As I leave The Dark Horse near downtown Atlanta, GA around 12:04am, I struggle to remember which way I turned to get here coming from I-85. After creeping down several side streets, I find an outlet road that runs in I-85 North back towards my Dad's house on Old Peach Tree Rd. in Gwinnett County. The stereo is blaring 'Around The Fur' by the Deftones, so I eject the CD to look for something a bit more mellow. As I drive down I-85 at about 73mph, I fumble through the old wrinkled, plastic pages until I come across a CD that my friend Jeremy Davis burnt for me, Vincent Gallo's "When". Remembering that I haven't devoted anytime to checking out that particular album, I figure the 45-minute drive from downtown Atlanta to the suburbs of Gwinnett should be plenty of enough time to immerse myself in its contents. Track one spins and I find myself presented with a strange and rather textured loop reminiscent of a lazy jazz track. Coming in the left and right speakers are a mixture of a groping guitar lines, crossing back and forth over each other. Among the guitar lines are weak, quivering chords emitted by some sort of synthesizer. As I round a bend in the interstate and enter the mess of lights, buildings, and signs that is downtown Atlanta at night, I begin to think about all the things I haven't done during 2001. I never took any more real photographs after school ended, developed a role of film, made contact sheets, started a new project, painted, sketched, or met a girl that really made me feel special. Then track two rolls in with a simple, lonely guitar chord, accompanied by a voice softer than anything I've ever heard. It was Vincent Gallo. I hear lyrics that are so simple in their essence that it makes me want to cry. The song keeps on going from beginning to end and Gallo presents his plea to whomever he's singing his song to. The rest of the tracks seem to carry similar on in a similar fashion; loops, beats, guitar, warm bass lines, randomness, strings, and Gallo's trembling melodies weaved together over and over again. Several tracks stand out to me as I continue to listen, drawing closer to the Old Peach Tree Rd. exit on I-85. Track five, which I later learn is the infamous 'Honey Bunny', track eight, also known as 'Cracks', and track nine, 'Apple Girl', all catch my attention as I drive along, now at around 81mph. As the last song draws to a close, I see the Old Peach Tree Rd. exit about ½ of a mile up the road. As I pull up to the stop sign, I eject the CD and replace it with a Plaid's "Rest Proof Clockwork" and take left towards my Dad's house. I'm really tired and I want to go to bed. It's now 2002 and I still haven't bought the Vincent Gallo CD, but I really want to when I get some money. Actually, I plan on ordering it directly from Warp Records. Anyways, the CD still produces the same reaction in my mind and heart. It may be what Barry in High Fidelity calls "sad bastard music," but it seems like a great choice every time I slide it out of my CD case. [www.warprecords.com]

I first heard about Vendetta Red because of the high-profile record deal the band just signed with Epic Records for a reported $3 million. Perhaps the thing that caught my attention the most though was that these guys were being compared to At the Drive-In, and the chance alone of finding another band as good as ATDI was worth picking up the album. Turns out the only thing they really have in common with ATDI is that the lead singer has a fro. After first listening to White Knuckled Substance, I was really impressed. I went and told all my friends to check it out, and immediately pegged it as a great find. The album has some really great guitar riffs, dynamic vocals, and the bass and percussion to back it all up. However, when I went back through the album to write this review I discovered that maybe I was a little misled on my first listen or two. Once I started thinking about it I realized that the first couple of times I listened to the album I was busy doing something else. Tracks like por vida and all cried out caught my attention and really impressed me. See the thing is that while I was listening to the album I was picking out the good tracks, but just not really paying attention during all the other tracks. I mean they were good enough to keep me listening, but not all that great. Now that I have given the album my full attention several times, I have discovered that I really like about half the album, but the other half I could do without. I think Vendetta Red's strength is in their faster songs. Tracks like the previously mentioned all cried out and the track ribcage menagerie have a punk feel to them almost in the same vein as At the Drive-In. Unfortunately there are only about 4 tracks like this on the album. The rest of the album consists of much slower, boring songs that just aren't anything special musically either. An exception would be the track seconds away, or even the band's single shatterday. These songs are also slow, but they are powerful and really showcase the band's talent as musicians. In preparation for this review I went and dug up some information on the band that has given me a little more insight into this album. While I assumed the band had been around a while, just on a smaller label, it turns out this is their first real release and they are still relatively young as musicians. After all, the band played its first show barely more than three years ago, and have even announced that they feel the album doesn't really showcase their full potential. I think knowing that lowered my expectation bar a little bit because we all have to start somewhere, and I would say that White Knuckled Substance is a damn good start. I think Vendetta Red has great promise and the real test will be how their new album on Epic turns out. Maybe then they can live up to that At the Drive-In comparison. [www.vendettared.com]

