away the loneliness”, or at least that’s what the cheat sheet sent by the label tells me. They describe themselves
as being “…sprinkled with Tristeza and Three Mile Pilot”, which is a more than reasonable assessment, but I’d
additionally throw in a little Built to Spill influence as well to round things out. It’s nothing that blows the doors off
the place, but I was pleasantly surprised. (SHREDDING PAPER)


Belle & Sebastian
Dear Catastrophe Waitress
Rough Trade
Since this is B&S’s first album on a label other than Matador and without mainstay member Isobel Campbell (who
has released her own solo CD which is quite good), so expectations and anticipations were varied as to what the
outcome of this new record might be. Well, as far as I’m concerned, it’s great. Some fans may be disappointed
with the new direction of some of the songs (lots of horns! Upbeat songs! ELO influence! Trevor Horn production!),
but I feel there’s not only enough of the classic B&S flavor for us old timers, but I actually like the new stuff as well.
There are a number of quality tracks – ‘Wrapped Up In Books”, “Step into My Office, Baby”, “Dear Catastrophe
Waitress”, and most importantly “I’m a Cuckoo”, which is probably my favorite song by them since their early days.
Although not their best record (if you’re new to the group go pick up “Tigermilk” or “If You’re Feeling Sinister”, two
of the greatest pop releases of the last 10 years), it certainly stands up to most of their other releases and is
obviously better than that “storytelling” fiasco. (SHREDDING PAPER)


Bermuda Triangle Service
High Swan Dive
BTS Records
It’s not often that group can come right out of the gate sounding this good, this professional, this polished, all
of their own merit – but that is exactly what we have with Bermuda Triangle Service. This three piece, led by
Cynthia Wiggington – who has played with such greats as Richard Buckner, Alejandro Escavedo, and the
Mekons, have given San Francisco a fresh shot of alt-country that doesn’t sound too much like anything else
but is instantly recognizable at the same time. According to the band’s press sheet, Wiggington started
writing these songs while “sequestered on a tropical island”, which might explain the strains of Hawaiian or
Caribbean music that give that make the overall sound of this record particularly unique. Fans of Carolyn
Marks, Neko Case, Tift Merritt and that lot would probably enjoy this, even if it doesn’t sound too much like
it per se. Definitely worth checking out if you like strong songwriting with a little twang and maybe a little
hula thrown in. (SHREDDING PAPER)


The Besties
Singer
Skipping Stones Records
This NYC trio of poppers sounds exactly like the very definition of “twee”. Cute female vocals, simple key-
board lines, catchy songs, and it is impossible to picture the band frowning while recording any of these
tracks. Even if there isn’t anything new or inventive going on in this music, there is no possible way I could
not like something this cute. It’s like a picture of a kitten and a baby rabbit holding hands surrounded by baby
chickens, that’s just how cute this album is.  Fans of All Girl Summer Fun Band, The Softies, Tuscadero, and
Palomar should look into this group. (SHREDDING PAPER)


The Beta Band
Hot Shots II
Astralwerks
Oh Scotland, you’ve done it again.  From the land of loch ness monsters and haggis, The Beta Band is proving
once again that Scotland is the better half of the British Isles when it comes to music.  On their second full-length
release, they continue down the path set forth in their previous releases of presenting a veritable pastiche of the
musical landscape.  They combine sounds from all over the spectrum – trip hop, pop, folk, space rock, trance/
techno beats and sounds, etc – into a sound that very few bands sound anything like, and very few reviewers can
ever actually identify.  They jump from genre to genre, but it never sounds forced – rather, more like a good mix
tape that a friend might make for you.  If I had to compare them to someone, I would say a cross between Pink
Floyd and Primal Scream, but I realize even that is a stretch.  They combine so many different sounds and tex-
tures in to their different songs that almost anyone you ask would probably give you a different comparison. 
This album is good from beginning to end, but if I had to pick out my favorites then it would be ‘Squares’ and
‘Human Being’.  If you are already familiar with their work, then I recommend checking this out, you won’t be
disappointed.  And if this is all new to you and you are interested, this would be a good starting point to get an
idea of what The Beta Band is all about.  (SLAP)


Birddog
Songs from Willipa Bay
Karma Records
Birddog is the performing moniker for Bill Santen, a folksy-type of fella who has enlisted the help of his famous friends
(namely Jason Lowenstein and Paul Oldham - at least famous in the indie world we all pretend to reside in) in the pro-
duction of his latest effort ‘Songs from Willipa Bay’. While I can’t find it designated as such anywhere on the album, this
7 song release is a little short to be considered a full length, but makes for a nice heart EP. The music is pretty likeable,
reminding me of Neil Young, The Byrds, and Palace in particular, with tinges of Elliott Smith-ish pop here and there;
which is fitting, because apparently Smith played a hand in the discovery of this Lexington, Kentucky native, who has
now settled in Portland. I don’t think anyone who’s a fan of any of the Oldham’s records could go wrong with this release,
it’s a decent listen for those who enjoy more folksy, less twangy alt-country music. (SHREDDING PAPER)


The Birdwatcher
Afternoon Tales the Morning Never Knew
Arena Rock Recording Co
I struggled with the rating for this album.  The thing is, I enjoy it well enough - can’t think of anything bad to say about
it.  But for some reason, every time I put it on, it just becomes background music for me.  I tune it out almost as
quickly as I hear it, and not on purpose either - it just doesn’t seem to hold my attention.  So I give it a middle of the
road rating, because I’m sure plenty of people out there will like it, but I’m sure plenty others will be like me and forget
they just heard it, even if they don’t mean to.

The Birdwatcher is the solo project of Windsor for the Derby front man Dan Matz.  He also enlisted the help of various
other indie luminaries, most notably Jim Kimball of Jesus Lizard and about a million other bands.  The cover of this
cd has a sticker with a quote from NME that says ‘emotive & fragile, strangely spooky, slightly unhinged’.  I’m not sure
I’m feeling the unhinged part, but the rest fits pretty well.  Lots of rainy-day soundscapes with acoustic guitar and
singing layered on top, and the occasional bouts of percussion here and there would be a good general descriptor
of sound.  Not unlike what you might get if you smooshed Windsor for the Derby and The Blackheart Procession
together, and only kept the real mellow bits.  The only track to defy this description is ‘The Hush’, which easily is the
most rocking song on the album, and probably my favorite to boot.

By no means would I say not to go out and buy this album, just be sure you know what you’re getting into.  If you’re
looking for something to play in the background while you do homework or trade stocks or have your tea and
crumpets, this might be a good choice for you.  But if you’re looking for something to keep you awake for a late night
driving jaunt, unless you like falling asleep at the wheel, I would try something else. (MUSIC SPORK)


Blag'ard
Blank Faced Clocks EP
Pig Zen's Pace Records

 - 7 out of 10 -

Once upon a time, when the internet was but a wee thing, there was an amazing band out of Chapel Hill known as
Capsize 7.  They played a slightly punker version of the typical Chapel Hill indie rock sound, and were one of my very
favorite bands during my college years. 

The reason I bring Capsize 7 up (besides the fact that they never got their due and everyone should hunt out their
records) is that their awesome front man, Joe Taylor, has a new two-piece out on the market by the name of Blag'ard. 

The first thing that stands out to you when you hear this duo are the vocals - Joe's voice lands somewhere between
Johnny Rotten of the Sex Pistols (but less pissy) and Brian Molko of Placebo (but less eyeliner-y).  It carries not only a
very distincive sound but delivery as well - when I hear these Blag'ard songs it's tough not to compare them to
Capsize 7...I suppose folks who didn't memorize their output may find this to be less of a hindrance when hearing
Blag'ard. 

Nonetheless, Joe and Drummer Adam Brinson produce some quality angular indie rock here...I've been finding it tough
to come up with many comparisons outside of Joe's original band, but I do hear hints of The Fall in there, and a whole
lot of that classic Chapel Hill sound.

