Gosh, how can you say anything negative about Sam Beam? This man plays unassuming folk that sounds more like a lullaby, and he goes by the seductively cool moniker: Iron & Wine. Damn, he pulls the whole beard thing off as well. Cue the jealousy… Woman King is a six song EP that showcases Iron & Wine’s diversity. The title track opens on almost a tribal pace as percussion and slide guitar keep precise time. Our Endless Numbered Days has a similar opening with “On Your Wings,” but the instrumentation isn’t nearly as storytelling. Medieval images capture the mind as Sam Beam proclaims, “hundred years, hundred more someday we may see a woman king, sword in hand swing at some evil and bleed.” Track two, “Jezebel,” is the quintessential Iron & Wine lullaby singed by tender banjo solos. “Gray Stables” and “Freedom Hangs Like Heaven” features Sam Beam’s sister, Sarah, on vocals. Both tracks capture the Simon & Garfunkel sound had they been more influenced by celtic music. “In My Lady’s House” is the least instrumentally complex track on the album. Rather, emphasis is placed on the Sam & Sarah Beam harmonies. Finally, the EP ends with, perhaps, the most complex song. “Evening On the Ground” doubles the pace and incorporates a dueling violin and ELECTRIC guitar. Cap letters means I’m surprised. Nevertheless the song teeters on a more aggressive sound for Sam Beam without coming to fruition. There must be some iron behind the wine after all. Lyrically, Sam Beam explores the physical and metaphysical elements of the woman figurine, and he paints a revered picture at the same time. Things are obviously going well in Mr. Beam’s world. Cue the jealousy… [www.ironandwine.com]

When Simple told me he had a surprise for me...oh me; I not expected Grizzly Bear’s latest disc, Horn of Plenty. Needless to say, the cd was a surprise not only because it was enclosed in a fur case with a bear's scribbled face, but because I was expecting it to be furious or noisy or even unpleasant…because that is what you think of when you imagine grizzly bears, true? Another reason you should judge a book by its cover. Once inside, Horn of Plenty smothered me in a bear hug of resplendent sound on all 14 tracks. The brainchild of Edward Droste, he recruited the talents of Christopher Bear and Chris Taylor for vocal and live electronics duties, respectively. The duo’s musical skills are uniquely amazing, as uncovered on such tracks as “Eavesdropping,” “La Duchess Anne,” and “Fix It,” a tune that emerges into groovy beats near the end but appreciated for the spontaneous episode...and short teaser-upshot. The music was the perfect soundtrack to a quiet evening at home, providing lush landscapes of a reverie, lithe acoustic guitars, and finely tuned vocals from Bear and Droste that require nothing less than your imagination and attention. Horn of Plenty is highly recommended by yours truly. Go to the band’s website to hear demos, live recordings, and to further support the band, purchase it! Available on Kanine Records. [www.grizzly-bear.net]

…And You Will Know Us by the Trail Of Dead have always offered listeners plenty of distractions from what really matters. Choirs, strings, operatic overtures, the juxtaposition of brainy self-importance and primal expression and generally bratty image have led most detractors to label them as pretentious. Worlds Apart does little to dispel this notion and carries all of the above traits in spades (if these types of things inflame you, by all means stay far away from the 14-page essay on developments in Western music that accompanies the deluxe edition). If you can ignore these distractions, you’ll be rewarded greatly for sticking with this album. Worlds Apart moves further from the noisy punk mess of their earliest work but doesn’t necessarily take them in a new direction. Instead, it fits somewhere on the same plane as their 2002 breakout Source Tags & Codes. It does, however, take a few more chances than ST&C did, all of which appear near the beginning and end of the album. The choir chanting of “Ode to Isis” leads things off followed by the plodding and drawn out “Will You Smile Again?”. Toward the end we get the strangely effective string-heavy instrumental waltz “To Russia my Homeland,” the slow staccato of “The Best” (which opens with and immediately throws away the best riff on the album) and the dream pop closer “The Lost City of Refuge.” These ventures are hit and miss but are welcome as an alternative to complacency. It is the middle section of Worlds Apart that impresses the most. “The Rest Will Follow,” “Caterwaul,” “A Classic Arts Showcase,” and “Let it Dive” serve together as a consistently catchy and solid stretch of their best alternative rock to date. They ebb; they flow; they’re fierce; they’re fluid but more simplistically, they rock. Despite the differing directions, all of these tracks flow in and out of each other very smoothly, almost giving the effect of a single complete thought. Worlds Apart marks some notable changes for Trail of Dead. They seemed to have settled on one vocalist where the previously rotated between three, and the manic punk flare-ups that dotted Source Tags & Codes have all but disappeared. This is definitely a band in motion, but forget about where they were or where they’re going and enjoy this for where they are right now: Near the top of the modern rock heap. [www.trailofdead.com]

