+++MUSIC REVIEWS+++

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The Sames
You Are The Sames
Pox World Empire
As a former resident of the great state of North Carolina, and the biggest fan in the world of “The Triangle’s”
early-to-mid-90’s output, it makes me exceedingly happy that the scene there is starting to pick back up. While
not sounding particularly like Superchunk, Durham, NC-based group The Sames still remind me quite a bit of
them, especially the poppier side of Superchunk that has come to exist over their last few albums. There’s also
a bit of Brit-pop/jangle-pop ala The dBs in their mix, and these two comparisons combined should lead you to
believe there are more than enough catchy hooks for any one album to have on “You Are The Sames”. The
eighth track “Downtown” is a particularly stellar track, and will no doubt make it on to numerous mixes I make
over the next few months. And should you not want to believe me, head over to their website
www.thesames.com, where they have a bunch of songs available to download. (SLAP)


Andrew Sandoval
What’s It All About?
Avebury Records
I did a little digging on the internet (you know, looked at Allmusic) to get some background info on this guy –
apparently, he has been one of the major forces behind all of the great reissues that Rhino has put out over
the last few years – so for that, thanks Andrew. But as for his music, it just doesn’t strike me as being that
good. It’s not bad either, just a little too drab, or something, I can’t quite place my finger on it...all the pieces
are there for good music, but it just doesn’t add up right. Apparently I’m in the minority though, as most reviews
I’ve seen of the guy have been pretty damn positive, including reviews of other folks who’ve written for this mag.
That said, if you like that chamber pop sound, you might like this, but I ain’t promising anything…I’ve been
wrong before, but that doesn’t mean that I am now. (SHREDDING PAPER)


Saxon Shore
Four Months of Darkness
Burnt Toast Vinyl
There’s not a bad thing I can say about Saxon Shore – they create beautiful instrumental music without any posturing
or pretentiousness. It reminds me quite a bit of Tristeza, and in fact I think I like it quite a bit better than them. At the
same time, it’s not the most memorable work, at least initially. Only time will tell if this music will keep it’s place in my
record collection, because bands like this have a lot of competition, and let’s face it – without vocals it makes it much
tougher for a band to be engaging and stand out from the pack.  I have no doubt that Saxon Shore is a good band
and this is an enjoyable record, but only time will tell if they bring themselves to achieve something higher than that.
(SHREDDING PAPER)


Sean Na Na
My Majesty
French Kiss Records
This is power pop folks, pure and simple.  Sean Tillman (the main man behind the band, formerly of the short
lived but somewhat popular Calvin Krime) has traded in his acoustic guitar for an electric one, and hired on
some lads to fill in on drums, bass, keyboards – the works.  Every review I’ve seen of this so far has com-
pared it to Cheap Trick, and I don’t think that’s far off, perhaps Cheap Trick with a hint of Beach boys, but
still retaining the same witty lyrics that you’ve come to expect from Mr. Tillman.  As someone who has been
a fan of this guy for a while, I was pleasantly surprised with the new and improved ‘rocking’ version of the
band, even though I really love all of the old acoustic stuff.  Definitely worth checking out for anyone out there
who likes good pop music.  The only negative thing I can say about the album are the photographs of horses
on the front and the back of the case, but that’s just because I really don’t like horses.  Other than that, a fine
effort. (SLAP)


Second Story Man
Pins and Needles
Landmark Recordings
Pop music.  Easy to make, but difficult to make right.  There are tons of pop musicians out there - a few that
are truly great, a few that are truly awful, and a ton that fall in the middle, neither good nor bad, just there. 
I know a lot of people who hate this group the most, but perhaps it’s the optimist in me that thinks and hopes
that some of these mediocre groups will scrape and claw their way out, on to the same playing field as the
good ones.

Unfortunately, my ears tell me that Louisville, Kentucky’s Second Story Man belong in with the middle of the
road bands.  Their sound is certainly poppy, bringing to mind some of the female fronted pop groups from
the eighties such as The Sundays, as well as more current bands like The Anniversary, Jejune, Rainer Maria,
and Mates of State.  Rainer Maria also comes to mind when I think of the vocals, although I don’t find Second
Story Mountain nearly as grating as I do Rainer Maria. 

The band seems very talented - good voices, interesting instrumentation from time to time, and a bit of
unpredictability that more pop groups could stand to inject into their music.  But it just seems to be missing
that certain spark or catchy moment in the music that makes your ears really perk up.  It’s the sort of thing
that you can’t really put down on paper, but you know it when you hear it.  After listening to this record a few
times, I couldn’t tell you how any of the songs go, and that’s always a bad sign when listening to music like this.

Second Story Man are too talented to be written off as awful music, but not talented enough to be truly great. 
But they are a young band, and time will only tell how their path leads from here.  Talent can be learned, but
that doesn’t mean it will actually happen.  Here’s to hoping it does. (MUSIC SPORK)


The Secret Machines
Now Here is Everywhere
Reprise Records
What just started out as small Dallas, Texas band putting out a small
but decent first album (“September 000”) on a small label (Ace Fu), has grown into something huge – not only
are they now on a major label, but they managed to escape two of the largest pitfalls in the music industry –
putting out a great second album (thus avoiding the dreaded sophomore slump), and making the transition to
the big leagues and still putting out a quality release.  The sound on this record is very, very big – try to imagine
elements of Friedman-era Flaming Lips, a little pit of Pink Floyd psychedelia, and a dash of Spoon’s pop in-
stincts, over a backbone of post rock via Kraftwerk (or maybe even Trans Am) beats.  Sounds weird but oddly
fetching doesn’t it?  I think so at least, and this release has been getting lots of spins in my player.  Don’t be
surprised if at the end of the year you find this record listed on a lot of top 10 lists, and take solace in the fact
that I’m not the sort to say “I told you so.” (SLAP)


Seekonk
For Barbara Lee
Kimchee Records
Seems like my review box has been overflowing with these similar types of mellow groups. Fact is, they’ve all been
pretty good for the most part, and Seekonk is no exception. With this crew we find a wide array of instruments
(horns and xylophones and even an amplified birdcage for chrissakes!), but never used in an overbearing way –
very much a ‘less is more’ philosophy at work here. Alternating male and female vocals, both quite breathy in
nature, which sometimes harmonize together in a fashion not that dissimilar to Ida. With only 8 songs and well over
40 minutes of music, you know you’re in store for some long songs, and that might be my only complaint here – that
‘less is more’ aesthetic that they apply to their music might also be suited for some of their songs, as they can from
time to time go on a bit too long. Other than that, not a bad album as Kim Chee Records continues to put out quality
music with each passing release. (SHREDDING PAPER)


Seldom
Romance
Casa Recording Co
On their second recording (and first full length player) Seldom shows us yet again that they may be the best
pop band out of the northwest of the US, even if they can be a bit melancholy.  Some of you out there may be
familiar with these young lads as David Bazan’s touring band, also known as Pedro the Lion.  On the surface,
their sound is similar to that of more recent Pedro recordings.  But once you’ve heard it a few times, it seems
to transcend that sound and transform into something altogether it’s own.  Another obvious choice for influences
might be Ben Folds due to the fact that the keyboard is one of the main instruments, but Seldom refrain from
the silly lyrics that plague Mr. Folds as well as being much less heavy handed on the keys.  They do incorporate
all of these influences into their sound somewhat, and the mish-mash that comes out is just great pop music -
and how can you not like great pop music? (SLAP)


Selfmademan
The Daylight Robbery
Small Man Records
I think this would be considered ‘emo’, but I’m never too sure these days.  Was Jawbreaker emo? Because that’s
who these guys remind me of the most I guess; or if not specifically Jawbreaker, than much more of that era than
the current one like Hot Water Music and a bunch of those Revelation bands that people were into in the early
nineties. This group of French Canadians has produced a fairly catchy album here, one that grows on you more
each time you hear it. Actually, it even grows on you as you hear it the first time, at least it did that for me – I wasn’t
into it initially but as the album wore on I found myself more and more into it. Melodic and rocking at the same
time…a combination of two great things in music that sometimes are quite hard to put together. Selfmademan
doesn’t do a half bad job in a genre that I’ve never been too crazy about, even if it’s not the most original music in
the world. (SHREDDING PAPER)


Sharks and Minnows
The Cost of Living
Two Sheds
It’s pretty unreal – every single song on this CD sounds like it could be a hit on one of those mainstream modern
rock stations like Live105 here in the Bay Area or whatever might be the channel in your town. The sound has a
hyper, punk edge, but blended with a 90’s mainstream pop sensibility; that isn’t to say this is “pop-punk”, but
merely that you can hear elements of both genres contained within Sharks and Minnow’s music. If I had to com-
pare them to someone, later-era Jawbreaker, Sensefield, even the Wrens come to mind first. It’s all very clean,
well-produced, and professional, which can be both good and bad depending on your outlook. One thing is for
certain – the album is way, way too long. They might want to try leaving them wanting more next time around.
(SHREDDING PAPER)