Rather than uploading songs to Slap music machine, just point your browser to the band's website and download any
or all of the multiple tracks they offer there. 

"Losty" comes particularly highly recommended.  (SLAP)


The Blam
Caveat Emptor
Mootron
I suppose the easy thing to do is to compare this Brooklyn group to Interpol, since that’s pretty much what they sound
like. I’d probably go to further lengths to say more, but I’m just not crazy about the record. The two most upbeat tracks,
“Writing on the Wall” and “I’m in a panic”, are also the two best, and quite good at that. Unfortunately, the rest of the
album is rather maudlin and undefined, and can’t remember a thing about the record other than those two songs.
(SHREDDING PAPER)


Blood on the Wall
S/T
The Social Registry
I’m not really sure what to make of this release, but I know I like it. Blood on the Wall owe most of their
influence to Sonic Youth, but some how a lot of it got filtered through some sort of fanciful machine that
makes them sound like a punk-influenced Violent Femmes, even down to singer Ben Shank’s voice. There
are a couple of exceptions to this sound though, most notably “On the Mouth” where Ben’s sister (and fellow
band mate) takes over vocal duties and produces what sounds like a Jesus & Mary Chain outtake, and it’s
probably the best song on the record. An extremely interesting debut, highly listenable and quite catchy, and
just “out there” enough that even the cool kids should like it. (SHREDDING PAPER)


BMX Bandits
On the Radio (1986 – 1996)
Vinyl Japan
The BMX Bandits have helped launch the careers of numerous bands (Soup Dragons, Eugenius, and one of my
all time favorite bands Teenage Fanclub), without being able to get to far out of the starting blocks themselves. They
do have a fairly large cult following though, and I can only imagine that this release of live tracks recorded with the
BBC between the years of 1986 and 1996 will be a welcome joy to their ears. Personally, I’ve never been a very
big fan of the band, and this record didn’t do anything to change my mind. If you like quirky power pop, you’ve got
it right here by the tons. The release also includes a couple of live tracks by the Pearlfishers with BMX main man
Duglas T. Stewart appearing as a special guest, thus earning these songs a spot on this compilation.
(SHREDDING PAPER)


The Boggs
We Are The Boggs We Are
Arena Rock Music Co.
Talk about being fooled.  When I saw the cover of this album, I assumed that I would be hearing another Brit-pop
band, or an American version of such.  Instead, I get...bluegrass?  Old-timey music?  Roots country?  What is this
world coming to?  Since when do kids like this make music like that?

Turns out The Boggs are a group of lads from Brooklyn who got their start playing on street corners and in subways,
and eventually moved their tried and true sound indoors to clubs and recording studios.  And it is the recording that
really makes this album as good as it is.  The entire album is recorded in mono, and it has the warm feel that you
get when listening to something along the lines  of an Alan Lomax field recording.  Some of the songs, such as
‘Whiskey and Rye’ or ‘The Airborne Station’, sound like a non-Irish version of The Pogues, and you can just imagine
everyone standing around one microphone in the center of the room when they recorded these tracks.  They also
tackle Appalacian folk ballads in the form of ‘Beside the Windowsill’, and included a number of nameless instru-
mentals between some of the regular songs that run the gamut from bluegrass to pre-country cowboy music.  The
remaining songs, including my favorite on the album ‘Emily, O, Emily’,  have that sound you get with old 45s, where
it sounds like the performer is at one end of the hall and the mic is set up on the other end.  It initially occurred to
me that if those classic artists from many years ago could re-record their music today without all the static and
hissing and noise in a modern studio, they wouldn’t hesitate - so why purposely recreate a sound that was acci-
dental and unwanted in the first place?  But it is exactly these things that lend those classic recordings some of
their charm, at least to me.

On the one hand, there’s nothing really original about The Boggs.  For the most part, they are just recycling the
sounds from the first part of the previous century for a new generation of listeners.  But on the other hand, maybe
this is just what many of us need.  There is so much music out there today, and most of it is the same old shit,
nothing really all that new or groundbreaking.  The Boggs are no different, they’re just reaching back quite a bit
farther for their influences, and in doing that, bringing something pretty new to a lot of people that might not other-
wise be aware of this type of music.

I was torn as to what rating to give this album - like I said, nothing really new here, mostly rehashed sounds.  That
usually doesn’t bode well for getting a high review.  But the bottom line is - I enjoy this album.  And that is really
what is most important, right?  Hopefully The Boggs will continue making this kind of music, but perhaps with time
they will develop their own stamp to put on the music and not have to lean so heavily from their influences.
(MUSIC SPORK)


Boris with Michio Kurihara
Rainbow
Inoxia Records

 - 7.5 out of 10 -

Japanese rockers Boris are best known for their drone-laden stoner metal output, but when teamed with
legendary guitarist Michio Kurihara (probably best known as a member of the band Ghost) the output is
worlds apart.  Not that I really expect anything else from Boris, they have proven over the years to be more
than willing to collaborate with others (Merzbow, Keiji Hainoi, Sunn O))))  and come up with fresh new music,
but this release might be my favorite thing they have ever done, be it solo or with others.  It’s a droney, noisy
psyche-freakout masterpiece, that if you listened to it in bits and pieces it might sound chaotic and non-
sensical, but as an album it works beautifully.  There’s really nothing metal here at all, and this is easily as
melodic as Boris have ever sounded; in fact, there are a number of moments where the record almost sounds
like some of the mellower output of Mogwai.  This is really top-notch music, and different enough to bring new
fans to Boris without alienating their older ones. (SLAP)


Bottom of the Hudson
The Omaha Record
Absolutely Kosher Records
What an interesting little genre-hopping album this is. Sometimes Notwist-style electro-pop, sometimes
Pavement-ish indie riff rock, occasional Guided by Voices sounding jangly pop, so on and so on. Even
though it’s all one band, it plays more like a mix a friend might make for you. There’s bound to be some-
thing on here for everyone, and if you’re lucky like me you’ll like almost all of it. There’s even a funny
answering machine message at the end with some white trash-type fella telling them to stop playing ‘that
damn reggae music’. But hey – in this day and age, why take chances? Go here and download some
songs, and see if Bottom of the Hudson strike your fancy - http://www.bottomofthehudson.com/main.html.
(SLAP)


Boxing
Way Down East
Robert Barry Construction Associates
If I had to describe this band with one word, it would be ‘eclectic’.  They seem to skip genres from one
song to the next, diving head first into any musical possibility whether they are prepared for it or not. 
I admire their willingness to try on many different hats, and most of the time, they fit just fine.

At their root, if stripped of all of their peripheral bits, all of Boxing’s songs are just pop songs.  But they
get run through so many tweaks and changes, that what comes out are some pretty interesting tracks.
Like I said previously, they cover a lot of ground with their sound, but the predominant feel of most of the
music is some sort of hybrid between 70's era David Bowie style glam rock and folky roots-rock like
The Replacements might have come up with; and underneath it all, are sweet lo-fi pop songs that would
make Robert Pollard pleased.  In addition, the folks in Boxing seem to have taking a liking to using their
sampler, because both during and between songs there is a myriad of noises, sounds, voices, and all
sorts of other racket that usually makes things interesting, but occasionally can be distracting. 

