+++MUSIC REVIEWS+++

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Laguardia
S/T
Minimalist Recording Company
When this label decided on its name, they obviously meant it – I haven’t been able to find a web page or any information
for either this label or this band. The cd’s packaging, which is quite nice actually, also offers no clues as to the back
story of this band or their label. But I suppose that is all secondary to the music anyways, right? They remind me of a
couple of bands, namely a blending of Sensefield and National Skyline with the addition of a lot of acoustic guitar.
Something along the lines of mid 90’s emo crossed with mellow electro-pop stuff. I don’t like them near as much as
either of those bands mentioned, but it’s not a bad disc and might sound good when lent to the right situations.
(SHREDDING PAPER)


Lamps
S/T
In The Red Records
My first thought is that this is not your typical release for In the Red – something about the “power trio” Lamps is
much, much too dirty and seedy to fit in with the typical garage rock fare that this label provides. I can’t say that
they are anything great, but certainly get bonus points for making me feel like I need to bath after listening to
their album. I would imagine this would go over well with the folks who follow No Doctors and The Coachwhips
and all that. (SHREDDING PAPER)


Languis
The Four Walls
Plug Research
I think it’s pretty obvious to everyone by now, even out-of-touch
people from rural America, which is that the “80’s” are back and have been for a while now.  Look at the
fashion and culture of the youth, the resurgence of cocaine as the drug of choice amongst the hipster elite,
and most telling, the music.  And like any rehash of some long gone era, almost all of this music is terrible. 
That may be part of the reason that I enjoyed this album by Languis so much – it doesn’t suck at all, and
that alone is a feat in the keyboard-drenched landscape of modern music.

I think what really makes this group and this album place head-and-shoulders above their peers is the
sincerity of it all – you get the feeling that this is the music they want to make and truly enjoy, not that they’re
just trying to hitch a ride on the trendy train in hopes to cash in.  If I had to point to one particular band or
sound that Languis most remind me of, it would be the melancholy of New Order.  If you’re looking for a
more current comparison, the instrumental tracks from Dntel’s “Life is full of Possibilities” might suffice. 
I’m having a hard time coming up with a genuine comparison for the vocals of “The Four Walls”, but either
way I really enjoy them and they blend in well with the music and are there if you need them but not so
oppressive that you can’t overlook them if you want to.

I highly recommend checking Languis out if you get a chance and you enjoy this type of music – listening
to the album a couple of times will quickly leave you with the feeling of just how silly most of this 80’s
revivalism really is. (MUSIC SPORK)


Lansing-Dreiden
The Incomplete Triangle
Kemado
A friend, who was hip to this record long before I was, laughed at me when I said this made me think of/reminded
me of Information Society. Especially the tenth song, I.C.U. (one could also argue a case for Depeche Mode as a
major influence as well, and my only response is that my childhood was obviously fucked up as I really was into
Information Society for a while). And I’m not even going to get into the fact that, strangely enough, the second
song “The Eternal Lie” sounds like a Kiss cover. Essentially, this sounds like an 80’s throwback album, as is
popular today; but without a hint of irony, it genuinely feels like it was buried in a time capsule and only recently
dug up. And most importantly, it’s really fucking good. (SHREDDING PAPER)


Liars
They Threw Us in a Trench an Threw a Monument on Top
Gern Blandsten Records
Ladies and gentlemen, this is dance-punk.  Fronted by lanky Aussie Angus Andrew, these New York City lads
have created a dancy-arty-punky mess that’s a real joy to listen to.  I never dance, yet I can somehow imagine
at least shaking it a little bit to these guys live.  Their sound comes out akin to both early eighties punk geniuses
Gang of Four and current indie darlings Les Savy Fav, but dancier.  Not dancy in a techno sort of way, but more
in the sense where the bass line and drums are the most prominent instruments in the mix, driving the songs and
holding them together while everything else goes this way and that way, doing whatever it pleases.  When you
add all of the constituent parts together it creates one hell of a treat to listen to. (SLAP)


Lightning Bolt
Ride The Skies
Load Records
When you give your band a name like Lightning Bolt, it is your constitutional duty to be a really rocking band. 
Anything less would be a disgrace to the fine upstanding tradition of naming hard rock bands and/or songs
after inclement weather(for example, Hurricane, the AC/DC song Thunderstruck, Metallica’s Ride the Lightning,
just to name a few...).  These guys do not disappoint.  Made up of only 2 guys playing bass and drums, they
make enough of a racket for 10.   They run a fine line between noise, metal, and math rock, sounding like The
Boredoms and early Don Caballero getting into a fist fight.  Definitely worth checking out if you like this kind of
stuff, but probably not worth checking out if you only listen to slow jams.  Hey, to each his own, but I’ll take the
rawk. (SLAP)


Lilys
Precollection
Manifesto Records
Lilys are the chameleons of the indie rock scene – they change their sound depending on the whims of
their erstwhile leader, Kurt Heasley. They pretty much always sound like a combination of the above in-
fluences, with emphasis being placed in different directions everytime. This go ‘round features a heavy
tilt towards The Velvet Underground, which isn’t really that far of a stretch since Kurt’s voice sounds a bit
like old Lou Reed anyways.

Personally speaking, it’s not my favorite of their output. For my money, it doesn’t get any better than ‘The 3
Way’, their best attempt at re-creating the Kinks style and sound in a modern setting. I’m also pretty partial
to their half of the split they did with Aspera Ad Astra, which might be their best shoegaze showing. That
said, this is still a good record; lots of quality tracks, such as ‘Squares’ and ‘Will My Lord Be Gardening’
(my favorites), to help you forget about those that are less impressive. For those already familiar with the
Lilys, this probably won’t be your favorite record of theirs, but it’s not a bad listen – and only time will tell
how it holds up. For those unfamiliar, if you pick an album and you’re not that crazy about it, just try another –
no two sound the same anyways. (MUSIC SPORK)


Jason Loewenstein
At Sixes and Sevens
Sub Pop
Jason Loewenstein, a.k.a. ‘That other dude from Sebadoh’, has recorded his first solo album.  He Had
previously released some singles and compilation tracks under the name Sparkalepsy, but this is first go
around under his own moniker.  And when I say recorded, I don’t just mean he got a bunch of guys to help
him out with some songs he had written; no, he played every instrument, sang the songs, produced,
engineered, and even did the cover art for the album.  So when he decides he’s doing a solo album, he
ain’t fucking around.  And while this particular tactic is admirable and I can appreciate the talent it takes,
it also gives the album a real feeling of sameness, where many of the songs sound similar to each other,
the tone and mood of the album never really changes, and the whole thing comes off as very homogenized. 
Then again, that could have been what he was going for, and it could be what you like.  For me, I like it fine
in short bursts, but taking on the entire album at once may be a bit much to handle.

The music is essentially what you would expect to hear - it sounds like Sebadoh.  In particular, the more
rocking Sebadoh bits that Loewenstein had a large hand in crafting.  One thing that it is missing is that
traditional lo-fi feel that made that music feel so warm and comfy, like hanging out with a good friend. 
Because of this clean sound, some of the tracks come off sounding like some weird hybrid of the Foo
Fighters and the Sebadoh of old.  After hearing this record and Lou Barlow’s solo stuff, it’s pretty obvious
who was bringing what to the table when it came to writing Sebadoh songs.

