Tricot Machine - Tricot Machine (2007)

Living in a bilingual city like Ottawa, the importance of speaking French becomes more clear to me every day.  Admittedly, I don't listen to as much French music as I'd like to but every now and then, I hear about a band through the grapevine and usually, I'm quite pleased with what I get.  Tricot Machine's debut self-titled album is no exception to this rule.  What we have here is a very poppy/ballady album from the Québecois duo of Catherine Leduc and Matthieu Beaumont.  The melodies are simple yet beautiful.  The majority of the album is piano driven but once in a while extra instrumentation is thrown in such as banjo on the track "Super Ordinaire" or trumpets on "Un Monstre Sous Mon Lit".  Drums are sometimes even exempt from select tracks in favour of stomps and hand claps to keep the rhythm.  Luckily, if you haven't guessed from the song titles, the band don't take their music too seriously as many lyrics are lighthearted or comedic in nature, but not to the point of over the top ridiculousness the likes of Les Trois Accords.  The album clocks in at just over 40 minutes but seems to fly by in a moment's notice acting as a great little distraction from reality.  They currently have a new album out called La Prochaine Étape which I also intend to review in the not too distant future.  If you've been enamored by acts like Coeur de Pirate, Immaculate Machine or even Mates Of State then this is right up your alley.

www.myspace.com/tricotmachine

Weekend - Sports (2010)

Fans of Sonic Youth or No Age may enjoy these newcomers, who are straight out of San Francisco.  Sports, Weekend's debut is a garage rocker through and through.  These guys are no strangers to distortion, fuzz, reverb or feedback.  They lay it on thickly and proudly but not so much as to turn the listener right off.  In fact, if anything, it helps to create layers or waves of sound that blend right into the tracks.  These guys are also able to create such luscious melodies that don't seem to fight the noise; they rather go with the flow of things.  Best put, singer Shaun Durkan has stated: "Our goal has always been to balance the abrasive qualities of punk and noise with something more introspective and vulnerable. Creating that simultaneous push and pull. Like the beauty of an oil fire."  There is always a driving drum beat or guitar riff in each track which keeps the record moving.  Never a dull moment with perhaps the exception of track "Monday Morning" which is a slow builder that never gets around to picking up the pace.  Overall I'd say this is a promising debut from a band to look out for in the future as their fan-base is growing rapidly.

www.myspace.com/weekendmusic

The War On Drugs - Future Weather EP (2010)

This is the second EP from Philadelphia-based band The War On Drugs.  Their 2008 full-length debut for label Secretly Canadian entitled Wagonwheel Blues became a success and the band began to gain some exposure.  That of course could have also been due to band member Kurt Vile's rising fame as a solo artist.  On their most recent outing, the band features a revamped lineup, as many original members exited the band.  Most importantly, The War On Drugs no longer have Kurt Vile as a member which can be a blessing and a curse.  While it's great to be able to namedrop Kurt Vile's name as a former member, parting with one of their main songwriters the band could have easily flopped.  Fortunately they came out on top and this new EP is great.  The band is easily capable of blending Americana, rock 'n roll, country, folk and pop all into a tight-knit package.  There is some nice harmonica work on "Baby Missiles" as well as some nice guitar work and soloing on "Comin' Through", some nice chorus on an acoustic guitar throughout "A Pile Of Trees" and the album ends on an epic 8-minute song entitled "The History Of Plastic".  I hope that despite being without Vile that his name-dropping is enough for these guys to continue to be noticed and to give them the ability to carry on without him.  This quick EP is only to hold off fans looking for more as apparently a new full-length is on the way.  If it happens to sound anything like this, count me in!

www.myspace.com/thewarondrugs

AIDS Wolf - March To The Sea (2010)