Back in the autumn of 2002, I recall a friend of mine telling me of a band he heard on the radio (Earshot) who reminded him a lot of Tool. After hearing the song in question, and now the band’s entire second album, I’ve decided to no longer be friends with this person. Earshot is to Tool as Zippy Chippy is to the Boston Celtics of the 1960’s: They don’t belong in the same ballpark, the same sport, or even the same evolutionary chain. Now, it’s far too easy to get caught up comparing these two bands when the fact is that the similarities lie only in their vocalists and dark, bottom-heavy sounds. The comparison is valid only at the surface level. Singer Will Martin is like a more breathy and restrained version of Maynard Keenan. In a way, it’s too bad his vocals remind one of Keenan so much just because he possesses a very smooth and engaging voice. It helps him very little that his voice will always entice comparisons one of the most talented rock vocalists of his era. Suffice it to say that his vocals are not the problem here. Musically, Two is, to put it bluntly, predictable. It fits very nicely into the mold of alternative metal that rose to rock-radio prominence in the late 90’s. A few short seconds into “Wait,” you’re being elbowed by some very familiar mosh riffs that should clue you in to what is coming. Pull it back for an earnest verse, crank it up for the chorus, step it up on the next verse, break it down…you get the idea. Only at the album’s mid-point does it approach somewhat of a creative peak. “Down” possesses a wrenching chorus that sticks with you and a drop-off ending that leaves you wanting more (in a good way). “Nice to Feel the Sun” rides a sticky bass groove that gives its mid-tempo pace a bit of spice. The rest is mostly forgettable and safely played pop-metal. In the end, it's Earshot’s lack of creative energy that sinks Two more than any unfavorable comparisons ever could. There just doesn’t seem to be enough there to give them their own identity. There is a Tool song that samples a clip of comedian Bill Hicks using music as an example that drugs have done good things for society. Maybe Earshot just needs better drugs. [www.myearshot.com]

Out of all the political punk/hardcore bands around today, it's a rarity that you'll find one nearly as passionate and sincere about their craft as Richmond's Strike Anywhere. Nor will you find many bands that maintain an aggressive edge simultaneously with an ear for melody, a trait they share with their hometown brethren in Avail, and the legendary 7 Seconds. To Live in Discontent might not contain any new material, but nevertheless, it's a disc worth owning for any Strike Anywhere fan. Though their debut full-length on Jade Tree, Change is a Sound, is by far the band's strongest release, this early material--the foundation for the Strike Anywhere of today, shouldn't be overlooked. "Asleep" and "Antidote," two tracks previously found on a Fat Wreck 7", introduce this compilation, followed by six songs from the band's first EP, Chorus of One--the title track from that record, found here, is one of the band's strongest yet--pointing fingers at the government, cops, praising rebellion--definitive punk rock. "Two Fuses," a cut apparently deemed unworthy for 2003's Exit English, doesn't hold up to the rawness of the rest of this disc but isn't out of place. "Sunspotting" highlights the creation of the band, being a track from their 1999 demo, and definitely shows the progress this young band has made in their short yet successful career. Finally, the band rounds up the rest of this one with covers, a staple of any good punk rock show. The Gorilla Biscuits' "Two Sides," Dag Nasty's "Values Here," and "Where Are they Now," from Cock Sparrer. Strike Anywhere continues to be one of the most beloved bands in the punk rock community, mostly due to their ability to grab the attention of fans on both ends of the spectrum. Their lyrics and music are raw, powerful, and the politics attract the more "punk rock" kids, while their melodies are radio-friendly enough to not alienate fans of less harsh music. To Live in Discontent should be an essential for any fan of the band, especially since their first EP seems to be currently out of print, but it's not the ideal starting point for new fans. [www.exitenglish.com]

