When you name a band Garbage, you're ostensibly working on the irony that the band will not suck. Fortunately, this time the trick works. Instead of being the aural equivalent of their name, the band Garbage has been a pretty consistent pleasure on the music front for some ten years now. (good lord, has it been that long?) And if there's one thing that you can say about the band, they are nothing if not consistent. Bleed Like Me is a Garbage record through and through. And by this I mean that is is exquisitely produced, meticulously mixed and features the sexiest female growlings this side of heaven. Yes, Shirley Manson is my hero and inspires me to pair short skirts with tall boots as often as possible. She is a goddess... ...But back to the music…Like I said, this is a Garbage record. There are hard rockin songs (“Metal Heart,” “Why Do You Love Me”), and there is the patented torch song (“It’s All Over But the Crying”). But as always, the band really hits their stride with songs that don’t really stick to one form. My favorite track is probably the title song, “Bleed Like Me.” The band manages to tackle some incredibly heavy subject matter, like self-mutilation, gender bending, anorexia, and yet almost have it sound sexy. The song is really thoughtful but doesn’t lose any of its allure for the weight of it. The only beef I have with Bleed Like Me is that it falls somewhat into the category in which I have put artists like Dido. You probably really only need one Garbage record to be happy. Any more than that seems to be superfluous. And for my money, their debut is still the best. [www.garbage.com]

You see, I had to wait until Silent Uproar removed their Citizen Cope interview before I submitted my review for the sake of being critically consistent. Should you desire to read this interview, please visit the archives found under the “Interviews” heading. I’ve also been listening to this album for a while without formulating a written opinion because I haven’t quite formed an opinion I’m willing to defend. Citizen Cope’s music isn’t novel nor is his genre blending. But, his delivery is transitional and comfortable. And that’s not easily accomplished. Soulful, bluesy, haunting, prophetic, and eclectic are all adjectives used to describe The Clarence Greenwood Recordings. But, I think crafty fits best. The Clarence Greenwood Recordings distinctly juxtaposes guitar and piano so that seductive and addictive hip-hop rhythm patterns are created. Citizen Cope’s gruff nasal infused vocals are both mysterious and honest at the same time. One opinion I’m willing to defend is that The Clarence Greenwood Recordings cannot be justified in writing. The album needs to be emotionally felt and digested before any real judgement can surface. [www.citizencope.com]

There’s not much that can be said about The Bravery that hasn’t been said about a ton of cool, glam-leaning, swaggering rock bands that have come out of NYC over the past few years. However…that doesn’t necessarily mean they should be ignored. There is some stuff here worth checking out…just don’t expect to be blown away by originality. To be honest, I got a 7-song advance that I thought was great. I was all set to write a perfectly glowing review. And then, I got the full-length release, which had those 7 songs on it and 4 that were new to me. It turns out that they should have stuck with the shorter tracklist. “Out of Line” is one of the 4 additional songs, and it features keyboards that are turned up a bit too loud, nearly obscuring even the vocals. It’s fine to go with a retro feel. Just look at what bands like The Killers are doing with it, but full-on reliance on new wave keyboards is just tired at this point. Another song from the 4 that irks me is “The Ring Song.” It sounds forced and far too cheesy for its own good. The rhythm never seems to settle, and the faux accent that Sam Endicott cops when he says “…make of me an honest man” is too affected to be taken seriously. On the flip side, the perfectly descending bass line in “Unconditional,” one of the 7, is absolutely delicious. No, it’s nothing you haven’t heard before, but it’s the kind of thing you never get bored with. It’s impossible keep still when this song is on, whether you’re driving, cleaning your living room or hanging on the back row. You will get into it. What works so well on "Unconditional" and other songs like “No Brakes” and “Fearless” is the balance that was so glaringly missing from the first song I mentioned. When they use bass, guitar, vocals and drums in equal proportion to keyboards, the result is catchy, quality songs. That’s what they should stick to. Since The Bravery has 7 songs that I’m still feeling really good about, I would say the record is on the whole a success. I like the power-pop vibe. I like music that makes me want to whip my head around and bounce around my house. But I get the feeling that it’s gonna be a short ride. [www.the bravery.com]

