Paul Simon. David Byrne. Don Henley. Bruce Cockburn? A singer-songwriter loved dearly by his fellow Canadians, but known sparingly here in the states, Bruce Cockburn follows the mold of all the above. A musician with a conscious and an itch to speak out, Cockburn’s latest release You’ve Never Seen Everything is sometimes folk, sometimes rock, sometimes spoken word, but always enjoyable. In the past Cockburn has focused on his faith for inspiration, but on this effort he puts his pad and pen towards dealing with issues of world politics, world hunger and the environment. The album’s twelve tracks vary from the straight acoustic folk of “Everywhere Dance” to the world inspired, sometimes rapped lyrics of “Tried And Tested”, but they never repeat themselves or fall into a predictable mold, which makes the album a welcomed adventure to listen to. Cockburn, follows the mold of recent Paul Simon, by letting in sounds from across the world and across the ocean into the simple melodies of a guitar. The experimental spirit of a David Byrne lies just under the surface and jumps up to say hello from time to time. And the Mother-Earth-loving activism of Don Henley shouts love and not war from chorus to verse. Combining all these, Cockburn uses a wide array of sounds an inspirations to produce an album that is both political and enjoyable - something not easily accomplished. He speaks his mind without cramming it down your throat. You’ve Never Seen Everything is an album with a voice, but also with a soul. Cockburn stands out nicely as something we need more of in this age, an artist who has a voice, a view, a passion, and can shape them into a well-written song. [www.brucecockburn.com]

Once, Frank Black, while still in the Pixies, said “People don’t give a shit about lyrics.” If that is true, then the Hidden Cameras are about to become the most popular band of all time. They have all the right influences: Lennon/McCartney, Brian Wilson, Andy Partridge, Phil Spector, Belle and Sebastian, etc. They have a sound that perfectly could bridge the listening gap between indie rock college student and ex-hippies Mom and Dad. Their lush, melodic arrangements use everything from harp, to church organ, to cello. However, if Black’s statement is false, the Hidden Cameras may never get out of college radio obscurity. Even though they were featured on MTV News’ “You Hear it First” feature, the Hidden Cameras songs talk about two things that usually don’t get much airplay: religion and gay sex. And their lyrics sure are to the point. “Golden Streams” is a singsong-y tale of urination that will get stuck in your head for hours on end. “Ban Marriage” is an XTC-sounding romp about how religion and homosexuality (don’t) mix. “The Man that I am with my Man” has one of the most gorgeous melodies I’ve ever heard – which is juxtaposed with lyrics like “he is peeing on my shoulders and knees; a warm, wet yellow breeze.” The lyrics are so explicit that no matter what kind of sex there were about – even if they were somehow about MY sex life – they would seem unnecessary and would put me off a bit. However, this record is SO strong melodically and musically that I really can’t stop playing it. I just try not to sing out loud on the bus. [www.musicismyboyfriend.com]

The time has come. It's time to take a look at the new album from my favorite band, The Lawrence Arms. To preface this review and get us on the same page: I basically worship anything Brendan Kelly is involved with. This Chicago trio sits perched on the second rung of one of punk-rock's most established and revered labels, Fat Wreck Chords, and The Greatest Story Ever Told is the group's fourth full-length, their second on the label. Their overall sound can be found somewhere between Dillinger Four and Jawbreaker, although they've managed to develop their own distinct style. Possibly one of the secrets for their success is the revolving vocal approach and contrasting songwriting styles of Kelly and guitarist Chris McCaughan. On all the odd-numbered tracks, The Greatest Story Ever Told showcases Kelly's raspy gnarl and the album's more aggressive side, which is chock full of satire, humor, and, of course, drinking. On the opposite end of the spectrum, guitarist Chris McCaughan adds a melancholy, laid-back, emotional spirit to the record. As far as melodic punk-rock goes, this is definitely the best this year has to offer. The aforementioned vocal variations remove any chance of boredom that standard punk records fall prey to, and The Lawrence Arms' ability to pen a confident, well-written tune has improved emphatically since last year's Apathy and Exhaustion. This album is by far their most sophisticated material to date. Crazy guitar solos, odd time signatures and angelic voices; you're not going to find this here. This album is pure, truly heartfelt, from-the-soul modern punk-rock at its best (see Kelly's "The Ramblin' Boys of Pleasure", for instance). After 25 times through this record, it has yet to become stale. It just doesn't seem like it's going to lose its charm. [www.thelawrencearms.net]

