THE QUINLAN CHRONICLES - Reviews by Rich Quinlan

DON THE READER - Humanesque (www.deathcoterecords.com)

A viciously heavy bass groove carries the opening instrumental “328”, and it is the perfect table setting for a destructive collection of battering anthems from this LA four piece. The break-out star on Humanesque is vocalist/keyboardist Mike Roberts, whose vocal approach is simply to grab your throat and watch you die under his hands. The playing is relentless and indefinably tight, particularly on the title track, the bass-heavy throttling of “Pre-Self Deficiency”, and the pummeling “I Swallowed New Orleans”. However, as impressive as Roberts is here, his compatriots are equally imposing. Drummer Kenny Cullens and the aforementioned bassist Michael McCullough create a sound that simulates the frantic pounding one might apply to the chest of shooting victim losing consciousness. Guitarist Sergio Hernandez possesses that rare combination of technical expertise (the nearly six minutes of “Con-sciloist”) and raw destructive force (almost everything else!) “Makeshift Splendor” will certainly raise a few eyebrows as the track is the tale of two songs, as the first five minutes are the abrasive intensity that defines this band, but then Roberts displays his other skill by playing cascading and remarkable gentle piano. The contrast is jarring but also quite daring. Don the Reader brings a technical edge to metal without having to add any tag to the end of its metal claim. This is for fans of intelligent, flesh-ripping fury.-Rich Quinlan

TAKKA TAKKA - Migration (www.ernestjenning.com)

Takka Takka is a band that is immensely difficult to pin down. Beautiful, serene pop dominates Migration and songs like “Silence” and “Everybody Say” is the musical equivalent of having cotton balls rubbed along your skin; you can barely sense that they are there, but the feeling is highly enjoyable. Hushed vocals, ethereal aspects, and warm musicianship are the calling cards of this band, and even without vocals (“The Optimists Were Right”), they are deeply mesmerizing. Takka Takka could be oversimplified as a band that simply manipulate sound, but that would be unfair; instead, this is an outfit with intricate song structures. Even if you do not normally gravitate toward a band of this form, Takka Takka is a hypnotic, intriguing act with an eclectic blend of styles. The buoyant dance track “Homebreaker” gives way to the haunting “Fall Down Where You Stand”, while the rough acoustic harmonies of “Lion in the Waves” sounds like something from the recesses of Brian Wilson’s mind. Even the more mechanized sound of “The Optimists Were Wrong” is only a brief interlude before the members reenergize with the delicate closers “Change, No Change” and “You and Universe”. Takka Takka is worth taking the time to sit and really listen to what they are doing.-Rich Quinlan

CHAIRLIFT - Does You Inspire You (Kanine records www.kaninerecords.com)

Most you may know Chairlift without realizing that you know Chairlift; their track “Bruises” is currently playing as the new theme song for iPod commercials. Great credit must be given to Steve Jobs and his minions for having the courage to select a band like Chairlift for their product, as this is a dark synth act with a very real gothic streak. The record seems to exist as two separate entities, as “Bruises” exists with a collection of songs with bouncy, unique beats and instantly catchy male-female vocals. However, once the listener reaches the fifth track on this eleven song release, “Somewhere Around Here”, the band delves into frightening, pseudo horror themes on efforts like “Territory”, the instrumental “Chameleon Closet” and the closing “Ceiling Wax”. This Colorado trio wants, according to its bio, to make “live music for haunted houses”, and they come close to achieving this goal. There is something intangible about this act that draws you into sounds like “Garbage” and “Don’t Give a Damn”, with the latter sounding like something the Human League would make if they were manic depressives obsessing over Johnny Cash. Some of the slower work, namely “Planet Health’ and ‘evident utensil” drag a bit, but overall, this is pop for the unconventional pop fan. Do not be alarmed by their mass exposure - there is a real gloom here that belies their apparent love of Euro-pop. - Rich Quinlan

A STATIC LULLABY - Rattlesnake (www.FearlessRecords.com)

