So far, this has been quite a year for the indie music elite. Legends have reunited to play music once again, darlings like Modest Mouse have finally achieved some name recognition and sales, and living legends like Sonic Youth have proven their staying power with great new albums. Now it is P.J. Harvey’s turn to shine bright. Standing as one of the foremost ladies of indie rock, Harvey has built a solid and steady career with her solemn and crooning melancholy style. Uh Huh Her, the seventh album in her many years, proves that her stature in rock is well earned. Ever changing and evolving, but staying central to her style, Harvey has adapted, grown, and flourished like a snake shedding her skin. The album starts off nicely with “The Life And Death Of Mr. Badmouth,” but takes a jump forward with two very strong tracks in “Shame” and “Who The Fuck.” The albums first single, “The Letter,” doesn’t jump off the page as the strongest or catchiest track but sits nicely in the upper half of the quality meter. Finishing off the strong start, “The Slow Drug” is a moody and beautiful track playing to Harvey’s strengths and showcasing why she continues to be a force to be reckoned with. The album hits a monotonous stretch on the back with a few tracks that are strong but not dissimilar enough to raise any attention. However, the stronger back tracks, namely “It’s You” and “The End,” more than support any low moments. “The Desperate Kingdom Of Love” and “The Darker Days Of Me & Him,” both fittingly despondent titles, leave you with the type of slow love/hate song you have come to expect from Harvey, and deliver just what you want from a few nice album enders. Harvey has stayed in the public eye with collaborations with The Desert Sessions and others, but Uh Huh Her soundly exudes that her solo form may always present her best work. Fans will not be disappointed, and some new fans may even jump on board, as this effort is polished enough to draw you in but gritty enough to have depth. Some artists change, and you fear what that may mean from album to album. But Harvey manages to walk a rarely successful line, changing and evolving while somehow staying the same, and that is what we love about her. [www.pjharvey.net]

I know that leaves have made a good album, but it is something I needed to sit and contemplate over a few times until you realize the value. It almost feels like a soundtrack to an indie broadway show, because each track is a lush production. “I Go Down” the opener, is a somewhat dark tone which I can see introducing the strife of the cast of the show. “Catch” is a more upbeat, more traditional verse-chorus verse type of song that could be sung by the star-crossed lovers of the show. Later on “Suppose” is an acoustic driven powerhouse that can be the big powerhouse solo for the show’s breakout star. Finally, “Race” nearly closes the album with its most elaborate production and emotional melodies of “we can make it” can serve as which could serve as the big finale/resolution of the show. Comparisons are hard to avoid, so if a gun was put to me head forcing me to name some names, I would think of Coldplay and Travis. Despite the production and obvious thought and emtion that goes into each track, it sounds more like a background music to a fairly dull, sensitive new-age guy’s dinner party than something I would purposefully listen to repeatedly. [www.leaves.tv]

Usually I am all for women singer/songwriters with soulful lyrics to bring out my womynpower or to have an artist to relate to, but Rachel Yamagata completely misses the mark. This quick EP runs contiguously with no discernable feeling or emotion. Her songs are definitely more on the soulful Norah Jonesy-side and definitely not marketed on a teen-pop level. She does have a decent enough voice (most of the time) giving forth that husky, breathy soulful voice, except she doesn’t change it much. Her melodies never really reach anything of interest, and the lyrics are of the run of the mill, "I’m lonely/I want you back/I can’t breathe without you/I doubted you" variety. The melodies never stray from anything other than a lazy crawl - I’m not saying I need speed metal tempo to enjoy something, but this comes off as more drowsy than relaxing. The sole exception is “Worn Me Down,” which is moderately catchy, except that higher notes seem to be a little hard for her (remember: sing from the chest, not the head!) If this EP is any indication of her work in general, I will certainly skip her full-length for the fear of musical insignificance. [www.rachaelyamagata.com]