The last time I gave AIDS Wolf a listen it left a bad taste in my mouth.  I thought I'd give them another chance as I'm all for noise-rock, I do listen to my fair share of it but I still just can't wrap my head around what AIDS Wolf do.  I'll give the band credit for stepping up the production value on this album as everything seems less mashed together.  Each instrument is clearly heard and the vocal tracks are much more distinct but it's still the most annoying noise-rock you've ever heard.  Guitars play hammer-on after hammer-on of squeaked high-pitched notes and harmonics and the drums are just sheer chaos and all over the place.  There is a consistency to it all but nothing that would qualify as a traditional song.  Lead vocalist Chloe Lum (a.k.a. Special Deluxe) comes off as a wannabe Karen O. of the Yeah Yeahs Yeahs through her whiny singing and wailing.  The title of the first track on the album, "Teach Me To Suffer", gives the best impression of what's to come.  The album culminates with a final 10-minute long track entitled "Very Friendly" which is by far the least annoying and most accomplished track of the whole lot.  Fortunately the album overall only clocks in at around 24 minutes.  I'll give the band some credit for being fellow Canadians (straight out of Montreal) who are attempting to do something different but I can't foresee this album warranting any repeat listens.

www.myspace.com/aidswolf



Lustmord - [ O T H E R ] (2008)

Unless one is into dark ambient music, this is a tough album to sit through.  For a little more than an hour the audience is subjected to low, extended bass rumbles with no drums and some guitar.  The British artist Lustmord, real name Brian Williams, has recruited some big names when it comes to dark music.  Who better to understand the process than guitarists such as Aaron Turner of Isis, Adam Jones of Tool and second-time collaborator (after the Lustmord featuring Melvins album, Pigs of the Roman Empire), King Buzzo.  Turner features on the song "Element" but goes virtually unnoticed.  Adam Jones seems to be the most present of the 3 guitar players adding his usual drop-d tuning touch to songs like the 22-minute long "Godeater" and 8-minute tracks "Dark Awakening" and closer "Er Eb Us".  The album starts off very slow and never really takes off, I guess it's what you should expect from an ambient album.  King Buzzo incorporates some of his notable guitar work into the track "Prime [Aversion]".  However, the use of guest musicians is fairly squandered.  Their guitar riffs never take off or go anywhere and yet their sounds are distinct enough to tell who's playing.  Some of these guitarists are known for their intricate riffs and melodies but there is nothing difficult about what they play.  It is no surprise to see Aaron Turner on this release due to the album being released on his own Hydra Head Records and Adam Jones comes as even less of a surprise.  You may find some of this work to sound very similar to the track "10,000 Days" from the album of the same name by Tool since Lustmord is featured on the intro to the track.  [ O T H E R ] left me feeling cold and isolated, there are no joyful moments or anything soothing to be found on this album.  If you're looking for something different or unusual and are prepared to end an album on a bit of a downer, then look no farther than this.

www.myspace.com/lustmord

Girl Talk - All Day (2010)

Girl Talk returns with his fifth album entitled All Day and best of all it's a free download.  If you're a classic rock fan, this album grabs you from the opening note.  Doing his usual blending of rock and hip-hop mash-ups the album kicks things off with Black Sabbath's "War Pigs" with some Ludacris over top.  People familiar with DJ Greg Gillis' work will know his love of Radiohead and therefore won't be disappointed due to the use of Radiohead tracks "Creep" and "Idioteque" in the mix.  With familiar throwbacks like the usage of Spacehog's "In The Meantime" or Terror Squad's "Lean Back", it's like a trip through time.  My only dilemma with Gillis' album, as per usual, is by the time you get a feel for a specific song (especially one you haven't heard in a long time) it's already over and then you feel obliged to haul out that old album and listen to the song in full.  The general complaint I seem to be hearing about this album is the fact that Gillis seems to be playing it safe lately with the use of far more well-known tracks.  In the past, Girl Talk has used more obscure samples, delving into indie rock and rap.  I suppose with the onset of fame, Gillis felt the need to bring pop culture to the forefront of his music and play more things people know and want to hear.  At the very least in the company of others, it makes for several "oh I know that song!" moments.  Fans of classic Girl Talk may be disappointed however, if you're less picky about your music, make sure to listen to the album beginning to end (as it flows like one track) to get the full effect.  From there enjoy hearing some of the funnest mash ups of the year; some of the tracks will surely put a smile on your face.  Gillis has once again created something equally appealing to rock fans and hip-hop fans alike.

