Helicopter Helicopter - Wild Dogs with X-Ray Eyes

Helicopter Helicopter
Wild Dogs with X-Ray Eyes
Initial Records
Grade: A-/A

There are not enough words in the English language to give due praise for Helicopter Helicopter on Wild Dogs with X-Ray Eyes. Or maybe, more significantly, there are not enough quality words in the description of a sound that is just so right, so good, that it is hard to define. The ancients like Plato and Aristotle had a similar problem (see the Timaeus) and they would have likely failed here (after they understood how sound was coming out of these black boxes). Yet, I will try to muster something with explanatory and descriptive power.

Before the superlatives, here is the run down on H2. The four-piece come from Boston where they have reigned supreme for about five years. After several releases on upstart Boston label Lunch records, Initial managed to score them for this record; much in the same way with the beginning of BoySetsFire on Initial. While the song construction is good on its own right, H2 weave sweet melodious indie rock with some hard rocking elements. However, the true juiciness comes with the multi-layered singing of both Chris Zerby and Julie Chadwick. Oh, God, how excellent. It's like taking Park Ave. and giving them some serious rock abilities. Just writing this short characterization gives me chills. Onto the dogs.

Wild Dogs with X-Ray Eyes starts with "Helicopter Fight Song," which serves as a good introduction for what's to come. That is, light poppy and catchy rock verses moving to cascading and building instruments and vocals on the chorus. True to form, H2 possess some of the best bridges and breakdowns in the business. The opening is followed up with the Tom Petty-laden (circa 1990) "Harsh Light." Again, delightful verses moving to a memorable and melodious chorus. "Talented Socialites" comes in with swirling guitars and poppy vocals by Zerby, soon enough joined by Chadwick. Yet, the magic of the song comes at the end with the refrain "you are talented socialites." After the quietly compelling "The Devil," H2 pick things up again on "1234." "1234" has the ability to bring tears to your eyes and chills to your spine when played at a high volume, so be warned. Lead by an uptempo Chadwick, "1234" has everything you want in a song, including a bass solo breakdown. Though a comparatively short number, it packs quite a punch. "Like Detroit" comes at you as a creeping nightcrawler of guitars, vocals and drums. The catchy "The Misfit" only wets your mouth for the catchier "Talk the Flyer Down." Before the finale, "Time Machine" grabs your ear and illustrates H2's consistency. Like on the many of the other tracks, "Time Machine" includes a dazzling breakdown before for the climax. The record's finale is "Waves Roll Into Boston." Coming in like an electric guitar wave, the song builds slowly with a single guitar matched by a fluttering guitar then some drums and bass. As the song builds, the tension builds and finally explodes into an inspiring chorus that you are not likely to easily forget. When the song and the album ends and has you dreaming of more, you realize you have just witnessed one of the best records of the year if not of the decade!

In my meager attempt to demonstrate the brilliance of this record, I hope I've at least developed a festering interest. Surely, if Wild Dogs with X-Ray Eyes does not go platinum in the first week is should be deemed a crime against all that is good and right in the world. Don't be a fool (cause I pity the fool) and miss out on experiencing this sensation and catching Helicopter Helicopter live.

Roy - Tacomatose

Roy
Tacomatose
Initial Records
Grade: A-

As their first release on Initial, Roy serves a secret alterna-life for its members. Specifically, the four-piece from Tacoma, WA, hail from Botch, These Arms Are Snakes and Harkonen. On this five-song EP, Roy sets out to dominate the indie world with lanky and swirling song structures and, more noticeably, guitars. Roy's influences spread far and wide though they limit the range of variance in their own songs. For instance, on the best song on the EP "The Bolivian Army Lays Siege to Seattle," the echoes of the Pixies fly far and near - that helps bring it to the top. The poppiness to the song underlies the stop the coke snortin' in the NW message. Probably one of the best-named songs seen around in several months of releases is the opening track "T Town Concrete." I assume it's a play on E-Town Concrete, everyone's favorite hoodcore band from Elizabethtown, NJ, which makes it all the more funny given it's coming from an indie band. "We Didn't Evolve" pursues the acoustic mellow track to rock, while "Tell It True" is considerably poppy and has an element of Beach Boys' harmonies squeezing out. The EP concludes with "Lightweights Exclusively" - another mellow song with a slow Promise Ring harmony. Roy possesses so much talent that hopefully they will devote more time to their indie pursuits from their hardcore day jobs.

