My friend once said to me, “Boston rocks, it's just nobody knows it…” and its true. It seems no one knows about any of the good bands coming out of Boston, and The Sheila Divine is a prime example. Quick bio: after forming in 1997, TSD got onto Road Runner and released their debut in 1999. Their roster, at the time, had mostly hard-core bands like Cannibal Corpse, and a band like TSD, with influences of The Smiths, Radiohead, Nirvana, and U2, didn't fit in. After getting their album released by the label, they decided to put out their sophomore effort by themselves in 2001. Now, they find themselves with a new drummer, a new album, and a home on Arena Rock Recording Co. Thank God. Now I have to be honest: I’m biased when it comes to this band because I used to do their web site, and I hang out with the guys when they play shows in Boston. They’re the nicest, most down-to-earth guys I know and, frankly, I just love this band. That said, I’m still going to try and be a bit critical on this release. The intensity of the Sheila Divine's live show is part of what makes them so good, but unfortunately on "Secret Society" that intensity wasn't fully realized in the studio. The band tried to go for a more “live feel” and because of that I think the CD suffers a bit. On previous releases, layered guitars and double-tracked vocals with lead singer Aaron Perrino’s amazing voice were standouts, but sadly they’re absent here. All of this aside, this CD rocks. The band managed to get great drum and guitar sounds, and Perrino’s voice is nice and loud on this disc (when you hear it, you’ll be thankful its loud, too). “We All Have Problems” and “Back To The Cradle” are blistering rock tracks, while “Calling All Lovers” and “The Swan” are beautiful, sweeping numbers with amazing vocals. “Dramatica” is a perfect alt-pop song, and “Black River” sounds like it was pulled right from U2’s back catalog. With all that variety and the fact that the drumming rocks, the bass lines are great, and the guitar solos are amazing, you can't lose. To be honest, I suggest you first pick up the band's first CD “New Parade”, graduate to “Where Have My Countrymen Gone”, and then pick up “Secret Society”. You really need to hear the progression the band has made to fully appreciate their sound, and every CD is very much worth the purchase. If you don’t feel like doing this, at least check out their web site and hear MP3s of the new album. Either way, I would highly recommend this disc to everyone. [www.thesheiladivine.com]

It’s unfortunate that so many have written Nada Surf off as a one-hit wonder of the 1990’s, joining the likes of Superdrag and The Toadies as bands that have been forgotten by the mainstream. While most only remember “Popular”, Nada Surf has still been active yet extremely overlooked. For instance, “Let Go”, their latest effort, couldn’t even get a release in the U.S., while it has been out and selling well in Europe since September of 2002. The opener, “Blizzard of ‘77”, sets the mood for the rest of the album. They seem to have dropped quite a bit of their Weezer-ish feel, trading it in for a more complex, subtle style. “Inside of Love” is a perfect slow-pop song, while “Killian’s Red” is reminiscent of (believe it or not) Sunny Day Real Estate’s “Pillars”. There is, of course, the standard mid-90’s alternative stuff on here. “The Way You Wear Your Head” and “No Quick Fix” are examples of this, but they are still fun enough to be guilty pleasures. They also have beautiful, rich acoustic songs like “Neither Heaven Nor Space”, “Blonde On Blonde”, and the seven-minute long “Paper Boats” (which never bores, surprisingly). The only song I find myself skipping over is “La Pour Ca”, only because its sung in French and I have no idea what he’s singing. The verdict? This could possibly be one of the best CDs to come out in 2003, and will also sadly be one of the most overlooked. Definitely pick it up when it comes out in February if you’re looking for a break from the garage rock or consistently boring power-pop releases. [www.nadasurf.com]

Since Boysetsfire’s critically lauded sophomore effort, After the Eulogy, a wave of militarism, a barrage of political distress and an onslaught of atrocities have laced the post-9/11 hangover our world lives in. “Release the Dogs” may be Boysetsfire’s retaliation against the United States’ close-minded policies and political righteousness, but the track offers nothing riveting or urgent to our musical subculture. In fact, the two remaining new tracks Boysetsfire pieced together for this EP further solidify that conclusion: It seems as if this Delaware-based band have written all their heavy handed hardcore tracks before and now all they can do is re-write and retread past classics. “Bathory’s Childhood” does a fine job of watering down and demoting their previous vicious hardcore punk outlook onto the world, but it’s in the live setting Boysetsfire thrive upon. The leftover live tracks from Live For Today spotlight Boysetsfire’s past career of slashing guitar, lyrical activism and deadly rhythms on their writhing discography. It seems as if “Rookie,” in its natural live setting, incorporates everything “Release the Dogs” and the other studio-fed tracks wish to ultimately accomplish. Boysetsfire are in dire need of reinvention – or at least invention, but this EP thankfully encompasses Boysetsfire in their live setting with gnashing past sound staples to rest upon. [www.boysetsfire.com]