I heard about this album a while back, and in fact it has been in the works for about 2 years. I originally thought it had promise, but then I forgot all about it. So I was pleasantly surprised when it showed up in the SU mailbox. However, I found that after listening to Rock Music, my general distaste for tribute albums was only intensified. Tribute albums can be a great thing. A great one will allow you to get a whole new take on a song that you may have not even liked before. For instance Zebrahead once did a cover of Hit Me Baby One More Time and it was brilliant. There is nothing like hearing Brittany's shitty lyrics with a punk twist to them. However, then you have an album like Rock Music in which a lot of the bands either try and sound just like Weezer, thus offering nothing new, or do really shitty covers by just throwing in a yell here or there. The album does have its redeeming moments, but there isn't really enough of them to save it. This album can basically be broken down into a couple different types of tracks. You have songs like Piebald's No One Else, Further Seems Forever's Say It Ain't So, and Dashboard Confessional's Jamie in which the band doing the cover doesn't try to put their own twist on the song at all. I mean some of these sound pretty good and some don't, but regardless they sound basically just like the Weezer versions, so what's the point? Then you have songs like Elliott's The World Has Turned..., Midtown's Susanne and Mock Orange's Only In Dreams in which the cover band actually takes the song and plays it in their own style. This is how I think the whole album should be. With the exception of Elliott's track (which is just too slow for my taste) all these covers are really good too. Finally, you have tracks like Mycomplex's "Tired Of Sex" and The Impossibles' "The Good Life" in which the band just totally hacked the song. Both of these bands tried to add their own style, but instead trashed the song and turned it into something I couldn't bare listening to. In summary, although this album had a couple good tracks, and even more "bearable" ones, it just doesn't really offer me anything. If I want to hear Weezer songs I will pop in my copy of Pinkerton or the Blue Album and listen away. So another bad shot for the world of cover albums, although I am still holding out for that "Punk Does Pop" album...now that sounds entertaining. [www.deaddroidrecords.com]

Farmclub.com? What can I say? I think I watched it two or three times. Whoever did their editing was on crack, because that show always gave me a headache. And didn't they have the "Doritos girl" as host? Anyways, I do remember the musical encyclopedia, known as Matt Pinfield, trying his darnedest to make the show interesting. That was way back in the day when Incubus didn't suck and rap-metal was still seen as "innovative". They called it the year 1999. Yeah, that Farmclub.com! Oh yeah, usually they had a couple bands on there you wanted to see, but you had to sit through the rest of the crap. Sadly, that's pretty much what this compilation is like too. There are a couple tracks that stand out though: N.W.A. "Nothing But A "G" Thang", DMX "Party Up", Staind "Mudshovel", Bionic Jive "Pump", and the diamond-in-the-rough ...And You Will Know Us By The Trail Of Dead "Richter Scale Madness" (huh?). However, for the most part, the compilation features live hip-hop and crap rock. There isn't anything I dislike more than live, commercial hip-hop. There's more or less musical screaming and then there's the very unmusical sounds of live, commerical hip-hop; it's just a bunch of MCs up on the stage screaming into a microphones. There are very few hip-hop acts these days that will keep my attention with their live show... none of them are really on this CD. Farmclub.com? ...Oh, it was that show? Yes, and this is the Live & Unreleased from Farmclub.com compilation album that came from "that show". If you ever tuned into USA at all, you knew that most of the time you were in for approximately 5 minutes of excitement. In all honesty, I've never been a fan of live recordings, even if it sounds good. It's possible that a DVD of this compilation would fair better in my eyes, but this CD only gets a 1.5 because of the inclusion of Trail of Dead. [www.getmusic.com]