The Bouncing Souls have never been known for being musically complex or for overtly political messages in their songs, but rather for just being an all around fun, sing-along type of band. With a career spanning the better half of a decade, the Souls have failed to put out a record that disappoints their fans. Such is the case with their latest, Anchors Aweigh. Style-wise, the New York quartet has always been mixture of melodic punk and hardcore, blended together and topped with their trademark, anthemic choruses. Singer Greg Attonito has one of the most recognizable voices in punk-rock today and can go from a sweet croon to an all-out shout in flawless fashion. The rest of the band is just as solid: Michael McDermott on drums, Bryan on bass, and The Pete rouding out the foursome on guitar. Anchors Aweigh is certainly the culmination of the Bouncing Souls' existence. The band hasn’t lost their sense of humor or their penchant for having a good time, don’t worry. But, these 16 songs show a higher level of seriousness than previously seen from this band. They've managed to present us a lengthy album light on the filler. Since most tracks on this album are worthy of praise, for the sake of time, I'll focus on the highlights. "Kids and Heroes" seems like it would be the obvious single, as it's very easy to relate to (it's about kids... and their heroes). "Born Free" is one of the faster songs, and tells us that "it's better to die on your feet than to live on your knees." If there were to be a Bouncing Souls "hits collection" in the near future, leaving "Better Days" off would be a crime worthy of death. And, don't miss "Night Train", "Highway Kings", and "Anchors Aweigh" as contenders for the best tune of the bunch. Once again, the Bouncing Souls have released a new album and reclaimed their stake in the “royal family”, or the “punk-rock elite”, or whatever you want to call it. If there were to be a punk-rock hall of fame, Anchors Aweigh and this band's lengthy career would land them in it for sure. [www.bouncingsouls.com]

There's a high probability that if you've heard an R&B or hip-hop track screaming up the Top-40 charts in the past three or four years, it came from the production duo The Neptunes. Working with artists ranging from Jay-Z to No Doubt, they've carved out a their own niche, allowing Pharrell Williams and Chad Hugo to call their own shots and craft their own trademark, diverse sound. The Neptunes present… Clones is a tremendous example of their range of talent, even if some of the tracks have not previously been fit for public consumption. For those who take the time to notice, The Neptunes sound is unmistakable. Williams and Hugo layer claps, whistles, marching band bass drum hits, assorted percussion, guitar, and live drum kits with the usual hip-hop fare: bass guitar, low-frequency bass tones, 70's-funk horn samples, keyboard and digital accents. But, that's just the tip of the iceberg. It's the duo's melodic sense and ability to craft a beat to fit the personality of the artist that makes this duo a hot commodity. Instead of trying to bend an artist to fit their own style, they bend to highlight artists' strengths. You could call The Neptunes present… Clones a crash course for those not in the know. Forget the Busta Rhymes single, "Light Your Ass On Fire" that is currently all over MTV; there are better tracks on this compilation. "Blaze Of Glory" brings the neck-breaking funk and, with Pharrell providing the contagious hook, The Clipse are provided an arena to drop their hardcore flow. The next track, "It Wasn't Us", showcases Ludacris' sharp delivery and odd style with an equally odd beat. Completing the first triplet is the neo-soul Pharrell track "Frontin'", featuring Jay-Z. The track stutters to a start and lays itself down into a relaxed, 21st century soul groove, accented by Pharrell's own falsetto crooning. The set continues on with notable cuts such as Nelly's "If", the rock-soul from Spymob (who acted as the backing band for the N.E.R.D. album In Search Of…), and some brief and catchy punk-rock from The High Speed Scene with "Fuck N' Spend". In the latter half of the album, N.E.R.D. make an appearance with the keyboard-driven, pop-rock cut "Loser", N.O.R.E. kick in with a bouncy, over-the-top anthem in "Put 'Em Up", and Ol' Dirty Bastard reborn as Dirt McGrit makes his debut with the expectedly bizarre "Pop Shit". Of this 18-track compilation, there are plenty of cuts that any Neptunes fan should hear. Though, in respect to the "Clones" title, there are some beats that seem unusually similar to other Neptunes tracks. With the popularity of Williams and Hugo on the rise, it was only a matter of time before they began to overlap stylistically. Nevertheless, they are true pioneers and know exactly what they're doing in the studio. This collection highlights that fact for the duration. [www.startrakmusic.com]

