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

Bring Me The Horizon - There Is A Hell, Believe Me I've Seen It. There Is A Heaven, Let's Keep It A Secret (2010)

The British metalcore act Bring Me The Horizon return with their third full-length this year and what a long title they've chosen for it!  There Is A Hell, Believe Me I've Seen It.  There Is A Heaven, Let's Keep It A Secret is derived from the opening track "Crucify Me", which interestingly enough features Canadian artist Lights doing some vocal work (though it's hard to hear it with her voice so drowned in effects).  The boys from Sheffield, Yorkshire are relentless on this album.  If you enjoyed their last 2 albums as well as their EP, than this is not very different.  It is heavier and darker, both in sound and lyrically,  than previous outings but also tends to embrace their electronic side a bit more.  There tends to be a little bit more sampling here than normal and some interesting cut and glitch effects on certain vocal tracks (i.e. "Blacklist").  Oli Sykes lyrics are his most personal yet and quite frankly his most mature as the listener can take them in a variety of ways.  The band also goes as far as adding a choir to the track "It Never Ends".  Where Bring Me The Horizon differentiate from other bands is their ability to quiet things down on specific tracks.  Rather than launch into another full blown guitar assault during bridges, they tend to rely on simple piano melody and calm vocals which really brings a nice balance of light and dark to many of these songs.  The fact is, most people either love these guys or hate them, there is no in between.  Bring Me The Horizon will surely turn more haters into fans given the opportunity to listen to this album as it is their best yet.  This is the most honest and genuine thing they have released and it is sure to establish them as one of the few British metal acts to successfully break through to North America audiences.

www.myspace.com/bmth

Sufjan Stevens - A Sun Came (2000/2004)

This is the debut album from Sufjan Stevens which was re-issued in 2004 with 2 bonus tracks.  It is a bit of an odds and ends album as it explores various forms of music.  Present are bits of Celtic music, as well as pop, folk and even middle eastern influences.  To top it all off, the entire album was recorded on an old 4-track.  Sufjan's signature sound is present here even on his debut as he incorporates guitar, banjo, sitar, xylophone, flutes, etc.  Stevens would play 14 different instruments on the album.  Just for fun, Sufjan threw in some samples and loops in between certain tracks.  Some come off as almost skits with topics ranging from separating Siamese twins to a friend who ate so much that food comes out of his navel.  It's a bit odd for Sufjan but it doesn't really stop the flow of the album.  These items may confuse fans of his later work but everybody has to start somewhere.  Sufjan seemed to have no shortage of ideas and to be honest, his music could have taken many different directions based on this album which serves as a sort of sampler for what was to come.  A song like "Demetrius" make for some interesting listening with its heavily distorted guitars (unusual for Sufjan) followed by a Middle-Eastern feel full of sitar.  Other tracks like "Satan's Saxophones" is enough noise and anarchy via saxophone squeals to reduce any fan to tears.  Fans of his later work though will be happy to know his indie pop/rock origins can be found on this album on tracks like "Kill" and the title track "A Sun Came" with his gentle voice singing an almost familiar melody.  Tracks "Joy! Joy! Joy!" and "You Are The Rake" are the bonus tracks which were recorded after A Sun Came was released but remind us exactly what point Sufjan has reached in his career.

www.myspace.com/sufjanstevens

Foals - Total Life Forever (2010)

It's taken me 2 or 3 attempts to try and make it through Total Life Forever.  Often times I found myself wondering if I was listening to the same band who made previous effort Antidotes in 2008.  There is no more post-punk riffage, a lot of the energy which got them noticed has disappeared and the songs are nowhere near as upbeat.  Each track on Total Life Forever rolls in at a steady pace, a pace which is kept consistent all throughout the album.  The music here is much more laid back and in some cases almost tranquil.  On Antidotes, Foals were not happy with the production from one Mr. Dave Sitek (of TV On The Radio/Maximum Balloon) and ended up remixing the album later to their liking.  Sitek may have proven to be quite the influence on Foals during that period as Total Life Forever makes Foals sound like a new band.  Lead singer Yannis Philippakis  no longer lets out his signature yelps and opts for a lot more singing on this album.  For fans of bands like the Cure, you may happen to enjoy this record quite a bit but those seeking more youthful hits similar to those found on Antidotes can forget about it.  Many reviewers have praised the Oxford band for their new, more mature direction (which is normally great for a band trying to breakout) but the fun in the songs seems to have faded and the band seems to want to be taken just a bit too seriously.