Divide By Zero - Mirrors

Divide By Zero
Mirrors
Sinister Label
Grade: A-

This is the first EP for this punk band from Chicago. However, the core of the band comes from the fall of Chicago's Logan's Loss, so it is just another release in a long history of outings. While concentrating on the basics of punk, Divide By Zero have a bit of love that is hastingly being called "screamo" by such stalwarts as the New York Times. And, hence, Divide By Zero wouldn't be out of place with such bands as Taking Back Sunday, Thursday and Glassjaw. The four-piece is really carried by the vocal range and honesty of lead singer T.J. Milici. Part of this comes from the wisely used procedure of dropping music in the middle of songs to allow just vocals to shine before the music comes in full-tilt. Hot Water Music are the kings of this process and Divide By Zero are trying to capture some of the magic from early HWM records. This description is sweetly demonstrated on the best track of the EP "One More Reason." This track should get picked up college stations looking to add quality to their rotation. Other noteworthy songs amongst the five include "Was It Worth It" and "Drive These Roads." Given this debut I would be surprised if you don't hear a lot about Divide By Zero by this time next year.

Vessels - White Fields and Open Devices

Vessels
White Fields and Open Devices
Cuckundoo Records
Grade: A-

Vessels are probably the best (mostly) instrumental rock band that you’ve never heard of. Using vast soundscapes that are dominated by rapidly playing guitars, Vessels offer an intense rock take on atmospheric rock you find from Sigur Ros or Mono. This serves the five-piece from Leeds exceptional well as brilliantly illustrated on the multi-sectioned “A Hundred Times in Every Direction.” Recorded by the deft hands of John Congleton (Explosions in the Sky producer), the ten songs on White Fields and Open Devices offer a plethora of sounds for every instrumental rock fan. Vessels may have benefited from more atmospheric elements and less speed metal drilling, but at present they do offer an alternative to what is expected. Vessels are a band to keep on the tip of your brain.

Thursday/Envy - Split

Thursday/Envy
Split LP
Temporary Residence Ltd
Grade: A-

An idea generated by Thursday frontman Geoff Rickly and Envy fan, this split LP matches up the punk band Thursday with the intense, emotional epic punk of Japan’s Envy. If nothing else, it is good that Thursday is getting back to what they seem truly interested in doing and not navigating record label b.s. The four Thursday offerings span a wide range of sounds from the opening rocker “As He Climbed the Dark Mountain” to the epic instrumental “In Silence,” it sounds as if Thursday could successful pursue several different musical tracks. (Maybe Thursday would want to do some epic instrumentals for TRL?) Envy offers three songs that fit their past work – slow building soundscape elements with Japanese spoken on top before an explosion of intensity and noise. In the back-and-forth of emotions look to “An Umbrella Fallen Into Fiction” and “Pure Birth and Loneliness” to knock you on your ass. This is a find for many.

The Moondoggies - Don’t Be a Stranger

The Moondoggies
Don’t Be a Stranger
Hardly Art
Grade: A-

I’ve always had a theory that every band with the name ‘dog’ in it was awful, or if they weren’t terrible the name made me think of bad outcomes. Well, apparently ‘doggies’ isn’t nearly as off-putting as I don’t have a visceral reaction to the moniker and this Americana, roots indie band can sure rock. The Moondoggies led by Kevin Murphy immediately hit you with their harmony-drenched Americana on the opener “Ain’t No Lord;” it is just beautiful music. With a feeling you might get from the Band or the Byrds, or some mainstream 70s southern rock band (thanks in large part to Rhodes piano), the Moondoggies continue to dazzle your eardrums with such winners as “Black Shoe,” “Changing,” the gospel dirge “Undertaker,” the long ass rocker “Jesus on the Mainline,” “Make it Easy,” and closer “I Want You to Know.” Don’t Be a Stranger is by far, in my estimation, the best record Hardly Art has put out to date and if they’re not careful they may take over sister label Sub Pop in putting out the coolest music.