The Shins
Oh, Inverted World
Sub Pop Records
This is quite possibly the best record I have heard all year.  Most certainly the best pop record to come out for
some time.  That might seem like a bold statement, but I am yet to be told otherwise by anyone I’ve played this
for since I got it.  And I’ve played it for a lot of people.  It sounds like the Beach Boys crossed with the psyche-
delic pop of the Elephant Six, only better.  OK, maybe not better than the Beach Boys, but you get what I’m
saying.  The production value is immaculate – giving it the feel that it might have been recorded 30 or 40 years
ago, as opposed to last year.  According to their website, The Shins have been releasing music for a while
now – as Somersault, Flake, and Flake Music – but this is the debut for them as The Shins.  These songs
yearn for a summer road trip – the oppressive heat, windows down, driving somewhere and maybe nowhere,
turning the volume up so you can hear it over the wind that’s making a mess of your hair.  Highlights of the
album include ‘one by one all day,’ ‘know your onion,’ ‘pressed in a book,’ and...well, all of them.  My very fav-
orite, though, is ‘new slang’ – a beautiful, haunting song that gets stuck in your head for days on end.  In addition,
this disc is multimedia, so if you put it in a computer you get to see this terrific video for ‘new slang.’  The only
drawback of the album is that it’s not long enough, clocking in at less than 40 minutes.  No need to fret though,
cause you can check out their official website and download some additional songs for free
(www.artisdead.net/theshins).  (SLAP)


The Shins
Wincing The Night Away
Sub Pop Records

 - 7 out of 10 -

The new Shins album is mostly more of the same, but would you really want anything different?  After they got
picked up by the mainstream due to their inclusion in the film “Garden State”, it seems only natural that long-
time fans would be a bit concerned that the band might try to cater their style to fit better into the mainstream. 
Luckily, they’ve decided just to do what they do best – write simple, catchy pop songs with a hint of 1960’s
nostalgia, all wrapped up in a pretty package that is James Mercer’s signature voice.   The record starts off
very strong with “Sleeping Lessons” and “Australia”, my two favorite tracks on this album and some of the most
upbeat material they’ve released in a while.  Another fine track is “Red Rabbits”, which sounds as if it were a
song recorded during the “Oh, Inverted World” album sessions that was only recently rediscovered.  One track
stands out like a sore thumb on the album though – “Sea Legs”, which comes off like the band got drunk one
night and tried to write a Beta Band song.  It isn’t really good or bad, just a strange inclusion into this otherwise
smooth sailing of pop goodness. (SLAP)


Shipping News
Three-Four
Quarterstick Records
There are two things that kept this album from getting a perfect review from me - the fact that most of the
material had been previously released in a series of three eps over the last year, and because it is a collec-
tion of songs from other releases, it may sound a little disjointed at times as a total package, even if the
individual parts are fantastic.

I’m glad they released this album though, collecting the three eps together and adding some extra tracks. 
Those three eps were a hand crafted limited edition (1000 each, I believe), and are currently now out of
print.  If you do happen to find one used, most likely it’s going to cost you a decent chunk of change.  Try
collecting all three, and I wouldn’t be surprised to easily end up paying over 50 bucks.  So the boys in
Shipping News did their fans a favor by releasing this compilation.  Some of us ain’t got that kind of money
to be throwing around.

For those not in the know, Shipping News is comprised of three members - Jeff Mueller, Kyle Crabtree,
and Jason Noble - luminaries in the indie rock underground, and known for their work in such bands as
June of 44, Rodan, The Rachels, and more.  The sound of Shipping News doesn’t stray too far from their
resume, but if it ain’t broke, why fix it?  Since this is one of my favorite bands, I say you should go out and
buy all of their albums.  But if you’re broke like me and looking for a place to start, this wouldn’t be a bad
place for it. (MUSIC SPORK)


Shoplifting
S/T
Kill Rock Stars
Shoplifting, made up of a good chunk of folks from the Chromatics and Soiled Doves, may have put out a
short-player, but it packs the wallop of most folks’ full lengths. I dunno exactly how to describe it, but the sound
is like the perfect mesh of everything that was great about both the Pacific Northwest and Washington DC in
the early 90’s, but it doesn’t sound dated. While I was listening to this I could totally envision this band opening
up for Nation of Ulysses or Bikini Kill on some tour back in the day. The whole effort is clangy and messy and
punk, but you could totally dance to it, if that’s your bag. (SHREDDING PAPER)


Shortstack
S/T
Planaria Records
You know how sometimes you see a CD and you hope and expect it to sound a certain way, and then it ends
up totally different? Well, as it turns out, this band Shortstack is not about pancakes nor is it a tribute to Too
$hort. Sadly, it is just a bunch of ho-hum alt-country songs with copious amounts of slide guitar. Normally I love
me some slide guitar, the more the better, but for some reason it’s just not working here…I have a hunch it’s
the singer’s voice that I’m really not getting along with but the slide just stands out so much more. As a plus in
their column, they do end the album with an uncredited cover of Motorhead’s “Ace of Spades” but it’s a little
bit of the “too little too late” syndrome, as I’m pretty well turned off before I ever get there. Fans of twangy
generic country that sounds like most other twangy generic country, I believe you’ve found a new favorite band.
(SHREDDING PAPER)


The Shout Out Louds
Our Ill Wills
Merge Records
 
 - 7 out of 10 -
 
The Shout Out Louds debut album “Howl Howl Gaff Gaff” was a pop record through and through, but it has nothing
on the level of shimmer and hooks contained in their sophomore follow-up “Our Ill Wills”.  Gone is any inkling of a rock
edge, and in its place they’ve polished up all the rough bits and made a product so shiny you’ll need sunglasses to look
at it.  I suppose that could be good or bad depending on the listener - were I forced to pick between their two releases,
I prefer their first album; but this second record is so crammed full of catchy songs it would be really hard not to enjoy
this newest outing by the band.  If you can imagine a combination of Swedish twee outfit Acid House Kings and British
make-up aficionados The Cure, you’ll get a general idea of what the Shout Out Louds have to offer (the second comp-
arison being especially apt, since the singer of the Shout Out Louds has an eerily similar voice to that of Robert Smith
of the Cure).  A band certainly worth checking out for any fan of pop music, be it their first record or this newest one;
you’ll most likely not be disappointed either way.  (SLAP)


Shy Child
One With the Sun
Say Hey Records
El Guapo were a pretty damn good band, but then they broke up/disappeared/I dunno what happened. Well, this
is what happened to two of them – they moved to NYC and formed Shy Child. And as much as I liked their original
group, this one might be even better. This is how dance-rock should be done, it would be nice of some of the more
popular ones would recognize this fact and stop sucking. In a lot of ways this is a lot like El Guapo but with tons of
keyboards and synths layered on top…catchy stuff, dancy beats, I have no doubt that if the cool kids catch onto this
band they’ll be huge in no time, and it will be well deserved. (SHREDDING PAPER)


The Silver Jews
Tanglewood Numbers
Drag City Records
As someone who’s been a huge fan of the Silver Jews since the days when most folks just considered them a
“Pavement side project”, I’ve been trying to wrap my head around their newest release “Tanglewood Numbers”
for a while, trying to figure out what to say about it.  It’s been four years or so since the Silver Jews last put out an
album, and since then Berman has struggled with any number of vices and nearly managed to kill himself.  This
fact alone is a big part of what makes this album especially surprising…because the record could probably be
described as “upbeat”.  Maybe Berman excised his demons and now there is a shinier, happier Silver Jews left? 
I dunno about that, but every time I even think about the new track “Sometimes a Pony Gets Depressed” it makes
me smile.  In a lot of ways, the Jews are still mining a Lambchop-ish Americana sound that they’ve gone to since
the beginning, but there are a few songs on this record that might almost qualify as “rock” songs.  The lyrics are
still amongst the best in the business…Berman is amongst the best in the business at creating witty, literate songs,
but this batch is definitely a little askew of the norm.  all in all, it’s a great album for everyone - a new twist for us
long-time fans and a great place to start for any newcomers. (SLAP)


Silversun Pickups
Carnavas
Dangerbird Records

 - 8 out of 10 -

I randomly purchased the EP “Pikul” that the L.A.-based quartet Silversun Pickups issued last year and was
instantly drawn in – any band with swirling guitars like that will always catch my ear.  The vocals really stood out
as well; I might not have been able to identify the sex of the person singing, but they were strong and lent them-
selves perfectly to the driving music of this band.  I was hooked.