With the mainstream's newfound appetite for emotive pop-rock and hardcore, it's a wonder that Stairwell hasn't caught on yet. Well, I'll take part of that back; it's not fair to slap any of said labels on this band. All the same, their combination of pop-sensible rock and well-written, three-part harmonies would not only go head to head with that scene, but also put lesser acts, cavorting around in tight t-shirts and lobe plugs, to shame. Hailing from Orange County California, Stairwell shares their part of the underrated limelight with groups like Thrice, Avenged Sevenfold and Mêlée. While Stairwell sounds nothing like any of those bands, their sense of creativity and indisputable talent are what connects them to their labelmates. The first track, "Disaster", progresses through dramatic swells and settles into its melodic verses only to bounce back with a syncopated and undeniably catchy chorus ("I'm used to disaster knocking on the door / I'm used to disaster kicking me to the floor"). "What Happened To All The Romance" further showcases Stairwell's ability to pen a confident pop-rock tune, while continually keeping the structure of the song fresh and varied. For good measure, Stairwell includes a rocker, "Familiar Streets", towards the end of the album. Though, it's only a slight fake out, as it sports one of the most melodic, accessible choruses of the set. Yet, probably the best example of the Stairwell sound is the track "Boxcar", which is unquestionably a perfectly crafted pop song; every part of the song begs to be instantly remembered. For a professedly motley crew of musicians, Stairwell creates music with an immediate sense of collaboration. Though, of course, it's those differences between the members of the band that create their overall sound. While they have some room to grow, you'd probably be hard pressed to find a better alternative to the now over-saturated indie-pop scene. [www.stairwell.net]

Freya is a post-hardcore group formed from three members, Karl Buechner, Erick Edwards, and Bulldog, of the highly influential hardcore band, Earth Crisis. It’s a different type of band than what Earth Crisis fans may expect, a group that mixes dual vocal styles and new song writing techniques with a similar level of energy and heaviness. The impulsiveness of this album comes from “a range of emotions,” rather than ethics, animal rights, and a straight-edge lifestyle that were some main concepts behind Earth Crisis. New guitarist/vocalist Darian Lizotte, compliments Karl’s grating voice with some melodic vocals; it’s a call and response method of incorporating the usual screaming with the new clean rhythmic singing. I think it blends in well on songs like “Glasseating Smile,” but gets in the way for other tracks like “Negative Infinity.” At any rate it’s nice to see Karl Buechner trying out some new ideas. Change is something I always agree with no matter the consequences. As I mentioned above, in regards to the theme of the album being separate from Earth Crisis intellectualism, I feel that it’s a standard thing for bands to claim “emotions” as the core inspiration for a record when not wanting to deal with a message. It’s kind of an easy way out; however, it comes off as truthful and refined on Freya’s record. Perhaps it’s the intensity of the guitars and drums, or perhaps it’s the extensive experience the members already have, as Earth Crisis was actively recording and touring for over ten years. It just seems to make sense. It’s good music, vivacious and fresh. If you’re a fan of Earth Crisis, and you’re looking for something on the same level of energy, you should look into this record. [www.freyamusic.com]

