"Hardcore" label Fearless Records released The Killing Moon’s A Message Through Your Teeth EP as a teaser for the band’s as yet to be released (and apparently delayed) full-length album. That is a lot of faith given this relatively small label’s accomplished library…and the fact that that The Killing Moon still has a lot of growing up to do. By that, I mean that there is nothing on this 5-song release that is at all original. They seem so heavily inspired by Linkin Park (aside from some very minor vocal deviations, “Sugar Pills” could easily be attributed to the aforementioned), that without some breakthrough they will be all-too-easily written off, especially given that the genre has pretty much seen it’s heyday. One thing that I found interesting about this band is that many inferences on various websites put them in some ska-music related category (presumably because of the horns), and quite frankly – I just didn’t hear it. What I did hear, however, was potential in their muscianship, which means that it might not be so hopeless for the band as this review suggests. Fearless bands do have a reputation for a certain sound and The Killing Moon fits that bill quite well. In addition, the production on this release is tight, so they will probably perform admirably with the label’s core audience their status quo over the short term, and they are still young. But if a next level is to be achieved, they will have to make some serious effort at musical exploration and create a more definitive sound. All of this had me wondering if it wasn’t this lack of identity that has left the release of their full-length as-yet undetermined…perhaps someone else has seen this too? So, the bottom line is - chances are if you ever had an affinity for any of the “Nu-Metal” bands, you already have the main elements that make up the end-product that is A Message Through Your Teeth somewhere in your collection. As such I will give it a “listenable” 2.2 (actually the .2 is for the EP’s artwork) but would also recommend a pass for the experienced listener who is looking for variety on their current musical palate - in favor of new horizons.

[www.fearlessrecords.com]

Since 2000, Bad Astronaut has existed as an alternative outlet for numerous participants in the SoCal pop-punk scene--mostly the venerable Joey Cape, who leads the band. Publicized as an "indie rock band," Bad Astronaut certainly counters the more juvenile matters and musical approaches that Cape exhibits in his main band Lagwagon, and on past releases, the group has paid homage to past luminaries via covers--Elliott Smith's "Needle in the Hay" found its way onto Acrophobe, while the band's version of "Solar Sister" on Houston: We Have a Drinking Problem introduced power-pop stars The Posies to a younger generation. With Twelve Small Steps, One Giant Disappointment, the band rebounds from, well, one giant disappointment and comes back with something as strong (or stronger) than anything in its past. In 2005, Lagwagon/Bad Astronaut guitarist Derrick Plourde, suffering from serious depression, took his own life. As a testament to the idea that the band was a shared project between himself and Plourde, Cape has vowed in this record's liner notes that it's the last to come under the Bad Astronaut moniker. On a vaguely related note, he also mentions that this record wasn't the last work Plourde gave to the world, and I'll pass the info along--you can also find the late musician's heart and soul in the band Jaws (http://www.jawsattacks.com). Much of Twelve Steps is surprisingly radio-ready, straddling a line between modern Green Day and the Foo Fighters at times. It's very much a rock record, and though there's the appearance of lesser-used instruments (banjo, mandolin, cello, etc.), they don't appear enough to make much of an impact. "Ghostwrite" is centered around thick power chords with minimal progression, save for a brief blazing guitar lick, as Cape pours out his feelings on what appears to be the punk scene and the stigmas that come along with it--labels, scenes, "being too old," and being branded. "Beat" is apparently a tribute to Plourde, Cape's mourning publicized as he tells his former friend and bandmate that he's "missing everything", and that Bad Astronaut has "recorded [Plourde's] defeat, an album always incomplete." The semi-title track of "One Giant Disappointment" follows the same kind of subject matter still concerned with Plourde and his suicide. The rest of the tracks stumble and fall only occasionally, and for the most part it's the band's most accessible record to date. More often than not, the songs on Twelve Steps... connect, and even though there's an awful situation surrounding much of its lyrical content and creation, it's a more than adequate farewell to both Bad Astronaut's tenure as a band and its fallen musician. Download "Autocare" [www.fatwreck.com]