It’s hard not to compare this to Sebadoh when listening to it.  And while it’s not nearly as good as what I
always felt was their hey-day (Bubble & Scrape, Smash Your Head on the Punk Rock, III, and Bakesale),
it sounds a lot better than the last couple of albums they put out before they went on hiatus or broke up or
whatever state it is that they’re in; and if you’re really hankering for a Sebadoh fix, this may just be the next
best thing, and a fairly enjoyable one at that. (MUSIC SPORK)


The London Suede
Introducing the Band (DVD)
Music Video Distributors
If you are a fan of Suede, boy do I have the DVD for youthis thing packs so much stuff into it, it takes a few view-
ings just to take it all in. Originally put out in 1995 after the release of their 2nd album, it contains well over two
hours of live footage, a short film about the band touring entitled ‘Cards, Pliers, and Videotapes’, various other
odds and sods, as well as a booklet full of lyrics inside of the DVD case. More than enough entertainment here
for the biggest fanboy, and something for even the casual follower of the band, a band who never really got their
due here in the US (along with Pulp and The Beautiful South)hopefully this will change all of that, even if just a little
bit. (SHREDDING PAPER)


Lone Pigeon
Schoozzzmmii
Cargo Records
Gordon Anderson might still go down in the history books as the former member of The Beta Band and
author of their biggest hit “Dry the Rain”, but it’s not for lack of trying. This release, his second US release
under the moniker Lone Pigeon, gives a whole new meaning to eclectic. Stylistically, he is all over the map,
even totally off the map and perhaps on the back of it from time to time. It’s not a bad record, but it is def-
initely acquired listening. Lone Pigeon is constantly being compared to Syd Barrett, and while it’s not
totally accurate it’s about as close a comparison as I can come up with for this weird, fractured folk music.
(SHREDDING PAPER)


Lovejoy
Everybody Hates Lovejoy
Matinee Records
Lovejoy is Richard Preece’s mostly one-man-band that seems determined to usher in a new era of delicate 80’s
synth-pop all by himself. I’m not talking about this 80’s new wave/dance punk rip-off business that is choking the
airwaves…I mean the mellower stuff – Galaxie 500, St. Etienne, the songs on the New Order CDs that you skip
in order to listen to the hits...that kind of 80’s synth-pop. Honestly, it’s a pretty boring record but that doesn’t mean
it is a bad record – for what it is, it’s well crafted and I’ve got a few friends who would definitely eat this up. But it
just makes me want to take a nap. (SHREDDING PAPER)


The Lovethugs
Playground Instructors
 Rainbow Quartz
See, this is album is a fine example that you cannot judge a book by its cover. I have to say that the name ‘The
Lovethugs’ is one of the worst that I’ve heard in a long, long time, and the CD design is pretty terrible as well; but
since their music is decent I’m going to chalk it up to the fact that they’re Norwegian and maybe their name sounds
cooler in their native tongue or something. These lads are trying their damndest to out-Kinks the Lilys, and although
their not quite to that level yet it’s a valiant effort with a number of catchy tracks. The record is a little long winded at
times, but the quality songs pretty much make up for it. Hopefully this is just the beginning for more good things for
these lads. (SHREDDING PAPER)


Lovetron
All Across the Grand Charade
The Intergalactic Frontline
Indie-space-funk? I’m not really sure how to take this. It has it’s occasional enjoyable moments, but they
are bookended by music that I just want to skip. This album helped me discover that you can indeed put
too much funk in a song, not that I was actually searching for an answer on that one. At their best, Lovetron
remind me of a combination of the Bloodthirsty Lovers (whose debut CD is great, you should check it out
if you come across it) and Enon (an OK band that some of my friends like a lot; not sure if they are popular
for the music or the cute singer – maybe both). Neither one of these bands are particularly funky, but they
both create an interesting version of organic sounding electro-pop with a lot of bleeps and bloops like you
would expect in such music. Lovetron do this as well, but also decided that the music needed more wah
pedal or phaser or something along those lines. Maybe they were listening to a lot of George Clinton. Who
knows? While I have no doubt that this music will appeal to someone out there, it doesn’t to me. It’s certainly
not awful, but I wouldn’t go so far as to call it good either. I’ll just say it’s average and leave it at that. Judge
for yourself though, maybe you like a little more funk in the trunk than I do – http://www.lovetron.net/.
(MUSIC SPORK)


Low
The Great Destroyer
Sub Pop Records
There has been a lot of talk about this record – that it is more “different” or “poppier” – and this is mostly true,
but don’t automatically take that to be a bad thing; it still sounds like a Low album, but maybe a little “shinier”
than before.  With Dave Fridmann of Mercury Rev manning the decks and even contributing to the record, it
certainly seems that the production has jumped up a notch - overall the album seems much denser and crisper
than previous Low releases. There are a lot of catchy songs on this CD: new tracks “California” and “Step”
were instantly all-time favorites of the band’s catalog.  And while nothing on here resembles a pop song as it’s
classically understood, compared to the band’s historical albums it would certainly register as a more “upbeat”
record, at least as far as tempo is concerned (the lyrics aren’t going to talk you down off that ledge if you are
intent on jumping). I would be surprised if any diehard Low fans are turned off by this, because it is truly a great
release, and as a whole not that terribly different than one might expect going in after reading the reviews.  It
may even win over some new fans, possibly even some who had already made up their mind about this band.
(SLAP)


Low Rollers/Diskords
Split  (7")
Jonny Cat Records
Ye gods, from the looks of the liner notes on the 4 song split, these kids are barely out of junior high. Pretty im-
pressive when you judge it based on that fact, but not terribly impressive otherwise. Diskords are slightly stronger
here, most notably for their cover of Eddie Cochran’s “Summertime Blues”. Low Rollers tackle a cover of their own,
Elvis’s “Trouble”. Both bands also contribute an original to the mess as well. This is low budget, simple fuzzy-guitar
garage rawk like high school kids were playing all across the land in the sixties. Now it almost seems like a novelty
for kids this age not to be playing some sort of rap-rock hybrid, so kudos to them for escaping that stupidity at least.
At the going rate I’m sure we’ll here something great out of these kids in no time, maybe by the time they hit puberty
or get old enough to drive. (SHREDDING PAPER)


Lyrics Born
Later That Day…
Quannum Projects
You may not think you know Lyrics Born, but you most likely do.  As one of the founding members of Quannum
(the collective most famous for producing DJ Shadow and Blackalicious), the artist formerly known as Asia
Born has been in and around Bay Area-hip hop for a decade if not longer.  As one half of Latyrx, one of the
Solesides Collective, and numerous guest spots, his raspy, nearly dancehall-like cadence is easy to identify.  
“Later That Day…” is his first proper solo release, and it is about as un-hip hop as you can get without being
in another genre altogether.  There is a lot of R&B/soul influence throughout the record and a number of the
tracks sound more like the man is dictating his personal diary on tape rather than actually rapping on a song,
but these facts all add to what ends up being a very enjoyable record.  Instead of making the same ol’ rap
record everyone else makes, Lyrics Born changes things up just enough to make the record sound different,
but without detracting from the overall quality of the release by making it “too” different and distracting.  A
crowd of friends and fellow Solesides Collective cohorts show up for guest spots – Gift of Gab, Cut Chemist,
Joyo Velarde, and Lateef the Truth Speaker – all further adding flavor to an already good album.  This release
is a no-brainer if you’re already a fan of the Quannum camp, and certainly worth a look to anyone who is a fan
off non-mainstream hip hop. (SLAP)


Macha
Forget Tomorrow
Jetset Records
I dunno what happened to the old Macha, which I wasn’t crazy about, but it was certainly better than this. They
used to be in the same vein as some of Tortoise, Godspeed! You Black Emperor, Idyll Swords, etc, but now
they sound like second-rate Girls vs. Boys or something in that style of boring electro-rock. There’s nothing
atrocious or particularly offensive about this record; it’s just a weak, forgettable effort that really undermines
why a band as good as Bedhead would have ever wasted their time recording an album with these cats in
the first place. (SHREDDING PAPER)


Malkovich
S/T
Coalition Records
How can something so heavy be so boring? Snooze fest screamo metal for kids with limited attention spans
I guess, which ain’t me. What kind of band plays this kind of music and then puts a cuddly bear on the front
cover of their CD? Crazy people, that’s who. (SHREDDING PAPER)


Mando Diao
Hurricane Bar
Mute Records
Jesus Christ, enough already with the resurge of “garage rock” bands. These guys aren’t even that bad, sound-
ing like a less interesting version of The Libertines that has listened to Nuggets a few too many times…but at
this point I’ve heard so many so-so bands that sound just like this I find it hard to care anymore. I’m sure with the
right exposure and airplay, they could be big stars – easy, accessible sound, good looking Swedish guys…this
will either rocket up the charts or be cut-out bin, but I don’t see a lot of middle ground for an act like this.
Apparently they toured with Jet, which seems like a perfect match. I’m still confused as to why this is on Mute
though…(SHREDDING PAPER)


Jeff Mangum
Live at Jittery Joe’s
Orange Twin Records
Some of you out there in slap-land may be familiar with a band known as Neutral Milk Hotel.  If not, they are a
band known for their eclectic indie-folk songs featuring every sort of instrument possible, and a leader named
Jeff Mangum who I consider to be one of the greatest songwriters out there.  He possess a voice so emotive
(warning:  do not assume this is ‘emo music’ from this statement – that couldn’t be any further from the truth; it
merely means that he wears his emotions on the outside, and it shows through his voice) that it brings goose
bumps to the skin even after you’ve heard the music many times.  That said, I will now take a moment and let you
immediately run to the record store and purchase their second cd ‘In the Aeroplane Over the Sea’, and their first
disc ‘On Avery Island’ ain’t too shabby either(both on Superchunk’s label, Merge Records).