If I had to sum up Slumber Party’s new record, 3, into two words, they would be “vague excitement.” I’m having trouble pin pointing exactly what it is that’s so refreshing about this album. Even from the inside booklet sleeve, depicting the four girls with pistols aimed at a giant heart, you can tell that there is something interesting beyond its retrospective style and distant-echoey production; Slumber Party is sort of a throwback to 60's psychedelic-girl-rock, just replacing the sex and drugs with cleverness. When I listen to this album, I feel like I’m part of a secret clubhouse of dissent youngsters who seek a sort of anti-pop rebellion. It’s very friendly to those with an open-mind, but still very out of place in regards to the current trends in music (which is a good thing); it makes for a nice polar opposite of the two-and-a-half-minute attention span, network-TV generation. Perhaps it’s Slumber Party’s contradiction to modern music that gives it an edge. Like some albums by Velvet Underground and Mazzy Star, Slumber Party is loaded with lightheaded feelings and simple instrumentation. It has alluring harmonies, delicate guitar rhythms, and a few electronic elements that are sometimes very traditional and other times experimental. I enjoy the more bizarre songs, those that have drum machines, organs, and less traditional song structure, because they seem to personalize the bands style and break them from the obvious 60's girl-group inspiration. 3, a boring title for a third album, has a happy-gloominess to it, ambiguously indistinct from start to end. The tone is upbeat but the lyrics signify a more complex, mysterious, dark meaning. The more original style songs keep me interested, but the vintage tunes keep me at a distance. Thus, I find the record to be “vaguely exciting.” [www.slumberpartydetroit.com]

With a style that warps such hyphenated genres as post-hardcore, psych-pop and space-rock into an EP of 23 minutes, These Arms Are Snakes are forging a new style, aesthetic and sound into indie-rock’s often rigid canon. Merging members from Botch, Kill Sadie and Nineironspitfire into a band that proceeds to crack the confines of hardcore that they previously created with their former bands, their EP, This Is Meant to Hurt You, encompasses everything from sassy pop hooks, spastic vocal effects, speaker-slashing screams, guitar crashes of chords, and ambient keyboard drones. It’s this sense of expansion that twists their past musical pedigree into something wholly different from not only their previous sonic incarnations, but post-hardocre’s history as well. This Is Meant to Hurt You’s music zigzags back and forth between formerly alienated genres, adding stylistic diversity, progressive tendencies, and an unpredictable, impassioned flare to These Arms Are Snakes’ music. Is it avant-punk? Prog-rock that’s fun? Space-rock with a hardcore bent? Whatever you want to call it, it’s better than pretty much everything else you’ll hear this year. [www.thesearmsaresnakes.com]

Whether it's a buzzword or a cuss word is merely a matter of opinion; what is an incontrovertable FACT is that emo has officially blown up. Chris Carraba's pompadour is damn near inescapable, groups like Brand New are charting in the higher reaches of rock radio playlists, and it seems like every day a new batch of little league t-shirted midwesterners with silly sideburns are primed to conquer the world with songs about girlfriends. It'd be easy to lump Motion City Soundtrack along with their bespectacled peers - Get Up Kids producer Ed Rose mans the boards for this release, and they have an eerily similar guitar/moog/singy-screamy vocalist thing going. Yet I Am The Movie is a more-than-solid release. With each listen, the bands unique twists on the genre reveal themselves, and prove quite satisfying for the listener. From the propulsively catchy "The Future Freaks Me Out" (one of my favorite singles of 2003) to "My Favorite Accident" (whose video is included on the enhanced CD), each track transcends their relatively commonplace foundations. Even when the songs start to sound a little too familar as the album goes on, Joshua Cain and Justin Pierre throw in enough clever riffs to save I Am The Movie from homogenity. Even if the "emo explosion" proves shortlived, Motion City Soundtrack's impressive debut suggests they'll be around even if the hype subsides. Do yourself a favor and discover your very own "next big thing." [www.motioncitysoundtrack.com]