Fast-forward one year, and the and finally releases their full-length record.  It does not disappoint.  More of that
same sound as before, only somehow bigger in scope (and certainly in amount of material – the record is nearly
an hour long).  Everywhere I read I see the comparisons to My Bloody Valentine and Smashing Pumkins – know
that Silversun Pickups sound absolutely nothing like either of these bands, but I can see where the comparisons
come from.  I’m pretty sure the tone and thickness of the guitars would be Kevin Shields approved, and there is
something about the pace of the songs and the way the drums drive everything that would make Billy Corgan
proud.

My only gripe – at times it can feel a touch over-produced.  This bothered me at first but after only a couple of
listens I sorta accepted it as part of the sound of the band…it does seem as if the guitars could benefit from a
little more crunch and/or edge to them in the mix, but that is a very minor squabble.  All told, this is definitely one
of my favorite records of the year. (SLAP)


63 Crayons
Good People
Happy Happy Birthday To Me Records
Yet another pop band that’s a throwback to a long lost era; yet another CD that’s neither good nor bad, but just
kinda there; yet another release that my brain forgets as soon as the record is over. If you like screwball Ele-
phant 6 pop like Of Montreal, or maybe the Starlight Mints, and a little edginess ala the Pixies, then you might
want to check this out. There are a couple of decent tracks, specifically “The Mold” and “Mrs. Brewster”, and
nothing really stands out as bad, but most does have a filler quality to it. And having a stupid band name doesn’t
help the situation out any either. (SHREDDING PAPER)


The Sleepover Disaster
Loud Is the New Quiet
Overcast Records
This is a forgettable, but not necessarily bad album of British inspired Central Valley Rock. It sounds a bit like
Radiohead’s first two albums, but not so much like their more recent stuff. Swirly guitars and a voice that sounds
occasionally like Thom Yorke only further propel the comparison. You could do worse…and you could also just
listen to Radiohead themselves. (SHREDDING PAPER)


The Smiths
The Queen is Dead
Sire
Put quite simply, The Smiths changed the course of music forever. In the early to mid-eighties, popular music
was dominated by electronics – keyboards, synthesizers, drum machines. Then The Smiths released their first
self-titled album, and over the course of the next few years it’s as if all those cheesy 80’s synth goons had never
existed at all. Although The Smiths never achieved radio dominance (at least not here in the states; they did
somewhat in England), their influence was felt everywhere, encouraging the youth to put down their techno toys
and pick up a guitar again. It was a combination of Morrissey’s amazing voice and dreadfully morose lyrics and
Johnny Marr’s immaculate guitar work that set lose swarms of imitators, none of which could even touch these
lads. In some way, shape, or form, if you listen to any rock music from the last 15 years, they’ve influenced it.
The recent ‘return to rock’ in the skateboarding world over the last couple of years has also spawned an in-
creased interest in The Smiths, with their songs popping up in a number of skate videos, perhaps most notably
the wildly successful ‘PJ Ladd’s Wonderful, Horrible Life’. Since most kids skating nowadays were probably
born after The Smiths broke up, they probably either have no idea who this band is or at best only know them
as some weird, old English band on the skate video. If you’re interested in checking out The Smiths but don’t
know where to start, my suggestion is ‘The Queen is Dead’. It’s not only widely regarded as their best album,
but one of the best albums of the eighties. That said, you really can’t go wrong with any of their releases (and if
you’re looking for that song from the PJ Ladd video, get ‘Louder Than Bombs’) – they weren’t around long
enough to start sucking like most bands do after being together for too long. Just be aware that they only had four
proper albums, but about a million singles with non-album b-sides and probably a dozen different ‘greatest hits’
and ‘b-side’ compilations. (SLAP)


Snowdonnas
Over Now Ballyhoo
Withdrawal Records
I would just like to say right off the bat that I’m glad the music that Snowdonnas put on their record isn’t as bad as
their name – as bad as it is to admit it, there is very little chance I would have ever given this record a listen had
I not been reviewing it. And don’t go getting all high and mighty, because we all make assumptions like this –
bad band names, cover design, members of the band look funny, etc.; I’m not saying it’s right, but if you’re going
to go to the trouble of recording and releasing an album , it’s nice to put a little thought into the peripheral things.
Bad name? Think up a new one. Poor album design? Hire someone who knows what they’re doing – you can
always find out of work designers at coffee shops and record stores who’ll do some cheap free lance work.
Weird or ugly band members? No one said you had to include a photo, just have the guy designing the album
to put some funny and/or obscure photos of random shit in there and you’re all set. Of course, in the long run,
none of this really matters once you hear the music. Good music can overcome any and all short comings like
they were never even there; bad music enhances all of the flaws and makes anything good about the record dis-
appear. But this review isn’t meant to be a discourse about all of this shit; it’s a review of the Snowdonnas album
‘Over Now’. Remember the whole shoegazer craze that swept the British Isles and the US in the early nineties?
This would fit in quite nicely with those CDs in your collection. The record is ok, but sounds like a million other
bands you’ve already heard. The one thing that does slightly set this record apart from some of the others in this
genre is the occasional dancy backbeat that makes me think of the first Stone Roses album, which might just be
the best record to come out of this whole movement. The Snowdonnas are the sort of band who you might see
open for someone you really like, but you wouldn’t go to a show to see them only. You forget them as soon as the
record is over, but it seemed pleasant enough while it was playing. Personally, I’d rather go listen to Swervedriver
or Starflyer 59 or even the newer Calla record first, but there’s a lot of stuff out there worse that the Snowdonnas
trying to pass itself off for this type of shoegazer-style rock. (MUSIC SPORK)


The Snowdrops
Matinee 29 (7")
Matinee Records
Average English power-pop. Apparently this is their debut record, so I find it a bit odd that they would want to kick it
all of with a cover of Tears for Fears “Mad World”; but then I’m not in the band, so it’s not for me to decide such things.
The band is made up of members from a bunch of other bands that I’m indifferent about and don’t even want to get
into. Check this out if you’re super into the Sundays or Cocteau Twins or Tears for Fears I guess.
(SHREDDING PAPER)


Social Distortion
Live in Orange County (DVD)
Time Bomb Recordings
Filmed at the House of Blues in 2003, this DVD offers a modern look at these rockabilly punks that have been
around for what seems like forever. Watching this was like an instant shot of nostalgia, driving around listening
to punk in an old beater car looking for skate spots in the early nineties.  Any fan of the band is going to want to
pick this up – it’s well filmed with multiple angles (9 I think?) and the sound quality is quite good. They perform
a number of tracks both old and new, “Story of My Life” and all that, plus an especially good cover of Johnny
Cash’s “Ring of Fire”. Plenty of bonuses on the disc as well – sound check, interviews, and lots of miscellaneous
footage.  It’s not perfect, but it’ll certainly do when you need a Social Distortion fix and they aren’t playing your
town anytime soon. (SLAP)


Sodastream
A Minor Revival
Microindie
You can call these guys the Australian version of Belle & Sebastian, cause that’s pretty much exactly what they
sound like (I also hear a bit of Stone Roses in there, but Stone Roses purists – I know a few – would probably kick
me in the balls for saying that). Sometimes when bands come out and sound exactly like someone else it bugs me,
and other times it doesn’t. I’ve never been able to figure out why that is, but I assume it has something to do with
how well they’re doing the ripping off. Sodastream, to be quite honest, does a great job, and I wouldn’t be surprised
if I listen to this nearly as much as I do B&S. Well, maybe not quite that much…but still a well played release by these
Aussie chamber-popsmiths. (SHREDDING PAPER)


Sonic Youth
Rather Ripped
Geffen Records
It seems verifiably insane that Sonic Youth has been around for 25 years…that aband of this quality has existed
almost as long as I have.  And while their output may not be as fantastic as the “Sister”/“Daydream Nation” era,
even their worst albums are far better than most bands can manage. 

“Rather Ripped” comes in as their fifteenth album, not including countless EPs and live albums and all that.  More
importantly, it is probably their strongest work since 1995’s “Washing Machine”.  Their last few records have been
very good - but at the same time, a little formulaic in a very Sonic Youth-type way.  And while this one is no different
it does set itself apart by being one of their catchiest compositions in years – the second track “Incinerate” will
instantly get stuck in your head, and might be one of my favorite songs they’ve ever written.  This one does seem
to be a little more Kim Gordon-heavy than usual, and I know there are folks out there who hate when she sings so
consider yourself warned. 