A Static Lullaby is one of those bands that I had known of and about for a while but never sat and properly listened to any of their work. Rattlesnake acts a great primer for the uninitiated, as I am highly impressed with the band’s balance between catchy grooves and full throttle ferocity. The latter is nearly the sole responsibility of vocalist Joe Brown. In the world of aggressive music, there seems to be fewer vocalists who can balance screaming and singing; too often the vocals are one or the other and little variance exists. Brown is the antithesis of this trend, as he screeches like he is coming out of his skin before easing into emotional, yet coherent singing. “Bear Trap” is a perfect example of this, and when Brown yelps that “this is the youth extermination”, his rage is tangible. Matching Brown’s ability to transfer tone and temperament are the members playing behind him, particularly the rhythm section of Dane Poppin and drummer Tyler Mahurin. These two instantaneously shift with blinding precision on the efforts “Scavenger”, the title track, and the memorably named “Under Water Knife Fight”. This type of flexibility allows guitarist Dan Arnold to demonstrate an assortment of guitar chops that can be challenging to find in many hardcore bands. His work carries such fuming tracks as “The Prestige” and “The Pledge” again with Brown’s relentless, affecting vocals on display. A Static Lullaby is definitively a hardcore band first, and their dedication to belligerent music makes me smile, but there are enough catchy hooks to allure a more diverse fan base. Lyrically, the stories told on Rattlesnake can be as raw as Brown’s vocals, for the slower, thicker “The Turn” includes the line “Mom should’ve aborted me”, while the aforementioned “The Prestige” is highlighted by Brown’s paint-peeling scream of “Burn me alive/I’ve taken my daughter’s life/Buried alive/I’ve taken her mother’s life”. “Aller Au Diable” is a brutally unforgiving examination of a bitterly failed relationship (“Well it’s about right, burn that bitch tonight”), and “Mourning Would Come” tells the story of an emotionally vacant prostitute. This is a forceful experience for the listener, and Rattlesnake leaves me looking into A Static Lullaby’s back catalog.-Rich Quinlan

STEVE WYNN - Crossing Dragon Bridge (www.rockridgemusic.com)

Why Steve Wynn’s name does not instantly come up in conversation of rock’s great songwriters baffles me. With incredible detail and poetic grace, Wynn weaves tales of love and other personal perils on Crossing Dragon Bridge. “Manhattan Fault Line” is an autobiographical anecdote as well as a tongue in cheek twist on the warnings of LA’s certain earthquake-related demise (“This city could drop in a minute or two/Stunned and surprised but one hell of a ride”), and “Love Me Anyway” is one of the finest and most heart-wrenching self-examinations ever put on record, as the protagonist reveals a personality defined by both darkness and vulnerability. The entire song is quotable, but when Wynn sings that “Love is never easy, love is never free/ If it’s seems that easy, you’re not doing it properly” just sums up every relationship that has, does, or will ever exist. “When We Talk About Forever” is another jolt of truth about the difficulty of staring new relationships and risking deep hurt. Wynn’s gentle acoustic guitar is accented by striking strings to create a painfully romantic atmosphere. He dives “Annie and Me” into two distinct portions, as the track begins with a fast paced reminiscence about the imperviousness of youth before stopping for a period of reflection many years later. Ultimately, the song returns to its initially quick, drum programming (a surprisingly modern touch by Wynn) before fading away. Wynn possesses the fascinating ability to see through all the nonsense of life and focus on the defining elements of living, as heard on the off-beat charm of “Wait Until You Get to Know Me” (I’m a car wreck that’s just waiting to happen”), and the tender “Believe in Yourself. (“Everybody’s using all their breath telling everyone else/What to do with their own breath/I can’t believe it, I never was the type to worry much about everybody else”). Wynn sounds like a man coming to grips with getting older and finding his place in the world, tempering a better understanding of priorities (“Punching Holes in the Sky”) with a few references to youthful innocence such as his allusion to “Wolfman Jack” on “Bring the Magic”. “God Doesn’t Like It” is the most intriguing of the bunch for me, as the lyrics are a fascinating condemnation of behavior and single-minded conviction. This is a song for those who refuse to listen to others and at least consider alternative views. Wynn maintains a controlled anger here as he spits out how “He killed his only son/He wiped the face of the earth/So what makes you think/That you’re of greater worth”; this is a biting denunciation in the form of a stirring song. Majestically rising as one of the closing highlights is “I Don’t Deserve This”, another smartly written personal assessment. “Searched for a place where a man could be free/I saw the enemy staring back at me”, Wynn admits while a warm guitar riff and steady rhythm section build the song to a crescendo before Wynn announces how he “just let myself go”. If you believe that there are still musicians in the world who can find the words that you never could, and these writers are truly deserving of the word genius, then go and scoop this masterpiece up right now.-Rich Quinlan

THESE ARMS ARE SNAKES - Tail Swallower and Dove (www.suicidesqueeze.net)

These Arms Are Snakes return with another complicated, intricate, and ultimately fascinating record. This is another example of how bands can always find ways to mature and strengthen their sound, even when that sound is already pretty damn impressive. Tail Swallower and Dove may be a discomfited title, but the band sounds completely unified and precise throughout the ten rambling tracks. Keyboards and effects have long been a staple of this band’s unique delivery, but the keys are more subtle this time around; embedded deeply within songs, acting as lovely decorations. There are efforts that will clearly appease the guitar aficionado, such as the opening “Woolen Heirs” and “Red Line Season”, while others, notably “Seven Curtains” and “Briggs” take their time before detonating into voluminous assaults. Steve Snere’s vocals become another instrument in the mélange of sound emanating from your speakers. However, despite their penchant for off-kilter rhythms and challenging time sequences, These Arms are Snakes do not have an affront to a well honed riff, and they abound throughout this disc. This is the definition of unconventional beauty, and you find that intriguing, you will adore this. - Rich Quinlan

