What blows my mind about Phantom Planet's 2004 self-titled release, the follow-up to the really quirky and cool The Guest, is that they somehow got Dave Fridmann, master of the "wall of sound" technique, to make them sound a lot like The Strokes. That's not a slag on the band by any means; in fact, this CD is rather good. It's just amazing that the man responsible for the Flaming Lips' and Longwave's sweeping sounds took on a power-pop band and adapted a real garage-y sound. Phantom Planet has stripped off their former influences, such as Fountains Of Wayne and Superdrag and Weezer, in favor of a French Kicks/Strokes sound. Maybe they were as sick as we were of hearing "California" being played FOX every other minute. Whatever it was, they got dirty for this release, and it's pretty cool that they did. I do miss Alex Greenwald's cool voice singing like on The Guest, but his new Casablancas-crooning style isn't bad at all. The first half of the album is really really raw, but by the end of the CD you'll hear the pop band that you've heard before, which I think is the best part of the CD. This CD, though, may be very frustrating to some people. On one hand, O.C. viewers may pick this up and be appalled by it. The garage kids may pick this up and feel Phantom Planet has no cred. Regardless, this is a really unapologetic pop CD, some of it really raw and some of it showing the band's true colors. It's definitely worth the time to check out if you're even remotely interested in the band or the sound. Or the O.C. [www.phantomplanet.com]

Featuring double guitarwork from Leif Thorseth and Dagan Harding, Brennan Schwartz on drums and bass from Joel Passmore, Canadian punk boys Despistato are making their run at the Rock Star Dream. Translated from Spanish, the band's name means “confused,” and that's a start in terms of describing their EP Emergency Response. The confusion comes from the clear seperation of what they have nailed and what they don't. Part of the formula works: The music. The beats are quirky and tight, and the dueling guitars really come together, complimenting rather than overpowering. In songs like “Take This Picture,” the rhythms undulate and crash in sublime perfection. The bassline lays a confident foundation throughout. Unfortunately, however, part of the record doesn't work: The vocals. Not only is it difficult to make out lyrics, but the whole mealy-mouthed mush is just too high pitched. Most of my time during the first run-through was spent just trying to adjust my equalizer so that I could get the vocals to where they were not making my teeth hurt. I never managed to find any setting that took care of the problem. There is a lot of potential on this record, and for the most part, Despistado have the rhythmic end of things figured out. They have raw energy and urgency on their side. Now, if they would just get straightened out and bring the vocals down a notch. [www.despistadomusic.com]

The 10th release from Buddyhead is a 2-disc compilation showcasing their label’s roster. One of the reasons it is a double album is because the boys at Buddyhead have included 10 (to coincide with their 10th release?) of their favorite prank calls made to many unsuspecting bands and managers. While some of these calls are quite amusing, most of them leave you feeling like maybe the guys think they are funnier than they really are. I can’t think of giving these more than one spin. But thus isn’t a comedy album, so lets talk about the music. Well, only a couple of the songs did I find truly great. Your Enemy’s Friends' “The One Condition,” complete with new wave keys, and Radio Vago’s post-punk “Shudder” start disc one off strong. Unfortunately this rocking level doesn’t continue throughout the whole double album. The low point comes from the Dillinger Escape Plan doing a cover of Billy Idol’s “Rebel Yell.” There are some rare tracks on the compilation like Mike D and “The Tick,” collectively known as The Latch Brothers, remixing the Murder City Devil’s “Press Gang” and At the Drive In’s “Rascuache” to some bizarre results. But I feel the rest of the album doesn’t pack a hell of a punch. It's not bad though when you consider that this is just Buddyhead’s 10th release and that most of the bands will probably mature(?) and improve along with them. [www.buddyhead.com]

Yet another collective band hailing from up north (go CANADA!). Having only heard a brief comment about similarities to Broken Social Scene, I was excited to be introduced to Arcade Fire live. Unfortunately, I arrived late and only caught their last song. I was, however, very impressed by what I heard and proceeded to buy their self-released EP. From the opening hook of “Old Flame,” I knew this was going to be in my CD player for weeks. The pleasant and strangely familiar sounds of accordion round out the song and give it a nice upbeat feeling. The Broken Social Scene comparison is valid when you think of the variety of song types and their ease in transitioning from one to the other, from Regine Chassagne’s Bjork-like vocal style on the harp driven “I’m Sleeping in a Submarine” to the somber ballad of “My Heart is an Apple,” which has a feel like it could have been a lost track from The Flaming Lips’ The Soft Bulletin. Overall the sound quality and production could be better. But the fact that the songs shine through the lo-fi recordings, show the groups talent. The two standout tracks on here, “No Cars Go” and “Headlights Look Like Diamonds,” both have driving melodies that showcase the band’s fun energy the best. Sure they are a 6-piece from Montreal, but don’t call this group a bunch of followers. Arcade Fire’s debut LP is set for a September release on Merge Records. And judging from this EP, that will definitely be one to look for in the fall. [www.arcadefire.com]

