It is interesting how you come across bands some times. Often I hear about them from a friend or online. Or, as in the case of Finch, sometimes you hear about a band from a friend who heard about them from a friend who heard about them from a friend, and so on. When that happens, you get descriptions of the music that don't usually end up fitting the band because none of these people have actually heard the whole record. I was told that Finch was "like Thursday, but heavier" and so I totally dove into this album with certain expectations. Sadly, I was disappointed, although not in the music itself, but it just wasn't what I was looking for. It has been over a month since I wrote that first paragraph and in a way I am glad I waited because it has given me time to become very addicted to this album. If you’re like me and others I have talked to, this is the kind of album you don't want to admit to liking. It has such a commercial side to it that you want to dislike it, but sometime you just can't argue when you come across something truely good. What it is to Burn is exactly as advertised, "The perfect mix of pop-punk and hard rock". If you aren't into both of those genres, then I advise you stear clear. With the opening track "New Beginnings" Finch sets the tone for the whole album; aggressive pop-punk mixed with some hardcore aspects mainly being the singer's seemingly random fits of screaming. On the surface the album is not that different from the majority of the new pop-punk on the shelves, but on repeated listening you begin to see that Finch really is offering something new here. On tracks like "Awake" and "Without You Here" the band moves away from the Jimmy Eat Worldish sound of tracks like "Stay With Me" and begins to edge more toward Thursday. The band also manages to throw in some awesome guitar work like on "Untitled" which gives Finch a sound all their own. Don't forget the always-present slow song, "Ender", which is done quite nicely. My biggest complaint with this album would be the production. As is typical in this genre What It is To Burn is somewhat compressed sounding, and lacks a really dynamic range. In the most extreme cases it can make you feel that you are listening to it with a bag on your head. Now onto what totally blew me away about this album...Daryl Palumbo. Being a big Glassjaw fan, I was really excited to see that Daryl added vocals to two of the songs on this album. The first of those tracks "Grey Matter" is an amazing song, which is really the highlight of this album for me. Both Daryl's and Finch singer Nate's vocals are dead on and the duet the two sing is unbelievable. The second song featuring Daryl, "Project Mayhem", not only has a great title (nods to Chuck Palahniuk's Fight Club) but is one of the most scattered hard to follow songs I have ever heard, and that is meant in a good way. Although the song is enjoyable it is really hard to grasp what exactly is going on in the song. Lots of yelling, extremely fast beats, and strange sequencing come together to make this unusual song. Nevertheless, it is still an nice addition to What It is To Burn. If I had to sum up this album, which I now do, I would say that if you took a really good pop-punk band and then made them hang out with Daryl and Glassjaw for a couple years, you would get the sound of Finch. Every time you think a song is just going to be a typical Jimmy Eat World sounding song, out come the screams, which turn everything around. To me it is this ability to mix genres that really makes Finch stand out. I give the album a solid 4.0 manstyle points. Whether you are a fan of the genre or not, I think it is clear that Finch has talent, and that "What It is To Burn" stands out among all the current pop-punk releases. The band has very successfully found "the perfect mix of pop-punk and hard rock." [www.finchmusic.com]

Even as you can turn to the back of most music magazines or virtually any music news website and find a review of Wilco's newest, here's another review of Yankee Hotel Foxtrot. You may be asking yourself, “Why would this guy want to offer up his two cents, when I'm already carrying around about 10 bucks worth?” Well, I'll tell you: before this album I was a fervent Wilco-hater, if you will. All my friends in high school loved Being There and I just didn't get it; I refused to be apart of something just because everyone else was. Three summers ago, I picked up Summerteeth and tried to enjoy right up until I took it to the nearest CD Warehouse to trade it in. You could say Wilco and I don't have a good track record up until this point in my life. Yet, the first time through Yankee Hotel Foxtrot changed all that. It might be due to four years of college, broadening my horizons or coming to the conclusion that I will never figure out exactly why I'm alive. Or, it might be that my musical tastes have grown as much my ability to eat vegetables that previously made me nauseous. Any case, maybe it wasn't me that changed all that much, maybe it was Wilco. Throughout the entire album, one thing that intrigued me was the density, or lack there of. What fascinated me even more so was the fact that I didn't feel overwhelmed by it; the mastery displayed in each song allowed me to comprehend exactly what they were throwing at me. One thing that plagued Wilco albums of the past was the fact that I always felt like I was missing something. Amongst all the acoustic guitar strumming, howling slide-guitar, keyboards and piano, the steady drum beats, layered orchestration and Jeff Tweedy's poignant vocal delivery, the album plays hosts to thousands of seemingly trivial noises, guitar-produced racket and layers of sound. It does all this and manages not to be unusual. It does all this the most appropriate way possible. Now, don't think that my feelings for this album are simply fleeting; I'm certain that this album will remain near the top of my list for the rest of my life. As you've probably read elsewhere, this album is neither here nor there. You could say it kind of has a way of being timeless and completely innovative simultaneously. What's even more interesting is the fact that bands like Wilco can continuously re-invent themselves using the same instruments and ideas that they've had their entire career. That has a lot to do with influence and maturity, but make no mistake this is still Wilco. This album is made of nothing but elegant lyrics accompanied by a brilliant score. As you've seen, it startles even the most resolute critic and hopefully Reprise Records, who prevented its initial release. And rightfully so, from the strength of Tweedy's lyrics to each instrument played on the album, this is one of the most forthright and earnest albums I've had the privilege to listen to. [www.wilcoworld.net]