You got them now?  Good.  After you’ve listened to them a few times, you should then search out this gem.  Why
is that you ask?  Because I’ve always felt that the live album is never the proper introduction to a person’s work,
but they are one of the best things ever made when it comes to the people who are already fans.  Being as how
I am already a huge fan, I can say that this is indeed a great album.  This performance is a solo acoustic affair, so
all of the quirky bits that you are used to from the album are not there; but this is more than made up by Jeff’s
heartfelt voice, bringing them to life in a way that few other can.  The show was recorded at a coffeehouse in
Athens, Georgia, sometime in 1997 – before ‘In the Aeroplane...’ and after ‘On Avery Island.’  As well as tracks
from these two albums, it contains a few unreleased tunes, one of which is a cover of a Phil Spector song ‘I Love
How You Love Me’, and a stunningly beautiful version at that.

So for those of you keeping score, here is the final tally:  go buy Neutral Milk hotel albums, because they are one
of my favorite bands ever and will be yours too.  Then buy the live album, and enjoy the different versions of the
songs you already know and love, as well as some new songs by Jeff that you go gaga over as well. (SLAP)


Manic Street Preachers
The Holy Bible–10th Anniversary Edition
Sony Records
Hole sweet jesus, was this a lot to take in – disc one gives you the full “The Holy Bible” album plus live bonus
tracks; disc two gives you the US mix of the same album plus demos and Radio 1 sessions; and finally, there
is a DVD videos, live performances and a band interview. It makes me tired just thinking about it. I don’t think
you can be much more of a completist for this one record than this, and it’s fitting I suppose, given that it was
singer Richey James last album before disappearing in 1995 (and he’s still missing, and presumed dead at
this point). They pack more politics in this record than the Disposable Heroes of Hypocrisy, all piled on top of
a sound that has always seemed 3 parts PiL-style post-punk with 1 part straight-forward brit-pop. Since this
has been out for 10 years now most folks have probably already formed an opinion on the band, and this
album may be a bit dense for a newcomer; but for an already established fan, this will be like a pot of gold
at the end of a rainbow. (SHREDDING PAPER)


Hannah Marcus
Desert Farmers
Bar/None Records
There’s a big sticker right on the front of this disc that says “Contributions from members of Godspeed You!
Black Emperor”, which I’m guessing they are banking on as the major selling point of the disc. Bit this ain’t
no GY!BE disc; atmospherically, the music might approach their sound on occasion, but for the most part it
would probably be described as avant-folk or something stupid like that.  Hannah has been getting com-
parisons to Patti Smith and Nico, and those are probably decent starting points to go into this music with.
I can’t say that I would recommend this release, but it’s not terrible or anything. I do enjoy the sound and pro-
duction of this album, just wish I would have liked the actual music a little more. It’s certainly interesting
enough that I’ll keep my ear open for future releases by Miss Marcus, and see how she takes things from
here. (SHREDDING PAPER)


Carolyn Mark & the New Best Friends
The Pros and Cons of Collaboration
Mint Records
Most folks probably know Carolyn Marks as Neko Case’s other half in the Corn Sisters (as well as having worked
with Neko on her solo stuff). “The Pros and Cons of Collaboration” finds Carolyn stepping off on her on, and doing
it well. Musically, this solo effort would fit in nicely in any collection already containing Corn Sisters or Neko Case
CDs, as it tows that same familiar line of being modern country music, heavily influenced by the classics; lyrically
though, Carolyn has a much better grasp of the language, and her songs have an acerbic wit that is missing from
much of the material produced by her contemporaries. Shit, I rarely even notice the lyrics for most bands, but these
were so interesting that my ears perked right up. Even though Carolyn may not have the push behind her that a
solo Neko has, she’s every bit as talented and entertaining, and hopefully folks will catch onto her music as well.
(SHREDDING PAPER)


The Marlboro Chorus
Entangled
Future Apple Tree Records
With a name like The Marlboro Chorus, I think I was expecting some pretty ordinary alt-country or something
along those lines. Instead, I get pop music – not over-the-top rehashed 60’s fare, not goofy Unicorns-style stuff,
just straight-forward pop music. This EP, with 6 songs and only 15 minutes in length, cuts right to the point and
doesn’t mess around with a bunch of unnecessary crap. These are simple, straightforward, 3-minute pop songs,
reminding me of Beulah, Elf Power, Sea & Cake, and the like. A pleasantly surprising little gem in this sea of
mediocrity I’ve been hearing lately. (SHREDDING PAPER)


Cass McCombs
A
Monitor Records
Well, color me stupid. When I got this in the mail to review I was certain that it was a female. Whenever
I hear the name Cass, I guess I always think of Mama Cass, or that lady that used to cut my hair growing
up. Imagine my surprise when I press play on my CD player only to hear a man’s voice come out of the
speakers; and a really nice voice at that. There’s a quality to his voice that I can’t quite describe, but I
really like it. He reminds me of a less dramatic Rufus Wainright, but I have this unsinkable feeling that he
really reminds me a lot of someone else, I just can’t place it right nowand it’s driving me crazy.

If you had told me that Cass McCombs is some long lost sixties troubadour, I would probably believe it.
This record sounds like a relic from the same era as The Kinks or The Zombies or The Small Faces; and
more importantly, it doesn’t sound contrived in coming across this way. I’ve heard a lot of stuff the last few
years that is trying to sound like it was recorded ages ago, and it ends up sounding like the aural equiv-
alent to fake wood paneling – it might look the part if you get it in the right light, but it doesn’t take a genius
to figure out it’s fake. If I had to compare the sound to anything contemporary, the best I could muster is a
local San Francisco band called The Papercuts (who everyone should check out if they get a chance,
they’re great) or possibly Kingsbury Manx; and although he doesn’t really sound like them, fans of The
Shins would probably really like this record. (MUSIC SPORK)


Meanest Man Contest
Merit
Plug Research
All Music guide has this to say about Meanest Man Contest – ‘Oakland's Meanest Man Contest is like Boards
of Canada doing hip-hop’. I would say this assessment is pretty spot on; for the most part, the music ranges
between Boards-style mellow electronica and DJ Shadow-type beats, with Eriksolo having a voice pretty sim-
ilar to Lateef from Latyrx. Although I was once a big hip hop kid back in the day (read as - early to mid-nineties,
when jazz began getting infused into hip-hop, inspiring new sounds from Gang Starr and their offshoots Jeru
and Group Home, Tribe/De La crew, all the Hieroglyphics peoples, etc.), my interest in the genre soon waned
with the on set of the Puff Daddy crew and all those awful samples, bad rapping, and fixation with luxury items
like fancy cars, big jewelry, and expensive champagne. If I wanted to hear about this crap, I’d go hang around
with a bunch of rich white people. Anyways, in the last few years things have been making small turnaround, in
the underground at least: all of The Solesides crew have been producing some fine material, Dalek is one of
the most unique groups out there in any genre, and El-P has done a lot of interesting things as well. Now you
can add Meanest Man Contest to this list of new and exciting rising stars in the world of underground hip-hop.
This is a 2 man affair – Quarterbar produces the music (who is also in the great band Jim Yoshi Pile Up,
check out their releases on Absolutely Kosher Records), and Eriksolo does the rapping and twiddles a few
knobs himself. It’s groups like this that make me feel a little less disenfranchised about hip hop, and happy to
be listening once again. Check out their website for more information and downloadable music –
http://www.weapon-shaped.com/mmc/
(SLAP)


M83
Before the Dawn Heals Us
Mute Records
It’s been two albums now and I still don’t know what to think of this French duo. It’s one of things where it has to
catch your ear just right…sometimes it sounds awesome, other times, overwrought and cheesy. But this pretty
well sums up my feelings on synth-rock as a whole. I’m at a loss as to how to describe what they sound like; I try
to imagine it as rock music that Boards of Canada or Matmos or Air would make. Maybe it’s the cover photo,
but something about this very much feels like it would be the soundtrack to a Michael Mann film. Certainly, if you
liked the last record I don’t see anything here that should turn you off this go-around. Maybe by the time the next
record comes out I’ll be able to figure out if I actually like this or not, but right now I’m just confused.
(SHREDDING PAPER)


The Mendoza Line
Fortune
Cooking Vinyl
I always want to love this band, I really do – they’re southern, they’re named after an obscure baseball rule,
they’re twangy – all the makings of a great band in my book. But somehow, the pieces never quite add up. 
Not that they are a bad band, and they have their shining moments, but overall I find that their sound jumps
around a bit too much, and what usually sticks with me in the end were the bits that I didn’t like. One song will
be a mellow rock number ala Wilco, the next track will sound like Neko Case, and then there will be a jangly
rock number (these are my favorite and what I personally think they excel at). If you’re already a fan, this record
seems to be more of the same and I’m sure you won’t be disappointed. Otherwise, enter at ye own risk.
(SHREDDING PAPER)


The Mendoza Line
If They Knew This Was The End
Bar/None Records
Although I was fooled at first as I’ve only paid attention to this band in a very half ass manner, ‘If They Knew
This Was the End’ is the re-release of The Mendoza Line’s debut album, in the fashion that they had inten-
tionally wanted it released. I’m unsure as to why it wasn’t released up to their specs in the first place, but
they felt it a big enough issue to see that it got handled appropriately this time some six years later.

