When compared to past releases in the Hopelessly Devoted to You series, Volume 5 looks doesn't quite hold up to expectations. Where previous volumes had classics from Samiam, Dillinger Four, the Weakerthans, 88 Fingers Louie, Mustard Plug, and the Queers, this release has the overdone pop-punk of Amber Pacific, the boring metal/hardcore of Break the Silence, and a Thrice cut that I'm assuming wasn't deemed good enough for an album spot. In the album's defense, though, Against All Authority's ska/punk frenzies, Avenged Sevenfold's semi-cheesy but entertaining (and guitar crazy) "Chapter Four," Thrice's classic "To Awake and Avenge the Dead," and recently defunct (and ex-Operation Ivy, Screeching Weasel) Common Rider's previously unreleased "Where the Waves are Highest" are reedeming enough to make the typical "four bucks of less" pricetag reasonable. Not to mention the Melee songs (who are difficult to describe but definitely transcend any one word genre), the dorky, fun pop-punk of Stairwell, and Atom and His Package's "Punk Rock Academy(live)" as the perfect endnote. Dismissing the fact that the label has had ties to better bands in the past, and that those past releases in the series have also held a good deal more music, Hopelessly Devoted to You Vol. 5 is actually worth about what it cost. [www.hopelessrecords.com]

I've been anticipating this album for an estimated year and a half---from the time I heard the demos, anyway. One thing I admire the most about Gainesville, home of Rehasher and countless other bands that I adore, is the relationship that the town's bands have with each other. Side projects that don't sound just like the members' other bands are hard to find, but Rehasher is a different story. Army of Ponch lends Geis and Gui, on guitar and bass, respectively, while Less Than Jake's bassmaster Roger steps up to six strings this time. Let's not forget Jake (Savage Brewtality) beating the shit out of the drums. Rehasher doesn't step too far away off the "3 chord pop punk" playing field, but it's a field in which they can definitely run with the best. Gainesville bands tend to have a certain distinct sound that is hard to explain, but No Idea Records nerds understand what I'm talking about. Rehasher isn't an exception, but there's more of a fun element in the mix, attributed mainly to Roger's unmistakable voice, occasionally accompanied by Geis' "Fat Mike-ish" vocal delivery. Rehasher's lyrics stray from typical "broken heart" subjects and focus on growing up and life in general; nothing too deep or difficult to grasp. Don't let me forget to mention their version of Bowie's "Suffragette City." The downfall, if any, would merely be the length of Off Key Melodies, a mere 10 songs/24 minutes. Is Rehasher anything more than a side project, or is this just another superb record in No Idea's extensive and impressive catalog? Either way, I'm sure they'll be overlooked and underappreciated (because we all know how these things go, sadly). But for anyone who enjoys this style of music, Off Key Melodies could be your favorite record this year. [www.noidearecords.com]

The small print reads: “The Volcom ideology has always incorporated a major philosophy of the times. During the Company’s inception, the spirit was one of an enlightened state to support young creative thinking not willing to accept the suppression of the established ways. A movement the Company backed as ‘youth against establishment’”. “Change was in the air”. That change is noted energetically in Volcom Entertainment’s first commercial compilation in five-plus years. “The Only Constant Is Change” is a 46 track double disc extravaganza featuring 36 unreleased, out of print, rare and B-side tracks—over two heavier-than-hell hours, kiddies—from bands who carved the paths of youth rebellion and up-and-comers who continue to create new ones in the independent music world. This compilation drowns convention with torrential and quick strikes of full-out force from punk to hip-hop. It is musical appreciation to what makes indie, well, indie: freedom through self-expression, through Volcom’s artists, films, music, athletes, and their awesome clothing line (started by Richard Woolcott. Volcom Entertainment was created with Woolcott and theLINE’s Ryan Immegart). What the established mind has tried to develop into a fashion statement, this compilation proves that it’s not fashionable to be phony, and has continued to push the lifestyle, the movement, and the mindset that keeps true indie alive. Volcom Entertainment was for nonconformity before it was the “cool” thing to do. There are tracks from the masters: Pennywise (“My Own Country”), Death by Stereo (“Favorite Thing”), Guttermouth (“New Wave Hair Cut”), theLINE (“Buckshot”) and budding artists such as Piebald (“There And Back Again”), Brazil (“Paradise and Iron”), Maxeen (“Take The Weight Off”), and A Faith Called Chaos (“Forgive Nothing”). There are also notable tracks from Quitter, Single Frame, and MYG’. Mind you, hip-hop is typically not my thing, but how can one deny a track that is formulated to make one’s body move? It can’t be done! “The Only Constant Is Change” is one of the most excellent compilations I’ve heard all year, and has so many unreleased and rare tracks that you’ll be saturating your pants in sheer delight. Go to Volcom Entertainment’s website, where you’ll find a massive supply of photos and footage from their Warped Tour take-over, Volcom band info, info on how to submit your band’s demo, and other goodies—like contests and free stickers!! [www.volcomentertainment.com]