There's not much Plaid does that I don't like, but that's probably because there's not much they will release that isn't great. Their new EP, P Brane, is no exception to the rule; it's an absolutely amazing and vivid look at things to come. The opening track, "Coat", drops in with a thickly-chorused keyboard intro which gives way to more of a deep reverberation than a drum beat. A beat that is more likely to get your ass moving than leave you wondering what time signature it's in. Various synth fragments and, what sounds like, an answering machine message that is chopped up, rearranged and severely altered accent the rest of the track. "Diddymousedid" is playful romp through a bouncy, circular melody and oddly arranged beat. The bouncy, high-pitched tones that live throughout most of the track, as well as the dream-like triads that work there way through the middle ground further the colorful track. Towards the end, the drums take center stage, throwing in fills and breaks here and there. The beat in "Stills" is a bit more prominent, with more accentuated snare hits. Around the minute and a half mark the track takes an ethereal turn, with a more sporadic beat and the introduction of several tiers of more heavenly tones. The song then builds and builds until all that remains is the drumbeat, which quickly decays into silence. "Mfaus", the final track, is definitely the most abstract and abrasive of the four. The song begins with a wash of electronic noise and then gives way to driving bass, snare and hi-hat beat accompanied by deep, blunt tones. While each set of tones builds harmonies atop another, the song progressively gets more and more distorted, until the track caves in on the close. Overall, P Brane shows a variety of roads down which Ed Handley and Andy Turner can take us, and challenges the listener to choose which one it will be. Critics tend to dismiss Plaid because they are more palatable than their peers and tend to get labeled as being somewhat pop …as pop as you can get in the IDM world, I suppose. On the other hand, I've heard tons of people talk about how the more demanding, difficult side of IDM is the future of the genre and tends to be more interesting. Frankly, I hope the future sounds more like Plaid; at least it would be as much out thinking as it is about feeling. [www.warprecords.com]

If you've never seen Richard Kelly's Donnie Darko then stop reading this review immediately and find the film to rent. Somehow, someway, you must see this film. The best way to summarize it is to say it's an 80's period piece with a sci-fi plot mixed with one scary ass 6 foot tall bunny named Frank, and one teens discoveries within all of that. Think the plot sounds interesting? Imagine the music that accompanies it. Michael Andrews score is the perfect blend of ethereal sounds and menacing rythmns. If you are a fan of the Requiem For A Dream soundtrack, then you'll understand the tone that is set. While not as intensely dark as the Requiem soundtrack, the music here sets the stage for the film's action, but without giving anything away. The entire score blends as one piece, but each individual track can be taken at face value and be thoroughly enjoyed. While the majority of the works are dark, much like Donnie Darko's mindset throughout the film, it does have it's moments of enlightenment. The track entitled "The Philosophy Of Time Travel" embodies the moments of Darko's mind where a bit of clarity comes to him, only to be followed up with the sensation of wonder and complete bewilderment envoked from "Liquid Spear Waltz." The final track "Did You Know Him?" is the perfect backdrop for the finale. Without giving too much away, the slow mournful piano reflects the characters emotions to a T. All and all, the entire soundtrack fits the film perfectly. After watching the film (numerous times) the score will bring back all the sensations of intrigue, confusion, the creeps, and impending doom. And as a bonus, the Gary Jules cover of Tears For Fears "Mad World" is included (AND an alternate version with subtle-drums). Basically, 5 manstyle points were easily earned, maybe even more than that because everything fits the film so perfectly, but the lack of the non-instrumental 80's staples from the movie is quite lacking. The soundtrack cannot be complete without Tears For Fears "Head Over Heels", The Church's "Under The Milky Way", Echo & The Bunnymen's "The Killing Moon" and Joy Divisions "Love Will Tear Us Apart." It's understandable that these tracks were left off (it's an indie film with a limited budget, getting the rights to these songs may not be as cheap as you'd assume) but without them, the film isn't entirely represented. That being said, Michael Andrews and Richard Kelly deserve nothing but respect for this incredible film and accompanying score. [www.donniedarko.com]