This album suffers from an interesting syndrome I’d like to refer to as the ‘Dr. Jeckyll/Mr. Hyde” conundrum,
a lesser case of musical ‘Attention Deficit Disorder’. There are plenty of bands out there who put out albums
where they jump genres between songs so fast that you don’t know if you’ve just listened to one band or a
mix tape. Every once in a while a band might come along that can pull this off, but most of the time it just
ends up being a lukewarm mess of over extended song ideas. The Mendoza Line has at least limited their
music types to two: Superchunk-style pop/punk and mellow, uninteresting indie pop ditties.

I enjoy the upbeat tracks very much – there’s an energy and a sound present that brings to mind The
Replacements covering Superchunk songs, the sort of tracks that after only a few listens you find yourself
singing along with the songs whether you like it or not. The mellow tracks, while not exactly bad, just don’t
seem to have anything to grab onto. After my first couple of listens of the CD, I found that every time one of
these songs came on I wanted to skip to the next upbeat track.

I would say something about how hopefully they’ll drop the mellow crap and stick with the upbeat songs in
the future, but since this is a re-release I already know what happens – they land somewhere in the middle
and produce likeable but forgettable pop songs with a slight country tinge (with the exception of the song
‘Baby I Know What You’re Thinking’, one of my favorite songs I’ve heard in the last few years and the only
reason I hold onto their album ‘We’re All In This Alone’). I internally scored this album out as a 8.5 for the
upbeat tracks and a 5 for the others, giving an average of 6.75. I think if I were to take the CD and make a
copy with just all of the upbeat songs, it would be one of my favorite releases so far this year.
(MUSIC SPORK)


Menomena
I Am the Fun Blame Monster!
Film Guerrero
Elaborate packaging is often the first sign of an inferior release – dress something up in pretty clothing,
maybe you won’t notice just how ugly it really is.  For this debut album by Portland, Oregon’s Menomena, the
disc comes in the back of flip book, and a damn thick flip book at that.  When you flip the pages of the flip-
book you see all sorts of things – words formed into anagrams, the band performing, chairs spinning around,
etc…no doubt this piqued my interest – it was only my hope that they put as much effort into the actual songs
on the CD.

I was pleasantly surprised upon first hearing this Menomena record that it was actually pretty damn good. The
group creates layers upon layers of catchy hooks, mellow rock, and glitch pop/electronica that sounds like so
much you already know and love all mashed together - I can hear elements of Boards of Canada, Dave
Friedman-era Mercury Rev and Flaming Lips, South, Snow Patrol, and DJ Shadow all over their music, just
to name a few.  You can listen to a number of their songs over at their frustrating website (which intentionally
looks like it was designed in 1994 by a 10 year old kid on speed) - www.menomena.com.  With the cost of
manufacturing their packaging, I can’t imagine they’re doing anything but losing money in putting this album
out, but I’m thankful I heard it. (SLAP)


The Meows
At the Top of the Bottom
No Tomorrow Records
Fairly typical garage-rock, but the band gets bonus points for being from Spain. If you really like the International
Noise Conspiracy, the Greenhornes, the Dirtbombs, and other similar groups that start with “the”, it might be worth
checking out but don’t expect anything particularly groundbreaking. Instead, do like I do and daydream about all
the crazy hot Spanish girls that probably show up at their shows…mmm, crazy hot Spanish girls. (SHREDDING
PAPER)


Mink Lungs
The Better Button
Arena Rock Recording Co
Sometimes, the thing that makes a band a good listen ends up being the same thing that brings them down. 
In the case of Mink Lungs, this would be trying to make a niche for themselves in the world of quirky lo-fi
indie pop.  For me, the president of this group has always been Guided By Voices, with Neutral Milk Hotel
as the vice president and the rest of the Elephant Six roster filling in as the cabinet.  And as of right now,
Mink Lungs might have a seat in the senate, but it’s going to take a bit more for them to get that big nom-
ination to secretary of the interior.

Mink Lungs hail from current hotspot Brooklyn, NYC, and their debut CD, ‘The Better Button’, certainly has
it’s entertaining moments; and to be honest, there are probably more bright spots than dull ones on the
album.  But the low spots are of the kind that you find yourself reaching for the ‘track skip’ button from time
to time.  The overall sound of the album is very reminiscent to early GBV, with it’s lo-fi feel and love of pop
hooks.  It blends this with the zany lyrics and noisy bits that might be at home on a Frank Zappa record (not
to say Robert Pollard from GBV doesn’t have some pretty crazy lyrics himself).  For me, the best points on
the record are when these two worlds meet, and you have a catchy, quirky, noisy mess all rapped up in a
short pop song.  Unfortunately, the weirdness can sometimes overwhelm all other aspects of the song to the
point that it’s all you notice.  And while this might be interesting for the first couple of listens, they end up
wearing on your patience in the long run.  One example might be with the song ‘Watch Yourself’, one of the
catchiest numbers on the record, only the track ends with a one or two minute answering machine message
about some girl calling to say she ‘just wants to be friends’.  I’m not saying there isn’t a point to the madness,
only that it wears thin quickly. 

To carry this tired joke further, ‘The Better Button’ represents a strong first draft of an amendment from the
junior senator out of New York, and could be the beginning of a bright career.  Or they could just pull a Ted
Kennedy and get shitty drunk all the time and sit around with a bright red glowing face.  Either way, it could
be entertaining. (MUSIC SPORK)  


Minmae
Ya Te Vas?
Devil in the Woods
Minmae, a musical group out of Portland, OR, are that odd brand of band who produce music that is both instantly
likeable and recognizable, but you can never place exactly who or what they sound like. Alt folk, ambient drone,
straight up rock…all sorts of styles run through the music. Fans of Sebadoh, Codeine, Seam, and similar mellow-
but-noisy stuff should give a listen. I like this quite a bit, it sounds like a rainy Pacific Northwest day – a little morose
but still beautiful. (SHREDDING PAPER)


Minus Story
Heaven and Hell
Jagjaguwar Records
Let me say this first and foremost – Minus Story performs a cover of The Misfits “Hybrid Moments” on this disc,
one of my favorite songs of all time, and the cover is pretty great, and therefore this EP gets a big thumbs up
from me. The rest of the material is good too, a jangly mellow pop mess with lots of different instrumentation and
whiny-yet-not-irritating vocals. I know the Elephant 6/”listened to a lot of Beach Boys” comparisons are a dime a
dozen, but I don’t really know what else to say about it, as it certainly fits. Jagjaguwar keeps bringing the hits
lately; this is just more of it. (SHREDDING PAPER)


The Mirrors
A Green Dream
Birdman Records
Birdman seems to think pretty highly of Greg Ashley, as they are dead set on releasing everything the guy has
a hand in. Apparently The Mirrors are his band from his younger days, but you can easily see how the music on
this disc has melded into what we know now as Gris Gris as well as his solo work. Certainly, fans of his other
work should check this out; additionally anyone who goes in for bands getting the trendy comparisons of Syd
 Barrett/13th Floor Elevators/Skip Spence/et al may well be pleased with what they find here.
(SHREDDING PAPER)


Modern Giant
Satellite Nights
Popboomerang Records
I was pretty certain what I was getting into here from the cutesy drawings on the cover art - upbeat, simple tweeish
girl-pop. I was mostly right - definitely pop and definitely a female singer, who is a bit reminiscent of Liz Phair in
voice but not foul-mouthedness. But there is a male singer too, and although pop it’s not the straight-forward
simple kind…being that they are from Australia, I guess it shouldn’t be that surprising that they might have a
sound somewhat similar to The Clean or one of the other legendary Kiwi acts. Not a spot on match, mind you,
but when they get wound up like on “If I Close My Eyes” you can definitely hear it. (SHREDDING PAPER)


