Disguising noise-collages as pop songs, Dream Into Dust – while barely registering a blip on the popular music radar screen – have a knack for mixing and mending what sounds like an entire record collection into a singular coherent album. The Lathe of Heaven, the latest full-length from this three-piece, rearranges stringed instruments and samples with a rock band’s more typical instruments of guitar, bass and drums. The result is an album that is riddled with tape manipulations in a fashion that brings the darkness of industrial music to the hooks of pop and the strings of an orchestra to the crunch of rock. Dream Into Dust form a sound that’s interesting and original, yet accessible enough to still be built on the skeleton of pop music. But however different The Lathe of Heaven may be, they simply don’t vary their sound enough on their latest release. With honing and fine tuning their sound, Dream Into Dust could develop material that is entirely appealing instead. But, for now, The Lathe of Heaven sounds good for a few tracks, then just settles into being tiring. [www.dreamintodust.com]

The Stills follow up their striking debut EP with Logic Will Break Your Heart, an album that wears it’s influences on it’s sleeve as boldly as a row of band pins, yet somehow is much more than another rehashing of 80s sonics. Sure, each track is still laden with watery reverb, propulsive bass, and longing, whispery vocals that – in the wrong hands – could have sounded like wholesale Smiths thievery. But these Montreal-by-way-of-Brooklyn kids have been able to make Logic sound less like a tribute album and more like a modernization of classic sounds. From opener “Lola Stars and Stripes” (featuring the tellingly clever line, “we all need to feel secure/we’re so middle class”), to the ringing “Love and Death,” to the EP standout “Still In Love Song,” one can hear the sound of a band right as they develop - sure, there’s more than a few growing pains, but there’s just as many moments of joyous conception as well, and you can’t really fault a new band for wanting to ape their heroes at least a little bit. While there’s no undeniably catchy singles anywhere in sight, it’s quite possible that The Stills’ debut will appeal to a wider audience than the small collection of Reagan-era indie rock devotees that eagerly lap up material from ANY band with “The” in front of their name. There’s an appealing element of sincerity to each of these tracks, despite any musical imitation; if Logic launches The Stills into the mainstream consciousness, it’s easy to imagine that one day, kids might even want to sound like them. [www.thestills.net]

While not as immediately catchy as 2002’s Rings Around The World, SFA’s latest effort remains one of the year’s most intriguing and expansive alt-pop efforts; while hit-or-miss at points, it offers many rewards for the open-minded listener. The disc kicks off with an extremely solid three song burst: the languid, Beatlesque opener, “Hello Sunshine,” the woo-hoo filled, Philly soul-referencing “Liberty Belle,” and the hazy, Zep gallop of “Golden Retriever.” Unfortunately, the promise offered by such an auspicious intro soon fades into a too-mellow murk of peculiarity-for-it’s-own sake; while highlights come by often, even the most inspired moments can’t maintain their spark on a track-to-track basis. Yet one can’t fault the Furries for trying. When the adventurous spirit of studio experimentalism finally congeals on the sublime outro, “Slow Life,” it’s such a perfect moment that the previous half-hour or so is forgiven. Always one to keep fans guessing, the next Super Furry Animals release could well be a return to the sugar-rush weirdness of Guerilla for all we know. But even if it maintains the odd pace set by Phantom Power, there will surely be a handful of inventive tracks somewhere on the disc that more than justify any fallow stretches in-between. [www.phantom-power.com]

The successful Take Action! Tour was started a few years ago as an outlet for artists to raise awareness for the prevention of treatment suicide and depression, especially within the teenage population. This is the third installment of Sub City's Take Action! compilations, and if you're into the emo/hardcore/punk scene, I dare you to find a better compilation for your buck this year. 44 songs and 44 artists span the double disc album, featuring scene staples such as Poison the Well, Thrice, Thursday, Boysetsfire, Shai Hulud, and Every Time I Die rounding out the obviously harder disc of the set. The Ataris, Yellowcard, Rufio, Further Seems Forever, The Jealous Sound, Curisve, Elliott, and Small Brown Bike, among others, make disc two worthy. And if you're looking for young blood and fresh meat, Jupiter Sunrise, Silverstein, Break the Silence, Rise Against, Paint It Black, Avenged Sevenfold, Statistics, Melee, The Explosion, and The Bronx are some bands you've probably haven't heard of yet. Even Asian Man Records' own Mike Park contributes to the record with his solo rendition of "On That Stage" to close the whole thing out. If this wasn't a benefit album, I would say that this album has its fair share of bad music, but the purpose of the project was to include a wide variety of underground artists so that more money can be put towards a good cause, which is very respectable in my book. As stated, you're not going to find another compilation this year whose quality is actually worth more than what you're paying. This double-disc set retails for around $6, and part of that goes to The National Hopeline Network, so you'll be helping both your ears and a worthy cause; it's a win-win situation at the record store. [www.subcity.net]