The bottom line - I enjoy this album.  While it might borrow from the past for some of its sound, it comes
across as being fairly original.  If these guys sound intriguing, check out some songs on their web site
http://www.boxingtheband.com/, and pick the cd up if you dig it. (MUSIC SPORK)


Brakes
The Beatific Visions
Rough Trade

 - 9 out of 10 -

I thought the second record was supposed to be a sophomore slump, but the British group Brakes managed
to not only better their first outing but to make their otherwise great debut look like crap by comparison.  The
band decided to jaunt over here to the States and record an album in Nashville, and it shines through in their
newly recorded material.  Sure, there are still a few tracks that hark back to the manic energy of their debut  -
“Margarita”, “Spring Chicken”, and “Porcupine or Pineapple” all sound like Pixies outtakes, much like most of
their debut release “Give Blood”.  But the real draw here is their newfound poppy hooks and hints of twang, a
style I wouldn’t have expected to work in theory with this band but it turns out even better than your wildest
imagination – imagine that aforementioned Pixies influence paired with Nada Surf pop sensibilities and a
little pedal steel and ragtime piano for flavor and you’re at least getting the general idea.  “Mobile Commun-
ication” and album closer “No Return” are highlights, while the title track “Beatific Vision” is easily one of my
favorite songs of the entire year.  This record has been out a while in the UK, but is just now making it to US
shores and we’re all better off for it. (SLAP)


Brakes
Give Blood
Rough Trade
Brakes are a British rock superstar group of sorts - one of the British Sea Power dudes (Eamon Hamilton),
a couple of Electric Soft Parade cats (Tom and Alex White), and one of the guys from Tenderfoot (Marc
Beatty).  And to be totally honest, this group might be better than all of the parent acts.  Because of Eamon’s
vocals, some British Sea Power comparisons are inevitable since he sings occasionally on their album.  But
even more noteworthy is how much he sounds like Black Francis (Frank Black) of the Pixies, a fine thing to
sound like indeed.  There some Clinic-like keyboard tracks here, a few twangy low-key tracks there, and even
a Jesus and Mary Chain cover to round things out…all in all, a fantastic debut by a side band that’s as good
as most main bands. (SLAP)


Brando
943 Recluse
Luna Music
Not unlike the fat, surly actor that this group is named after, Brando comes across as a likable listen despite its
ability to be a little irritating from time to time. They play a pretty familiar brand of quirky lo-fi pop, with just a hint
of 60’s psychedelia thrown in. it makes me think of the mellower, more beatles-influenced GBV stuff crossed
with Lilys much of the time, but the release as a whole tends to be all over the map. At it’s best, and I may be
the only one who feels this way, this record reminds me of why I love Shudder to Think so much; at it’s worst,
it reminds me of why it wasn’t a bad thing that everyone and their brother stopped doing the “lo-fi thing” when
it wasn’t hip anymore. (SHREDDING PAPER)


Brazilian Girls
S/T
Verve Records
This is all I’m saying – they have a song called “Pussy” that sounds like a bad UB40 song, which is pretty much
all of them. I have no doubt this will be a “critical success” and yuppies that love adult contemporary crap will eat
it up like a Starbuck’s sampler CD. Actually, I would be surprised if they haven’t been featured on one of those
things. They genre-hop just perfectly to fit in with the Sunday paper and trips to the over-priced organic farmer’s
market. At their best there are a couple of Everything but the Girl-dance music moments, and I’m willing to bet
the singer is pretty damn hot, but that’s not enough to save this disc. (SHREDDING PAPER)


Brazilian Girls
Lazy Lover EP
Verve Records
This release is terrible on two fronts – not only is the music terrible, but even if you are already a fan this EP is a
total rip off. Of the five tracks on this, 3 are from their full-length and two are remixes of one of those songs. So
unless you are an uber-completist, even folks who consider this good music should pass it by. Watered-down
UB40ish reggae mixed with poppy electronica isn’t the sort of thing that usually turns my screw, and this is some
of the worst I’ve ever heard. (SHREDDING PAPER)


The Briefs
Sex Objects
BYO Records
I’ve really been in the mood for simple, fun punk music lately, and I can’t think of a better modern band that fits
that description than The Briefs.  Part glam-punk like The Rezillos, part shout-along punk like The Damned, and
part pop-punk like The Ramones, these guys have plenty of swagger and snarl and funny outfits like you expect
out of the typical punk band, but these guys actually back it up by having really good songs.  Although nothing
here is as great as “(Looking Through) Gary Glitter’s Eyes” from their previous album “Off the Charts”, this
record still has more than enough great songs that will make it nearly impossible to just sit still and listen.  You
can check out some of their songs at http://www.thebriefs.com/, and be sure to check them out live – they put
on a raucous show. (SLAP)


The Bright and Hollow Sky
Gem State
Pop Faction Records
This is a pretty straight forward CD of indie rock straight out of the musical hotbed of Austin. Featuring former
members of Silver Scooter, if you ever heard that band it’s a close enough start to the sound of The Bright and
Hollow Sky. I also hear a bit of the more recent Death Cab for Cutie in there, mostly as their approach to melan-
choly pop songs are somewhat similar. By no means an amazing record, and I did space out from time to time
when listening, but not bad either; will no doubt find an audience if the right ears hear it. (SHREDDING PAPER)


Brightblack
Ala.Cali.Tucky
Galaxia
If I close my eyes while I listen to this record, I’d swear I think I’m back home in the mountains of North Carolina, sitting
on the porch on a warm evening watching the fireflies flash their butts around and listening to the symphonic chirping
of the frogs and the crickets. Imagine if you will someone got the bright idea to mix Mazzy Star with Palace, and the
result would be something akin to this. In fact, those Palace boys Paul and Will had a hand in helping with this recording,
adding back up vocals, bass, whatever. A truly beautiful recording, but I’m pissed that it really makes me want to quit my
cubicle job and big city life and go back to the country where I belong. (SHREDDING PAPER)


Broken Social Scene
You Forgot It in People
Arts & Crafts
Broken Social scene is yet another band and release to receive loads of critical praise and a wave of
hype so big that it could capsize an aircraft carrier. Only this time, the critics and taste makers got it right:
these guys are the real deal. This open collective of musicians out of Toronto, Canada, led by Brendan
Canning and Kevin Drew, have assembled an album that manages to sound familiar and new all at the
same time. They combine straightforward-thinking indie pop like The Sea and Cake and Dinosaur Jr,
and throw in everything but the kitchen sink: horns, vocal effects, and layers upon layers of distortion and
noise and electronic beats topped off by organic beats and that still doesn’t quite cover it. I heard so
many friends raving about this that I did something I never do – I bought it cold, without ever having heard
a single song off of it. And you know what? It was one of the best decisions I’ve made in a long, long time.
This will no doubt make the top 10 lists of numerous critics and ‘in the know’ magazines, but let it be said
that it will be right up there on the lists of regular joes like myself as well. (SLAP)


Buck
Rock Dream EP
Startracks
It’s not all garage rock coming out of Sweden – just look at the Startracks and Kasual Records roster
if you don’t believe me. This EP is the newest outing from my favorite of the bunch, Buck. Their previous
record ‘Hello Holland’ sounded like a band who had spent a whole lot of time listening to the Archers of
Loaf, and trying to replicate the sounds that they heard. This new EP, while still holding some of those
elements, sees Buck maturing and developing their own sound, a hybrid of their older Archers-type
songs mixed with the keyboard-and-atmospherics heavy Appleseed Cast(who’s new record ‘Two
Conversations’ is also really amazing). If this EP is an indication of what their next full length will sound
like, then look out – there might just be a new, fresh face representing the sounds of Sweden. Download
some older tracks here: http://www.epitonic.com/artists/bucksweden.html (SLAP)


Bugs Eat Books
Ghosts of Leaves
Happy Happy Birthday To Me Records
I’ve often purported that nothing good ever came out of Florida, but these guys aren’t half bad.  They cert-
ainly reflect the Elephant 6 sound that has come to typify most pop acts coming out lately, but that isn’t a
bad thing, as long as it’s enjoyable to listen to. Mostly they remind me of Beulah minus the horns, and I love
those horns, so that may be what’s keeping Bugs Eat Books from being “great” instead of just “good”. Fans
of good-time pop music might like it though, I certainly wasn’t disappointed or anything.
(SHREDDING PAPER)