Paradise covers little new ground for Paint it Black--they're still as pissed off and political as ever, but maybe a bit more focused this time around. Although, 14 songs in 21 minutes is quite a feat. Dan Yemin & Co. still resemble past Yeminisms--Kid Dynamite, Lifetime--only harsher. "Election Day" is a biting display of Paint it Black, ending with the line "who needs DC when we've got D4," and I have to say that any band giving props to Dillinger Four is worth hearing. "Pink Slips" shows a little more melody in the music, but kicks into energy you'd expect to see at hardcore shows circa 1984. Which brings us to another point about Paint It Black: These songs could have been written virtually at any point in the past twenty years. To go into further detail about individual songs would be a waste of my time and yours; if you like the first song, you'll like the entire album. It's fast; it's loud; it's hard; and it's short. It's hardcore. A damn good display of hardcore, if you ask me, but not so much to limit Paint It Black only to that one scene. Bad points? There are none, save for the fact that this album seems to be over before you realize it has started. Besides that, Paint It Black knows what they're doing. Sharing members with other noteworthy bands of past and present gives this band an edge and experience, and they're using those tools to the best of their abilities. [www.paintitblack.org]

Forming out of the departed Grade, New Day Rising, and Zyon, The Black Maria is poised to be another Victory Records radio band. Their debut, Lead Us to Reason reeks of airplay-ready tunes. And if history tells us anything, this trend that suits the Black Maria should be fading out of the mainstream pretty soon, so they'd better take advantage of it while they can. Now I'm not trying to be harsh on the Black Maria--they know their instruments, and they're deft in the art of creating radio-friendly rock songs, whether that's a good thing or not. It's just that this album, this music, seems to be trying so hard to be embraced by a community of music fans who will probably not give a shit about them in a few years. There's nothing that screams originality here; nothing that shows they've tried to develop their own sound, that is. Occasionally the band will step out of this mold: See "The Lines We Cross, " for instance. But the majority of this record is just too generic to really garner a lot of positive feedback, from this reviewer anyway. Their sound is so overdone--heavy parts, some screaming, typical this, typical that. On the plus side, Chad Gray has the ability to go beyond the vocals appearing here, when he deems it necessary. Sadly though, he doesn't do this enough. Is there potential here? Definitely. The Black Maria has talent, but this time they've used that talent in a way that really doesn't showcase their capabilities, and until they do so, they'll probably fall into some "flavor of the week" deal. [www.theblackmaria.com]

See paragraph one of I’m Wide Awake, It’s Morning. On Digital Ash in a Digital Urn Conor Oberst returns his acoustic guitar to its case in exchange for some studio time with his friends instead. For the most part, this album is an electronic experiment thanks in part to The Postal Service’s Jimmy Tamborello and The Yeah Yeah Yeahs' Nick Zinner. And for the most part it works well… The album cover art of Digital Ash in a Digital Urn, just like the songs it represents, isn’t nearly as simple as I’m Wide Awake, It’s Morning. At first blush, the faint sight of a flower is enveloped by blackness. Upon closer scrutiny, the image of a man spewing numerical digits into a toilet subtly overlaps the flower, proving that first impressions are not always what they appear to be. Lyrically, the two albums are similar. Conor Oberst’s longing for stability, honesty and human understanding is unquestionable. His confusion is best stated in “Time Code": “Death. Data Entry. Ant Hill Law. Encoded arc our common cause. Drink liquid clocks ‘till I see God. Crystal display. Can’t turn it off. Shh…shh…shh, don’t talk. Don’t Talk.” Musically, Digital Ash in a Digital Urn is percussion and keyboard heavy. The samples and programming used are not particularly novel, but the application of Conor Obert’s unique song writing skills to an electronic foundation is intriguing. “Arc of Time (Time Code),” “Take it Easy (Love Nothing),” and “Easy/Lucky/Free” are real gems. On these tracks, Bright Eyes sounds extremely comfortable conforming folk songs to an electronic medium. On “Down in a Rabbit Hole,” “Devil in the Details,” and “Ship in a Bottle” Bright Eyes does not quite find an equilibrium between the two genres, and the studio effects tend to overwhelm the vocals. Other notable tracks include: “I believe in Symmetry” and “Light Pollution.” In the former, sections of the song sound very familiar to Nena’s “99 Red Balloons." And the latter is a punk/folk/electronic hybrid. And just as first impressions may not always be what they seem, Digital Ash in a Digital Urn will likely keep the listener guessing… [www.saddle-creek.com]