Standing out in a homogenous hip-hop landscape like a pair of glow-in-the-dark Halloween vampire fangs, the Blade II soundtrack pairs up a litany of rap notables with their electronic music counterparts in an attempt to generate sonic experimentation (and an accompanying crossover fan base, inevitably). Does it work? Yes and no. For every brilliant team up or truly interesting juxtaposition, there's three times as many useless combinations that should have been scrapped at the planning stages. Yet when the mix does work out, the results are genuinely astounding - only making you wish every track could have been as good. Cypress Hill and Roni Size walk away with the finest track on the album, "Child of The West." Hyperactive drum-and-bass wouldn't normally seem like a natural fit for Cypress' stoned, laidback rhythms, but the two worlds come together as if on instinct, generating an aggressive yet exotic blend that fits the film's mood perfectly. Another unexpected match comes from Eve and Fatboy Slim on "Cowboy," where Norman Cook's buoyant, reggae-tinged beat over Eve's "where my bitches at?" chant blend perfectly; I can easilly see this track whipping crowds into a frenzy at a dance club of any genre. Yet such winning combos are the exception, not the rule. Contributions from heavyweights like Busta Rhymes, Moby, and The Roots are at best unexceptional - and at worst sadly prosaic. Even such seemingly perfect partnerships like Redman/Gorillaz and Bubba Sparxxx/The Crystal Method result in little more than highly polished electro-blandness. While this might have made for a halfway interesting video game score, it certainly doesn't bode well as soundtrack music, let alone as an individual album. As would be expected from any project this ambitious, not every pairing really pans out - how could it, when few of the artists were ever even in the studio at the same time? However, the biggest problem was not a lack of legitimate "collaborations," but the fact that the lyrics tended to fall on the generic side of things. It's unfortunate that, with the exception of Mos Def's nomadic and introspective take on his track with Massive Attack, "I Against I", few of the other rappers stepped up to the plate with rhymes that went beyond how "tough and/or wild and/or pimpin" each of them could be. You'd figure that a film about futuristic kung-fu vampires for crying out loud might inspire some lyrical content that's a tad more creative than lukewarm freestyle boasts. Yet the disc is not a total disappointment, as it's truly dope tracks prove; while those few successes don't justify the flops, they do generate hope for future sonic mixtures. Hopefully by the time the Blade III soundtrack cuts its way through (a boy-band/death metal fusion perhaps?), the producers will try and make the musical edges as sharp as their namesake. [www.blade2soundtrack.com]

Well I am not usually to thrilled with soundtarcks, I mean sure there are usually a couple good songs, but then the rest of the record sucks. However, the American Pie 2 Soundtrack is somewhat of an exception. The CD has punk feel to it, mainly due to tracks from the well known Blink 182, Green Day, Fenix*Tx, SUM 41, and others, but that is a good thing because I like punk. Throw in some Alien Ant Farm and American HiFi and you have a pretty good soundtrack. My main problem with the American Pie 2 Soundtrack is that there aren't enough new songs on the album. I mean sure it is great to hear SUM 41 on there, but could'nt it be a new track instead of "Fat Lip" which you see on TRL every day , well I don't, but you get the point. Soundtracks are suppose to be a treat for the fans because you get to hear new music from bands that are in between albums. Well I give this album 3 manstyle points. The music itself deserves a higher rating because there are a lot of good songs on here (if you don't believe me follow the link above to see the tracklisting), but I tend to expect more out of a soundtrack. Give me something like the Spawn or The Crow soundtracks, now that is what a soundtrack should be. [www.americanpiemusic.com]

I am down for this cause. By far, one of the best albums of 2001. There's my vote, I'm sticking to it. I won't go further until I reveal that I am biased. I have been clamoring for any material from Us (I witnessed the cover art development of their last EP "If Not Us then Who?" but neglected to secure a copy, go figure…), I know both members of the band, and I am a sucker for free-flow. But this is not something that I am promoting as a charity, this is something that I am promoting as a vision, as an idea, as a reviving of music- that old time religion music that had energy, heart, and originality. The mooks have had their say: It is time to do something different than embrace the pain of the dysfunctional family, and I nominate this recording as the cornerstone for the movement. Us is a group originated from friendship in Charlotte, NC, and relocated and still maintained in Asheville, NC. They are fresh, they are original: The premise is rapped vocals over house beats, which isn't unique in itself, but Us are still green yet, and their zeal for music is enough to stop the toughest critic in his tracks. Us are earnest folk, and their music is pummeling and emotional, which is unusual in the current musical saccharine environment. Energy is one of the key elements in their newest effort, "The Truth." Opening with "Sacrifice", whose chorus is the challenging "Be willing to die for what you believe in…" and whose musical introduction is Clint Mansell with more testosterone, one is instantly preoccupied that this is rap without the shag-carpet bravado that has not been seen since the likes of Mos Def. There's anger, unity, and a murky, metallic tightrope vein pumping you through and into "UndercatS/Proven", whose production is meaty and lyrics equally hearty. This is music that sounds seamless, effortless, but is obviously that of perfectionists. Ending the first half of the disc, which is divided into "Dispatch One" and "Dispatch Two", is the insistently two-toned "Explosive Minds", peppered with whispers and delicate bass placement and superb flow where Cuthbertson urges himself and, more abstractly, the audience, to "take a claim to this throne/pharaohs of a sound of our own." It's heavy, but dynamic at the same time. Proving that "Explosive Minds" isn't the only piece that contains gorgeous breaks, we are brought into "Microphone Arm", whose chorus and driving rhythm rival Rage Against the Machine's most fist-pumping anthems and whose message is solely to win you over. The Middle Eastern infused, trance-like beginning of "The Process" explores not only what kind of creative method is practiced for Cuthbertson's lyrics, but also alludes to the true, core meaning of all music: To inform along with entertaining. Closer inspection reveals tribute to the bond between Gronquist and Cuthbertson, but it's more tender than that of the Ruff Ryders crew, and much more realistic. The final track, "Best Believe", is gnarly in music and boastful in lyric, but is still as strong and defiant as the rest of the album. So go, buy this album. It's got something for everyone, because it's not a handpicked, individual audience effort. Gronquist proves to be extraordinarily talented, Cuthbertson becomes an approximate Saul Williams: There are elements of everything from Dark Side of the Moon to Esthero, from Windowlicker to DMX. This album is nothing if not a settlement and unity for many tastes for music. The levels might be a little off, but you can adjust this- you cannot adjust the pure adrenaline of this music, you cannot adjust the contagious energy. This is an undeniable, forceful template of talent, and you're all the better with it in your custody. [www.musicuntouchable.com]

