I'll have to admit that I hadn't heard of this band until they toured with Against Me!, and then I knew I had to look into them. Sadly, I haven't heard their previous material; I hope to do so eventually, but I imagine it would be hard for Lucero to have written anything better than this album in the past. Playing a style that blends southern rock, alt-country and even a touch of punk, Lucero's latest is a record you could listen to while sitting on the back porch on a summer evening, drinking whiskey and watching the sunset. Pretty straight-forward but not boring, catchy but not the least bit annoying, sorta fuzzy and very relaxed. The vocals are the most "country" thing about the band, a perfect raspy drawl. The album really doesn't lag at all, but the definite song to hear would be "Tears Don't Matter Much." As soon as Lucero gets some more exposure, they could definitely be picked up by a major label. Listening to That Much Further West makes that prediction an easy thing to see. [www.lucerofamily.net]

Ever heard of Plan-It-X Records? Most people haven't. While the label probably hasn't even sold 1000 copies of any release and won't take it up to the "next level," there is still a lot of success seeded in the Indiana based company. With the motto "If it ain't cheap, it ain't punk!", Plan-It-X has managed to keep all of their prices around 5 bucks or less, allowing you to buy 3 albums for the same price those punks New Found Glory have their album selling for at the local mall. Bands like This Bike is a Pipe Bomb, Abe Froman, Carrie Nations, the Bananas, Operation: Cliff Cavin, etc., have laid the foundation for the label with a lot of folky punk rock, never polished and always sincere. Ghost Mice (Hannah and Chris from The Devil is Electric) plays that aforementioned style using acoustic guitars, fiddles and the occasional harmonica. This is the band's best work (and best recorded), and if you like one song, you'll enjoy the entire album. A cover of The Smiths' "There is a Light That Never Goes Out" is a wonderful surprise at the end, and I only wish I could hear what Morrissey would have to say about it. Personally, I think it's better than any other Smiths cover I've heard. This band will never be famous. They'll probably never grace the cover of any music magazine, anywhere. But people who have heard this band respect and love them for what they are--completely honest and modest people playing fun, emotional music without a care in the world for the almighty dollar, fame or a glossy image. [www.plan-it-x.com]

While Old World Underground bears resemblance to the electronically robust Eighties music genre, it is not by any means a “revival” of the preset-keyboards and excessive echo/reverb decade. For one, the production is a smooth integration of synth-instruments and indie-rock, not the oversaturated-electronically-unkempt Eighties approach. The electronic aspects are used to reinforce Emily Haines’ satirical rants and James Shaw’s caustic guitar riffs rather than drowning out the human element. In short, it is substance over style, an example of what music twenty years ago should have been. The songs are smooth and exceptionally easy to fall in love; each has its distinguishing hook, whether it’s the vocals, polished keyboards or the facetious/almost comical lyrics. The elegance embodied in the song writing and performance is articulated perfectly by the exceptional production that is the work of Michael Andrews, the man responsible for the ambient-yet-uncanny electronic masterpiece the Donnie Darko soundtrack. In fact, I would go as far as to say that there hasn’t been a producer/band relationship as cohesive and symbiotic since The Flaming Lips teamed up with Dave Friddman. The electronics are quaint, not so much experimental as just a unifying element that bolsters the smooth rhythms and solid writing. Most importantly, Metric isn’t just another contemporary retro band-of-the-week; this is an incredibly beautiful album that combines intelligent song writing with a unique sound. Go buy this album, you will love it. Emily says it best, “People should recycle more plastic and less culture." [www.ilovemetric.com]