Dave Scher and Jimi Hey, the two neo-hippies behind All Night Radio, have played together in other groups, like Beachwood Sparks. With the release of Spirit Stereo Frequency, it's apparent that they wanted to further their psychedelic experiments. Some of these songs sound like the perfect soundtrack to super 8 home movies from the 70s about summer road trips and beach bonfires. The massive amount of layered instrumentation draws you deeper into All Night Radio’s bizarre world the more you listen. From the sitar-like riff of “You’ll Be On Your Own” to the jangling pop gem of a closer “All Night Radio,” all of the elements are here: reverb, delayed and echoed vocals and guitars, strumming keys, and syncopated drums. I would hesitate to call this record a throwback effort because although all of the factors of 70s psychedelic pop are present, the record does convey a feeling of being current. I don’t see too many imitators dong this type of sound as effectively or sounding as accomplished as All Night Radio does on Spirit Stereo Frequency. I can’t say that I will listen to this repeatedly, but if you find yourself in the right mood, listen to this the whole way through. You might be transported to All Night Radio’s far away galaxy. [www.flyingradiobats.com]

Miss Kitten is getting a lot of air time on the local college station (around here anyway), and the Swiss economist/artist/graphic designer-turned-dj, also known as Caroline Hervé, has put out quite an ecclectic record in I Com. Some of it is blatent techno, but it's the subtleties in songs like “Kiss Factory” and “Dub About Me” that keep things interesting. Having worked with the likes of Felix da Housecat, Chicks on Speed, and most frequently, The Hacker, Miss Kittin is quite adept in the art of putting together catchy, arty songs. The cold, metalic quality on some tracks is tempered with a sweetness in others that keeps you guessing as to which Kittin will be showing up. I have to admit, of the 12 songs on I Com, “Requiem For a Hit” is probably my least favorite, but even it has some catch/cool elements. Who doesn’t like a good sexy throaty groan? By far, my favorite song is “Kiss Factory” with its sassy lyrics sung in Miss Kittin's Euro accent: “No kiss around the clock/only French ones left in stock.” It has a flirty, almost confection-evoking innocence – like spun sugar. I don't know if this makes sense, but think twee. And then, she turns around with songs like the animatronic atonal “Clone Me.” It's the unexpected that draws you into wanting more. There is enough variety from the multi-lingual Swiss Miss to make Europop and techno fans very happy. It's more creative than a lot of the drivel that tends to come out of this genre, and it's for certain that the songs do not blend into one another, sharing one, droning, beat. I Com is an intriguing mix of what you might expect from someone who grew up culturally between Paris and Berlin. [www.misskittin.com]

It is clear to me that the only reason this reissue of the Calculators’ Ciruit Breaking Silence/Simplicity and Style is in my hands right now is because of the Rapture and their blossoming into indie favorites and major label material. Perhaps I should explain more: the Rapture’s Luke Jenner and Vito Roccoforte were two of the five members of this short-lived synth-rock outfit in San Francisco from 1997 to 1999. Thus, in light of what has happened in the five years since the Calculator’s demise, it is easy to see that these two 10”s were merely starting points. However, years before dance-punk would become a growing indie trend, this is proof that the Calculators were, in fact, ahead of the game. And the songs are even well crafted, as they piece the icy synths of Gary Numan, the desolate vocals of Robert Smith, and the proclivity for melody of New Order into an amalgam almost worth listening too. Still, this was only a starting point, and that much is obvious. [www.princehouserecords.com]

Throughout the length of Neu, Polysics crossbreed the requisite choice of Devo with Horse the Band and the Red Light Sting to arrive at an album that is frantic, frenzied, and capable of igniting anybody with enough energy to dance. But don’t be expecting just any 4/4 dance tracks here; instead, Polysics throw new wave jitters into a serrated punk blender that results in A.D.D.-riddled songs that seizure all over the musical map. With absurd lyrics like “Spread the butter or spread the jam/ kick out the ball or kick out the cat” and electronic squiggles spilling all over Neu, Polysics are a band that can rouse crazy, wide-eyed energy for about one song, but a full album is nothing short of annoying. [www.polysics.com]