If you really loved the Mitsubishi commercial that used “Days Go By,” and you are a fan of electronic music in general...you're going to be disappointed by One, the latest release from Dirty Vegas. Reason being that they are not really “that” band. Sure, that was their big single, and everyone knows it, but that's not really what they do. Not by a long shot. What Dirty Vegas does do on this record is put out some nice little pop songs that are ideal background music and are pleasant enough. There's nothing terribly dynamic about any of the tracks on the disc though. They end up as a decent blend of almost singer/songwriter-vibed tracks with a few electronic enhancements thrown in the mix. A couple of the tracks that are worth noting, however, are “Human Love,” which almost sounds like a U2 song at certain points but never really comes to a satisfying crescendo, and “Amillionways,” which is this album's attempt at “Days Go By.” The rest of the record just sort of blends from song to song without any real need of attention. Basically, I feel like I heard this record last year, and to be painfully honest, I think The Shore probably did it better...and without the electronics. It's not a bad album, but still, I can't quite figure out who would be jazzed by it. Banality is hard to get excited about. [www.dirtyvegas.com]

The trio of lads in Challenger should be damn proud of their incredible debut on Jade Tree, Give People What They Want In Lethal Doses. The fact that only three gentleman could overdub all their parts and come out with a juggernaut of an album like this is impressive enough, but the fact that it's their debut makes it even more staggering. This band definitely gets a bit of a biased review from me, as I've been wholly absorbed in the post-punk sounds of Husker Du, The Replacements, and Mission of Burma exclusively lately. So unfortunately for them, this review will feature more comparatives than original comments, but it makes my job of turning you onto this band easier. Challenger gives you a straight-forward sonic attack, but rarely does it get boring. The band organizes their songs just enough to elevate it above the predictable post-punk garbage to something more of an homage to influences rather than a rip-off. You'll get some great double-tracked guitar interplay over thrashing drums and thumping bass, coupled with incredible vocal overdubs (even screams), most notable on the opener "Input The Output." By the third track, "Blackouts," you be fully aware of the anthematic quality this band has. Picture Mission To Burma singing "Academy Song" or "That's When I Reach For My Revolver" but with a more updated, more powerful rock sound. Since receiving this disc, it's been on repeat on my iPod for the long subway rides. After an arduous day of work, it's something refreshing and energizing. This release sweats rebellion and aggression and passion. You'd be wise to give Challenger a spin. I can't wait to hear more of what this band is capable of. [www.challengermusic.com]