Death Vessel - Nothing Is Precious Enough For Us

Death Vessel
Nothing Is Precious Enough For Us
Sub Pop Records
Grade: A-/A

The first introduction of Death Vessel to your ears will completely shock your system from what you were likely expecting. First off, there’s the name – Death Vessel. With a name like that you are thinking metal, hardcore, or at least some type of macabre music. Yet, you know that DV is on Sub Pop and the Seattle label generally doesn’t trade in heavy music any more. Then you hear the start of the opener “Block My Eye,” and you worry that DV might just be another Sam Beam wannabe. Indeed, DV trade in soft acoustic numbers that conjure up traditional folk, bluegrass, and Americana. But after a listen or two of “Block You Eye” you hear how damn good the lyrics are; who uses ‘genuflecting’ in a song? Ok, you are slowly being sold on the attractiveness of DV. And then a big surprise hits you – the soft young girl voice you’ve been listening to is actually a man named Joel Thibodeau. What? DV has backing vocals from women, but Thibodeau is the one with the light, Antony-voice. I still can’t believe it; there is a disconnect in my mind that can’t be resolved. Ok, be fine with it, because the songs are glorious. And with that in mind, besides from “Block You Eye,” check out “Jitterakadie,” “Bruno’s Torso,” the galloping “Obadiah’s Oblivion,” the surprisingly memorable “Fences Around Field,” and “Circa.” Hug Death Vessel and feel the magic.

Blitzen Trapper - Furr

Blitzen Trapper
Furr
Sub Pop Records
Grade: A/A-

Let’s keep this short and sweet – Blitzen Trapper’s latest album is fucking amazingly brilliant even with its warts and moles (mostly in some off-putting lyrics). The fourth record from this Northwestern collective combines an archipelago of sounds and shines when the warm pop melodies and harmonies invade the indie rock soul. At very least, take a listen and look at a few songs off of Furr because they're all warm and cozy.

Albert Hammond, Jr. - Como Te Llama

Albert Hammond, Jr
Como Te Llama
Black Seal Records
Grade: A-

With the Strokes at various stages of permanent hiatus, guitar Albert Hammond, Jr has taken his energy and skills and developed a solid solo career. Hammond and his band offered up his 2007 debut Yours to Keep and the conclusion was that it didn’t sound just like the Strokes and that Hammond is a pretty good singer. Quickly on the heels of Yours to Keep comes this thirteen-track album that’s even tighter, cleaner, and better than the debut; that’s called moving in the ‘right direction’. Probably the one element that stands out is Hammond’s vocals – way stronger and drenched in fuzzy melodies. For love check out “In My Room,” “Gfc,” the awesome riffs of “The Boss Americana,” the sexy “Victory at Monterey,” the Strokes-like “You Won’t Be Fooled By This,” the quick strumming “G Up.” It appears that Albert Hammond, Jr doesn’t need the Strokes to continue on as a rock star.

Limbeck - Hi, Everything's Great

Limbeck
Hi, Everything's Great
Doghouse Records
Grade: A-/A

As the second album from this Southern Californian four-piece, Limbeck has truly out done themselves with a spectacular offering on twelve tracks of rock goodness. Taking a stronger turn towards the alt-country branch of the family, the theme of Hi, Everything's Great is the greatness of the American road (get it - the title is what you write on a postcard). As will be dutifully described, this is an album that is hard to get tired of listening to.

Limbeck first broke onto the scene with This Chapter Is Called Titles in 2001 and took their place amongst the other hundred pop-punk orientated bands in Orange County, CA. Probably deciding that they wanted to distinguish themselves a bit more from the fold, singer-guitarist Robb MacLean and the band took the memories of the road and put them to song. Crossing the Rockies to spend time in the plains of Kansas, Limbeck recorded Hi with the ever-amazing producer Ed Rose. Ed Rose is noted for a number of projects, but is mostly associated with producing the Get Up Kids releases. Taking a lesson from country and alt-country bands like Old 97's, Uncle Tupelo and Hank Williams, Limbeck sought to put some of this Americana flavor to a new set of tracks - and a new musical life. Patrick Carrie fiddled with MacLean on finding the right sound for the guitar work and Justin Entsminger and Matt Stephens filled out the rhythm sections. And thus, Hi was born.