Some bands fly high; some bands sink like a rock, and some bands just hover. Like one of those “The ______s” bands that will forever be on the Warp tour year after year after year. Gameface is just such a band. After years of releases, on just as many labels, the boys decided to call it quits late last year, but not before one final siren song. Four To Go marks their first full length release with label Doghouse Records. Twelve tracks of catchy, hand clapping, punk pop fills the last effort from a band that most people have never heard of but quite a few enjoyed. The album mainly sticks to what the band does best, and that is the reason it is arguably their strongest effort but also the reason they just kind of kept their head above water. The album starts off with a couple of catchy tracks, but it isn’t until “Four Chords, Seven Years” that the album really starts to come into its own, leading into the equally strong “When You’ve Had Enough.” Vocally, both tracks will bring Better Than Ezra to mind as a reference. “Give Me Something Real”, “Stop Anytime” and “Don’t Get Me Started” continue a nice flow of songs, but the problem lies in that most of them are easily drowned out and don’t demand your attention. If you choose to really listen, you will find some catchy songs, but if you are listening while doing something else the album can quickly fly by without notice. On one hand, it is a shame to see a hard working bunch of guys finally call it quits, but on the other hand they made their fair share of music while they could, and maybe it was time to bid adieu. Better than a lot of what gets put out these days, but just not quite up to the level of great, Gameface hung around as long as it could, and gave us some decent music. Ending the album on a perfect note, “this concludes our test/give everyone our best,” this album showcases what they did best, and while it wasn’t something extraordinary, it was still worth a smile and a song. [www.gamefacefourtogo.com]

The first time I heard of Rasputina, it was as a side note reference to Nirvana. Band leader Melora Creager toured with Nirvana on their final shows, lending her cello-playing ability to songs like "Dumb" and "Polly." When I heard she was in a 3-piece alternative band based around dueling cellos and dramatic, wintery, brooding songs, I was very interested. I caught a live show of theirs a few months ago around the time of release for their latest CD, Frustration Plantation. Dressed up in colonial garb, they created an aura around the venue, playing quite a large selection of songs from their latest. I stood in amazement watching what both women could do with their cellos, watching their stone faced drummer with perfect timing and listening to Melora's hypnotic, trancing vocals create a nocturnal atmosphere. I was absolutely lost.....and thoroughly enjoyed it.

Frustration Plantation musically reflects its name: a little bit of a southern, swampy marsh feeling to it. Not so much alt-country, though. It's more a theatrical-ambience-type thing they have going for them. It's evident from the start of the first track, "Doomsday Averted." Just like during their live performances, they sprinkle in short ditties that break up the seriousness of topics on some of their songs with light, bizzare humor. Tracks like "Momma Was An Opium Smoker" and "Wicked Dickie" are good examples of that. But unlike their live shows, there was a less straight ahead approach. With layered recordings, they could add more than just drums and cello. You'll also hear a dulcimer, some drum programming and tons of effects on the cellos adorning these songs. It creates a new type of ambiance for the songs I had only seen live and made the recordings that much more memorable and enjoyable.

I wouldn't call it a concept album, but Frustration Plantation is definitely somewhat thematic, considering the Southern feel and topics in the songs, as well as the image they have for their live shows and recent promo shots. It's a great, interesting, almost challenging release that's definitely worth quite a few listens. [www.rasputina.com]

I have heard rumors that 80s-style technopop was back for a few years now, but not until I popped in the debut long player by Cut Copy did I feel like the music had been truly recaptured. If you put New Order, (early-ish) Depeche Mode and Daft Punk in a blender, you’d get Bright Like Neon Love, which, if you love that music like I do, is probably the closest thing to heaven you’ll find this year. From the minute you lay eyes on the bright pink disc with fab zig-zaggy green neon lettering, you get the vibe. This could very well be the soundtrack to a John Hughes film. Cut Copy’s main man, Dan Whitford, hails from Australia, but since the album was produced by a Frenchman, it doesn't take long to recognize that frothy, ethereal French syth-pop sound that permeates bands like Air, Stereolab (at least their latest) and Daft Punk. This comes out especially on “Saturdays,” which sounds a lot like Stardust’s “The Music Sounds Better With You.” There isn't really a huge amount of variation musically on the album. Most of the tracks have a poppy, casio-left-on-one-setting sound. But all in all, like I said before, if you like that sort of music, you will be happy. The optimistic “Time Stands Still” opens the record on a high note and will have you smiling and bobbing your head within five seconds. Another standout track is “Autobahn Music Box.” Like a lot of the vocals on the album, the ones on this track sound like they have been run through a computer, but the music is a little heavier than on the other tracks, and that’s the part I like best. There’s a little darker edge to it and more variety to the rhythm. Just about every track on Bright Like Neon Love is bouncy, even the sad songs, and the nostalgia factor is turned up to 11 (particularly if you find yourself over 30). Although what’s on this album may come off initially as breezy and light, the songs are layered and well-crafted. Think of Bright Like Neon Love as sort of a meringue: very light, very fluffy and very hard to do well…but rather nice when it works. [www.modularpeople.com]