If you’ve followed Tricky’s career you’ve probably heard it over and over again, “Massive Attack is one of the most remarkable electronic bands of all time, and Tricky’s solo work just isn’t as significant.” (Tricky was one of the cornerstones behind Massive Attack) I’ve read equivalent statements in Tricky reviews for years, and because of this, I wasn’t expecting Vunerable to be an album that I would particularly enjoy; I wasn’t a big fan of his previous record Blowback. Now that you know where I’m coming from let me get it out of the way: Massive Attack is one of the most remarkable electronic bands of all time, and Tricky’s solo work just isn’t as significant. But, you know what? I still like this album. In a lot of ways, it’s the opposite of Massive Attack’s tightly constructed songs, sweeping with elegance and slick production. Vunerable is a hip-hopish electronic jumble that moves around between a lot of different types of songs. Tricky works a lot looser, slipping little things here and there, never growing or shrinking, just carrying one type of sound through a song. It’s in this eccentric clutter of mischief that I find interest, because Tricky obviously isn’t trying to outperform anyone; he isn’t trying to make music that will shape the course of future electronic music, he’s just doing his own thing, and getting by. Sometimes it’s great, sometimes it is not, but overall it’s pretty good. I prefer it when Tricky acts as a bass compliment to the female vocalist, Liz Constantine, rather than being upfront, which is closer to his Massive Attack style singing. The slower, simpler songs really show this off, and the upbeat-in-your-face songs get a little repetitious and annoying. We all have preferences and expectations, and when it comes down to it, Tricky’s expectations seem to be pretty high. This sure isn’t a groundbreaking album, but it’s not bad. [www.trickyonline.com]

Frank Black has never been one to rest on his laurels. Beginning with his eponymous solo debut, he has been constantly pushing forward and trying to run out of the shadow of his old band, the Pixies. From inverting his stage name from Black Francis to Frank Black, refusing to play Pixies songs on his first few solo tours, or assembling his killer backing band, the Catholics, Mr. Black has never wanted to recreate his former glory days. Starting with 1998's Frank Black and the Catholics, all of Black's albums have been cut live to 2-track tape. Simultaneously, his albums have become more intricate and his songwriting, especially lyrically, more refined. Show Me Your Tears achieves both intricacy and refinement while still sounding fresh and spontaneous, no doubt helped by the live recording. The album opens with the raw, bluesy "Nadine," which segues to "Everything is New," which has a tone similar to 2002's Black Letter Days" especially "California Bound." This track shows off Black's lyricism, with references to Johnny Horton, Hank Williams, and their mutual love, Billie Jean. Producer Stan Ridgway adds beautiful harmonica to some of the more tender tracks, including the travelogue "My Favorite Kiss," the country tinged "Goodbye Lorraine" and the gorgeous, yet achingly brief “Coastline." "Massif Centrale" is one of the most straight ahead rock songs Black has written in years, and shows off his vocal depth with his deep baritone transitioning into the falsetto second verse. More surprises are scattered throughout the album – a guest spot from former Pixie Joey Santiago, the calypso beat in "This Old Heartache," and the Exile on Main Street-ish "Jaina Blues," which featuring some excellent work from frequent-Catholic keys man Eric Drew Feldman (formerly of Captain Beefheart’s Magic Band, Pere Ubu, and PJ Harvey) and Catholics bassist David McCaffrey. Lead guitarist Rich Gilbert shines throughout the whole disc, but especially on the Hawaiian-sounding lead in “Coastline.” The album goes out on a high note, with the epic and lush "Manitoba." Frequent Brian Wilson collaborator Van Dyke Parks is present on this track, and it certainly bears a striking similarity, sonically, to some Beach Boys' tracks from their Parks era. This track wraps up a sad, blue record, which reflects Black’s recent divorce. But instead of choosing to sit around and sulk, Black has made a near-perfect record that will stand as one of the best break-up albums of all time. And for those of us without broken hearts, there are more than enough reasons to pick this album up. [www.frankblack.net]