Hi starts off on "Honk + Wave," with MacLean describing a lost love and now he finds himself in her state, the Beehive state, Utah. Out of this song you get the memorable line in the chorus of "if we drove side-by-side on a highway in the Beehive state, then we can honk and wave." While MacLean doesn't lament on this, he is more out to inflict a sense of sorrow on this unfortunate soul. Regardless of meaning, "Honk + Wave" musically sets the tone for the rest of the album. "Silver Things" starts out slow then builds admirably with a bit of country guitar fills and well-timed and quick-tempo hi-hat taps. Both of these tracks sets up the stellar track "Julia." "Julia" is featured on the latest Doghouse sampler and for good reason. As another song concerning traveling and the like, this one revolves around the ex-goth kid Julia and their conversations. While entrancing, there is a bridge on this song that gets your fists pumping like in "Dr. Worm" from They Might Be Giants. After a bad start to "This Place Is Deserted," Limbeck is able to revive the patient - by later chorus - but you may be inclined to skip past this one. "I Wrote This Down" only shows off its greatness after the opening salvo where Limbeck use a quietly-distorted guitar in an up-tempo pace chorus. While the use of the distortion is strategically planned, a wider use throughout the album might have been charming. After the solid "The Sun Woke the Whole State" and "Tan + Blue," "Gamblin' Man" truly goes after the road warrior spirit in country music. This is in no doubt amplified in the use of lap steel guitar and telecaster-driven solo fills. This is followed by the acoustic-focused "In Ohio on Some Steps," where MacLean is joined by Rachael Cantu on vocals and Chris Cron on keyboards that fill the room. The title of the song is what you might write on a picture that you took - and the song is a literal description of a day in Ohio. After the upbeat "Brand New Orange" and "Albatross + Ivy," the record closes on "Comin' From Tucson." Like "Julia," "Gamblin' Man" and "In Ohio on Some Steps," this song stands out as one of the album's best. "Comin' From Tucson" is a simple description of driving back to OC late at night from Tucson while everyone sleeps in the van. Again utilizing lap steel guitar, MacLean - with the help of Carrie on emphasis - describes the drive with wistful and longing lyrics that can only produce wide smiles for listeners.

Having just gotten off a tour with their superstar label mates the All-American Rejects, Limbeck have been able to plant their foot firmly in the rock world. Yet, with the release of Hi, Everything's Great their stock will surely rise faster than a crackhead with a just-scored twenty-rock.

Street Dogs - Savin Hill

Street Dogs
Savin Hill
Crosscheck Records
Grade: A-

This is the debut album from this Boston four-piece. Yet, the Street Dogs' pedigree is deep and rich. The band is fronted on vocals by Mike McColgan, the original singer of the Dropkick Murphys - the same McColgan who left DK several years ago to become a fireman. McColgan is joined on drums by Jeff Erna (ex-DK), Rob Guidotti on guitar and Johnny Rioux (ex-Hellcats, Roger Miret and the Disasters) on bass. Street Dogs have all the elements to make them great: powerful vocals, melodies and that raw punk-hardcore sound that makes you smile. This is immediately evident on the title track "Savin Hill" - instant hit material. Probably the only thing that doesn't make sense is that Crosscheck Records, with releasing this record, is based in LA - eh? McColgan's honest and strong vocals bring a lot to the table including tracks "Cut Down on the 12th" and "Fighter." "Fighter," a tribute to a late friend, has a similar feel to it as Bouncing Souls' classics and, well, DK classics - immensely moving. Dicky Barrett adds vocals to the less-than-stellar "Justifiable Fisticuffs," but Ken Casey's and Al Barr's vocals on the next track "Stand Up" more than makes up for any misstep. Other tracks that will help Savin Hill travel include "When It Ends," the acoustic drinking number "2 Bottles," "Last Call" and the working class "Modern Day Labor Anthem" (including some pontificating from McColgan). As Street Dogs' opening salvo, Savin Hill is an impressive affair that should garner them serious attention. As one of the strangest - though not baffling - promotional events, McColgan will be singing the National Anthem at Fenway on September 24. If you can check that out it should be well worth the effort.