The Modern Lovers
S/T (Remastered + Bonus Tracks)
Castle Music
Plain and simple, this is one of those must-have albums for anyone who really considers themselves a fan of
music, and not just a bystander.  This re-release of their first album has been re-mastered and plied with many
bonus tracks, but the results are the same no matter which release you hear first – this was one of the most im-
portant pre-punk release to come out in the early 1970s, and it sounds just as good today as it did the day it came
out.  Along with the New York Dolls, The Stooges and MC5, The Modern Lovers represent one of the most im-
portant bands to create the environment in which punk would later develop.  Sounding uncannily like The Velvet
Underground with a little extra attitude, The Modern Lover’s first release (which in actuality was a compilation of
demos recorded by John Cale in 1973) never saw the light of day until 1976.  By the time it came out they were
known as Jonathan Richman and the Modern Lovers, and then it was just Jonathan Richman.  Members of this
band went on to have influential roles in other great acts such as The Talking Heads, The Cars, and Television,
all groups that should be equally revered throughout the music world.  Words can’t do justice to just how great
and influential this record is, just go buy it and listen for yourself – I guarantee you won’t be disappointed. (SLAP)


Mogwai
Mr. Beast
Matador Records
Being a Mogwai fanatic, I’m not afraid to admit I’ve trolled for information about the band on message boards
and music sites - hey, it helps pass the work day better than actually working.  And in doing this I came across
a few statements by different individuals that this album, “Mr. Beast”, was going to be the best “art-rock” record
to come out since My Bloody Valentine’s “Loveless”.  That’s bold talk, and talk that’s not easily backed up, given
the reputation of “Loveless” and Mogwai’s recent output - not bad by any means, I’ve quite enjoyed it; but lacking
that punch, that edge that made their early work so fantastic.

But is the statement true?  I dunno, I’m not even sure how to quantify something like that.  “Loveless” is a fantastic
album, but musically and stylistically it’s nothing like “Mr. Beast”.  This record finds the band returning to their
roots - dropping the vocals (for the most part) and cranking up the volume on their guitars.  They’ve returned with
the bombast that made them so special, the sound that has been missing from their records since “Come On Die
Young” (but still present in their live shows, thankfully, even when performing their material from their more recent
albums).  I was absolutely hooked from the first listen, where the band reclaims the piano as a rock instrument and
not just the tool of the devil known as yuppie music.  I have no doubt this will be one of the best record to come out
all year and will stand as one of the high points in the career of a band that’s done many great things. (SLAP)


Momus
Otto Spooky
Analog Records
Quite honestly, I don’t even know how to go about reviewing this new record by Momus or any of his stuff for that
matter. His ability to genre-jump between electronica, twee pop, world music, delicate singer/songwriter fare, et
al – and to do it well – makes him categorically tough to pigeon-hole. I’m not the biggest fan, but I can certainly
appreciate talent when I hear it; and while I won’t be putting this record on all the time to listen to it, I can certainly
understand why someone would. I know I should probably put some “RIYL” bands here, but where do you start
when one song sounds like Trembling Blue Stars, the next sounds like Cornelius, so on and etcetera, but rarely
do two songs sound the same? Originality makes for a heck of a listening party, but it really makes things hard
on crappy writers like myself. (SHREDDING PAPER)


Mono
One Step More and You Die
Arena Rock Recording Co
I have a new religion, and it is Mono.  After witnessing a recent live performance by them, probably the best
show I’ve seen all year (and I see a ton of shows), I immediately rushed to their merch table and bought this
amazing release.  This foursome from Japan may speak very limited English, but they fluently speak the
international language of kick-ass music.  I’ve heard a lot of people, in regards to what Mono sound like, say
‘they out-Mogwai Mogwai!’, which I think means that in the world of post –rock, as Mogwai has slowly trans-
formed from a loud, dynamic band into a much mellower version of themselves, Mono is stepping in to bring
those loud parts back.  The great thing is that they manage the best of both worlds, loud rocking and beautiful,
orchestrated parts both having airtime on this release, not to mention the My Bloody Valentine-type of swirly
guitars that permeate throughout the entire release.  Live they’re a must see – drop any and all other plans
you might have and run, don’t walk to the venue and prepare to have your eardrums damaged; and while the
record will never be able to fully recreate that effect, it does a damn good job of getting as close as you can
in the studio environment. (SLAP)


Mono
Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined
Temporary Residence Ltd
The third full-length by these rising Japanese noise masters, finds them heading in a bit of an orchestral dir-
ection, but without giving up the bombast that makes their songs so memorable.  The band combines the
song structure and dynamics of early Mogwai or Explosions in the Sky, with the sheer volume and waves of
sound like My Bloody Valentine were known for.  The end result is overwhelmingly powerful, especially when
listened to through headphones at a high volume; and it’s especially noteworthy if you see the band play live
(they’ve come over here to the States twice over the past couple of years). Last time I saw them, the music
hit so powerfully at one point that I thought it might have made my heart skip a beat.  Their recorded material
will never quite match up, but with Steve Albini behind the helm producing, this record may be as close as
we ever get. (SLAP) 


Moon
Flight Logs
Zone 8 Records
This West Virginia band really likes Big Star, and that is a-ok with me, cause the end result has been a nice batch
of pop songs. There are a number of Cheap Trick and Teenage Fanclub-specific moments as well, but those
bands owe so much to Big Star that mentioning them might be redundant. This band has been slowly toiling in
their small scene for 15 years, living life and honing their sound down to a very respectable finish. Anyone who
likes solid pop songs should do themselves a service and hunt this one down. (SHREDDING PAPER)


The Mooney Suzuki
Alive & Amplified
Columbia Records
I’m not sure where to start with this one…let me get this out of the way first – it’s not a terrible record, despite its
flaws, but it’s certainly not great. But there are so many things wrong here; I don’t even know where to begin. The
gist of it being that the Mooney Suzuki has decided to do whatever possible to make it to the big top. This involves
getting on a major label, writing one of the worst songs I’ve ever heard (“Loose ‘n’ Juicy”), having some fake
Santana art for the album, and getting the Matrix to produce.  Yes, the same folks behind Avril Lavigne and the
new Liz Phair stuff. The mind boggling part of all this might be that it seems this garage rock shtick was played
out a year or two ago, so I’m surprised the label went for it, but whatever. If you like straight-forward 70’s rock you
could do worse I suppose. (SHREDDING PAPER)


Moore Brothers
On & Out
Amazing Grease Records
Let me say this right out front in case you get the wrong impression – I like this record, but I’m pretty disappointed by it
at the same time. They start the album off with a glorious 30-second long intro track that sounds like the reincarnation
of Big Star and I get real excited. And then the rest of the album sounds like Crosby, Stills, Nash and Young for the 21st
century, only much less hippy and much more poppy and funny. That first listen was pretty disappointing, because that
intro was so unbelievably good. But after I played the record a few more times the rest of their tracks grew on me as
well and I found myself enjoying the whole album (but still wishing for more like that intro, dammit). Hopefully they will
expand on that opening song in the future, but until then I’ll just have to enjoy the rest of the album.
(SHREDDING PAPER)


Morals Galore
Donerail
Sofa King Records
Through and through, pretty straight-forward indie rock…nothing new, nothing bad, nothing special for the most
part. Some of the material is more in the jangly-pop vein ala Pavement, other tracks follow a more shoegaze/
Swervedriver approach, and this is the better of the material in my opinion. The track “Ex-Parent” stood out the
most, about half-way through the song the guitars really get going much to my enjoyment. Other than that, not
something to really recommend or avoid, just fairly decent music that unfortunately doesn’t stand out in any way.
(SHREDDING PAPER)


Morrissey
You are the Quarry
Sanctuary Records
For the record, I’m an insane Morrissey fan so there is no way this review is not going to be biased; I’m
sorry, but that’s just life. But I can’t imagine there are many of his reviews that aren’t at this point; everyone
knows him, or at least of him, and most folks at this point have already made up their mind whether or not
they like his music. And although the worst Morrissey record is better than almost anything else that gets
released as far as I’m concerned, there are obviously degrees with which one disc might be better than
another.  Morrissey fans all have their individual favorites (mine probably being the disc “World of Morrissey”,
and particular his cover of “Moon River”), but there are certain releases that everyone loves – “Viva Hate”,
“Your Arsenal”, and the compilation release “Bona Drag”.  This album marks his first full-length release since
1997, and a triumphant return it certainly is.  While I personally have difficulty trashing any of his records, this
one is certainly better than “Maladjusted”, and most folks would probably put it above “Southpaw Grammar”
and “Kill Uncle” (even though those are two of my favorites). One thing is for sure – the songs “The World is
Full of Crashing Bores” and “First of the Gang to Die” are the best songs he’s come out with in a long, long
time, sounding like they could be entries on any of his classic albums mentioned above. A lot of folks are
deeming this his “comeback” or a “return to form”, and I’d be hard-pressed to argue with him, even if in my
world he never went anywhere in the first place. (SLAP)


The Mountain Goats
The Sunset Tree
4AD Records
Having been a Mountain Goats fan for some time, and having met some of his obsessive fans first hand,
I could just about hear the collective gasp when John Darnielle released his last disc - his first for 4AD and
first to have used any semblance of production at all. Gone was the tape hiss the typical obsessive-
compulsive fan loved, and we entered into a new world of Goats, one making shiny music with extra
members not named John Darnielle. As for myself, I loved the transformation, and was pleased to hear
his witty lyrics in such a crisp fashion; but no doubt some fans were lost, as is always the case when a
band makes a major transformation.