Here at Silent Uproar, we don't seem to get a lot of ska-oriented bands to review. Why? I guess because a lot of people these days just don't like ska. But, I do, and this album has been playing pretty much nonstop since I retrieved it from the mailbox. In 1998, New Jersey's Catch 22 released their debut, Keasbey Nights, which proved to be an instant ska-punk rock classic. Not too long after, the band (as it was at the time) split up, with singer/guitarist Tomas Kalnoky, bassist Josh Ansley, and trombonist Jamie Egan taking their skills elsewhere. Where was that, you ask? I don’t know where, exactly. All that matters is their present whereabouts. Here in 2003, Streetlight Manifesto reunites the three. One listen and I was convinced that Kalnoky was the genius behind Keasbey Nights, and as far as the rest of the scene goes, his songwriting skills are unmatched. Saxophonists Jim Conti and Dan Ross, and drummer Paul Lowndes round out the rest of the group. A lot of the band’s peers have discontinued or cut back their use of ska - to name a few, Less Than Jake, Reel Big Fish, and Goldfinger. There is little more than a handful of bands that are still skankin' successfully, and Streetlight Manifesto is at the helm. To describe the band's sound in more depth: lighting fast vocals, gang vocals, hints of hardcore, and finely refined musicianship with horn lines and choruses as contagious as STDs on a college campus. Each song has its place on Everything Goes Numb and the band has actually crafted songs that last upwards of five minutes. While a very rare occurence in this genre, none of the tracks lose an ounce of energy. You can close you eyes and it just might feel like Keasbey Nights: Part 2. Not a bad thing at all. So, there you have it!. Twelve tracks of ska-punk fury at its finest. An instant classic. I'm hoping this band can bring about another ska revival. It's doubtful, but if anyone can do it, Streetlight Manifesto can. [www.streetlightmanifesto.com]

Doghouse Records has decided to give us a taste of two of the New Jersey underground's finest. These two bands that have been around for a couple years, but haven't really hit the "big time" yet. The Break takes the first half of the album and, as their self-titled debut is a personal favorite, I've always felt that they're somewhat underappreciated. The stuff they've included here isn't too much of a departure from their older material. "We Live Without Sleep" shows us that singer John Waverka's range is evergrowing, as he throws in some nice screams for flavor. "Alone With You" and "I Name You Disaster" are more of the same old stuff: melodic punk rock, dual guitars, socially aware lyrics and a very gifted singer. As for Let It Burn's half, it was a pleasant surprise. They blend punk-rock, hardcore, and rock 'n roll in a nice fashion. The singer has more of a British punker's voice and, luckly, isn't the highlight of the band. Despite the lyrics of "I Believe in Love" - the cheesey "I believe in love, and I believe in the stars above" - it's a decent song with nice Matt Freeman styled bass line and a sweet guitar solo. "Fade Away" closes out the split, and follows suit with the rest of Let It Burn's songs; while it's not a bad track with a blazing guitar solo, it probably isn't going to earn repeated playback. Splits are nice for the simple fact that they're cheap and you get a good taste of two different bands. And, even though together these bands are somewhat unimpressive, something on it might inspire you pick one of their respective albums. If so, mission accomplished. [www.doghouserecords.com]

I read somewhere that this album was made for $60. Whether that's true or not, it should at least clue you into the sound quality of the recording. Though transferred over to two-inch tape when Chris Walla of Death Cab for Cutie mixed the album, it still suffers from a layer of distortion haunting every recorded sound. Apparently, this was all done purposely to "force the listener" into new frame of mind regarding sound recording… or something. Amazingly, singer/founder Hutch Harris cuts a line straight through the mess with his nasally yet tremendously singable melodies. The set starts out with two reasonably fine cuts, but it's not until "No Culture Icons" that the fun really begins. With this its "hardly art" chorus, it should induce a sing-a-long within seconds. The album is a pretty consistent collection of tunes, with none stepping too far out of the freakbeat, rock-pop bounds set by the preceding song. Still, watch out for the "My Little Machine", "Back To Gray", and the highlight of the album, "A Passing Feeling", which introduces itself with a catchy hook. The song is further punctuated by its drum breaks, which allow for a bit of aural relaxation and change of pace from the lo-fi barrage. In the 13-song set, the only thing that takes away is, unsurprisingly, the sound quality. While "produced" sounds are overrated, clean sounds are definitely not. Pro-Tools is not the answer. Maybe an 8-track? In the end, it's all up to what your ears can take, and you'd probably need to hear part of the record before you make up your mind. At a little over 27 minutes in length, you might not even cringe. While it's quite endearing at times, here's to hoping their next two records don't sound exactly the same. [www.thethermals.com]

