Mob Stereo, Too Young To Go Steady

chug chug chug deeply buried sub-Debbie Harry vocals bash bash bash anemic handclaps in “Bubblegum And Binders” buzz buzz buzz monotonous guitar in every single song blah blah blah god could any of this matter less click click click…

Decahedron, 2005

I’m one of those people that believes that Decahedron is (was?) basically the continuation of Frodus in everything but name. It’s still Shelby Cinca and Jason Hamacher with (insert bassist here) kicking out frenetic post-punk-hardcore-politicized-art-rock like men possessed…

Mayday, Bushido Karaoke

Much has been made of Cursive-related side project The Good Life, but I really haven’t seen all that much about Mayday; maybe I just don’t read enough “alternative” rags. At any rate, Mayday is the brainchild of Ted Stevens, Cursive’s guitarist. The record is on Saddle Creek…

Marbles, Expo

It’s been eight years since the last Marbles release, but the actual lag between projects is closer to 13 years, since 1997’s Pyramid Landing was a delayed collection of songs that Robert Schneider had recorded half a decade earlier. To put that in perspective…

The Rosebuds, Birds Make Good Neighbors

You know how sometimes you think to yourself, “Man, I wish I could listen to something just a little Shins-y but not quite so upbeat. A little Smiths-y at the same time would really hit the spot”? Okay, nobody ever thinks that. But if you did, The Rosebuds would fit the bill perfectly…

Orents Stirner, Our Names In Concrete

Albums like Orents Stirner’s Our Names In Concrete are why music reviewers find the word “stark” so necessary. Like Pink Moon with an infinitesimally larger recording budget, it’s built on a lot of acoustic guitar, a single voice, a touch of reverb…

The Jonx, The Return of the Death of the Legacy of the Revenge of the Jonx

Sometimes, you either get something or you don’t. That’s the conclusion I came to when I saw Houston rockers the Jonx play a few years back; after the first two or three songs, my wife was grimacing and shaking her head. “This sucks,” she grumbled, “let’s get out of here…”

The Goons of Doom, Bikey Zomby

There was a time when garage rock was considered a thing of the past. Fortunately for its fans, it was reborn earlier this decade with bands like The Strokes and The White Stripes. Since then, however, so many other neo-garage rock bands have emerged…

The Constantines, Tournament of Hearts

The Constantines sound like Bruce Springsteen if he and the E Street band had grown up listening to Fugazi — here, even the keyboard player is a punk rocker! Between the Constantines’ preference for anthems and the singer’s unique voice, they have a distinctive sound…

Various Artists, Otis’s Opuses

I should start by saying that I haven’t always been real impressed with past comps I’ve gotten from Kill Rock Stars. They’re good folks, and I love ’em dearly, but the sad truth is that I can’t get my head around three-quarters or so of their roster…

Walter Trout, Deep Trout: The Early Years of Walter Trout

I love the blues. There is nothing more comforting to me than the sad cry of a guitar and a heavy throaty voice joining in with its own distinct wail. I don’t know about you, but whenever I have blues going on the stereo, I just can’t help…

Son Volt, Okemah and the Melody of Riot

There’s something comforting about the Son Volt sound — it’s warm, ragged, and reassuringly familiar. The guitars rumble and scratch the way guitars are supposed to, Jay Farrar’s smoke-scarred voice climbs and falls, and the the band behind drives the machine…

Maia Sharp, Fine Upstanding Citizen

At first glance, the cover of Maia Sharp’s Fine Upstanding Citizen is as unremarkable as the album covers associated with many otherwise remarkable solo singer/songwriters. Sharp herself graces the cover, and in case we fail to recognize her, her name is printed in large, plain print…

The April Skies, The Breathe EP / Flood

Any band that nabs their name from a band like the Jesus & Mary Chain better have the chops to back it up. The April Skies’ name naturally draws attention (and in the early ’90s, apparently got labels interested), but many of the band’s new songs hold little to capture the listener’s attention…

A Wilhelm Scream, Ruiner

An unfortunate number of bands like A Wilhelm Scream leave me cold. I hate to say it, but it’s gotten so that most of the folks out there who sound like these Northeastern boys (and apparent diehard Red Sox fans) all just bleed into one another — they combine the speed and heavy guitars of […]

Various Artists, I Hate It Here, I Never Want To Leave

Damn, I feel old. I can remember a time when I’d scour the “Local” CD racks at Cactus and Soundwaves for H-town bands and comps, happily go see whoever was playing at Rudyard’s, Mary Jane’s, or The Oven on any given night, and shake my head in amazement at the wealth of unknown…

Various Artists, The Estrus Kamikaze Ass Chomp ‘N’ Stomp CD Sampler Vol. 4

This compilation features an assortment of bands that share a common affinity for pushing the boundaries of modern music. None of the 19 bands featured are very mainstream; Estrus, in fact, is known for its stable of well-respected, underground acts…

Various Artists, Buzzin’ Fly, Volume 2: Replenishing Music For The Modern Soul

Musician/DJ Ben Watt has been making music since the early eighties in the folk-turned-electro pop duo Everything But The Girl, but his more recent offerings are experiments in late-night club scenes. On this collection, the second in the Buzzin’ Fly series…

Chad VanGaalen, Infiniheart

People like Chad VanGaalen piss me off. Why? Well, the Calgary-based singer/songwriter/ artist/animator/genius/whatever irks me for a couple of reasons, the first of which is that, well, he makes it sound so easy. As a whole, Infiniheart sounds effortless…