www.myspace.com/foals

Pitch Black Forecast - Absentee (2008)

Pitch Black Forecast are a band out of Cleveland.  For fans of the metal genre, this album features drummer Gene Hoglan of Strapping Young Lad and currently Fear Factory as well as J. Popson, a.k.a. J. Mann, formerly of Mushroomhead.  This album encompasses many forms of hard rock and metal.  If you are a fan of Mushroomhead or even older Fear Factory then look no further than this album as you may want to take a listen.  As usual, Gene Hoglan shows off his skills on the double kicker often coming off as sounding like a very Demanufacture-era Raymond Herrera.  Popson, who left Mushroomhead after 11 years (and who I considered to be the best part of the band until he left) takes up the vocal duties with his signature raspy yell.  Tracks like "Ornament" feature low-tuned guitars with riffs reminiscent of Hatebreed while tracks like "Wrapped In Plastic" teeter on the edge of speed/thrash metal.  Track 8, "So Low" even features guest vocals from Randy Blythe of Lamb Of God fame.  Unfortunately for Popson, Blythe's vocals seem to stand out a lot more.  Pitch Black Forecast is a large leap for Popson as he has left behind the somewhat childishness of his former band.  The band's problem is it lacks true direction.  From what I understand, this was supposed to be a project similar to Dave Grohl's Probot with a rotating cast of musicians and guest vocalists.  Pitch Black Forecast are currently in the studio recording their follow-up to this album.  With any kind of luck, the band can tighten up the screws and create something truly impressive.

www.myspace.com/pitchblackforecast

Jimmy Eat World - Invented (2010)

Jimmy Eat World return at last with their seventh album that is well worth a listen.  2007 found Jimmy Eat World in a bit of a different light with a lot of pop jams on album Chase This Light.  Select tracks on Invented still go somewhat in that direction however this album also combines a taste of the killer album Bleed American into the mix.  Don't expect anything as rip-roaring as title-track from that album as the band has taken a much more pop-punk direction this album.  This somewhat return to roots can probably be attributed to producer Mark Trombino who previously produced their platinum-selling Bleed American album (as well as 1996's Static Prevails and 1999's Clarity).  Trombino has done a great job of capturing the band's trademark sound even making the acoustic guitar on opening track "Heart Is Hard To Find" seem as if it was right there in the room with you; it is crisp and wonderfully backed by handclaps.  Overall, Invented is an album of catchy guitar hooks, mega singalong choruses and harmonies.  The boys can still rock pretty hard as first single off the album "My Best Theory" is highly catchy right from the opening riff (I find myself whistling it quite a bit as of late.)  Track "Action Needs An Audience", which comes across as pure arena rock features original lead singer Tom Linton for the first time on a Jimmy Eat World album in a decade.  A little bit of the band's emo still creeps onto this album featuring heavily on tracks like "Invented" (which picks it up towards the end) as well as 6 and a half minute closer "Mixtape".  The fact that these guys still play some emo music can be a little hard to stomach as they are now reaching their late 30s.  This album is very well polished, perhaps even too well polished as purists will be searching for that rough around the edges sound Jimmy Eat World began with.

www.myspace.com/jimmyeatworld

Jaguar Love - Hologram Jams (2010)