Some of the greatest American bands to come out of the old days were harmony driven acoustic bands that focused on tight melodies and storytelling of love. The likes of Crosby, Stills & Nash, and the Eagles became as American as apple pie, and their influence can still be heard in today’s music. Take as evidence 4 Way Street, an amalgam of the past and the present, armed with piano, acoustic guitars, rotating vocals and harmony. And, yes, their name is a nod to the aforementioned CS&N. Pretzel Park marks the debut effort for this foursome from the City of Brotherly Love. Comprised of four of the areas biggest singer/songwriters, the band was an idea for fun that became their main gig. Switching vocal duties from track to track, the album sound varies while maintaining a definite feel. The very Eagles inspired opener, “Change Gonna Come,” is an admirable song, grooving along and doing the inspiration justice. Two songs later “Love And Hope,” an acoustically driven love song, proves to be one of the stronger laid back songs on the album. “Shoot The Moon” continues the strong flow leading into “Everywhere You Go,” one of the more instantly memorable songs on the album and a great ending to the beautiful first half of the album. Unfortunately, that's where it starts to go a little downhill. “Annie Also Ran” showcases some of the weaker aspects of the album, over done on the background vocals and almost forcibly harmonized. “No Blood” follows it up but sounds a little too “kum-ba-ya"-like for my taste. The perennial epic song of the disc lies in “Sister Moon,” a strong song, but it is kind of spacey at times and has more of a jam band feel than the rest of the disc. Fortunately, “Barbed Wire” finishes up the disc on a high note. Focusing on the imprisonment of the wild and the loss of what made America American, it is a perfect example of the old time good country Americana feel this band shoots for and generally hits. Overall this is a strong disc from a band whose individual talents come together to form an amazing harmonized whole. This is one of those bands you would love to see at a festival or an outdoor amphitheater on a sunny day. A nice debut, filled with what made some of the American bands of the yesteryear great, but the step down in song quality on some of the later songs on the disc and a few weak points prevent it from being great. Worth a listen for sure if you are a fan of harmony and acoustic guitars. [www.4wayst.com]

If The Moody Blues started making music in 2004, they would probably sound, on their best day, like The Beta Band. In fact, I’m willing to bet that the lush layers and dreamy psychedelic music on Heroes to Zeros would make the purveyors of trippy rock with a conscience rather envious. More than just a record, Heroes to Zeros was a “meeting of the minds” for the UK foursome. This was the first time the guys produced themselves, and the result is an album that is uncompromisingly innovative and imaginative. There is nothing here that doesn’t make sense, and the music is more cohesive than ever. If you read SU’s interview with John Maclean, then you know that the process for recording this time was also unique. Each member had the freedom and technology to create something individually for every track. When they got together to listen to and assemble the pieces, what eventually ended up on the record was the best of everything that was brought to the table. And believe me, it shows. The first single, “Assessment,” is a full-on rock song complete with dueling guitars and a politically fueled video portraying “the history of human warfare.” The tumbling rhythms of “Space” and janglely bounce of “Easy” are two of my favorite tracks. “Troubles” delicate strains express the band’s feelings about the tumultuous climate of the world around us and in our own back yard: “It’s about time we had a laugh; I know that I’ve been cryin; too many people; too many troubles; too many miles of lyin.’” “Out-Side” features tribal beats and a variety of sound bites from dog barks and trains to thunderstorms and this weird sound that made me think my cell phone was about to explode before I realized it was the song. And by far to me, the coolest song on the record is “Liquid Bird.” There is an almost machine gun-like beat in the background and rippin guitars. It almost sounds incongruous when you consider the rest of the disc, but there is enough of the band’s rich layering to make it fit perfectly. Really, the whole experience of the disc is one that would be a good opener for folks who have yet to get into the band as well as a rewarding ride for anyone who’s been a fan for years. The Beta Band didn’t have to seek indie cred with Heroes to Zeros; they are already critical and fan favorites, and yet you end up feeling better and better about loving them every time you pop the disc in. This is one club that I’m pretty happy to belong to. [www.betaband.com]