There is a distinct difference between programmed music done right and programmed music done wrong. The Crystal Method does it right…mixing it up with innovative changes throughout the composition and complex levels of sound weaving in and out of each other, then bringing in guest singers on occasion to punch things up even further. Small Sins does none of this. For a majority of this self-titled album, the music sounds like something produced during the infancy of synth-pop – a sound that (in my opinion) was old well before the 80’s were over. It is as if Thomas D’Arcy decided to throw a few (a disgustingly minimalist few) of the most monotonous loops (all of which were in 4/4 time mind you) that they could find into a mixing program, add some vocals and call it good (some information I found on the web, however, indicates that there was actual playing of instruments occurring within these tunes) And as for the lyrics - well truthfully – I was so completely distracted by how annoying I found the music that the only time I was able to focus on the vocals was when they became as prominently (or even more) grating, for instance the chorus for “Stay”, or the several times where the singing is so completely out of tune (this occurs several times throughout the album…could it have been on purpose?), to determine if there was any actual writing talent there. It was literally like teeth clinking against a fork while simultaneously dragging nails down a chalkboard for half an hour.

And then suddenly it materialized: the saving grace/ray of hope for Small Sins came buried at the end of the album in a single shining moment…two beautiful gems (a la Sparklehorse), “At Least You Were Feeling Something”, and “Is She the One”? Interestingly enough, these are the only two songs where I was able to hear actual instruments present…even prominent. So, I don’t get it. Are they experimental (I guess that would explain the fact that they employ a full-time hand clapper when on tour)…OR?? Almost as perplexing as this is the location of these tunes on the album. Rarely would a listener ever last that long into a full-length recording to find something of quality… but then I don’t know – I almost feel as if my ears were missing something for the during the first nine songs. Perhaps it is a “beauty in the eye of the beholder” thing. Had they released a whole album’s-worth of music like this, I would have not only been able to listen, I probably would have liked this offering.

It is rare that I deem any music excruciating, but a majority of the stuff that Small Sins has produced for this release qualifies. Unfortunately it is because of those last two songs that I can say that I truly do not know what to make of them. I have come across several bands over the course of my lifetime that initially I found unlistenable then came to love once they found their niche. So, while I am rating Small Sins very low, for me the jury’s still out on these guys. I once said I would never, ever, EVER buy a Jon Spencer album only to eat my words years later. I will not make that mistake again…and thus will let the individual listener judge for themselves.

[www.astralwerks.com]

Singer/Ssongwriter Chris Koza’s self-released sophomore album reveals a man truly growing in his craft, with an insight into the soul that translates fluidly into musical lyric often rising far above the song that supports it. Not that the music wholly fails to carry that poetic prowess, but at times during this collection it does diminish the story. One would never expect the sweet melody of the title song to be a background for the sad reflection of a difficult, ultimately failed relationship (but then of course, how many people have spent their existence believing "Wrapped Around Your Finger" by The Police was a love song?). Additionally the full mastery of Fear of Mimes is somewhat lost in the complex transitions of its musical composition. But the fact this is the biggest setback that I could find within this collection makes the occasional small stumble in composition a quite distant consideration in the overall accomplishment of Patterns. Especially having recognized that the music itself shows an aptitude that one would not necessarily expect from the genre’s typical artist and is more possibly an experiment in musical growth than anything. After listening to tracks from Exit Pesce (Koza’s first album), which won him numerous awards and accolades in his “hometown” of Minneapolis (he was born and raised in Portland, OR), it is clear that this young artist is only beginning to tap into his potential. Patterns is, quite frankly, a much more solid album overall than many of the releases of his modern-day counterparts; artists who have gone on huge success in the mainstream. I would imagine that we can expect great things from Chris Koza in the coming years and consider Patterns a definite “must acquire” for anyone regarding themselves a connoisseur of folk/pop music. This album provides a fresh experience for the listener that is wholly satisfying, yet builds anticipation for what lies ahead. [www.chriskoza.com]