Conor Oberst is no idiot. Sometimes the keen ear grows weary of singer-songwriter folk, and other times the electronic bloops, loops and beeps of the studio magician can grow more annoying than an Atari soundtrack. With the release of I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn, Bright Eyes ensures that you will always be listening to one of their new recordings. Creative overabundance or marketing savvy? You make the call… If you’re tired of laptop-generated sounds, try I’m Wide Awake, It’s Morning. The album cover art depicts Brooklyn row houses in the forefront with the sun rising above the New York skyline in the background. Through another set of eyes, the cover art could be viewed as the moon setting over the New York Skyline and a quiet Brooklyn avenue. Either way, in the city that never sleeps, “morning” is a very subjective term. On I’m Wide Awake, It’s Morning Conor Oberst chronicles the dramatic existence of human life and human relations in New York City. This album remains true to the indie-country-folk identity Bright Eyes has worked so hard to develop. And Conor Obert’s voice is as shaky and emotional as always. The opening track, “At the Bottom of Everything,” begins with spoken word that erupts into an alt-country sing-a-long questioning the evolution of American priorities. “We are Nowhere and It’s Now” and “Land Locked Blues,” two of three tracks featuring Emmylou Harris, are haunted, alcohol-infused, soul searching ballads. Emmylou may be part of the supporting cast, but her symbolic role as the inflicted female in contrast to the lead male proves for every good man, there’s a good woman. “Lua” and “Train Under Water” make individualism attractive, as they dramatize the strained relationships that punish millions of New Yorkers. While most of I’m Wide Awake, It’s Morning is gently intoxicating and seductively biting at the same time, “Another Traveling Song” and “Road to Joy” are beer drinking anthems to the forgetfulness of the past and the uncertainty of the future. Mr. Oberst bemoans that all is now and all is nothing as well. I’m Wide Awake, It’s Morning is just as deceptive as the album cover leads you to believe. Just when you think Conor Oberst is welcoming the dawn of a new day, a second listen will make you think he is reflecting on the day that is coming to a soft end instead… [www.saddle-creek.com]

Jonny Wixen must have some pretty cool parents to be willing to go for hiring a punk rock cover band for his bar mitzvah and all. No doubt, the request was an easy yes for Me First and The Gimme Gimmes, as was the band’s decision to record it for a live album. Very much resembling NOFX’s I Heard They Suck Live, Ruin Jonny’s Bar Mitzvah has almost as much between-song banter as it does music. With the audience probably questioning whether or not this was a real band, Me First manages to sandwich 12 covers between the blessing over the challah and two versions of “Hava Nagila.” Continuing their streak of taking pretty crappy songs and making them great, as Fat Mike puts it before the band takes two shots to successfully get through “Strawberry Fields Forever,” the punk all stars put their stamp on, among others, “Stairway to Heaven,” “The Longest Time,” “Take It On The Run” and the blistering dance number “Come Sail Away,” arguably the standout effort of the set. If not for Jonny playing drums on the hidden track, it would be easy to believe this is a basement show Me First played for beer. In fact, the video footage included on the CD, featuring the aforementioned “Hava Nagila” and two other numbers, is proof the band did in fact play a Bar Mitzvah – likely also for beer. [www.gimmegimmes.com]

Silly me! All this time as a Blur fan, and I though Damon was the talented one. What on earth was I thinking - when it's clear from the decline in the quality of Blur's releases since guitarist Graham Coxon's departure and the serious proof from this album that it was Coxon, not Albarn, who really knew how to write a fab pop tune? So now, despite a rather unsatisfying extended venture into punk rock, Happiness In Magazines, Coxon's forth (!!!) solo release, is finally the record that all of his fans have been waiting for. There are a few songs on this record that carry the punk vein over from his last records, but the difference is in the validity of the songs this time. It's ok to do a straight punk song when you have the stuff behind it to carry it off. Opening track "Spectacular" and especially "Freakin' Out" do this especially well. And even "No Good Time," while not really punk, has attitude that will make you chuckle - "wasted little DJ, fillin up the floor and / your records are all borin cus you're cool as hell." With "Girl Done Gone," Coxon starts off in an inebriated rockabilly slur and eases into a groove that dissolves into a serious rock'n'roll tune - dark, grinding and so gritty you can almost smell the cheap beer spilled on the floor. Who knew he had that sort of song in him? One thing that really made an impression on me is the rhythm with which Coxon delivers his lyrics. When you see the words printed on the liner, you're not at all sure how he's going to make them fit the tune he's carrying. But he pulls it off, and quite artfully, each time. I'd have to say that predictability is something Coxon doesn't bother with, and he doesn't need to. And what to say about "Bittersweet Bundle of Misery"? Wow - this is as fine a song as was ever released by Coxon's former band. Poppy, quirky and absolutely brilliant. (I wonder if Damon's crying in a corner somewhere?) Other songs that I can't stop playing are "Are You Ready," with its sexy undulation, and "Bottom Bunk." Unfortunately though, like all of the albums of his former band, there is at least one song that makes absolutely no sense to me..."People of the Earth" is one of those songs. Yes, it's half spoken word, with distorted vocals, and half punk. Maybe it's the art school boy in him, but I just can't appreciate it. It almost seems like he had to throw something on here that wouldn't be so easy to love...just to challenge the listener. "Don't Be a Stranger" hits a few sour notes as well, but then the chorus of "make yourself a cigarette, fix yourself a drink / don't be a stranger, don't be a stranger (to you your shrink)" comes in and saves the whole thing, and it kind of makes sense. Though the record took its sweet time making it to this side of the pond, there's no debate about the fact that Happiness In Magazines is Coxon's strongest and most impressive solo work. It seems that there is finally a lot to be happy about all the way round. [www.grahamcoxon.co.uk]