Kim Deal’s enigmatic yet down-to-earth rocker chick schtick has been one of alternative music’s most endearing personas for the better part of 15 years now. Her signature vibe – sassy, strange, and right at home with a case of Pabst Blue Ribbon – has captivated listeners since the Pixies’ “Gigantic,” and is back in full force on the Breeders’ quirky new record, Title TK. Yet anyone expecting the lo-fi sugar rush of Last Splash should look elsewhere. Instead, Kim and sister Kelley trade off vocals like punk Patsy Clines, from the choking-back-tears country of the third track, “Off You” (given a full-on Marshall stack “sequel” on – what else – “Son Of Three”) to the grunge lament of “Forced To Drive.” This isn’t to say there’s no rock to be found; “Full On Idle” is a propulsively infectious cowboy rave-up, and “Huffer,” the album’s closer, surfs a series of “aah-aahs” and “da-da-das” on the closest thing to “Cannonball” or “Divine Hammer” to be found among TK’s 12 tracks. Lyrically, Deal is as cryptic as ever, but a longer glance at the lyric sheet reveals a litany of odd songs about being addled and idle. Cheerleader pregnancies (“the one-eyed jazz/as hickeys fade/round up holler girl/we’ll all need bigger uniforms"), drug-dealer regret (“you get an empty case of whip-its/and a boyfriend with a beeper”), and a general sense of Midwest apathy and melancholy permeate nearly every song. You can’t help but wonder how much of this is a reaction to Kelly Deal’s drug problems that sidelined the band for most of the past decade. Not to place too much autobiographical weight on the disc – hell, if the Pixies were any indication, ALL these songs could be about fictional characters – but the band’s history can’t help but color any lyrical interpretation. All told, Title TK is a better-than-good effort squarely on it’s own terms. Steve Albini’s powerfully spartan production touches are a perfect match for the band’s collection of sparse and somewhat dissonant pop songs, and little is as beautifully obtuse as Kim’s lyrics (bringing back a sense of unintelligible mystery and questioning that has been sorely absent from most post-90s rock). However, any view of Title TK as the near-decade-in-the-making comeback record that it most certainly is can’t help but disappoint. Last Splash had it all, from feedback-drenched instrumental rave-ups, to introspective blues, to well-crafted pop abandon; even though TK has enough quirk for days, it feels more like a relaxed, throwaway side project (albeit a very good one) rather than a proper follow-up. Yet maybe this is exactly what the Deal sisters needed to get back on track. Now that Title TK is out of their systems, one can’t help but be excited for the next record – hopefully it won’t take them 9 years to drop that one. [www.noaloha.com]

Don’t get me wrong, aspiring to sound like a band that’s trapped in time can be cool. From the Cardigans to the Beta Band, a modern take on vintage keyboards, analog equipment, and old-school melodies definitely works. However, the flashback can sometimes become tiresome, as simian prove on Chemistry is What we Are. Sonically, the disc is a textbook blend of midtempo drum loops, echoing multitrack vocals, droning organ, and random sound effects that could have come from any gang of European kids with too much free time and a predilection for classic rock and marijuana. simian do it well, but offer nothing new to the equation. The distorted vocals and demo-quality guitar track on “how could i be right” could have dropped right in on any Radiohead b-side without you or Thom Yorke being any the wiser, and “one dimension” is so Pink Floyd it hurts. It’s difficult to be overly critical of the disc, because I do like it – I just can’t escape the fact that simian never become more than the sum of their influences. Everything is in it’s right place (so to speak) but simian needs to be more than a tribute band to hold my interest longer. Nonetheless, if you can overlook the slavish imitation, Chemistry is What we Are is one of the finest albums of background music in recent memory. [www.wearesimian.com]