Expect: to consider probable or certain As in, I receive an album from a band called "Unexpect" whose members call themselves things like "Artagoth" and "ChaotH" and I expect it to be completely unbearable. Unexpect was almost entirely surprising: I was surprised to get the CD in the mail, upon opening I was surprised someone would send me Canadian prog-metal and finally I was surprised that in a Flesh aquarium with all of its inappropriate capitalization and upside down, backwards letters sounded this much like the album Danny Elfman would make after a 5-day weekend spent in the marijuana-and-embalming-fluid stench that must tumble out of Tim Burton's basement. Vocals that range from operatic to guttural; massive, chugging beats blended with orchestral calliope music and string arrangements; and time signatures to defy even the most dedicated toe-tapper. Unexpect mixes this all up with a heapin' helpin' of black clothing and blacker makeup. Unfortunately, it would be a lie to say that the formula (or lack thereof) doesn't get a bit worn out by the album's centerpiece, the three-part "The Shiver", the requisite theme piece for any metal band featuring a "singing contemporary dancer". Unexpect has two definite paths that I can see: first, they are bound to become a novelty act for the black t-shirt set with an album full of crazy ideas, excellent production, solid chops and decent songs. Second, this record could (and probably will, with any competent promotion) become a required purchase for anyone with a collection of Nightmare Before Christmas merch. Finally, Unexpect has taught me a valuable lesson—never judge a Canadian prog-metal act by the number of members with dreadlocks and down-to-here goatees it contains. [www.unexpect.com]

A Quick Glance On EP:Polemics, Portland's 31 Knots continue blazing down the road of progressive-pop, enacting drive-by shootings on all the weary travelers and contemporaries left behind in a haze of staggeringly complex rhythms, too-precise guitar acrobatics, and chilling melodies. More often than not the EP is a vehicle for mediocre songs and teaser tracks, but songs like "Sedition's Wish" and "Black Ship Auction" showcase the band's talents in all its glory, making one wonder whether or not Fugazi could pair up with the Kinsella guys to make something on par. Download "Sedition's Wish" [www.polyvinylrecords.com]

A Critical Quickie No, they're not a Victory Records band. Hell, they're nowhere close to that whole scene, regardless of what the name Blue Skies for Black Hearts may bring to mind. Love Is Not Enough is superb, kinda lazy pop, bubbly but not the least bit overwrought nor formulaic indie pop (which is good, but there's more than enough already)--lots of handclaps, bells, and keys (thankfully) don't make appearances. It's pure upbeat melody. Leader Pat Kearns turned knobs on The Exploding Hearts' classic Guitar Romantic; this is what that record would've sounded like had the punk rock influences not come into play. Download "Here Comes the Rain" [www.kingofheartsrecords.com]

If you like psychedelic garage music and have yet to hear of Dead Moon, you're about to find the holy grail. Imagine a new double-disc album from the people behind Nuggets, containing 49 obscure but brilliant songs from a little band in Portland, Oregon. These instant classics will remind you of the great bands of the past (The Cramps, The Seeds, Led Zeppelin, Love) but from a completely unique mindset. Songwriter/guitarist/singer Fred Cole, with his wife Toody on vocals and bass, and friend Andrew Loomis on drums, is following the inspiration of songs like “Pushin’ Too Hard,” “Little Girl,” and “Seven and Seven Is.” If the life story of a human being can be told in three chords, Cole is the one to do it. Each of these tracks is a simple and brief explosion of rock and roll reality. Forget about the aimless angst of the self-indulgent sissies of Seattle and get a direct shot of savage, unpretentious rebellion from Portland. Cole is no superficial egomaniac in a basement with maybe three decent songs in him, but a ravaged ghost in the hills who was born inside a radio that had not yet heard of Elvis Presley. Through the decades of crappy fads, he has been writing and playing hundreds of songs, recording and releasing them by himself on his own equipment. This collection represents the best of his life’s work, and is essential listening. [www.deadmoonusa.com]

Innovative Idaho-based band Built to Spill revisit their status at the vanguard of indie rock with their first album since 2001’s Ancient Melodies of the Future. Longtime fans of the band should consider this record a worthy reward after their extended wait for new material. You in Reverse is an energetic collection of ten songs highlighted by sprawling guitars, Doug Martsch’s uniquely spacey vocals and an infectious, freewheeling attitude that permeates each of the album’s tracks. Early in the record’s development, it becomes very clear that excursions of an instrumental nature are to play a prominent role. “Goin’ Against Your Mind” opens the proceedings with a prolonged guitar intro that sets the tone for much of what is to follow. Though some listeners may bristle at the band’s attempt to pass the seemingly needless repetition of the title phrase off as a chorus, the song’s instrumental sections sparkle with energy. Similarly, tracks like “Wherever You Go”, “Mess with Time”, and “Conventional Wisdom” feature extended instrumental passages that amble and meander yet avoid feeling extraneous. Were You in Reverse simply an excuse to package and release an unrelated cluster of guitar solos, one might question the band’s creative wisdom. Fortunately, the album features several more tightly constructed tracks that make the free-form nature of others all the more stimulating. “Traces”, for example, is driven just as much drum and bass as by guitar. “Saturday” is a brisk and tempered cut that speaks to Neil Young’s influence on Martsch as a vocalist while tracks like “Liar” and “Just a Habit” allow the band to experiment with mellow moods. You in Reverse is not an album that will appeal to those wishing to listen to it casually. However, for the devoted BTS fan or the newcomer willing to allow the band latitude as they play their way loosely through a variety of textures and structures, the album proves a rather refreshing experience. [www.builttospill.com]