CEREMONY - Still Nothing Moves You (www.bridge9.com)

When you insert a disc into your player and it reads sixteen songs in twenty-one minutes, it is easy to envision a listening experience comprising of sixty second blasts of noise and adrenaline without much variation in texture or structure, but that is why a band like Ceremony deserves such attention and respect. This is a band that splinters previous conceptions about hardcore, and Ceremony deals with the additional weight of having their earlier work labeled a “masterpiece” according to Punknews in 2006. Still Nothing Moves You shatters your skull with antagonistic, anger-fueled dirges such as “Difference Between Looking and Seeing”, “He-god-Has Favored Our Undertakings”, “In Facile”, and “Fading Sounds of Your Life”, but the band has a variety of impressive nuances to their sound that separates them from the masses. Granted, there is not much left to the imagination with lyrics like “Imperial Reich spreads fear and disease, fuck the government with your fist” (“Plutonic Swine Rake”), and ‘Grant me the madness to drive me away, exploding my insides” from “Birth. Conspire. Be. Upset.”, but Ceremony does not make this an easy listening experience. There are a few tracks which begin slowly and then rise to euphoric chaos, while others are shot at you with the subtlety of a grenade launcher. Everything played here is staggering in terms of scope and technical intensity. Ross Farrar’s vocals seethe, brood, and overflow with raw, focused force. In essence, Farrar’s delivery is the perfect metaphor for the entire band’s musical disposition. This is worth instant purchase.

JESU - Why Are We Not Perfect? (www.hydrahead.com)

In case there remains some lone doubter on an island somewhere, let the proclamation now be official doctrine: Justin Broadrick can do anything! A large number of us have grown accustomed to Jesu’s muscular, monolithic assaults, but this time, Broadrick unveils yet another perspective by scrapping the guitars and ferocity in favor of cascading, atmospheric majesty. The five-song EP features three tracks and two remixes and this is a half hour of your life worth revisiting often. The opening “Farewell” possesses a schizophrenic persona, for under the a wall of hiss, fuzz, and flowing rivers of noise, there is a song so gentle, one could imagine nervous high school freshman experiencing their first slow dance, awkwardly swaying and sweating. The alternative version is equally lush, albeit minus the unsettled environment that makes the original effort so intriguing. The tapestry of “Why Are We Not Perfect”, (both the original and alternative version) is a soaring work of genius, resonating a warmth and passion rarely captured within this style. The briefest track of the bunch, “Blind and Faithless’, is a gorgeous surge of sound, blending static, stop/start balls of noise over the top of hushed vocals and soothing instrumentation. This may frustrate the old “Heavy Metal Parking Lot “ crowd, or the guys who still consider Scum to be Broadrick’s finest work, but if you are willing to expand your horizons, go find this.

SUICIDE NOTE - Empty Rooms (www.hawthornestreetrecords.com)

Empty Rooms announces Suicide Note’s return to a scene that has missed them for four years. ‘Truly Historic” begins with a heavy, low end rumble reminiscent of Fugazi’s most agitated moments as Casey Donley’s vocals demand your complete attention. If there is such a genre as post-metal, Suicide Note is it. At times battering, (“Black Snow”), beautiful (“Social Leper”, “Division of Me”), but always challenging, the four piece uses off-kilter rhythms and intricate time schemes along side thick, heavy grooves. Jason Golday deserves massive praise for his contributions on both guitar and keys, for as he goes, as goes the band. Golday’s instrumentation sets the tone on each song, allowing for such divergent paths as “Simple Math” and “Analog Future” to coexist on a record of complex beauty. The instrumental “Ride Out West” provides a powerful example of this band’s unique talent, for the song is artistry in chaos, a track that pits the Jesus Lizard with Daughters in a fist fight without a winner. This is brilliant and continues to illustrate the evolution of thinking man’s metal.

ZOZOBRA - Bird of Prey (Hydra Head Records www.hydrahead.com)

Zozobra left me impressed with Harmonic Tremors, and I am again entranced by the ability of Caleb Scofield to meld fury and harmony. At a time when too many bands subscribe to a belief that heavy music must be accompanied by mandatory breakdowns for the kids, Scofield moves in a distantly different direction by utilizing rich melodies and even elements of space-rock aesthetics. Bird of Prey pummels the listener out of the box with the menacing one-two combination of “Emanate” and “Heavy With Shadows”. While the latter has the guitar as its centerpiece, there are also various shifts in tempo and ethereal touches that set the tone for the larger record. These less ferocious characteristics make Scofield’s yelp of “you crossed that line” all the more intimidating. “Heartland Enemy” features a vocal interplay between Scofield himself, offering a glimpse into two personalities within the man. The instrumental noise, blurps, and loops of “Big Needles” offer a respite before your throat is again seized on the disconcerting “Sharks That Circle”. While Scofield, with his massive riffs and terrifying roar, is clearly the star here, Bird of Prey also benefits from the expert production and drumming of Aaron Harris of Isis fame. If you miss Cave-In, and if you don’t, you should, Zozobra makes that band’s demise a bit easier to digest.-Rich Quinlan