While a little late with our critical praise for this release, the Fruits Bats' newest full-length, Mouthfuls, hits the mark as far as eclectic, acoustic folk goes. Yet, there is a pop sensibility that rides underneath the entire album, found both in the musical progressions and the melodies. In the way that Beck sculpted his post-breakup opus, Sea Change, the Fruit Bats formed this album in a similar style. Though, it's evident they were definitely in a happier mood and thinking about things like nature and love (not the lack thereof). While I buy the "beautiful, heartfelt" tag the band categorize their own sound as, I'd say there's also a bit of oddity in their music. Those quirks are provided by songs like "Union Blanket", which is given its character by the digital taps and claps that play in the background, and in the way all the instruments start seemingly fighting each other at the end of "A Bit of Wind". Yet, their multi-layered arrangements, founded on mostly acoustic guitar, bass, drums and keyboard, provide a pleasantly strange background for Eric Johnson's smooth vocals and dead-on harmonies. But, don't expect all the eccentricity to come from the instruments themselves, because Johnson takes the album on semi-psychedelic adventure with the refrains and the ending measures of "The Little Acorn". Yet, amongst the twists and unadulterated happiness of songs like the closer, "When U Love Somebody", there are the hangover ballads, in the form "Track Rabbits" and "Lazy Eye", that roll and tumble along in their sincere delivery. Without much attention given, one might blow the Fruit Bats off as another electro-folk project resembling Califone. Yet, the Fruit Bats brand of hazy-afternoon, acoustic pop should reward any listener who brings some level of curiosity and a minute ounce of interest to Mouthfuls. [www.fruitbatsmusic.com]

I’m always wary of rock bands that feature super-serious band photos in the album sleeve, because no matter how many visible tattoos, frowning faces, and computer generated backgrounds you have, the anger-filled forty-minute album can’t possibly be concentrated into a single photo-shoot. I find it to be conceited and shallow, much like music videos featuring band members flying through computer generated blue-screened environments. (The new Adema video includes the band flying around with “tornadoes and stuff”) Regardless of the contemporary “we have lots of money to make crappy CG videos rock and roll” facade, Adema is a somewhat talented band. Unstable is a heavy rock-out album, smoothed over with radio-friendly melodies and a few sluggish pop-rock ballads. Adema has the same kind of leisurely rhythmic rock sound as Cold and Chevelle, gritty guitars, loud bass, screaming vocals, but still smooth. Adema is one of those bands sold through the modern MTV image, kinda cool sounding in that guilty pleasure way, but very immature. While I can appreciate the integrity and decent production, I can’t get past some of the High School quality lyrics, for example, “I tried to stop the cycle for you, this relationship is wack” and “What makes me break down like a bitch, it’s so hard to crawl out of this ditch.” Now, I don’t expect every band to be as lyrically clever as Wilco or Hum, though I do expect a band that is heavily inspired by real experiences (such as “Needles” which refer to a close friends struggle against heroin) to be a bit more cunning; save the lifeless, juvenile lyrics for Linkin Park. It’s especially frustrating to hear such immaturity on an album that you really want to tell your friends about. Despite consistenly sub-par lyrics, this album stands up really well as an MTV album. It sounds nice and feels nice, it's shallow as hell, and made for teenagers. I like it a lot for this reason, but can't give it a good score because it's not fair to the truly brilliant musicians out there. [www.ademaonline.com]

Last I checked, Godhead was an industrial goth-rock band signed by Marilyn Manson, a rocking rock band that toured with Manson, Rammstein, Disturbed, Static X, and had a place on Ozzfest 2001. I listened to this new album under the assumption that it was going to be industrial, heavy, full of drum machines/samples, and have the same electronic-filtery goodness that made the last album reasonably enjoyable. When I say reasonably enjoyable, I mean that it is unintentionally amusing, like a good B-horror movie (example: “The Mangler”). Well, at some point previous to this album, Godhead stopped being an industrial/metal band and trimmed the use of electronics/drum machines/samples. This album sounds nothing like the first. They tried to take a serious stab at making music, thus falling flat on their faces. Let me get right to it, Godhead’s front-man, Jason C. Miller, recently said, “We wanted to make a great record that would be like an experience in the spirit of Pink Floyd or David Bowie and I think we accomplished that in our own way.” Keep in mind that this statement is coming from a band whose previous lyrics includes, “I got a gun in my hand, and I feel like a man, I’m the Pope of my generation.” Genre-parody bands need to be aware of their absurdity in order to continue in the same direction. Bands like The Presidents of the United States of America, Aqua, and Mindless Self Indulgence embrace this style and succeed immeasurably; they take the negative, overused aspects of a genre to such extremes that it becomes entertaining. Godhead is an ambitious group of people that went in the opposite direction that I feel they should have gone. They should have become even MORE Goth, MORE Industrial, and most importantly more ridiculous. [www.godhead.com]