What are major labels thinking? At a time when rock radio revolves around bands like Creed, Nickelback and Tantric, why do the labels continue to sign indie artists that probably wont be able to get one song on 99% of the rock radio playlists around the nation? Case in point. About a year ago Interscope Records, signed Austin, Texas' And You Will Know Us By The Trail Of Dead. Make no mistake, Trail of Dead are an incredible band, blending Sonic Youth-like wall of noise guitar riffs with the up and down scream to whisper vocals of unwound, to create one of the most raw sounds in music today, but they just don't really belong on a major label. Picture this, after the sales for Source Tags and Codes don't top the 250,000 mark, the band's label will sit the band down and explain the ups and downs of rock radio, practically drawing them a map for their next album. That's a sad fact in the music industry and hopefully things are going to change, but until they do we might only get one great album from a band before they are forced into mediocrity. However, we will remain hopeful that Interscope will allow the band to continue to make music that they belive in, and not try and make the band alter their sound. With band's on their roster such as such as Dredg, Queens of the Stone Age, Jurassic 5 and Ozomatli, the seems that the label may be catching on to some really great music. I will assume that Interscope heard Trail of Dead's first two independent albums (self titled and Madonna), so maybe they do know that they are getting into, because Source Tags and Codes isn't a departure from the sounds on those album in any way. Think of it as a trip further down the road. There are some wonderful moments on this album, the ability to go from the raw power of "Homage" directly into a piano solo, down to a whisper and back into the rage of "How Near How Far," is probably what Trail of Dead are known best for. Strike that, Trail of Dead are easily best known for their maniacal live show. Often leaving the stage with their equipment trashed and along with the crowd covered in sweat, if not blood, Trail of Dead are defiantly a band that have hammered out their following on the road, with huge followings in the Southern part of the US and all over Europe. With the release of Source Tags and Codes, Trail of Dead are hitting the road for a few months and will surely come to your town. Don't make a mistake and miss them. [www.trailofdead.com]

Not about sticking to a particular archetype, Tori Amos' latest effort, "Strange Little Girls", is a pastiche of a variety of characters, a variety of voices. Nevermind the fact that all the songs on this album are covers, nevermind the fact that all the songs on this album were written by men, nevermind that this record is one of the first good attempts at a concept album since "Sgt. Pepper's Lonely Hearts Club Band." "Strange Little Girls" is a scrapbook of stories told in the diamond-hard conviction of Ms. Amos. Each song is a new perspective, a new light shed on the shadows of the women that are or could have been behind these songs. Disagree? Amos' perennial personification of objects and songs are most vital and bold here. The photo booklet accompanying the CD underscores Amos' ability to paint pictures of what she wants to say, as well as her ability to access an almost liquid approach to music, as each song on this album is another colorful vessel for Amos to fill with her unique arrangements and graceful pace. Each song on "Strange Little Girls" is more sexual, more feral than their original composition under (this) woman's guidance and ragged vocals. For the more hardened to the fair-weather fan, "Strange Little Girls" is instantly riveting. Each song may be a cover, but they all sound like Tori Amos tunes. Even the chilling, eerie "'97 Bonnie and Clyde" by misogynist plebian Eminem becomes an Amos journey. "Heart of Gold" (Neil Young) and "Happiness is a Warm Gun" (Lennon/McCartney) are the only tracks that may take a few adjustments to listen to, as both contain an abrasiveness not contained on their original recordings that immediately hearken more toward the Amos arena. The morbid lullabye of "I Don't Like Mondays" is her cadence; the cold and testy "I'm Not in Love" is her resolute voice of loved and lost. Tom Waits' "Time" is soothing and beautiful, while Lou Reed's "New Age" is honest and ethereal. "Enjoy the Silence" and "Rattlesnakes" are calm storms, sincere missives. Amos' Bosendorfer makes Slayer's "Raining Blood" even more heartily darker. A stratospheric, unparalleled album, "Strange Little Girls" (the title track, though Blake Babies tempered, should surely get some airplay) is something you should invest some time in: It's still Tori Amos, less subdued than she's been in a long while, and this album caters to the introspection of autumn that only the faeries could bring. [www.toriamos.com]

