Vetiver is a tall, dense, wild grass. In it's native countries (Java, Haiti, Japan, Indonesia and South India) Vetivers essence is used to make a calming, soothing, and uplifting aromic oil. It is also used to make shade awnings and relieve tension. Vetiver is also (and perhaps more importantly) a part of the new alt-folk movement that has sprung up from the underground over the last few years (Devendra Banhart, Joanna Newsome, Antony, Rufus Wainwright, Regina Spektor, Six Organs... etc etc). Whether purposefully or not, I noticed that the band seem to take a lot in common with grass after which they were named. The CD (Vetiver) has a calming, soothing, and uplifting vibe to it, giving you the feeling of cool summer shade and relaxing all your cares away. And not that this has anything to do with grass, but they also threw together a very impressive guestlist in the process, including Hope Sandoval of Mazzy Star, Colm O'Ciosoig of My Bloody Valentine, and fellow alt-folkers Newsome and Banhart. Starting off the CD is a hushed cello sawing back and forth with a rustic accoustic guitar plucking around on top. After the vibe is created, Cabric comes in with his gritty and bluesy (but at the same time beautiful and melodic) vocals. Most of the songs revolve around this combination of cello, accoustic, and vocals, but on some tracks additional instruments and vocals are added to fill out the sound. However, the whole time the CD remains a lo-fi, chilled production (with the acception of heavily Devendra influenced rave up Crazy Love). The only drawback to the self-titled album is that it never really comes to any sort of peak. Being used to their fellow eclectic alt-folkers, the lack of any centerpiece is (at first) a bit unnerving. But after a few listens it is the lack of this centerpiece that helps the whole album flow so well. This is one you put on and don't skip over any tracks. That'd be like sprinting through a country meadow instead of casually strolling and taking it all in. Things don't stick out as much as flow together - here's a tree; there's a tree; there's a brook that I've been able to see coming for the past 20 minutes, birds, squirrels, etc., etc. but it is all still rather breathtaking. []

Most people know Smile as the greatest album that never was, the ultimate “what if?” of modern music. A legend for almost 30 years, the album grew in myth and might as the culmination of Brian Wilson’s genius; all while only bootlegs and rare snippets of tracks existed. So now that Smile finally sees the light of day, how do you begin to listen to it without putting the pressure of the world on it to succeed? Is it possible to accept outside of its legend and simply as another album to be judge on its merit alone? I guess the secret is to be like me - ignorant. I like to think of myself as quite a knowledgeable man on the subject of music, but one area I don’t know much about is Smile. I have never heard any clips or snippets; never read too much about it; never known it as more than a ghost album. That is perhaps why I was the perfect person to review it. I had no preconceptions and no hopes and expectations impossible to meet, but rather I only wanted to hear what all the fuss was about. To be fair, you have to look at Smile from the perspective of two time periods. You have to listen to it as if it was released in the musical climate of 30 years ago, and yet, you also have to listen to it as if it were first released today. On first listen, you are in awe of the scope of the disc. The fact that is feels like one huge track, divided into sections with names is what first hits you. The only problem I had on the first couple spins was the fact that it did sound like old Beatles albums. But then I realized two things: This was essentially made almost 30 years ago, and that making an album on par with the Beatles is a great achievement in itself. Each track is keenly produced by the master himself, incorporating all the weird sounds and whistles we have come to expect from one of the pioneers of modern production. Going into specifics on each track really strays from what this is, and so I won’t do much of that. Certainly, some tracks are stronger than others, but this is meant to be taken as an album, not just a collection of songs. Put simply, this album is a marvel when you realize how revolutionary and visionary it is. The only down aspect of this disc is time and the fact that we will never be able to know just what impact it would have had on the world of music had it gotten to see the light of day earlier. Similarly, the fact that the disc is so old does make things feel dated from time to time because even though you know they were written so long ago, the fact that so much time and music has passed since then serves as a blow to their originality. Anyone who pretends to be a fan of music or says they know their music history owes it to themselves to hear this album. Regardless of what you feel about Brian Wilson, or about this album after you’re done with it, it is a piece of rock history, and it deserves to be digested by everyone. Although not a disc I imagine listening to with much frequency, it is one of the legendary works of rock, and after 30 years of expectation, it holds its head high. [www.brianwilson.com]