If you’re a long-time fan like myself then picking this one up is a no-brainer; however, if you’ve written the band off
in the past you should do yourself a favor and at least give it a spin or two, you may find yourself surprised at how
much this group of geezers is still capable of accomplishing. (SLAP)


(The Sounds of) Kaleidoscope
Can and Do What They Will
Foxyboy Records
Dear god this is one of the best Kinks cover bands I’ve ever heard, maybe the second best after the Lilys. Yeah,
I’m well oversimplifying things, but you catch my drift…that is to say, this is really brilliant psychedelic swirly rock
with a catchy pop bent and a singer who sounds like he’s being channeled straight from late 1960’s England.
Only to the original recipe they add some genuinely great noisy freak out bits, I guess you could throw a com-
parison to My Bloody Valentine in here and it would make sense, you know these kids have listened to a lot of
them. The whole album is highly recommended if you dig this sort of action.  Better still, if you go to their website
I’m pretty sure you can download the whole damn record - http://www.thesoundsofkaleidoscope.com/. (SLAP)


(The Sounds of) Kaleidoscope
From Where You Were to How You Got There
Hackshop Records
This Washington DC band released an EP called “Can and Do What They Will” a couple of years back that I
accidentally stumbled upon and it blew me out of the water.  So I was obviously excited when I found out they had
a new full-length out, which by the application of simple mathematic principles, I am able to deduce that this release
should be twice as awesome as the EP.  The group continues down the same path they had started with their
earlier releases, channeling their mod pop/shoegaze rock hybrid that is equal parts Kinks and Spacemen 3,
depending on how you bend your ear when listening.  Both “Oh My Mind” and “New Language” were instant
favorites after only one listen, sure to be pushed on my friends until they finally catch wind and realize what a great
band they are missing out on. Without hesitation I can say this is one of the best records I’ve listened to all year,
and this lovely collection of tracks will most certainly be in the running when it comes to year-end best-of lists.
(SLAP)


South
From Here On In
Mowax/Kinetic Records
These three gentleman from England have delivered us a beautifully layered album, where electronic beats,
noises, and rhythms share the air space with the traditional instruments of most bands – drums, bass, guitar,
vocals.  They got their start tinkering around with remixes and the like, and soon caught the ear of James Lavelle
(also known for his work with DJ Shadow in U.N.K.L.E. and as the founder of Mo’Wax Records).  The album is
bookended by a pair of similar songs ‘ Broken Head I’ and ‘Broken Head III’ (with ‘Broken Head II’ lying some-
where in the middle of the album) that sound like a live band interpretation of something DJ Shadow would put
together.  At other times the heavy bass lines and overall groovy nature of the tunes reminds me of Doves, another
great English band to come out recently.  And there is even a third sound residing here, one of the shoegaze/
britpop fashion reminiscent of The Stone Roses, Ride, or some such band as that.  My favorite song from the
album ‘Here On In’ probably fits into this third category, and features a duet with a female vocalist by the name
of Lily Mahler whom i hope to here more from in the future.  The sound of her voice makes me think she must be
one of the most beautiful girls alive.  If there is a downside to this album at all, it  is the length of it – at almost 70
minutes long, it’s almost too much to take in at once.  But I would rather have too much music than too little, so
that’s not a complaint really.  Check it out – great music for kicking back to, long drives, and staring out the
window on a gloomy day. (SLAP)


Southeast Engine
Coming to Terms with Gravity
Bettawreckonize Media
There’s a hint of twang to this Ohio pop band known as Southeast Engine, and I like it. My first reaction was the
same as seemingly most everyone elses – this band is a little reminiscent of Wilco, in their blending of Americana
roots-rock and pop…especially the Wilco from the Being There and Summerteeth years. Now Wilco is one of my
very favorite bands, and I don’t mean to insinuate that Southeast Engine are even in their category really, but this
is a very good start by these Midweastern upstarts – they’ve certainly got my attention. You could also probably
drag some of the more recent material by the Drive-By Truckers into the comparison, especially on the mellower
numbers. The bottom line is this is just some straight-forward rock music for regular folk – no pretensions, just
good music. (SHREDDING PAPER)


Frankie Sparo
Welcome Crummy Mystics
Constellation Records
I have to admit, I wasn’t terribly excited when I got this CD to review. I had heard Frankie’s previous full length
‘My Red Scare’ and it hadn’t done much for me at all. I don’t know if Frankie is writing songs that are more
along my lines of enjoyment, or if my tastes have changed, but either way I enjoy this record much more.

Frankie is from Montreal, so I guess that makes him French-Canadianinsert jokes here. The foundation most
of his songs are built on are simple singer/songwriter fare – but it’s the flourishes he adds to it that makes it
unique. Shades of Tom Waits in his voice (only nowhere near as gruff as Waits) with highlights reminiscent of
a lounge singer; the music is somewhat similar to what you expect out of Constellation, walking a fine line
between the mellower moments of Godspeed! You Black Emperor, The Dirty Three, and Barry Black (solo
project of Archers of Loaf/Crooked Fingers front man Eric Bachman).

Some of the songs just sit there as background music, some perk your ear from time to time, but one is
really terrific. It’s called ‘akzidenz grotesk’, and it’s Frankie’s closest foray toward a more pop-structured
song. The rest of his songs are enjoyable enough in a meandering sort of way, but this track really seems
like it’s going somewhere. Actually, it did go somewhere, straight into my brain to get stuck for days on end.
Luckily, I like having it there (unlike getting an Air Supply or Whitney Houston song stuck there, which seems
to happen to me way too often).

All in all, I like this record and I like the direction Frankie Sparo seems to be going in. Between this and his
last album, he’s made vast improvements as far as I’m concerned, and if he continues down this path, he
will probably be as highly regarded as the other Constellation acts that see so much praise and press.
(MUSIC SPORK)


Spear of Destiny
Live: The Hacienda Manchester England 1983 (DVD)
Cherry Red Records
I knew very little of this band going into this but it was fairly entertaining nonetheless. The disc is mostly made
up of a live, hour-long concert recorded in September of 1983. Featuring former members of Theatre of Hate,
Spear of Destiny had a brief flirt with success in early 80’s England, back when bands that were somewhat
post-punk in nature could get acclaim outside of their insular fan worlds. The video quality isn’t terribly great –
mostly due to filming in a very low-light situation, but given the age of the film I’ll forgive it. The sound quality is
decent though, and other than the cheesy sax in the band, the music is decent as well. The only other real item
of note on the disc is a modern interview with the front man of the band, talking about remembrances of days
gone past. Certainly a must have for fans, but worth checking out if you come across it. (SHREDDING PAPER)


Spizzenergi
Where’s Captain Kirk? Spizzenergi Live
Cherry Red Records
I think my favorite part of this live set, recorded in 1996 at the “Holidays in the Sun” festival, is the fact that Spizz
is performing wearing a suit jacket and tie (with pictures of himself on them) over top of track pants. This DVD is
a recording of that concert, coupled with some interviews and other odds-n-sods, all capturing the cut-rate punk
rock that Spizz is known for. It has that feel of washed up rockers reuniting, which has always bummed me out,
but no doubt die-hard fans of this character will enjoy this anyways. (SHREDDING PAPER)


Spokane
Measurement
Jagjaguwar
This is what my friend Greg would all ‘sleepy time’ music. Spokane make Low look like an upbeat group. This is the
fourth release from this mellow lot, and the group has now grown into a three piece with the addition of bassist Robert
Donne (known from Labradford and Breadwinner). Since I haven’t heard their previous albums, it’s hard to say how
this has changed from those other discs, but from what I’ve read they seem to be pretty much staying the course.
Alternating male and female vocals are the name of the game, combined with extremely atmospheric music along
the lines of less frantic Dirty 3, the aforementioned Low, and maybe even a little newer Mogwai thrown in for good
measure. Although I don’t think I would want to attend their show without a cot to lie down on, the album is a nice
pleasant listen and worth checking out. (SHREDDING PAPER)


Spoon
Gimme Fiction
Merge Records
Although the music on this album makes sense if you’ve followed Spoon all along, the transformation of this band
over the years is quite drastic when comparing their first output to the more recent.  It’s been a gradual change and
not one that I find particularly upsetting, but over the years this band has slowly morphed from the electrified-acoustic
guitar sounds that was their early calling card into a dancebeat-laced indie-funk band with very little guitar at all. In
actuality, there are guitars on the album, it’s just that the way the songs are put together they seem like the least
important instrument in the mix. Any band that fit this description on paper probably wouldn’t even warrant a listen
in my household, but Spoon is so consistently great they are always given a chance.  And despite my general
protestations and large dislike for anything that might be remotely described as “indie funk”, I’m actually really
digging this new album and their new sound. I’m sure some fans will be disgruntled as usual, but some folks can
find anything to dislike about any bands new record if they want to bad enough.  So put on your dancing shoes,
put it on Spoon’s best impression known as “I Turn My Camera On”, and get down with your bad self. (SLAP)


Spoon
Kill The Moonlight
Merge Records
The great thing about some bands and musicians is how they never seem to allow their sound  to remain in one
place for too long.  A number of bands do this, and Spoon is one of them.  Just when you think you have their
sound pigeonholed, they change directions and follow along a different path.  When they broke through many years
ago with ‘Telephono’, they received a lot of grief and praise(depending on your source) for seemingly ripping off
the sound of The Pixies.  The buzz generated from ‘Telephono’ led them to getting signed to a major label and
releasing ‘A Series of Sneaks’, which built on The Pixies influence and incorporated it with the post punk sounds
of the early eighties represented by the likes of Gang of Four and Wire.  This brilliant and under-bought album got
them dropped from the major label.  A few years pass, and Spoon ends up on Merge, where they release ‘Girls
Can Tell’ in 2001.  Not only was the lyrical content more personal and caustic, documenting their dealings in the
industry and life in general, but their sound had been injected with a healthy dose of pop sensibilities.  It was
hailed by critics as their best work yet.