A lot of the time, it's harder to write reviews about stuff that you love than it is to write about stuff that you hate. Not just because love is so much more intangible, but because it's that much harder to pull a disc out of your car, bring it into your office and make yourself be objective. But that's the job of a music reviewer. Love it or hate it, you've got to back it up. The buzz surrounding The Killers right now is palpable. One recent Saturday morning, I saw the video for "Somebody Told Me" three times in a two hour period on different video channels. Now if that's not buzz, I'm not sure what is. Personal friends, whose musical tastes I trust, were going on and on about how they couldn't stop listening to the record, and the band is becoming hip tv darlings, with stints on the OC and other shows of the moment. If you're like me, that much buzz makes you leary of a band, almost cynical to the point of dodging the music altogether. But, like thousands before me, I gave in to the hype and popped in Hot Fuss hoping for the best. I'm happy to say that I was not at all disappointed, but it wasn't an immediate sale. Even the single "Somebody Told Me" had to grow on me. But it didn't take long. I'd say by the third spin, it was settled. I really like this record. One thing that I admire is the ability that The Killers have to blend indie rock with glam and the intelligent use of keyboards. There is not one time on this record where there is gratuitous use of keyboard or where it feels like the arrangement was not completely thought out. And yet, they manage to stear clear of having a purely retro sound. "Andy, Your A Star" is a quirky little song with a lazy hook ("Hey shut up/Hey shut up/Yeah") that has you singing along in seconds flat. And "On Top" is a great song, again with that careful use of keyboards matched up against strong guitars and slightly distorted vocals. The hard-driving power guitars of "Midnight Show" back up The Killers' cool indie rock cred, leaving no doubt that these Vegas boys mean loads of business. There have been a lot of people focusing on the singles on the album thus far, and while there's no denying the power of the gospel-infused "All These Things That I've Done" and the video über-success of "Somebody Told Me," don't shortchange yourself by neglecting the nooks and crannies of this record. The reward comes in being receptive to the whole package. Hot Fuss is yet another entry in the crowded race for album of the year in my book. [www.thekillersmusic.com]

Division of Laura Lee's bio says of the bands sound "...the result is a band that sounds like nothing you've ever heard exactly before yet is almost immediately familiar." That kind of sums it all up in a nutshell. Das Not Compute has a lot going on, but it's definetly a straight forward rock record. Pretty much every track features a nice amount of fuzzed out bass and some sort of anthematic chorus sung with such earnestness that you feel like being lead to revolution. It's certainly not a chant, but it's worthy of a rock fist here or there. While diverse within its own scope - nice balance of energy filled songs to the slower numbers; great keyboard integration to add some texture here and there; and some well done rising tension - it certainly has a scope that could get a bit monotonous if you're not completely into it. Das Not Compute is a strong rock record that, while completely original in it's own right, feels like a lot of stuff you've heard before. [www.divisionoflauralee.com]

I'll be honest. When I requested to review this CD, I somehow let myself get confused into thinking I was somehow getting the latest from the Matthew Herbert Big Band that had opened for Bjork on her last tour. Surprise, Surprise! This is not at all what I had expected. Matthew Herbert is quite possibly the next John Mayer, or Pete Yorn, or Jason Mraz but without a twist like being able to "wail" on guitar, imitate Springsteen, or make yourself into a hip-hop influenced jackass (respectively). 1500 Miles and Counting is quite possibly Matthew himself hanging out in his dorm room recording his acoustic musings and going back with vocal overdubs, sparse organ sounds, and the occasional guitar lead (but not too much). Maybe I'm judging it a bit too harshly given that I was expecting something completely different and feel a little irked at myself for being duped, but this disc strikes me as the perfect accompaniment for the 15th Annual Kappa Sigma Campout when the fire is dying down, the beers are warming up, and the Delta Sigma Theta girls need a little softening up before taking them back to the tent. [geocities.com]