It's about 6:47pm as you speed down the interstate, staying around 73mph as to not catch the site of any state troopers. A gentle breeze tumbles across your car keeping it a balmy 74 degrees. You have both your driver-side and passenger-side windows rolled down. It's a perfect evening; you haven't a care in the world. You think to yourself, "I need some music." You fumble through your CD case, leafing through page after page, until you finally turn over the page containing …with the spirit of a traffic jam…. Knowing that you've found what you were looking for, you pop the CD into your car stereo anxiously awaiting any utterance of sound from your speakers to break the monotony. As the first track, "Stop", begins to play, delicate guitar and keyboard tones, colored with carefully placed bass notes, float through the cabin of your vehicle. For a moment you are at peace, these ambient sounds mix well with the roar of the wind through your windows. The second track, "Malaise", spins, and for a moment, you are greeted with phased keyboard that swirls around through your speakers - then band kicks in. The guitar and bass slide through a complicated arpeggio, while the drums following along in complete synchronization. As the track continues you are greeted with smooth vocals and clever lyrics accompanied by jazzy-rock styled instrumentation ("futurock", if you will) decorated with a colorful horn section. The whole mixture then gives way to an edgier rock style accompanied by silky hip-hop delivery, without sounding too much like the rap-rock that dominates the radio airwaves. For a moment you are lost in the complicated changes, until you notice that the traffic has stopped in all lanes about 100 yards in front of you. As you slam on your brakes to prevent an accident, the display turns over to track three, "Low Concept / High Maintenance". You are greeted with a similar jazz and rock fusion. Complicated runs and schizophrenic changes propel the song, but fail to lose your interest. As you begin to move along again, this time at a snail's pace, you dive deeper into the disc. "Nonsanity 2037X" is a groovy, hip-hop laden track intermittent with quick, odd changes and varied styles of overdubbed vocals. Just then, you see an opening in a lane that seems to be moving a bit faster than the lane you're in, so you try to jockey for position. You throw your car recklessly into the other lane only find that it stops moving as soon as you get into it. A bit frustrated, you turn your attention back to the stereo where you find the down tempo ballad, "Mr. Prince". Its contemplative vocals seem to throw condemnation at an anonymous individual: "Time will put you in your place. Always courting the angels, but you end up with the devil's lips." As you make your way through one of most accessible anthems on the disc, "Even The Scars Forget The Wounds", the traffic beings to give way. You slowly begin accelerating; maybe you'll make it home sometime tonight? After sitting in traffic for about an hour, it's now dark outside. The moon hangs at about 3 o'clock from your point of view as the CD player finds "Filling In A City". You are immediately drawn into the beat as keyboard is layered with bass and drums, and then layered again with vocals and guitar. The lyrics describe some surreal wasteland that seems all too much like a future fate of America: "The cash machines, they look so proud / The thieves are so happy / And everyone still talks to themselves / The air, it smells like fear / And tonight my nose is open". In a similar vein, but a bit more subdued, "Destination" is the funkiest track you've heard so far, with a beat that forces you to bob your head to the beat. As you encounter the next two songs, "Mobile" and "Aggression", you suddenly feel the need to travel at a greater rate than before. Maybe it's because the tracks display a bit more of a rock edge than the rest… or maybe it's the odd time signatures… but whatever it is, you know it's about time you get off the road. "Then Silence", perhaps the farthest Grüvis Malt travels into the hip-hop mode on the disc, matches the aggravation you feel for the road with Grüvis Malt's own contempt for the music industry. It's the big, bombastic track that gives way to the serene and tranquil closer, "Stop And Go All Ye Faithful". The CD slowly draws to a close, with the final track decaying into nothingness around the 13-minute mark, and you pull off the interstate at your exit. You eject the CD and place it back into your case. As you enjoy the silence and the night air, you wonder if anyone else you know would like the album. "They would have to be open minded and appreciate music," you think to yourself, "…with the spirit of a traffic jam… is not for everyone." In a perfect, world the musicianship and themes mapped out on this album would be rewarded, but unfortunately we live in an erratic and fickle nation - at least as far as music industry goes. You smile to yourself because within all the oddities and idiosyncrasies of the album, you've found your place and hope that others can find theirs. You release the brake and press the gas pedal, pulling off to the right from the stop sign, well on your way home. [www.gruvismalt.com]

Bring that beat back! Oh, wait... I'm listening to Squarepusher, and there's no definitive beat to bring back, because he keeps changing it up and mixing it around so fast that there's not one place to groove on. Instead, we get the pleasure of surfing the webby contexts and subtexts of Mr. Pusher's brain waves, allowing our own to jump in several different directions. I honestly believe that listening to Squarepusher and classical music- which are more closely related than you think- will expand and better your mind, just in the sense that there's more layers to absorb and faster paces for your brain to process than anything else out today. Not that this album is technically new. Taken from the sessions of Go Plastic, which came out in 2001, this is a one-song, vinyl-only release that may to some seem daunting, may to some seem taunting, and to others, just plain perplexing. It's actually all three: Daunting in the sense that there are more nuances and directions to this one song than many other releases out there, taunting because many diehard fans may want this to be a taste of what's to come in the future of all that is Mr. Chaos AD, and perplexing because "Untitled" is a hodgepodge, a cut-and-paste collage of different beats, melodies, and gargled synth voices, which are probably all samples of the artist's own voice, albiet too jumbled to know if it's another jab at the UK rave scene. So very British and upright, the jazz-fusion of Squarepusher's infamous bass guitar seems almost gleefully wobbly in comparison. In essence, it's the essence of Squarepusher, which is a lovely mixture of a brilliant artist's digital expression. Probably better suited to the more rabid fans, as it's a vinyl-only release, those of whom seek the rarities of the music world on MP3 should however definitely put this on their list of must-haves, as it is truly an interesting summation of the whole parts of IDM without the popular appeal that, inherently, makes it all the more cooler, so fetch. [www.warprecords.com]