Built Like Alaska
Autumnland
Sweat of the Alps/Future Farmer Recordings
When seeing Built Like Alaska live recently - and if you ever get the chance, I highly recommend it, as they
are fantastic - my friend noted “they sound like Grandaddy’s little brother combined with Built to Spill.”  And
it was kinda hard to disagree; Neil Jackson’s vocals are very Doug Martsch-like at times, and the Central
Valley/Grandaddy connection makes even more sense when you realize the drummers of both bands are
actually brothers.  But there is one other dynamic which isn’t as obvious in the live setting, but comes through
perfectly when listening to any of their recordings, and that is a strong resemblance to Sparklehorse.  And
know this - I consider Sparklehorse, Built to Spill, and Grandaddy to all be very high on my “favorite bands”
list, so these comparisons amount to high praise from me.  Any and all of their material out for sale is
exceptional, so just go buy it all. (SLAP)


Burd Early
Leveler
Western Vinyl Records
The only thing that comes to my mind when listening to this record is ‘eh’. As in ‘eh, I’ve heard better, I’ve heard worse’.
The first comparison that comes to mind is a less interesting Giant Sand or a not-quite-as-suicide-inducing Hayden.
His voice brings to mind Richard Buckner without the vocal inflections that make him so interesting to me. I have no
doubt that many folks who listen to this record will like it much more than me, but it just didn’t grab my ear like I was
hoping. Some tracks show promise (I like ‘Phonecall Away’ best), while others just drift in and out and don’t leave any
lasting impression past when the sound stops lingering in the air. Perhaps next go around Burd Early will separate a
little more of the wheat from the chaff, and produce something that will stick around in my head. (SHREDDING PAPER)


The Business
Suburban Rebels: Live at Rios (DVD)
Cherry Red Records
This is a mediocre recording of The Business 1988, a “C” at best in terms of quality. Furthermore, apparently
they feel no desire to utilize the full capabilities of the DVD, since there are zero extras on this; I honestly can’t
remember the last time I saw a DVD with no extras. I guess if you’re a fan you can claim “all killer no filler” or
something. Watching this just made me wish I was watching Cocksparrer. The show on this release ends with
tons of surly English skins on stage with the band in a near-riot. The whole scene looked both fun and scary,
and was the best part of this otherwise lukewarm release. (SHREDDING PAPER)


Brandon L. Butler
Killer on the Road
Gern Blandsten Records
OK, I’m not ashamed to admit the only reason I grabbed this CD to review is because I wasn’t paying much
attention and thought it was a solo record from Bernard Butler of Suede. I should not pay attention more often
though, because this record is great. Turns out I should have known who this lad was though – Brandon Butler
was the front man for two of the mid-90s emo greats Boy’s Life and The Farewell Bend, and then went on to
form Canyon with some of his former band mates.  Those Canyon discs are great, and this release falls pretty
much under that same sound - a little more rootsy/country if anything else, and sparser in instrumentation (it is
a solo record after all). It doesn’t hurt either that the album was produced by Brendan Canty, because the man
not only lends instantaneous cred to anything he touches but he does a great job behind the boards (see some
of Blonde Redhead’s more recent recorded material for further proof). (SHREDDING PAPER)


Cadiz
Breakers
Swann House Records
Cadiz is the work of one man, Robert C. Lee, writing some pretty, country-tinged rock songs with a little help
from his friends (Anders Parker of Varnaline and Joe McGinty who has played with Ryan Adams, just to name
a couple). Nothing about this is particularly amazing, but it is good, and it makes me think of how I was sitting
on my porch right now, drinking a tasty beverage, my cat on my lap, and a cool breeze blowing in the wind.
One particularly good song is “Girl at the Zoo”, which sounds like it could have been taken right off of a
Sparklehorse album. As a side note, I really like the packaging on this disc – great design, use of colors, all
that jazz. (SHREDDING PAPER)


Calla
Televise
Arena Rock Recording Co
It’s a good thing I took my time before I wrote this review.  On the first listen, I was ready to write this
album off as just another shoegazer rehash, give it a 5 or something like that, and be done with it.  As
time went by, I kept putting off writing the review, but continued listening to the disc, liking a little more
each time.  But the great epiphany came when I listened to it through headphones for the first time. 
Everything great about Calla’s music really shines through when experienced intimately.  Now I find
myself yearning to listen to this album, and giving it an 8.5.  Who knows what the rating might jump to
if I continue to put off writing this little rant.

The music certainly fits into the shoegazer category, for lack of somewhere else better to put it.  The
closest match for a sound I could make would be if you injected the slow and deliberate pace of Low
into Starflyer 59.  There are bits of the lyrics and vocals that bring to mind Nick Cave, and the odd
rocking part that might make you think about Radiohead from time to time. 

The music being performed here is not your typical pop song - no catchy hooks, no verse-chorus-
verse structure, no tra-la-las or what have you.  What really gets you involved in this music are two
things - the bass and the minimalism of the music.  The bass line drives the entire album, holds it
together, and tells it what to do.  Removing the bass from this record would mean more than just
removing one of the instruments - it would be removing the very essence of their music.  In addition
to that, the music speaks volumes, often when not speaking at all.  Not unlike Low, each individual
note leaves you with the feeling of how deliberate everything is, nothing out of place.

I wanted to write a review that said if you want to listen to music like this, listen to Starflyer 59 instead. 
But now I realize, although there are similarities, Calla are in a group all their own, and it’s a damn fine
group. (MUSIC SPORK)


Call and Response
Winds Take No Shape
Badman Recording Co.
Let me get this out of the way up front – both in record and live form, I previously HATED Call and Response. Nothing
they had produced interested me in the least, and actually pissed me off sometimes. Now I don’t know if I’ve changed
or the band has or both, but this new record is pretty damn good. Gone are the dancey-disco beats of the past, which
is probably what bothered me so much previously, and in their place is musical maturity and a great toned down sound.
Their songs sound a lot like a female-fronted version of The Czars now, with a little Cardigans pop and Sterolab drone
thrown in there as well. I’m really finding that the more I listen to this the better a like it…a real “grower” if you will. My
whole world view on C&R has changed now, and for the better – this album is so enjoyable I’m willing to firmly entrench
myself in the pro-C&R camp…and just pretend that first album never happened. (SHREDDING PAPER)


Camera Obscura
Biggest Bluest Hi-Fi
Merge Records
After the success of their first proper US release “Underachievers Please Try Harder”, Merge Records de-
cided to re-release the group’s first album here in the states; and thankfully so, as this release was otherwise
somewhat tough to come by. The comparisons to Belle & Sebastian come hard and fast when reading about
this band, and it’s not without reason – they’re from the same town, Stuart Murdoch produced some of the
tracks on this album, and he even played guitar on one of the songs – and most importantly, they sound a
whole damn lot alike. Somehow it never comes across as a rip-off though, and more as an “influenced by”;
and to be quite honest, lately I’ve preferred Camera Obscura to their mentors anyway. Fans of wistful twee-
pop are in for a real treat if they didn’t hear this album the first time around…highly recommended. (SLAP)


Isobel Campbell
Amorino
Instinct Records
So, I knew going in that this was the solo record of Isobel Campbell, known mostly for her work with Belle &
Sebastian. As a B&S fan, I was already going into this with certain expectations, which is usually a bad idea, but
understandable. Upon my first couple of listens, I couldn’t believe what I was hearing – along with a few tracks
that sounded as I expected (pretty similar to the songs Isobel sung for B&S), there were elements of brazilian pop,
Dixieland jazz (?!?), and Burt Bacharach-style 60’s pop tunes with horns and strings. Honestly, it was so different
that I didn’t even listen to it again for quite a while. But then when I came back to it, it sounded great to me – an
inventive breath of fresh air, an artist willing to take chances in their music. Seriously, how many indie-pop artists
could pull off a Dixieland song? I wonder if people do the Charleston at her shows when she plays that song
(SHREDDING PAPER)


Capitol Years
Jewelry Store EP
Full Frame Records
I read all the praise and press for the Capitol Year’s first release, ‘Meet Yr Acres’.  Lots of people loved it, but it
just never caught for me.  A little too meandering, not enough direction, perhaps?  I dunno.  Not that it was awful
or anything, just...eh.