Fuck yes. That's pretty much all you have to say about Demon Hunter. I could listen to just two songs and describe the entire Summer of Darkness album to you. Hard, thick guitars, double bass drum, intense propensity for devil signs and slow motion head bobbing, gutteral screams, and a surprisingly pleasant harmonized chorus. That's it. That's the formula for the most part. But that is, by no means, a negative comment about this album. While each song has just about the same elements and same setup, they keep it fresh enough to keep you engaged. By the time you reach "Beheaded," you think you've got it all figured out and they throw in the creepy squelched second vocal. "My Heartstrings Come Undone" starts off with a bit of drum machine, space guitar stylings, and a vocal line that's certainly far from abrasive. Demon Hunter strikes me as the sort of band that you would listen to in high school when you were fearless about what your peers thought about your love of growling, intense, metal-esque rock mixed with the harmonic choruses and an understanding of melody underlying throughout. Okay, maybe in high school you never thought of it that way, but Summer of Darkness is a great disc for those who have metal or hardcore tendencies yet still appreciate the actual craft of writing a song with some diversity. [www.demonhunter.net]

After listening to Between Darkness and Wonder several times over, I found myself at a loss for words that would properly describe the album. Not being overly familiar with their previous material (aside from a vague memory of one insane video from their Fear of Fours album), I couldn't compare the music I was hearing to any of their other work. The two members' names eluded me, and the intricate style of the disc was unlike anything I'd heard before. Darkness and Wonder is an epic undertaking. The songs are generally driven by some sort of dance-floor beat but peppered with instrumentation not typically found in dance floor mentality music (bongos, tender acoustic guitar, massive strings, and just the right amount of piano). Lead singer Louise Rhodes' voice is soft, sometimes too weak for its own good, but often filled with hope. Yeah, sounds super cheesy I know, but I call `em like I see `em. Lamb falls into the musical kinship of Bjork and Blonde Redhead. While not exceeding the level of either, they have found a way to combine down-tempo beats, some jazz influence, and vocals that harmonize and carry you along through the track without completely overtaking the music. [www.lamb.tv]

Having already released a full length on Release, a branch of Relapse, and now coming at you via Hydra Head, it would be quite natural to expect some pretty heavy things from 27. Couple this with guest appearances by Aaron Turner and Jeff Caxide of Isis and Let the Light In has all the earmarks of a pretty extreme EP. It is, but it’s not the extreme you’d be expecting. Let the Light In is as light as a handful of nothing. Centered around Maria Christopher’s feathery vocals and backed by mumbling bass lines, noodling guitars and spare drumming, 27 uses economy rather than brute force to achieve some powerful moments. Throughout, 27’s sound stays consistently airy and spacious, even when it does rock out a bit. The chorus of “The Curse” offers some driving guitars, and Turner’s growled backing vocals on “April” offer some brawn, but things never get too crowded. The lyrics aren’t much to be afraid of either. “Every Day” finds Christopher pining for “someone I can see every day,” and the dark and determined, yet somehow danceable, “Make Love Not War” seems less concerned with the latter than the former. What makes Let the Light In work is its melding of spare instrumentation and warm vocals with a low, melancholy feel. It’s a delicate balance held by delicate hands. No matter what you were expecting to hear, this EP will reward you if you stick it out and give it a chance. [www.27.vg]