I've written off Mike Patton and a lot of the projects he's done before, but I'm glad I took the time to stop and try to listen to Tomahawk. Yes, this is one of those "super groups" that seem to be so popular these days. The band consists of the legendary Mike Patton, Duane Denison from The Jesus Lizard, Kevin Rutmanis from the Melvins, and Helmet drummer John Stanier. But unlike other "super groups" this mixture of musicians seems to have produced a respectable result. I'd say if you couldn't swallow Mr. Bungle or Fantomas, but you liked Faith No More (i.e. "Angel Dust", "King For A Day/Fool For Life") you'd love this album. It's still classic Patton, but just stripped down and nothing but rock 'n roll. Songs like '101 North', 'Flashback', and 'Got Hates A Coward' are very haunting and will suck you in instantly. Other songs like 'Jockstrap', 'Sir Yes Sir', and 'Sweet Smell Of Success' will take a few listens, but once find their genius, you'll find yourself tracking back to listen again. In fact, most songs kind of have a hidden beauty you must uncover to enjoy. Once you find it, you'll enjoy this album from start to finish. Overall, the album has a very sinister mood and it's very perceptible through the musical arrangements and Patton's lyrical and vocal style. Probably my favorite track, 'Pop 1', sports the chorus, "This beat could win me a Grammy," screamed over and over. I guess I'm just attracted to the ego that Patton sports, not having much of one myself. Nevertheless, sometimes it takes a big ego to make good music and other times it gets in the way. It's nice to see that Mike Patton knows how to contain his and still manage to make great music all these years. It's a great album, but it seems like they go off in long tangents and then come back to incredible segments only for brief moments. I guess my tastes are just a little more straightforward to understand this album completely, but it still sits well in my ears. [www.ipecac.com]

March is a bitch. For every day of heart-stoppingly nice weather, there’s a bitterly cold week that follows up to remind you that hibernation ain’t over yet, kid. However, Super Furry Animals’ Rings Around the World is an ideal choice for spring fever salvation. Close your eyes, turn up the thermostat, and be engulfed by disc filled to the brim with the brightest album this side of a beach on Mercury – not bad for a gang of Welshmen. The lunar allusion fits Rings well, not just for its Saturnian title – for nearly an hour, SFA sets off in its own singular orbit, touching on techno garage rock ("Sidewalk Surfer Girl"), twerked out breakbeats ("[A] Touch Sensitive"), and vocoder bossanova (the brilliant "Juxtapozed With U") The everything-and-the-kitchen-sink approach can get a little too experimental for its own good sometimes, but, more often than not, the Furries have the songwriting chops to back it up. Nowhere is this more apparent than the soaring "Shoot Doris Day," typifying SFA’s ability to blend the soaringly classic, string-arranged Britpop with lyrics that catapult from Jimmy Stewart to "binging on crack and tiramisu" – without degenerating into a sound-collage jumble. Featuring cameos by Paul McCartney (on "celery and carrot," apparently ) and the Velvet Underground’s John Cale, along with string arrangements by Sean O’Hagan of the venerable High Llamas, the disc is a high water mark for sophisticated postmodern pop, expanding upon the Beach Boys standard with atmospheric electronics and moody, near-ambient interludes – yet all the while maintaining a singularly quirky vibe. The album’s not for everyone, but if you dig Supergrass, the more guitar-based work of Beck, or The Beatles’ White Album, you won’t go wrong with a Super Furry Animal in your life. [www.ringsaroundtheworld.co.uk]