Everyone's favorite punk-rock, supergroup side-project (no, not the Transplants) is back again, this time with a 9-song mini-album. Despite having a guitarist/vocalist who spends most of his time in one of punk's largest acts of the last decade (Billie Joe/Green Day), Pinhead Gunpowder is relatively unknown. The band also features members of Crimpshrine, The Influents, and Monsula. So, a good part of Pinhead Gunpowder's sound is early 90's Cali-pop punk. Compulsive Disclosure is a solid 14 minutes of fun rock, but nine songs in 14 minutes? That's coming a little close to grindcore, guys. "Second Street" is probably the best song on here, and may be the best I've heard from this band. Although, I first heard this song when I was a junior in high school... and I'm a college sophomore now. Honestly, I'm definitely not smart enough to skip a grade. The song, along with "At Your Funeral" and "Porch", can also be found on Pinhead Gunpowder's split with Dillinger Four. "Landlords" isn't bad either. Every track is filled with good times, but there isn't too much variety in the band's style. For what Pinhead Gunpowder is - a band that was put together in 1991 to have fun away from their own, more demanding bands - this is a worthwhile listen, and yeah, it's better than the Transplants. [www.lookoutrecords.com]

This is a solo album from musician and producer Andy Chase, of Ivy fame, and features plenty of guest musicians including James Iha, They Might Be Giants bassist Danny Wienkauf, and Eric Matthews. Andy Chase has been a successful producer (French pop group Tahiti 80, a few older Fountains of Wayne songs, and several Hollywood soundtracks), and his knowledge really pulls the simple lyrics (“I like the way you are, So shine like a shooting star”) and laid-back instrumentation of Wonderfully Nothing together into a very worthwhile listen. That being said, this album is a beautifully assembled set of production-heavy songs filled with drum machines, electronics, and sparsely placed samples. It’s sweet and soothing, sonically enjoyable from start to end. It has an indie-euro-romantic sound to it, clean and summery. Now and then there’s an out of place dance-synth, and some songs are a tad over-produced, but overall it’s very satisfying. My only real concern is that ten of the thirteen tracks end by fading out; fade-outs are a terribly 80's gimmick that bothers me to no end. I’m a stickler for production, and despite the previous sentence, this is some of the best work I’ve heard all year. The vocals match perfectly to the warm, swelling rhythms. “It’s just a sweet sensation coming over me.” [www.brookville.com]

On the Might of Princes is a post-hardcore band from Long Island, who enthusiastically attempt to carve their own underground style, but end up taking a lot from previous bands, such as At the Drive In, ...And You Will Know Us By The Trail of Dead, and, on occasion, even Domesitca-ish Cursive. Not that this is a bad thing, though I do prefer when they stick to their own abrasive sound - for instance, “You Whistle, I’ll Shoot.” It’s sloppy, slurry, and screaming, but still technically solid. I find this to be somewhat similar to Glassjaw’s methods of mixing up precise rhythms into otherwise messy songs. Much like Glassjaw, On the Might of Princes took a few listens to get into. Some songs are a cluttered mess of pandemonium, while others are a bit easy going and ordinary. When I say cluttered mess, I mean to say that it’s erratic and raw but not at all unpleasant; it’s a remarkable sound, and I love it. Just when I felt that parts of the album began to drag on, there would be a change of pace or change of vocals styles that would keep me interested. The wide-ranging vocals aren’t the greatest at times (a little muted), but when they’re good, they’re fantastic. The quality in vocals seem proportionate to the level of intensity and chaos in the music; though, without the normal sounding songs, the screaming ones wouldn’t be as brilliant. Also, at a time when vocals are being over-produced left and right (even Brand New and The Mars Volta sound over done), it’s nice to see a band choose a less manufactured sound. One of the other distinguished areas is in the lyrics, such as the title track, which goes, “I awoke to sirens but all you heard was apologies, was it too loud or not loud enough to move the mountains we built, into the trenches we dug repeating ourselves, biting our hands counting.” Even though the second track is named “Go Fuck Yrself,” it turns out to be much more interesting than its title. The bonus song, officially called “Track 12,” is a bizarre jam session (recorded with binaural microphones I’ll bet) performed with various instruments and non-instruments, like a wine cork, bongos, cowbell, pliers, mallet, toy phone, a maraca, and even house keys. If that isn’t a testament of down-to-earth musicians, I don’t know what is. [www.onthemightofprinces.com]