Austin, Texas, is home to the internationally known South by Southwest Music Conference, Austin City Limits, its annual festival, and other landmarks, like Waterloo Records. It is a landscape flourishing with the arts, and colorful locals make sure of that daily. Austin is also home to a very fine punk band, a band that takes from the city’s punk roots and uses it to enrich their own sound. That band is Dynamite Boy, who are coming off a recent tour to promote their self-titled third album from California label, Fearless Records (Brazil, The Aquabats). This band and their album are a fresh answer to other questionable releases of the year in the genre. A bit of background: Dynamite Boy enlisted the help of local punk legend Chris Gates (Big Boys, Junkyard) to record their first full-length, Hell Is Other People on Offtime Records. In 1999, they signed with their current label, Fearless Records, and recorded with Jim Goodwin (Face to Face, Guttermouth, Voodoo Glow Skulls) at the Paramount Recording Studios. The boys have been traveling the coast-to-coast with The Queers recently, wrapping up on Sept. 11, and they also have a song, “Guide to the Living Dead,” that you can check out when you buy the Smartpunk Warped Tour Compilation disc. Standouts one should listen for are the very hyperactive and action-starter “Suspended Animation.” “Man of the Year” has the catchiest intro of all the tunes on the disc, which has you listening to the whole track just to hear it again. With harmonies sweet on punk, you won’t be disappointed. Other goodies are “Photograph,” which has a bit of piano scattered at its intro (intros are my thing, it seems) and partial lyrics to the song are links to a website where you can listen to the complete album (http://www.strikethesewords.com). Nevertheless, on we march to “Sky’s the Limit” and “Bring the Rock,” that comes in and (it’s almost as if you’re enjoying a great live show!) announces that, sadly, there are only a few songs left, but they are worth sticking around for till last-call. “Accepted” is a hard little number that steps in abruptly but lends the spotlight to the closing track, “Long Since Forgotten,” which borrows lovely vocal work from friend Stella Maxwell. The song could, however, have benefited greatly by creating vocals to evoke more of a story-telling affect since the song is about a girl set for self-destruction. Dynamite Boy’s new album is essentially for the fan of punk rock, and their many adoring fans won’t be disappointed. [www.dynamiteboy.com]

Rachael Yamagata will be compared to many artists of the female pop ilk. Why so many comparisons? Because Yamagata jumps all over the spectrum on her debut release, Happenstance. The 26-year old Washington, DC, native pens many tales of an emotional rollercoaster that could draw you into the variety of sounds. The radio take “Worn Me Down” plays through the emotional withdrawal of a break up and the subsequent feelings of attachment that won’t go away. Powered by a fast-paced pop beat and the kind of requisite chorus that have made artists like Sarah McLachlan popular, this one will drive charts and pave recognition for Yamagata. The funk and soul influence of the five-year journey with the Chicago-based band Bumpus has rubbed off on the young starlet in a big way. Utilizing a rip-roaring, eerie, sultry growl discovered while in the band, Yamagata portrays an “old soul” on a majority of the intense and emotional tracks. Being self-taught in piano and setting the arrangements on many of the tracks on Happenstance herself puts a stamp on the music that is pure Rachael Yamagata, an artist in her own right. [www.rachaelyamagata.com]

Bellefontaine Avenue is the latest installment from Switzerland-based Favez. Picking up off the heels of their live album, Favez continues to experiment with a broader, edgier pop sound. “Emmanuel Hall” incorporates the pop sensibilities that could expand the band's still minuscule American following. “It’s a Hit” takes a stab at the over-exposed pop/punk genre of yesteryear. It is easy to overlook Bellefontaine Avenue. I did. In fact, I had to be talked into hammering out a review, and I am glad that happened. The opportunity to explore a band that has a storied history dating back to 1998 and whose sound is appealing and catchy after a couple listens proves that sometimes we need to give bands more of a chance. With that said, track 11, “Heavy Metal 10,” the last track, sold the farm on this band for me. The fist pumping, crunch guitar sound smashed into my skull with joy and summed up the metamorphosis of Favez, a band that needs more attention. [www.favez.com]

Shining in the oversatured pop-punk scene these days is definitely a difficult task. With many people, especially as of late, the term "pop-punk" conjures images of the violin-wielding Yellowcard, the mall punk of Good Charlotte, and of course, every teenage girl's favorite, New Found Glory. Thankfully, the Gamits manage to stick to the "other" brand of pop-punk, straying from the so overdone lyrical content of teenage angst and heartbreak accompanied with sickeningly whiny vocals. Instead, the Gamits write infectious, smart, and enjoyable power pop/punk that would probably please most fans of early Green Day/Lookout! Records, and Fat Wreck's first few years. I doubt you'll find many people claiming the Gamits as their favorite band, but you'll probably find even less folks saying "the Gamits suck." Antidote is a worthy collection of songs that won't grow old anytime soon and will provide a fair amount of sing-alongs at the same time. [www.suburbanhomerecords.com]