The album  is available to download for free at:
http://illegal-art.net/allday/

www.myspace.com/girltalk

Sufjan Stevens - Enjoy Your Rabbit (2001)

Sufjan Steven's follow-up to A Sun Came is probably not what you would expect, especially if you've heard his other albums.  Fans of Sufjan's music will be most comfortable with tracks like "Year of the Dragon" which is by far the closest-sounding thing to anything on an album like Illinois.  The project is based on the Chinese zodiac and features names for tracks like "Year of the Ox", "Year of the Tiger" and "Year of the Asthmatic Cat" (a pun on the name of his record label, Asthmatic Kitty).  The album seems to be an experimental phase for Stevens as the majority of the album is filled with glitches, beeps and boops.  It is very electronic-sounding and instrumental save for a few oohs and ahhs here and there.  Sufjan goes as far as using autotune on the track "Year of the Dog".  If you're able to sit through the first half of the album, it seems to get better as it goes on.  Some of the most rewarding tracks come towards the end of the album and include short acoustic guitar riffs.  With each song the album seems to progress and create its own flow.  It's an odd release for Sufjan and yet it seems to strangely fit into his catalogue.  As his albums show, Sufjan has proven he's not afraid to try new things.

www.myspace.com/sufjanstevens

Fistful Of Mercy - As I Call You Down (2010)

Don't let the name fool you as this is a band of a very calming nature.  Composed of members Dhani Harrison, Ben Harper and Joseph Arthur, there is nothing complex about any of these songs, this is just some fun folk and acoustic rock.  Songs can go from upbeat blues/folk stompers like "Father's Son" to instrumental acoustic ballads complete with violin such as "30 Bones".  For those unaware and/or pondering, yes, Dhani Harrison is the son of the late Beatle George Harrison and does he ever sound like his old man; the similarity in their voices is truly haunting.  Even some of the music sounds like it could have been written by George himself.  Dhani has gone as far as stating in a Rolling Stone interview that the writing process for this album was very similar to the way it was done with the Traveling Wilburys (which his father was a part of) in which each member retreated to their own corner of the studio and let the inspiration flow.  The combination of all vocalists' voices creates some very intricate and beautiful three-part harmonies which accompany the majority of the songs wonderfully.  They seem to have the right formula as to when to sing together and when to sing as individuals as the group singing does not seem overbearing on any of the tracks.  They could have gone in the opposite direction with each vocalist wanting to be at the forefront but vocal duties seem equally shared across the album's tracks.  This is a truly well-rounded album filled with acoustic rockers which come across as truly heartfelt.  I will admit, I'm not a big Ben Harper fan but this album was inspiring enough to want to pick up my guitar and try to work out some of the songs.  Give it a shot if you're into any of the 3 members' music or just a fan of acoustic rock, I don't think this one will disappoint.

www.myspace.com/fistfulofmercy

Evile - Infected Nations (2009)

Evile's 2009 follow-up to Enter The Grave finds more of the same thrashing madness right off the bat.  Don't let the slow lull of intro song "Infected Nations" fools you; it quickly launches into some of the most speedy and yet controlled riffage I've ever heard.  The punishing solos continue to be churned out, just listen to standout track Nosophoros and you'll hear exactly what I mean.  The fretwork is simply impeccable.  Needless to say, Evile has taken a huge step forward on their sophomore album and are making no plans to look back.  The songs are better structured, the lyrics are more focused and the amps have been cranked to 11.  Turn this one up loud when you listen to it!  Unfortunately in October of 2009, Evile would lose their bass player, Mike Alexander, whilst on tour due to a blood clot on his lung.  A replacement player was found by the name of Joel Graham (formerly of Rise To Addiction).  Graham is currently in the studio working with the rest of the band on the follow-up to Infected Nations which is scheduled for release in 2011.  Only time will tell if the music holds up with a line-up change under their belts now as the third album for most bands tends to make them or break them.

www.myspace.com/evileuk

Evile - Enter The Grave (2007)

This is simply a rip roaring album from start to finish.  This is full on thrash at its freshest.  In the vein of Metallica, Slayer or more recently bands like Toronto-based Rammer, Evile's debut 2007 album is one of the fastest I've heard in a long time.  The double-kicker stomps out ridiculous beats and the guitars chug along at full speed pumping out riff after riff and solo after blistering solo.  Songs like "Burned Alive", "Killer From The Deep" and "Schizophrenia" will leave you breathless with their face-melting solos.  The band also adopts time changes in songs consistently well going from a breakneck speed to a slow outro on a track like "We Who Are About To Die".  Lead vocalist Matt Drake occasionally comes off sounding like Tom Araya of Slayer.  his is not an album to be taken lightly.  I really only took an interest in Evile recently after seeing an interview with them on Aux.tv.  During that interview, the UK band mentioned that they hoped one day that they could be up their with the Big Four or that eventually when you went to the club that a band like Evile was as requested as somebody like Metallica.  They have already toured with bands the likes of Satyricon, Megadeth, Airbourne and Exodus.  If Enter The Grave is any kind of indicator, I'd say they are well on their way to the big leagues.  They have a huge sound and leave a lasting impression.  Let's see how their sound holds up 2 years later.  Up next, Evile's sophomore effort, Infected Nations.