Melissa Auf Der Maur’s musical career could be looked at as a mixed bag of blessings. Jumping onto the scene as the bassist for Hole, she achieved the dream of being able to make music for a living and perform. But going on that ride with Courtney Love couldn’t have been easy. From there she jumped over to The Smashing Pumpkins, one of the biggest bands of our time. This time she was facing a tall task by replacing a longstanding member of the band, but once again she was in the shadow of a larger than life frontperson in Billy Corgan. No one can argue that the pluses have outweighed the minuses and that being in two successful bands is a dream, but stepping out of the shadows and into the light of control has got to be a good feeling for Melissa. Auf Der Maur was financed by everything Melissa has earned and culminates in an album she has long dreamed of making. Luckily for us it was money well spent. The album does showcase some of the same influence Melissa had on her former bands, but for the most part, it is a heavier, more bass-driven affair (no surprise there). A lifelong musician, it isn’t surprising that her disc is very tight instrumentally, but somewhat pleasantly surprising is how clean her voice is. The leading single “Followed The Waves,” starts with a siren scream sending notice that the once shy girl has come full circle to be a woman of rock. “Real A Lie” and “Taste You” highlight the front half of the album with heavy but catchy melodies that are instantly contagious. “I’ll Be Anything You Want” and “My Foggy Notion” show her keen ability to construct opening guitar riffs, and build a solid song on top of them. “Overpower Thee” stands out from the disc as a piano driven moody PJ Harvey-esque track, giving the album a glimpse of versatility. One of the strongest aspects of the album is the diversity of its similar songs. Some songs open with bass, some with catchy guitar riffs, and “Skin Receiver” opens with a drum beat to drive the song, yet all stay true to the style of the album, just using different instrumental focus to give the songs character. “I Need I Want I Will” caps off the disc with the heavy influence of Josh Homme, also evident throughout multiple other tracks of the album. This is a strong debut effort from an artist who has been part of our rock world for a long time. Each track blends a heavy base with catchy melodies to form a rock album well worthy picking up and listening to. Perhaps the greatest achievement of the album is that you get the feeling that after all the years and miles, Melissa finally gets to have her shining moment. It is always a good thing when one of music’s genuinely good people gets something they deserve. Not only deserved, but earned, with a great album. [www.aufdermaur.com]

Is anyone else but me bored with indie music? I haven’t heard anything truly unique and exciting in awhile. Recommendations are welcome. Sugarplum Fairies do nothing to remedy this situation. It’s not their fault, they’ve just become my scapegoat. Bad timing I guess. Introspective Raincoat Student Music is just another Mazzy Star/Nico spin-off. An afflicted Aimee Mann also comes to mind. Since most of the album sounds the same, I’m going to take the first five tracks as my representative sample: Track 1 – “Lunchbox” – 27 seconds of pre-recording tuning, out-of-sync improv. No real purpose. Track 2 – “Touchdown or Fly” – Keeps a slow and deliberate pace with a punctuating slide guitar in the background identical to Mazzy Star’s “Fade into You.” However, the vocals are more aloof and much less emotional. Track 3 – “Sugarfree” – Silvia Ryder’s pitch is much higher here than in the previous track. Song structure resembles an early 70’s Nico or Grace Slick composition. Track 4 – “Tomorrow’s Always One Day Late” – Dark methodic verses give away to a surprisingly light bridge featuring a brief duet between Sugarplum Fairies’ only two ingredients, Silvia Ryder and Ben Bohn. This duet accentuated by a modest piano solo may be the highlight of the album. Track 5 – “Sticky Summer” – A ghoulish song akin to “New Slang” by The Shins. Unlike the previous track, Ben Bohn’s voice is much less confident here. Hence, the use of adjective: ghoulish. Now repeat tracks 2 through 5 three more times, and you’ve heard the entire album. Essentially Introspective Raincoat Student Music is highly predictable and monotonous, and perhaps that’s what’s so boring with indie music today. Once again, recommendations are welcome. [www.sugarplumfairies.com]