One summer a few years back, there was a stretch of concerts I went to where I somehow managed to see the same opening band three times. A national act at the time and touring on their debut, they had somehow managed to open for Our Lady Peace, then the Toadies, then some festival type concert. Each time I saw them, I thought they were perfect were they stood. Oleander was the band, and they just seemed to be in their environment. Not a groundbreaking band, but fun enough to enjoy and just genuinely happy to be there. Nice guys, who put it all out there and just wanted to have a good time, you got the sense they would never be a main act at a huge venue, but were just a perfect band to enjoy and get the crowd going before the main act. Some bands are like that. This summer I took my girlfriend to the John Mayer/Counting Crows concert and had a bit of déjà vu. The opening band was The Graham Colton Band, and while the middle class crowd talked and ignored, I noticed that the boys on stage were putting on some darn catchy tunes. Their set was energized and fun and made a nice warm-up. Now their sophomore effort, Drive, falls into my hands, and I get a chance to hear what the studio side holds for these lads. What I found was a good little album from a band destined to rule the second stage. The disc is somewhere between rock mainstream and singer/songwriter fare. It starts off on a nice note with “Don’t Give Up On Me” before jumping into an immediately catchy “Since You Broke It.” The album flows between upbeat sing-a-longs like “First Week,” “Cigarette,” and “How Low (Breakdown)” and more laid back tracks like “Morning Light,” “Cut,” and “All The World Tonight.” “Cigarette” stands out as the leader of the first pack and “Cut” stands a cut above those in the latter. This is one of those albums that could easily stay in your player the entire summer yet never be an all-time favorite or have you running to tell your friends. You might never find yourself throwing down $35 to see these guys headline a big venue, but seeing them on the bill would put a smile on your face as a nice little addition to a concert. Full of quality songs and good energy, but lacking the spark to take them to the top level just yet, The Graham Colton band might be a concert opener for a while, but being a minor league all-star isn’t a always a bad place to be. Very worth a listen if you want a nice feel good album. [www.grahamcoltonband.com]

There comes a time in every musician’s life when he should recognize that it’s time to bag it. Al Jourgensen, it might be time. Ok, this is what I thought the first time I ran through Houses of the Molé, but today...? Today, I’m kinda feeling it. I’ve been a Ministry fan for more years than I’d care to admit. I adored them in the mid-eighties with their pseudo-Depeche Mode imitation going full-on (“Everyday is Halloween,” etc.), their first forays into industrial, and I think Land of Rape and Honey is one of the most awesome industrial albums ever. Not to mention enjoying RevCo and 1000 Home DJs tremendously in my dank club days (nights). But come on, man. It’s been done…and you should know ‘cause you’re the one who did it. I don’t know though. It would appear that Al Buck Satan Daddy still has a few tricks up his ripped sleeve. While it’s true that you can basically go through this album and equate each song to a previous Ministry song, strangely enough, this doesn’t detract from the album. From the opening Wagnerian perversion straight into the onslaught of industrial guitars and Al’s unmistakable vocals, this is a true Ministry record with all of the trappings. “Waiting” sounds remarkably like “Thieves,” which simply can’t be a bad thing. “Wrong” is a smorgasbord of political commentary, containing the distorted sound byte: “Tonight I have a message for the people of Iraq: Go home and die,” proclaimed by a decidedly demonic George W. Bush. “Warp City” is a twisted story straight out of tabloid/exploit-happy TV. And as always, Al’s sardonic placement of Dubya quotes are distributed liberally. “Worthless” is just a kick-ass tune all around. I’m not sure exactly what sparked the specific direction of Ministry’s political leanings, but certainly since Psalm 69, Jourgensen has made it clear how he feels about society at large and both Bush administrations. I am not sure how much one’s political beliefs would affect one’s enjoyment of this record, but I’m going to go on the assumption that a majority of Ministry fans lean more to the left than the right to begin with. And in that case, Al probably knows his audience pretty well. So if you’re feeling the urge to be angry and relive the glory days of Wax Trax-era industrial music, I’d say go ahead and pick up Houses of the Molé. It’s just in time for the election! [www.animositisomina.com]

First and foremost, if you consider yourself a New Pornographers fan and don't already own this, stop calling yourself a fan until you go out and pick it up. AC (Carl) Newman is the lead songwriter for that lovely indie pop band, and it certainly shows on his solo debut. For those of you who aren't familiar with the New Pornographers and need a little more insight into The Slow Wonder, let me attempt to assist you in figuring out what to expect here. This record is a quick 34 minutes of a hefty blend of upbeat pop numbers and somewhat introspective, languid, almost ballad like tracks. "Miracle Drug," "On The Table," "The Battle for Straight Time," and "The Town Halo" are probably the most danceable tunes on the disc.. while "Come Crash," "The Cloud Prayer," and "Most Of Us Prizefighters" are more the steady, upper body sway-inducing numbers. The best part of this disc is that when properly appreciated, every track can bring a smile to your face. This is the type of music that brings the indie girls off their bar stools and kindly requests them to give it their all down in front. The blend of piano, clean guitars, driving drums, and Newman's instantly recognizable sweet voice are bound to lighten your day a bit. On the flip side to this, when Newman decides to slow it down and bare a little bit of himself, it really seems to come across as a legitimate sentiment rather than the overdose of overly dramatic rock you're bound to see in the commercial realm these days. Hopefully one day AC Newman will be recognized for his prolific songwriting that rarely hits a sour note. Obviously, I don't recommend this one for those of you who are exclusively pursuing the likes of bands like Lightning Bolt or Cannibal Corpse, but anyone who appreciates a well written song with a bit of good feeling that comes with it, this one would be hard to miss out on. [www.acnewman.net]