Silent Alarm is coming to be as hyped as Franz Ferdinand’s debut was around this time a year ago. They’re even compared to those snappy-dressing Scots on some levels, and while it’s easy to make such a comparison, the Bloc Party isn't the 2005 version. Does this really live up to the hype? Is it destined to be one of 2005’s top albums? Personally, I think it’s an awesome record from a superb group of musicians whose best days are yet to come, but I don’t think it’s anything amazing. While incorporating much of the post-punk/dance style into their sound, the Bloc Party still strays from much of the club-friendly lyrics that have helped their counterparts, opting instead to infuse their bass-driven, angular guitar-ridden record with a more political/social conscience edge, encouraged by Kele Okereke’s yelping. Not that I’m the first to say it, but you can hear the band’s influences busting through their music—Gang of Four, Joy Division, Sonic Youth—but overall, the Bloc Party aligns themselves more with Brit-poppers Blur, the Futureheads, and the aforementioned Franz Ferdinand, by taking their roots and putting a completely radio-friendly spin on things. Silent Alarm is entirely devoid of dull moments, devoid of anything close to lackluster. In this sense, it does live up to the hype. But it’s not going to change your life. Put in on at a party, put it on anywhere. It’s tight. Yeah, that shit is tight. [www.blocparty.com]

The Dove’s last album, Last Broadcast, will go down in history as one of my favorite albums of all time. Whenever I want music that will inspire me to get through some crappy work, carry me on a plane flight, or really anytime I want something to simultaneously soothe me and give me chills, Last Broadcast is what I put on. With that said, I had really high hopes for the band’s latest album, Some Cities, and was very afraid of being let down. Although somewhat different from Last Broadcast, Some Cities still has the charm and overall feeling that I have come to expect from Doves. This time around the music is generally less complex, less layered, (although some atmospheric masterpieces are still hidden in here) and more stripped down. The beauty with this approach is that even when you strip down the band’s sound and showcase a much more basic song structure, you really get to see how solid their song writing is. Whether it is that persistent simple beat or the recurring guitar riff, the band manages to keep your attention. Many will compare this album to the band’s debut, Lost Souls, and write Last Broadcast off as an unwelcome tangent for the band. However, I think it is only when you put all three releases together that you see how much the band has grown and how aware they are of what does and doesn’t work for them. With Some Cities, Doves have taken one more step to proving they are a band truly worthy of your ears. [www.doves.net]

I remember the first time I heard the Moving Units. It was shortly after they released their first self-titled EP, from early 2004, and it really hooked me. The combination of dancy, post-punk and new wave was a winner. And though it wasn't the most original thing going on, the Moving Units were set to become one of the kings of this recently revived craze. Or so I thought... When you've got Gang of Four and Wire as influences, there's a definite sound that's bound to be emanating from your records, and the Moving Units are a prime example of this. Taking the angular guitar work of the aforementioned bands and creating a busy, grooving bassline is a good formula, but the faux-British vocals can be a turn-off, creating an image of the band as pretentious art-school kids, which I can neither confirm or deny. My main problem with the record is seen only with the juxtaposition of the EP and Dangerous Dreams. What happened to progress? Where's the maturity? The debut had four outstanding, entirely ass-shakeable tracks, and while this record too is exactly that, twelve songs is an overabundance. The creative basslines are all that really stick out, and even those get old eventually. I use this adjective so much in my reviews, so I won't use it again. But here's a clue: it starts with a "B" and ends with "oring." There's so little variety when it seems like three such obviously talented musicians could have made something that was a step or two up from their last creation, but I regret to say it's not so apparent on Dangerous Dreams. [www.movingunits.net]