When I got this to review, I was expecting more of the same.  The bright side was that it’s only an EP, so at least
listening to it a few times won’t take that long, right?  But fortunately, this album is good.  Real Good.  Chock full
of catchy hooks, fuzzy guitars, upbeat rhythms - this is the type of music I think fo when I think of rock and roll.  Now,
after listening to it a few times, I’m bummed it’s an EP - at just under 20 minutes, it definitely leaves me wanting
more.

The big change for the band seemed to come when it was transformed from ‘one man recording songs on a four-
track in his bedroom’ to ‘full on rock band with bassists and drummers and the such’.  This transformation was
just what this band needed in my book - they had the songs, and now they have the performers to flesh out the
sound.  All six songs pack a wallop from start to finish, almost leaving you gasping for air by the time the disc
stops playing(hint - don’t hold your breath, it’ll help on the gasping for air part).

I’m not sure if it’s because both bands are from Philadelphia or just a coincidence, but this album reminds me a
whole hell of a lot of The Lilys, only with a little more fuzz thrown in for good measure.  Comparisons can also be
drawn to other power-pop outfits such as Sloan or Superdrag, and if you read any other reviews you may no
doubt here references to The Strokes.  I think this is probably due to both bands being heavily influenced by the
psychedelic rock from the sixties such as Velvet Underground and all those bands from the Nuggets box sets.

Even though it was released at the end of last year, I’m going to consider this the first great release of 2003.  I may
even have to dig out their old cd and see if it sounds any better to me now, after having heard this terrific, short little
gem. (MUSIC SPORK)


The Cardigans
Live in London (DVD)
Mercury Records
Recorded over the 20th and 21st of November of 1996, this finds The Cardigans at the height of their pop-
ularity – “Lovefool” had been getting lots of airplay over here, and I can only assume from the shots of the
crowd they were having at least equal success across the pond. The live set is mostly tracks from “Life” and
\“First Band on the Moon”, with a couple of Black Sabbath covers thrown in there as you might expect from
these guys. I saw them right around this same time and it was pretty good, but nothing spectacular, which pretty
well sums up the feelings I have on the DVD as well. The whole thing was filmed and put together well, but the
sound isn’t all that fantastic. It also includes some extras, some short films on the band as well as a collection
of photos. Certainly worth checking out if you are a fan. (SHREDDING PAPER)


The Caribbean
History’s First Know It All
Endearing Records
I haven’t gotten anything to review lately that I really disliked. But I’ve gotten lots and lots of music that falls into the
mediocre category. This album by The Caribbean, sad to say, is yet another to add to that pile. While it’s a fine
enough listen, I’ve usually forgotten about before the album even ends. Formed from the remains of DC stalwarts
The Townies and Smart Went Crazy, The Caribbean are at least true to their name in a sense – their music does
have a certain ‘sitting on the beach while the tide comes in’ sound to it (but please don’t make me explain why
that is – it’s just one of those things that comes to mind when I listen to the album). They have a bit of a loungy
sound, with a little drony-electronic feel thrown in there as well. The vocals remind me of the more recent Mercury
Rev albums, and the music even resembles them on occasion too. The best things I can say about this record is
that there are some catchy piano lines here and there, and some neat production tricks (especially if you listen
through headphones). Other than that, nothing that really stands out, but nothing offensive either. It’s a decent
enough CD, but nothing to write home about (on the other hand, the Smart Went Crazy album ‘Con Art’ is a damn
fine record and you should do yourself a favor and check it out, and since the two bands share members, this
seems a good a place as any to mention it). (MUSIC SPORK)


Carissa’s Wierd
You Should Be At Home Here
Brown Records
Two things initially strike me about this band – hauntingly beautiful music, and an affinity for really long song
titles.  The music itself is hard to categorize.  You could break down some of it’s constituent parts in the
following way – the atmospheric, orchestral feel of Godspeed You Black Emperor! or one of their sister
bands, the chilling violin sound reminiscent of Warren Ellis from the Dirty Three, and the male/female vocal
dynamic as well as the song pacing of Low.  That said, the sound as a whole doesn’t really sound like any
of these bands, but would fit nicely in a cd collection of anyone who enjoys these groups.  Some of the songs
I particularly enjoy on this album are ‘The Color That Your Eyes Changed with the Color of Your Hair’ and ‘A
Loose Hair Falls Into A Glass of Water Without Ice’.  See, I told you the song titles were long, and you didn’t
want to believe me, did you?  Oh yeah, one last thing – the band’s name is intentionally misspelled, so no
calls from the grammar police please.  Check these guys and gals out if you like a little mellow music to get
you through the day. (SLAP)


Johnny Cash
Live at Town Hall Party 1958
Sundazed
This is a Johnny Cash record, and a live recording of a classic performance at that – is there any possible way
that this can be bad review? I guess if you hate Johnny Cash it could, and this record isn’t going to change your
mind there. But for the rest of us sane music listeners, pretty much everything the man has done is worthwhile and
this is no exception. Lots of classics here, including ‘I Walk the Line’, ‘Get Rhythm’, ‘Don’t Take Your Guns to Town’,
and many more. These recordings came directly from kinescope reels, and they sound great. This release marks
the first time these recordings have ever been made available on vinyl, and on that wonderful, heavy 180 gram vinyl
to boot. A worthwhile purchase in my book, and reason alone to go out and buy a turntable if you don’t already have
one. (SHREDDING PAPER)


Casiotone for the Painfully Alone
Etiquette
Tomlab Records
It might have taken him 4 records to get himself away from the four-track in the bedroom, but you can’t hurry
genius. No doubt some of his more purist fans will be disappointed to find guest vocalists and fleshed out
instruments littered throughout this release, it’s almost as if you can hear the keyboard tapping of blogs
being updated on the fact across the land. But in my view it’s for the better – not that I didn’t enjoy Owen’s
earlier output, but there is a lot more to grab onto here, it doesn’t feel as brittle and thin as it did in the past.
You’re still going to get the melancholy instrumentation and sad lyrics you’re used to, only this time it’s
wrapped in a prettier package, so to speak. (SHREDDING PAPER)


Castanets
Cathedral
Asthmatic Kitty Records
At first this would just seem like more modern “folk” music to fill your flavor-of-the-month quota, only this time
outta San Diego instead of the obligatory San Francisco…only, the difference between this release by
Castenets and a lot of that other crap is this is pretty damn good.  From what I can understand, the core of
the group is a young guy by the name of Raymond Raposa, who got a bunch of folks from other famous SD
bands (Pinback, Rocket from the Crypt, Tristeza) to help him round out the band and finish the album. 
Although not generally my type of music, this sounded pretty good to me from the get-go – kind of like Will
Oldham run through a Twin Peaks filter of some sort.  There is a lot of strange percussion, clanging and
banging like a grumpy thunderstorm, and is often used as a segue-way between tracks to keep things
flowing smoothly. A fantastic trait of this record is that it seems to have the ability to appeal to both the
freak flag folk fiends and regular music fans such as myself, all at the same time. A good first effort for sure,
keep your eyes open for Castenets. (SLAP)


The Casting Couch
Row Your Boat
I Eat Records
This record Texas’ The Casting Couch actually combines twee pop and alt-country, and somehow it works,
at least most of the time. Imagine the Jenny Lewis solo album combined with Beulah and that is the general
idea working here. There are a few throwaway tracks, and I’m not always crazy about the vocals, but overall
the good certainly outweighs the bad. This being only their first full-length release, it certainly is a good start
for The Casting Couch to get off to. (SHREDDING PAPER)


Catalpa Boys
S/T
Anyway Records
Catalpa Boys is the combined sounds of two brothers from Lebanon, Ohio – JD and JK Housh, and the music
decidedly feels like a family affair. Soft vocals and harmonies, with instrumentation to match…it would be tough to
dislike or be offended by any of these songs. Yet equally, it’s not the sort of thing that really sticks with you either;
there are many better examples of this mellow-country-folk music, particularly the new Iron & Wine disc or most any
Palace release. But still, not a bad listen if you come across it, but I wouldn’t go out of my way to hunt it down.
(SHREDDING PAPER)