Motion City Soundtrack - I Am the Movie

Motion City Soundtrack
I Am the Movie
Epitaph Records
Grade: A-

The Minneapolis quintet of the Motion City Soundtrack are one of those bands that you are constantly hearing about but rarely actually hear. By the amount of attention that Epitaph has given MCS over the past year, you would have thought this album came out two years ago. Though wetting people's appetites with a split on Doghouse - I Am the Movie clearly shows why Epitaph is all high on this band. Initially formed in 1999 and after several lineup changes, the band headed out to the plains of Kansas to record with probably the hottest indie producer in the country right now, Ed Rose. Seriously, Rose is punching out so many rocking records recently that it did not come as a surprise his hands were on this after a quick listen to the fourteen tracks. With signing to Epitaph, MCS were able to go back to Lawrence and put finish touches to the initial "rough" version. Often when I'm working on the computer - and lacking listening material - I put on the Launch "punk" station. And, hence, several of the tracks from I Am the Movie were quite familiar to me before I spun the disk. Specifically, "The Future Freaks Me Out" and "My Favorite Accident" drew quick attention and awe. "The Future Freaks Me Out" is a track that you have surely heard but may not have known who it was. Unlike most of the other tracks, it is brimming with pop goodness and finds lead singer Justin Pierre hitting some high notes. One of the elements that quickly comes to attention with MCS is the sweetly layered keyboards (Moog) from Jesse Johnson. This then draws easy comparisons to bands like All-American Rejects and, yet, they present a much fuller portfolio. An example of this is the amazing track "Indoor Living" - a track that has a similar feel to the great Dismemberment Plan songs. This is mostly due to Pierre varying the intensity between verse and chorus and the buzzing keyboard lead ins. With the Plan RIP now, people searching for comparable love may and should gravitate to MCS. Other standout tracks on the record include "Perfect Teeth," "Capital H," "Autographs and Apologies" and "A-Ok." If Motion City Soundtrack are able to match the clarity and sweetness of this recording - and most reports say so - then they will be a force to reckon with in the coming years.

Constantines - Shine a Light

Constantines
Shine A Light
Sub Pop Records
Grade: A-

The Constantines launch twelve tracks of sweet musical goodness on their latest release Shine A Light - a release that will likely earn a number of "featured artist" in scores of publication (came damn close to artist of the month here). The Constantines are a five-piece hailing from north of the border in Ontario. This, as their second full-length, is the first to be widely available in the U.S. The buzz they created out of their debut self-titled release on Canadian Three Gut Records in 2001 helped cement them in numerous festivals and smoke the Canadian college radio charts. After a quick listen of Shine A Light the reasons are obvious. The twelve tracks all contain thick instrumental compositions with Bryan Webb and Steve Lambke providing the vocal content. Their sound comes across as mature post-punk similar in nature to Dischord and Saddle Creek releases. However, the Constantines can pull off a Bruce Springsteen with the best of the them and, in fact, some of the best songs on the record are those with eerily similar vocal cadences and a pure dedication to rock. This includes "Young Lions," "On To You" and "Shine A Light," songs that singe "Rock" across your forehead. I wouldn't be surprised if any of these three get picked up as staples on your local college radio station if not mainstream. Though these songs are characteristic of their sound, they simply punctuate the quality of the record. Since their debut release, the Constantines have added keyboardist Will Kidman, allowing them to add variance to their song composition strategies. This comes through on the dazzling "Sub Domestic" and "Insectivora." Shine A Light will in no doubt propel the Constantines to a shower of praise and a new level achievement. If nothing else check it out to imagine what Springsteen might sound like fronting a post-punk band.

Avenged Sevenfold - Waking the Fallen

Avenged Sevenfold
Waking the Fallen
Hopeless Records
Grade: A-

I was never smitten about the previous material I had heard from Avenged Sevenfold - as limited as that may have been. I found their previous release on Hopeless Sounding the Seventh Trumpet less than stellar. Yet, as a swath of positive news flooded the music literature - most notably, Rolling Stone calling their performance one of the best on the Warped tour - I was interested in whether this latest release would change my priors on this five-piece from Southern California. Both visually and in audio, Avenged Sevenfold present an image of goth hardcore punk - yet, more surprising is the number of metal riffs that are incorporated in the album's twelve tracks. Clearly, then, there are comparisons to AFI. Also, like AFI, Avenged Sevenfold have advanced and matured over the years to become a stellar group. The metal connection is further endorsed by the fact the record is almost 70 minutes along due to the six to seven-minute song average. Hence, all the songs are journeys in their own right and to truly decipher them will take a long time on the part of the listener. Even though I have listened to the record - in pieces and in whole - numerous times, it never gets old and becomes increasingly difficult to nail down a single characterization. One of the lasting features on the record is the tremendous use of double guitars in every possible manner - including doubling sections for strength, octave building, muting mixed with solos and pure speed metal. Though some may be turned off by the goth element of the band, you cannot deny their talent and the immense effort exerted on this record. Avenged Sevenfold should find marvelous success from Waking the Fallen, propelling them to the forefront of hardcore punk music. They will be join similar minded bands this fall on the Take Action Tour.