I've read reviews about how you should forget the hype around The Strokes and just think of them as a rock band, which is correct, you should. I've also read countless reviews where they are compared to the Velvet Underground and the like, which also could be correct. However, have I really read a review where they just talk about the music? Not too many. So, that's what I'm going to talk about damn it! The Strokes are a rock band, and damn good one. From the title track with the great bassline, 'Is This It', they bring earnest rock 'n roll without diluting it with electronics, bleeps, or blops. Fabrizio Moretti' drums don't get flashy he just lays down a beat and sticks it with such fervor it's startling. Nikolai Fraiture plays some of the best rock bass I've heard since Lisa Umbarger, from the late, great Toadies. Nick Valensi and John Hammond Jr. play off each other like good guitarists, you got a rhythm you got a lead (i.e. 'Soma', 'Trying Your Luck', and the notorious 'Last Nite'). They aren't making crazy noises and drenching their sound with effects, a little fuzz (or a lot of fuzz) and they're good. What about guitar solos, what are those? Well, they got those too, short and sweet. To round it off, while he might sound like Lou Reed, Julian Casablancas delivers his lines with the appropriate emotion and zeal; you feel every word he says the way you're supposed to. My favorite lines (in context) have to be: "I'm working so I wont have to try so hard / Tables they turn sometimes, oh someday / I ain't wasting no more time" and "We shared some ideas / All obsessed with fate / Ways we're all the same / I don't see it that way". I couldn't recommend a more appropriate album for fans of rock, the way it used to be. It's a great album and it's as simple as that. Don't expect them to change the world though, just enjoy it. Relax. [www.thestrokes.com]

The Movielife Has a Gambling Problem is the latest release from punk-pop quintet The Movielife. I have been a fan of the Movielife for some time, in fact we featured them as Band of the Month over a year ago. Since then the band has inked a deal with Drive-Thru Records released a new EP. If you have ever heard the Movielife and are into the more pop kind of punk, you will probably be impressed with this EP. It isn't exactly SUM 41, but it is definitely more accessible than say, Rancid. As far as how the disc compares to other Movielife releases, well it isn't anything all that new. The songs are great and it is good to hear that the band hasn't totally changed their style just to get more radio play. In fact the only thing that separates these tracks from the songs on This Time Next Year is the production work on them. It is obvious that the band has a bigger budget this time around as the songs sound cleaner and generally and a little more fined tuned. I give this album a solid 4.0 manstlye points and can't wait for their full length new album to drop later this year. The Movielife have done it right and stuck to their sound despite the current trend of punk bands going pop. Have you heard the new Unwritten Law record? [www.themovielife.com]

Corey Taylor is angry, Slipknot is angry, and everyone on this planet is just as angry inside at some point in his or her life, no doubt. If you disagree with any part of that first sentence, you probably won't like Slipknot, so stop reading now please. For the rest of us, want some therapy for a low cost of only $12 for unlimited anger management sessions? Just go pick yourself up a copy of "Iowa" by Slipknot. This is Slipknot's second album. I thought after the first CD that nothing could get any more crunchy, heavy, smelly, fat, thick, or disgusting as the first effort from the 9 angry men from Iowa. Now, 5 months after the CD was released, I realize that "Iowa" blows their debut away. I'm not kidding. You think I'm kidding, just let 'Disasterpiece' or 'Skin Ticket' kick in with the volume a bit too high on your stereo. No one is safe. There's really nothing more I can say to describe the intensity of everything contained in this record. When I listen to any song of the CD it makes my insides turn, my blood heat up, and my muscles contract tightly around my skeleton. Let them be angry for you. Being that angry is better left to professionals. [www.slipknot1.com]

There are tons of groups and artists making wonderful pop music these days. *NSYNC, Britney Spears, the Backstreet Boys, Destiny's Child, Weezer, and Nickelback are all great examples to name a few. No, I'm serious, they are making incredible pop music, they are! I mean, ever since the Beatles called it quits, hasn't pop music meant "popular music"? And would you not agree with me that what's popular in America doesn't stay that way very long? America is all about fads, fashion, and penis envy. The fact of the matter is that pop music thrives directly because of this phenomenon. With everyone in America having to "talk about it at work" the next day, wondering who's dating who, or who's on MTV now, the music industry will give America exactly what it wants. There's really no stopping it and it's depressing. With that said, I'd like to introduce you to the anti-pop, pop group Phantom Planet. They aren't popular and for goodness sakes let's hope it stays that way. I mean, is disco still cool? Their Epic Records debut, The Guest, is nothing short of a masterpiece. When I listened to this record I didn't think that Alex Greenwald had to go through extensive vocal training, a rigorous workout schedule, and a complete makeover to get where he is today. And the rest of the band, Jacques, Darren, Sam, and Jason, are cut from the same mold. We're talking about born and bred musicians here people. These guys were made to make pop music. The album opens with the infectious "California", which may or may not be traveling the airwaves as you read this. Well, before I dive any deeper, with this album you can't complain that it's too produced, because the sweetness is in the production. The sounds and the instruments used to make this music is what makes it so good. Ok, so, "California" gives a wonderful first impression. It's like going to party where you don't know anybody, but you meet that one person who knows everyone. Within seconds you're mingling and enjoying the sites and the sounds with complete strangers, but you don't care, you're having a blast. (ok, so that's probably not the best analogy) Then, because of great sequencing, they give a shot of pure pop (true pop) with the second track, "Always On My Mind". Undeniably my favorite track, this song is another pinnacle of great production ... heck, they all are! Now, yes there are influences, but then there is "honoring influences" (thanks Saul). Phantom Planet goes that route. Come one people, who aren't influenced by something and who is complete original these days? Everything is derivative and there's nothing you can do about it; accept it and enjoy. Phantom Planet knows the difference between ripping someone off and appreciating an album because it takes you to that "place" every single time. How do they know? They made one for us. (* - Pending an explanation of the lines "It cursed us all on our way home / We passed the sights like passing stones", I might reconsider and move my score up to 4.95. If it's about what I think it's about, I don't think an allusion kidney stones is pleasant topic to sing about. But, I had to take off 0.05 points because of the cheesy, 80's sax solo on "Turn Smile Shift Repeat". It doesn't ruin the song though. I'm like a freaking figure skating judge.) [www.phantomplanet.com]