The Catholic Comb
Ghost Stories
Vexed Verse Records
Given that nearly every description I’ve ever read of this band has included the descriptor “goth”, I’m not sure
this is something I would have ever picked up on my own – but it’s a pretty good listen, especially for being
their first release. If you consider the Cure goth, then I suppose you could describe this band as such – but
for the most part it’s guitar-driven pop songs with a bit of dark/80’s undertones. They have this tendency to
include these weird “yelps”, for lack of a better term, in some of their songs that are a little irritating and don’t
really make much sense…either that or I’m going crazy, which is certainly possible. For the most part though,
a quality debut by this Bay Area quartet. (SHREDDING PAPER)


Cats and Jammers
Propose Toast
To put things bluntly, this jangly pop band from Chicago is not good.  Not good at all. Everything about this
affair turns me off – the band name, the packaging, the goofy lyrics, that never-ending too-clean guitar that is
turned up too high in the mix, the mediocre vocals…just make it stop. The crazy thing is I thought I read some-
where this band has some relation to The Bon Mots who are pretty damn awesome, so that makes this even
more confounding. If you like poorly made pop with some slightly punk undertones, then you’ll be right at home
here, but it sure ain’t for me. (SHREDDING PAPER)


Exene Cervenka & the Original Sinners
Sev7en
Nitro Records
We all know what Exene sounds like at this point – a little punky, a little rockabilly, and rocking out more than
most folks half her age. Her work in X is obviously legendary, and she’s not letting up on her solo outings. These
are short, simple rockers and her voice dominates the scene – nothing particularly exceptional in the bunch, but
if you’ve got a punkabilly itch you need scratched this will do as well as any. (SHREDDING PAPER)


The Channel
Personalized
C-Side Records
You don’t get much more bubblegum/sunshine pop than this folks. I can see if I listened to this at the wrong
time, its saccharine sounds might make me want to murder a hobo, but in the right context these catchy pop
ditties are quite good. It’s as if they boiled down the whole “Beach Boys/Of Montreal/whatever other Elephant 6
band you want to include” comparison down into a very strong broth and then ate it with crackers. I’m not sure
exactly what that means, but you may have to go to the dentist after listening to this album it is so sweet.
(SHREDDING PAPER)


Charlene
S/T
Shark Attack! Music
Charlene come from Boston.  When I think of Boston, I think of two of my all-time favorite bands - The
Pixies and Dinosaur Jr.  Charlene sounds nothing like either of these bands, but I’m not going to hold
that against them, because they have still managed to create a pretty enjoyable record, even if it isn’t
breaking any new ground.

Here’s a little background on the band, from what I’ve dug up on this inter-ma-web thingy: a three piece
band; they’ve been around since 96; they created their own label and studio so they could take their
time recording (I think waiting 7 years until you release your first album qualifies as the longest span of
time I’ve ever heard of before releasing an album); and the guitarist, Matt, was one of the co-founders of
Sugar Free records, who released some pretty good records (most notably Chris Mills and Wheat, who
are both damn good and you should check them out if you have the chance).

As for the music, the easiest way to describe them would be that they are a shoegazer band, but to me
they sound more like a mellow pop band with tendencies towards feedback and long instrumental parts
in their songs.  Their more upbeat songs come off sounding somewhat like Jesus and Mary Chain, the
mellow ones like Spiritualized, and something about the overall tempo, sound, and structure of a lot of
their stuff makes me think of Starflyer 59.  Then again, I just really like thinking about Starflyer 59, so
maybe that’s just me.  Like I had noted above, there’s nothing new or groundbreaking coming from
these guys, but they still make enjoyable music that sounds like something you’ve listened to numerous
times the first time you hear it.

At te rate they record their albums, I guess we can expect to hear their sophomore effort in 2010.  I’ll be
curious to see how their sound develops over time; even if it doesn’t really change, it should still make
an enjoyable listen.  And who knows?  Maybe one day, when I think of Boston, I’ll think of The Pixies,
Dinosaur Jr, AND Charlene. (MUSIC SPORK)


Cinecyde
Like a U.F.O.
Tremor Records
This record is proof positive that you cannot judge a book by its cover – the design is pretty bad, and the band
looks like they would all be working with me in some boring office drone job (shit, maybe they do). But it only took
the first track for me to realize I was foolish in trying to judge, and equally foolish in not knowing the history of this
band – this Detroit band that has been around in one form or another since 1977.  Knowing that now, the sound
of the music they perform makes more sense to my easily confused brain - classic pop-punk, real catchy stuff,
mixed with Pulsars-type indie rock and maybe a hint of M.O.T.O.’s pop savvy. Outside of the weird, overlong final
track (performed with 4FR), this is a very good album, well worth checking out by punk fans both old and new.
(SHREDDING PAPER)


The Clean
Anthology
Merge Records
The Clean. They’re one of those bands that have been name-checked as influences time and time again by
indie bands over the past number of years. This record, Anthology, is just that – an anthology of their recordings
for the past 20 years. Although I had heard of these guys for years and years, I somehow managed to never
really hear much of their music. When Merge released their album ‘Getaway’ a year or two ago, I listened to a
couple of tracks off of the Merge website, enjoyed what I heard, and made a mental note to pick up some of
their records but never actually got around to it. With the release of this anthology, I guess I’m finally getting
around to it – and I’m kicking myself for ever putting it off in the first place.

First, some background information on the band that I gleaned from their press release and the internet:
-Hamish(drums) and David Kilgour(guitar) started The Clean in New Zealand in 1978. Robert Scott(bass) joined
a couple of years later and they released their first recordings for the now-legendary Flying Nun records in 1981.
-Because of The Clean, Flying Nun Records became one of the most important and influential underground labels
on the planet.
-The Clean broke up in 1983, and then reunited in the late eighties. During this break-up Robert started The Bats,
David and Hamish played in Great Unwashed, and then split up with Hamish in Bailterspace and David in Stephen.

This anthology covers the entire spectrum of music released by The Clean, from their first 7 inches all the way up
to ‘Unknown Country’, their album before their 2001 release ‘Getaway’. It includes both album tracks and rarities,
with enough good stuff that I can’t imagine there’s not something on here for everyone. For me and many others,
the best track is the first one on the first disc – ‘Tally Ho’, a perfect blend of pop hooks and garage production.
This is one of the best songs I have ever heard, and worthy of making up at least 8 of the 9.5 points I gave them
on the scorecard above.

The only reason this isn’t a 10 out of 10 is due to the length – it would be pretty impressive if you could sit through
both discs, as that’s well over 40 songs total. Anyone who’s a novice to The Clean might become bewildered at
first with the vast amount of music presented to them. But if you just take it a bit at a time, you’ll be rewarded with
some of the best and most influential music created in the last quarter of the 20th century. (MUSIC SPORK)


Clinic
Funf
Domino Records

6.5 out of 10

After four full-length records and a number of EPs, Clinic decided it was time to release an odds-n-sods b-side
compilation...you know, for the fans. Not that someone totally new to this quirky “The Fall meets The Pixies” quartet
from Liverpool, England couldn't enjoy this record, but it's probably not the best place for those folks to start (I'd
personally point such a soul towards their sophomore release “Walking With Thee”, though any of the full lengths would
be more than acceptable). The very nature of these sort of compilation albums lead to a very fractured track-listing, and
mostly serve as a “thank you” to fans of the band that may not have the wherewithal or funds to track down all of their
singles. People like me, to put it more succinctly. No doubt, anyone who enjoys their albums will be well pleased with
this release, and should certainly search it out; I've long held that Clinic are dreadfully underrated, and while this album
probably won't change that any it never stops me from crowing on about them. (SLAP)