Oh Kevin Barnes, thank you for delivering yet again. I didn't doubt that you could follow up last year's Satanic Panic in the Attic with something as good as this, but even the best have an occasional lapse of talent. You've not let me down. Hopefully you're familiar with the psychedelic pop stylings that Of Montreal (Kevin Barnes) has been creating so well over the past few years, but if not, The Sunlandic Twins isn't a bad place to start. Listening to an Of Montreal record is akin to floating through Neverland and Wonderland, except the pirates would be dropping acid, Peter Pan and Captain Hook would be frolicking hand in...hook, and the Mad Hatter would probably be about the same as he is now. There's such a sunshiny quality to Of Montreal, everything seems so bright and carefree, but every song is crafted so as to ingrain itself in your mind while still making you hear its bizarre qualities. When explaining this group to those who've not heard them, I feel it's easiest to say that they're the Beach Boys' Pet Sounds tossed into a mixer with the Beatles' later work, then moved ahead some thirty or so years. Barnes expands on his use of synthesizers and drum machines, and never fails to be exemplary of the word "quirky." Add in brassy salsa breakdowns, excellent use of vocal tracks and harmonies, and you've got something that's on a par with anything Kevin Barnes has ever done. I definitely recommend this record, as I can see it being one of my favorites of 2005, and if you've got a lot of gloom in your life, put down the twelve or so bucks to buy this instead of that Prozac prescription. [www.ofmontreal.net]

The Appleseed Cast's frontman Christopher Crisci leads Old Canes--his foray into the land of fuzzy, folky indie rock. I won't use comparisons to his former band, merely because honestly, they're a band for whom I've never had interest. Early Morning Hymns brings to mind Neutral Milk Hotel, first and foremost, minus the entirely abstract lyrics. The eclectic use of instruments, including banjos, harmonicas, cellos, bells, and brass set the record's atmosphere, evoking thoughts of the back porch during the closing days of summer somewhere below the Mason-Dixon Line. Crisci gives his voice a bit of a drawl, but not much, lending to the album's mood. "Taxi on Vermont" is the biggest nod to Jeff Mangum, with its horn interjections, while "The Song Was Right" contains an underlying riff that reminded me of XTC's "Love on a Farmboy's Wages." Crisci leans more towards a country style as the end of the record draws near with "One Day." I'm lost on what to say here; this record is better than a lot I've heard of late, but it's not intensely gratifying. It doesn't leave the listener yearning for more, yet it's still enjoyable and worth hearing at least once. [www.oldcanes.com]

Ooooo, an Italian band…there’s a first for me. Will they be like old crooners singing “That’s Amore”? Um, well, I have to give that a succinct “no.” Try maniacally avant guarde instead. Valende, the band's third studio record, sounds like Ima Robot would on some very good hallucinogens. In other words, it’s very new and very current with a taste of Ummagumma-ish Pink Floyd. Or to further intellectualize it, German composer Kurt Weil’s wet dream. Now that you’re completely confused…or completely clear rather…oh nevermind. To be fair, I have to recommend that you not listen to Valende through headphones the first time out. The first two tracks can be a bit of a shock, particularly the sideshow calliope jingles of “I Do Dream You.” And Marco Fasolo’s vocals mimic some kind of insane emcee on a good number of the tracks. And yet, there is something quite engaging in Jennifer Gentle’s sound. It’s trippy; it can be exhausting. But either way, you can’t ignore it, and it can be breathtakingly lovely. I’m talking specifically of the dreamy “Circles of Sorrow” with its tinkling glockenspiel (yes, I said glockenspiel) and softly whispered vocals. This moves seamlessly into the gorgeous “The Garden (Part One).” Soft acoustic guitars and ethereal vocals leave you looking over your shoulder for fairies and fireflies. Absolutely lovely. How the band chose “Hessesopoa” as the next track is beyond me. It’s abrasive and cacophonous and not at all my cup of tea. It’s arty…in the worst way. And then you’re back on the mellow track with “The Garden (Part Two).” It’s baffling. Jennifer Gentle and Valende are an indescribable trip into insanity. It’s a fun place to visit, but you could be left scratching your head. Well, you’ve got to try everything once, don’t you? [www.jennifergentle.it]