The word “sellout” always gets thrown around when an underground or independent band hits the big time. Whenever a back street name becomes a household name, there are always people that want to bring them down. With Bleed American, the Arizona quartet known as Jimmy Eat World definitely hit the mainstream, but the means taken to accomplish it made it hard to peg them anywhere near sellouts. Funding the album completely on their own, with no label, unsure of whether it would ever have a wide release, the boys were able to make the album they wanted, and by my accounts, the result was the best album of their career. Now they are at it again, but this time they are backed by a major label, with the production funds and marketing cash to really do whatever they want. What results is another rock solid album of catchy rock songs and dreamscape melodies whose title is as bright as the bands, Futures. Harkening back to the days of tapes and albums, this is a disc of two sides (figuratively, not literally); of Jekkl and Hyde; of fast and slow. Opening with the title track, the disc immediately lets you know where it is coming from and kicks down the door with overlapped guitars and straight ahead melodic rock. What follows is a string of like-minded rock songs that will infect you like a disease, making you sing along to the chorus before the first listen is even over. “Work,” “Kill,” and “The World You Love” lead into the albums first single, the rock anthem “Pain,” whose name could not be further from its being. From there to the finish line, the disc slows down and strolls through a beautifully flowing backside. “Drugs Or Me” delves into the trust and mistrust of a person who has disappointed the one they love, while “Night Drive” talks of young love and the innocence of not knowing mistrust even exists. Wrapping up with the epic “23,” the band shows its true talent for creating melodies that are good at any speed and in any setting. After their first taste of success, many bands crash under the weight of the expectations and new-found budgets that come with major labels and the limelight, but Jimmy Eat World exercises that weight and makes itself stronger, using that muscle to its advantage. Futures may not rub the indie purest the right way, but its solid writing, production, and quality cannot be denied. Some may label them a guilty pleasure, but there is no guilt in loving art that comes from a group of guys at the top of their game doing what they love. [www.jimmyeatworld.com]

Sometimes being unique and original can come off as a shtick; a ruse to hide sub-par music and make it seem like something more than it is. But sometimes being unique is just being unique. No band in the last few years has caused more people to question which of the above they fell under than the Dallas/Ft. Worth based The Polyphonic Spree. Before you hear a note of music you raise an eyebrow, not only at the fact they have over twenty members, but also over the fact they all wear robes. Once people heard their choir-like rock opera though, the verdict was clear… these guys were for real. Now comes the crucial point in the bands career. A sophomore album answers the question of longevity. Did your originality create great art simply because it was original or is it truly great, standing the test of time, even after its initial uniqueness has worn off? The answer unfortunately, is more of the former than it is of the latter. Together We’re Heavy is a worthy sequel to the bands debut release, but it falls short because that is exactly what it feels like, a sequel. On first listen, its cheery and sunny sound gets your smile going and your feet tapping, but the luster quickly fades, as the disc drags on upon repeated listening. The problem is that the tracks tend to feel like holdovers from the first disc. The same style, the same sound, and similar structure; the songs don’t bring anything new to the ear and don’t hold the previous formula well enough to overcome this setback. The highlight of the disc is hands down “Hold Me Now,” a wondrous and catchy track that embodies more of what the album should have been. It’s focused; it’s concise, and it does what it does well, not wasting time meandering. The rest of the album has some genuinely nice moments but suffers from feeling redundant and winded, as tracks carrying on longer than they should. In the end, it isn’t that this is a horrible album by any means, but rather that the trick was more awe inspiring the first time around, and going home again just doesn’t work out. Addicts of the first disc will surely be pleased with this outing, but the majority will wish they just stuck with listening to the first release instead of putting this in the player. Still original and still showing vision, but ultimately failing to show us anything new. [www.thepolyphonicspree.com]