About a year ago, a friend of mine steered me over to MP3.com to check out a band called Billy Talent, as their song “Try Honesty” which was rapidly making its way up the charts. As much as I liked this song, their lack of a locatable album and the absence of more MP3s let the band all but slip from my mind completely. Up until the past month or so, I had no idea that Billy Talent had signed with a major label, and was getting airplay on both radio and MTV2. Taking a quick glance at the track listing, one might get the impression that this band is going to be generic crap, with track names including such unoriginal titles as “This Is How It Goes”, “The Ex”, “Standing in the Rain”, “Nothing to Lose”, and “Prisoners of Today”. Thankfully, despite the lack of creativity in naming their songs, this is anything but generic. Billy Talent breathes new life into a dormant scene, with an angst-ridden and recognizable sound all their own. Take a British punk’s vocals and add some melody, and that’s how I would describe Benjamin Kowalewicz’ voice. The rest of the band, guitarist Ian D’sa, bassist Jon Gallant, and drummer Aaron Solowoniuk, have provided us with well-crafted music that complements the lyrics, which range from stories about a drugged out prostitute to childhood abuse, like the Earth to the sky. All twelve tracks have memorable choruses and the punk-influenced aggressiveness makes this one of the more energetic, non-heavy albums I’ve heard this year. To delve into an analysis of each song would be rather pointless; each track is as vibrant and as notable as the next. Though, if I had to say anything negative about this band, the only thing I can pinpoint is that the Kowalewicz’ high-pitched wails might be something of an acquired taste. Billy Talent has crafted a superb debut and the originality shines through. If you've been wanting something that rocks, but doesn't draw comparisons utilizing the words "emo" or "core", don't hesitate putting down a few bucks for this one. But don't trust us, try it yourself. [www.billytalent.com]

Don’t confuse this band’s sound with radio-fodder just because they are labelmates with Creed. Don’t underestimate their brutality just because they signed to a major label. This five piece from Newark, DE has been a favorite in the underground punk and hardcore scenes for the past few years. Although Tomorrow Come Today may not be as hard or technical as the band’s previous work, it definitely captures their essence. Boy Sets Fire has always been focused on social and political ideals, and Tomorrow Comes Today is no exception. The disc opens with “Eviction Article”, which sees vocalist Nathan Gray go from deep growls to a beautiful singing voice, and the strong drive of the song sets the pace for the rest of the disc. “Last Year’s Nest” is a top-notch Boy Sets Fire song, and the vocals soar out of the speakers through the words “so save your wishes for the sky, diluted and disguised, as a perfect fuel that won’t ignite, but hope will heal us all.” Throughout the record, Gray shows his inclination towards poetic refrains, which is best shown in the track “Management vs. Labor”. But, these guys are a heavy band, so where's that at? “Release the Dogs” is a hell of a song, first featured on the Live For Today EP, and adds depth and diversity to the album. Further adding to the range of the album is “Handful of Redemption”, which is Boy Sets Fire's catchiest work to date featuring a great sing-along chorus. Yet, the some of the power is lost on the latter half of the album and a few tracks lag. As well, when the band attempts to infuse their sound with pop melodies, "Foundations To Burn", it's best to just skip it and save yourself the trouble. So, they're doing well, but still have kinks to work out. Tomorrow Come Today is a good example of a band singing to a major label without compromising their ethics, and still managing to put out an over-the-top album. Their songwriting skills have improved greatly and Gray continues to outdo himself with succesive release. Furthermore, the untitled, hidden track shows a more mellow side of Boys Sets Fire and hints at the next effort from this band to be another evolutionary step. [www.boysetsfire.com]