HELMS ALEE - Night Terror (Hydra Head records www.hydrahead.com0

If you have a friend, and we all have that one friend, who claims that rock is boring and that music in general is not as good as it used to be, tell that poor, misguided individual to peruse the collection of bands on the Hydra Head roster. Somehow, this label continues to find bands hiding in places in which other people simply refuse or are afraid to look. The latest example of this brilliance is Helms Alee, a curiously-monikered act that delivers grandiloquent musical nuggets that are proud to be noisy and obdurate in their style. I loved Night Terror, as each song rains down upon you like a violent storm, yet within the chaos and the fury, one can hear elements of pristine melody. This is due largely to the gorgeous female vocals which act as a centerpiece and a balancing fulcrum to the male vocals in a vast majority of the work. This three-piece, and it is startling to hear all of this commotion made by only three people, hits with greatest fury on “Paraphrase”, ‘Betwixt”, and “Grandfather Claws”, while sounding less devastating on “New Roll” and “Rogue’s Yarn”. The latter two tracks appeal to the stoner-rock traits of this act, while I was drawn to the more punishing qualities found in the bass heavy “Shhmna”. It is very difficult to construct disharmonic rhythms and have them make sense, much less make them beautiful, yet that is what Helms Alee does throughout Night Terror. This is one of those records you do not attempt to understand, you simply genuflect before the genius unfolding before you.-Rich Quinlan

JUMPERCABLE - EP (www.myspace.com/monkeywrenchrecords)

US CHRISTMAS - Eat the Low Dogs (Neurot Records www.neurotrecordings.com)

HUMANIFESTO - “Don’t Eat Meat” (Koi Records www.koirecords.com)

This is a very cool idea executed with perfection: One of Canada’s most politically active and incensed bands, Humanifesto, re-records the legendary “Fuck the Kids” EP from NOFX. However, Humanifesto slightly rewrites the original tracks to match up with their own politics without losing an ounce of the humor, intensity, or unrefined joy that is the original. For those who can remember the 1996 release, “Fuck the Kids” is thirteen songs played with rapid fire fury and unabashed energy. What I love about this release is the subtle changes Humanifesto makes, as “Stop Fucking My Mom” becomes “Stop Outsourcing my Job” and “Stupid Canadians” becomes “Stupid Humans,” to name a pair of examples.. The first two tracks, “Don’t Eat Meat” and “Don’t Eat Meat II,” last a combined seven seconds, and set a perfect tone for the entire record. Other highlights include “Humanifesto vs. M.A.C.” and “Reaganomics Suck”. The band and Koi Records spare no expense recreating the original look of the NOFX disc, and this is not only a great homage to Fat Mike and company, but “Don’t Eat Meat” also exposes the intensity of Humanifesto. I am now a committed fan.

THE MAINE - Can’t Stop Won’t Stop (Fearless Records www.records.com)

Tell the girls to get ready because they will definitely remember The Maine. Can’t Stop Won’t Stop is a cornucopia of effervescent, crisp, pop-rock played by guys barely out of high school. However, despite their startling youth, these kids sound like old pros on efforts like the bouncy “Girls Do What They Want”, the playful longing of “Whoever She Is”, and the quasi-disco groove of “Kiss and Sell” as vocalist John O’Callaghan croons and buzzes about girls, broken hearts, girls, parties, girls, and a few more girls. While acts like the Jonas Brothers are making the cover of Rolling Stone talking about abstinence, at least the boys in the Maine are having their fun. ”It’s time to go so put all your clothes on/I’ve got the keys/baby you’re so gone” from “It’s Time to Go” reveals a sexual edge that is not forced or posturing, but reflects youthful excitement. The band sticks to the dance-able guitar rock mode for much of the record, but the pseudo-country aesthetic of the closing “We’ll All Be…” is a nice diversion, reminding me a little of what the Replacements did on occasion. The Maine are not the next great rock n’ roll saviors, but they can certainly present a more honest representation of American youth than the nonsense currently out there. It is nice to hear a band that is more substance they style.

TELESCREEN/(DAMN)THIS DESERT AIR - Split 7-inch (Koi Records www.koirecords.com)

This dazzling multi-colored vinyl release features two acts that convey inspirational music in two very unique manners. (Damn) This Desert Air may draw initial interest due to the pedigree of some of their members, as the band is comprised of guys who spent time in acts like Nora and Elemae, but “Calling Orion” is a stirring tribute to pristine guitar playing and soaring vocals. This Jersey band should generate an enormous amount of attention, for their sound is bombastic and explosive while also tempered with ethereal touches that are the hallmarks of truly skilled players.