“The Sunset Tree” is his second album for 4AD, and not only is it a lot like it’s predecessor – fairly clean
production, additional instrumentation outside of just Darnielle’s acoustic guitar…but it is also possibly
one of the best albums he’s ever recorded.  “Dance Music” was an instant favorite the second I heard it,
and will be considered one of his best tracks when Rhino releases his “Greatest Hits” album whenever
that comes out (Rhino does a greatest hits record for everyone, right?). This album may well be listed on
a lot of top 10 lists at the end of the year, mine included, and it will be muchly deserved. (SLAP)


The Mountain Goats
Tallahassee
4ad
The Mountain Goats, a.k.a. John Darnielle, has been known over the years  for his ingenious lyrics,
heartfelt performances, and the fact that almost everything he has recorded thus far in his career (and
there’s been a lot) has been recorded straight to cassette on a run-of-the-mill boombox.  His music
consisted of just a man and his guitar, and a lot of tape hiss.  And while the hiss might have been a little
distracting, it also seemed to make the music feel that much more personal, like a homemade recording
of one of your friends that only you knew about.
This album marks John Darnielle’s first recording for the British super-label 4AD, as well as his first
album to be recorded on professional equipment.  What has changed?  Well, there’s no hiss, but I don’t
miss it too much.  The music still sounds like The Mountain Goats, but there is some additional instrumen-
tation added to help flesh out the sound - piano, percussion, shakers, etc.  But all of this takes a backseat
to what has always been the core of his music - the guitar and voice.
This record is a concept record, about a couple and the deterioration of their relationship and all of the
trappings that go along with it as they move across the country.  Well, it’s actually much more complex than
that, but that seems to be the gist of it.  And while I may not like it as much as ‘All Hail West Texas’ (his
best record in my opinion), it’s still real damn good.  John’s lyrics are some of the most beautiful and
complex I have ever heard; they manage to paint a vivid picture, every song like reading a short story by
one of your favorite authors.  I’m usually the type of person who doesn’t even pay much attention to lyrics,
but these grab you whether you like it or not.  I highly recommend this record if you’ve ever been a fan of
singer-songwriter type music...and pick up ‘All Hail West Texas’ while you’re at it too, you won’t be dis-
appointed. (SLAP)


The Mountain Goats
We Shall Be Healed
4AD Records
This album continues along the same path that John Darnielle started down last year with his first major label
release on 4AD titled “Tallahassee”. That is to say, for the most part he’s stepped away from the Mountain Goats
of the past, which was just him, his guitar, and an old boom box to record on, in favor of a richer and fuller sound
involving collaborations with other musicians; in the case of this album, those musicians include Peter Hughes
(DiskothiQ), Franklin Bruno (Nothing Painted Blue), Christopher McGuire (12 Rods), and engineered by John
Vanderslice. Honestly, to me it still sounds like the same ol’ Mountain Goats, only with a little backing music and
recorded on proper equipment, but no doubt there are those purists out there who hate it. For everyone else, this
album is yet another argument for the fact that Darnielle is one of the best songwriters happening today, and a
riveting live performer as well. Particularly stand-out tracks include “Palmcorder Yanja”, “The Young Thousands”,
and “All Up the Seething Coast”. (SHREDDING PAPER)


Moving Units
S/T EP
Three One G Records/Palm Pictures
Add the name Moving Units to the ever-growing list of bands that decided to listen to a lot of Gang of Four,
Wire, and P.I.L. before choosing the direction of their band. Not that this is necessarily a bad thing, as I like
a lot of the acts that make up this current trend (most notably Les Savy Fav and Liars) – but for some reason
this seems a little johnny-come-lately, like the guy who shows up at the party after all the hot chicks have
already decided what cool guys they’re going home with (at least that’s what I’m told these parties are like,
I’m never invited. Bastards.). Moving Units probably can’t be blamed for this, as they were most likely just
playing the music that they liked to play and it just ended up sounding like what all the hip kids are listening
to now, but probably won’t be listening to anymore in a month.

That aside, I enjoyed this EP well enough. Moving Units sound a whole hell of a lot like The Rapture, with
the singer alternating between impersonating the singer for The Strokes and Johnny Rotten. The Strokes
comparison is especially notable, as he really sounds exactly like that guy from time to time, and the inten-
tional lo-fi sound of the record only adds to the similarities between these two bands.

I can’t say that this CD will hold a spot in my CD changer for long, as it mostly just makes me want to listen
to Les Savy Fav and Liars; and given that this is only their first release, we might yet see some pretty great
things out of Moving Units yet. After all, Les Savy Fav sounded exactly like Fugazi on their first album, and
now they’re off onto their own jag, and don’t sound really sound like Fugazi at all anymore. (MUSIC SPORK)


Moviola
East of Eager
Anyway Records
It’s not often that I feel bad when I give a negative review of something, but I do here. I don’t know what it is,
but something about this music makes me think the guys behind it are probably decent folks; just enjoying
putting out music for their friends and colleagues and hoping maybe a few stragglers get picked up along
the way. Unfortunately for me, I don’t care for the music at all – pretty typical alt-country; sounds like they’ve
probably listened to a lot of the classics like The Byrds, Jackson Browne, Flying Burrito Brothers, as well as
more contemporary acts like Uncle Tupelo, but somehow it didn’t turn out the way they hoped. Or maybe it
just didn’t turn out the way I hoped, which I guess is what ultimately matters since I’m doing the reviewing
here. In other words, all the pieces are there for what should be music I would love, but somehow things just
don’t fit together right and it does nothing for me. Not terrible music at all, just boring. (SHREDDING PAPER)


The M’s
Future Women
Polyvinyl Records
These Chicago kids have most definitely avoided the sophomore jinx that plagues so many bands, producing
a follow-up to their self-titled debut that outperforms it in every way.  They will undoubtedly receive comparisons
to the Shins or maybe even the Lilys, as all of these groups seem to be hugely inspired by one of the 1960s
biggest acts – The Kinks.  Nothing wrong with that – The Kinks are a legendary band for a reason, and no one
here is ripping them off, even though the influence is obvious.  The M’s are also not a bunch of cats who are
stuck in the past – they do a mighty fine job of taking that classic sound and writing catchy, modern songs; and
if the world made any sense, these songs would be blaring from radio stations across the country.  Unfortunately
for them, they don’t have the million-dollar major label push that it requires to get on the FM dial, but I digress. 
If you like high-quality pop music, these guys are definitely worth a listen. (SLAP)


Ms. John Soda
While Talking EP
Morr Music
Ms. John Soda is somewhat of a German super group – the band is made up of Stefanie Bohm (Couch)
and Micha Acher ( The Notwist), representing 2 of the finest bands to come out of that land sincewellTrio?
Kraftwerk seems too obvious, and Autobahn was a made up band just for “The Big Lebowski” Anyways,
it seems this duo has produced a pretty catchy EP here to follow up their full length debut “No P. or D.”. This
short player runs five songs long, consisting of four new songs and one track that is a mash up/remix of a
number of songs from their debut by Anticon-affiliated group Subtle. This song particularly sounds like some-
thing off of the first Dntel album, fully in line with the work you expect from Jimmy Tamborello. If this is
indicative of Subtle’s work, I’ll have to keep my eyes open for more from them. This track might in fact be my
favorite of the record, and it’s also the most different – the rest of the tracks follow along the same pattern of
sound you expect from Ms. John Soda. Comparisons to their other bands are obvious, especially with The
Notwist, but the one thing I hear in some of the songs (especially the opening track ‘No. One’) is a great
similarity to Sonic Youth; in particular the songs where Kim Gordon takes center stage. This sound doesn’t
necessarily occupy the entire album, but it does appear enough to make the comparison visible. There are
also moments where Stereolab or Bjork might be fittingin general, female vocals, electronic soundscapes
and straight-forward rock music all blended together into a tasty mix. This is a catchy little EP, and I think
anyone who was a fan of The Notwist’s fabulous album from last year, “Neon Golden”, would be more than
happy checking this out. Sometimes side projects can be nearly as good as the performer’s main bands,
and this is a fine example to support that claim. (MUSIC SPORK)