www.myspace.com/evileuk

Horse Feathers - Drain You b/w Bonnet Of Briars 7" (2010)

Horse Feathers are a band from Portland, Oregon who play some very beautiful folk music.  Their latest release, a 7" vinyl, finds the band covering a Nirvana classic, "Drain You", from the Nevermind album.  The story goes that the band chose to play the song live at a show in their hometown as their finale.  Rumour has it, people were talking about it for days.  The band quickly returned to the studio to attempt to recapture the magic of the live performance so that they could share it with more people.  Anyone familiar with the original Nirvana version of this song knows what a rocker it is.  Now in the hands of Horse Feathers, the song is stripped right down to its most basic roots.  Gone is the raw sound and grunginess of its predecessor.  Using blends of guitar, banjo, violins and cellos, Horse Feathers make the song their own.  Lyrics are clear and sung softly rather than via the raging raspiness of Kurt Cobain.  Horse Feathers have completely turned the song upside down... and it's nice!  Without distortion, it shows just how well Kurt Cobain could pen a pop song.  On the flip side, we get a new original track called "Bonnet Of Briars" which is equally nice.  It was a good choice of song to pair with the cover as they are very similar in sound and structure.  "Bonnet Of Briars" almost has a Sufjan Stevens feel to it with the way it is orchestrated.  This single is a nice addition to the band's discography and shows they are not afraid to take a chance on a song.  Horse Feathers' pace has picked up and at three albums into their career they show no signs of slowing down.

www.myspace.com/horsefeathersmusic

Miss May I - Monument (2010)

Ohio's Miss May I return with their second album Monument.  A few changes have been brought to the band this time around.  The new album features a bit of a different sound for these guys.  The metalcore sound is still there but the band has recently added bassist/clean vocalist Ryan Neff giving a new dimension of sound to the group's repertoire.  The band has definitely shifted towards the more melodic on this outing which may not sit well with fans of previous effort Apologies Are For The Weak.  To be honest, this album is nothing new.  It sounds like a lot of stuff other bands are putting out these days with nothing really separating Miss May I from bigger acts.  The harmonized guitars, the blistering solos, the balance of screamed and clean vocals, huge breakdowns and downtuned guitars.  Every song sounds the same, with the exception of track "In Recognition" which will surely turn a few heads.  This is the slowest song on the album and features the cleanest vocals and guitars and comes off rather ballad-y.  These kids are young and still have much to learn.  What potential seemed to be there on their first album seems to have been buried deep within Monument, hopefully they can get out of that rut and do something truly refreshing.

 www.myspace.com/missmayi

Purling Hiss - Hissteria LP (2010)

Mike Polizze is the mastermind behind Purling Hiss when he is not playing guitar for Philadelphia's Birds Of Maya.  Hissteria is a 4-track LP featuring fuzzed out guitars, howling/wailing vocals, tons of licks and some fancy soloing fret work.  This thing has got psychedelia oozing out everywhere and will leave you thinking you've stumbled upon something directly out of the 70s.  According to the band themselves: "Hissteria is a suitable soundtrack for zonked drives across the dead highways of the USA. Or for predawn paranoid sessions as you pace back and forth in the kitchen trying figure out just what the hell you’re going to do, man.  Or just crank it real loud when the party gets strange. Some people will love it and the rest of them can just go somewhere else and go fuck themselves."  My only dilemma with this recording is the quality.  Polizze has gone for an extremely lo-fi sound which I'm told is standard for him.  I'm all for lo-fi, I know it's the latest trend but when you've got a sound this expansive, with the amount of instrumentation Polizze's using, there are certainly some things lost in the confusion.  The album could definitely benefit from a proper mixing process to give it a much crisper sound.  Purling Hiss have already released a follow-up to this album entitled Public Service Announcement and I have a feeling that will make it's way into my stereo in the not too distant future.