Moving in a very different, yet equally impressive, fashion is the atmospheric beauty crafted by Telescreen. This North Carolina band is a multi-sensory act as films play in front of the band as the members perform. The end result is akin to watching a film with a live soundtrack executed before you. “The Solar Sea Remix” is a swirling, genteel atmosphere with warm vocals and a hypnotic quality that should appeal to those looking for sophisticated post-punk.

THE WALKMEN - You and Me (www.giganticmusic.com

I have long struggled to understand the appeal of the Walkmen, a band critically adored for reasons I cannot hear, but I am beginning to come around upon listening to You and Me. Maybe I am just getting older, but the tone, sound, and overall mood of this record is far more sophisticated and gripping than anything I remember from this band. Opening with the somber “Donde esta la Playa”, the Walkman have clearly matured as a band and are experimenting with new ideas. The soaring keys that close “In the New Year” envelope you, and the song acts as a microcosm of the entire disc, as the Walkmen brazenly lay bare haunting tales of sorrow, loss, and hope. “Postcards from Tiny Islands” and “Long Time Ahead of Us” are other examples of tracks that ebb and flow musically, while the vocals of Hamilton Leithauser remain a steady source of powerful emotion throughout. The band continues their tradition of using mostly vintage equipment and capture a vibe seemingly from long past decades, particularly on “Canadian Girl” and the majestic “Red Moon”. “Four Provinces” and “The Blue Route’ feature pronounced guitar and increaed energy, which is vital to a disc that presents roughly an hour of music. There moments when things drag a bit, such as ”New Country”, but overall, You and Me is a record made by musicians who are forging their own path and subtly rebelling against the music industry by ignoring trends. The band has also proven to be socially conscious as well, for the Walkmen added a link to their website allowing fans to pre-order You and Me for a scant five dollars, and all proceeds will benefit the Sloan Kettering Cancer Center.

BRAINDEAD - No Consequences (www.burnbridges.net)

Braindead is any living up to their moniker; this Philly five-piece is a smart, introspective outfit that creates passionate hardcore in a traditional fashion but without sounding uninspired. In “Guilt and Shame”, vocalist Stevie Vainberg laments “is it wrong that I that I think too much/ Or am I the only one thinking?”. Braindead does not preach but clearly wants modern society to look at itself and recognize the ugliness of reality. The band combines honest criticism with furious riffs that reminded me of hardcore of yore; there are no heavy mosh-part breakdowns (excluding the one indulgence on “Presented In”, but c’mon, these guys are young), as the band uses frustration to furl their playing. “So Single” and “An Exercise in Bad Taste” continue the theme of social collapse, as Vainberg admits that “nostalgia is my weakness and I’m stuck/So single/And I will forget about you all”. This closing line is delivered within a mass of rich harmony, belying the disgust that motivates it. The closing “A Wake for a Dream” not only features clever word play in the title, but it is also much more existential than your typical hardcore; (A man, he stands in front and looks me in the eyes and says, ‘can you see it?’ ‘Can you understand it?’”). Although this track melts into a throng of static that overstays its welcome, No Compromises is an excellent record.

REV THEORY - Light It Up (Interscope)

VERSE - Aggression (Bridge Nine Records www.bridge9.com)

I am telling every person reading this to do whatever you can to get this record. Verse is poetic, powerful, and the songs on Aggression play out like short stories about a failed American dream and an even more destructive American foreign policy. Glancing at the disc I see an impressive list of suggested readings, and this band is not only suggesting Noam Chomsky or Howard Zinn, but also Gore Vidal and John Steinbeck. Besides appealing to my English teacher side, I am floored by the relentless expression of heartfelt anger on each of the dozen tracks. Of course, I am not terribly surprised by this intelligence considering the boys hail from Providence, Rhode Island, a hub of intellectualism and daring thought. Verse is resurrecting the original ideals of hardcore that have been watered down or lost over the past few years. “Old Guards, New Methods” encapsulates the frustration felt by most in the wake of Katrina (“Nothing for the ninth ward, just more of the same, wealthy wolves smell the blood of opportunity”), as well lack of concern for inner city suffering. “The New Fury” lambastes the Bush administration and its misguided worldview, (“Washington’s drawing up war plans, while there’s still no hope for the homeless man”), but the most impressive moments arrive with the “Story of a Free Man” trilogy. These three songs, presented here as three chapters, tell the story of man who is fighting homelessness and addiction. However, the gut-wrenching twist is the fact this protagonist is placed on this path of self-destruction as a young man when his father is killed in what is implied to be the Iraq war. Chapter One, “The End of Innocence” explores the lack of support the man receives as a boy from a mother who cannot find any words of comfort. The listener finds the boy, now a scared man, living under a bridge, coping with a heroin addiction in “The Cold Return”. Ultimately, there is a positive resolution, which I will not spoil here, but this is a new twist on the protest song; rather than continually ripping an administration or a leader for mistakes, Verse takes a more personal approach and examines the truly human toll war takes on families and individuals. The band condemns a society which only encourages materialistic greed in “Unlearn” and “Sons and Daughters”, and again, the guys are able to place a fresh performance on traditional topics. This one will be in heavy rotation for me for a long time to come, and I also have to get started on completing that reading list.