One of the problems of releasing such an incredible debut album is that there is little room in which to make improvement. The Catheters seem to have fallen prey to this problem. The songs on Howling...It Grows and Grows! seem to be the rejects from the amazing Static Delusions and Stone-Still Days (see review) just gathered and thrown together on this album. Gone are the haunting songs with unique and sustaining guitar-riffs and insightful lyrics. Taken on its own merits, this album seems to be a bombastic collection of the frontman’s nasally, guttural utterings and loud, in-your-face guitar chords, except with none of their debut's originality or lasting impression. Sorry guys - The Darkness already have the monopoly on cock-rock. The same garage-y, Seattle-esque sound is there but without the spark that made me fall in love with them. [www.thecatheters.com]

Those of you who loved “Love Fool,” this is not your kind of Cardigans album. In fact, if you are a huge fan any of the songs that became big or moderate hits for the Swedish stars in the States, Long Gone Before Daylight might just be one you should skip. However, if you like poignant, beautifully artistic nouveau-folk rock, you’re in luck because The Cardigans have delivered just that. Aside from the initial confusion you might feel when you first pop in this latest offering, I think you will find that Long Gone… is an excellent mood album. If you are feeling slightly melancholy, maybe riding on the Metro alone in the rain, or just need something to work or drop off to sleep to, you would be hard pressed to find a better record out today – at least one that is still interesting and not just cheesy. Most of the tracks revolve around the central theme of love and love lost in one form or another. The opening track, “Communication,” contains the brilliant line: “And I hold the record for being patient/With your kind of hesitation.” Some of the more up-tempo songs are “For What It’s Worth,” “Live And Learn,” and “For the Boys,” but they still maintain the reflective lyrics and the almost wistful music that is so pronounced on the slower songs. No one can deny that Nina Persson has one of the sweetest, lilting voices in music, and anything she touches can easily turn to gold just on the strength of her vocals. She is a “Swedish Elf,” as I recently overheard at one of their shows, and can be as enchanting as any mythical creature. But to go on and on about Nina is to ignore the equally strong talents of the musicians with whom she is fortunate enough to work. In particular, guitarist Peter Svensson certainly knows how to write a melody, and his deliciously simple yet lush music is the perfect marriage to Nina’s poetry. While many fans of The Cardigans might initially be somewhat baffled by Long Gone Before Daylight, I encourage you to give the record a chance to breathe. I think you’ll find it to be a folksy, introspective journey into the best of that beast called modern rock. [www.cardigans.com]

August 29th, 2003 saw the end of Atom and His Package, as the one man band played his last show. But fortunately, that day also saw the birth of what would come to be known as Hair:Debatable. For those of you unfamiliar with Atom Goren and his package, (that is, his instruments, not genitalia), the goofy punk rock kid has spent the last half a decade or so writing his own humorous, oft-nonsensical, sociopolitical sequencer/guitar based songs. It's nearly impossible to hear any of Atom's songs without at least cracking a smile. "Hats off to Halford," "Undercover Funny," "Pumping Iron for Enya," "Punk Rock Academy," all the hits are here, even a hilarious version of Fugazi's "Waiting Room." And unlike many live recordings, Hair:Debatable comes out sounding as good if not better than any of the studio recordings, complete with onstage chatter, crowd banter and participation and also has the "bonus DVD" that so many albums seem to be including these days. Atom fans will buy this, some people will be annoyed, and new fans will be pissed that they hadn't checked him out before the package's demise. And for those of you who fall into the latter category, this is as close as you'll ever get to the real thing. [www.atomandhispackage.com]