When you listen to the self-titled album by LA-based The Shore, you might think you’ve heard it before. Their music is incredibly familiar, sounding a good deal like the Verve. The main difference is perhaps in sophistication. If you think of The Shore as a cleaner, less produced Urban Hymns, I think you can figure out if they’re your cup of tea or not. Put together in 2002 with the help of producer Rick Parker, singer/songwriter/guitarist Ben Ashley, guitarist Kyle Mularky, bassist Cliff Magreta and drummer John Wilmer quickly attracted the interest of Maverick. While the 10 songs on the album are thoughtful and melancholy at times, they never feel too heavy. They are comforting in their intimacy and in the sense that you feel as if you have known them for years. One of the most outstanding tracks is “Hard Road,” the album opener that alludes to the overall atmosphere of the record. It’s beautiful and epic, showcasing Ashley’s sweeping vocals and dreamy melodies enhanced by violins and a slide guitar. “Firefly” is as good a indie rock song as is out there right now. They stumble slightly on “Take What’s Mine,” with fumbling guitar work that just doesn’t sound as thought out as the rest of the album, but they recover quickly. “I’ll Be Your Man” is a country-rock song with a catchy hook sung in a lazy drawl that works perfectly, and “Coming Down” closes the album with an extended maelstrom. It is unfortunate that with press like “The Shore may prove to be 2004's college panty dropper." (FHM), many people who would really enjoy The Shore’s music might not even bother to check them out. Do yourself a favor though and ignore the press…except for SU of course. With beautiful artwork and relying on the strength of Ashley’s songwriting, The Shore convincingly presents itself as a heartfelt alternative to the usual, chirpy summer musical fare. [www.maverick.com]

Never judge a book by its cover: The New Lou Reeds sound very little like Lou Reed. Rather, they combine the quirkiness of Frank Zappa with the vocals of Les Claypool and the garage blues of the White Stripes. An acceptable substitute… Screwed by The New Lou Reeds is the first recording from this Cleveland-based trio. The album possesses a certain raw energy that stems from two distinct forces: First, the ardent desire to emulate the influences listed above. And second, the self-imposed need to create a soundtrack that characterizes the doldrums defining their hometown. All you need to do is read the newspaper clippings montage inside the CD booklet to understand their angst. Examples include, “Life for Cleveland kids harder than in other cities,” and “Growing up in the shadows of factories, children play ball next to former dumps and lead-contaminated soil.” Although the album seems a bit sophomoric in production, it is gritty in delivery nonetheless. Singer and lead guitarist Stephe DK carries the baton for most the album while drummer Tony Cross and bassist Nick Cross work hard just to keep up. “The Gutter” and “Leave Him for Me” reek of The White Stripes while “Stranded in Ashland” and “Teenage Metalhead” are solid Les Claypool clones. “Hometown Heroes” is the most traditional rock n’ blues track on the album, and it’s also the closest resemblance to a Lou Reed work of art. Screwed is the typical first album by a band with some neat ideas but insufficient cash flow to refine their sound. Based on the quality of music on this album, the New Lou Reeds may have a future after all. That’s more than I can say for most bands. [www.thenewloureeds.com]

Capercaillie (pronounced: Kap-ir-lay-lee) fuses traditional Scottish/Irish Gaelic music with contemporary jazz. But contemporary jazz is such a vague classification, so let’s get more specific. On one hand, you have avant-garde, experimental, coffee-house jazz. On the other, you have manufactured “jazz made for waiting.” Examples include: elevator music, telephone holding music and doctor’s office music among others. Since coffee-house jazz is the more spontaneous of the two jazz forms, it’s also least likely to be vocal friendly. Please refer back to my first sentence now. Capercaillie layers traditional Gaelic songs structures over blue-note jazz, and, although creative, the resulting product lacks believability. Just like Jason Alexander will always be seen as Seinfeld’s George. Gaelic music will always be seen as highland bar music made famous by Irish and Scottish farmers. While lead vocalist Karen Matheson has an incredibly rich and soothing voice, it doesn’t quite bridge the two genres of music. Choice Language sounds more like a soundtrack for The Lion King than a re-interpretation of traditional Gaelic music. However, not all songs are Gaelic traditionals. A handful of tracks are standard contemporary adult songs akin to Solas and Secret Garden. A less spiritual Enya also comes to mind. Another handful of songs are pure instrumentals showcasing a diversity of weapons: bouzouki, rhodes, uilleam pipes and bodhran to name a few. Your guess as to what those instruments sound like is as good as mine. If you think traditional Appalachian folk songs would sound great with Galactic or John Scofield is the background, than you may be interested in Capercaillie. [www.capercaillie.co.uk]