THE RIGHT TO ASSEMBLE: A Hardcore Punk Compilation From New Brunswick, NJ (www.myspace.com/xsoulrebelrecordsx)

I am not from New Jersey so The Right to Assemble is a tremendous primer on both the history of New Brunswick (I now understand the “Hub City’ tag) as well as the legion of hardcore aptitude existing within the city limits. With twenty-two songs, this is a massive compilation of talents and styles. I am most impressed with the sheer intensity of the songs, and while each band possesses a unique style, there is a commonality that binds them together. This similarity is the fierce and passionate nature of the playing. I am instantly drawn to speedy, loud hardcore with a confrontational style, so The Degenerics (“In This Skin”), Seasick (“Ad Nauseam”), Hellhole (“Untitled”), and the ferocious Kamikaze (“S.H.C”) are early highlights. The raw, unpolished nature of a track like “Could, Would, Should” by RSO embodies the zeal that defines hardcore. Poppier, less vicious anthems exist here as well, including “Nights, Fights, Cries, Jokes, Laughs, Songs, Love Life” by Scream Hello and “Creepshow” from Hunchback. However, this record is most enjoyable when the music is simply attempting to destroy the listener, as portrayed by the blinding speed of Ensign (“A Wreath and a Rifle Salute”), Killin’ It (“Friends and Associates”), and Fanshen’s “And the Difference Is” (although in the midst of the landspeed-record nature of the paying, this song does slow down for a brief respite before launching itself at your throat again.) The one band whose name is instantly recognizable is the Ergs, and their “Blah Blah Blah, Fuck You, Blah Blah Blah” does not disappoint, as the song details heartbreak with typical punk angst. My favorites of the bunch are found deep on the second side, as “Destroy all Surveillance” from The Flash Attacks is seething attack upon the priorities and actions of our current government, while Staring Problem unleash a scathing rebuke to a junkie on “Trash Trade”. This is a collection of intelligent, conscience hardcore that will remind people why hardcore music matters, for it uses energy and emotion to stir people to action. This is a great representation of New Brunswick, and the music deserves national exposure.

STUYVESANT - “Victorian Lawns” b/w “Chocolate Phoenix” (www.stuyvesantrock.com)

This band is an outfit born out of the ashes of two other Jersey bands, Footstone and Friends, Romans, Countrymen and this 7” offers two pieces of enjoyable pop-rock. The A-side, “Victorian Lawns” is the more sugary of the two with a chorus of “party on my lawn tonight” that inters itself into your brain. Sean Adams and Ralph Malanga share responsibilities of guitars and vocals and these two construct a warm sound. The second side of the record is a departure from the opening effort as “Chocolate Phoenix” is a thicker, blues-inspired tune. Credits are given to musicians playing trumpet and trombone, but neither of these instruments dominates the song. Instead, Stuyvesant offer a nice range of styles on the two tracks.

THE NUMBER TWELVE LOOKS LIKE YOU - Here at the End of All Things (Eyeball Records)

A STORM OF LIGHT - And We Wept the Black Ocean Within (www.neurotrecordings.com)

Many bands, legions really, write about suffering and use that emotion as the basis for their music, but very few can do so and make pain sound poetic. That is the result of the monstrosity from A Storm of Light. And We Wept the Black Ocean Within is a crushing monolithic wave of destructive sound that rolls over you at a measured pace. Comprising only three members at the time of the recoding, John Graham (guitar and vocals), Dominenic Seita (bass) and Pete Angevine (drums), create a sound that does not rely upon speed or relentlessly aggression to inflict its pain. This is the musical equivalent to being buried alive. You are a victim of this record more than a listener, as the band unleashes a tale of woe which seems to move through a therapeutic expunging of sorrow. While only six of the ten tracks feature vocals, the words are delivered in the first person which places you in the midst of the self-loathing distress of “Leaden Tide” (“I am falling/ I am breaking/I am nothing/I am sinking”) or the guilt-ridden anguish of “Mass” (“I could have saved them/What I could have done they will never know”). This is not an easy album, but it demands to heard in one sitting; the tougher question is how one walks away from this. This is a record that stays with you and is both majestically played and terrifyingly candid. The band is now a four piece with former Unsane member Vinny Signorelli joining the band as a second drummer. This addition will undoubtedly raise the dimensions of intensity and muscle of what is an already nearly indefinably powerful act. Challenge yourself, make yourself uncomfortable, and get this now.-Rich Quinlan

BARNABY BYE - Thrice Upon a Time (Pink Records www.barnabybye.com)

THE SAINT ALVIA CARTEL (Stomp Records www.stomprecords.com)