I'm extremely late getting this review into Silent Uproar, but in some ways I should have foreseen it. Because I'm lazy? Only partially. For some reason, I'm always late when it comes to Guided By Voices, so I think of it more a symbol of my relationship with this band. Through late high school and my college years, and even after hearing their name frequently brought up, I always skipped over them. With the release of their previous effort, 2003's excellent Earthquake Glue, I finally caught on and dove into their back catalog, which as any fan knows is incredible. Then one of the best live bands ever decides to call it quits and does a final tour, of which I found out about a New York City date too late. In that respect, I suppose it's fitting to hand this in extremely late. Being a recent fan of Guided By Voices, I've taken in their full catalog at once, so I'm able to pick out obvious differences from previous efforts and the band's swan song, Half Smiles Of The Decomposed. First off, this is a pretty "slick" record, in terms of GBV releases. The songs aren't as compact and short as others in their repertoire, similar to the songs on Earthquake Glue. In other words, you're not going to have a low-fi explosion like "Shocker In Gloomtown" attacking your ears. You're getting sprawling epics (well, as epic as GBV will get), like the majestic "Window Of My World" or "Sons Of Apollo." There are unexpected pieces like "Sleep Over Jack," which feature Bob Pollard's entracing vocals over a rollicking bassline and steady drum beat. There are still short playful numbers, like "Asia Minor." The whole album, though, lacks a consistency of mood or feeling. This disc is pretty darn good, even if it doesn't measure up to previous GBV efforts. But let's be honest; nothing will ever top Bee Thousand. As a final album, the band sounds great but unfortunately full of resignation. If you're a GBV fan expecting a big finish, you're better off waiting for forthcoming Bob Pollard's solo releases. But still, this is a good addition to their extensive catalog, if just a bit more of a challenging record than the last. After almost 20 years of recording, it's a good, but not stellar, finish. [www.guidedbyvoices.com]

This is the first review I've had to do in a long time where I've literally scoured each track of an album trying to find something that I can enjoy about it. Needless to say, this review of In Keeping Secrets Of Silent Earth: 3, Coheed & Cambria's 2003 release, will be short and sweet. To summarize the CD for you, I'll break it up into three distinct aspects I've pulled out of it: "Geddy Lee," "Mall Punk," and "Uninspired." First, let's take the "Geddy Lee," as in the lead singer of Rush, characteristic. This guy's voice just doesn't do it for me, and I'm not sure what it does for anyone else. If they were handsome gentlemen, like The Killers or some other MTV-ready fashion band, I could see the hoopla. But with this gent's terrible Geddy Lee impression and without the looks, I just can't see the mass appeal. I've read juvenile reviews that tear the guy's voice to shreds. I won't. Although he has the makings of a great singer, I just can't bear to listen to it. I hate to beat this to death, but it will surely be the first thing to jump at you off this disc. Take it or leave it.....I'll leave it, thanks. Secondly, we've got the "mall punk" comparisons. They're pretty dead-on. You've no doubt seen the crazy party video for the single, "A Favor House Atlantic," a four-minute pop punk gem. Once I got used to his voice, this was definitely a pretty good listen. But with a majority of the tracks clocking in over five minutes - some as long as nine minutes - you can only take so much. At least the mall punk bands end their songs after two to three minutes. Instead, Coheed & Cambria inject the usual schlock-rock tricks you'd expect from metal bands: Palm-muting their guitars, arpeggio solos and boring fills. Which leads us to... "Uninspired." I couldn't tell the difference between any of the tracks, except the aforementioned single. The organization of songs made them a challenge to listen to. The same tricks bored me to tears. I don't like songs by Yellowcard or Story Of The Year or Taking Back Sunday, so why would I want extended versions of them with bad metal solos? OK, maybe I got a little carried away. If you're looking for a good, consistent thematic album with long, rock-opera quality songs, crazy guitar solos and a singer with a very high range, skip right over this CD and make sure you pick up Muse's Absolution. After all, why pick up a terrible CD like In Keeping Secrets Of Silent Earth: 3 when you can listen to a band that has already perfected this musical style? [www.coheedandcambria.com]