Their new album, ‘Kill the Moonlight’, is no different.  It too has broken off on a different path.  The new album still
retains Spoon’s unique blend of off kilter pop and post-punk, but the music has a very hollow, stripped down
quality to it.  Not that it’s bad, as I find it very enjoyable, just different.  It feels as if entire parts of the instrumentation
are missing, and many times the songs are only driven by Britt Daniel’s voice and a single instrument.  And often
times that instrument is an organ, a keyboard, or a bit of piano - which has ben used in previous spoon songs, but
stands out much more dramatically in the new stuff.  One of my favorite songs on the album ‘Stay Don’t Go’ actually
uses a human beatbox as the rhythm section.  Certainly a great album by my estimation, but if you’re looking for a
sequel to ‘Girls can Tell’ then this ain’t it.  But who says it needs to be? (SLAP)


The Stairs
On Sleep Lab
Access to Visions
While not particularly amazing or anything, this new and final album by The Stairs is a well crafted chunk of
catchy pop songs that should be heard by many more people than will actually happen. From Boston, these
lads have a love for the lo-fi (whether that is purposefully or out of necessity), and it suits them; think of a more
saccharine, jangly Guided by Voices without the fake British accent. Or maybe they sound like a less-whimsical
Of Montreal? Either way, they have an ear for hooks and there are plenty on this record. My biggest complaint –
this album is too long and could stand to be edited down a bit, but then again I’ve always been a “less is more”
type. (SHREDDING PAPER)


The Starside Eight
Goodnight Noises Everywhere
Electric Frog Recordings
For the record, The Starside Eight are not an eight-piece band as one might assume from the name(I know I did). 
In reality, the band is actually the duo of J.J. Starside and James Eight, two New York City gentleman who have
known each other since they were three years old, with some additional musical accompaniment from various
friends and accomplices.  The Starside Eight play pretty straight forward, catchy pop songs.  No new wave, no
no-wave, no electro clash - just rock and roll.  Sure, it’s been done a million times, but it sounds good.  And that’s
all that I ask for out of a band.

Their sound is self described as ‘lullaby rock’, since they apparently recorded the album in the basement of their
house in Brooklyn, and there was a limit on the amount of loud noise they could make.  Be that as it may, there are
a number of songs on the album that rock, such as ‘The Birthday Show’ and my personal favorite ‘Career Day’,
which reminds me a whole hell of a lot of something Joe Pernice would have his hand in.  The whole album gives
off a great pop vibe, reminding me somewhat of Big Star at times without ever really sounding like them.  There is
a decidedly lo-fi, warm feel to the album - great music to put on the player on a cold night while curled up in front a
fire and reading a good book.  And if you don’t read or have a fireplace, I guess you could just sit and stare at the
walls, but then people might think you’re crazy. (MUSIC SPORK)


The Stereotypes
2
Earthling
There’s nothing particularly new going on here; very much along the lines of many of the new breed of poppy-
garage rockers like the Von Bondies or the White Stripes or whoever. Yet, I find this release extremely easy on
the ears and not a bad listen at all. I’m thinking this is mostly due to two reasons: first, the songs are catchy, in
a very Spoon or Exploding Hearts-like way; second, singer John Finkbiner’s voice has this great ear-catching
quality, very pleasant to listen to. What’s more, the band keeps it short and sweet with this release, never giving
you the chance to get bored with them (more bands could take a lesson from this – a lot of the time, less is more).
(SHREDDING PAPER)


The Stilettos
Making History by Repeating It
Stardumb Records
First off, no it’s not those Stilettos, the ones you’re thinking of. No, these are some Netherlands cats playing
fast-n-furious rock that would surely be popular with the tattooed biker/rockabilly camp. Fans of old Social
Distortion, New Bomb Turks or any number of mid-90s Estrus bands should take note. Although not generally
my bag, this is pretty decent stuff, worth a few listens…there’s even a cover of Frampton on the album. All of
their songs are right to the point and never overstay their welcome, which probably seems obvious when you
note there are 13 songs in less than 30 minutes. (SHREDDING PAPER)


Stokoe
The Experiment Has Been a Complete and Utter Failure!
Rookie Records
On the bright side, I knew going in that there was no possible way that the music of Stokoe could be anywhere
near as bad as the art on the CD case. I would instantly put in the top 5 of “bad album art” amongst the CDs
I’ve actually owned…it’s the kind of terrible that would keep you from buying it in the store no matter how
glowing the reviews were. But back top the music – which is a bland pop/punk confection with female vocals
that neither stands out or offends in any way, shape or form. Dickie Hammond from Leatherface is apparently
the man who put this all together and recruited folks to help him make it a reality…apparently the dude has
some hand in the Angelic Upstarts now, so I’m thinking he should probably stick with that. (SHREDDING
PAPER)


Summer at Shatter Creek
S/T
Absolutely Kosher Records
To put out an original, movingly beautiful pop album in these days after so much has already been done-to-death
is quite a feat. To do it on your debut release, and by yourself, is truly remarkable. And to be quite honest, to pigeon-
hole this release as merely a pop record is doing it a great injustice.

The curiously named Summer at Shatter Creek (SaSC) is the work of one man, a Mr. Craig Gurwich, and what a
man he is. I think we’ve all heard albums by ‘one man bands’ that might be enjoyable, but sound exactly like you
might expect when only one person is playing all of the music – very one dimensional, single personality-type stuff.

Somehow Mr. Gurwich manages to transcend this phenomena, creating a very three dimensional sounding album
that is just oozing electronics, but still sounds quite organic. There are lots of warm, classic sounding organs and
keyboards along with the prerequisite drums, guitars, and whatnot. But the real story here is the man’s voice – and
my god, what a voice it is. He possesses possibly my favorite falsetto since Jeff Lynne of ELO, and that’s not some-
thing to be taken lightly. I’ve heard and read people mentioning it in the same breath with words like ‘heavenly’ and
‘angelic’, and I’d be remiss to put up any sort of argument over the pairing.

The ‘sounds like’ thing up there might be better thought of in terms of ‘if you like these bands you should like SaSC’,
because while this record might remind you of a lot of things, it doesn’t really sound like any of them. At the very
least, go to his website http://www.summeratshattercreek.com/ and listen to the couple of MP3s there. Chances are
you’ll be adding another record to that list of things to get next time you go to your local music store. (MUSIC SPORK)


Sunday’s Best
The Californian
Polyvinyl Records
Be it their affiliation with Polyvinyl Records or most of the bands that they play shows with, but Sunday’s Best seem
to always unfairly get lumped in the ‘emo’ category when what they really are is just good melodic pop music.
Reminding me of later-era Knapsack, The Jealous Sound (Blair from Knapsack’s new band, which features the
bassist of Sunday’s Best as well), and The Weakerthans, Sunday’s Best bring a beautiful blend of California sun-
shine pop with a slightly downer outlook. Singer Ed Reyes has a very unassuming and warm voice, and it doesn’t
take many listens for the choruses to get stuck in your head. This album would be equally good as a companion
on a summer road trip, or a nice selection to listen to in your headphones as you trudge to work or school on an
overcast day. A great sophomore effort, and if they continue in this fashion they could be bound for great things.
(SLAP)


Superchunk
Crowding Your Visual Field DVD
Merge Records
Most likely everyone out there knows Superchunk by now – this 15 year old juggernaut of a band from North
Carolina had a large influence in shaping music as we know it today.  They were one of the first bands to ever be
considered “indie rock”, which like all genres is hard to define but you know it when you hear it.  Their blending of
punk and pop music was nearly unprecedented at the time, and I still think they are the best to ever do it.  After all
of these years, the Chunk has finally seen fit to bestow upon us a DVD cataloguing videos, live performances, and
a great tour video that covers trips to Japan, the UK, and around the US in 2001.  Even for a huge fan as myself,
this is my first time seeing many of these videos as MTV and similar outlets have seen fit to ignore good music
for years now (but that’s another rant entirely).  A few of these made it onto the once great “120 Minutes” for a few
spins, but that was it.  This is worth picking up just for the “Watery Hands” video alone – it stars Janeane Garafalo
and David Cross and cracks me up every time I watch it.  This is a must own for any fan of the band, or fawning
super-fan in the case of myself. (SLAP)