After a label change and minus a drummer in Jay Clark, Jaguar Love are back with a second album in 2010.  Now a duo, the band's sound has somewhat changed since last we heard them.  While still employing metal, electro and glam into the mix they come out sounding a lot poppier.  Jay Clark was basically replaced by a drum machine leaving remaining members Johnny Whitney and Cody Votolato (both who are formerly of the Blood Brothers) to re-examine the direction they wanted to take their music.  No longer having to compete with another vocalist, Whitney's screeching vocals are brought to the forefront, and if you can bare through them then you're already half way to liking these guys.  Just to give you an idea, on Jaguar Love's last album Take Me To The Sea, Whitney's vocals were compared to a "castrated vulture" or "a deliriously deaf 12-year old".  The most irritating track of all is the last hidden track which is the screechiest, most atrocious version of "Piece Of My Heart" (as made famous by Janis Joplin) I have ever heard.  If you can avoid that, then this album isn't so bad.  The tracks' rhythm range from electro-pop to all-out club beats sometimes accompanied by guitar but mostly driven by 80s-sounding synthesizer.  Throw in some very childish lyrics and you get the new Jaguar Love.  Don't expect to hear the post-hardcore sound of Blood Brothers, it seems Whitney and Votolato are done with that.  This comes off more as a poor man's AFI (Decemberunderground-era) than anything.  On a brighter note, this album is bubbling with so much energy, it's hard not to be encapsulated by it.  The only question which remains is can Jaguar Love continue on with the same brand of music before fans become bored by it?

www.myspace.com/jaguarloveband

Finger Eleven - Life Turns Electric (2010)

I think the guys in Finger Eleven are starting to really mellow out.  2007's Them vs. You vs. Me found the band  feeling comfortable in their sound.  The album featured 4 singles ("Paralyzer", "Falling On", "I'll Keep Your Memory Vague" and "Talking To The Walls") which were all major radio hits.  The band adopted a much more funk rock sound than in the past; combining the funk of their Rainbow Butt Monkeys days and the rock of modern Finger Eleven.  When it came to writing the last album, each member did so from the comfort of their own homes and simply passed on ideas, riffs or beats via the Internet so that the next member could work on it until they had enough music collected to form an album.  On this year's Life Turns Electric, it was difficult to pick any standout tracks.  This is a much more subdued Finger Eleven than we're used to.  The interesting little guitar riffs James Black and Rick Jackett are known for are seemingly absent on this album.  The acoustic guitar seems to have won them over as it is much more present than on any other album.  This comes as no surprise after the two guitar players released a country-esque album under side project pseudonym Blackie Jackett Jr.  There also seems to be a lot of 80s-sounding harmonized guitar solos which is most obvious on track "Good Intentions", which comes off sounding like a ripoff of "Rock You Like A Hurricane" by Scorpions.  Lead single "Living In A Dream" threw me for a loop as it sounds like a leftover track from the previous album.  The only problem with that is I think it got me overly excited for this album.  Being such a big fan of their last effort, I was expecting another Them vs. You vs. Me; Life Turns Electric is a different breed.  New single "Stone Soul" comes off sounding like the most radio-friendly song they have ever written with its guitar effect-laden sound and steady rhythm.  While "One Thing" got a lot of radio play, this will probably surpass "One Thing" in popularity due to its sheer popiness and catchiness.  Track "Pieces Fit" takes an interesting turn in the guitar riff department.  The acoustic guitar fills the gaps between the electric hooks.  I could see this one being a single down the line.  "Don't Look Down" is as close to funk rock as you'll get on this album though the track is missing signature wah-wah pedal effects to give it just the right tone.  This album could most definitely be considered Finger Eleven's poppiest which I'm not sure how it will sit with fans.  So far, certain tracks have grown on me after repeated listenings but nothing has caught my ear right off the bat (aside from "Living In A Dream").  Not wanting to be restricted to one sound though, I applaud them for branching out a bit.  The more radio-friendly sound to these tracks may finally grant them more fans and attention, which they have earned.  A good effort from the Burlington, Ontario boys, just not entirely the direction I figured they would take.

www.myspace.com/fingereleven

Alain Johannes - Spark (2010)