I've tried to write a review for this CD too many times now. It's a tough, daunting task considering this is my favorite band. Add in the fact that I've already reviewed one disc by them last month and that I just don't know what to write about this band any longer. First off, I guess I can say that there shouldn't be such a thing as a Pixies Greatest Hits. That's what Wave Of Mutilation tries to do, though, much like the awful, now out-of-print Death To The Pixies attempted to do a few years ago. But regardless, anything with the Pixies name on it is still guaranteed gold. The 4-AD label is forgetting one small fact: You cannot fit every good Pixies song on one CD. It is simply impossible. But this new attempt captures the catalog a whole lot better than DTTP did (seriously, what were they thinking including "Cecilia Ann"....AND starting off the disc with it?!?). Now, we have a better selection of tracks that are more coherently organized, in terms of chronological order. The CD boasts a tracklisting similar to their most recent reunion shows, pulling heavily from the early part of their career when Charles and Kim shared the vocal duties and before the band sounded like they were totally burned out. Almost all of Come On Pilgrim is represented, as well as good portions of Doolittle and Surfer Rosa as well (here's a cheer for including "Broken Face" and "Hey"). The single version of "Gigantic" is a nice inclusion if you haven't spent the money on the CD single. Also, it's great to see "Into The White" with Kim on lead vocals and the absolute EXCELLENT b-side cover of Neil Young's "Winterlong" included. As a Bossanova fan, it's sad that they don't consider that CD's tracks among their strongest. Same goes for Trompe Le Monde. But again, there's no way to include everything you'd like as a fan. What they have assembled is definitely admirable. There is nothing more to say about this band. It's the fucking Pixies. Yes, I already had these tracks on other releases. Yes, I've had these on Death To The Pixies already. Yes, I could probably go home and burn myself my own personal "best-of" collection. But I love this band, and in hopes of them staying together and giving us new music, I'm willing to spend the $12.99 at Borders, hit the repeat button on my CD player, and hope for the day a new album is released. If you are a Pixies fan, splurge a little. If you're not a Pixies fan, you're just a casual fan, or you've never heard the band before (HA!), it doesn't matter: You still need this CD. [www.ilovepixies.com]

Tribute albums are a tricky thing to get right. You can stick straight to the songs or attempt to make them your own. You can opt to do nothing but the bands hits, or go for more obscure and personal songs. One thing remains crucial though, you must keep the spirit of the band alive in your version of the song. Although their heart is probably in the right place, the collective of bands on this tribute don’t reach the bar on this jump. Bring You To Your Knees, put out by Law Of Inertia records mainly consists of near death metal sounding bands running through an array of Guns & Roses hits. Some are brutal, some are admirable, most are par at best. The opening riff of “Welcome To The Jungle” gets you excited until the growling metal vocals come in, and the song turns into mush. “14 Years” is the first track that starts to get close to what a cover should be, but the performance and production leave a little to be desired. “It’s So Easy” continues the string of admirable efforts but starts to fall right back into crapsville. “Nightrain” and “Anything Goes” have the right idea and are pulled off well, but not enough to rival original versions in any vein. “Sweet Child O’ Mine,” arguably Guns & Roses most popularly familiar song, is mixed up with a nice piano riff intro and solo, but growling vocals kill it, and the tempo sounds a bit too fast. “November Rain” is almost unrecognizable on first listen, but grows on you. Unfortunately it loses its soul with the absence of the guitar solos of the original masterpiece. The rest of the album is fair but just not near what you would want for a fitting tribute. What made Guns & Roses special was Axl’s unique voice and Slash’s amazing guitar work, and the failure to stick to those aspects of the band is ultimately where this album fails. The vocals from track to track sound very similar (growling along), and in most cases the solos are shelved in favor of metal guitar “chuck-a-chuck” strumming. If you happen to be a fan of some of the bands on the album it might be worth a listen, but most people would be wise to just pop in Appetite For Destruction, listen to what the songs were meant to sound like, and forget this ever came out. [www.lawofinertia.com]