2004 was a banner year for Morrissey, as you probably know, with the initial release of You Are the Quarry, followed by what felt like a slew of expanded/deluxe/whatever versions of the same album. No matter the number, it was too much for me to keep up with, but I'm thankful for the chance to review Live at Earl's Court. Obviously, Morrissey hasn't entirely phased out his classic work with the Smiths in his live set; "How Soon is Now?" opens the show, and the rest of the setlist includes the favorites "Bigmouth Strikes Again," "There is a Light That Never Goes Out," "Shoplifters of the World Unite," and closes with "Last Night I Dreamt That Somebody Loved Me." These alone would make a very worthy live EP, for those of us who have only gotten into The Smiths in our college years and missed the live perfomances by a long shot. Of course, Moz offers up an additional 13 tracks of his own, forged in the post-Marr years. While the majority of the concert consists of songs from his latest album, such as the obligatory "First of the Gang to Die" and "Irish Blood, English Heart," he also throws in such solo gems as "November Spawned a Monster" and "The More You Ignore Me, the Closer I Get." Now I suppose I need to review this in terms of a live record and not as a "Morrissey's Hottest!" album. You'll be able to sense a change in the older Smiths songs; Morrissey even modernizes them in some instances. (Example: In "Bigmouth," Joan of Arc has traded in her Walkman for an I-Pod.) The man doesn't talk excessively between tracks and doesn't say anything worth noting here, but the record certainly puts the listener in whatever place you'd want to be, mentally, when listening to a live recording, and therefore, I consider it to be a success. [www.sanctuaryrecords.com]

Ah! I'm finally reviewing a debut album. It feels like it's been too long, and too often I've had to rely on the little bit I've heard from a group's back catalog in order to sufficiently write about their new material. Thankfully, Nashville's Blue Merle gives me little research to do, and Burning in the Sun comes off as a strong entrance into this rock & roll world. Blue Merle is definitely suited for airplay. Not so much on an indie station, though they wouldn't be extremely ill-fitting, but the mainstream airwaves should have few troubles in embracing these guys. Songwriter Luke Reynolds and company know what they're doing, and their accesibility provides them with a foundation for really making a name for themselves. It's not really my thing, but there's an overwhelming amount of people out there who I could see keeping Blue Merle around for a good while. The positives: Burning in the Sun is a solid collection of twangy pop/rock with poignant lyrics, smart arrangements of dreamy, relaxed soundscapes provided by acoustic guitars, whispery vocals, and the occasional mandolin or fiddle. There's something on here that makes me want to say Dave Matthews Band (gasp!). Maybe it's the vocals. Maybe it's the unusual instruments. I'm not sure, but either way, Blue Merle doesn't fall into that "jam band" area, so don't take that comparison as such. Songs like "Part of Your History" reveal the band's apparently deep interests in bluegrass and country, a characteristic which you'll feel through all twelve tracks. The negatives: I can't really say anything here. Burning in the Sun is an above average album, and the future is definitely a bright place for Blue Merle. There's nothing on the record that should offend your taste, and being able to play to all crowds will be their key to success. Mainstream radio addicts will enjoy it a bit at worst, teenagers will pass it off as something that their older siblings would enjoy, and music snobs won't hate it for the talent lying within. Good job guys; I commend you. [www.bluemerle.com]

