I don’t know about you, but I’m having a tough time deciphering what country a band is from by the sound of their vocals nowadays. England, Ireland, Australia, Detroit…hell your guess is as good as mine. Well, The High Strung, originally from Detroit, Michigan, have now relocated to Brooklyn, New York. But judging by the sound of These Are the Good Times, one would think this is yet another British retro-rock band. Just like Black Rebel Motorcycle Club (BRMC). But while Black Rebel Motorcycle Club evokes the darker sound of the late 60’s/early 70’s British rock, The High Strung chooses to focus on the vibrant pop sounds of that era instead. In fact, you’ll swear the opening track, “Wretched Boy,” is a Lennon-McCartney composition. These Are The Good Times playfully chronicles the 40 years of rock 'n’ roll to date. Certain tracks recall The Beatles (“Ain’t That Something”), The Clash (“I Got Frustration”) and The Kinks (“Real Nice Boy”). Others compete with The Strokes (“Show A Sign of Life”), The Libertines (“Throwaway”) and Fountains of Wayne (“Cocksure”). The one element all of these bands have in common is energy. Even though the average track length on These Are The Good Times is around two and a half minutes, they definitely pack a punch. If you blend the British Invasion of the late 60’s/early 70’s with the modern British Invasion you’ll get The High Strung from Detroit Michigan. [www.thehighstrung.com]

The words “Just Jack” bring to mind the flamboyant one man show of the lovable Jack on “Will & Grace;” a show of one man drawing from all sorts of songs and dances to express his own unique self. While far from being the character on the show, rapper/singer/writer Just Jack similarly draws on a wide variety of influences to construct his full length debut. Don’t be hesitant at the thought of another white boy MC because this is no novelty; it is a solid album. The Outer Marker is a recipe of equal parts rap, R&B, dance hall, pop and even a little folk and storyteller. The problem with most diverse albums is that it is hard to draw from a lot of sources without drawing too heavily from one or watering it down by drawing from too many. Balancing them all so deliciously is what makes this album a success. From the opener, “Let’s Get Really Honest,” the album jumps into it’s lyrical coming of age story in “Lesson One,” touching on issues of everyday life with an honesty and sincerity not seen often enough. The lead off single “Snowflakes” serves to provide three tracks on the album, as the original version is accompanied by two different mixes tacked onto the end of the album. Succeeding where most remixes fall flat by just basically introducing a new beat track, these two shine by really restructuring the feel of the song into something entirely new. The middle of the album continues its beautiful flow straight into the album highlight, “Snapshot Memories.” The track is split into five parts separated with the sound of a camera shutter: Opening with a piano beat lead rap, fading into an 80’s synthesizer under a robot voiced rap, a slowed down rap, an almost Linkin Park-like guitar/beat combo under rhythmic flow, back into the piano beat. “Triple Tone Eyes” feels like an R&B soul singer verse backed by a techno-rave chorus beat, and the album ending “Ain’t Too Sad” draws on acoustic guitar to wrap up the package neatly. A more than stellar effort from a bright new artist, few modern artists have constructed such a varied album so successfully. The boys across the pond have long stood tall in their rock music credentials, but artists like Just Jack serve warning that no genre of music is safe from a British invasion. A great piece of work from what looks to be an artist to keep an eye on for a while. [www.justjackmusic.com]