Denali - The Instinct

Denali
The Instinct
Jade Tree Records
Grade: A-

As my first actual audio experience of the Richmond, VA four-piece Denali, I was stunned. For some odd reason when their came up last year on Jade Tree I had a notion that they sounded like Mineral or Joan of Arc - meaning slow, drawn-out murky songs. I have no idea why and I was so wrong. Lead by the compelling rich and sweet voice of Maura Davis, Denali are simply amazing.

Although Maura Davis is the captain of Denali, her brother Keeley was instrumental to the formation of the band in 2000. Keeley, guitarist and singer of indie-rock vets Engine Down, enlisted ED's drummer Jonathan Fuller and Cam DiNunzio (of former notable hardcore bands) to bring Maura's songs to life. After kicking out a demo to get shows and generate interest, they soon were fending off an avalanche of attention from both independent and major labels. They finally settled with Jade Tree - an independent label of ample status and resources - after some months of back-and-forth and realized their critically acclaimed self-titled release a short time later.

Though surely influenced by indie-rock foundations, Denali plays closer to Portishead, Bjork and PJ Harvey. This is amplified by Maura's and Keeley's addition of keyboards and electronic tracks to the songs. While the instrumentation on the album's nine tracks is keen, Maura's classical-trained voice brings the songs to life. She had gone to UNCG to train for a more operatic vocation, before deciding she just wanted to rock. Transferring to VCU - the college that almost gets run over by I-95 in Richmond - allowed Maura to germinate the beginning of Denali. Her voice, breathy and ethereal, demonstrates startling range particularly in a field where such talent is often sorely missed. Moreover, Denali contains a bit of cinematic and dramatic flair in the orchestration. Though Denali's existence on Jade Tree may quickly get them associated with more emo exploits - their sound breaks through genre stereotypes and pigeonholes.

The Instinct kicks off on "Hold Your Breath" with some drab guitars before light drums and Maura's vocals come through. While following a standard verse-chorus progression, the song slowly gains in intensity - serving as a good prep for what's to come. "Surface" begins in a similar manner, but travels with a much more groove-orientated bass line and a sweet and familiar vocal breakdown. "Run Through" introduces dark wraithlike vocals of Maura laid on top of a bed of electronics and beats - the opening to "Do Something" and "Nullaby" follow in a analogous construction. "The Instinct" and "Real Heat" take advantage of Denali's indie rock roots and are notable tracks on the record - though the record truly excels as an entire being. Several tracks play out like a journey bringing the listener highs and lows, upbeats and downbeats. Such tracks include the inspirational "Do Something," "Normal Days" and the mesmerizing ballad closer "Welcome" - at the end of the day probably the best song on the record.

Though many bands suffer from the sophomore slump, Denali has only gotten better overtime. This may be partially due to their quick ascension to star status and the lack of time they had to build up a drawn out repertoire. Whatever the reason, The Instinct is a gripping record that will likely drown out all naysayers and produce even more acclaim. The question now is will you be able to see them live given the swath of sold-out shows to follow.

V/A - Saddle Creek 50

V/A
Saddle Creek 50
Saddle Creek Records
Grade: A-

For their fiftieth release, Saddle Creek releases this double-disc collection of one new and one old song from all of their current artists. If you have been living under a rock, Saddle Creek have been taking the world by storm out of their headquarters in Omaha with bands such as the Faint, Bright Eyes, Cursive.... Those bands along with Now It's Overhead, Rilo Kiley, Son, Ambulance, Desaparecidos, The Good Life, Azure Ray, Sorry About Dresden and Mayday are featured on this release. For the old tracks, Saddle Creek have added the best from most of the bands and not necessarily the latest. For instance, the old Cursive track is "The Martyr" from Domestica. While some of the new songs are just quickly added types, some at quite good expositions. The Faint's "Take Me to the Hospital" is a hip hit, while Now It's Overhead "Dark Cycle" demonstrates a mature and talented direction. The Desaparecidos "Popin' Off At the F" adds some music and late vocals to a vocal track of an instructional tape on nuclear tests. Other new tracks that rock include Rilo Kiley's "Jenny, Your Barely Alive," The Good Life's "Aftercrash" and Bright Eyes' "One Foot In Front of the Other" - which borders on being a classic. Finally, the first disc includes forty-five short weekly movies that they had on their website during 2002. Some of these are for band lovers and others are quite comical (e.g., Cursive with elimidate and the Faint after playing with No Doubt). This disc doubles as an introduction to the label and as must have for Saddle Creek fans.