I don’t mean to sound overly off-putting, but Revolution Smile is one of the most boring, plain rock bands I’ve ever heard. If you actually manage to make it through the first track you’ll be greeted with such witty lyrics as, “All along I was just faking it / And to do whatever just to be making it / All along I was just eating shit / And doing whatever just so I could make a hit.” It’s a good thing that when I received this album to review they didn’t include a booklet full of lyrics, because I’d probably would have typed out all the generically awful words just to make sure that anyone crazy enough to pick up this record would feel too nauseous to drive to the store. The production gets blown out and static-y every now and then for no apparent reason; was it the recording engineer's day off? There are so many bad things about this album that I can’t figure out what to write about next. Let me just sum up everything: Revolution Smile is a band that has no originality, a mindless producer, shoddy production, glittery-pop melodies in the middle of “rock” tunes, the most horrendous lyrics of all time, and was signed by the one and only Fred Durst. This would be album of the year, if only today was opposite day. Revolution Smile tries desperately to jump on the radio-pop-post-grunge (The Urge, Nickelback) bandwagon, but fails even at that. They use the worst drum machine ever on the track “Gun”, and abuse the hell out of the effect pedals like there’s no tomorrow on several other tracks, like “Payday,” “Cadillac Ass,” and “Looking Down the Barrel”. To make it all seem even worse than it already is, the band takes itself completely seriously, as if they are truly making a worthy contribution to the music world. I hate feeling embarrassed for other people, and I feel really embarrassed listening to this dreadful thing. I would dare you to try to sit through the entire thing without falling asleep, but I don’t want you to pick up the album and support this terrible band. [www.therevolutionsmile.com]

Even before I heard the band, I knew Embrace Today would make me happy because of the “XXX” that sits behind their name on the album cover. Straight edge hardcore makes me smile, and I’m sure that if that is your thing, you’ve probably already heard this. If not, this is for you. There’s not a lot of detail I can really go into about the music of Embrace Today — it’s hard, it’s fast, and is full of “mosh”. If you read into the lyrics, you’ll definitely get a sense of anger, rage, and spirit, but there is also a lot of sincerity. Being one of the more metallic (and brutal) of the bands to still play pure hardcore, Embrace Today maintains the “true ‘til death” attitude, and wear their X’s with pride. The band has managed to cram 15 songs into 22-minutes and change. With tracks that short, it gets to a point where you won’t differentiate between the end of one song or the beginning of the next. That's okay though, because hopefully you'll be moving around too much to even care. It seems there should be more words, but there isn’t much more to say. Embrace Today is one of the hardest of the hardcore, the straightest of the straight edge. Soldiers, in short, rips shit up. And as far as hardcore goes, this is one of the best 2003 will have to offer. [www.xembracetodayx.com]

Before We Spark was a complete letdown the first time through. Yet, when it came time to write this review, the EP just sounded so much better to me. FYI: The trio (they’ve added another guitarist since this release) plays catchy power-pop-rock stuff in same vein as Weezer, but more sugary and a lot more fun. The EP starts off with drum machine and synthesizer before kicking into “Rotting on the Vine”, where the warmness that Ultimate Fakebook has always exuded will take over your ears. Expect the warmth to extend throughout the entire set, but it's on “We’ll Go Dancin’” that the EP embodies what the band is all about: a sort of cheesy sincerity that, at the same time, will most likely plaster a stupid grin on your face. Yet, the best thing about the EP, and the band itself, is that the inflated pop-rock is backed up with competent musicianship, especially from singer/guitarist Bill McShane. While this is a good EP, new listeners should probably pick up one of their full-length albums first. But, if you happen to want something that is cheap, fun, and has some originality, Before We Spark is not a bad option. [www.ultimatefakebook.com]