It's about time Alain Johannes stepped into the spotlight.  For too long has he been content to remain hidden behind bigger names in music.  Johannes has been involved as a musician and producer for bands like Queens Of The Stone Age, Them Crooked Vultures, Josh Homme's Desert Sessions, Spinnerette, as well as Chris Cornell.  His main band, Eleven, featured drummer Jack Irons and his wife Natasha Shneider.  In 2008, Schneider passed away after a battle with cancer.  Johannes' solo debut would seemingly rise out of despair he felt after the passing of his wife.  Spark served not only as a tribute to Shneider but as a memory and celebration of her as well.  Johannes has always been able to craft beautifully written material both musically and lyrically through his other musical outlets but this time it takes a very personal turn.  Josh Homme, who owns Rekords Rekords (who is releasing the album) states: "Alain's record is the total embodiment of what the label stands for—the war against endorsing mediocrity and the uncensored attempt to take a leap off the musical cliff. Spark is a stunning examination of figuring out what you do when someone's gone, and it's utterly breathtaking."  Johannes uses guitar and mandolin as his primary instruments often accompanied only by Johannes' singing and a kick drum.  In the case of track "Speechless", the mandolin is the sole instrument used.  It features some of the most beautiful and intricate mandolin work I have ever heard accompanied by Johannes' soulful voice.  Every lyric he sings is with conviction and his range is impressive.  Johannes can go from extremely high-pitched falsetto to an almost Mark Lanegan-like low grumble and then will add layer upon layer until his echoed voice is thundering and powering the music.  The album has a sad tone to it in a lot of cases but will from time to time let a bit of happiness in to lighten the mood such as in upbeat celtic stompers "Gentle Ghosts" and "Endless Eyes".  It is a truly beautiful ode to Natasha Shneider.  To make things that much more heartfelt Johannes has stated: "I actually finished the album 25 years to the day that Natasha and I met—November 29, 2009. That was our anniversary. In many ways, I was really just trying to make a record that she would be proud of."

The album is streaming in full here: alainjohannes.heroku.com/stream.html

www.myspace.com/alainjohannes

Grinderman - Grinderman 2 (2010)

Nick Cave returns this year with the follow-up to the highly underrated self-titled debut of his band Grinderman.  This album picks up where the last one left off and starts off with enough explosive force on opening track "Mickey Mouse & The Goodbye Man".  It begins by throwing you off with some slow building synthesizer before launching into an all-out guitar assault.  Cave embraces the sound of guitars fuzzed-out to the max and really rocks it hard on this record.  You'll even find a classic swamp-rock stomper in the form of the brilliant "When My Baby Comes".  Cave also shows his gentler side, performing with acoustic guitars on the track "What I Know" and then takes it away again with tongue-in-cheek sexual innuendos in tracks like "Heathen Child" while "Palaces Of Montezuma" features a much more Bad Seeds sound with its tambourine and "ooh"-ing chorus melody.  This follow-up album is a much tighter package than before as Grinderman have cleaned up their sound to be a lot tighter and yet somehow seem scuzzier all at the same time.  The album is driven by its thundering bass and is saturated in wailing guitar loops, hooks and melodies.  Many reviewers have seen Cave's Grinderman project as a bit of a mid-life crisis band but he proves them all wrong with this much more focused return which is dripping with ferocity.

 www.myspace.com/grinderman

Godspeed You! Black Emperor - Yanqui U.X.O. (2002)

This is the third album from the collective from Montreal and, as you may have noticed, features a slight alteration to their name (i.e. the positioning of the exclamation point).  Critically, the album has been put down as well as praised.  Constellation Records has said that the album is: "The new album is just raw, angry, dissonant, epic instrumental rock".  That seems to me to be the best way one could sum it up.  The guitars are often at times very dissonant giving an unsettling feel to the album.  As far as I'm concerned, this album is much less accessible than previous efforts.  There is a lack of a relaxed atmosphere which leaves the listener feeling rather uptight by the end of the album.  If that was the intent then mission accomplished.  The listener will surely be sitting there awaiting that glorious moment/feeling of  glimmering hope common in Godspeed You!'s music but it never really seems to show up.  The most interesting thing about this album seems to be its artwork and packaging.  Found inside the packaging are indexes showing just how arms manufacturers are somehow linked to major music corporations.  That seems all a bit too far-fetched for my liking; what a way to make a statement.  The many members of the group would take a long hiatus after the release of this album in order to pursue other projects though the band has announced they will be reuniting this year and touring through to 2011.  Could new material be on the way as well?