When you hear a really confident band, they'll have a swagger that will almost seduce you. From the moment I heard Robbers On High Street's original 5-song demo, I fell in love immediately. First, they have that confidence and swagger, like what the Rolling Stones have or what Guns N Roses had back in the "Appetite" days. Secondly, and what defines them musically, this band sounds exactly like Spoon. I hate to make comparisons between bands but I swear that as soon you hear ROHS you'll think the same thing. Vocalist Ben Troken even sounds like Britt Daniel. But the Robbers do some things that Spoon does differently, giving their songs even more of a jangly, swaggering Beatles' pop sensibility, making them one of the best upcoming bands in NYC. Fine Lines, their first real release, doesn't have all the songs I've come to love through their live performances, but it'll give you a great feeling of what will come on their full length to be released later this year (hopefully). Robbers On High Street seem unphased by the current NYC norm, that is, to be strictly focused on their fashion and wardrobe or the NYC sound. This carelessness feeds into their swagger, immediately noticable from the start of the EP, "Hot Sluts (Say I Love You)." It's just a great opener that drags you into the ROHS world of infectious melodies, fairly original beats, great guitar work and Ben's awesome vocals. By "Debonair," what I consider to be the diamond in this crown, you'll swear you're listening to a brand-new Spoon CD. And I don't mean that negatively towards ROHS; you can obviously tell that Spoon was a major influence for them. They should take comparisons as extreme compliments about their work. The CD ends with the fantastic "If You Let Me," one of my personal live favorites and probably the best song lyrically on the disc. Last year, I was a big fan of Longwave because they had a more slick sound and didn't fall into the same fashion rock category as bands like Interpol or Stellastarr. They did their own thing in NYC, and it paid off. Robbers On High Street should (hopefully) have the same success; maybe not with this EP but definitely with a full length release down the line. They're against the grain of what's happening, and they're really fucking great at what they do. Again, the full length will undoubtedly be amazing, but in the meantime, get this EP to warm you up to them. [www.robbersonhighstreet.com]

Not being a huge fan of Solid State Records, I found this compilation to be pretty good. The label has put together a 2 disc set, the first being music, the second being a variety of videos and live footage of their bands. The label is well-known for being a home for the heavier side of the typically Christian oriented Tooth & Nail Records and has helped put names like Stretch Arm Strong, Living Sacrifice, Blindside, Zao and Norma Jean on the map. Disc 1 (the music) might not last long enough for some people; 11 songs really isn't that much. But it averages out to be a fair demo of the label's history with strong tracks by a variety of Solid State bands. Disc 2 (the videos) would probably be one's reason for purchasing this. A combination of 13 music videos (including 2 from Stretch Arm Strong!) and some live footage from Furnace Fest 2002 makes this a good, if not great buy, if you care for the label's fair reflection of the hardcore/metalcore scene at all. Mewithoutyou, Norma Jean, Dead Poetic and Strongarm are only a handful of the bands who you get to see in action on this one. Compilations are tough to nail in a review for the simple fact that there are people who might love a compilation just for a few songs and could care less about the rest. When it comes to (This is) Solid State Volume 4, it really just depends on how much you care for some songs you've probably heard and some videos you probably haven't seen. [www.solidstaterecords.com]

Jeff Ott and Co. were one of the most important and influential So Cal punk bands of the 90's. The socio-political lyrics coming through Ott's bittersweet voice and catchy songwriting helped make Fifteen one of the premier punk bands of their era. Extra Medium Kick Ball Star was originally released in 1998 on Cool Guy Records, but thankfully, Sub City has opted for a re-release. In addition to 14 classic Fifteen songs (take note of "Rainbow Connection", that song rules), Sub City has put the One Man Running EP by a band called Stress as a bonus on the album. I can't say that I know the relationship between the 2 bands, or if there even is one, but it doesn't hurt the disc. There are so many incredible bands that never gain the recognition they deserve; throw Fifteen into that bunch. But for the fans they have won, they'll never be seen as anything less than greatness. Oh, and I can't forget to mention that "a percentage of the sales of this record benefits Any Positive Change of Lake County, California, a street-based, harm reduction organization that works to prevent the needle born transmission of HIV and Hepatitis C". [www.subcity.net]