I don't know whether I'm the first to say this or not, but I believe that Kid Dynamite will follow in the footsteps of Operation Ivy and Minor Threat - bands that had an enormous impact on the hardcore-punk scene, despite breaking up before they reached their apex. Just to preface this review, here's a quick rundown of Kid Dynamite: Ex-Lifetime members David Wagenschutz and Dan Yemin recruited bassist Steve Ferrel and singer Jason Schevchuk for a new project in 1997; Kid Dynamite was born. The band released two records on Jade Tree, before breaking up in early 2000. Wagenshutz went on to play in Good Riddance, and reunited with Yemin for Paint It Black. As for Schevchuk, he's now singing in None More Black. Cheap Shots, Youth Anthems is a superb effort at showcasing Kid Dynamite’s short-lived career, without just making a “hits” album. The first four tracks are listed as “the classics”, with “Heart a Tact” being the standout and equally one of the band’s best songs overall. Tracks 5-10 are all covers; Kid Dynamite was quite courageous to take on songs by Black Flag, The Clash, The Circle Jerks, Minor Threat, and the Dead Kennedys, but, to give it to them, they pull of the covers in a manner all their own. 10-15 relive more of the old Dynamite cuts - “Showoff”, “Never Met the Gooch”, etc. Then come the demos. “Bookworm”, a personal favorite, leads the pack as the demo version might actually be better than the version that appeared on their self-titled album. To complete the set, we're offered seven live, radio tracks, which, aside from the sub-standard quality, are still a nice addition to this collection. In no way should you consider Cheap Shots, Youth Anthems a “best of” Kid Dynamite album, but merely as an addition to their existing catalogue. It’s a good introduction for those new to the band, but doesn’t compare to the greatness of either of their albums. Kid Dynamite will always be remembered as one of the best modern hardcore-punk bands of their era, and, thankfully, this album can truly capture their essence. Jade Tree even threw in a bonus DVD to boot! [www.jadetree.com]

Being a college student, I’m constantly exposed to the mindless and monotonous music that many of my peers blare out of car speakers and dorm room windows. Thankfully, the Weakerthans do not fall into that category, and I’m grateful for any tune that this band has ever laid their collective fingers on. It’s safe to say that the Weakerthans operate with a very punk-rock mindset, but their music is a far cry from singer/songwriter John K. Sampson’s former work, the left-winged Propagandhi. Despite already releasing two albums prior on Sub City Records, the Weakerthans have never really garnered that much attention outside of the underground community. Likewise, they seem to be a very respected band in that underground scene. Their newest, Reconstruction Site, is a melting pot of laid back political references and satire, and the songs draw you in deep enough to chase away any chances of boredom. Their sound, primarily folky, alt-country tinged pop-rock ("A New Name for Everything"), has been landscaped with steel guitars, keyboards, vibraphone and even a little trumpet ("(Manifest)") throughtout this album. Overall, the album shows the growth the Weakerthans have undergone since 2000's Left and Leaving. In fact, I'm pretty inclined to just label The Weakerthans "the Wilco of punk rock." With three albums behind them now, and this one possibly being the most brilliant yet, the Weakerthans future in the indie music scene is as bright as imaginable. With the release of Reconstruction Site, Epitaph Records proves that not only are they one of the strongest independent labels in the history of music, they’re also open to variety. [www.theweakerthans.org]

Recorded at the same dingy British studio that birthed the White Stripes’ Elephant, The Kills come through with a new-school, garage blues classic that - while nowhere as the catchy as the Stripes - is just as enjoyable a listen. VV and Hotel conjure up a druggy world of dirty, sexy menace. Their interwoven male/female vocals are buoyed by a minimalist, creepy pulse of lo-fi instrumentation, and the resulting 12 songs (9 new ones and 3 off their excellent Black Rooster EP) are nothing short of sublime. Influenced by the Velvet Underground as much as any bluesmen, tracks like “Cat Claw” and “Kissy Kissy” are absolutely electric with tension and grit, while “Fried My Little Brains” propels along on a stomping, back porch rhythm – assuming your back porch is a fire escape in some surreal, Pop Art drug fantasy. While the contrast of feminity and cat-scratched distortion is nothing that special – especially in this “new rock” scene – The Kills are able to bring a unique slant nonetheless. The longing, elegiac “Wait” is perhaps the best evidence of this; an exercise in repetition, the two-chord loop and seductive, PJ Harvey-esque vocals combine for one of the most compelling tracks on an already-solid album. As long as The Kills continue to embrace their strengths, it should be no problem for them to build on Keep On Your Mean Side’s sparse momentum. [www.thekills.tv]