England has always been stereotyped as a place of gloomy weather and sometimes gloomy music. In recent years, that has most certainly been supported by a wealth of British imports like The Doves, Travis and Coldplay, whose music can be fun and poppy but also more than a little somber. The reasons these bands succeed is in the mix of the two, by making a dreamy album not so dreamy as to put one to sleep and by making a melancholy album not so sad as to make one off oneself. The second full length from Lowgold could definitely be considered in the same category, combining pop, dream and sadness to form one of the best albums from across the pond all year. Welcome To Winners doesn’t come out the box as something you would expect to get addicted to. The packaging is completely black and white, no frills and depicts a lonely set of paper ships in the middle of the sea. Once the disc hits the player though, it is hard to get out. It isn’t so much that the album is catchy or grandiose or unique, but it has a sound that soothes and pleases from front to back. “We Don’t Have Much Time,” one of the more up-tempo tracks on the disc, sets a nice stage for diving into some of the slow tunes, and “The Same Way” drives nicely down the road as a subtle pop song. The mood immediately, but fittingly, shifts on “Let Me Into Yours” and “Means To An End,” two more acoustically driven and laid back pieces. The ebb and flow continues jumping between more upbeat tunes (“Just A Ride”, “Clear The Skies”) and slower tracks (“Keep Your Gun Dry”, “Save Yourself”), but the crown jewel has to be “Fade Down,” a song that successfully combines both sides of the disc into a grand culmination of the band's vision. Of all the tracks on the disc, it is “Fade Down” that stands up and demands notice. Dreamy, melancholy, whatever you want to call it; a laid back sound doesn’t have to mean a laid back experience for an album. Lowgold has avoided any sophomore slump and built beautifully on the foundation of their debut. Unfortunately, this is a band that might get lost in the shuffle. The album shows up as an import on most web sites, and finding the album or a tour stateside might take some waiting, but if you can find this little gem, grab it. One of the best albums I have heard lately. [www.welcometowinners.com]

How many times has your mom told you not to judge a book by its cover? Plenty I am sure, so when the debut album from Brides Of Destruction came in the mail, I tried my best not to jump to conclusions. Formed by one-time 80’s rockers Tracii Guns and Nikki Sixx, it is very easy to make an assumption of what the album would sound like. Rounded out by Scot Coogan, whose advertised “big break” was being the touring drummer for a boy band, and newcomer London LeGrand, the boys are up against some tough odds to prove the preconceptions wrong. Unfortunately, Here Come The Brides, doesn’t stray too far from what you would expect to hear. Weighing in at only nine tracks, the album is a bit short, which is both good and bad. Most of the songs are straight ahead rock about drinking, killing, screwing and abusing. There isn’t that much substance to songs like “Shut The Fuck Up”, “I Don’t Care” and “2x Dead,” but did anyone really expect there to be? Like most of the hair band rock from the 80’s, most of these moments are best forgotten. Like it or not though, we all have a few hits from the decade of decadence that we still love to this day. Be it Bon Jovi, Warrant or a throaty rendition of “Every Rose Has Its Thorn,” we all have our guilty pleasures, and in brief moments, this album serves to satisfy that dark side. After a brutal attack of sub-par rock, the album saves its best tracks for last. “Revolution” and “Only Get So Far” are vintage songs you kind of hate but kind of laugh happily at. Perhaps the lone light in the tunnel is the track “Life,” a catchy upbeat rocker with quite an addictive chorus. Let’s face it; the cover tells the story with this book. It’s an album by rockers from the 80’s for people from the 80’s. It isn’t a very good disc, and that’s the fact. A couple tracks might give you a head banging flashback, and “Life” might even be a radio hit if it were marketed properly, but this isn’t a disc worth picking up for the vast majority of people out there. [bridesofdestruction.com]