Supercreep
S/T
Pat's Record Company
I’m not the sort who generally pays much mind to lyrics, the music has always been much more important to
me; but when they are this terrible, it’s hard not to notice. The tunes themselves aren’t that bad bouncing
between Sleepy Jackson-type pop and Primal Scream-style electronica, but songs with sophomoric lyrics
about drug juice and hooking up with women don’t make for exciting listening. The jangly-pop song “Fire
Escapes” is one of the few stand-out songs, but it’s not perfect by any means. More than anything, this album
seems contrived, as if the people behind it thought this was what people wanted to hear. (SHREDDING
PAPER)


Super Furry Animals
Phantom Power (DVD)
Beggars/XL
Super Furry Animals have come forth with their second DVD accompaniment of a newly released album. The main
mission of this disc is to pair up their new album with a series of animations (the same ones shown behind them if
you ever check them out live – and you should); additionally, the release contains remixes of each of their songs, lead
in animations for every track, and commentary. I think this is a great idea and expect to see it happen more and more
over the next few years. However, my only real complaint is that this is only really useful to those who have a bitching
system in their house. As the animations aren’t the most engaging in the world, this disc is supposed to act as an
audio with visual accompaniment to be played over your home system. Which is all fine and good, but most folks I
know have pretty bunk set-ups in their home.  Additionally, although I love their music, I can only listen to this when I’m
at home and I do the bulk of my music listening going to and from and at work. I think the best solution to this would be
to either package both the CD and the DVD together, or do as I’ve seen recently and on a single disc, put the CD
media on one side and the DVD on the other. All problems that will be worked out in the future possibly, but one thing
is for sure – great band, great music, and a great idea that will only improve over time. (SHREDDING PAPER)


Surrounded
Safety in Numbers
Deep Elm Records
Any time I get something from Deep Elm to review, I’m always apprehensive – I mean, they ARE primarily an ‘Emo’
label. Not that there’s anything wrong with that, and some of their bands I like (Cross My Heart, The White Octave,
and most importantly Appleseed Cast), but there is a lot of stuff on there that is terrible. One thing I wasn’t expecting
was what I heard from Surrounded – lush, mellow pop music with terrific production and an extremely interesting
sound. And while I’m congratulating Deep Elm on a fine release, let’s also take note that this is yet another amazing
Swedish band to hit these shoresthey churn out talented musicians quicker than Ikea can produce crappy furniture.
This time around, instead of producing the next great garage rock or death metal band, we have a collection of folks
who look to Sparklehorse for inspiration (and the world could stand for more people to do this as far as I’m con-
cerned). There are hints of indie-ambient noise ala The Appleseed Cast’s “Low Level Owl” discs as well (another
great pair of records worth checking out if you haven’t). This is a damn fine debut album, and at the current rate the
Swedes are going to take over the American music scene before we know it. Deep Elm proves yet again that you
can’t judge a labels current output by their previous endeavors. (MUSIC SPORK)


Sushi Robo
The Light Fingered Feeling of
Pattern 25 Records
Ah, it’s more space-age electro funk, just what the world needs more of. Sushi Robo, the foursome from Seattle
responsible for ‘The Light Fingered Feeling of Sushi Robo’, seem to think so, based on the sounds on this
recording. Fronted by former Posies bassist Rick Roberts, Sushi Robo probably have their fans out there, but I can’t
say that I’m one of them. They remind me a lot of older Dismemberment Plan (ie, their irritating stuff), or a more
upbeat Cake without the trumpet. I’ve read a lot of reviews and press for the band with comparisons to Wire, but
I just don’t see it. Where Wire had a punk rock fire in their bellies that came out in an unusual way, Sushi Robo
seem to run off of cheese and schmaltz. The music isn’t all bad – there is some interesting production scattered
throughout the disc, and some original, interesting ideas in parts of the songs. There are bits where it almost sounds
like dub, with just drum beats and reverby screwball noises shooting off. But it isn’t enough to save the record as a
whole. Possibly the greatest let down of the whole album, though is the fact that the song ‘Zuckerman’s Favorite Joke’
is not a tune about the ‘Beverly Hills 90210’ character Andrea Zuckerman, but apparently Fraternity Hazing? I’m not
really sure, I kinda tuned out when I realized it wasn’t about 90210. Anyways, fans of old Dismemberment Plan or
Cake might dig this, but otherwise I can’t say that recommend it. (MUSIC SPORK)


Swan Lake
Beast Moans
Jagjaguwar

 - 7.5 out of 10 -

So it has become blatantly obvious that Dan Bejar is the King Midas of the rock scene – everything he touches
turns to gold.  His signature project Destroyer consistently makes amazing albums; he also plays a strong role
in the New Pornographers – a “super group” of Canadian rock stars that have set the independent charts on fire
over the last few years.  And as if that weren’t enough, now Bejar has given us a second entirely different “super
group” of Canadian rockers called Swan Lake.  The trio features him collaborating with Spencer Krug of Wolf
Parade and Casey Mercer of Frog Eyes…and it sounds exactly like you would expect with those three mad
geniuses working together.  “Beast Moans” is like an organized mess, a schizophrenic tour through the minds
of three fantastic songwriters who somehow pack nearly every song with all of the essential elements that
makes Destroyer, Wolf Parade and Frog Eyes so great…Bowie-esque baroque pop meets psychedelic ex-
perimentation meets…I dunno how to even quantify it all.  It’s just damn good, and further proof that there is
something in the water in Canada for all of these great bands to just keep reproducing like rabbits. (SLAP)


Sweatmaster
Song with No Words
Bad Afro Records
To be perfectly honest, I wasn’t even going to review this CD because the band name is so terrible…I was
expecting white boy funk or something. Turns out they are Finnish, so maybe the name isn’t as dumb over
there…anyways, the reason I actually did take this to listen to is because of the covers.  Of the eight songs on
the CD, six are covers. The two Sweatmaster tracks at the first are pretty non-descript garage rock rehash,
nothing to complain about but pretty forgettable.  As for the covers, nothing special there either but I applaud
them on their choices…tracks by The Misfits, Minor Threat, The Modern Lovers, Money Mark (probably the
best track on the disc), The Wipers, and Music Machine. I love cover songs, so they get points for that; and
nothing on here is terrible either…but I have a feeling I’ll forget all about this as soon as I stop listening.
(SHREDDING PAPER)


Sweep the Leg Johnny
Going Down Swingin’
Southern Records
For those keeping count, this is album number four for these Chicago boys, each one building on the intensity of
the last.  I’m afraid if they keep up this pace they’re either going to spontaneously combust or end up in the loony
bin, or both.  If you are unfamiliar with their sound, imagine a combination of Sun Ra and Don Caballero, but
doesn’t sound like either of them.  In other words, a little jazzy, a little mathy, a lotta rocking, and very good. 
Although they continue to mine the same style of music on this album as in their previous releases, it doesn’t make
it any less beautiful and entertaining.  This time around, they’ve added an additional guitarist and vocalist by the
name of Mitch Cheney, who was formerly of the terrific San Francisco outfit Rumah Sakit (buy their album too if
you like this type of music).   Another item pretty common on any Sweep album is that of having some pretty long
songs, and this album is no different.   The first song on this album, ‘sometimes my balls feel like tits,’ fits that bill,
and it may be their best to date.  All in all, not a weak song on the album.  Those out there who are already fans
of the band will find it a welcome addition to their collection, and for those who have never heard them, this would
be an excellent starting point. (SLAP)


Teenage Fanclub
Man-Made
Merge Records
Man, it seems like just yesterday I was obsessing over “A Catholic Education” and “Bandwagonesque” and
enamored over the new fuzzed-out Big star-like sounds of the Scottish group Teenage Fanclub.  Fast forward
15 years, and now they’ve become the old guard of quality pop music being made.  Somewhere along the
line (specifically, their album “Songs from Northern Britain”), they infused that Badfinger/Big Star influence
with a healthy hunk of Byrds-style jangle and harmonies and have been traveling down that road ever since. 
Man-Made is their first new record in 3 years, and probably the best thing they’ve put out since the mid-to-late
nineties.  The three-headed song writing attack of Norman Blake, Gerard Love and Raymond McGinley has
produced a number of instant Fanclub classics on this release, such as “Time Stops”, “Fallen Leaves” and
“Born Under a Bad Sign”.  Saccharine, beautifully harmonized melodies backed by some of the cleanest pop
you’ve ever heard…if this sounds good to you you’ll be hard pressed to find anything as good as Teenage
Fanclub. (SLAP)


The Telescopes 
‘#’ Untitled Second
Revola
This is a re-release of the second Telescopes album, originally out on Creation Records but somehow lost in
the shuffle until now. Recorded in late 91/early 92, it sounds dated in the same way a lot of the shoegazery stuff
at the time sounds, but for the most part you might think this is the new up-an-coming hipster group that’s
listened to a lot of Yo La Tengo and old Lilys. I’ve never been a huge fan, but this is pretty good stuff; anyone
who is a fan of this sort of stuff should most certainly check it out. (SHREDDING PAPER)


Thee Missouri
In Voodoorama
Blue Disguise Records
Thee Missouri is a German band, but don't hold that against them – Kraftwerk was German too and you
know you love them.  You can't hate everything that comes from a country just because they produced The
Scorpions.