The Upwelling, The Upwelling

I don’t understand the comparison of Brooklyn’s The Upwelling to Brian Eno that keeps coming up in their press stuff. To me, they sound more like a more focused, lighter Juno with a little emo flavoring — which is pretty catchy and damn right interesting…

Ume, Urgent Sea

Part-time Houstonians Ume do a rocking Blonde Redhead crossed with early Sonic Youth. Though a little derivative, the mixture is quite alluring, and on Urgent Sea, it yields at least three standout tracks. “Wake” is a thunderous, frightening opener…

22-20s, 22-20s

Similar to the Stones of the ’70s and the garage bands of late (Strokes, Sights, White Stripes), the 22-20s cross straight-up rock ‘n’ roll with classic blues while maintaining an Oasis-like swagger and modern appeal. Subject matter includes the typical rock star excesses…

T.Raumschmiere, Blitzkrieg Pop

With Blitzkrieg Pop, Berliner T.Raumschmiere (real name Marco Haas) delivers more high-energy abrasive dance music, positioning it as electronic punk rock. I can’t speak to his live show, which is reportedly quite kinetic, but on record that project is a pathetic failure…

Love as Laughter, Laughter’s Fifth

In recent discussions of rock music, the term “college rock,” which once referred to the type of pop music favored by college radio stations and students, has often been eclipsed by the term “indie-rock,” the criteria of which are more related to the way the music is produced and marketed…

Whitney Cline, Bring on the Rain

It takes a little getting used to, but eventually you’ll find yourself being taken somewhere deep inside Whitney Cline’s voice. With her debut album, Bring on the Rain — which is described in the press materials as a mix of folk and rock…

Last AmAndA, Last AmAndA

I can’t believe I don’t hate this. No, seriously; I’m a little disturbed about it. I first listened to transplanted Swedish (they now live in California, apparently) quintet Last AmAndA’s self-titled debut reluctantly, thinking for sure that I’d pan this quick and move on…

Kinski, Alpine Static

Alpine Static, the fourth composed full-length studio album from mostly-instrumental Seattle drone-rock quartet Kinski, marks another step in the band’s continued evolution. There seems to be a conscious effort here to make things a bit more concise…

The Capes, Taste

I’ll be the first moon-eyed idealist to proclaim that music can change the world; sappy as the sentiment is, I honestly believe it. At the same time, though, I recognize that a song doesn’t have to be world-altering in order to be good…

Maggie Kim, Lesson 1.5

Though on Lesson 1.5, Maggie Kim claims artistic geniuses like Missy Elliott, Prince, Beck and PJ Harvey as her heroes, her actual closest analogue is more likely Christina Aguilera: a marginally talented also-ran who is more famous for her outlandish fashion sense than her music…

The Kidnap Soundtrack, Beauty is the Other Dancer

This five-song CD from Houstonians The Kidnap Soundtrack is for those lovers of the heavy side of life. Its mellow beginning provides a relaxing mood until it leads into a rainstorm sound…where henceforth, the death metal singing (otherwise known as screaming) begins…

Keg Vultures, Bendy Straw Brain Massage and Spiritual Dry Cleaning

Austin’s Keg Vultures are apparently determined to annoy all listeners into submission with their garage-meets-fingernails on a blackboard approach. The merry pranksters of this unit wield their smart-ass bombast like a samurai sword…

Built Like Alaska, Autumnland

I was told this was country…and yet, when I listened to it, I didn’t hear a lick of country. But maybe what our esteemed editor meant when he recommended it as “country” was that it’s…rural. “Rural” may not sound like a way to describe music…

Broken Spindles, Inside/Absent

It’s funny; I know that I should know Joel Peterson more for his work in The Faint than for anything — after all, those Omaha electroslammers pretty much threw the doors wide open between indie-rock and quirky dance music — but after listening to Inside/Absent

The Hourly Radio, lure of the underground EP

No offense to Texas band The Hourly Radio, but after listening to lure of the underground, I’m simply not getting all the U2 comparisons in their press materials. Now, before anybody balks, let me say that I actually mean that as a compliment. Don’t get me wrong…

Hotpipes, The Deadly Poison

When a band asks “How old have we become?” on a song called “Fartknocker,” one has to wonder how the rest of the album’s gonna play out. For Tennessee-based Hotpipes, the result, The Deadly Poison, is part middle-of-the-road jam band, part indie-rock…

Taylor Hollingsworth, Tragic City

Most albums have some combination of good songs, mediocre songs, and bad songs. Really good songs are rare, and really bad songs are probably more rare. Tragic City, by Taylor Hollingsworth, is something of an achievement: all of the songs on the album are either really good or really bad…

Hell’s House Band, Dozen Lies

I’d never heard of Hell’s House Band before I got the chance to review their album Dozen Lies, and yes, my literal first impression was that this actually does sound like the house band in hell. The guitar work is gritty with a tangible, scummy blues feel…

The Hatepinks, Plastic Bag Ambitions

Shortest… Album… Ever. At about sixteen and a half minutes, France’s The Hatepinks’ 2005 disc, Plastic Bag Ambitions, is typical get in-get out, in-your-face, fast as possible, world-hating punk. As far as punk goes, though I’m not a punk fan…

The Hammer Bros., Free Palestine!

Political hip-hop can be quite good, if it’s done correctly. Take Public Enemy or Rage Against the Machine, for example. With Free Palestine!, unfortunately, the Hammer Bros. fall short…

Good Charlotte, The Chronicles of Life and Death

So, once you’ve hit the big time playing in your high school band, become ridiculously popular, been featured on the covers of magazines from here to Kingdom Come, have two hit records under your belt, and been showered with equal doses of adoration and criticism…


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