Following in the footsteps of a famous parent and obtaining your very own success is a tough task indeed. Barry Bonds is a sterling example of this, elevating his name over that of even his accomplished father Bobby. On the other hand, his brother Bobby Jr., a crack addict, just didn’t cut the mustard. Jen Chapin has a name to live up to, that of the late Harry Chapin. Is she a Hall of Famer or a Crack Addict? I’d say neither. I tend to lean on the side that, while she probably won’t hit the pipe anytime soon, she may just pave her own way. “Urban Folk,” as it is termed, can only be pulled off by a few select ladies. Where Ani preaches about her issues that will bore the average Joe to tears, Jen Chapin busts out the emotionally intense, sultry smooth beat jams without making one feel that they need to light a candle for the latest cause. Linger suffers from a bit of overproduction. The delivery would feel more authentic without the sleek values incorporated into the disc. At times during the album, I feel as if I have time warped and am listening to the latest Poe disc. Overall, though, Linger is a good listen that tends to make one think of kicking back in the velvet lounge with a pipe (non-crack) and drink of choice. [www.jenchapin.com]

The second album from Sparta gives me faith in the belief that the establishment of emo-elitism can be rocked within the confines of big daddy Dreamworks. Sparta does not lose focus of the searing, spontaneous, spaz rock that sets them far above their peers while putting this effort on a major label. I find myself following the epic journey throughout a majority of the tracks rather than losing interest in other indie brethren because of bowel induced time shifts in song. While the other half of the former At The Drive In, The Mars Volta, may be a bit more progressive in sound, Sparta lays out the harder sector with no apologies. Tracks like “Guns of Memorial Park,” a catchy number with the right combo of guitar crunch and chorus love, set the standard for Porcelain from the get-go. Porcelain is a complete album that can rock between vintage punk throwdown and storytelling music manifesto. [www.spartamusic.com]

Still one of Chicago's most underrated bands, The Ghost has yet to really break out, playing a style of post-punk/rock/whatever that is all their own, without compromising their sound for a cash-in based on fashion or the recent "punk rock/emo" craze. The rawness that the Ghost has always displayed is still present, and Brian Moss' lyrics remain the band's shining star. Though some of the vocal formulas might be a bit overdone (sing-scream-talk-repeat), and choruses aren't as catchy as heard on 2002's This is a Hospital, the band redeems themselves with an immense increase in musicianship, grooving more than ever before, and incorporating sampling, acoustic guitars, etc., in just the right places. Moss' vocals embrace emotion as well as anyone in his league. The downside, sadly, is the quickness in which one can grow bored with This Pen is a Weapon, the defect that has also plagued them in the past. Songs tend to be drawn out and tiring, and there is little variation from track to track. Nothing sucks, but none of the songs exactly stand out. When The Ghost combines the best of both records, the punk rock world will have a new hero. But in the meantime, their outstanding live shows will be the key success factor behind the band. [www.theghostband.com]

Raman Kia had something to write about, and his affinity to music was his outlet as he grew up in war-torn Iraq for the first nine years of his life. Buddahead (Kia) delivers high octane lyrics that are filled out with sweeping orchestral backdrops. At times, you can feel the pain in his voice as he tries to release his anger in tracks such as “Holding Me Back.” Crossing the Invisible Line offers instrumentation on all platforms throughout the entire album. The harmonic stylings and backing vocals of John Popper add to the warm, intimate, and even reassuring flavor on “Invisible.” The only downfall on this album is that toward the end, the show winds down in a big way. The momentum gathered by the first couple of tracks gets lost among Duncan Sheik-like impersonations, laying on a level of sap that takes away from the strength of the CD. [www.buddaheadmusic.com]