http://www.myspace.com/purlinghiss

Fang Island - Fang Island (2010)

It is hard to pin down just exactly what type of music it is that Fang Island plays.  Their music is all over the place.  One moment they can be playing a full-out instrumental rock jam session, as heard in "Careful Crossers", to coming off a bit Animal Collective-ish like on track "Life Coach".  If there were individual words to describe their music they would be "infectious" and "joyful".  Jason Bartell, Fang Island's guitarist has previously said that Fang Island's goal is to "make music for people who like music".  The band, who formed in Rhode Island but are now based in New York, have rubbed elbows with other artists such as Andrew W.K. and it is reflected in their material (just listen to that opening guitar riff in "Careful Crossers", sound like "Party Hard", anyone?).  W.K. has always had that party it up and have a good time while maintaining a positive attitude mentality.  Fang Island don't stray too far from that philosophy either.  It then comes as no surprise that their Myspace page states that they sound like "everyone high-fiving everyone".  What else do you get with this debut album?  Fang Island gives you harmonized guitar work ("Illinois"), blistering solos ("Welcome Wagon"), a touch of Celtic rock ("Treeton"), wonderful organ work ("Dreams Of Dreams"), even an acoustic section in the song "Sidewinder" pops up and comes off as sounding a little too much like Mellencamp's "Jack & Diane".  Upbeat tracks and four-part harmonies round out this album nicely;  this is definitely a band to watch out for.  Just like the fireworks sounds which begin and end the album, Fang Island's debut is something to be celebrated.

www.myspace.com/fangisland

Sin City Sinners - Exile On Fremont Street (2010)

I have made it my mission to follow anything fellow Canadian Todd Kerns has done since the dissolution of his original band The Age Of Electric in 1998.  Since then he created the band Static In Stereo with his brothers John and Ryan until it also folded, he has toured with Faster Pussycat (where he met Brent Muscat and formed the Sinners with), made guest appearances on select albums, released a solo album and most recently was hired on as touring bassist for Slash to promote the legend's solo album.  Basically, Todd Kerns has been a busy man.  Before touring as part of Slash's band, Kerns could be found hanging out in Vegas with his new outfit, the Sin City Sinners.  They play free shows on the sunset strip while playing a good mix of originals and covers.  They are best known for their special guests which have ranged from Vinnie Paul (Pantera/Hellyeah) to Joey Belladonna (Anthrax).  On the debut album from Sin City Sinners, you can expect to hear some pretty rocking tracks.  The Sinners have a traditional rock sound to them with a little bit of punk rock thrown in for good measure.  Big, harmonized solos and melody are all equal parts the sound Todd and the boys have mastered.  Kerns has always been able to write a catchy guitar hook and can still belt it when he wants to vocally.  4 of the tracks found on this album were written by Kerns for his solo album entitled Go Time!.  The album had a lo-fi DIY sound to it as Kerns had written and recorded all the tracks himself.  Usually what you're hearing was done in one or two takes.  As a result, the 4 tracks ("Turn It Up", "It's Not You, It's Me", "My True Love" and "Probable Cause") all sound beefed up and polished here while played in a new, lower key.  Tracks "Arianna Incomplete" and "Blow Up Doll" were also originally Static In Stereo tracks.  "Arianna Incomplete" features a driving bass to get the song going until the guitars kick in for the chorus and Todd's voice soars beautifully on this one.  A cover of Donnie Iris' "Ah! Leah!" is also present on this album.  A blast from the past (the 80s to be exact), which Todd has apparently played with every band he's ever been in.  Make sure to also stick around until the end of final track "Goin' To Vegas" otherwise you'll miss a fun cover of "Viva Las Vegas".  Kerns also oversaw the entire process of the album from pre-production all the way to mixing.  It's great to have some of these tracks be given another chance to be heard as I've always appreciated Todd's music.  While many Americans are surely unfamiliar with Kerns' former Canadian bands they now get the chance to hear some of his past history for the first time which must be a truly great feeling.  It sounds like Sin City Sinners have a good thing going on.  Kerns seems to be enjoying himself and has had a lot of great opportunities.  Hopefully things continue to flourish for him.

www.myspace.com/scsinners

PS I Love You - Meet Me At The Muster Station (2010)