The inclusion of the word ”cartel” makes sense for this band, as the members are all former players in acts Boys Night Out, Jersey, Grade, and Video Dead. That said, Saint Alvia Cartel does not sound like any of those aforementioned bands, and I sure that was a deliberate effort on the part of the guys here, but this is also part of the problem. The self titled record opens with ‘Karma Kill Me Again”, a bouncy, nearly pop-rock track which sounds like the band is striking for mass appeal gold. The same holds true for “Don’t Wanna Wait Forever”, but in the midst of the opening foursome of songs, the band also cranks up the rebellious rage of youth on “Dirty Dent” and you can almost feel their lips curling into a forced snarl on “Try to Forget”. In short, I was left wondering what this band wants to be; they certainly could take their Clash inspired approach and affinity for pop hooks to the mall set, but they have too much talent laying beneath the surface to go that route. The squalling guitar of “Time to Go” proves that, but how does one adequately explain the cheesy new wave tempos of “Gimme Til the Morning” or “Pacing”? I walked away from this frustrated and unenthusiastic about a band that has more to offer than what is shown here. The meandering closer “Stones on the Road” seals the deal and the band’s fate for me: despite the ample use of curse words and other pseudo tough talk, this record sounds flat.-Rich Quinlan

GRIDLINK - Amber Grey (Hydra Head Records www.hydrahead.com)

ACTION STRASSE - American Gas Jive (MFT Records www.mftrecords.com)

The band Action Strasse enters the world with a great pedigree as members of this band did time with the likes of Zero Boys, Burn It Down, and the Lemonheads. American Gas Jive sounds most like the last band of the three, as “Shame” opens with a mid-tempo, catchy hook and Vessel Von Ruhtenberg’s warm vocals. This sets the tempo for the majority of the work, as “Impatient Love” and “Childlike” have a fuzzy, 60’s pop sensibility defying the history of guitarist John Zeps, drummer Tommy Roosa, and bassist Tony Reitz, who came to form Action Strasse following the demise of their hardcore act Majhas. The closing “Undone Button” is the best example of the band’s ability to generate fun, harmonic guitar rock, for the lyrics bounce out of Von Ruhtenberg’s mouth and are carried by a brisk bass line. There is no hardcore fury here as only “Kids in a Hurry” and the title track feature speedier, more aggressive tempos. Most of American Gas Jive is steady, no-frills rock n’ roll and that is by no means a bad thing, but I am a bit disappointed with efforts such as ”Calling Beijing” and “People You Live With”, as these tracks fall flat and sound intentionally reserved. Action Strasse may not reinvent guitar rock here, but this works for those searching for a sturdy batch of utilitarian tracks.

THEY AND THE CHILDREN - Home (Kill Normal Records www.killnormal.com)

They and the Children utilize the finest aspects of hardcore-the members play blazing, fuming anthems, but they also slow the tempo at times to create labyrinthine efforts that simply are awe-inspiring. Case in point is the center of the record, “Invisible”. After three blistering opening efforts, They and the Children formulate a Family Man-era Black Flag monster that churns and twists for well over six minutes. This stands as a fascinating contrast the aural assaults that surround it. The most similar effort is the closing oeuvre “Gift”. This track is over eight minutes of agitating power. As impressive as the playing is, I was particularly impressed with the lyrics of Home. “Exploding Inevitable” opens with the poetic lines “To have an ethos with an open door, noble in theory with a vague execution”, and this is typical of the quality of writing. Clearly the band has political overtones to their work, but the message is not adolescently obvious; as a listener you must do a little work to fully appreciate the significance of the words being screamed at you. This is the type of band that reminds you why you are drawn to hardcore; the four kids in this band attempt to stir people to feel real emotions and discuss real concerns. It is this depth that separates hardcore from other forms of disposable music, and this trait helps to separate They and the Children from less distinguished acts.

BUBBLE/GUM - “Free Love” 7-inch EP (www.myspace.com/bubblegum)

THE BLACK WATCH - Icing the Snow Queen (Eskimo Record Label)

John Andrews Fredrick is the leader of this highly intellectual and Beatle-esque band, and he readily admits that Icing the Snow Queen is an album on which death is considered “something to celebrate”. However, before you begin to look for the cut marks on the arms of the members, it is clear that the members of The Black Watch view death as a cyclical aspect of life. This is not a dark or depressing record; instead, much of the material is lovely and embraces warm, fuzzy pop. It is obvious that Frederick and his mates spent a great deal of time absorbing all things Beatles beginning with Rubber Soul. There are a few songs here, namely “On Another Plane”, “Jenny Holly Wally Martin” and “Peppermint” which actually flex a little muscle and feature the guitar as a primary weapon. However, the overriding sentiment is a celebration of the quirkiness and brevity of life through fluffy, dreamy rock. “Quartz Pink Cloud” and “Apres Lisette” have titles that reflect their sound; the titles are picturesque and dreamy, and the songs capture that aura. “The Love of the Buzz” is rightfully blurry, with layers of genteel guitar haze bathing the effort, while the instrumental “The Jean Thys Appreciation Society” features a riff that will hook you instantly. The Black Watch as along and illustrious history, unbeknownst to me, and this disc will delight those who revel in the slightly more nebulous parts of pop sensibilities.