I had high hopes for this album--expectations that weren't met. I figured that any band with Dan Precision (ex-88 Fingers Louie and Rise Against) would be worthwhile, and this isn't to say that Break the Silence is a bad band; it's just that Mr. Precision has seen better days. Near Life Experiences is an average-at-best record, blending the lines between punk, hardcore, and metal without being too rough or too melodic. But something is lacking, and for starters, there's this ever-present feeling of the singing clashing with the screams. I don't mean that vocalist Dan Wintercorn isn't a quality frontman, but the switch from rough, throaty shouting doesn't cross over well with the softness of his singing. In addition, the songwriting is plain out lackluster. As much as I adore Mr. Precision's former bands, I have a hard time with this record after a few songs. Many of the melodies are too predictable and therefore, boring. The talent is definitely here--Break the Silence has talented members, but they have yet to coalesce as their skills predict. Once Break the Silence smoothes out their edges, they'll definitely be something important. But until then, you'd be better off with the first Rise Against record. [www.break-the-silence.com]

It’s pretty funny to me when a band can be around, putting out music fairly consistently, for nearly a quarter of a century, yet still almost no one (at least in this country) can pronounce their name correctly. Finally, those six years of German pay off! Ok, so say it with me now: Ein-shtur-tsen-da Noi-baught-en. Moving right along, the godfathers of German Industrial music are up to their usual tricks using the sounds of air compressors, plastic tubes, electric fans, sheet metal, pipes, and other staples of the genre on their latest release Perpetuum Mobile. And I think it’s lovely that the lyrics are included, both in English and in German, so you can read along. Although, I wouldn’t recommend looking too deeply into the lyrics with such lines as “Where is the key? Where is my hat?” There are some times where not knowing what is being said can make something soooo much more impressive. The album is really very melodic, despite what you might think given the odd choices in noisemakers. It is quite nice in some songs like “Paradiesseits” (“Paradising”). “Selbstportrait mit Kater” (“Self-Portrait with Hangover”) sounds very much like you would expect really. It’s very measured, much like the din of pounding in your head after a nasty night of drinking cheap schnapps. And hasn’t everyone had one of those? “Youme & Meyou” is a very politically conscious song and is sung in English. Perhaps this is a pointed effort to make sure that we consumeristic Americans can understand it. “Der Weg ins Freie” (“The Way Into the Open”) is a dueling-vocal, mechanical trip, and the chorus to “Dead Friends (Around the Corner)” is as catchy as anything on so-called alternative radio today. I don’t think that lead singer Blixa Bargeld (notable also as guitarist for Nick Cave until recently) and the other gentlemen of EN are kidding themselves. I am sure they are fully aware that they are unlikely to make converts of anyone who is not already a fan of their music. But it’s admirable that they continue to stick to their guns, as it were, and keep putting out consistently good and interesting music for those of us tragic sorts who like to haunt darkened clubs stomping about. [www.neubauten.org]

Tulsa Drone features a six-foot bass hammered dulcimer. So right off the bat, you know this group has something different to offer. No Wake feels like a dark instrumental trip through some uncharted territories. Strangely enough, this is a bit off-putting at first. After trying to listen to their disc a few times, I just put it down and decided I wasn't going to get it. It wasn't going to happen. But then it clicked. The instrumentation is intense. The basic musical structure is similar to that of Mogwai, Tortoise, or any other dramatically building instrumental group. However, Tulsa Drone manages to put their own unique spin on the sounds that are required to make this extremely effective. The songs are driven by dark deep basslines but are carried by the unique dulcimer sound and guitar. You might think that having nine songs with the same basic formula and instrumentation would get old. Fortunately, No Wake is engaging to epic proportions. High points on the record include "The Devil Changes Colors", "Fiery Seven", "Vendetta", and "No Wake" for the most morose trumpet you've ever heard, the feeling of impending doom, somewhat creepy quietness, and dulcimer feedback.. in that order. Admittedly, it took me a minute to really catch on to what Tulsa Drone was offering. The songs are dark, textured, and invoke the feeling that it was written to some sort of narrative; you just don't know what it is. No Wake is highly recommended for anyone with a penchant for instrumental, dark, rock that comes with a bit of a twist. [www.tulsadrone.com]