I've listened to Amethyst Rock Star about 40 times already, not really because I like it a lot, but because I want to like it more. I have to say that after interviewing Saul Williams, I'm a little biased and don't really want to say bad things about this album. However, as a human being with very, very strong opinions about music, I have to atleast comment on the obvious flaws. Now, before I get started, I have to tell you all that if this was a score based solely on lyrical content, this album would a get a very passionate 5.0 from me, no contest. Saul Williams just has a way with words that would make anyone feel enlightened by just listening to him speak. I could sit here and quote you lyrics from his album, but I might as well type the whole lyric sheet. Saul Williams is a poet, but this album contains lyrics and he's an amazing lyricist. Yes, there is a difference. My friends and I have discussed on occasion how a singer can really kill a band. Well, in this case, it's the opposite. Williams has no problem carrying out his duties as a vocalist, but it's the accompanying music that fall short. Songs like "La La La", "Penny For A Thought", and "Tao Of Now" cleverly blend hip-hop and drum 'n bass beats. However, those are among the first four tracks on the album. The rest of Amethyst Rock Star falters the deeper you get into it. Well, "1987" and the emotional closing track, "Wine", are exceptions. The rest of the tracks are either unmediated noise accompanied by "spoken word" vocal delivery or trite rock anthems that border on, dare I say it, rap-rock. Clearly Saul Williams is not naïve enough to believe that rap-rock is anything new, so it's just hard for me to swallow. Amethyst Rock Star is an enjoyable listen, but it does loose my interest at times, so I will give it 3.2 manstyle points. Basically, the beginning and end are strong, but the middle sags a bit. The fact that the album is nearly three years old, even though it was released last year, might account for some of the questionable material on the album. Nevertheless, there was amazing music made three years ago, so I can't reward music I think is simply just satisfactory. [www.saulwilliams.com]

It's been awhile, but I refuse to let this CD die! I mean, what about Rustic Overtones isn't cool? I was introduced to the Rustic Overtones through a promotion company that Simple and I used do small jobs for every now and then. Simple got a box of "swag" in the mail one day and we opened it to find a really cool looking CD (with artwork that turned out to be the work of the one and only Shepard Fairey). So we popped that sucker in the CD player and heard some the greatest music we'd heard in a long, long time. I used to be a huge Dave Matthews Band fan, I've seen them 12 or so times (which is nothing compared to other "Dave heads"). Nevertheless, I was a big fan. The first time I heard DMB I realized what was so great about music, it actually helped appreciate a lot of other genres. I began to feel music, instead of just listen to it. For that, I'm a grateful Dave Matthews Band fan, but not as much as I used to be. Well, I realize now that Rustic Overtones affected me the same way. I really have not felt music like this in awhile. Now, don't be confused, Rustic Overtones sound nothing like Dave Matthews Band, they really don't sound like anyone I've ever heard before. From the opening track to the end of the CD, this album has no flaws in my eyes. You got your party tracks: 'C'mon', 'Check', and 'Smoke', you got your nasty funk tracks: 'Sector Z' (featuring David Bowie), 'Love Underground', and 'Crash Landing', you got your straight out "rock your ass" tracks: 'Hit Man' and 'Combustible', and even the ballad 'Baby Blue'. Basically, you got everything you ever needed in a band in one, neat package. With the impeccable horns of Jason Ward and Ryan Zoidis, the incredible drumming of Tony McNaboe, Jon Roods funkin' that bass like it ain't got no mama, Spencer Albee dropping in a little color and flavor on the keyboards, and Dave Gutter rounding it all with earnest, creative lyrics and a warm, mature voice, how could you go wrong? I could go on and on about this album, but I think I've said enough (you know how I feel). Please, please, please go buy this album if you do not have it; and go see this band if they're playing your town. There's no other score I can give this album but 5.0 manstyle points. In my opinion, there's nothing about this album that needs to be changed. This band has been around for a while and already has 3 full albums out, which all have their charm. However, keep your eye out for Rustic Overtones in the future, it's nice to see a band get better with age, not fizzle out and lose their edge after the first album. [www.rusticovertones.com]