“Neo-soul” has been promoted and dissected on video and in the music press for some time now, but never truly ascended to mainstream relevance. One must wonder if the studied “vintage”-ness of the sound is self-defeating in this sense; by striving to recreate the legendary sound of their musical forbears, do current artists prevent themselves from making genuinely new classics by being content with sonic simulation? Dwele’s latest album starts off like more of the same. The sound of crackly vinyl, the mid-tempo beats and soulful croon, the warm, live instrumentation – it’s all there, just as it is on releases by the already-crowded scene of D’Angelo wanabees. Yet somehow, Dwele manages to imbue his familiar-sounding material with a wealth of uniqueness. Whether on the Slum Village collaboration “Angel,” the hypnotic introduction “Poppa Yo,” or the lead-off single “Find A Way,” the songs take on a life of their own beyond their instantly recognizable roots. While a frustrating same-ness tends to set in over the course of 15 tracks, there always remains some intangible charm in the tracks to redeem Subject in the end. This disc isn’t going to take the new breed of soul singers truly mainstream, but it is a solid effort within the genre, and a must-buy for fans of vintage R&B and earthtoned retro hip-hop (Tribe Called Quest, The Roots, et al). [www.dwele.net]

With all the bad rap-metal, overproduced cock rock, and otherwise lame music masquerading under the title of “hardcore” these days, it’s great to hear from Dan Yemin again. After his involvement with the seminal Lifetime and the equally powerful Kid Dynamite, Yemin steps behind the mic for Paint It Black’s pummeling debut, CVA. Clocking in at 17 tracks in just over 18 minutes, CVA harkens back to a pre-Warped Tour, pre-emo era, and fills each of it’s basement anthems with enough fist-pumping, throat-shredding power to make it seem like this sort of thing never faded into memory. Filled with energy and purpose after a stroke (CVA is a medical abbreviation for “cerebrovascular accident”), Yemin packs the disc with raging reevaluations of life, from the personal to the political. “Too quick to step up to fisticuffs/I think it’s time someone called our bluff/we can’t create so we denigrate/we don’t know how to love so we settle for hate,” stars off the raging “Womb Envy;” similar sentiments fill the disc. The power of the music is obvious, but the focused aggression of the lyrical attack is even more striking; a line like “we’ll be dancing on your grave, fire in our eyes,” from the ode to the DIY scene, “Head Hurts Hands On Fire,” only further emphasizes the fact that this music is made by people who’s sonic attack is as relentless as their ideological force. While good charlatans will continue to tarnish words like “punk” for years to come, Paint It Black remind us of the original meaning – and why it still matters – with all the kick of a chair to the face. CVA comes highly recommended. [www.jadetree.com]

Sometimes the name of a band says it all. Dismal, and in a very big way. The fact they are from Florida and the flagship of their entire label is Creed shouldn’t make you dislike this band at all. The fact that they sound like a watered-down even blander version of their label-mates is what should. There really isn’t too much good to say about Believe. It attempts to be radio rock but just doesn’t have near enough catchy melodies or riffs to catch any A&R guys’ ears. It walks that fine line between trying to have deep lyrics, but not be Christian rock. In the same vein as Creed, they just come out sounded overly dramatic and shallow instead of deep. I could write more and compare it to albums from years past, or over analyze, but I won’t. This is not good. Don’t buy it unless you want bland radio rock. Sorry guys. Nice try, but a swing and a miss. [www.bigdismal.com]

I have to admit I wasn’t really looking forward to this album. I saw Blue October once open for the almighty Toadies and they didn’t really impress me. For the next four years of college, I saw wannabe cool people with Blue October stickers on their trucks and laughed. However, I always try to approach things with an open mind and this time it helped. While moving to a bigger label hasn’t really made these guys explode, it has made their album more polished than the past. Featured in the summer hit American Wedding, the track “Calling You” serves as the album's highlight, appearing in electric form as track four and as a slowed acoustic version as the albums hidden track. “Inner Glow”, “A Quiet Mind” and “Amazing” provide the highlights of what is a slow, yet upbeat record. Not anything extraordinarily unique in its sounds, but just different enough to provide some refreshing moments, History For Sale proves to be an enjoyable ride and a step in the right direction, for a band I had prematurely written off. [www.blueoctober.com]