Let's make things perfectly clear, PS I Love You is not the soundtrack to the romantic comedy featuring Gerard Butler.  PS I Love You are a duo hailing from Kingston, Ontario, home to Queen's University.  They were recently signed to Paper Bag Records and have released their debut full-length Meet Me At The Muster Station which clocks in at just under a half hour.  With only 30 minutes, these guys sure churn out a whole lot of rock.  This is one high-energy track after another.  Opening track "Meet Me At The Muster Station (Part 1)" signals to us very quickly that we're in for a good time as we're greeted with a raucous squawk of excitement from vocalist Paul Saulnier (who at times comes off sounding like he belongs in bands like Wolf Parade or Sunset Rubdown).  According to the Paper Bag Records website: "PS I Love You was intended to be his experimental, pop music outlet using guitar looping pedals, keyboards with some gadgets and gimmicks. The addition of Benjamin Nelson on drums suddenly transformed PS I Love You’s little songs into mini, soaring rock anthems."  Rock anthems is exactly what you get!  For just two guys, they create a whole lot of sound.  Each track is full of foot-stomping drumbeats, feedback, distortion, effects pedals and the occasional shredding solo.  The double-tracking of select guitar parts on songs like "Facelove" add a nice touch, expanding the band's sound to seem like a much fuller band is playing.  PS I Love You find themselves at home on Paper Bag Records amongst other great recent bands such as Stars, Winter Gloves, Young Galaxy, Born Ruffians, The Acorn and Tokyo Police Club.  If the band is able to continue making great albums like this one, it won't be long before their name becomes as prominent as some of their labelmates.

www.myspace.com/psiloveyouband

Belle & Sebastian - Write About Love (2010)

Stuart Murdoch and co. return with studio album number seven after a four-year pause since The Life Pursuit.  The band took some time off but that didn't stop main member Murdoch from continuing to create music.  Making a pit stop with his album God Help The Girl which was supposed to act as more of a soundtrack, the disc featured select members of Belle & Sebastian.  Now seemingly refocused on his main group's compositions, as usual, Belle & Sebastian's latest album finds the music very warm and sentimental.  It's not just a clever title either, the album at some points follows a narrative about a woman and her many loves as if Murdoch was crafting yet another soundtrack to a film that will never be made.  Rich with harmonies all over the album (a traditional Belle & Sebastian trademark) as well as a plethora of instrumentation (complete with trumpets and retro-sounding organ you've come to expect) the group sounds very tight-knit.  Murdoch has even taken a step down it would seem as his voice is not the first we hear on the album.  Opener "I Didn't See It Coming" features the vocal work of Sarah Martin who makes the song her own.  "Little Lou, Ugly Jack, Prophet" seems to be the only track that doesn't fit the sound of the rest of the album.  Thrown into the middle of the album, it is the slowest track buried amongst a bunch of mid-tempo songs.  It features a guest spot from Norah Jones whose voice somehow doesn't fit the mould and can grate on your nerves at times.  Another standout track includes the peppy "I'm Not Living In The Real World", which is extremely infectious.  It has a tinge of Britpop to it which will surely leave you humming/whistling the song long after you've finished listening to it.  This is the type of album that gets better with each play.  There will be something new you enjoy about it each time you listen to it. 

www.myspace.com/thebandbelleandsebastian

Bad Religion - The Dissent Of Man (2010)

For a band that has been around since 1979 and 15 albums in, Bad Religion really haven't changed at all.  Fans of their sound won't be disappointed as The Dissent Of Man is pretty much what you'd expect of these Californians.  Due to touring schedules, leader singer Greg Graffin teaching at UCLA and time constraints, this album took 2 years to materialize.  Greg Graffin can still belt it and their harmonies are still spot on.  The songs are riddled with power chords and 31 years into the band and these guys still have a message to get across in most of their songs (listen to the anti-Christianity track "Only Rain").  These guys know what they like and know what fans want and have been able to successfully continue producing great albums.  There are a number of great hooks which will draw you in (though I found track "Cyanide" sounds an awful like "The Difference" by The Wallflowers).  The guys are getting older and while they may not have the same tempo of song they once had, they really haven't slowed down too much.  Just listen to "Meeting Of Minds" which offers up some quick guitar riffs with a bit of a middle eastern feel (like the Offspring have done in the past).  Other tracks have been around for a while like "The Resist Stance" which was first performed on the 30 Years Live album as well as "Won't Somebody" which was originally a bonus track on album Maps Of Hell, heard here in a slightly different form.  Fans of Bad Religion will very much enjoy this album, those seeking something different should look elsewhere.  This is not Bad Religion trying to reinvent themselves, push boundaries or explore different sounds; you get what you've always gotten.  It's nice to be able to hear some new material from these guys, it's a familiar yet refreshing take on the punk-rock they have always made.