You've gotta know the name Jonah Matranga at this point. Or, at least the names of some of his projects--Far, New End Original, Onelinedrawing. Matranga has always been one of the independent music scene's most lovable and admirable figures, keeping strong ties to his fans and perpetually carrying a cheerful demeanor. Gratitude is Matranga's newest venture, and it's not a significant departure from Onelinedrawing. He's always had a signature pop/rock sound, and while some might say it's bad to sound the same year after year, Matranga manages to mature just enough to keep the same fan base as they grow as well. Being neither exceptional in the musical nor lyrical departments, he's still able to pen memorable, meaningful songs that strike a chord with most anyone. I'll dare to speak of this record as being emo-tinged, for the sake of the review. Take that description with an ocean full of salt, of course. Growing up, longing and loneliness all have a place on Gratitude's self-titled album, and while this album seems to be more directed to a late-adolescent crowd, all ages should be able to enjoy it or at least tolerate it. It's as catchy as any radio-bound artist you'll hear this year, and what it lacks in variety, it makes up for with substance. Fans of Jonah Matranga, listen: You'll love this. If you liked his old stuff, you'll like Gratitude. For the rest of you, give it a listen. I don't think you'll hate it. [www.gratitudemusic.com]

A year ago, I really liked Comeback Kid. In fact, I came pretty close to death in an icy interstate accident coming back from one of their shows. They were good--entertaining, energetic, and while they weren't a band who commanded a lot of respect from the hardcore scene, they were still held to that genre. I thought 2003's Turn it Around was a great record, regardless of its appeal to "true" hardcore kids. I'm not sure what happened in the time between that record and Wake the Dead. I really don't have a clue. A label change doesn't seem like it would have much of an impact, especially when the label in question is Victory Records. But it's 2005 now, and I don't know why I'm not liking this record. I don't think my taste has changed that much. I'll still listen to the first album with no qualms. But Wake the Dead just isn't appealing. All the songs sound the same; it feels overproduced, and it's boring. I can't describe it in any other way. There's an overwhelming amount of what seem to be "forced" songs on the album. It's just more of the same. Hardcore breakdowns, metal-influenced guitar riffing, too many gang vocals that don't seem to fit well, and I'll reiterate the fact that all the songs sound alike. C'mon guys. I'm sitting here listening to what's supposed to be a hardcore record, and I'm on the verge of toppling over my desk and going into a boredom-induced slumber. The previous sentence should sum it all up. There are much better hardcore bands out there and much stronger material from this band. Pursue those instead. [www.comeback-kid.com]

I was merely 7 years old when this record was released, and it would be almost another decade before I knew who Screeching Weasel was. To me, 1991 meant afternoons of action figures and nights dressing up like a ninja. But to Ben Weasel & Company, 1991 was the year in which their musical career took a drastic turn--the year that My Brain Hurts was released, and punk rock found new stars. This re-release is the second installment in a series of five Screeching Weasel albums, courtesy of Asian Man Records. Most people probably identify this band with Lookout! Records, but seeing as how that label is no longer putting out these albums, Asian Man Records stepped up to the challenge and is doing a fine job. My Brain Hurts is arguably the best record Screeching Weasel ever released. Their update on the pop-punk style of the Ramones created a blueprint followed by countless bands since, and it's this foundation that is partially responsible for Green Day, Blink 182, and so on. This album saw the band's songwriting mature tenfold, partially due to the addition of guitarist Danny Vapid. I won't go into the details of all these songs--most people who would care for this music are already familiar with Screeching Weasel, but I know there are lots of young kids into some of the other bands I mentioned, and while that's all good and nice, it's important (to some extent) to understand where all that came from. And looking for that, you'll find Screeching Weasel. I consider this to be the defining moment of the band's career, and I think this is the point in which the band became something more than 5 guys playing music. This is Screeching Weasel putting their notch on the Punk Rock Timeline. This is classic; this is essential. [www.asianmanrecords.com]