Mull Historical Society
Us
XL Recordings
A beautiful pop record is a truly wonderful thing. The sophomore release by the one man band Mull
Historical Society (Colin MacIntyre) is exactly that, taking the rich and textured sounds that he displayed
in his debut ‘Loss’ and fine tuning them into a record that’s even better than the debut. Imagine the morose
pop songs that come from living in an isolated area like you might here from Grandaddy, mixed with some
of the unique British-isms like you might expect to hear from Badly Drawn Boy and you might have a
starting point as to the sound of Mull Historical Society, only it doesn’t really sound like either of those
comparisons all that much. There is also a certain nostalgic feel to his music, reminding me of some of
my favorite bands from the 70’s like Electric Light Orchestra and Supertramp (two fantastic bands that
everyone should go back and listen to again, and you can often find their records at thrift stores for cheap;
check out ELO’s greatest hits record and Supertramp’s ‘Breakfast in America’ if you’re so inclined). If
you’re ever inclined to put some beautiful pop music in you life, look no further than this record. (SLAP)


The Murder City Devils
R.I.P.
SubPop Records
This band has always been one of those ‘their first record was the best one’ types of bands for me, and this new
record isn’t doing anything to change my mind either. In fact, it’s not even a new album per se, but rather a live
recording of their final performance before the decided to call it quits. There is a new song or two on here, but it
is mostly made up of songs from their previous releases. There are even a fair number of songs from their self-
titled first release on the Die Young Stay Pretty label, but they just don’t pack the punch that they do when you
hear them in their original incarnation. Somewhere along the line the band changed their sound from what they
represented on their first release, from the fiery Stooges-influenced punk to a sound that I might best describe
as ‘organ-heavy goth punk’ (although putting emphasis on it being organ heavy and goth might be a little redun-
dant). Their ‘new’ sound is still ok and listenable, but not nearly as appealing to me as that first release. As far
as live albums go, you can’t argue with the sound on this one; erstwhile Northwest producer Phil Ek manned the
boards when laying this to tape, and he keeps the pretty clean and crisp as you might expect from him. I can’t
imagine this record is going to win over any new fans for this now-defunct band, but it won’t chase away any
either; but for the folks that were already on board with The Murder City Devil’s sound, this will probably fit just
fine into your collection. (MUSIC SPORK)


MxPx
B-Movie (DVD)
USA Side 1 Dummy
This release is a “look back” on the past 12 years the band has been together, mostly janky handheld camera
footage. This is a fans only release as near as I can tell, for those truly interested in the personalities of those
that perform the music they love. There is some live footage, and the DVD also includes an CD of acoustic
versions of some of their songs. Not recommended to anyone averse to bad mall punk and boring interviews.
(SHREDDING PAPER)


My Morning Jacket
Okonokos
ATO Records

 - 8 out of 10 -

The live album was a staple of the seventies – “At Buddokan” made Cheap Trick a household name in the U.S.;
all of Peter Frampton produced many classic rock radio staples from his “Frampton Comes Alive” double LP;
and Kiss went from being just popular to super-duper-mega-superstars after the release of their “Alive” album. 
But it’s been a long time since live albums really mattered – more often than not, they are just attempts by labels
to make some easy money off of fans eager to hear some new material by their favorite artists.  Only three
records come to mind that have come out over the last few years that have been worth a damn – Built to Spill’s
“Live”, Wilco’s “Kicking Television”, and DJ Shadow’s “Live! In Tune and on Time”.

Now there is a fourth entry to add to that short list in My Morning Jacket’s double-disc of live awesomeness
“Okonokos”.  Having seen this band perform live a number of times and telling everyone who will listen they
MUST go see this band, I now have a document to point towards that is a pretty damn accurate representation
of all of the great times I’ve had at their concerts.  The only thing missing from the home experience is the sight
of Jim James and the rest of the group thrashing around on stage with their hair in their face.  The songs on this
release run the gamut of their output, but falls a little heavier towards the more recent songs as is usually the
case with any band’s live album.  The sound here is perfect, almost too good really – I don’t think it’s a stretch
to say this live album actually sounds better than the live show itself, it’s mixed so well.  For any fan of the band,
this is a must have; and for those new to the game, consider this a primer, a greatest hits to get you started.  
(SLAP)


Mystery Girls
Circles in the Sand/That’s What I Said (7")
In The Red
Oh boy, I can’t stand the excitement, it’s more garage rock. Nothing special here, decent enough rock tunes that are
an obvious throwback to that now popular era of music. I will certainly give the Mystery Girls credit, for their age they
certainly show promise (I understand that everyone in the band either just graduated high school or are still in it). By
the time they hit drinking age, they might just kick everyone in the nuts with some kick ass rock and roll tunes.
(SHREDDING PAPER)


Mystery Girls
Something in the Water
In The Red Records
This is pretty straight-forward, un-offensive run-of-the-mill modern garage music; not bad, not good, just there.
They probably put on an enjoyable show, and I’m sure plenty of ladies come out when they play because they
seem like handsome fellas from their photos on the front of the CD. So that’s something, I guess: go to their
shows cause there might be some hot chicks there. Otherwise I can’t really recommend.
(SHREDDING PAPER)


The National
Boxer
Beggars Banquet

   - 8 out of 10 -

Maybe you've heard of The National...they blew up the scene a couple of years back in 2005 with their release
“The Alligator”, finishing on tons of best-of lists and fluttering up the ruffled dresses of music bloggers around
the world. Personally speaking, I thought the album was weaker than the “Cherry Tree” EP they released a year
earlier, but they were a good band who deserved a little hype, even if it wasn't over the best music they had
produced (but still a damn good album in the grand scheme of things).

So now they have a new record out called “Boxer”, and the question everyone wants the answer to comes to
mind – how does it measure up to their previous output? Bands so often fall off after they receive a little critical
acclaim, thinking too much about what to do next, how the critics would react, would they be able to grow their
sound without alienating their older fans...well, in this case, you'll find no slump. The National are as sharp as
ever, producing their best work to date as far as I'm concerned. It sounds like their older albums, maybe a touch
peppier if anything, and there isn't a weak song in the entire batch.

For those not familiar with the group, their sound is a tad difficult to describe – the best I've ever been able to
come up with is Interpol with David Berman of the Silver Jews singing. Honestly, it feels a bit disingenuous to
use Interpol as a touchstone since The National have actually been on the scene longer, but hey, it's a reference
the kids will get so I'm not going to make a fuss over it. If it gets you in the stores buying their record, then it is a
comparison worth making. And let it be known, in the event you are keeping score, I'd rather listen to The
National any day of the week over Interpol. (SLAP)


The National Splits
Fontana
Mr. Whiggs/Recordhead
This is the sort of record that makes you happy to have wasted your time reviewing all those other records that were
awful. Every once in a while, you get a hold of that one cd of a band you’ve never heard of and it blows you away. This
cd, The National Splits second release ‘Fontana’, was precisely that record for me. The National Splits is the solo
effort of one Mike Downey from Wolfie fame, a pop group that released a few records on Parasol and Kindercore a
few years ago. The best way I can describe The National Splits? It sounds like someone put glam rock (think David
Bowie, T Rex, and even more recently Destroyer) in a blender with Guided By Voices and produced a damn tasty
beverage for the listening public to consume. OK, that’s a really stupid analogy but you catch my drift. This is lo-fi
recording how it’s meant to be heard, in short poppy bursts from a man who obviously sounds like he’s having a
blast playing it. And consequently, it’s tough not smiling when you listen to it. (SHREDDING PAPER)


New Black
S/T
Thick Records
Considering I can’t think of anything off of the top of my head on the Thick Records label that’s worth a shit,
it makes the fact that the New Black album is pretty good all that more monumental. Their press release wants
to compare them to a cross between the B-52s and Q and not U, which seems reasonable I suppose. More
than anything, though, is that they kinda have the same punk rock energy and pop song hooks to make me
think of Pretty Girls Make Graves (and the male/female dueling vocals don’t hurt that comparison either). This
is nothing amazing, but it’s a fun listen, and I can only imagine they put on a fantastic show. Just listening to the
CD you can practically hear them jumping around the studio while they recorded it. (SHREDDING PAPER)