Live EPs are usually something huge fans of the artist love but others don’t really care about. A hand full of songs everyone knows with maybe a rare cover thrown in for good measure isn’t enough to attract a lot of buyers, but sometimes it is a nice little extra. The EP in this set consists of five songs off the Bleed American album, the first 4 being live, and the last a studio rendition with no rarities and no covers. Nonetheless, the production and performance is stellar, and the boys sound in top form. Maybe this is not a disc I would have been immediately in line to buy, but its inclusion in the package gives you a great little EP to throw on and cruise to. The DVD consists of a 12-song concert filmed at the 9:30 Club in DC, a 45 minute documentary of the band and the recording of Bleed American, a 10 minute long acoustic session featuring two songs and a 10 minute piece consisting of the band talking about the genesis and history of each song on the disc. The audio quality of the concert is top notch, and it is an enjoyable set from the band. Refreshingly, the set list is not "new release" heavy but draws evenly from each of the bands full-lengths. Each song is performed with energy and skill, and the concert as a whole is very entertaining. The documentary suffers a bit from audio level problems. One member will be shown in a confessional type setting with very low and almost inaudible sound, then the film will switch to another piece of footage where the audio will be much better but consequently much louder than the first piece. While the problem is not annoying enough to make you stop watching, it is something that should have been toyed with to be smoother. The acoustic performance is nice enough, but the addition of the ten minute roundtable about the songs on the disc is a throwaway that would have served well as footage incorporated into the documentary, perhaps as a kind of postscript. Overall this is an entertaining and worthy disc from the band. I was a big fan of the Bleed American disc, finding it tight, focused and balls out poppy. The DVD provides more of the same and will be a welcomed addition to any fan's collection. Not a must have, but a nice package for a small price. [www.jimmyeatworld.com]

I liken Joe Henry to Van Morrison or Lyle Lovett. Not because they have a synonymous sound, but rather because they are mature artists. They’ve defined their musical niche, and their work sets the bar for others in the same category. However, by mature, I also mean they are what they are. Mature artists are proud of the identity they’ve created; therefore, they continually create polished albums with new songs that fit nicely into their musical canon. No big surprises from mature artists, just more concert material. And that’s what you get on Tiny Voices. For those of you who are not aware, Joe Henry is a jazzy singer-songwriter who prefers a piano and horns section to the guitar and harmonica. Tiny Voices streams superfluously through twelve tracks of soft jazz standards that accentuate Mr. Henry’s dominant instrument, his voice. Sometimes Joe Henry sounds like Randy Newman. Other times like Elvis Costello. Tiny Voices does an excellent job of creating musical layers so that each featured instrument has room to maneuver and improvise. While Joe Henry keeps a dark and deliberate pace with his husky voice, avant-garde clarinet and keyboard solos blanket the background. When listening to Tiny Voices, the astute listener will imagine Joe Henry playing to a small audience in a back alley jazz and blues club. Highlight tracks include: “This Afternoon,” “Dirty Magazine,” “Loves You Madly” and “Flesh and Blood,” which is the same track Joe Henry wrote for Solomon Burke’s Don’t Give Up On Me album. Tiny Voicesis not a disappointment for Joe Henry, nor is it a colossal achievement. If you’re unfamiliar with Mr. Henry’s work, it’s possible to initiate yourself with this album. If you’re a Joe Henry snob, then Tiny Voices will re-affirm what you have already come to expect. Joe Henry is a mature artist opting for comfort over curiosity. [www.joehenrylovesyoumadly.com]

I am trying to figure out why these “indie” Christmas albums get made. To truly commemorate the birth of the Messiah? To give the young people something to put on instead of their parent’s Bing Crosby Xmas album? To make money? Furthermore, around Christmas time, I light the candles on that eight-candle candelabra thing, so this is wasted on me, but I will try to see what I get out of it. I, too, can enjoy a modern day Christmas song that takes into account the style and talents of the artist (e.g., No Doubt’s “Oi to the World”, U2’s “Baby Please Come Home” and even Madonna’s “Santa Baby”). Spotlight on Christmas- Rufus Wainwright Ah, Rufus, you can sing the words on a cereal box, and your voice would make me swoon. +.5 points The Winter Song- Eisley I’m already biased. I love this band, and they wrote this song in their perfect, melodic, dazing way with some Christmas bells thrown in the background. +.5 O Holy Night- Avril Lavigne and Chanta Kreviazuk OK, I was gonna rip this apart because it’s Avril, but the fact is she doesn’t have the vocal abilities to pull this off. They even threw in some unknown singer to help her out, but no such luck. I prefer the Eric Cartman version. -1 point Silent Night- Lisa Hannigan Pretty much the standard. Sounds like every other version of this song ever done, and who am I to rip on a classic? 0 points Xmas Cake- Rilo Kiley Again, biased because I love Rilo Kiley, and they give a Xmas song the perfect blend of the depressed, haunting melodies with Jenny Lewis’ great voice that they do so well. +1 Donde Esta Santa Claus- Guster I am by no means a Guster fan, but this is something a little different, makes it a little quirky +.4 points Rudy- The Be Good Tonyas So insignificant I can’t even comment +0 Christmas Song- Dave Matthews Band I don’t know where the Band went, but it is just Dave jammin’ with his acoustic guitar. Good, if you like Dave Matthews +.01 points Go Tell It on The Mountain- Oh Sussana Can’t even comment. You will never listen to this track twice. +0 Green Christmas- Barenaked Ladies Sounds like your standard Barenaked Ladies song. So, if you like the BLs (and I don’t)… -.3 points It’s the Most Wonderful Time of the Year- Martina Sorbara Again, who I am to rip on a classic? Also, Martina has a sassy, jazzy voice that kicks this up a notch. +.2 points Donna & Blitzen- Badly Drawn Boy If you like suicide-inducing music on the holidays (and I know I do), then this is BDB at his best. +.6 points White Christmas- The Flaming Lips The famous tune with the infamous Flaming Lips trippy/ trance-like enhancement. Gives a little more flavor I guess. +.2 points The verdict. If you must, take this album out about December 23 and give it a spin. Return to storage on December 26 at 9am. [www.maybethisxmas.com]