www.myspace.com/badreligion

Black Rebel Motorcycle Club - Beat The Devil's Tattoo (2010)

San Francisco's BRMC return this year with their sixth album.  For their latest, Beat The Devil's Tattoo, BRMC seem to have gone backwards in time and found their original sound which once made them the talk of the town.  BRMC have recently lost Nick Jago and added Leah Shapiro, touring drummer for the Raveonettes.  With that lineup change, the band sounds seemingly more focused than ever before.  We can always go back and discuss recent shortcomings when it comes to the last few albums, which seems to be what most people can think of upon hearing mention of the BRMC but this is some of the best stuff the band has put together since their self-titled debut.  Is it the greatest music they've released?  No, not exactly, but this album should not be overlooked as so many have already done.  BRMC seemed to have rediscovered their intensity which can be felt on tracks like eponymous opener "Beat The Devil's Tattoo" which is a blues stomping swamp-rocker.  BRMC also do the less harsh folk act on tracks such as "Sweet Feeling" but then turn it all back around with rocker "War Machine" which is saturated in dirty distortion.  Closing track "Half State" cannot go without mention as it sits at over 10 minutes long and is overflowing with effect pedal after effect pedal.  The guitars are just brimming with delay pedal effects, and eventually even that gets swallowed up by some of the best use of a wah-wah pedal I've heard in a while.  The song suckers you in with its hazy, cool feel until the amps are kicked into overdrive which feels like a kick in the teeth.  BRMC seem to be back on track and with any kind of luck they can regain some of the momentum they lost so long ago.

www.myspace.com/blackrebelmotorcycleclub

Mushroomhead - Beautiful Stories For Ugly Children (2010)

After a rather disappointing album in Savior Sorrow (following the departure of original vocalist J. Mann), it seems Mushroomhead have decided to go back to their original formula.  On Savior Sorrow it seemed the majority of guitar parts were simply two or three chords riffs and never really went anywhere.  While those same two to three-chord riffs are still present on Beautiful Stories the cool intricate licks have returned and while they only have one guitar player, a couple of solos have been thrown into the mix too.  The new album starts with lead single "Come On" which is a rip-roaring track typical of Mushroomhead full of sludgy downtuned guitars and dual vocal work from Jeffrey Nothing and newest vocalist Waylon Reavis.  The lyrics "Do you really wanna fuck with me?" clearly define what this track is all about; Mushroomhead's childish lyrics are still ever present.  Reavis actually manages to stretch his vocals range on this album.  Having replaced J. Mann who was more of the growler of the group, Reavis has moved from his own growls and yelling to actually singing (albeit in a raspy tone).  It was rumoured for a long time that J. Mann would make a guest appearance on the album but due to unknown reasons this idea fell through.  Other items fans will appreciate are the use of more keyboards and synthesizer as heard on earlier albums XX and XIII.  Track "Inspiration" is the best example as it opens with a familiar sounding synth that recalls early tracks like "The New Cult King" with its build-up synthesized intros before launching into all-out distortion.  In fact, this album is a lot closer to XIII in terms of sound and quality.  You'll also get high-pitched remixed vocals as well as some snippets of children talking thrown in for that classic Mushroomhead sound reminding us of just how innocent a child's words can be.  Sadly, Mushroomhead nowadays seem to feel the need to rely on theatrics as some of their act has become nothing but a gorefest.  I don't even mean funny GWAR-like gorefest, I mean simple brutal blood and guts antics.  The video for "Come On" is basically a bunch of guys beating the crap out of eachother in a UFC-style fight in an abandoned warehouse.  That to me just ruins any integrity the guys had left as a serious band.  They shouldn't have to rely on that for attention; the music should speak for itself.  Video aside and despite the release date for this album being pushed back several times, Mushroomhead seem to have found their way back to where they want to be.

www.myspace.com/mushroomhead