ALABAMA 3 - Hits And Exit Wounds (One Little Indian Records www.indian.co.uk)

FACTS ABOUT FUNERALS - Love Songs and Funeral Homes (www.evangelinerecords.com)

The great thing about art is that is can generate itself from the depths of tragedy. Rob Sharp, frontman for Facts About Funerals, lost his sister and both parents within a period of two months. This is the type of sorrow few people will ever know, and not surprisingly, Sharp took some time away from music. However, as great artists often do, he returned to his passion, changed the name of his band from New West Motels to Facts About Funerals, teamed up with some friends and went about constructing an album of beautiful harmony. Love Songs and Funeral Homes is a record featuring deeply harmonic and tranquil tracks, beginning with the lush “Runaway With Me”, a song that simply overflows with emotion. The same can be said about “Lousy Kisser”, “Dumb”, and the closing “The Wedding Song”. The majestic serenity of “A Different Man” acts as perfect representation of this band, as the playing is intricate, the vocals express a level of controlled melancholy, and there is a haunting quality that keeps the song in your head long after the disc is done. The band has the ability to turn up the amps a bit, as they do on “Cartwheels”, a song that is so corny, yet so earnest, as Sharp sings about literally doing “cartwheels” because he is so in love, and the rollicking “Black Whiskey”. This record is a testament to perseverance and the power of music. Go out and find this.

JOAN AS POLICE WOMAN - To Survive (www.cheaplullaby.com)

Fans of Cat Power, Natalie Merchant, or Joni Mitchell should immediately be drawn to the luxuriant voice of Joan Wasser. To Survive is a profound, deeply personal record that celebrates this woman’s many talents, most noticeably her astoundingly warm voice. “To Be Loved” is a masterstroke of longing and hope (“How on earth could you have found me/huddled under grapes of wrath/I will never know but forever ask/how I got so lucky”), while it’s companion, “To Be Lonely” is equally stirring, with violin and cello acting as bed for Wasser’s voice of vulnerability and honesty. I normally recede from such music, but when an artist is this gifted and so ready to bravely expose inner passions, one cannot turn away. Wasser surrounds herself with a bountiful supply of skilled players, including variety of drummers, harmonic vocalists, and string players. The title track and “The Start of My Heart” are two other anthems of splendor, with the former growing out of a lullaby from Joan’s mother. Lyrically powerful, majestically emotive, and delivered flawlessly, To Survive is a record announcing a new giant among female singer/songwriters.

THE VSS - Nervous Circuits (www.hydrahead.com)

EMPIRE!EMPIRE! – “(I Was a Lonely Estate)” / “Year of the Rabbit” (www.Countyourluckystars.com)

This 7-inch features two very poppy, heartfelt tracks of soothing emo with hushed vocals. Both songs deal with breaking up and having a broken heart, and I was surprised to see that it took this long for someone to call a tune “Idk, My Bff Jill.” The A-side title cut was quite straightforward and lush, while the aforementioned B-side was a bit more disjointed. Both tracks were going for relaxation over intensity, and both songs were highly non-threatening. There is nothing wrong with this if you are in a Mary Todd Lincoln kind of mood, but this really is not for me.

4 WAY SPLIT SERIES, #1 - 7-inch EP (www.deadbrokerecords.com)

One of the reasons why I love punk rock is because it packs a punch in a brief period of time. There are no unnecessary frills on this first four way spilt. Dead Broke Records went out and found four relatively local bands (at least relatively close to their home of Holbrook, New York), and provided geeks like me something to get very excited over, especially the blue vinyl! Down in the Dumps kicks things off with speedy, angered punk with a surprisingly melodic hook. I happen to love “Bummer,” as it sounds like it crawled out of the old men’s room at CBGB. Second on the docket comes Fellow Project. Their “Blow the Fucking Roof Off” has a late 1970’s feel, a la Richard Hell and the Voidoids with wonderful backing female vocals. Along the same line is the now-defunct Potboiler and “Oh, Shit.” This track has intelligent lyrics, a Cordova Academy Glee Club sound, and a sound that’s slightly less abrasive than Fellow Project. Finally, the EP closes with Red and Blue’s “The Past Few Years.” With lyrics that read like poetry, and hypnotic vocals, this is a band that is worth pursuing. I enjoy all four of these bands, and I think there could be a couple of diamonds buried in the rough on this release.

BURBIS - The Curse of the Golden Dracula (www.burbis.com)

CARNIFEX - The Diseased and the Poisoned (www.victoryrecords.com)

THE OSWALD EFFECT -Love and Sabotage (www.theoswaldeffect.com)

POMEGRANETES - Everything is Alive (www.lujorecords.com)

INCOMMUNICADO - Losing Daylight (www.a-frecords.com)