Often guilty of judging records by their covers, reviewers have long used album art to aid in explaining the overall vibe of a particular record. The jacket for Chemical City, the second album by Montreal native Sam Roberts, depicts a fantastic metropolis with impressive structures, expansive roads and rushing waterways. The picture suggests a connection with fantasy often utilized on classic and progressive rock albums of past decades. With its ambitious songwriting and musical kinship to vintage rockers, Chemical City’s tone is (more often than not) consistent with the initial impression the artwork gives. From song one, Roberts and his musical mates state their intention to achieve an epic sound. “The Gate” builds and crescendos through its six minutes, employing retro vocal harmonies and guitar tones as Roberts’ lyrics establish the album’s setting: “Chemical City isn’t all that you need/But it’s all that you’re getting and they’ve hidden the key/Listen to the streets, there’s a heartbeat missing in the city.” Alternating between up-tempo tracks and lighter, acoustic-driven songs (some of the album’s stronger moments, “Uprising Down Under” and “Bridge to Nowhere”, are of this variety) the album maintains consistency in both energy and theme. Worthy of appreciation are the instrumental skill of Roberts and his band and the vigor with which their songs are played. Yet, while Chemical City features many accessible melodies and promising pieces of songwriting, the album ultimately fails to live up to its grand designs. After several tracks, lyrics begin sounding theatrical while tempos and riffs blend together in a sea of similarity. Oft-repeated classic rock textures and techniques make the album seem more imitative than timeless, more homage than fresh work inspired by an earlier era. Listeners who wish to have contemporary musicians remind them of classic rock glory will find much to enjoy about Chemical City. Any aspirations to find more significant meaning, however, will likely go unfulfilled. Roberts has a wealth of talent that might be more prominently displayed if he were to dial down the voices of the past. [www.samrobertsband.com]

Pony Up is a reduced, all-female version of The Arcade Fire: a cheery bunch, trapped in the slow cadences of their French Canadian roots, and their CD, Make Love to the Judges with Your Eyes is a trivial, repetitious attempt to be poignant: the guy in the room who always brings cheap flowers on a date. The musical choice to add a lo-fi, tinkertoy of a keyboard to the all-too familiar drums ‘n guitars is annoying, not pleasant, and they don’t take the hint: the whole album is a slow-moving variation on the same bad idea. That, by the way, doesn’t make them hopeless romantics—it just makes them bland. Sarah Moundroukas’s voice is too frail and scratchy to match the beat of a louder song like “Pastime Endeavor,” and while she’s supported for the slower and emotive tracks like “Lines Bleed,” it takes more than a warble and a good line (“Why is everyone so rehearsed?”) to energize a song. Pony Up’s second singer, Laura Willis, is more talented. “Dance for Me” is a sexual, role-reversing song, and Willis, dropping octaves for the lead-in to the chorus sounds like she really could “eat you alive/you know that I could just take you inside.” Here, Willis’s keyboarding bounds across the track like her voice, and the lo-fi hum of the guitar is a calm but fueling force. Not so with the rest of the album. These tracks are long enough to grow whiny, and the grainy texture of tracks like “Possible Harm” seems lazy, not intentional. Good beats are swallowed whole by poor production, and whole stories are gobbled up by dead space. “Only Feelgood,” with its nasal accordion, does anything but make one feel good and the love that should be expressed by a song like “Ships” is decimated by the cheap carousel chimes of the keyboard. Their album’s title, given all that, makes sense: if you pony up hard earned cash for this CD, having perhaps read a good review somewhere, then it’s only because this album has made love to the judges—and with their eyes alone is anyone’s guess. [www.myspace.com]