www.myspace.com/gybeconstellation

Godspeed You Black Emperor! - F# A# ∞ (1997)

Godspeed You! Black Emperor are an ensemble who got their start in 1994 and hail from Montreal.  You cannot so much call them a band as they are more of a group of people.  Roughly three to four years of work went into this album and members came and went periodically.  They have been known to have as many as twenty members at a time.  Godspeed You! play instrumental post-rock featuring traditional guitar, drums and bass.  What differentiates these guys from many other post-rock bands is their use of instrumentation.  While they do build songs to suit a specific mood or feeling, they can completely throw you off and turn things around incorporating xylophone, violins and even bagpipes into the mix.  Now this may sound like the weirdest combination of sounds and instruments you've ever heard of but I can assure you it all fits and flows smoothly.  Each of the three tracks on their debut album (which clock in between 16 and 30 minutes each) feature a specific mood the group wishes you to subscribe to.  Due to the length of the tracks, the album takes somewhat of a more classical approach and in the liner notes breaks each song up into movements.  F# A# ∞ (pronounced F-sharp, A-sharp, Infinity) is one of those albums that simply draws you in right from the get-go.  Album opener "Dead Flag Blues" opens with some low-end synth and features a voice which describes a vision of an apocalypse.  This is followed by the paranoia of "East Hastings" and finally the feeling of hope and resolve via "Providence".  The trick to enjoying Godspeed You! though, is to be in the right mood and state of mind in order to listen to it.  It is the type of album that may collect dust on your shelf but will eventually find its way back to your stereo and holds up upon repeat listenings.

www.myspace.com/gybeconstellation

Probot - Probot (2004)

Welcome to the all-out metal side project of ex-Nirvana drummer/current Foo Fighters frontman Dave Grohl.  Grohl had been compiling instrumental material on cassettes (labelled "Probot") for years with specific singers in mind but no real intentions of releasing it.  Friend, ex-Zwan guitarist and Bonnie "Prince" Billy collaborator Matt Sweeney would help him track down some of these vocalists in order to bring some of these tracks to life.  An all-star cast of metal vocalists who influenced Grohl as a kid in the 80s and early 90s was brought together to create a fully-fledged Probot project.  Vocalists range from Soulfly/ex-Sepultura's Max Cavalera to Snake of Voivod or Cronos of Venom.  Much like the Foo Fighter's debut album, Grohl would play most of the instruments himself with certain exceptions; the biggest exception of all being Lemmy of Motorhead providing the bass track and writing the lyrics to the album's biggest hit titled "Shake Your Blood" (a dead-ringer for a classic Motorhead track).  The songs sounds range from metal to hard rock; the more melodic songs tend to use guitar riffs sometimes coming off as a heavier version of the Foo Fighters.  Grohl can certainly nail a band's signature sound as he can make it seem as though even Max Cavalera is back with Sepultura in the good old days.  Also do not miss out on the hidden track at the end of the album called "I Am The Warlock" which features Jack Black on vocals.  Hey may yet have a career in metal.  Despite the somewhat comical lyrics (which are to be expected), this is more of a serious track than Black has ever laid down.  Grohl's drumming is sharp and crisp as usual often times reminiscent of his work on the Songs For The Deaf album he participated on with Queens Of The Stone Age; there are few who could outmatch his work.  Chances of a follow-up to this album are slim, which means contributions from artists absent will not see the light of day (at least not any time soon).  According to sources, a track was ready to go for Tom Araya of Slayer but due to scheduling conflicts, Araya was not available to take part.  It is nice to see Grohl's work come to life as it's one of the more fun metal albums that has come around in a long time.  80s metal is back via the mind of Dave Grohl!