Working for Silent Uproar, it is probably obvious to everyone that one of my passions in music is alternative and indie rock, but what doesn’t get shown is my other passion, Texas music. Growing up and living in Texas my entire life, I came to appreciate good ole country, and in college I discovered what Texas musicians could do, not only falling in love with the old classics like Willie and Bob Wills but also a new breed of country artists that were sweeping the state. So when I got the chance to review an album by a local artist with some country influence, I jumped at it and didn’t live to regret it one bit. I’ll admit that I was a little surprised at what I heard when I put Circling The Drain in my stereo. Looking at the venues and locales of the live shows on the bands site, I believe them to be pretty country, drawing on the old time roots and mixing it with a little rock’n’roll to get their sound. What I heard was much different. But not at all in a bad way because as with any genre or uprising of music, Texas Country and Texas music has picked it’s front runners and sometimes suffered from copy cats that explore the same sound, traveling down roads worn thin with wear. John Evans isn’t so much country as he is the bastard son of Johnny Cash and the Reverend Horton Heat. You wouldn’t be shocked to find him in the nearest country dive, and you wouldn’t be shocked to find him playing in the background of Swingers. Opening with “Quicksand,, John immediately catches the ear. You hear the twang of country, the swing of Brian Setzer, and the power of rock. “House Of Cards” deals a stellar hand, and the penny in the foundation is rewarded with “Wishing Well,” leading into the albums strongest track,“Truly Untrue.” Switching gears the disc takes the tempo and feel to the martini lounge with the relaxing and somber “No More Happy Endings” and the eloquent “Endlessly Blue.” “Four Piece Band” recounts the romance of being poor and on the road but having the time of your life, and the albums ends where it begins, firmly in its Texas roots with “Swattin’ Flies.” I would be hard pressed to decide what rack to put this album on if I was working at a music store, and therein lies the secret to its success. You get the feeling the band could have made a straight country album or a straight rock album, or even a straight swing/rockabilly album and had some pretty decent results. But the sum of the influences is greater than its parts, and what results is a very strong album full of good songwriting, good melodies, and most importantly great fun. [www.johnevansband.net]

Louis XIV is likely to be one of those bands that you've "heard of" but never actually heard. There's a bit of a buzz on them around the internet. Satellite radio is also playing them, and once you hear "Finding Out True Love Is Blind," you'll be convinced that you heard them before. So, as a preemptive strike against losing momentum, the band has released a 5-song EP to keep you interested while they polish things off with a full-length. Despite the fact that there are 5 solid tracks here, the real appeal is the instantly appealing, previously mentioned, "Finding Out True Love Is Blind" track. The haunting piano, the frantic drums, the building tension, and the built-in chanting of the title are irresistible. The other stand out track would have to be "Marc," with its Sparklehorse-esque vocals, ballad structure, and a mournful 70's-era guitar solo. The title track, "Illegal Tender," shows off the dynamic vocal qualities of the band but is really just kind of a goofy little outbreak from the rest of the tracks. For a 5-song EP, this certainly does the trick in piquing interest in the band. If that destined-to-be-an-indie-rock-hit doesn't do it for you, the five minute instrumental jam on "Louis Reprise" probably will. [www.louisxiv.net]