They used to be called just Missouri, and were very morose and gothic sounding...like how a crumbling old
cathedral would sound, you know, if crumbling old cathedrals wrote and performed songs. But then they added
a “Thee” to their name - for reasons I'm unclear of, and a friend of mine actually knows them his only explanation
was “who knows why Germans do what they do.”  They also added some electronic elements and a thick dollop
of sultry that sounds straight from the later Afghan Whigs’ output. Things aren't quite as depressing in this new
world they have created; it has that feel of an old pulp detective novel, you’ve got one eye peeking over your
shoulder, on the lookout for trouble. I’m not sure any of that makes a lick of sense, but this record is great,
especially the epic final song “Lord, I’m Ready”. (SLAP)


Thee More Shallows
Book of Bad Breaks
Anticon Records
  
 - 7 out of 10 -
 
Anticon, though primarily known as a hip hop label, are clearly not afraid to branch off into new territories - such as
this album “Book of Bad Breaks” by Thee More Shallows.  A staple of the San Francisco rock scene for years, this
third album may not be as great as their sophomore effort “More Deep Cuts” (one of the best records of the decade
for my money), but it shows a willingness to explore new directions, and does so successfully.  Apparently head
songwriter for the band Dee Shallows befriended fellow Anticon labelmates Odd Nosdam and Why? Over the past
few years, working with them in various capacities  - contributions on each others records, collaborative remixes,
you name it.  The influence of these partnerships are obvious on this album, combining the classic Grandaddy-
esque sound of Thee More Shallows with all manner of electronic beats and clicks and pops and feedback and
whatever else you think of when you think of production on most Anticon albums.  It really works much better than
I would have ever though on paper, like deep frying a twinkie – it sounds like a bad idea until you taste the results. 
(SLAP)


The Thermals
The Body, The Blood, The Machine
Sub Pop Records

 - 7.5 out of 10 -

On their third record, this trio of Portland-based punk rockers decided to slow down the music, clean up the fuzz,
and increase the politics.  Normally, this combination of changes would be enough turn me off of a band, but here…
it works, and works extremely well.  Where their previous two efforts were a full-tempo onslaught from beginning to
end, on “The Body…” the pace varies wildly from one track to the next, and many of the songs are more pop than
punk…it’s somewhat reminiscent to the transformation that happened to Bad Religion when they released
“Generator” (only the Thermals appear to be heading in a better direction as opposed to the sucking direction
that Bad Religion took right after “Generator”, but that is an aside for another day).  Some folks may find Hutch
Harris’ nasally vocals grating, but to me it just sounds like what you would get if John Darnielle of the Mountain
Goats decided to form a punk band (an idea I could really get behind, but again that chatter is for another time). 
It’s also worth noting that this band puts on a blistering, terrific live show that is not to be missed. (SLAP)


The Thermals
Fuckin’ A
Sub Pop Records
Man, this group just keeps getting better and better.  Their first release “More Parts Per Million” was in heavy
rotation in my CD player for a long time, and this new release has slid right in there like it already knows what to
do.  If you can imagine a punk band that sounds like old lo-fi Guided by Voices and being fronted by a singer that
sounds similar to the Mountain Goat’s John Darnielle, and you’ll find yourself in the ballpark where the Thermals
can be found.  This group of Portland residents manage to pack more hooks in one of their short albums than
most bands manage in a career.  While not quite as scratchy and gruff as the first recording (which was recorded
in one of the band member’s kitchens), it still manages to pull off the same asthetic this time from the comfy con-
fines of a studio.  And if you like your music infused with lots of politics, you’re in luck, cause The Thermals have
that in droves, but they manage to pull it off in such a way that even if politics aren’t your bag, the songs are still
great anyways.  (And for anyone who’s already into this band and their type of music, check out The Bananas
and M.O.T.O. for more fine examples of pop-punk that doesn’t suck). (SLAP)


The Thermals
More Parts Per Million
Sub Pop Records
It would be real easy to lump these guys in with all the other flavor-of-the-month bands whose names begin with
‘The’.  Before I had even heard them I had already made assumptions about their sound based on their name
and CD cover.  I’m glad I listened to it anyways, because it’s damn good.  It has elements that would make it fit
in well with all of the other ‘The’ bands - lo-fi production and sound, punk sensibilities, relatively simple power-
chord structured songs, etc.  But what sets these guys apart from the rest are the songs - so very catchy; and
the singer - who does the best Robert Pollard impersonation I’ve heard in some time.  These guys combine a
little punk, a little jangle pop, and a whole ton of Guided By Voices into this album(minus the obtuse lyrics that
Mr. Pollard usually comes up with, those may never be matched or topped).  At such a young age, The Thermals
seemed to have already grasped the concept of what makes a good pop song - short, sweet, to the point. 
Thirteen songs clocking in at under 30 minutes, every minute packed full of goodness, not a down moment the
whole time.  That’s rock and roll as far as I’m concerned. (SLAP)


They Shoot Horses Don’t They?
Boo Hoo Hoo Boo
Kill Rock Stars
I don’t know whether to admire the balls it takes to name a band after a Jane Fonda movie, much less this
Jane Fonda movie (were “Barbarella” and “On Golden Pond” taken maybe?), or just remain bewildered as
to what combination of hallucinogens it took to decide it was a good idea.  It’s all secondary to the fact that
this junk rock band makes some damn interesting music.  This large group of kids from Vancouver is a
modified take on the sound that is sweeping Canada (and by proxy the U.S.) – namely, melodic noise rock. 
In this case, if you were to combine Wolf Parade, a family of circus gypsies, and some cheap liquor it would
probably come out a lot like They Shoot Horses Don’t They?.  Admittedly, you gotta be in the right mood for
music like this – if you are feeling fragile at all the bleating horns and constant clank clank clank of the random
percussion could probably send you to a nervous home…but when the mood strikes you for creating a raucous
carnival atmosphere from your boom box there is nothing better. (SLAP)


Things In Herds
I Can Dancing and Walking
Trust Me Records
Seems like there are a lot of soft rock bands popping up lately, and a number of them are coming out of England. 
Some are good, some just ok, and most are plain awful.  Things in Herds (which is really just Pete Lush plus friends)
fits this description for the most part, and  fall somewhere in the middle musically, but leaning towards the upside. 
The album ranges from brooding folk songs to upbeat pop melodies, and there really isn’t a bad song among them. 
Unfortunately, there’s only a few standout tracks as well, and those seem to be the more upbeat ones, such as the
album opener ‘Always Disappear’ and ‘Too Happy’.  Like I said, the mellow songs are all ok, but mostly seem to run
down the same beaten path as other singer/songwriters who have listened to a lot of Nick Drake and his kind.  This
is fine for some of the songs, but others might have benefitted from a little fleshing out in full band mode.  As noted,
the more rocking songs are where Pete’s star shines the brightest, reminding me of some weird combination of
The Notwist and Blur, plus the added bonus of some interesting instrumentation in the form of the theramin and other
odds and ends.  I can’t say that the mellow songs sound like any one thing, but more a combination of his influences. 
It would probably be considered a good listen by most people who also enjoy Belle & Sebastian, Kings of
Convenience and other like minded individuals.  Certainly worth a listen, as it’s a decent recording and hopefully
the foundation for a bright future. (MUSIC SPORK)


13Ghosts
Cicada
Skybucket Records
I’d read some high praise of this album, so it’s probably my own damn fault that my expectations were raised
going into this review. And we all know what happens most of the time you go into a situation with lofty ideals…
like a deflating balloon, so go your hopes for a record. “Cicada” is a decent listen, there are definitely some
gems in here – but it’s much too long with a little too much filler in my opinion. The more upbeat numbers are
fairly run-of-the-mill alt-country musings, some good and others forgettable. When the band gets mellower in
tempo they tend to get more interesting, mining the same spooky backcountry that Sparklehorse tends to,
and doing a decent job of it. Unfortunately, there aren’t enough of these moments for my tastes. (SHREDDING
PAPER)