A quick synopsis of the movie is an order for this review: This documentary shows how Rodney rose to fame as an influential DJ on K-ROQ in LA, introducing many punk and indie bands over the radio. The fact that he had such an influence on music baffles me - Rodney’s other main accomplishments are being buddy to the stars and maybe doing some occasional coke in Studio 54. Other than that, he is kind of a sad man with an extremely grating voice, not much in the looks or intelligence department and barely any personality. But it made for a fairly entertaining documentary, mostly for the many star cameos. If you didn’t see this movie, there is no reason you would want this album. Many of the tracks are from some major acts of the era, like X’s “Los Angeles”, Alice Cooper’s “School’s Out for Summer”, the Ramones “I Wanna Be Sedated” (of course), Blur’s “Parklife”, David Bowie’s “All the Madmen” and Starsailor’s “Good Souls”. If you are fan of music, I can rest assured that you have heard these before or already having these in your collection. If you don’t, I would rather pay my own money for you to own them than have you own this soundtrack. Without having seen the film, I think this album would be even more horrendous. Nearly half of the tracks are audio snippets from the documentary, some are from his D-list celebrity friends and some from Rodney himself. It’s not like the movie was so amazing that I would want to relive these moments. In addition, there are several “novelty” songs on here as well, such as an ode to Jennifer Love Hewitt sung by a mentally deranged homeless friend of Rodney’s, as well as a track of the film score with more audio clips played over it, and also “I Hate the 90s” with Rodney sing-talking over a bad guitar track. Oy vey. The two tenths of a point are for the track of Chris Martin of Coldplay singing a live version of “Yellow", which is always nice, and the Dramarama track which I secretly like. (I would never be able to live with myself if I actually purchased a Dramamrama album). If you are Rodney Bingenheimer, the score for this album will be 5.0. If you are anyone in the human race that is not Rodney, please don’t ever look directly at this cd, much less let it grace your stereo. [www.firstlookmedia.com]

I didn’t expect the soundtrack to the Punisher to be the Nevermind of the decade, but I didn’t imagine it practically being a parody of itself. Try this exercise: take a pad of paper and make a list of recent overhyped Nu-metal bands. Now, I’ll bet you have listed Puddle of Mudd, Nickelback, Chevelle, Seether, Trapt, and Hatebreed. Guess what? You’ve named the tracklist of the Punisher soundtrack. Congrats. The soundtrack definitely succeeds in capturing the essence of the movie. I haven’t actually seen it, but I know I am safe in assuming that this soundtrack would fit it better than say, a Jane Austen adaptation. If the aformentiond bands are in your collection, then this cd will make your day. Now, if I may slip back into the role of indie-music snob…oh my lord. They are exactly what you would expect from each of these bands, and each of the tracks sound like everything else the bands have done (Except for Trapt - it is actually a power ballad). There is a track from Queens of the Stone Age, which is a disappointment and was probably a remnant from their recording sessions for which they had no plans, so they made a bit of cash money by lending it to the soundtrack. The only highlight – and I’m really stretching the definition of highlight - was the track “Broken” by Seether featuring Amy Lee of Evenescence. I think she has a great voice, and it is the type of song you can belt out by yourself in the car just like you do “Bring Me To Life” in secret. I know I am biased as someone who already doesn't have a liking for Puddle of Mudd, etc., but I wouldn't expect anyone else who doesn't to check out this album expecting to like it. I know you probably have better things to do and better things to listen to. [www.punisherthemovie.com]

I am not even sure why remixes are even made, unless it is DJ Spooky doing a remix of Jamita Jo’s new single. VHS and Beta already do a decent job of creating electronic music; I am not sure if a remix enhances what they are doing or just changes it completely. The orginal album version of “Solid Gold” is decent but bordering on mediocre. It sounds just like its title - a throwback to the 70s disco/dance era. The mixes do not add anything better to it, especially Bob Mould’s (!) remix, which makes it sound appropriate for a bridge and tunnel club in midtown Manhattan. To be honest, I cannot tell how the other mixes enhance it, except for making the track longer and maybe adding an extra beat within every 10th measure. I can’t see anyone else besides diehard VHS or Beta fans purchasing this “maxi-single” of "Solid Gold". So, for all three of you out there, I guess it is worth it. [www.vhsorbeta.com]