Robert Walker's album was released last October, and it's getting reviewed now because 1) it's fucking awesome 2) it took awhile to for Simple to pass it to me and 3) it's fucking throw your hands up and love someone awesome. For those of you not in the know, Robert Walker is a masterful jazzy guitar guru. He's like Gershwin with Curtis Mayfield on his shoulder, whispering cool asphalt jungle vibes in his well-tuned ear. There Goes the Neighborhood is truly unique, truly exciting, and truly breathtaking. Walker has no vocals on this CD with the exception of Red Holloway's sparse voice crooning on "Bakery Blues", but it's not a drawback to the album if you can't sing along. Hell, make up your own words: It's something you could put in any day and feel instantly better, it's something that makes you feel alive and happy- Kinda like Sesame Street. In terms of Big Bird and Ernie, you know how Sesame St. was a street? A real street with stoops and trashcans and all sorts of ethnic people walking around trying to get you to learn something? Well, that's what this album is like, only it's not full of muppets or brought to you by the letters "C" and "K" and by the number "7"... It's urban and jazzy and smooth. The first track, "2% Body Fat" is groovy wah pedal and strum action garnished with keyboards: You're having ice cream with Samuel L. Jackson and laughing. "Bread and Water" could be a Beastie Boys sample or the Babylon sisters just chillin', and Phil Upchurch's saxaphone solo just makes you feel good. The title track captures more street sounds and is very laid back like a Sunday afternoon with Bill Cosby. "Wade in the Water" is the pavement cooling down, and "The Tease" is the funky rebels and their swizzle sticks on clavichord delay: It's sweet lemonade. "4:00 Wash Up" has a great Who-like intro, and sticks to a dirtier blade with it's edgier frays and is more a smoke-filled poker night. "Corner Store" is all about Sesame St., as it's likeable and very universal. "Swap Meet" features rainbow flat-bed trucks and barefoot kids chasing after the Good Humor man, while "My Babe" and "Luck" punctuate the end of a good movie, very bittersweet. So now that I've told you how to get to Robert Walter's street, you just have to go. It's an album that you might not think you'll enjoy until you just let yourself get immersed in it. It's very wonderful and fullfilling and unexpected and melodic and... I simply cannot say enough good things about this album, as it is one of the first truly wonderful albums I've heard in a long time. [www.20thcongress.com]

There aren't a lot of bands from Orange County of which I'm a fan. However, when a bunch of them get together to raise money for the Children's Hospital of Orange County (CHOC), it seems like a good idea to me. I only have one question though: If you want to raise money, why put a bunch of second-rate songs on the benefit CD? I'm not going to lie to you, I'm not a big fan of punk music or any of its hybrids. Nevertheless, you must believe that I've tried to find good things about this compilation. I don't know if these bands weren't allowed to put good songs on this CD, but something got messed up somewhere. The majority of the tracks resemble other tracks on the disc - which is the nature of this type of music - but also, they just give the impression that these bands didn't put their best foot forward. The only redeeming quality of the collection is "Los Angeles" by Ozma; it seems to be the only mature track of the bunch. Furthermore, because of nostalgia alone, the Suburban Legends cover of the Gummie Bears theme song is quite entertaining. However, I'm sure that any other song by this hyperactive ska band would want to make me pull my hair out. One final attempt was made to try to like the songs contributed by Campground Effect, Thrice and Reel Big Fish, but they just let me down in the end. Turns out I'm still not a big fan of this type of music. If you'd like to support the CHOC, please visit their website and donate through it. I'd suggest just examining the CD track list and downloading your favorite tracks - the idea of spending money on this compilation seems like a big waste. [www.gluefactory.com]

Filmmaker Jamie Catto and producer Duncan Bridgeman traveled around the Earth last year with a digital audio camera and an idea. The two wanted to capture sounds and imagery from several artists and musicians in attempts to create a worldwide collaboration of sorts. While artists like Neneh Cherry, Michael Stipe, Baaba Maal, Horace Andy and Maxi Jazz are featured on this collection, the album suffers the musical vision of the sole producer, Duncan Bridgeman. It's natural that an album recorded all across the globe sound like world music, but I refuse to believe that all the English speaking countries of the world can offer is hip-hop. Almost any track that features an English speaking artist turns into this world beat, hip-hop mess - it's really very disturbing. The rest of the cuts on the album are decent, with a few standouts. "Ma' Africa", featuring The Mahotella Queens and Ulali, takes the listener through a tribal techno track highlighted with African styled vocals. The opener, "Dunya Salam" featuring Baaba Maal, is almost like a prayer or incantation that attempts to bless the proceedings of the disc. Finally, the closer, "Ghosts" featuring Eddi Reader, is a meditative ambient track marked with whirling synths and sparse, droning vocals. Being an American, with English being my primary language, it's tough for me to think that the best way my culture can speak to the world is through the avenues of hip-hop. I recognize the art form as important to American culture, although would not jazz and blues be just as important? Nonetheless, 1 Giant Leap is a great idea, but it's the opinion of this writer that it wasn't carried out as well as it could have been. [www.1giantleap.com]

Télépopmusik is the brainchild of three French electronic artists: Stephan Haeri, Christophe Hetiér and Fabrice Dumont. Their debut album, Genetic World, combines various arrays of dance beats with an assortment of samples, lush melodies, and colorful noise. Intermittent throughout the album are samples from television programs and radio broadcasts which either simply break the span between the tracks or deal with various scientific subjects - keeping in tune with the theme set by the album title, Genetic World. While it's not an album you'd call revolutionary, it's charming enough to take home and spend some time with. The album opens with "Breathe", featuring the gorgeous vocals of Angela McCluskey - her voice alone is reason enough to hear this album. In the first thirty seconds of the song it turns from a sultry, nu-jazz track to drowsy, dance anthem. The layout of the track is customary enough - nothing is too unique - however, it's at least done well. The rest of the tracks on the CD run the gamut from mid-tempo techno, to hip-hop, to more of a break beat style. It's hard to enjoy several of the tracks on the CD, simply because they are just a little too predictable and unimaginative. Basically, when the group steers too far from the formula of tracks like "Breathe", "Yesterday Was A Lie" or "Love Can Damage Your Health", which combine Angela McCluksey's vocals with various jazzy instrumental accompaniment, the CD begins to disappoint. However, it's worth noting that the final track, "L'Incertitude D'Heisenberg", is a nice ambient adventure to close out the set. A lot of electronic music is sounding the same these days. Plus, a lot of Genetic World probably sounds like something you've heard before. However, when it works it works, and things that work should require some attention. I'd say if you melt at the sound of a lovely female voice singing over electronic beats, it would behoove you at least to try out Télépopmusik - at most the tracks featuring Angela McCluskey (did I mention that enough?). [www.telepopmusik.co.uk]