When Golden Republic put out their first EP People, I picked it up based purely on the cover art. The image was simple, stark, and had some well designed type. I had no clue what the music sounded like, but if my local indie felt confident enough in it to put it on an end cap maybe it had some merit. So now here I am with the full-length, more eye-catching cover art, and my mouth agape that they were actually able to give a proper tease with a previously released EP. An EP has the advantage of either A) being weird offshoots from what the band really is trying to do or B) a quick look at the bands best songs, soon to be jumbled in with a bunch of filler and crappy ballads. Somehow this Kansas City-based band was able to break away from these conventions and just go ahead and release an entirely solid rock album. There's only one ballad, and every other track brings a little something to the table. The hook with the band is the over arching bitterness in each of the songs. While upbeat, catchy, and even danceable at times - the lyrics are typically spiteful about some failed relationship. Why write an album of crying emocore bullshit when you can take your 70's rock / Elvis Costello keyboards / mid-90's catchy hard rock influences and weave them into a catchy rock record? Recommended tracks: "Turning of the World," "You Almost Had It," and "Not My Kind." If you aren't convinced after hearing those three tracks that this is a solid disc, then there isn't much I can do for you. [www.goldenrepublic.com]

I’m disappointed. When I first heard the title track on the radio, I expected a reflective product that chronicled Mr. Fogerty’s musical experiences. Rather, Déjà Vu All Over Again is a hokey attempt to resurrect music epochs that are better left forgotten. The album opens with the title track. “Déjà vu” is a sobering toe-tapper that likens the Iraq war to Vietnam. “Déjà vu” casts a strong resemblance to CCR’s “Have You Ever Seen the Rain.” The second track worth exploring is “I Will Walk With You.” On this number, Fogerty employs a bluegrass framework to deliver a catchy song that would make John Prine fans believe in déjà vu. “Nobody’s Here Anymore” invokes poor déjà vu memories of Dire Straits’ “Sultans of Swing.” But Mark Knofler’s guest appearance will really have you second-guessing. “She’s Got Baggage” and “Radar” recall 80’s power pop. Loud guitar drives the former while Synthesizers animate the later. “Sugar-Sugar,” “Honey Do,” and “Rhubarb Pie” are manufactured country sing-a-longs that are just as cheesy as their names may suggest. The last two tracks, “Wicked Old Witch” and “In the Garden” return John Fogerty to his swampy blues rock roots, but the haunted memories it took to get there leave too much of a scar for any real appreciation to stabilize. [www.johnfogerty.com]

Unfortunately, it’s not until after the death of a genius that the common world comes to understand the magnitude of his/her gifts. Obviously, Ray Charles was heralded among the intellectuals and music elites that studied his art. Genius Loves Company is their testament to his ingenuity. Few artists can preserve the roots of their music when sharing those roots with another distinguished artist. Ray Charles is one. Frank Sinatra is another. Carlos Santana is not. While the music arrangements on this album are bold and the song selections are precise, Ray Charles’ voice is clearly battling the very menace that untimely took his life away from us. The duets work best when the tempo is kept to a jazzy crawl. “Here We Go Again,” featuring Norah Jones, “You Don’t Know Me,” featuring Diana Krall, “Fever,” featuring Natalie Cole and “Sinner’s Prayer,” featuring BB King, are among the album highlights. Ray’s voice is not overwhelmed by his partner on these tracks, and the slower pace allows for some beautiful stripped down hammond organ solos. The duets featuring James Taylor, Michael McDonald and Sir Elton John are among those where Mr. Charles’ voice is most notably diminished. The pomp and circumstance behind these songs don’t cut any slack either. Genius Loves Company is not a Ray Charles primer. Rather, it’s a collectible for all fans of the other artists singing with Ray. His partners are clearly humbled to be singing with such an icon, and their performances are gracious but respectfully dominating at the same time. [www.geniuslovescompany.com]