I am always amazed at the courage any songwriter has to perform songs in front of an audience, to share them with people other than themselves. It puts them up for a lot of criticism, and it also is very revealing of character and experiences. I feel like Mike Park has told me all about his life and left many stories open to share. And I truly appreciate it. Yes, I know it has nothing to do with the music, but the liner notes say a lot about wanting to open up through his music. He has a picture of himself every year since he was about six, complete with braces, bad haircuts and acne. His stripped down, acoustic based songs range from singing about heartbreak to what it was like growing up Asian. The best and most clever song, “From Korea,” explains “Screw this I'm leaving / I don't need a racist friend / And I'm not like you / I'm from Korea / My eyes are small, but yours are closed”. The subject matter and the genre could easily fall into the cheesy, open-mic coffee house variety, but Mike Park is full of class and is an expert at putting together a song that is melodic, revealing and well-planned. I almost feel like I want to call him personally and thank him for writing such great music about such personal experiences. Whatever genre you are into, there is no denying that this is great, and you would have to be vapid and cold-hearted not to get any emotion or joy out of this album. [www.mikeparkmusic.com]

Reviewing this album made me give some thought to the whole notion of record contracts. I know it has a lot to do with self-promotion and exposure, but really, how do some bands get record contracts and others don’t? Everyone I know is in a band, so what makes the Hiss so special and "better" than them? I'm not sure. For those of you who read New Musical Express often, a good description of the Hiss is to put them among bands lauded in NME such as Jet, The Cooper Temple Clause, Black Rebel Motorcycle Club and others who play the (sometimes) cookie-cutter, uninspired rock. The Hiss seem to understand how to out together a good riff and how to get that we-paid-our-producer-extra-to-get-that-lo-fi-sound, but what has resulted is one of the most uninspired rock albums I have heard this year. Lyrics are about nothing of interest, mainly, how someone left them and how rockin’ they really are. Surprisingly, the best track on the album, "Listen to Me," is unlike any other track on Panic Movement. Here, we can finally see some true creativy and passion along with an actual memorable hook and tone to this pseudo-love song. The Hiss may make it due to hype, good promotion and image, but I doubt that can sustain them for long. [www.thehiss.com]

Ah, The Thermals. I will admit, I wasn’t into their last record, More Parts Per Million. As much as I wanted to be, I just couldn’t get past the “intentional” low-fi sound and dirty recording. I mean it is one thing for an album to sound old or un-produced, but when it starts to sound messy, it is too much of a distraction from the music for me. With that experience behind me, I approached the Thermals new album Fuckin A with a good bit of hesitation. However, this time around the band has cleaned up their sound just enough to make the quality of their songs really shine through. Now don’t get me wrong, Fuckin A is certainly not a pop-record, and you won’t find any super slick production anywhere on the disc. What you do get is twelve great Thermals songs in which the production is clean enough to actually enjoy the songs with ease. The Thermals specialize in the quick, full-on rock assault, and they waste no time burning through the twelve tracks with the total disc time coming in under 30 minutes. The best way to get a feel for the band’s sound is to find an audio clip from the record. Not unlike the Ramones or any other punk or rock band with quick, aggressive songs, one of the few downfalls to the Thermals sound is that it all kinda sounds the same until you really start to get into the music. For that reason, once you hear one song, you will know what to expect with the rest of Fuckin A. With an album this short, I always find myself listening to it over and over on repeat, each time catching a little something else that makes me smile. With Fuckin A The Thermals have taken a huge step in the right direction and proven that they are an incredibly talented band. After a few more listens, it might even impress me enough to go back and give More Parts Per Million another try. [www.thethermals.com]