I could tell you what Blazing Arrow sounds like, but are words ever descriptive enough? Not really. I can tell you for certain that all the artists that are featured on the new album are “A-list”. This’ll take a second: Zach De La Rocha, Ben Harper, Saul Williams, ?uestlove (The Roots), Chali 2Na and Cut Chemist (Jurassic 5), Rakaa and Babu (Dilated Peoples), Gil Scott-Heron, KeKe Wyatt, Jaguar Wright, Tracey Moore (Jazzyfatnastees), Money Mark, James Poyser, Paul Humphrey, Sean Lennon, Miho Hatori (Cibo Matto), DJ Shadow, Lyrics Born, Lateef the Truth Speaker, Joyo Velarde, Erinn Anova, and the Lifesavas. …Good grief! Is that not enough great artists on one album? I don’t know what else you can ask for? Now, I know I’ve seen an artist list like this fall short before – not the case this time. The rhymes are fresh, the melodies satisfying, the hooks are memorable, and each guest is cleverly implanted into their respective track. Chief Xcel and Gift of Gab knew exactly who each person on the album would be, and what they would do on each song. I will say that I’m a bit disappointed in the use of Zach De La Rocha. He’s done that “screaming thing” so much that it was a bit too predictable when I heard him chime in on “Release Pt. 1”. But, let us not dwell on the negative points of the CD. What are the good points? Watch out for Lateef The Truth Speaker’s infectious verse on “4000 Miles”, the grooving “Aural Pleasure”, and Ben Harper’s beautiful vocals on “Brain Washers” – there are so many more though, you’ll just have to hear it. You know what hip-hop sounds like. You know if you like hip-hop or not. Therefore, you’d probably already know whether Blazing Arrow is something you would like to purchase, let alone listen to. I won’t lie; to try and described it as something other than what it actually is, just so you’ll give it a chance, would be injustice to you as a consumer. Nevertheless, it seems the hip-hop community has noticeably split in the past few years. You have the underground and the mainstream, with both sounding intrinsically different. It’s true that Blackalicious fits the first category more, but this is the kind of album that shows what can be done with the medium on both sides of the fence. [www.blackalicious.com]

In any other context, nostalgia for something less than a decade old is absurd. However, with the seismic shifts that took place in end-of-the-century pop – led by the twin juggernauts of rap rock and prefab teen "musicians" – one can be forgiven for getting misty eyed at the thought of mid-90s alternative music. You know, that old fashioned, hook-laden American guitar rock that was oh-so inescapable throughout the post-Kurt, pre-Britney years – that good stuff you can’t even give away for free anymore. Wayne are the latest new old-schoolers: graduates of the class of 95, all dressed up and looking for somewhere to rock. For the most part, their album music on plastic is a cryogenically frozen time capsule of a past era, replete with standard-issue fuzz boxes and all-too-familiar midtempo minor-chord ballads. To their credit, Wayne stray from the blueprint long enough to make it interesting. The country flourishes on "Take Me Home" and "With Regards" help the band stand out a bit, and singer/songwriter Rodney Reaves has some genuine chops and a welcome set of Brit-pop inflections, both of which are in fine form on the utterly infectious "Whisper". Yet even these high points cannot sustain the remainder of the disc. Which is a real shame - the rest of the album isn’t necessarily bad (it would have been a surefire hit years ago), just unremarkable. With every repeat listen, the nagging generic-ness of music on plastic becomes harder and harder to ignore. Sad to say, but simply being workmanlike isn’t going to cut it these days. Could Wayne catch on? A difficult proposition to be sure, but more than enough awful music is floating around today to make anything seem refreshing. Plus, there’s still some mileage left in the post-grunge formula, as evidenced by the simple fact that STP and Bush are still putting out albums. Yet music on plastic begs the question - if an angst-filled rocker wails in the forest but no one is around to hear, does he still make a sound? [www.waynemusic.com]