If the Pacific Ocean doesn’t swallow up California first, it’s quite possible that really good psychedelia-drenched rock will. Nominated for the L.A. Weekly Music awards the last two years in a row, Midnight Movies might be the brightest thing to come out of California since the rolling blackouts. Midnight Movies have conjured up a debut album that is both dark and moody but also radiant and twee. They definitely are a band that has done their homework. "Love or a Lesson" brings the Jesus and Mary Chain to mind; "Blue Babies" brings The Velvet Underground; and "Strange Design" brings Stereolab, but none is in any danger of copywrite infringement. They give a nod to the past while incorporating their own brand of modern rock. It’s grimey yet precise, gentle yet abrasive. So, plainly put, they’re an enigma wrapped in a paradox. However, Midnight Movies is an art rock band through and through, and with that comes some baggage: Nonsensical lyrics and the album artwork from some artistic period that I’ll never know the first thing about. This is something that, if developed correctly, can add an element of intrigue to the band. But it’s still a little early to tell if it will make them more pretentious or more interesting. The album also starts to drag towards the end. The last three songs feel a little forced and recycled, which either means they either ran out of ideas or the ones they had are getting a little worn. Whatever the case may be, Midnight Movies is both an impressive debut album and a band to continue watching. [www.midnightmovies.net]

If Rob Halford coming out and saying that he was gay gave you second thoughts about your Judas Priest collection, then you won’t dig The Hidden Cameras. You don’t even have to be remotely homophobic to have their songs make you feel uncomfortable. David Lee Roth was never even this graphic about being straight! But if you can get over the graphic lyrics (which is harder than you may think) you’re left with a beautifully crafted pop album. The melodies are gorgeously designed and soar over top of the poppy instrumentation and lush orchestral work. If you aren’t careful, you’ll find yourself singing along with the chorus of songs like “I want another enema” (which could quite possibly garnish you some puzzled glances). The only problem is their debut, The Smell of Your Own did the exact same thing. It’s an album of gorgeously designed soaring melodies over poppy instrumentation, yadda, yadda, yadda. And while Mississauga Goddam is just as good as the original, it’s also just as everything else. So if you found yourself wishing that The Smell of Your Own was a double album, well then you’re in luck; these songs fit in completely with those from their last album. But sadly for the rest of us, we’ll have to look else where for inventive and dazzling graphic homosexual love songs. [www.musicismyboyfriend.com]

For a couple years now, I’ve been following Since by Man about as closely as one can follow a band without actually listening to their music. Because of all the positives I’ve read and the fact that they hail from my musically challenged home of Milwaukee (hell, throw in the rest of Wisconsin too), I have had a vested interest in their success. You could say I’ve been passively rooting for them while keeping my distance out of fear that I’ll find out they really suck, and Milwaukee will have to continue milking everything it can from the Violent Femmes. When the opportunity to review their latest EP came along, I decided it was high time to find out what they were all about. To say the least, A Love Hate Relationship turned out to be a very pleasant surprise. Four songs running just short of 14 minutes doesn’t give very much to go on, but what is there shows little if any weaknesses. At gunpoint I’d probably label them as metal-core, but as with any “fill in the blank-” core band, it’s what comes after the hyphen that really matters, and this is heavy music for sure. But at the same time, it’s very loose and (dare I say) fun. It shakes and grooves all over the place, sticking more to metal’s reliance on melody than hardcore’s bent chaos – and done so without resorting to irony. Discernable choruses and tight rhythmic passages mix with wrenching vocals and bludgeoning beats to create quite an attractive beast. In short, they done me proud. I’m happy to say that my fears were not realized. Since by Man do not suck. With A Love Hate Relationship, they’ve created a succinct “something-” core achievement. And on a personal level, it’s given me hope. So now, in a moment filled with newly found civic pride, I’m gonna go pound a warm Pabst. [www.sincebyman.com]