Not being familiar with Wheat, I was pretty unassuming when I got this disc in the mail. Produced by Dave Fridmann, who has worked with luminaries The Flaming Lips, and reading a brief bio, I begin to think the album had potential to be decent. It took about 30 seconds of the first track to destroy that idea. This album is not decent; it’s down right great. Blending part pop and part rock with some alt country, Wheat has produced an album that is as American and wholesome as the grain sharing its name. Per Second, Per Second, Per Second… Every Second finds the trio far more optimistic than in years past, and the transfer from sappy sad suckers to a tight and jamming band is astounding. “I Met A Girl” opens the album with a charge of sweet sorrow, making you smile listening to the tale of love and love lost before it could begin. “Breathe” is groovy and dreamy and sets the album into the mood it follows throughout: part riff driven, part piano, part acoustic strum, part dreamlike trance. Closing up the first half of the disc, “Some Days” sounds like a New Radicals song with a midwest twist. The album pendulums between dreamy acoustic epics and fun and gun strumming, optimistic love and mournful falls, and nowhere is that more evident than in two of the albums later, and stronger, tracks, “The Beginner” and “Closer To Mercury”. “The Beginner” is a laid back acoustic, epic sounding piece about facing new things and new experiences with an anxious but open heart. Two tracks later the swing is complete with “Closer To Mercury,” an almost 70’s rocker meets The Marvelous 3, focusing on lost love and mourning while moving on with life. The grain has grown tall and fruitful in these fields as Wheat has put out one of the tightest pop rock records I have heard all year. Touched by stellar production and completed with strong song writing, Per Second, Per Second, Per Second… Every Second is a must-listen for anyone who enjoys Americana pop at its best. Combining a variety of influences and sounds ranging from Wilco to Matthew Sweet, the album is a joy from beginning to end. Well done boys. [www.wheatmusic.com]

The Lake Effect is the second release from Portland-based Daniel G. Harmann, and it’s clear that he is presenting himself as a deeply emotional and thoughtful person. Unfortunately, if you can’t understand a word the man says, this may be lost on you. This is the problem I’ve run into on the album. I’m not denying that the music is lovely; it is indeed, and for that reason alone, it’s worth a listen. But for me, someone who cares deeply about lyrics, the garbled vocals in what is described as a “delicate falsetto” leave much to be desired. It sounds like his jaw might just be wired shut. I find it frustrating, and I know the lyrics are printed in the liner, but that’s not the point. Just enunciate a little; that’s all I ask. Fortunately, the lyrics are sparse, and the album relies mostly on Harmann’s excellent music. So onto the music, which is the album’s saving grace. There is a very soft, sad tone throughout most of the record, which is enhanced by the use of cello and mellotron on songs like “Broken Will, Bleeding Heart” and “Ghosts of the New Harbor” respectfully. Using the barest of instrumentation (guitars, piano, bass, the aforementioned cello and mellotron, a few well-placed samples and little percussion), the melodies are often mournful and reminiscent of the dejected and lost feeling some of us have experienced from time to time. They luxuriate in their melancholy, and the acoustic flavor and seemingly-effortless production really make the most of Harmann’s musical prowess. Basically, if you can get past (or maybe appreciate) Harmann’s husky vocal style, The Lake Effect does have several redeeming qualities. The music itself is truly beautiful, and I suppose that once I memorize the lyrics, I won’t notice his lack of clarity as much. [www.hellotower.com]

In 2003, there was (in my opinion) an influx of too many garage bands that cluttered up things in the music scene. Most of these bands were quick copies of what the White Stripes were doing too. So when I heard about the Fiery Furnaces, I loathed the idea of having to sit through their CD. You see, they're a brother/sister garage/blues rock band from New York City. Enough said, right? Their debut Gallowbird's Bark sat on my desk for months until, bored one day, I finally gave it a shot.