In the rock world, family acts are usually remembered more for family feuds than family function. The Black Crowes were no exception to this, often making headlines out of the bickering between founding brothers Chris (vocals) and Rich Robinson (guitar). While most still can’t tell the Gallaghers apart, Chris and Rich’s images were polar opposite – Chris: outspoken and rowdy, Rich: quiet and cool. Despite this contrast in personality, both have stayed pretty close to the Crowes' game plan in their solo releases. Paper could stylistically function as a missing Black Crowes record with its earthy southern charms, but to judge it as such is to cheat brother Rich out of the credit he deserves for delivering a very well-written album. His vocals are very much those of a guitarist gone solo. You can sense a certain lack of confidence, but this is compensated for by vocal layerings and a relatively low placement in the mix (he’s a guitarist producing his own album, figure it out). This serves the content well, as he has always been better at talking with his fingers than lips, and his guitar work here is outstanding. He covers plenty of ground, ranging from simple folk sing-alongs (“When You Will”, “Oh No”), old school country (“Forgiven Song”) complete with pedal steel and fiddle, to near epic-scale prog (“Places”). This helps keep things interesting along the way, but at 14 tracks he would have been wise to tighten things up and trim a little of the gristle. Rich avoids a lot of the pitfalls to which many guitarists-gone-solo fall prey by sticking with what he does best. This isn’t a guy trying to prove his arty-ness by out-weirding himself while alone in the spotlight. In the end, Paper should strike you as a very well conceived album. Any Black Crowes fan (or any fan of southern rock for that matter) should give this equal time with his brother’s solo work. [www.richrobinson.net]

In every genre, there is a certain sound that is considered the average. The one that a majority of bands sound like and the consensus radio hits seem to follow. For a long time in rap it was the Ja Rule/DMX growling style; in country it’s the Toby Keith pop country formula; and in alternative rock it is the nu metal sounds of bands like Seether, Papa Roach, Limp Bizkit, and all the one hit wonders of the early 21st century. While not always a bad sign, it is not always a complement when a band is put in this group and labeled a “cookie cutter wonder.” Silent Drive is one of those bands that happens to fall into said group, but with a little effort they manage to keep their head above the water and give their album some worth. Love Is Worth It showed some promise when I first opened it up. The packaging was different and colorful, covered in murals of art and visuals that lead you to believe the album's music would mirror its cover and be filled with epic dreamscapes of rock, but unfortunately it isn’t quite that unique. The problem simply lies in that most of the tracks are basically of the same size and shape and sound. “American Classic,” “Banana Rejections,” and “Rooftops” are all about the same tempo, and while nice in their highlights, they are mediocre and average. “Davey Crockett” is the first real standout of the disc, slowing the album down and building to an epic chorus, really showcasing the lead singer’s often-impressive ability to wail. The latter part of the album is peppered with a few nice moments, such as “Our Lady of The Worthless Miracle,” but in the end it doesn’t differ too much from the beginning. There really isn’t anything explicitly wrong with the disc other than the fact it simply fails to jump up and make you take notice or bring anything new to the table. For fans of the genre, it might be a nice ride, but for others it will just be a forgettable album with a few brief highlights. [www.silentdrive.net]

A few years ago, I remember hearing “Fine Again” on the radio and thinking it was a pretty good song from a band I had never heard of. Over the following months, I became aware of other Seether songs but never really paid much attention, as it wasn’t really a genre I was engulfed in, and I never really listened to the radio anyway. Then a funny thing happened on the way to oblivion; Seether teamed up with Amy Lee to remake one of their songs, and the rest is history. Following the latest trend of re-releasing albums with extended content, Seether now releases Disclaimer II, a two disc DVD combo edition of their debut disc. With 8 additional songs, I was prepared to hear a variety of songs that belonged on the cutting room floor for a reason, but I must say I was pleasantly surprised. Not only is the extended content worth its weight when compared to the originally track listing, but the original tracks are much stronger than I anticipated. Opening with the in your face “Gasoline,” the disc immediately grabs you by the balls, nicely leading into the radio hits “Fine Again” and “Driven Under.” The second half of the album comes together nicely with the softer moments in “Fade Away” and the original “Broken.” But being a reissue, the main focus is on what the new tracks bring to the table. Shaking the stigma of being leftovers and B-sides packaged around the new single, the tracks are actually quite well done and feel like a continuation of the album more than an afterthought. “Cigarettes” and “Hang On” highlight the extra tracks, leading into the Amy Lee version of “Broken,” bringing the new release to a close. Overall, this was one of those discs that ended up being one of the more pleasant surprises I have reviewed recently. Perhaps prejudging the band, I found myself nodding along to the riffs and enjoying each track along the way. Specifically this album is a great workout disc. I loaded in my iPod Mini the day I got it and have gone back to it numerous times while hitting the gym. This isn’t reinventing the wheel or setting the world ablaze; it does one thing, but it does it well, and for that reason, it deserves some recognition. In a time when most cookie cutter albums are nothing but a waste, this album sets itself apart by combining heavy riffs with well-written melody and production to create a solid album. [www.seether.com]