It's always nice to see bands not feel like they have to sound particular way because they belong to [x] genre. Poison The Well is very much a hardcore band, which they proved with their debut LP, Opposite Of December. However, their new album, Tear From The Red, undeniably pushes the boundaries of the hardcore genre. Take that for what you will. From the opening notes of "Bothcla", frontman Jeffery Moreira utters the prettiest notes you'll probably ever hear on a hardcore album. Some may argue that it is unquestionably un-hardcore of them, but it captured my attention instantly. While the majority of the album can be described as hardcore, they still slip melodic elements into the vocals and the music, even if only for a moment. "Rings From Corona", "Lazzaro", and "Parks And What You Meant To Me" are three great examples of bringing together hardcore elements and melody. Half of the album tails off a bit though; some songs start off or introduce very interesting ideas, but then wander into another segment or return to more routine concepts. Also, there are some songs where the band seems to drift too far from their strength, which is ...crushing hardcore music. For instance, "Horns And Tails" is an acoustic ballad that seems like it should be a Smashing Pumpkins b-side. I applaud the band for experimenting, but there's a point when you know a band has gone too far in the wrong direction. Tear From The Red is at the least a decent album, so I'll give it 3.0. The third track, "Turn Down Elliot", which I believe is the pinnacle of the record, tells me Poison The Well still has promise for the future. However, since this is a review of their current album, I have to say that it's about a 60/40 split for me (some days it's more like 50/50). Enjoying about half the songs on a 10-track album (when one of them is basically just Marlon Brando giving his famous speech at the end of Apocalypse Now) is nothing incredible in my book, but it's acceptable. [www.poisonthewell.com]

Autolux is the latest project from Greg Edwards, of the now-defunct Failure. Teaming up with Carla Azar (drums) and Eugene Goreshter (bass, vocals), they have recorded a five song EP from a recording space, just to give everyone a taste of what they are all about. Don't go into this expecting the next Failure, because it's not (nor will there ever be again), however, there are some redeeming points to this short home-produced demo. The biggest redemption here is that Greg Edwards is playing guitar, and he definitely plays it well. While this is pop-rock music and not straight rock n' roll its nice to hear some easy to remember chorus' that stick in your head. Eugene's voice has a Shannon Hoon like quality, in that it sounds like it's harmonizing with itself all the time, even if it's just one vocal track. Much like Ken Andrews' ON went in a completely different direction than Failure, so has Autolux. "Angry Candy" is probably a good example of the sound to expect from Autolux, stripped down guitars for the majority of the song, nice rock beat and a catchy chorus (even has some Doo-Doo-Doo harmonies goin on), but with a hint of dark guitars and fuzzing effects that you'd expect from Greg Edwards. "Future Perfect" is the most Failure-esque of the songs (mostly because it was written during the time of Fantastic Planet) with it's slow verse's that pick up to the dark chorus. Overall, Autolux is setting themselves up for a nice cult following that understands their talent and enjoys every nugget of music they can get their hands on but, like Failure, it looks like commercial success will be hard to achieve. [www.autolux.net]

What a nice break from all the crap! I saw the video for "Shhh ... (Hope Diggy)" and although it wreaked of fisheye lenses, sped up video, a hired crowd of actors, and other nonartistic video cliches, all I could think to myself was, "What a cool song!" Well the album is pretty "cool" too. Ever since Incubus's Science, bands has realized that a good singer can be a good thing over some pretty intense music; and now that's all exploited with bands like Drowning Pool and Flaw. The Apex Theory however, utilizes the harmony and heaviness to honestly create something different. There's not really much out there that sounds like this album. And even though they've been picked up a pretty hefty record deal, they've not changed for anyone. Great production has made up for the stranger moments in the album, which makes it that much more fun and easy to listen to. The singer has quite a quirk going on, with slippy and straight up weird uses of alliteration and yells, but always lands on something tangible - feels pretty nice. And Simple may laugh at me for saying this, but boy that drummer is good! He throws "1,2,3,4's" on his china during an otherwise confusing beat, giving the listening ear AND the band something to really grab onto - that's pretty hard to do. The production is fabulous, and although this release is only a measly and frustrating 5 tracks, the full-length is expected at the end of March, with a few tracks that will overlap from this one. The only complaint I have for this album is the length, which is really a teaser, but I would say the replay value is there, so the $7.99 (average) price is not too shabby. I've repeated this one much more than full albums I've bought recently, so I would call it a safe purchase. [www.apextheory.com]