With some pretty cool riffs, a wily, quirky sound and absolute chaos bound together in quick 2-3 minute songs, Gallowbird's Bark got my attention quickly. No, it wasn't the White Stripes. No, it wasn't a cookie cutter of what all the other garage bands were doing. The Fiery Furnaces are just as clever as Jack White with their song writing, but they channel a more bluesy thing, like JSBX and Muddy Waters and John Lee Hooker.......or at least like a garage band from NYC covering their songs. Their sound is so realized that this seems like their 3rd or 4th attempt at getting their sound right........not their first. The songs are tongue-in-cheek and have loads of humor (especially with lines Eleanor sings, like "Slit my wrists with my Swingline/Copied myself 500 times").

All in all, this is a pretty good CD. I'm not a huge garage rock fan, and perhaps if I were I would've given this a higher rating. But if you want cool quirky, bluesy, chaotic and wily, tight and organized all at once, give this one a few spins. It does seem to get better each time revisited. [www.thefieryfurnaces.com]

Here is some quick and dirty background information on Spymob. The band formed shortly after founding members Eric Fawcett and John Ostby graduated from college, and the pair later brought in guitarist Brent Paschke and bassist Christian Twigg. After recording a demo that got heard by Pharrell Williams of Neptunes fame, the band was suddenly skyrocketed into the spotlight as the backing band for N*E*R*D. What followed was a year of touring around the world and seeing lots of success with N*E*R*D. Months later, Spymob settled down and got to work on their debut album, Sitting Around Keeping Score. Now the band is setting out on its own to prove they have what it takes to be successful. Spymob is without a doubt one of the most interesting bands you will hear all year. With equal parts pop, 70s soul and classic rock, the band blends together an irresistible sound that is both catchy and musically challenging at the same time. The album was recorded on mostly vintage instruments, and the warmth and richness created by these instruments helps to create a very soothing record. Some of the stand-out tracks include the amazingly quirky “It Gets Me Going,” which has a great bass line and vocal track that will stick in your head for days; the title track, which starts out with a Ben Folds-esque piano part and goes into a sample heavy pop masterpiece; the fit to be radio-hits “Stand Up and & Win” and “National Holiday” and on and on. There really isn’t a song that isn’t worth mentioning. I don’t really know what else I can say to get you to check out this record. Hopefully, a really high score and the fact that Pharell and I both feel that Spymob is one of the most refreshing new bands releasing music today will convince you to at least look a little further into the band. As for me, I’m hooked. [www.spymob.com]

Ben Kweller is right up there with Andrew WK as one of the nicest guys in rock. His good attitude combined with youthful energy and freshness make it hard not to like the guy. However, while Kweller has clearly grown up a bit and that maturity is evident in the songs on On My Way, somehow it just doesn’t seem as fun this time around. I felt it was important to mention how likeable Kweller is as a person because before ever hearing this disc I really wanted it to be good. Unfortunately, after my first listen I was somewhat disappointed, and despite allowing some time for it to grow on me it still hasn’t really lived up to my hopes. Now with that said, I don’t mean to imply that I think the album is bad. It is actually pretty good, and songs like “Hospital Bed” and the really groovy “The Rules” are classically great Ben Kweller songs. However, tracks like “My Apartment” and “Living Life” lose my attention and break the flow of the album. My overall disappointment comes not so much from lack of quality content but from the album not living up to Sha Sha and not feeling strong as a whole. It is clear to me that with On My Way Ben Kweller is trying to show a more grown-up and serious side of his songwriting. However, part of what makes Kweller’s music so great is the exuberance and almost cheekiness of his songs. For me personally, that made On My Way seem like a mediocre album from a very talented, nice guy. Sorry Ben. [www.benkweller.com]