Tracklist:

1. "Centuries Of Sin" (feat. Cronos of Venom)
2. "Red War" (feat. Max Cavalera of Soulfly, Cavalera Conspiracy and Sepultura)
3. "Shake Your Blood" (feat. Lemmy of Motorhead)
4. "Access Babylon" (feat. Mike Dean of Corrosion Of Conformity)
5. "Silent Spring" (feat. Kurt Brecht of Dirty Rotten Imbeciles)
6. "Ice Cold Man" (feat. Lee Dorrian of Cathedral and Napalm Death)
7. "The Emerald Law" (feat. Wino of Saint Vitus and The Obssessed)
8. "Big Sky" (feat. Tom G. Warrior of Celtic Frost and Hellhammer)
9. "Dictatorsaurus" (feat. Snake of Voivod)
10. "My Tortured Soul" (feat. Eric Wagner of Trouble)
11. "Sweet Dreams" (feat. King Diamond of King Diamond and Mercyful Fate)
12. "I Am The Warlock" (feat. Jack Black of Tenacious D)

 www.myspace.com/probot

Chris Bell - I Am The Cosmos (Deluxe Edition) (1992/2009)

Not being very familiar with Chris Bell or his former band Big Star, I came across one of his songs ("The Speed Of Sound") on a Flaming Lips Late Night Tales compilation from 2005.  To me, it was Bell's track which stood out the most out of all 20 tracks; it was haunting.  It truly comes as no surprise to me that it was featured on a Flaming Lips compilation as that song sounds very much like an acoustic track the Lips could have written themselves, complete with layered vocals drenched in echo and chorus effects.  Sadly, Chris Bell passed away in 1978 though his recordings were collected onto this album in 1992.  The updated 2009 edition released and remastered by Rhino Records features a second disc full of b-sides, rarities, alternate takes and mixes.  Bell's music is a mix of gentle rock and pop with a little country twang thrown in from time to time.  It doesn't get much more relaxing than this album.  It contains little flares of upbeat songwriting material which resonate with a Beatles-like quality on tracks like "I Am The Cosmos" which has a very psychedelic Sgt. Pepper album feel to it, or "There Was A Light" featuring more of a Let It Be-era sound to it right down to the piano and distorted guitar solo.  The guitar-playing on this album is phenomenal as Chris Bell shows that not only can he rock out with traditional power chords but can finger-pick with the best of guitarists to create very atmospheric music.  This is some of the most creative and heartfelt music that I have heard in a long time and I regret not picking up on it much sooner, but as they always say, better late than never.  The bonus tracks are a nice touch especially for any completists.  Add to that Rhino's remastering process, which is flawless, and as far as I'm concerned, this is the definitive version of I Am The Cosmos as it was meant to be heard.

www.facebook.com/chrisbell.bigstar?ref=ts

The Armada - The Armada (2008)

The Armada are an Irish band with strong ties to Canada.  The band features Wayne Sheehy on drums and, Jay Cortez on bass, but the spotlight belongs to Canadian-born Jeff Martin (formerly of The Tea Party) on guitars and vocals.  Martin currently lives in Perth, Australia with his wife and child, though he owns a studio located in County Cork, Ireland.  Since the break-up of the Tea Party, Jeff Martin has released one solo studio album entitled Exile And The Kingdom with another on the way.  The Armada's album was produced by Martin himself and features his signature sound all over the place.  Tracks can range from blues like on "Black Snake Blues", to dark and heavy as on "Closure" and of course classic middle-eastern jams such as "Morocco".  It is a wonderful blend of influences which Martin consistently plays well.  Think of this band and album as being The Tea Party 2.0.  As I write this, it has been six years since the Tea Party have released anything (their last album being Seven Circles) and should they choose not to reconcile over creative differences, I do hope The Armada carries on as I have anxiously been awaiting for this classic sound to return.  Now if only they would create a Canadian distributor for the album in order to better promote it North America.

www.myspace.com/jeffmartinandthearmada

Torche - Healer/Across The Shields 12" Vinyl EP (2009)

This is a vinyl only release from the sludge metallers in Torche.  Side A features the tracks "Healer" and Across The Shields" which were previously available on their full-length Meanderthal.  What makes this special to the hardcore fans is the two unreleased tracks on Side B called "Mash It Up" and "Sugar Glider".  The EP really contains no surprises, this is another sludgy 4-track collection of songs.  Combining heavily distorted/low-tuned guitars and harmonics with extremely melodic vocals, their signature, it could only be Torche.  The vinyl pressing comes packaged with a DVD which contains the music videos for the tracks "Healer" and "Across The Shields" and I have to say they're pretty out there as the monster suits worn by the band on the cover of the album make an appearance.  There isn't much more to say than that.  This is a nice little collection of tracks but it is a limited release so if you can get your hands on a copy consider yourself lucky!