I'd like to think you can't go wrong with an album that leads off with the track "Harry's Ass is a Picnic". This six-song EP shows what Hint Hint is about, and yes, sex is indeed eveything. It is impossible to not group Hint Hint with the new trend of using keyboards and electronics, which could involuntarily put them in the category of “dance-punk.” Whatever the grouping, this could be either the soundtrack to a cutting edge indie film or a low budget porn. Because it is only an EP, it only gives a hint of the potential of Hint Hint. The EP alone does not say much about the band, but if this is any indication of their style and potential, logic will tell you their forthcoming full-length will be worth a listen. [www.sexiseverything.com]

Scott Lucas and Brian St. Clair do one thing, and they do it well. Writing big riffs, growling out anthematic choruses, and throwing in the occasional intense lead guitar/feedback wall seems to come naturally to this duo. In fact, listening to Whatever Happened to PJ Soles? makes you want to see the band live and confirm that from the first riff of the first song, they will be pouring with sweat and giving the rock all they've got until they collapse. Local H has never been one of those bands with songs that require the combing over of each line of lyrics to decipher what it is that the artist is trying to say. Much like the music, the lyrics are straightforward and honest. Unfortunately, this is a bit of a detriment if you're looking for something with just a bit of substance. One of the album's most intense songs, "Heavy Metal Bakesale", would easily grab you musically, but you might find yourself pulling down that fist of rock when you catch yourself chanting "Heavy Metal Bakesale! Heavy Metal Bakesale!" On the flip side, the brutal honesty of a track like "California Songs" berating the seemingly constant love that musicians give to California is refreshing and clever. Whatever Happened to PJ Soles? is easily the blueprint for what you should have come to expect from Local H - an hour of big riffed rock consisting of intense 3-5 minutes song, one 10 minute jam out ("Buffalo Trace"), and one more laid back song ("Mellowed"). Strangely enough, none of this material feels rehashed or recycled from previous albums. Local H is able to keep their style intact and keep it fresh - adding new sounds, new techniques, but always retaining the rock. Local H may not go down in your rock books as most influential band or most consistent with reinvention, but they should be heavily noted as high quality, enjoyable, full force rock. [www.localh.com]

If you've ever listened to AIR and found yourself pining for a bit more soul/r&b/mild funk influence to seep its way in, you seriously need to go out and pick up the latest from Zero 7, When It Falls. If you aren't familiar with AIR, or haven't found yourself pining for those things, then let me explain a few things. If you take a nice deep groove-inspired bass line, floaty acoustic guitar, add some keys, toss in the occasional horn, flute, or string instrument, and spice it up with some more modern day electronics then you have the recipe for any AIR or Zero 7 song. The difference being that where AIR uses vocoder vocals or French humor, Zero 7 uses languid female vocals or R&B male vocals. So, enough with the AIR comparisons. I'm sure it's something that the band gets all the time and is fairly sick of. When It Falls has a little bit of everything you need from a disc of this genre. Need a little more upbeat bass line with harmonica solo? Got it ("Look Up"). How about a melancholy drifting song? Got it ("Over Our Heads"). Spacey synthesizers with full on orchestral strings? Yep ("Speed Dial No. 2"). Zero 7 are obviously masters of their craft. When It Falls will provide the perfect backdrop for relaxing, calming down, having a drink by the pool, casually hanging out with your lady/signifigant other, and drifting off to sleep. [www.zero7.co.uk]