A.C. Newman
The Slow Wonder
Matador Records
In case you were unaware, A.C. Newman is one of the main cats from that ultra-hip super-group, the New
Pornographers; and if you didn’t already know that he was the brains behind that operation (with a little
help from Dan Bejar of Destroyer fame), it will become overly obvious upon your first listen of this record. 
This album has a great, summertime feel to it, like riding down the Great Highway in a convertible watching
the surf wash up against the dead whale carcasses. If you know and love the output of the New Porn-
ographers, or even Newman’s previous band Zumpano, you’ll get along well with this album of glistening
retro-pop. In fact, if you threw a couple of guest vocal spots on here from Neko Case, you’d probably
assume it was a New Pornographers album. This release bustles right along, and although it registers
only a half hour or so of recorded material, it’s the quality that counts; plus, “leave them wanting more” is
a popular expression for a reason. I have a feeling this is going to get played a lot in my house, car and
walkman over the next few months. (SLAP)


Roger Nichols and the Small Circle of Friends
S/T
Rev-ola
A classic album reissued by the UK reissue kings, Rev-ola, this is California pop at it’s finest. Roger Nichols
is probably best known as a songwriter, having penned numerous hits for the Carpenters and a few other
performers…but he also performed songs as well. Originally released in 1968, this record teams up Nichols
with fellow songwriter Tony Asher (who worked with Brian Wilson on the legendary Pet Sounds, this album
coming just after that one), and it’s just as good as you might expect given the pedigree of those involved.
Nichols had Murray and Melinda MacLeod help him in performing these melodies, and the ensuing result is
some of the best harmonious sunshine pop/easy listening I’ve heard in a quite some time. Van Dyke Parks
and Randy Newman also had a hand in this album, as if you need more pop legends mixed into this bag. A
lost gem, sure, but highly worth checking out. (SHREDDING PAPER)


90 Day Men
Panda Park
Southern Records
90 Day Men are slowly but surely becoming one of the greatest rock bands out there without anyone really
knowing about them.  I’ve seen more than a few comparisons to Radiohead floating out there in reviews.  It’s
somewhat founded, for two reasons – not only does some of their output sound a bit like Radiohead, but their
desire to constantly define and redefine what they sound like rings true as well.  Additionally, you could throw
a little Pink Floyd, the more morose lements of 70’s glam rock bands like Roxy Music and T. Rex, and maybe
even a little Black Heart Procession thrown in there for good measure.  All in all, it’s a very ambitious and big
record, one that most bands would fail in trying to accomplish, but it’s just another day at the office for these
lads.  With each album they put out, they separate themselves more and more from the pack.  All of the sheep
out there eating from the trough of Radiohead would do themselves a favor by snacking on some of this – or
you could just wait a couple more years until someone hip and happening finally “discovers” them and your
ear is turned then.  Either way, it would be to your benefit to check out 90 Day Men. (note: I absolutely love
Radiohead, so no insult meant to them; merely to the folks who listen to them just because they’re supposed”
to…) (SLAP)


No Doctors
Hunting Season
Cock of the Rock
This record is one big noisy mess, which can be great or awful depending on your state of mind when you
listen to it. It’s certainly not going to do when you’re craving some Dusty Springfield, but it could stand in place
of The Stooges if you seek some to work out some anger management issues. I can’t say that it stands out
that much from a lot of the other noisy art-rock that’s being made these days, but it ain’t bad. Their website has
some MP3s to check out, so why not go there and see for yourself? (SHREDDING PAPER)


Norfolk & Western
Winter Farewell
Film Guerrero
This is certainly one of those records that grows on you, which might be something you can say for much of
Film Guerrero’s catalog (see also Buellton, a decent band in their own right).  I had heard a couple of songs
by Norfolk & Western (let’s call them N&S for short), and they didn’t have any impact on me - not good, not
bad, just there.  So I wasn’t totally excited to listen to their cd, and even the first couple of listens just dwindled
there in the background while I tooled around my house, doing whatever it is people do when they tool around
their house.  I was mentally preparing to write up a review about it being just ok, good background music and
all that sort of drivel you might write when describing something mediocre.  Then, like a punch in the ear, it
grabbed me and hasn’t let go since.  I’ve been listening to it multiple times daily - not because I’m doing a
review and wanted to be informed, but because I really yearn to hear it.

The main force behind N&S is Adam Selzer, who runs a recording studio in Portland, OR by the name of
Tape Foundry where the whole thing was recorded.  He has also assembled a motley group to help him on
the recording, and while I don’t want to run down the names of everyone, worth mentioning are Richard
Buckner (who’s records are quite good, especially ‘Since’) helps out by singing back up on my favorite song
on the album, ‘The Evergreen,’ as well as Rachel Blumberg, who I do not know but has an amazing voice that
I will be sure to be on te lookout for in the future.

As for the sound - as with all great albums, every time I listen to the album I hear different things in it.  If I had
to give one overall impression and/or comparison, I would say take the sparse, mellow sound of Low, add in
some country twang and a little bit of noise that might feel right at home on a Dirty Three album.  I think the
Low comparison is particularly fitting, as Adam’s voice sounds very much like Alan Sparhawk’s, and when
Rachel is singing as well it really gives off a similar vibe to that of Mimi and Alan from Low.  But what makes
this album so great are the little things - the slide guitar and occasional harmonica make you feel as if you’re
riding down a lonely highway late at night; the use of the optigon, vibraphone, and various radio samples,
while not drawing too much attention to themselves individually, add to the overall pastiche of the work and
give it that intangible something that adds just the right texture to the song.

Anyone who considers themself a fan of this brand of mellow music would be remiss in not checking this
release out.  And you can put it on and listen to it while tooling around the house.  Just don’t be surprised if
you find yourself sitting down and listening to the music instead of getting the things done that you had
planned. (MUSIC SPORK)


A Northern Chorus
Bitter Hands Resign
Sonic Unyon Records
I’m not sure what genre to exactly lump this with - at moments they have a GY!BE or Mogwai vibe, but then
when the vocals kick in it could be Radiohead circa their first two albums. Regardless of where you stick
them in your collection, it ain’t a bad listen…it may not be timeless or have you clamoring to listen to it over
and over, but when it’s on it’s enjoyable enough. (SHREDDING PAPER)


Northstar
The Uncomfortable Camera
Triple Crown Records
For some reason I always thought of Triple Crown as a hardcore label, and not having a clue as to who this
band was, I was a bit surprised that they are one of those new-style emo bands that the kids are bat-ass over
right now. And by kids I mean junior high and young high schoolers, judging by the crowds at their shows on
this DVD. As for the DVD itself, the fans are in for a treat, because this thing is pretty impressive - the filming
and audio are about as good as you could hope for at live gigs, millions of camera angles and most likely
audio straight from the soundboard (and has obviously been touched up). Add to that interviews, videos,
acoustic performances, and commentary tracks, and I’m sure this will make for some happy fans.
(SHREDDING PAPER)


The Notwist
Neon Golden
City Slang Records
I know it’s early yet to be making such claims, and I’ll probably change my mind a half dozen times, but this
could be the album of the year.  It is most certainly my favorite album to come out so far, and I would be highly
surprised if it wasn’t at least in my top five at year’s end.  The Notwist come from Germany, and have been
around for a while, having released 2 or 3 albums on the Zero Hour label (that has since shut down), and maybe
a couple more or so before that.  Early in their career, they started out as a metal/punk/hardcore band of some
kind, but as time progressed, so did they.  in the mid-nineties, they added Martin Gretschmann to the band, who
is known to some as Console, his electronic-music-noodling alter ego.  With his addition came a new sound,
one that relied more on computer-generated sounds that would mesh with the organic sounds they were already
producing. 

With Neon Golden, we have their first album of the new millenium, and a sound that fits.  Their sound could be
best described as a combination of the following:  beats and noises that would fit in with the IDM set of Autechre
and Squarepusher; music that consists of a wide variety of instruments at times, from banjos to strings to
acoustic guitar, at times having the feeling of something that might have come from Red House Painters or
someone similar; and the vocals, if they remind me of anything, remind me of Trembling Blue Stars or something
along those lines.  But The Notwist are most definitely much bigger and better than the sum of their parts, and
really don’t sound like anything else; and I would almost bet money that it will only be a matter of time before there
are a lot of people who sound like them.  Track highlights include ‘pilot’, ‘this room’, and my favorite ‘one with the
freaks’.  I honestly don’t think there is a weak track on the album though.  If you are at all interested in this type of
music, hunt yourself out a copy of this album, and you too will be singing it’s praises to anyone who will listen.
(SLAP)