Pike: Incubus has always been one of those bands that's kept me interested to see what they would do next. I don’t love them. I don’t hate them. They have some good songs, but I have always felt the best was yet to come, and if they would venture into another sonic realm they might have some untapped greatness. Unfortunately, their new album serves to just reinforce what I already feel: A pleasing enough band but just not great. A Crow Left Of The Murder opens with the blistering single “Megalomaniac,” a very political song (with a very political video) that does an outstanding job of combining catchy vibes with thoughtful lyrics. What follows is a somewhat bland parade of rock songs. After a few listens they grow on you enough to start to enjoy them and sing a long a bit, but overall they ride the fence between background noise and rock a little too much. “Beware! Criminal,” “Zee Deveel” and “Here In My Room” provide a few nice moments to keep you interested, but at fourteen tracks in length, the album could afford to trim some of the fat. Lead singer Brandon Boyd’s voice soars through most the album and adequately maintains his status as one of the most soothing voices in alternative rock. The rest of the boys are focused and skilled at their weapons of choice, taking skill out of excuses for the effort. Each song is well executed in an album that is a bit harder edged than for what most fans have come to know them. Incubus is a group you can’t help but like for their occasional hit and mainly for the fact that they stand tall as a group of genuinely nice guys amongst an industry sometimes filled with rock’n’roll stereotypes. The problem lies in the songs on this album. Aside from a few nice moments, the album stands as just kind of bland. Nothing jumps out and grabs you and really makes you want to continue the journey. Overall, a good disc to just put in and have something to groove to, but it leaves you wishing the guys would take a bigger jump and make things more varied. Simple: Here at Silent Uproar I read through all the reviews before we put them online, and while I sometimes disagree with what our writers say, I have never felt the urge to do what I have done with this review. Unlike pike, I am a long-time fan of Incubus. And although I admit their last couple albums have been weak, I think A Crow Left of the Murder marks a return to greatness for the band, and thus deserved a second perspective. S.C.I.E.N.C.E. is by far Incubus' greatest record; however, from that point on each record has become more pop and less quality. I had all but given up on the band when I first heard “Megalomaniac” on the radio and was blown away. Could they do it? Could they bring the rock back? Well once hearing the album I found that “Megalomaniac” is clearly the stand-out track, but there is also an album full of other great songs. With A Crow... Incubus seems to have stepped back from the catchy radio tune format that has plagued them in the past, and instead focused on building quality songs that incorporate all the elements that made them so great to start with. Brandon's amazing vocals, funky deep bass lines, superb scratching from DJ Kilmore, and a more free flowing feel to the album are all present in the new disc and add to its overall appeal. A Crow Left of the Murder marks the frst time since S.C.I.E.N.C.E. that I have been excited about a new Incubus record. The disc has stayed in my frequently played pile since release, and after talking with many other Incubus fans who agree, I felt that you the reader needed a fans perspective on this album. I am here to say: Old school Incubus fans, go buy this album. [www.enjoyincubus.com]