Many times a band can ruin their chances of grabbing a potential new fan by not starting off strongly enough. If you're a rock band, and you don't wow your audience right off the bat, you're setting yourself up to work twice as hard to gain their attention later. The January Taxi seem to do just that on their disc Keep Quiet, They Might Hear Us. You're greeted with the song "Ashtray Parade," that is apparently considered the strongest song from the disc judging from the available downloads of the song on the band's site and from their label, but the song would induce heavy head bobbing at best. Followed by "Girls With Six Strings," you find yourself starting to doubt that the band is anything beyond a straight ahead, run-of-the-mill, chord progression rock band. Not until the disc hits "Jome" - the album's quiet/loud song - do you start to get a feel for the fact that the band has a few more tricks up their sleeve than you expected. Some nice vocal production, subtle guitars mixed with the occasional outburst, and the band finally has your attention. The trend continues from there with "Star Light The Sun", "Where It was", and "Threading The Needle" - all of which show that the band is capable of a bit more than they are letting on. Overall, the harmonic vocal arrangements that pop up every so often, the bittersweet lyrics, and the penchant for straight-forward no-thrills rock reminds me of Knapsack or The Jealous Sound. Hopefully the band won't take its own advice on keeping quiet and will branch out to new sounds; it certainly seems like they are capable. [www.thejanuarytaxi.com]

Hailing from Cork, Ireland, Ciaran McFeely is the one-man band Simple Kid. He didn’t have a straight shot to the notoriety he’s getting now, but his self-titled debut solo album has some very neat and equally strange music going on. Sometimes he evokes the sound of Beck; sometimes he evokes Ziggy Stardust. And sometimes he just does his own freaky thing. From the computerized beckoning of “Hello,” you can tell this is a record that isn’t easy to ignore. You might love it or hate it, but you will find that you have to form some kind of opinion. And while Beck is an obvious influence or comparison, there is enough individuality in the quality of the music to keep it different and entertaining. He has that sort of quirky “I am an iconoclast” stuff to him for which critics and “cool people” everywhere are sure to praise him. If you’re not paying attention, you might think you put in Neil Young by mistake on “Truck On.” The sound doesn’t continue throughout the song, but the opening harmonica is completely Neil. With an anthem like this though, it’s not likely that the, um, fashion trend of trucker caps will be leaving us soon. “Supertramps and Superstars” actually sounds like it could have been a Revolver-era Beatles tune. It's plucky and has distorted vocals telling the story of a tragic party girl who’s “…dressed up with no where to cry.” This is probably the most cohesive song on the record. Nasally and sing-song, “Kids Don’t Care” is an ode to the apathetic youth that had the same effect on me sonically as fingernails on a blackboard. The twangy guitar and blasé delivery coupled with another Neil Young harmonica were just a bit too much. There is also a rather irreverent little diddy as a hidden track at the end that opens with “I don’t give a damn that Diana was halved.” Yikes! Call him a little daring at least for that one. I think the problem with Simple Kid for me lies in the fact that I can’t quite follow what’s going on. There are so many styles colliding on the record that I just can't get too invested in it. Still, at least it was enough for me to actually feel something, one way or the other, about every track. These days, that’s saying something. [www.simplekid.com]

Ah, Lit. Surely you remember “My Own Worst Enemy” from either their debut album A Place in the Sun or that ridiculous video for “Miserable” featuring Pamela Anderson lying around eating the band members. Right? Now you remember. And do you remember how silly and annoying the music was then? Well not much has changed. Lit has always been a band that borders on the edge of pop and radio rock with just enough edge to not come across as completely cheesy but staying formulaic enough to appeal to the average “Alternative” radio listener. But Therein lies the problem. People who really care about music and are looking for something challenging or different aren’t going to find it in Lit. Sure, the songs on this record are good songs in their own right. Clever vocals (which are notably more cynical than in past albums), nice pretty choruses and melodies, and a good rock song or two are all present on the album; however, as a music lover who seeks creativity and passion in music, this just feels like a radio pop album. When I write a review, I try to write it from the perspective of not only my own taste but also from the perspective of our average reader. I feel pretty confident that while there is a large group of people who will like Lit’s latest offering for all of its pop-rock glory, very few of those people read this site. For the rest of our readers, you already knew not to buy a Lit album, now didn’t you? [www.litlounge.com]