Ok, I’ll keep this short and sweet. I will not give this CD a great review because every other reviewer decided they should. I was anticipating good things from The Unlovables and their second release, Crush-Boyfriend-Heartbreak (Whoa Oh Records). True enough, the title offers you a hint of just what all great pop-punk bands have to present, but never did I imagine it to be so…bad. Musically, the CD rocked: lots of energy, fronted by tasteful, pop-punk power chords and singer Hallie Bullit's sweet-as-candy and catchy vocals, as it should be. Although, lyrically, I felt as if I was listening to an 8th grader sing her diary—very juvenile and feeble. I thought this was the age of “girl-power” music! Instead, she assaults her (and my) womanhood repeatedly with tasteless and spineless tales of break-up. My ears screamed, "Get over it, already!" The cd sets off with “I’ve Cried 4 U,” a song that begs and pleads for an unknown male object to be in her life. I’ll spare you the lyrics. In “If You Were Here,” only the second track, I couldn’t figure out if she was lusting after a male or female. Not to question one’s sexuality, but as a listener…I need to know! By the time I got to the tenth track, “It Sucks” (a title that summarizes the entire disc), Bullitt sings, “I never wanted to be that/Mopey, sappy, crying, sighing/Weeping fucking girl who’s left behind.” Good luck. After more than accomplishing that, who would want to come back? One song that did get my attention, though, was "Feelin' All Emo (Since I Broke Up With You)." I was disappointed with this album because Punk Rock Club was absolutely awesome. But by the end of this disc, I was so annoyed that I nearly ripped the disc from my stereo and wanted to find a boyfriend for the girl! [www.theunlovables.com]

The Briefs pick up where punk rock left off in the late 70's/early 80's, and their sound truly defies being able to pinpoint their locale--it could be New York, Los Angeles, or somewhere in the UK. Having been around since the turn of the millenium, this quartet has beckoned a large following with their aggressive, politics-filled punk rock, but the band still manages to be light-hearted and fun without being too over-the-top cheesy and is able to maintain their message. Sex Objects, the band's latest full-length, finds The Briefs in familiar territory, with a sound reminiscent of The Damned, The Clash, early stuff from the Explosion, Moral Crux, The Adverts, The Stranglers, etcetera. "Orange Alert" introduces the fourteen track record with a definite nod to 70's punk (think Stiff Little Fingers, but easier to sing along to), followed by the Buzzcocks-ish "Halfsize Girl." "Ephedrine Blue" brings back memories of the Exploding Hearts, and "No More Presidents" could have been an early hardcore song. Where the Briefs don't succeed in writing a lot of songs that sound only like themselves, they make amends by reviving the past of bubblegum punk rock as well or better than any other band around today. [www.thebriefs.com]