Ok, so I'm glad to have this opportunity to amend my earlier ambivalence toward Jem. For the first time I can remember, the album was actually better than the EP! Maybe it's because she put five songs on the EP that really didn't go together necessarily? Not sure what the deal was, but the tracks added to the full-length are strong additions to Jem's already impressive repertoire and flesh it out nicely. The bouncy, wistful "Wish I" tells the story of someone being left behind but trying to be supportive of the one chasing their dreams while reminding them that they always have a place to come home to. "Missing You" is a classic, beautiful love-lost song, and "Falling For You" expresses the fear and cynicism we all feel at the edge of a new relationship: "Just wish I had a crystal ball to show me if it's worth it all." Strongest of the tracks on Finally Woken in my opinion is "24." This is a song she had to wrestle from her brother to record, and I'm glad she won that battle. "24" is a rock song that combines seeming oddly paired violin and guitar, strengthening the impact of both. There are so many different types of music on the record, from rock to dance to pop to ballad. She didn’t see the point in limiting herself to one style, and I think the effect is an album that certainly isn’t dull. However, you may find that one or two of the songs, no matter what your preference, might not be your cup of tea. Jem's songs are refreshingly honest and pure. She expresses universal themes with her lyrics and tells stories in the tradition of her Welsh heritage. And while she's been endlessly compared to Dido in the press, I stick with my opinion that Jem makes music with more depth, more..."oomph" than Dido ever dreamed of. I think she could be a big deal, and with a video on the way in the near future for "They," she could be poised to take the video generation by storm. [www.jem-music.net]

Apparently, the Hardin Thomas Band consists of musicians who previously played with bluegrass and punk bands. That’s almost like combining the Israelites with the Palestinians because they both speak Arabic. The idea may be intriguing, but more often than not, the two different styles don’t interrelate well. My sense is that Hardin Thomas wants to be the next guitar and harmonica wielding traveling troubadour akin to Bob Dylan and Neil Young. Heck, the name Hardin Thomas even sounds like a character from a Bob Dylan song. But unlike his predecessors, Hardin Thomas isn’t much of a story-teller. A sooth-sayer is more like it, and the songs on Soul Mountain are overwhelmingly vague as a result. In “Gone,” Hardin Thomas ponders the existential nature of the human soul. And in “The Game,” your guess is as good as mine as to what these lyrics mean: “And on the tablets of life / Fate chisels only the score / Don’t bluster or blame / Give your best to the game / No hero has ever done more.” I wonder why this song didn’t make it onto the Passion of Christ soundtrack? Musically, Soul Mountain is too ambitious for its own good. Folk story-tellers thrive on the simplicity of their sound and the dignity of their words. Unfortunately, Hardin Thomas tries to overcompensate for his lyrical obtuseness with psychedelic guitar riffs and whiney violin solos. But, it is the vocals that are the most perplexing. In a nutshell, Hardin Thomas sounds like David Gray with a bad case of smokers’ throat. I’m not sure if that’s the bluegrass/punk fusion thing, but it goes back to the comparison I made in the first paragraph. The best song on this entire album is the opening track “Blackfoot” simply because it’s an instrumental. Alas, it’s about one minute too short. And I give up… [www.hardinthomas.com]