When I listen to the Burning Brides, I get exactly what I want out of this band. Insert the CD, crank the shit, and rawk my ass off. It happened with the first CD, Fall of the Plastic Empire, and it happened with the sophomore release on V2 Records, Leave No Ashes. This time, though, we get more substance and less cookie cutter rock. The Brides, a three-piece based out of South Philly, bring on the noise from the get go on this release. This album, a cross genre of early 90’s post grunge and ham-fisted sludge metal, offers delights that leads listeners to question the exact categorization. That does not mean they hold back from raising their fists and saluting with the devil horns. Leave No Ashes utilizes a bevy of instruments including the farfisa, clavinet, theremin, and a variety of piano accompaniment not expected on a hard rock album. The last track, “Vampire Waltz,” a catchy sing along number, has its star power cameo with the addition of Mark Lanegan and Mike Watt. Radio would be best suited to chart “Heart Full of Black,” “Come Alive,” or “Dance with the Devil,” and bear fruit of a possible clone to the commercial viability of Queens of the Stone Age. Make no mistake, the Burning Brides’ main accomplishment in this album is using the different aspects of the rock spectrum to get listeners to move their ass. Unlike many garage rock counterparts, the Brides fill the plate and give us a complete album, not two or three minutes of noise per track. [www.burningbrides.com]

In 2002, Liars tore apart punk, dismantled noise and inverted funk to create one of the most self-assured and prolific debut albums ever. And my ears loved it. But after parting ways with their much-lauded rhythm section and retreating into the forests of New Jersey, Liars return with departure of sound with They Were Wrong, So We Drowned. More specifically, Liars’ sophomore album is a loosely constructed album of scattered noise, fractured and inconsistent rhythms, campfire chants, noise-imbued guitar lines, nonsensical lyrics, and unmelodic rustlings. Rolling Stone cast it off as unlistenable and Spin scored it an F, but, the truth is, They Were Wrong, So We Drowned is an album that will carry you only as far as you’ll let it: After enough exposures, it casts an indistinct and murky spell over you, luring further into the half-realized songs. It’s fitting, then, that the album itself is a storyline detailing witches. They Were Wrong is a clumsy, unorganized, and awkward mess of an album, but this is undeniably Liars at their heart. It’s not for everyone, but those willing to wander into the mist and follow the path this album blazes will be rewarded. But don’t be surprised if you trip and fall a few times on the way. [www.liarsliarsliars.com]

With the four members of Roy also serving time in Botch, These Arms Are Snakes, and Harkonen, logic would assume that Roy’s debut full-length entitled Big City Sin and Small Town Redemption would be a tour de force in post-hardcore aggression. But logic would be wrong. With Big City Sin, Roy fine tunes catchy melodies, warm harmonies, jangling guitars, and mid tempo country-tinged sounds into an album rife with edgy, pure breed pop songs. They have accompanied the Weakerthans on a trek across the US, and the fit of kindred spirits is almost perfect. The songs comprising Big City Sin and Small Town Redemption are fine, as they do showcase Roy’s adept ability of crafting catchy pop songs, but the album is simply too complacent and mediocre to rise Roy’s status past being a mere side project. [www.fueledbyramen.com]

I have to say I was duped into listening to Sounds Like Violence, under the impression that they played hardcore. Upon finding out they are on Deep Elm Records, I realized my mistake. Anyway, Sounds Like Violence is from Sweden, and while they don't live up to their name, I haven't been disappointed. Though the definition of "emo" has been bludgeoned a million times over, I can't think of a better way to describe Sounds Like Violence. Andreas Soderlund's voice is the band's adhesive, with singing a rare occasion; rather, Soderlund prefers pure emotional radiance via shouting. Songs like "You Give Me Heartattacks" and "Perfect" are able to convey a lot of angst without being overly dramatic or cheesy and still being arsty, catchy and powerful. The rest of the band does its job well with skillfully melodic, yet unpolished musicanship that borders on post-punk and indie rock. But like I said, the unique vocals are the backbone of this band, and this is what will seperate them from the pack. All in all, not a dull moment, not a poor song to be found. The Pistol has to only be a hint of what Sounds Like Violence is capable of creating, and if their full length can stand up to these six songs, I wish Deep Elm good luck in holding on to them. [www.soundslikeviolence.com]