Bouncing Souls - Anchors Aweigh

Bouncing Souls
Anchors Aweigh
Epitaph Records
Grade: A-

When a band like the Bouncing Souls come out with a new record, expectations are high, very high. Can one of the greatest punk bands in the world improve on previous material? Can they capture the magic? Will they deviate from the path of goodness? And will that deviation be effective? Such were the questions when I put in the latest from this four-piece of NY punk gods (well, technically NJ punk gods). The Bouncing Souls with their early records of The Good, the Bad and the Argyle and Maniacal Laughter placed themselves on the map as a fun time NY punk band with a distinctive sound highlighted by Greg Attonito's exceptional vocals. Songs about 80s movies, late nights of love lorn and liking your mom only laid the foundation for their amazing and always jammed-packed NYC shows. After signing with Epitaph they put out a lackluster self-titled record, but then followed it up with probably their best and one of the best punk albums ever with Hopeless Romantic. That record renewed the faith in the disheartened. Yet their latest How I Spent My Summer Vacation, while consistent and strong, did not deliver the punk that droolers were looking for. Now after much maturity, reflection and effort, the Bouncing Souls offer Anchors Aweigh. As a initial impression to the above, the overall quality is somewhere inbetween Hopeless and Summer Vacation. That is, a great new batch of songs, though not a classic collection. Though besides from Hopeless, most of the other records had several classics though not a motherload - so maybe this isn't far off. The record kicks off with the hard-slamming "Apartment 5F," which travels along the balls-to-the-walls speed and sing-a-longs of early material - also of such characterization is "Born Free," "Better Days," "Highway Kings" and "Blind Date." This is followed by "Kids and Heroes," a more introspective song that has a video on the enhanced cd. While a good song, the video itself is mediocre in excitement, especially after the Weakerthans video selection, with the clips showing the band playing the song. A song like "New Day" provides the hot bass and vocal breakdown that is oh so appealing and really demonstrates Greg's abilities. Other tracks that will likely stick with you after a first listen are "Simple Man," "Night Train" and "I'm From There." What these three tracks have in common is that they are all on the mellow side and demonstrate the Souls abilities and maturity as a band. I remember people freaking out when the Souls started putting "ballads" on their records, but the thing is often those are the best tracks. Besides from the video for "Kids and Heroes," the enhanced cd has some footage of recording the record and a trailer for a Bouncing Souls documentary called Do You Remember? At the end of the day, the Bouncing Souls do deliver a stellar record with Anchors Aweigh. While it doesn't approach the pure awesomeness of Hopeless it is not far behind.

The Weakerthans - Reconstruction Site

The Weakerthans
Reconstruction Site
Epitaph Records
Grade: A-/A

Before I actually heard this latest record from this Canadian four-piece, I knew I had a gem on my hands. It wasn't that the cover design is ingenious. It wasn't that everything of late from the Weakerthans absolutely rules - even their music videos which you can check out on Launch. It wasn't that - everyone one knows - this is the love-lorn bass player from Propagandhi's band. It was because my friend John knew every word to the album in no time flat from day one. John is someone who was not a fan before initially hearing this record. And John is someone who can take something - anything from a two-second move in HK movie to a story of a fight in high school - and spin it into a story that makes you giddy like a school girl. Moreover, Reconstruction Site delivers on everything you could possible want and pushes your expectations higher.

The Weakerthans formed in Winnipeg in 1997 for at least one reason as an outlet for John Samson - the bassist in Propagandhi. His songs were such contrasts on Propagandhi's records that they were instantly cool - often literate - affairs. Now the Weakerthans are split between Toronto and Winnipeg, and curiously enough that seems to have made this latest record exceptional. They have two previous full-lengths both on Sub City Records and an EP. While it is hard to categorize their sound - and that is part of their allure - they are essentially a melodic punk band with strong influences from alt-country.

When I hear the first note of the opening track "(Manifest)" it instantly conjures up images and memories. Though these are not specific memories of anything based on connections with the Weakerthans, the images emerge of a cold, well-literate, morally-right and just atmosphere. Honestly, the Weakerthans remind me of an ex-girlfriend with an English degree living in Minnesota. While I haven't done a poll on this, I think similar imagery may be common.