I remember it well; walking through a certain retail chain, looking at discs with friends, I didn’t see anything that grabbed my attention, but then I remembered a band people kept telling me about. I had never heard a single note of Modest Mouse, but I didn’t care. I was curious about what they sounded like, and I didn’t want to commit the sin of walking out of a music store empty handed. I bought The Lonesome Crowded West that day and fell in love with it. Now, years later, they remain one of my all-time favorite bands, and I walk into the same store on a mission to buy their newest release hours after the store has opened. Good News For People Who Love Bad News comes out at unique time for the band. Isaac Brock’s publicized troubles with the law, band line-up changes, and the pressure of following the most critically acclaimed album of the bands career, set the stage for either a triumph or a flop. The indie media is ready to pounce on whichever it shall be, and happily it is very much the former, standing tall as arguably the bands most solid album to date. Opening with the somewhat uneventful “The World At Large”, the instantly recognizable strum and lyrics of the band form a song that sounds like it is waiting to explode, but never does. As a song, maybe not the bands best work, but as an album device it flows perfectly into the pay off; the album’s first single “Float On”, a catchy and almost anthematic work never before explored in the bands catalogue. The fast pace continues with the single worthy “Ocean Breathes Salty” and the screaming “Bury Me With It”, leading nicely into the middle of the album. After a strong start it is often hard to keep the pace going, but here it is maintained nicely by one of the albums stronger tracks, “Bukowski”. “Blame It On The Tetons” strums softly across the lobes, as a hauntingly familiar song. The melody is instantly hypnotic, and even though I am positive I have heard it somewhere before, it still serves as one of the best songs on the album, splitting itself almost in half between a soft acoustic opener and an orchestral rock song. “Black Cadillacs” showcases Brock’s well known lyrically poetry against a strum-a-syllable groove from the 80’s. Finally, riding off into the sunset with “Once Chance” and “The Good Times Are Killing Me”, the album closes masterfully into a complete package. Modest Mouse achieved success early when it came out of the gates and established a sound of its own on its debut. Brock’s lispy delivery of almost existentialist lyrics against a spacious guitar identified each song unmistakably as Modest Mouse, as they cemented themselves on the follow-up. And The Moon & Antarctica not only solidified the band as capable of making epic studio efforts, but brought the band into full stride. Now, they deliver an album filled with the cream of the crop in a stellar career. Other albums of theirs may contain strong individual tracks, but the cohesive flow and consistent quality of this work make it the bands strongest all around album to date. [www.modestmouse.com]

At the very least, Woven’s 8 Bit Monk is an interesting release – a CD I never thought I would hear branded with an Interscope Records logo. This six man collective of musicians who utilize synths, keyboards, drum machines, samples, and program more than the standard guitar/bass/drums lineup concoct a sound that fits somewhere between the glitch and whir world of the electronic world and the life and energy of the alt-rock community. Much like Tweaker, Chris Vrenna’s post-Nine Inch Nails solo project, 8 Bit Monk crafts layer upon layer of digital bleeps, analog synths, pulsing rhythms, and subtle acoustics to arrive at a full-length that would interest fans of A Perfect Circle, Stabbing Westward, and Aphex Twin. While 8 Bit Monk’s eleven tracks eventually end up sounding eerily the same and a bit boring, Woven do most definitely hold a talent of meshing genres and pushing pop’s borders, most poignantly heard on “My Conditioning.” [www.wovenmusic.com]

Throughout Chromeo’s superlative-laden press release, it repeatedly warns not to call She’s in Control – the duo’s debut album for Vice Recordings – retro or hint at a trace of irony. Whether or not Chromeo pillage the ‘80s ironically or not, they undeniably steal from that decades funk grooves and new wave swagger. The entirely of She’s in Control consists of Pee Thug (his choice of a name, not mine) employing cheesy synthesizers and thumping drum machines while Dave 1 lays beat-heavy melodic vocals over the top. The only virtual differences between the tracks imbedded on She’s in Control are their beats per minute as Chromeo become increasingly redundant, eventually settling into trite and typical songs near the album’s end. And while She’s in Control may be fun while it lasts, seeing as how the ‘80s already presented us with an entire ten years of music extremely similar to this, Chromeo are little more annoying rehashers of a tired era. [www.vicerecordings.com]