Energy and melody go a long way to making a great album, but aren’t the easiest thing to capture. The Oranges Band somehow capture both, and quite well at that. Right from the get-go, let's get the bad out of the way. This album at times falls into the “we are hip and fresh and we shall convey that by only playing down strokes on our guitars” genre of new rock. That aside, it is a remarkably fresh and enjoyable experience from start to finish. “Finns For Our Feet” starts the album off with a bang. “My Street”, “OK Apartment”, and “The Trees On My Street” highlight an album of just unique enough to make a difference rock. No frills, no distortion pedals, no overproducing, just rock. This is one of those albums that isn’t quite unique or revolutionary enough to make any "album of the year" lists, but undeniably catchy and different enough to stick in your CD player for a long, long while. [www.theorangesband.com]

Turbonegro are perhaps the most extreme – and as a result, most totally awesome – example of “irony metal” going around these days. Taking Judas Priest frontman Rob Halford’s “leatherman” aesthetic to insane new heights, these thoroughly warped Norwegians return with more of the same homoerotic metal anthems they made rightfully famous on Apocalypse Dudes and Ass Cobra (anyone who has ever heard their “Hobbit Motherfucker” knows what I’m talking about here). From the ridiculous pomp of "Fuck The World" (“Hey now, hang on/while I fuck the world/because tonight I`m feeling sexy/gonna fuck the world/forever”) to the cartoon seediness of “Sell Your Body (To The Night)”, Turbonegro’s tongue is planted firmly in…uh…cheek. The humorous aspect of their music (and their headbanging transvestite liner note photos) is undeniable, sure, but Scandinavian Leather is redeemed from total comedy-album status by the simple fact that it ROCKS, almost profoundly so. It’s a shame that such metallic power and majesty must be done on some kind of winking, postmodern level these days, but even with that in mind, every track gallops and bellows with a theatrical energy that is sorely missed in most current rock. Your enjoyment of Turbonegro will hinge on how far you chose to be “in” on the joke. But don’t let the near-absurd lyrics of tracks like “Wipe Till It Bleeds” prevent you from giving Scandinavian Leather a chance; your inner metalhead will thank you. [www.scandinavianleather.com]

Having been one of the most influential alt-punk-pop bands of the 90's, it's about time that a Jawbreaker tribute album sees the light of day. Named after a song from their classic Dear You, this compilation pays homage, somewhat, to the legendary trio. As most tributes go, there are always a couple outstanding cuts, a lot of mediocrity, and then just a bunch of crap bringing up the rear. The stand-out cuts come from Duvall, Counterfit doing "Million", Fifteen member Jeff Ott's rendition of "Better Half", and, despite their inability to write good songs themselves, The Riddlin' Kids with "Jinx Removing". Moving on to the mediocre bunch, we got Bigwig and Bayside approaching their contribution with great respect to the original, but not exactly bringing the most exciting material to the table. Shockingly, Face to Face did not even begin to build any interest with their take on "The Boat Dreams From the Hill" - I just expected more from those guys. The Aeffect is the first band on the set to really try varying the style of the original by doing "Boxcar" electronically; it's intially interesting, but then fades into dull indifference. And, The Reunion Show adds an electric twist to "Unlisted Track", but doesn't add anything special to the album. Yet, despite all the decent material, their are just some tracks on here that are simply garbage. Briefly: Name Taken all but butchers "Want", For Amusement Only and Fall Out Boy should've never attempted Jawbreaker covers, Kill Your Idols' effort is laughable, Sparta will put you to sleep with "Kiss The Bottle", and if you liked the song "Jet Black", do not listen to the Good Night Bad Guy rendition. If you're a die-hard Jawbreaker fan, take warning and don't have any high expectations for this tribute. It does neither Jawbreaker nor its retail price justice. But, if you were actually going to buy this, just take that money and buy a Jawbreaker album, and you'll be more than fulfilled with that. Dying Wish Records had to put a lot of effort into getting this compilation together, it's just a shame that the bands they chose didn't do the same. [www.dyingwish.com]