Sometimes there are bands and albums that you just kind of like, and you can’t explain why. There is nothing terribly original and nothing that would make you believe the album would be a significant success. But something about the band's sound; something about their style just makes you like the disc. Demons, the new album from Liars Academy, is just one of those discs; not great, not terrible, just somewhere in the middle of the road, but you like it anyway. There was a band called Funland that played around the Dallas/Ft. Worth area in the 90’s. They never hit it big, and their biggest claim to fame is where the band members went on to play with after they broke up (Clark Vogeler went on to play with the Toadies, and Will Johnson went on to form Centromatic), but for one brief album they put together a group of songs that just seem to stick on your head. This album is a lot like that one. The first real song of note comes with “Dying As Fast As I Can,” a radio-friendly and catchy track that leads into a string of similarly formulated and melodic songs. “Ghosts Of Baltimore,” “The Accountant," and “Saturday Night” all have an infectious melody while not quite jumping to greatness. “People Are Games” is the highlight of the second half of the disc and sets up the slower tracks that finish off the disc. In short, this isn’t a great album, but it isn’t awful either. It’s just a straight ahead melodic rock album that some people will love and some people will be indifferent to. Although not terribly original and not spectacular, it entertained me, and when faced with nothing to listen to, I found myself grabbing it and taking it for a spin. [www.liarsacademy.com]

Har Mar Superstar is riding his one trick pony for all it’s worth. But seriously, after three album’s worth of vapid, juvenile rhymes, how much further does he really think he’s gonna go? Now, I don’t mean to completely slag this record off since there are a few decent moments on The Handler that even I can’t deny...no matter how much I really want to. For instance, Karen O (Yeah Yeah Yeahs) joins Har Mar on “Cut Me Up,” a ridiculously wannabe naughty song with an 80s dance beat. I actually really dig “As (Seasons)” and it’s herky-jerky, bouncy rap. It sounds more like it should be coming from one of today’s hip-hop dudes though, not a hairy Minnesotan. Then there is Har Mar’s attempt to channel Stevie Wonder on “Sugar Pie.” It’s not really a bad impression really and actually sounds an awful lot like “Isn’t She Lovely?” Can’t blame a guy for trying I suppose. The guilty pleasure on The Handler has to be “Back the Camel Up.” It’s an absolutely silly song in the tradition of “Da Dip” and Ludacris’ song "Stand Up," in which he says, “When I move you move (Just like that).” Yep, that’s right; it would seem that Har Mar is trying to start his own dance craze with this one: “Jump, Jump, Spit.” Um…none for me thanks. And despite all of this, I can’t help really liking this song and its Middle Eastern vibe. I’m not even going to try to defend it. The album ends with a cover of “Alone Again (Naturally),” originally done by Raymond O’ Sullivan in the 70s. I’d say that pretty much sums up what Har Mar Superstar is trying to do: Channel the cool(ish) vibe of the past and recapture the groove and the free love. I just can't get with the idea that he's pulled it off. Even though there are some fun moments on The Handler, I can’t quite shake the feeling that there are frat boys and sorority girls sitting around on shag carpet patting themselves on the back for how totally cool they are to be listening to it. [www.harmarsuperstar.com]