Clinic
Walking with Thee
Domino
Liverpool’s Clinic have returned with a follow up to their well received and critically praised debut album
‘Internal Wrangler’.  This release mostly continues down the same path as that album, not straying too far
from their odd mixture of garage, early eighties post punk similar to Gang of Four, and lots of organ.  The
whole affair has a slightly darker feel to it though; where their first album seemed to envision a light at the
end of the tunnel, ‘Walking with Thee’ makes you think that maybe they did a 180 in the tunnel and started
heading back towards the dark end.  A lot of the time, they come across as an punkish version of Stereolab; 
other times, they could be a really odd out-take from one of those Nuggets box sets.  Given all of their
influences, they come across as one of the more original groups to surface during the last few years.  It still
amazes me that they have the amount of widespread acceptance that they do, given the off-kilter brand of
music they play.  Probably doesn’t hurt to have the backing of Radiohead, who picked them to open on one
of their tours.  If you’re like me, and tend to shy away from bands that get a lot of hype, you might want to
make an exception here. (SLAP)

Clinic
Winchester Cathedral
Domino Records
I’m not going to lie to you – if you’ve heard a previous Clinic album, then you should know that their new
album “Winchester Cathedral” doesn’t really veer very far from the course they set forth in their previous
two albums “Internal Wrangler” and “Walking with Thee”.  That said, it’s still some of the most intriguing and
original stuff being put out these days by a band so close to the mainstream.  The Gang of Four, Wire, and
Suicide still seem fitting (and thankfully so), but the description of them as having “garage rock-like ten-
dencies” doesn’t really hold up on this album as much; they’ve replaced many of the more upbeat numbers
with something a bit more mellow and reverential, almost as if they were writing church music (possibly for
the cathedral that the album is named after?), but never quite breaking free of the mold that makes the
band so distinctive and instantly recognizable.  Clinic may not be for everyone, but you’re doing yourself a
world of disservice if you don’t even give them a shot – and this new record is as just a good a place to
start as any.  If nothing else, you’ll not find another group anywhere else in rock-n-roll that utilizes the melodica
as well as Clinic – what more could you possibly want? (SLAP)


Clorox Girls
S/T
Smartguy Records
I still find it incredibly interesting that bands composed of nothing more than kids would end up playing punk
rock in pretty much exactly the same way as their predecessors did almost 30 years ago.  But regardless of
their age, The Clorox Girls know how to write some damn catchy songs.  If you love the catchy, poppy punk in
a vein similar to the Buzzcocks or the Ramones or the Urinals, then you should definitely pick this up.  Their
live show is a raucous mess and not to be missed as well – brash, snotty, and the band will most likely end
up in a damaged heap by the end.  Check out their website at http://cloroxgirls.com/ to download a few tracks
and decide for yourself.  And for the record, no one in the group is a girl, in case you were wondering. (SLAP)


Clorox Girls
S/T (7")
Jonny Cat Records
No, they’re not all girls. The Clorox Girls play a brand of punk that falls somewhere along the spectrum between
street/gutter/party punk and something you might have heard come out on KRS or K back in the late eighties or early
nineties. Nothing amazing, but catchy enough to keep your attention for the short length of this record. The lyrics are
also pretty typical, someone does drugs, party party party, and one political song called ‘Getaway’ about leaving the
US because it’s so fucked up right now. The record makes me think they are probably a decent live act to check out.
(SHREDDING PAPER)


Keith Colley
Bird Doggin’
Rev-Ola
This cat was one of those guys who managed to run with the big dogs without ever actually being known him-
self. The scene was LA in the early sixties, where there were apparently tons of songwriters trying to make a
dent in the market, which Colley managed to do. This disc is the “publishing demos cut”, which I take to mean
it’s a disc of songs sent out to various producers to showcase his songwriting abilty for use with their acts. But
the thing is, his works is just as strong as most anyone who might have actually gone on and recorded one of
his songs. A number of big-time folks play on this disc – Glen Campbell, Seals & Crofts, Jerry Fuller, and more.
This is by no means the most amazing thing I’ve ever heard, but if you’re into that early 60’s crooner style you
could do lot worse. (SHREDDING PAPER)


Comet Gain
City Fallen Leaves
Kill Rock Stars
Comet Gain…honestly, I thought this band was long gone but then I go and get a promo for their new album
“City Fallen Leaves”, which proves once again that my brain isn’t always functioning at the highest level.  The
have been around a really long time though, as far as the music industry goes - formed in the UK during the
early nineties, they made their biggest impact when the “riot grrl“ scene was big even if they didn‘t exactly fit in.

I’ve been known to throw on their classic release “Sneaky” on occasion, but I obviously haven’t followed them
much since then given the above surprise upon receiving this CD. What was probably more surprising, is that
the band sounds just as vital and fresh as they always have, as if this album came out of a time capsule buried
10 years ago.  It still sounds very Comet Gain; if you’re unfamiliar with the band, try to imagine a hybrid of
Television Personalities and The Fall, with vocals that might remind you of Joe Strummer.  You can listen to
“Sneaky” or the new one “City Fallen Leaves” or probably one of the other albums…either way, you’re getting
quality music. (SLAP)


Consafos
Tilting at Windmills
Grey Day Productions
This album manages to sound alt-country with very little actual twang, and it’s all because of the voice of
singer Stefanie Drootin. She and her whole crew have connections to the Bright Eyes family, and although
they don’t sound like Bright Eyes you could certainly imagine them as a fitting opening band. Every review
I’ve seen of the band seems to mention the Cowboy Junkies, and I can see where folks are coming from
but Consafos are missing the creepy nature that made the Junkies so interesting. There is promise in this
group, but they have a ways to go. (SHREDDING PAPER)


Continental OP/Slitch
S/T (CD + DVD)
Drag City Records
This was a might interesting concept that was totally new to me – on a single disc, put a dvd on one side and a CD
on the other. The release at hand was the short film ‘Slitch’ – which apparently is the short hand for a slutty bitch.
The soundtrack for the short, which was performed by Continental OP, is located on the flip side of the disc that you
can listen to in your cd player. A pretty neat idea actually, and it worked out quite well I might add. The film itself has
‘art school’ written all over it, but it’s not terrible by any means and has Will Oldham as one of it’s main characters.
It’s also worth mentioning that the band who did the soundtrack also has Oldham in it, along with another indie rock
luminary David Pajo. It’s interesting yet typical soundtrack fare, with a punky rock song or two thrown in there for
good measure. Certainly worth checking out for the hardcore Oldham fan, and hopefully a format that we’ll see more
of in the future. Also, a bonus feature on the dvd is a great vide for the Palace song ‘Come In’, and almost makes
the disc worth checking out for that fact alone. (SHREDDING PAPER)


Copia
S/T
Copia Music
This Copia album would be a great choice if you were having one of those contests with your friends about who
can find the worst music, and you’d probably win. It seems it’s been filed as “new age” and I guess those types
would like it…this is the sort of thing your mom would buy trying to be “hip” and “with it” and it ends up making
her look worse than if she would have just stuck with her Jon Secada records. (SHREDDING PAPER)


Crazy Face
Free Coke
Bearos Records
Ooh look! The band is called Crazy Face and they have a crazy face on the cover of their CD! My, that is clever.
I really have no idea how to describe the music here – these Brits are definitely eclectic, and not necessarily in a
good way. Even though it’s a short EP, they manage to fit bits of funk, metal, alt rock, and plenty else into their
odd songs. One track reminded me a little of the Dambuilders, that’s about the most complimentary thing I could
say about the whole thing. (SHREDDING PAPER)


Crime
San Francisco Is Still Doomed
Swami
I’m not a religious man, but it is times like these when I want to bless the lord for Swami Records.  Not only
are they responsible for putting out all things Hot Snakes, but now they’ve gone and re-issued one of the all-
time great punk records “San Francisco Is Still Doomed” by Crime.  Crime was a San Francisco-based punk
group that began recording in 1976 and into the early 80’s. 