There's a fine line between catchy and annoying, and radio-friendly rock all too often ends up inducing headaches. Midtown tread this line like goddamn circus acrobats on their latest disc, a buzzsaw mix of sugary choruses, hardcore-inspired aggression, and absolutely killer harmonies that have the sense to never become too poppy for their own good. Clocking in at just over a brisk half-hour, the Jersey boys augment their signature crunch with some subtle production tricks (acoustic intros, keyboard fills, and other instrumental touches that - while seemingly minimal at first glance - actually do a lot to enhance the album). More importantly, they've developed a surprising degree of songwriting growth and melodic sophistication, from the subtle hair-metal influences on "You Should Know," to the grinding "A Faulty Foundation." Most notable, however, are the memorable hooks and odd tempos of "Perfect" and "One Last Time," two excruciatingly well-crafted "simple love songs" that truly set the band apart from their punk-pop counterparts. Polished to perfection by studio wiz Mark Trombino (Jimmy Eat World), Midtown swing for the fences with this release, and do a fine job in the process. Their tried and true emo lyricism - severed friendships, make-ups and break-ups, perseverance, blah blah - has been repetitive for some time now, but it's a minor (and easily forgiven) qualm on an album as propulsively enjoyable as …Revenge. [www.midtownrock.com]

Reykjavik, Iceland seems to be a musical epicenter as of late. With Iceland already boasting the likes of Sigur Rós and Björk, they’ve decided to give up one more, Quarashi. Surely, you’ve heard “Stick ‘Em Up” by now, it’s all over MTV and national radio. If you were like me and you didn’t think much of that Beasties-esk, guitar driven rap, there’s still hope you might like the rest of their US debut, Jinx. Unlike it’s money-makin’ sibling, the rest of the tracks on Jinx show us that the group can dig a bit deeper and draw influences from almost every genre. Furthermore, Sölvi Blondal, the band’s producer, sequencer, and drummer, knows how to seamlessly incorporate live drums, DJ scratches, driving guitar riffs, vintage vocal loops, and rubbery bass lines into each song. Basically, just know that the rest of the album showcases more of a “bob your head” vibe, rather than an “I’m gonna punch you in the face!” attitude. Let’s face it, some guys from Iceland yelling, “stick’em up,” aren’t going to intimidate too many people. A couple notable tracks from Jinx are “Malone Lives”, “Mr. Jinx”, “Tarfur”, and the mellow “Dive In”. The fourth track, “Malone Lives”, pairs a simple beat with a chorus-tainted keyboard. Combined with some catchy vocal delivery, an infectious chorus, and sing-a-long outro, it makes for a decent tune. “Mr. Jinx” opens with a loose drumbeat opposite a funky horns sample, which shortly gives way to one bouncy bass line colored with sporadic keyboard bits. The three MCs, Hössi Olafsson, Steini Fjelsted, and Omar Swarez, shine on this track, displaying their reasonable talents in phrasing rhymes and handling live vocals. “Tarfur”, performed completely in Icelandic, brings together 70’s funk styled instrumentation and a disco influenced chorus. The second-to-last track on Jinx, “Dive In”, shows that the group can arrange a down tempo ballad as easily as any other tune on the album. Each track in the set unfolds to reveal that Quarashi are much, much more than what commercial media has led the public to believe. In the past few years I’ve realized that I should never base decisions by too much of what I read, see on TV, or hear on the radio. These days, I usually wait until I can hear an entire album before I accept or dismiss a group. I’m thankful that I took the time to listen to Quarashi’s Jinx, and I hope you’ll give it a first, or second, chance. [www.quarashi.net]

Can you smell what The Rock is cooking? Well, I can, it’s an album full of cock-rock and radio anthems. If you “stand alone”, this is the soundtrack for you. I haven’t seen The Scorpion King, nor do I really ever plan to see the movie… unless it comes out on video and a friend rents… ah, never mind. So, the artist list for the soundtrack is about as appealing as the movie, but it’s definitely a fitting soundtrack. Among the list of heavy-hitters, you get new music from Godsmack, P.O.D., System Of A Down, Injected, Coal Chamber, and Sevendust, among many, many other modern rock heroes. The only real complaint I have about the soundtrack is that they put some pretty weak songs on there; sure, the Scorpion King has his sensitive side, but I would expect the soundtrack to carry more of the “I’ve come for the woman and your head” mentality. Some of the stand-outs are the sappy, rock ballad from Creed, “To Whom It May Concern”, and the not-so-heavy metal of Hoobastank’s “Losing My Grip” and 12 Stones’ “My Life”. These songs just don't pump enough testosterone to hang with the rest of the opposition on this soundtrack, which includes System of a Down’s “Streamline”, “Breathless” from Lifer, “Corrected” by Sevendust, and Coal Chamber’s “Glow”. Needless to say, it’s a very radio friendly mixture. Since I need to give a constructive score, I’ll base my count on the idea that a soundtrack should relate to its respective motion picture counterpart. Thusly, I give The Scorpion King soundtrack 2.5 manstyle points; in my opinion, it’s half good and half bad. [www.scorpionkingmusic.com]