Ahh, the new label compilation cd. No doubt, the mix disc is a great way to introduce people to artists on a label that they are more than likely completely unfamiliar with. But what happens when a label decides to put a disc featuring not only the artists that are currently on their roster, but any band they feel needs some exposure; regardless of the benefit? You get a one helluva varied mix disc is what happens. Vacant Cage Records is by no means a household name. However, their first compilation disc (entitled VC Comp 1.0) is 20 tracks that might make you take notice of what they are doing. With music ranging from piano pop (Fluid Ounces), to furious math rock (Serotonin), to Mogwai-esque instrumentals (Character), to sugary indie (Velcro Stars), to space-rock (Across the Fields), to aggro-noodling (Tony Danza Tap Dance Extravaganza), to lo-fi indie pop (Preservatives), you really can't help but find something on the disc that you enjoy. If I had to say something bad about the disc, it would be that the production doesn't feel consistent across the board (the volume tends to ebb and flow). But really, it's a compilation CD - homogeny isn't really what you're looking for. Assuming Vacant Cage keeps putting out CD's of music they enjoy, regardless of them being exclusive to the label or not, this is the first in a long line of enjoyable discs. Are you going to love everything on here? Absolutely not. Is it possible that you might just discover an artist or two that are worth keeping an ear out for? Absolutely. [www.vacantcagerecords.com]

Mama told me to never judge a book by its cover. But when I received the record titled, Sleep With You which portrays a seductive bare-chested female on the cover, I formulated some questions. First, why is the man in the picture fondling the guitar? And second, will this be a disc of frivolous songs detailing the sexual conquests of a rock band? I can’t answer the first question, but the answer to the second question is a resounding YES. In “Sleep With You,” the album’s opening track, fame is the aphrodisiac: “What can I do to Sleep with you / I can give you money / I can give you a car / I can call my agent and he’ll make you a star.” In “Girls” a laundry list of previous “experiences” is recanted. My favorites: “Then there’s Naomi she was my homey.” And “Vicki gave me my first Hicki.” Absolutely brilliant lyrics, agree? “Veronica,” “Minnie Driver,” “Shira,” and “Nahal” are lucky enough to have their own songs. I’m not so sure that’s a good thing? But suppose the whole “I’m a rock star, and I get lot’s of ass” thing doesn’t bother you. Well, there are moments of transcendence as well… ha ha. Sleep With You is all over the place. “Girls” sounds like a Velvet Underground standard, while “Junkie” is another “yeah, were crazy rockers” song, with an eery post-Velvet Underground Lou Reed sound. “Beautiful One” is reminiscent of a David Bowie rock ballad. “Superhero Girl” and “Vicodin” straddle the line dividing David Bowie from Pete Yorn. “Minnie Driver” is just as kooky, but not as catchy, as “Stacy’s Mom.” While Sleep With You starts out as a pure rock record, it morphs into a 21st century studio feedback experimentation by the end of "Lttle Tree." Sleep With You doesn’t re-invent the wheel or make the wheel go faster, but it does put Transcendence on the “we may have potential” radar screen. Maybe next time, they shouldn't try to kill so many birds with one stone. Hey, at least we know they’re getting laid, right? [www.transcendence.com]

Ok, I’ll give Decahedron this: they’re much better than your average testosterone rock. There is some real musicianship going on here. You may not know the band in its current incarnation, but singer Shelby Cinca and drummer Jason Hamacher were members of DC punk legends Frotus, and they added bassist Joe Lally, formerly of Fugazi, to round things out as The Black Sea. But then they had to replace Lally with Unwed Sailor bassist Johnathon Ford and, due to trademark laws, became the current Decahedron. More than just another visit to their punk roots, Disconnection_Imminent offers layered and substantial tracks that are varied and interesting to even the novice fan of this type of music. There are some good harmonies on the record, especially when Cinca doesn’t resort to screaming. “Pay No Mind” builds up tension, winding up tight to the edge leading you to think there’s gonna be some explosion of vocals, but it finishes smooth in sublimated anger. Deep, lush instrumental “Dislocation” calls to mind dark smoky bars and sex. The growling strains of songs like “Lt. Col. Questions Himself” are typical, but they still don’t overpower the record. To me, Disconnection_Imminent is at its best when the band takes it down a notch and really shows their musical depth and passion. Sure, there’s still some chest beating, but there is enough intelligence and substance to make this a good CD on many levels. It might take you a couple of listens to get the full effect, but you’ll be glad you stuck with it. [www.decahedron.net]