www.myspace.com/torche

Jello Biafra With The Melvins - Never Breathe What You Can't See (2004)

After the so-called Dead Kennedys reunion which did not feature Jello Biafra at the helm, the members in the Melvins decided to call up the singer and see if he had some time to do some work with them.  Biafra, seemingly chomping at the bit was more than happy to oblige.  After a long string of touring as a motivational speaker (which doesn't really seem to suit Biafra's persona), the singer is back in full force, dripping sarcasm and all.  His lyrics are still somewhat childish and in some cases dated.  For example, on the track "The Lighter Side Of Global Terrorism", Biafra spews out lyrics about airport workers who seemingly get off on strip searching and patting down people while opening track "Plethysmograph" is about a device for measuring sexual arousal is sex offenders.  Biafra really hasn't changed a bit.  The Melvins, known nowadays for their sludgier sound have gone back to their roots and play punk rock.  It isn't just any punk rock though, this is California-style punk rock.  The Melvins manage to create some dead ringers for Dead Kennedy riffs which upon listening will have you thinking that the actual Dead Kennedys' full lineup has returned.  Fortunately for the fans Biafra would go on to record one more album of material with The Melvins after this before putting the project to rest.  This is a great return for Biafra while The Melvins prove they are a great fit for the egomaniacal singer.

www.myspace.com/californiauberallesdk

www.myspace.com/themelvins

Milagres - Seven Summits (2010)

"Milagres" is the Portuguese word for "miracle". It also happens to be the name of this quintet from Brooklyn, NY.  On Seven Summits Milagres craft beautifully layered music which seems to melt into the background.  They are slowly beginning to garner attention in the indie music scene as they are a hard-working group.  They have had the opportunity to open for bands the likes of Women, Elf Power, A Place To Bury Strangers and even St. Vincent.  Harmonized vocals on top of rich atmospheric sounds make this quite a dreamy album which leans towards a mostly soothing soft rock sound.  The band can lean towards more traditional indie rock on tracks like album opener "Fifty Fourteneers", they incorporate an almost Radiohead (OK Computer/Kid A-era) quality to them on tracks like "Sheet Stealer!" and "Weathering" while also slipping glockenspiel, percussion and strings into other tracks, such as "Moose Collision".  The guitar work itself ranging between spanish guitar arrangements and finger-picked sections on select tracks is magnificent.  They definitely create an interesting blend of sounds and are sure to turn some heads this year.

www.myspace.com/milagresmusic

Maximum Balloon - Maximum Balloon (2010)

Maximum Ballon is the moniker of Dave Sitek of the band TV On The Radio.  After producing albums for bands like the Yeah Yeah Yeahs, The Liars, The Foals, Scarlett Johansson and even his own band, Sitek steps out to create his own blend of synth-rock.  Sitek is simply the instrumentalist on this album as his vocals are absent throughout.  To make up for that, the album features guest vocalists on every single track, many of which are good friends of Dave's including Karen O. of the Yeah Yeah Yeahs, David Byrne and of course his own band mates Tunde Adebimpe and Kyp Malone who each get their own respective tracks to sing on.  TV On The Radio's sound is sprinkled into the mix here but Maximum Balloon is much more synth driven.  Sitek has not abandoned his guitar roots either as many of the tracks feature riffs that Sitek's fingerprints are all over.  There is something mesmerizing about each of these tracks.  The album has its very upbeat almost disco-ish tracks while a song like "Pink Bricks" featuring Ambrosia Parsley is extremely dreamy and relaxing.  The use of multiple vocalists keeps the album sounding fresh and gives each track its own flavour.  After showing off his chops on the Dark Was The Night compilation, it is strange to not hear Sitek vocally on this album.  Perhaps after another TV On The Radio album a second Maximum Balloon album will see him return to the mic.

www.myspace.com/maximumballoon