The lyrics are not exactly Republican-friendly (or Democratic, or heck, any party), but on The Laptop EP (SIDECHO Records), MC Lars’ music is more than listener-friendly. Loaded with solid tunes on everything from the annoying voting complications of 2000, the rise of technology, the ignorance of politics and the popularity of war, MC Lars does a great job of laptop rocking while also bringing new motivation and attention to the meager group of geeky laptop "rap stars.” “iGeneration” finds itself on constant repeat--without fear of burn-out--the moment the disc is in my stereo. The hook is where it’s at. Loaded with appealing melody, it hits with recurring heaps of verve. ”Signing Emo” shows up as the fourth track, and, well, I could not have written a better song. For those who are not tremendous fans of the emotive rock genre, it's a hilarious parody on the massive wave of emo bands saturating the radio waves. Lars even includes the absurdly realistic emo chorus, decked-out with guttering scream and bellyaching vocals. Awesome. “Straight Outta Stockholm” is a quieter, nicer tune. Unfortunately, the record is a bit repetitive, reincorporating most of the topics already utilized in previous tunes into every tune--a major turn-off. Interestingly, for those who happen to be fans of the morose writings of Edgar Allan Poe, Lars places an amazing twist on the classic poem “The Raven.” You’ll have to hear it to believe it. The Laptop EP is fabulous beats, cyber-space beeps, oversize guitars and bass so huge even my tiny Kia sounds like the toughest piece of steel on wheels. Now that’s fresh. [www.mclars.com]

The New Transit Direction’s latest release, Wonderful Defense Mechanisms (Some Records), does a great job of capturing the spirit of indie-rock music, with lyrics that are emotive without being "emo” and dynamo-packed tunage that is structured and fitting. Luckily, TNTD’s sound hasn’t been assembled in some big shot PR’s office and watered down. The band recorded their first EP with indie-guru, J Robbins (Jimmy Eat World, The Promise Ring, Jets to Brazil). This time around, Wonderful Defense Mechanisms is eleven tracks of instruments and vocals that mingle enjoyably and display the sounds of a young rock band heavily influenced by such powers as Jawbox and Burning Airlines. Every now and then, however, the disc loses an unpleasant amount of steam. Regardless, the effort should be applauded, and one reason I did like this disc was that its sound reminds me of being in a friend’s late-night practice session, or even at an actual live show. Commencing with “Fictional”—a tune that strangely reminds me the Peanuts theme song (I don’t know why)—I immediately am caught in Whitesides & Lebo’s pounding rhythm with added gusto from Asher’s vocals and the brilliance of Asher & Hawley’s guitar movement. Other notable tracks are “Means to an end,” “Houston,” and the kicker, “Pieces,” which intensely overtakes the record without being loud and menacing. Likewise, “Out the lights” is strikingly beautiful, a tune that grabs your chest strongly and lends its emotion to the listener. Furthermore, it looks as if it that track opened the floodgates because from here on out, there is nothing disagreeable about the disc. Clearly, The New Transit Direction offers emotion freely, which is demonstrated nicely on this record. And, for a band without much of an independent rock community, the future shines fiercely for this promising band from Salt Lake City. [www.tntd.net]

I have found myself deeply fascinated with the world of Jonny Polonsky. With his latest creation given to us via Loveless Records, I am allowed to become a wallflower on the partitions of his imagination. There is a power in his sound, and that sound is a rather majestic authority. Racing pianos, controlled drumming, and catchy power-pop guitar riffs layer and blend with beautiful confidence to entertain me on the aptly titled The Power of Sound. Polonsky’s voice is that of a man birthed with the power of seduction, my friend. There are airy sighs following everything he sings, and his brand of rock-trickery brings about all types of necessary disorder. And that all just from the first song, “Let Me Out.” All tunes are worth the mention, but I found myself falling head-over-feet for “My Secret Life,” “All Of This Freezing”—an acoustic guitar-driven tune—and “Where The Signs End,” a blues-infused, rock and roll track displayed with just a smidgeon of gloom and an ever-so haunting chorus. You will not be disappointed by The Power of Sound. If you find yourself disappointed, clearly, you should be more careful when calling yourself a fan of good music. This is ten tracks of deep, thought-out rock music made to make you drift into those forlorn corners of the psyche. Perfect for the drive home at night or for that rainy night spent inside with not a thing else to do. [www.jonnypolonksy.com]