Albums from people made famous on television are becoming more and more common place. Reality shows and teen driven sitcoms are spitting out new “artists” (and I use that term loosely) faster than critics can flame them. Do we harshly judge these albums on the basis of their exploiting their television fame? Or do they just really stink? Guess I will get another shot to find out. Mr. Bachelor himself, Bob Guiney, is the next to step up to the plate with his debut album 3 Sides, a disc of radio friendly rock akin to Matchbox 20. Surprising as it may be, Guiney is listed as a co-writer on all ten tracks on the disc, which is rare for any pop album these days. As much as I want to burn this album, it isn’t the worst thing I have ever heard. I have heard shittier albums from people whose whole life is music. It is just pop rock, nothing more, and that is what it has to be taken for. The key question I kept asking myself while listening to this album was whether or not I would like the song more or less if another artist were singing. I was careful not to take the television persona over to the singer. It worked to a degree, but it didn’t save the album totally. I have nothing against the man and nothing against trying to pursue a dream via another opportunity, but the album, while catchy and pop, is just not something that is stellar. More than a couple tracks could be radio hits, and honestly I am a little surprised this album didn’t make more of a punch on the pop feeding frenzy that is radio. Can’t say I will be waiting anxiously for a sophomore release from this one; an average disc. [www.bobguiney.com]

It's quite a surprise that indie label Doghouse Records has put out as many releases as they have, this compilation being #100. Sadly though, this isn't a disc celebrating the entire Doghouse catalogue. Instead, it's an overview of the label's current roster. Not to say that's a bad thing, but it seems like the label could have done something a little more interesting for a commemorative release. The compilation kicks off with an unreleased All-American Rejects song, "The Cigarette Song", a slightly annoying but not horrible cut from the now major label pretty boys. The Break adds "We Live Without Sleep", a hard driving melodic punk song by one of the most underrated bands around today. Skip the Celebrity track if you're out driving late at night and don't want to risk a wreck from falling asleep. Feable Weiner's "San Deem Us Ready" is incredibly catchy pop punk with sweet harmonies...it's hard to not like just for its sake of being fun. Gamface does some acoustic version of one of their songs. Maybe a good thing for a Gameface fan but not good for introducing kids to the band. Same with the Honarary Title track. Limbeck's poppy alt-country is definitely one of the best on the disc, River City High has definitely progressed since the last time I heard them, Say Anything should say nothing (ha)---well, I won't be that harsh, they've got talent, but their singer needs some work. Sunday Driver, well, it's filler. Doghouse 100 is priced at $5.98, so purchasing wouldn't kill your wallet, but at the same time, you're not getting much for your money. 10 tracks, some filler, and nothing incredible. But Doghouse Records is a solid label, and congratulations to them on their long trek to 100. Maybe for #200 they'll give us something a little more complete. [www.doghouserecords.com]

For some reason, I can never say "Cooper Temple Clause" right the first time whenever I'm telling anyone about the band. I always garble something, and I'm not sure why. Maybe I've subconsciously gotten the slightly chaotic vibe from their music so deep into my pores that I've taken it on in my speech. Ah, probably a stretch, but it sounded good, dinnit? The six shaggy mates from Reading have put out a CD that is brilliantly musical and full of power. Opening track "The Same Mistakes" is a dark, edgy conversation you might have in your mind in those way too contemplative moments..."cause you can't keep makin the same mistakes." You get the idea. "Talking to a Brick Wall" is a genius conglomeration of slightly distorted vocals and guitar juxtaposed with the tinkling of delicate chimes and organlike keyboards. It all sounds like a big head trip into the minds of mad men, seriously talented mad men. They channel the Spiritualized of old on "Into My Arms," taking on a dreamy psychedelic quality in the beginning and then assaulting your senses with a wild orchestral clusterfuck at the end (ala the middle of "Cop Shoot Cop"?). The disc closes with the ten-minute bipolar experience that is “Written Apology," a rolling, stumbling sprint through the dark psyche of the band in just one song. I'm really impressed with this record, and I think it makes a nice addition to anyone who likes good brooding rock'n'roll. The Cooper Temple Clause have definitely made a statement with Kick Up the Fire, and Let the Flames Break Loose; they refuse to be a one-trick pony. And with so many tempo and mood changes in their sophomore effort, you might feel sort of wrung out at the end of it all, but I promise you'll be back begging for more. [www.coopertempleclause.com]