To be honest, it’s actually a re-issue of a (sorta) re-issue titled “San Francisco’s Doomed”, but such is the
game you play when you start dealing with more obscure stuff.  When it was originally re-issued in 1990,
there still wasn’t much interest in the Crime catalog except with hardcore collector nerds; the band had been
criminally neglected up to that point by punk historians, despite the fact that they were one of the first bands
of this kind to be releasing music in the States.  After the poorly distributed 1990 release (which culled 20
tracks from a couple of different unreleased studio sessions), the band began to finally get the recognition
they so rightly deserved.  Obviously, this meant their material became harder and harder to find, more and
more expensive, and bootlegs of questionable quality began popping up all over the place.  So thankfully
Swami put out their version of the album, which was just like the original “Doomed” album with two additional
outtakes. 

Crime’s sound was that of pure rock and roll - fuzzed out blues-rock with a sneer you could actually hear in the
music; imagine The Stooges with a little more intensity and a lot more attitude.  The band seemed to regard
the “punk movement” and the trendiness that rose with it to be a cancer upon the music, and they would have
no part of it.  But despite staying on the outskirts of popularity, they still had an influence that was not only local
but far reaching – Sonic Youth were vocal supporters, and even covered the Crime classic “Hot Wire My
Heart” on their legendary “Sister” album.  For a while now, there have been rumors of box sets and complete
discographies and DVDs, but until any of that materializes this release is your best bet to discover the great-
ness that was Crime. (SLAP)

 
Crooked Fingers
Dignity and Shame
Merge Records
I may not be the most unbiased person to review this CD, seeing as how the Archers of Loaf are probably
my favorite band ever…ever!  I get ecstatic every time I get a chance to see Eric Bachman play, and luckily
that is fairly often since he tours quite a bit.  Given that, it’s no wonder that I loved this newest output by his
band Crooked Fingers, “Dignity and Shame”.  If I were to put it in context with the other Crooked Fingers
releases: this is just as good as “Bring on the Snakes”, Better than “Red Devil Dawn”, but not quite as good
as their first self-titled album. That is to say, in the pantheon of Crooked Fingers releases, it’s damn good
and measures up with the best, although it doesn’t quite surpass the high bar the first album set.

Like all previous efforts, the first and most important thing you get from the record is that Bachman’s terrific,
deep voice and fabulous songwriting skills just seem to get better with age. Like the last album, this one
finds the band foraying into different, unfamiliar territory - in the case of this release, they are experimenting
with mariachi.  Bachman’s finger-picking guitar style is already of that nature, horns pepper a few songs,
and the imagery of the CD sleeve features red faced matador glaring back at you. Another nice change is
the addition of female vocals by an Australian lass named Lara Meyerattken, adding a nice extra dimension
to the otherwise manly proceedings. This is a damn fine record, and will most likely be one of my favorites
to come out in all of 2005. (SLAP)


Crooked Fingers
Red Devil Dawn
Merge Records
Anyone who knows me knows what a rabid Archers of Loaf fan I am; in fact, anything Eric Bachman
has done I consider golden.  Some might consider me a little biased on this topic - but the bottom line
is that good music is good music, and this fits that mold.

For the record let me state this for the record so you might get a feel for my take on the different
Crooked Finger’s records: his first self-titled release I would give a 10 out of 10; his sophomore effort,
‘Bring on the Snakes’, an 8 out of 10; and the EP of covers, ‘Reservoir Songs’, also an 8 out of 10.  So
when I give this record a 9 out of 10, that is to say I don’t like it as much as his first release, but more so
than his others.  But I think everyone of them is pretty damn great.

Most of this record sounds much more upbeat than previous efforts, due not only to an increased tempo
but the addition of mariachi-style horns on a handful of songs that really challenge what you might think
the stereotypical Crooked Finger’s song should sound like;  particularly the seventh song, ‘Sweet Marie’,
which almost sounds like Blondie’s ‘The Tide is High’.  There are still the occasional sad ballads, but they
don’t pervade the album like in previous releases.  Not that I dislike the ballad, rather the opposite.  But it
is nice to hear the status quo of a Crooked Finger’s release mucked about with some.

If you already know and love the Crooked Fingers sound, you won’t be disappointed here;  and if you’re
looking for somewhere to start listening, this release will work for that as well.  As long as Eric keeps
putting out music of this caliber, I’ll keep listening and giving it good reviews.  This will certainly be one
of my favorite records of the year.  

(By the way, for those interested, the song 'Red Devil Dawn' is not actually on this album, but it is on the
Merge compilation 'Survive and Advance Vol. 2'.  Check it out yo.) (MUSIC SPORK)


Crooked Fingers
Reservoir Songs EP
Merge Records
I’ve always been indecisive about the ‘cover song’.  Be it in recorded output or a live setting, it can either
come across as a brilliant addition to the main songwriter’s stable of tunes, or as a cop out, hoping to
achieve listeners by suckering them in with an already familiar sound.  I believe the deciding factor between
these two scenarios is what the new performer does with these songs originally performed by someone else,
whether or not he can breathe new life into the classic composition.  This EP, Reservoir Songs, is made up
of five cover songs, and no originals.  For those keeping score, this is the first time Crooked Fingers has
even done one cover song, much less an entire EP of them.  The songs cover a wide spectrum, from Neil
Diamond to Kris Kristofferson to Bruce Springsteen.  These are interesting choices, considering how much
Eric Bachman’s voice sounds like these performers.  He breathes new life with his unique finger picking
style of playing his guitar, and the addition of banjos, slide guitar, and cellos at various times during the
performances.  The real jewels in this release, and textbook examples of what’s good about cover songs,
are in the versions of Prince’s ‘When U Were Mine’ and Queen/David Bowie’s ‘Under Pressure.’  Hearing
the Crooked Finger’s style translated onto these classics is like hearing them for the first time.  If only all
cover songs could be as brilliant as this album. (SLAP)   


Cruciform Injection
Epilogue
Orchard Records
It’s good to see there are still folks out there producing industrial-techno type stuff…I guess. It would be better if it
was actually good to listen to as well, but I guess you can’t be too picky. In their better moments, Cruciform Injec-
tion sound like old Nine Inch Nails, but those moments are few and far between. Although the album is 15 tracks,
the last 5 are straight techno remixes, I’m pretty sure if you have a black light and some glow sticks and these
songs you’ll have an instant rave on your hands. (SHREDDING PAPER)


Cursive
The Ugly Organ
Saddle Creek
I didn’t think it was possible for this crew from Omaha to adequately follow up the genius that was their last
full length ‘Domestica’; but ‘The Ugly Organ’, if not better than it’s predecessor, is at least as good as it.
Only time will tell if it will still be a great record a few years from now, but I’d be willing to take that wager if
anyone wants to bet. Like the previous record, this too is a concept album; instead of exploring the trials
and tribulations of a failed marriage, it follows our protagonist down the trail a little farther and watches him
struggle through life a single man again. There are good times and bad, and the songs cover all of these
facets. I’m usually the sort who pays more attention to the music than the lyrics of a song, but I’ll be damned
if the words presented in these songs don’t prick up my ears and make me listen a little more closely. It
should also be noted that since the last album, Cursive has added a cellist to the mix which gives many of
the songs a unique twist from what you might have previously expected from the band, at times almost
sounding like someone infused the group with a little Godspeed You! Black Emperor. You can check out
their website for downloads both new and old: http://www.cursivearmy.com/ (SLAP)


The Cuts
From Here on Out
Birdman Records
I’ve had my issues with the Cuts in the past, but there is no doubting that this band knows how to write a
catchy song. This album is a big step up from their previous work in my book – uninspired rehash rock has
been replaced with an ability to faithfully recreate everything that made the rock of the 1970’s so great. There
are proto-punk songs that will remind you of the Stooges, pop songs that will make Cheap Trick or Big Star
come to mind, glam songs that would be at home on a Slade album, and even some piano rock that sounds
like it was taken from the Mott & the Hoople back catalog. Seriously, every song is ear catching and very well
put together. I’ve long held that the side projects that these guys dabble in (especially the Time Flys) are better
than the Cuts, but this album is making me rethink that position. (SHREDDING PAPER)