Video game music is rarely memorable; there are really only a few examples that come to mind: Super Mario Bros., Toe Jam & Earl, and The Legend of Zelda. These simple tunes provided not only an epic backdrop that augmented the game, but ingrained those notes into a section of your cerebrum for eternity. Things have indeed changed since those days of 16-bit marvel. Today, with games like Final Fantasy and Tony Hawk Pro Skater, the music is beginning to require a bit more attention from gaming studios. Not only are they using big name bands, artists, and composers, these games are spawning official soundtrack releases. Which brings me to the topic at hand: the JSRF: Jet Set Radio Future soundtrack, featuring music from the Latch Brothers, Cibo Matto, and Scapegoat Wax, among others. This album can be described as a Latch Brothers album, a group made up of Mike D, former Mary's Danish bassist Chris Wagner, and Kenny Salcido, a former employee of the now defunct Grand Royal. The three were commissioned to create original songs and remixes for the background music and the soundtrack. What came of the work? Well, really, just music that would sound great to play a video game to – good job guys! The Latch Brothers tracks are comprised of various break beats, synth tones, children singing, and random electronic squeals and bleeps. The songs fall somewhere in between rave anthems and songs that the Chemical Brothers would rather just forget about. The rest of the soundtrack consists of a few decent tracks: “Aisle 10 (Hello Allison…)” from Scapegoat Wax, the most annoying Cibo Matto track I’ve ever heard, “Birthday Cake”, some decent rhymes in “Rockin’ The Mic” from The Prunes, Russel Simins’ “I’m Not A Model”, and tracks from video game composers Hideki Naganuma and Richard Jacques. Like I said, it’s a video game soundtrack. In the context of the game, which centers itself on a group of rebel rollerbladers who oppose an oppressive, evil corporation, I’m sure these songs are great. However, as a collection of songs that you would put on at a party or to cruise around blaring from your car stereo, it’s a bit weak. Obviously, Beastie Boys fans would probably like to get the soundtrack just to hear what Mike D has been up to, but don’t entertain any notion that it will sound anything like the Beasties. [www.jsrf.com]

Dear The Start- When I first got my hands on your album I was hopeful: Strange looking band, good quote explaining logo, funky lead singer named Aimee Echo- It was all there. Your album would be good, you would be someone I could root for. Not so, sadly. The production was great, thus the ".3" on my rating. You show promise... But your album did nothing for me. Filled with vague "dear diary" lyrics and a sound that ranged from distilled Tori Amos to downright Thomas Dolby, the sound was not unique, not honed, just dirty poor turned imitation. Sure, "Communion" had some clout as the bastard child of Cyndi Lauper and NIN, and "Glimmer Man" was a koan to John Hughes films, but the peaks of this album could be best put to use only as filler between beach scenes in a Britney Spears movie. I listened to your album for about a week, waiting for it to catch me or grow on me, but it was barely interesting enough for me to write a decent review. Your standout track, the only one on the whole album that sounded like it had been fine tuned, was the last track "Time." Great tempo on that song- Can you make more like that? I'm sorry it had to be this way, Start, because I honestly tried to like you. But maybe this will encourage you to utilize some of that carefully hidden talent that you may or may not posess into something good, unique, and dynamite. Until then, you get the not-so-coveted rating (above), which I only gave to you because your liner notes mentioned so many of the bands that I like, and I don't want to piss them off. Your Pal, Erun [www.thestart.com]

Last summer some friends and I took a trip to Texas to see the final shows of the Toadies. The Riddlin' Kids were the opening band for the shows we saw, and we were all impressed with their live performance. At the time they weren't signed, and I knew it wouldn't be long before they got picked up. Six months later I get a CD in the mail from none other than the Riddlin Kids who are now signed to Columbia. I felt that I need to mention this story because that week in Texas was one of the greatest experiences of my young life. For that reason, it is hard to separate this band from those shows, and my opinion of them is somewhat biased. With that little disclaimer out of the way, Hurry Up and Wait is a great pop-punk album chock full of songs that won't leave your head for days. If you are into SUM 41, New Found Glory, etc, then this album is right up your alley. If you aren’t, well then stop reading because you probably aren't going to like this record. The opening track "Crazy" sets the tone for the whole album: nice guitars, pleasant vocals, and an overall sound that pop-punk fans have come accustomed to. Lyrically, you aren't going to be blown away, but you shouldn't be disappointed either. Most songs feature the typical topics of girls, relationships, and well...girls. One thing that I feel sets this album apart from some of the other pop-punk acts out there is that the Riddlin' Kids have a little bit more of an edge to their sound. Tracks like "Pick Up the Pieces" and "Can't Think" put a little spunk in their punk, and help to break up the sound. Then there are tracks like "Tina", which has Blink 182 written all over it, and "Follow Through", which I imagine you will hear on your radio one day soon. The album ends with a surprisingly good cover of R.E.M.'s "End of the World...". However, I think covers are somewhat played out right now, and this particular song is redone a little too often. Overall, I think you can definitely feel the bands energy when listening to the record, as they seem to be really "playing" their songs rather than just laying down tracks for an album. I give Hurry Up and Wait a solid 3.75 manstyle points. As I said before, if you are into pop-punk then I definitely think you will enjoy this album. But if you aren't, then it isn't going to make you a convert. [www.riddlinkids.com]