I have to get this first point out of the way because it is eating me inside. On the cd there are four movies and two are music videos. One video is just a b&w instrumental affair. The other though is for their song "Our retired explore (dines with Michel Foucalt in Paris, 1961)." I initially wasn't entirely convinced that this was the best song to put the effort into making a video. Yet, how wrong I was became clear after a first viewing. The stage is set in Antarctica with Samson as an explorer going to do research. He slips and falls into his domicile and then is quasi-dreaming about having dinner with philosopher Foucalt. Exceptionally weird and funny. In keeping with the philosopher theme, Foucalt gives Samson a book by Derrida. The best part though comes after the line "...je suis comme ci, comme ca. Yes, a penguin taught me French back in Antarctica" - where a stuffed penguin enters the video and there is much dancing. Also on the odd side there is a woman just dancing behind Foucalt during the whole affair. I wound up watching the video like thirty times and playing for everyone I could.

On to the music. The record kicks off with the short and mellow "(Manifest)," setting the tone for the rest of the record. This is followed up with "The Reasons," one of the best tracks on Reconstruction Site. "The Reasons" is more power electric rock than "(Manifest)" and introduces the listener to the range of Samson's vocals and harmonies. The title track is a winding affair with licks of country and Samson telling stories of times ago. "Psalm for the Elks Lodge Last Call" utilizes backup from the band and is a slower number. To remind you that the Weakerthans are a rock band they blast back with the stellar "Plea From a Cat Named Virtue." Next is "Our Retired Explorer..." that I went through in reference to the video above. But one point of emphasis on the song is the timely and well-conceived bass peaks and valleys complementing the drumming. Again, this song should be number one everywhere - from elevators to escalators from country rock stars to gangsta superstars. "Time's Arrow" and "Uncorrected Proofs" follow along consistent lines. The Weakerthans come in blind-side with the Western "A New Name for Everything" with lap steel and pedal steel playing - this also ranks as one of the best. "(Hospital Verses)" and "(Past-Due)" add some electronics to the rock.
"One Great City!" is about why they love Winnipeg - as absolutely tongue-in-cheek (could you take the cold? Makes North Dakota look like Miami). Finally, "Benediction" finds Samson dueting with Sarah Harmer on more steel and "The Prescence of Dawn" has echoes of Jawbreaker.

As you probably have guessed Reconstruction Site is one of the best records of the year from a band that is on the up-and-up. I would be baffled if the Weakerthans don't get some serious attention and praise from the record. And unlike Propagandhi, the Weakerthans tour like a mo'fo and are likely to come screaming through your town - and such is clearly a signal and sign for you to do what is right.

Saosin - Translating the Name

Saosin
Translating the Name
Death Do Us Part Records
Grade: A-

This is the debut EP for this five-piece from southern California. Given that they produced and recorded it themselves, you may suspect the five tracks to be suspect themselves. Yet the five tracks hum and smoke with an amazing tightness and skill. In short, Saosin play an amalgamation of punk, hardcore and indie rock - not unlike other bands today, but much better. The two guitars (from Beau Burchell and Justin Shekoski) weave and layer each other while maintaining an undying love for harmonics - something that has been sorely missing since Snapcase's Progression Through Unlearning. The EP launches off with "Seven Years" and Anthony Green's sweet melodic vocals and a free-flowing intro. Yet, less than a minute into the song, Saosin start throwing down with screaming and riffling guitars with harmonics. To some extent, the structure of this section is like what early Cave In would have done if they were writing more punk numbers. This is a tremendous opening track that bates and then snags the listener. The next track "Translating the Name" contains a similar opening section but with a more standard structure and backing vocals. "3rd Measurement in C" slows in a linear manner until the very end when it excels. While "Lost Symphonies" could benefit from an extension of the seemingly aborted guitar fills, it fits in quality with the other tracks. The finale "They Perched On Their Stilts, Pointing and Daring Me to Break Custom" begins with grinding guitars that could be found on the latest Darkest Hour album before breaking down into mellow verse and back up with chugging chorus. As mentioned in the beginning this is a stunning EP from an open and coming band from the burgeoning southern California scene (read: not the simple SoCal punk scene). The only thing that could possibly stop this band from becoming huge is they cease from existing.