Note to all future music industry execs: When a well-respected band reunites after more than a decade, it's the prime time to release a collective of their past work, whether it's two albums or twenty albums of material to cover. In Mission of Burma's case, A Gun to the Head only has to cover a couple years' worth of work, with the first four songs from 1981's Signals, Calls, and Marches EP, tracks 6-14 from 1982's full-length VS., and two live cuts from the band's final tour in 1985, also on The Horrible Truth About Burma, tacked on at the end. Having been revived last year to release a new set of songs for Matador Records, interest in Mission of Burma has piqued again, and that interest spurred Rykodisc to put together this collection with full input from the band. Not a bad choice--A Gun to the Head is an ideal starting point for anyone wanting to immerse themselves in the works of one of the more important post-punk/early indie rock bands. Kicking off with the slightly rougher, less composed (and better, in my opinion) material from Signals, Calls, and Marches, this collection tackles the obvious classics--"Academy Fight Song" and "(That's When I Reach For My) Revolver," and then shortly after takes more than half of the band's only real album, VS. for a spin, before wrapping up with the spectacular live cuts "Peking Spring" and "Go Fun Burn Man." Mission of Burma fans will find this useless, as they'll more than likely own all of these songs anyway. Not one track previously unreleased, and the liner notes are nothing of a band biography. Rykodisc succeeds in their mission to release a quality overview of an amazing band's illustrious but short first era, and A Gun to the Head should be purchased by anyone wanting to discover the brilliance that is Mission of Burma. [www.rykodisc.com]

It should be no surprise that the third album from the X-ecutioners is more like a mixtape of great DJs producing tracks for MCs. Especially since Revolutions is their second on a major label and the only reason anybody who wasn’t already a fan found out about Built From Scratch was “It’s Goin Down,” the collaboration with Linkin Park. First of all, the repeat try on the rock collab, “Let Me Rock,” with Start Trouble, pales in comparison - mostly because it sounds like a retread. On the MC-featuring tip, “Live From The PJs,” featuring Ghostface Killah, Trife and Black Thought, and “The Regulators,” with Rock Marcy and Sly Boogie, are the best of the lot. The supposed remix of White Zombie’s “More Human Than Human” is only a remix so far as Rob Zombie sings the chorus and the guitar work and basic structure of the song don’t veer too far except for Slug from Atmosphere rhyming and, like the other MCs on the album, singing the praises of the X-ecutioners. Yet, the track turns out to be one of the standouts of the album. Of the five scratchcentric pieces, the slamming beat Blue Man Group provides for “The Countdown Part 2” does just that, “Like This” kills with Anikke singing the praises of the X-Men, and, almost disappointingly good, “Old School Throwdown” proves the three DJs are still among the best out there while the title proves they’re past it. If, as someone on the album says, a DJ that can’t scratch is like a wide receiver who can’t catch, then this album is better than most sort-of-mainstream hip hop out there. The X-ecutioners are still more human than human and more sicker than sick. If you compare it to their previous work, however, it’s hard not to be a little disappointed. [www.x-ecutioners.net]

War is a dirty, smelly, noisy, nasty thing. So should be a concept album about war, right? Nope. Says who? Sleep Station, that’s who. And as exhibit-A they give you After the War, an album written from front to back about World War II. But rather than leave you shell-shocked with bombast simulating battlefield racket and chaos, they take a more introspective approach. Written primarily from an emotional standpoint, the album deals with the loss, longing and confusion war can bring to an individual. After the War doesn’t stick to a standard cinematic arc, as concept albums often do. Instead, each song is taken from a different person’s perspective during WWII. We hear from a soldier dealing with his separation from loved ones (“A Soldier to His Son”, “A Final Prayer 2”), a couple fearing the end in a London bomb shelter (“Caroline, London 1940”) and an abandoned wife pining for the safe return of her husband (“Waiting”). And though the album carries a very consistent feel, almost all of the tracks, with the exception of a handful of segues, stand on their own as somber-pop gems. “After the War,” “Caroline, London 1940” and “Burden to You” are all stunning in their own right beyond any binding subject matter or context. The other striking thing about After the War is its overall warmth. Reportedly recorded using as much vintage equipment as possible, some of it dating back to the 1940’s, the album is as warm as anything these ears have heard from a digital medium. While this tone contradicts the violence evoked by the subject matter, it does help convey the sadness underlying each of the album’s stories. Though it does suffer a bit from the lack of variation in its instrumental approach, After the War is poignant and emotionally gripping throughout. It’s not a history lesson or an overt political statement but rather a glimpse at war from more of a molecular level than the grand scale idea to which we’re commonly exposed. And a good one at that. [www.sleep-station.com]