33Hz
S/T
Outlook Music
Every once in a while, when this album is at it’s very best, it reminds me of classic Prince. Unfortunately, those
moments don’t come often enough and there are more than a handful of times where this music resembles
Jamiroquai, and that can be a real boner killer. For some reason I feel like this would go over well in Europe.
(SHREDDING PAPER)


The Thrills
Let’s Bottle Bohemia
Virgin Records
No sophomore slump here – this new Thrills record is just as good if not better than their debut…I’ve been listening
to it a ton since I got it. With poppy hooks like they have, how can you not? Even if the album was crap, I’d be
tempted to rate it well based solely on the fact that they have a song called “Whatever Happened to Corey Haim?”,
and it’s a damn good and catchy song at that. If you liked the last album, this should be right up your alley; if you’ve
never heard them before and like catchy Beach Boys and Byrds-inspired pop music, get thee self to a record store
post haste. If you can give me a better band from Ireland channeling sunny California pop music, I’ll take it – but for
now, I’ll stick with The Thrills. (SLAP)


Tiger Bear Wolf
Self-Titled
Hello Sir Records
Mother of god, where did these guys come from?  Well, the answer is North Carolina, but I'm just surprised a
band could sound this together and tight with brilliant songs on their very first album.  It's a brilliant debut -
imagine the Hot Snakes with just a pinch of Jesus Lizard, all put together by a group that obviously loves the
dirty 70's southern rock as well. How come everything can’t sound this good?  I guess if it did, then the good
stuff wouldn't stand out anymore. (SLAP)


Tilbury on Cloves
S/T
Bloated Sasquatch Beer Theatre Audio
Outside of Yanni this is probably the first time I’ve ever listened to a Greek musician, or is suppose “musicians”
in the case of this duo from Athens. They play mellow electronic music crossed with really subdued pop songs…
mostly instrumental, but the occasional vocals pop in to switch things up now and again. Like so much work of
this nature, it ends up being just so-so; nothing on the album is bad, but it is easily forgettable and not terribly
special either. But it is a loooong album, so if you like this than at least you get a lot of it. (SHREDDING PAPER)


The Time Flys
Fly
Birdman Records
The Time Flys remind me a lot of the bands that populated one of the “lost eras” of rock music – the mid 70s,
a time when straight-forward guitar-heavy music with no frills was controlling the eight-track players in every-
one’s Pinto and Nova.  And it should be noted that by “lost” I mean in terms of visibility to the general public -
when your average joe thinks back on the 1970s, this type of music is not generally what pops in the mind right
off…hippy rock had ruled for years and was just wrapping up and the world hadn’t turned into disco vs. punk
just yet. These “proto-punk” bands – New York Dolls, The Dictators, Rocket from the Tombs, Richard Hell –
they set the stage for what would become punk music, and obviously played a large role in forming the sound
of The Time Flys. These songs are too catchy for punk and too punk for power-pop, and the whole thing
intentionally sounds like it was recorded in a deep dirt hole in someone’s basement, with the mic placed in the
attic. In other words, it’s pretty friggin’ good. With song titles like “Smokin’ Dope”, “Jailbait”, and “In My Skool”,
I don’t think any detailed analysis of the lyrics are necessary. Also included is a cover of the Ly-Dells “Teenage
Years”, a brief doo-wop respite in a sea of jittery rock, and a damn fine cover at that.  This is very much what
the essence of rock-n-roll is all about. (SLAP)


The Twilight Singers
Play Blackberry Belle
One Little Indian Records
There is a reason this made so many top 10 lists at the end of 2003 – it is one of the best things I have heard in
quite some time.  for those unfamiliar, The Twilight Singers is the new project that former Afghan Whig’s singer
Greg Dulli founded after the demise of his former band.  Their first release “Twilight as Played By the Twilight
Singers” was a hit-and-miss affair, with some truly great songs and plenty of maudlin ones.  But Dulli seems to have
found his second wind, as “Play Blackberry Belle” is not only great but on par with some of his best work with the
Whigs.  This album features a smorgasbord of guest musicians, from Mark Lanegan (of the Screaming Trees and
Queens of the Stone Age) to Appolonia (remember an album called Purple Rain?  Prince?  She had some con-
nections with all of that).  The final track of the album, “Number Nine”, is one of the most spine-tingling songs I’ve
heard in ages and features the low grumble of Lanegan dueting with Dulli’s soulful sound.  Greg Dulli continues to
craft his own niche in the rock world, adhering to no particular style of music and dominating them all as far as I’m
concerned. (SLAP)


Two Gallants
The Throes
Alive
Is this new generation of folk music that the kids seem to be into nowadays the new electroclash, or is it here to
stay?  Here in San Francisco it is certainly the happening scene, with Devendra Banhart, Vetiver, Joanna New-
some and the like packing houses across the city (and from everything I’ve read, around the country as well). 
But for me the most talented and engaging performers of the bunch are duo of newcomers known as Two Gallants. 
Although both are still in their early twenties, their songs bear a world-weariness that is light years past their current
age.  More than anything, they remind of The Pogues (minus the tin whistles and Irish accents and although I’ve
never seen them up close, they can’t have nearly as fucked-up teeth); particularly in the vocals.  Other obvious
touchstones would be Bob Dylan, Bright Eyes, and possibly even Neutral Milk Hotel, or at least that one solo live
Jeff Mangum album.  Put simply, this is some of the best story telling I’ve heard in songs in a long time, and the fact
that it’s coming from such young kids makes it equally astounding.  There are a couple tracks for download over at
their website - http://www.twogallants.com/ - swing by there and discover how good songwriting is supposed to
sound. (SLAP)


Two Guys
Recorded
Absolutely Kosher
Even though Rob Crow isn’t in this band, somehow listening to it makes me think of him. Maybe it’s because the
gents who make up Two Guys, Cameron and Ryan Jones, have played in some of his hundreds of bands over the
years. And whether it’s a matter of these dudes influencing Crow, or vice versa, there are definitely plenty of sim-
ilarities to the sound. Two Guy’s are most reminiscent of Heavy Vegetable and Thingy (which Cameron played in),
performing pop songs run through the angular, off-kilter rhythms like you might find in math-rock bands like Don
Caballero or Dilute. Like most of Absolutely Kosher’s releases, this record is a great listen, and fans of Thingy or
Heavy Vegetable won’t be disappointed. If you don’t believe, go to their website, download some of the songs they
have on there, and see for yourself - http://www.twoguysband.com/. (SLAP)


Two if by Sea
Translations
Speedbump Recordings
This five piece from Baltimore have decided it is a good idea to mine the same territory as Interpol but add an
electronica element to the mix. And it works on occasion, but mostly not so much. The best songs on the album
are those where the electronic edge is minimized and they just sound like another of those upbeat Joy Division
rip-offs that flooded out of NYC a couple of years back. There’s nothing particularly exciting about the record as
a whole, but maybe it’s the optimist in me that sees a promise lurking under the surface of this group.
(SHREDDING PAPER)


2.2 Kid Life
Villains
Ionik Records
2.2 Kid Life seems to primarily be the work of one man by the name of Frank Longano, and unlike the name
of this “group”, the music isn’t bad.  I’m sure there’s a story behind the name, but I can’t seem to find it in the
limited information I have on the group.  Anyways, it’s the music that ultimately matters, and like I said, it’s not
too bad; it has that feel of a one man project, constructed in a basement or bedroom where the layers could
be added carefully over time. It reminds me a bit of Bright Eye’s mellower output, and maybe a little bit of
Magnetic Fields synthy goodness, and possibly even a little bit of Jason Molina/Songs:Ohia as well. If you
like mellow pop songs, then this little sleeper would certainly be worth checking out. Bad name or not, 2.2
Kid Life is well-crafted and easy on the ears, and I enjoyed it. (SHREDDING PAPER)


The Tyde
Twice
Rough Trade
Featuring members of The Beachwood Sparks and Velvet Crush, The Tyde are a jangly-pop group with strong
leanings towards 70’s lite rock and lite country. In fact, the comparisons to Beachwood Sparks are obvious, but
The Tyde is a bit more upbeat and a lot less twangy. The slide guitar is there, but in a much smaller amount; and
instead of sounding like they’ve listened to too much Flying Burrito Brothers and The Byrds, this lot lean more
towards a Cali-fied version of the Velvet Underground. This is a good pop record, but nothing ground breaking;
I’m enjoying it right now, but it doesn’t feel like it will have a terribly long shelf life to mebut I guess only time will
tell for that. Worth a listen if you happen upon it, but nothing I would go out of my way for. (SHREDDING PAPER)