I imagine F-Ups shirts piss off teachers and worry the more unironic side of parents, but the name is kind of a cop out – aside from the fact that every song on The F-Ups, their debut, is about being a fuck-up in some way. This probably could be the soundtrack to many a 14- and 15-year-old’s world, at least until they find NOFX, Operation Ivy, Descendents (who The F-Ups sound a bit like), or at least Dookie and Cheshire Cat. The album should be a first step in the right direction for a kid to get into punk, so long as that kid keeps going that way. There’s nothing groundbreaking here, at least not from a musical standpoint, and they really do sound a bit like the Descendents. If they grow beyond angry adolescence, and considering the band’s members are just out of high school and this is their first album they should do just that, then The F-Ups could be around for a while. The self-titled debut album from The F-Ups is fun pop-punk, and it is a reminder of what it’s like to be young and angry because you’re powerless and haven’t got a clue yet, especially when you’re already less young, still angry and still pretty much powerless except for the fact that fellow adults can’t stop you from fucking up your life. So, this is an album for future f-ups, not those of us who are already there. [www.thefups.com]

Remember Dick from the movie High Fidelity? That’s Todd Louiso. He was also Chad the Nanny in Jerry Maquire. What do you remember most about those two characters? I clearly remember a music dork. My favorite character. Just like Dick and Chad the Nanny are one in the same, so are Dork Rock Records and Tober. harajuku no emo ko is an album Dick and Chad would happily recommend. Pavement and Weezer are clear influences as Adam Tober rightly makes his case to be the next John Malkmus or Rivers Cuomo. Adam Tober’s lyrics are quirky, confusing and upbeat. “yeah it's alright in a fight to run or hide in a homemade shower curtain rod costume / or so i've heard / cruisin' for a bruisin' in the yellow one is cooler / no one saw 'ishtar' but i did, yeah, i did” shouts Adam Tober in the final track “Gravity.” His guitar and synth performances are equally as loopy as the lyrics they accentuate. harajuku no emo ko is five tracks and 20 minutes in length. If this is truly a representative sample, I expect big things… By the way, I prefer the moniker Music Snob to Music Dork. [www.dorkrock.com]

Client takes an early 80’s synth-pop jaunt on their second release, City. Released domestically on Mute, City is the second full-length offering from the band that launched Toast Hawaii, the label started by Depeche Mode's Andy Fletcher. With Client’s infectious grooves and hand-booty clapping, one can see the similarities of early Depeche Mode or OMD. The two ladies of Client, Kate Holmes and Sarah Blackwood, belt out entrancing lyrics over a variety of keyboard based wizardry in City, much like the straight up monotone delivery of Saffon (of Republica fame). “Radio” is an enchanting mix of crunch synth pop and disturbing lyrics. It’s almost a suicide-inducing trance for those who can’t accept there is “no music on the radio.” Who said the Electroclash genre was supposed to make sense anyway? The Libertines even make a brief appearance on this release. Carl Barat trades sexually fused backing lyrics on “Pornography,” a track that actually makes monogamy sound cool, more-so because the moaning and deep bellow of each voice triggers mental images that these cats must be crazy-sex freaks. The other Libertine, Pete Doherty, is relegated to backing on “Down to the Underground,” a fast paced synth drum track reminiscent of early Human League. “Don’t Call Me Baby” is an infectious dance track that can make one think of the herky-jerky dance of spandex clad, big-haired Brits from those fuzzy early 80’s videos. Actually, this whole album makes me think of those videos because Client has successfully recycled a style that cannot be matched by the other tired imitation acts of today. [www.client-online.net]