The power of music is that it can take you anywhere you want to go. It can make you happy, sad, reflective, optimistic, pessimistic, joyous, pretty much anything that suits you. Artists like Norah Jones and Coldplay, focus on the power of the soothing ballad to build their careers. Songs that make you dream away the day and relax with a smile on your face fill their albums and fuel their success. The tricky part is that laid back music can often fall into the background, never really being noticed. Hopes And Fears marks the stateside landing of Britain’s Keane, a trio whose dreamy pop songs focus on setting the listener down for a musical massage of relaxation. “Something Only We Know” opens the album with a catchy brit-pop longing love song, pulling you in with interest. “This Is The Last Time” hints at the 80’s feel the entire album has. You can’t really pinpoint a vocal influence, but every song sounds oddly like it was influenced from two decades ago. The meat of the album kind of flies by with a recurring theme sticking throughout; when you pay attention you groove, when you don’t you can miss the entire album. “Can’t Stop Now,” for example, is groovy background music, building steadily to a nice end. It is a nice enough song, but if you don’t want to listen, it won’t force you to pay attention. The album ending “Bedshaped” is one of the highlights of the disc, bringing full circle the experience, ending on a high note, like it began. This is one of those fence-riding albums that kind of stump you as a listener. You definitely don’t have anything hateful or bad to say about it, but nothing really makes it a noteworthy experience. The songs individually succeed at making a laid back sound that has enough catchy and poppy overtones to satisfy, but as a whole the album just kind of fades. If you are in the mood to relax, this album will do it and do it admirably, but be careful, if you aren’t paying attention you may miss it. [www.keanemusic.com]

Schizophrenic; that is maybe the best way I can describe this album. Vinny Miller is an English lad signed to 4AD records, as a bit of an off beat artist. Described as “operating on a field of one”, his songs are simple yet complex; featuring an acoustic guitar, but layered with many cursory instruments. After some compilation tracks, his debut albums comes out with a bit of anticipation, but unfortunately it would have been wise to trim the fat before releasing this into the world. On The Block suffers from one basic flaw; it is unfocused and scattered. Amongst the quality tracks are weird little pieces that bring nothing to the album and only make you scratch your head. Opening with “The Yes/No Game”, a vocal conversation caught on tape, you think “what’s the point of tracks like this?” and you start to wonder what you got yourself into. “Breaking Out Of Your Arms” eases the doubts with a nice acoustic lo-fi affair to get you set, and “Roll Complete” and “Pigpen” (the first single) continue with a good outing. Then “Cromagno” comes on… Seriously Vinny, what is this? Two cavemen having sex and singing? Surviving that is just the first in the ear Olympics. The next event is “Afternoon Nod”, a spacey piano piece that is aimless and much longer than it needs to be, followed by “Bogeyeater” another psycho rambling that at times comes to a direction, but then wonders again. Lastly we get “Millalude”; which sounds like someone is trying singing while gargling and the results are about what you would expect. Taking a break amongst the aforementioned, we get “Bagged and Tagged”, a nice and laid back track with a bit of a Pearl Jam vocal/harmony feel to it at times. “Hogbreath Busts A Move” is more of a focused track that showcases some potential if the artist would just shoot towards something with a bullet instead of a shotgun, scattering all about. The bright side is that the album ends pretty nicely. “Alioth” is sparse but tight, one of the strongest songs on the album, and “On The Block” ends the album on a high note again with a touch of Pearl Jam-esque melodic vocal sound. Unfortunately the dark side wins in this battle, and the album as a whole falls short. Although most of the “songs” on the album are decent enough and show potential, the other tracks really take away from the work. It is like a really good bowl of soup with a few flies in it. Sure the soup is pretty good, but who would order that? [www.vinnymiller.com]