I have really cool friends. Five of my cool friends are super cool. These five are super cool because they are members of the “music of the month club.” As a participant in this club, each member must create a mix CD twice a year. Once a month I receive a CD in the mail with some music I’m familiar with and other music I’m not. We’ve got a cool thing going… I could cheat with Below the Radio. But I won’t, because it is Jason Lytle’s compilation, not mine. First, I don’t plagiarize. Second, I demand more creativity from my mixes. Grandaddy has assembled 15 tracks from bands they respect and feel are underappreciated by corporate radio. However, bands such as Earlimart, Snow Patrol, Beulah, Fruit Bats, Giant Sand and Blonde Redhead are no longer identity-less under the current indie-rock revolution. Other bands included are Virgil Shaw, Little Wings, The Handsome Family and Jackpot. And while these bands may be more remotely “below the corporate radio,” they do nothing to distinguish themselves from hundreds of other lo-fi bands dominating the college radio waves. Besides perhaps Pavement and Beck, Below the Radio is an album of bands that seem to be influenced by Grandaddy. A more intriguing mix would assemble bands that did the influencing. [www.grandaddylandscape.com]

When your job is to listen to and review music, it starts to take more and more to actually get your attention. Oh sure, you can hear something once and think it’s pretty good. But to hear something once, think it’s pretty good and then play it over and over and over, introduce your friends to it and drive 45 minutes by yourself to catch them opening for two other bands – now that’s pretty freakin impressive. And that’s what The Crimea did with their EP Lottery Winners On Acid; they got me hook, line and sinker. From the enveloping opening power guitar of “White Russian Galaxy” that gives way to Davey MacManus’ strangely tender vocals, you’re right there with these guys. There’s no easing into their sound because you’re plunged headlong into some of the best, often quirky, indie-power-pop you’ve heard in a long, long time. And with lines like the title track’s “If she go tripping / I go falling over,” what’s not to love? In all honesty, not everything is so effortlessly digested. For instance, I still don’t get why in the world “Baby Boom” has the line “I guess we just weren’t interested in getting drunk and trying to start a baby boom” other than for reasons of picking a title. But, since the song on the whole is incredible, I've decided just to tune that line out and enjoy the rest of it. But despite throwing out unexplainable lyrics, most of what The Crimea have to say is just completely smart. Take “Bombay Sapphire Coma” for example: “I was just a has been, gone there, done that, got the t-shirt.” Who is that clever?! And who can maintain it throughout five diverse tracks? And while I’m at it, I’ll just go ahead and talk about the last track, “Opposite Ends.” Almost tinkling keyboards and delicate guitar pluckings work with near-rap vocals that dissolve into a driving chorus that is pure tortured, straining rock. So yes, if you’ve been keeping track, I’ve run down something on each of the songs on the EP, and yes, I am gushing like a schoolgirl, but after hearing so much music – a lot of which has been quite good – isn’t it saying something to admit that I’m glowing from this? I’m telling you, The Crimea are something to behold. Fantastic vocals, brilliant guitar, perfectly executed and placed bass, keyboards and drums – The Crimea should be in your player…right now! [www.thecrimea.net]

Disappointment washed over me on my initial listen of Voice in the Wire's Signals in Transmission. Why? Because I wanted to claim false advertising against whoever said that this band is similar to Lifetime and Strike Anywhere. But like I said, those were thoughts upon my introduction to the band, and when I listened more intently, I realized that maybe those comparisons aren't so far-fetched. This young quintet from Pittsburgh definitely has a lot going for it--they're equally at home with their sound on the radio or in one of the thousands of dirty punk rock basements around the country. There's an element at work here that tells the listener that this record is recent. I guess I mean to say there are parts of the album that are overdone these days in the mainstream "punk rock" scene, which will help the band shoulder their way into airplay, but still, there's a lot of roughness too. If Hot Water Music had started playing music in 2004, this might be what they'd sound like. Featuring cameos from None More Black's Jason Shevchuk ("Second Story" and "Better Days"), and Anti-Flag's Chris #2 on "Mark Each Word," Signals in Transmission maintains punk rock credibility while still allowing the band to be very accessible. The entire album is catchy, and almost too predictable, but the band makes good use of gang vocals. And I wonder how they were never picked up by No Idea Records. Location shouldn't be everything. These guys have more of a Gainesville sound than a lot of the bands that are actually from there. In short, while this record falls short of spectacular, it's definitely solid and enjoyable and should please all fans of rough, melodic punk rock. [www.voiceinthewire.com]