If you're reading this review, you have probably read at least a couple of the other hardcore reviews I've done for Silent Uproar. I don't consider myself a "hardcore kid" in the least just because I listen to an array of this audible art, but I do love hardcore. The energy, the love and sense of community that permeates the air where kids dance and flail around recklessly for hours on end, the neverending rage, finger-pointing, passion and pride that comes along with that scene--it's endearing. But for the sake of the review, there's only so much you can say about a hardcore band. For the majority, hardcore bands are good or bad with little to no room left for mediocrity. But as far as the Distance is concerned, they're on that thin borderline. While they do nothing new for hardcore...well, that's not really what it's all about, is it? Your Closest Enemies is six fast, hard, and loud anthems, with angry lyrics you would expect from any Bridge 9 band. That's hardcore! [www.thedistance.net]

Before we begin, let's get two possibly ugly facts out of the way. 1) John Frusciante IS the guitarist for Red Hot Chili Peppers. For whatever that means to you, good or bad, he is at least partially responsible for alot of the bands biggest hits including "Under the Bridge," "Breaking the Girl," and a load of others. 2) For those already familiar with Frusciante's solo work, it should be noted that this is his most heavily produced and cleanest sounding record to date. Even the previous release To Record Only Water for Ten Days does not match the professional sounding level of recording that this release has accomplished. So, if you're still with us and don't have a problem with RHCP (there are some who are vehemently against them) and are into an artist expanding into new territories, you are probably in for a treat. John Frusciante's Shadows Collide With People is an enjoyable exercise in experimentation, even though that experiment involves particularly straight-ahead pop/rock songs. The disc is worth obtaining alone for the lead off track, "Carvel," an almost epic track with Frusciante's trademark fervent acoustic guitar, a touch of released anguish in his voice, and excellent usage of vintage keyboards and luscious harmonies. Other highlights on the disc are "Second Walk" - a very upbeat, extremely simple and straight-head (especially for Frusciante) rock song with a great guitar lead. "Wednesdays Song," "Regret," and "Time Goes Back" are all along the same vein of textured, emotional tracks teetering between rocking out and becoming full on ballad. Beyond specific songs, there are two big fundamental highlights on this disc that should be mentioned: First, the collaboration with long time pal Josh Klinghoffer, who not only has a voice the compliments Frusciante's perfectly, but obviously brings some ideas to the table that take the songs even further away from being too traditional. Second, the implementation of keyboards, loops, samples, and random noise. While most prevelant in songs like "Failure 33 Object," "Negative 00 Ghost 27," and "Water," you can feel the presence of these things throughout the album. While To Record Only Water... caught some flack for being too electronic and not organic enough, Shadows finds the perfect balance. Overall, Shadows Collide With People strikes me as the type of album that will certainly have a handful of songs that will grab you right off the bat but also has those sleeper deep cuts that you'll find yourself going for after you've had the album for awhile. John Frusciante is one hell of a prolific songwriter, and it's great to hear such a variety of tracks all with something good to offer. [www.johnfrusciante.com]

Not since Donnie and Marie has there been so much hype over a brother/sister act. Ok, so perhaps that’s a slight exaggeration, but the point is that the Aussie siblings of Bumblebeez 81 are getting a lot of buzz, so to speak, these days. And why, you may ask? Hmm…why indeed. Former art student Chris Colonna reluctantly joined forces with his sister Pia on this experimental mish-mash, and like Chris’s visual art, the music on Printz is primarily collage. Utilizing everything from pots, pans, cars, animals to more conventional sampling, the Beez music can be somewhat chaotic but still manages to be a little funky and mostly coherent. Pia’s vocal contributions consist of husky raps and the occasional blood-curdling scream, but her presence adds a lot to the sound of the record, giving it more depth than would be there if it were just Chris and his computer. Unfortunately, even though some of the tracks on Printz (“Pony Ride,” “Microphone Diseases,” “I’ve Come With Water”) are interesting and have some redeeming qualities, that’s about all I can say about them. There isn’t one song on the album that I can see getting stuck in my head or inspiring the “Oh man, I’ve got to hear that song again” feeling. It’s very artsy and self-indulgent, which I guess is an occupational hazard when you sit alone in your room all day putting stuff together on your laptop. So while the rest of the critical world heaps praise and accolades on the Beez, I’m afraid I just don’t get it. Maybe I really am missing something, or maybe, like all art, Bumblebeez 81’s style and music is subjective – to each their own. [www.thebumblebeez.com]