Joined in a matrimony of rock backdrops, soul swagger and true R&B spirit, Maroon 5 divide genres against themselves and prove it’s healthier to have a balanced diet than a one-dimensional musical overdose. This fleshed out five-some have taken their sound leaps and bounds above their last incarnation as ska-rock rompers as Songs About Jane, their latest release, sees them growing into the experienced pop-rock property they were bound to mature into. Although currently below the major label radar screen, it’s a wonder that Maroon 5 haven’t landed a deal and forged popular territory as this latest full-length has fingerprints of popular classics all over it. From Faith No More to Blues Traveler in the form of Matt Wallace’s production cred and hitting big-time summer events along as support for Sheryl Crow, this quintet are sure to capture a glance as rightfully heirs to the major label soul-rock troupe. But despite where Maroon 5 sit on the echelon of popularity, their music, if a bit tiresome, bends genres while reveling in the classic pop realm. “This Love,” full of whimsy hooks and soul-infused rock, conquers similar territory that Blues Traveler covered in the past while finding contemporary commonality in Detroit’s the Bellrays. We might be in the midst of sexual explicit hip-hop and smarmy rock, but Maroon 5 are sure to catch a few ears with their genre-blending cocktails. [www.maroon5.com]

Although the garage has now become a worldly meeting place with Sweden at its multicultural center, it’s seemingly left the most exhilarating group out of its rock ‘n’ roll mix: the Danish duo known as the Raveonettes. So let their be a disclaimer: the Raveonettes may have that certain three-letter article attached to their name, but this is not another throw-away “the” band. What they are, however, is a noise-rock-cum-pop band that succeed when the rest of the garage rock albums simply retread past greats in the Stooges and the Velvet Underground. Whip It On, their white hot mini-album, represents classic music being facelifted by the fingers of technology: it’s rock - true rock - being warped, dismantled and reconfigured into equal parts subversive pop and white noise - usually simultaneously. While “Bowels of the Beast” scorches sounds in that department, its this bands unusual blend of the Jesus and Mary Chain, Debbie Harry and dirty pop that resurrects these rock ‘n’ roll dinosaurs with a futuristic twist of DNA. Maybe I’m jaded from the arrogant pricks in the Hives proclaiming their glory or just sick of how much better the Stooges forever will be, but the Raveonettes at least give me hope of a white noise rock band infiltrating pop culture like the Velvet Underground and Jesus and Mary Chain once did. This Danish two-some aren’t saviors, but they at least give the garage a much needed tune up. [www.theraveonettes.com]

I think I've tried to write this review probably 4 times now. I'll get about three-fourths done with it and upon re-reading my words I realize that everything I've said doesn't give this record justice. 12 Rods recorded this album on their own, in their own studio, printed it up on their own, and released it to the masses with no additional outside help. A fairly impressive feat for any band, but maybe even moreso for these Minneapolis natives seeing that they were also dealing with the fact that they were no longer welcome at V2 Records. Production wise, this album sounds cleaner, fuller, and more realized than any of their previous works. The songwriting is strong both musically and lyrically but beyond that.. they are damn catchy. Ryan Olcott has the ability to write lyrics that teeter on the edge of goofy right before returning back to some sort of triumphant insight (i.e. "Cause you're never to young to make a booty call, or tag a sign or a wall... or even make your enemies fall, fall fall" - "The Time is Right (To Be Wrong)"). The most interesting thing about this album isn't that it's completely self-produced but the manner in which the songs are arranged. Typically a rock band will arrange their tracks so that the more upbeat songs are towards the beginning of the album, to catch your attention and pull you in. Lost Time starts off with the slower songs ("Fake Magic 8-Ball", "Twenty Four Hours Ago") and gives mild teases of the forthcoming upbeat rock ("One Thing Does Not Belong"). The second half of the album is definetly more upbeat than the first with songs like "Telephone Holiday" and "Terrible Hands" but it's the overall build up that makes the whole record work together. Instead of starting loud and slowing down to a draining stop, Lost Time slowly pulls you in and makes you experience the whole album, instead of what may be thought of as the next potential single. So maybe this review doesn't do the album any more justice than the previous 3 that I've written but at least it gets the word out that 12 Rods have recorded a new album, it's ready for consumption, and it's well worth checking out. [www.12rods.com]

It's unfortunate that Trading My Life was releasing in October and not in a more summer-esque month like say.. July.. because it's an upbeat little rock EP that would work well as a nice backdrop to a roadtrip or hanging out with friends at a cookout. It's also unfortunate for Liar's Academy that this EP is only average at best. The first track "Trading My Life" is the standard college bar rock song that could surely land the band a spot in some teen movie playing as the cool "local kickass rock band." The catchiest song of the four is "Chainsmoke the Night Away" and shows that the band has some promise of growth beyond their standard verse-chorus-solo-chorus setup. Overall, the disc sounds very professionally recorded, well mixed, and packaged very well. The songwriting is good but still constrained by songs like "It's Not Me, It's You." It's a very honest rock effort, and worth downloading some samples to check out, but overall it would work best categorized into your "Play In Background When Socializing Is More Important" stack of CD's. [www.liarsacademy.com]

From opening track "Apples I'm Home" to closing track "Computer Show" you know that Adam Green is bizarre. In fact, so bizarre you ask yourself "Is this guy for real?" The vocoder backing vocals that tell you to "rip out your guts" or the fact that he's eating a sandwich in his video for "Dance With Me" definetly help tip you off that he is bizarre, but that these songs are just for fun. It probably doesn't hurt Adam that his band The Moldy Peaches have gathered some success for being a bit offbeat with songs like "Steak For Chicken." His solo album Garfield seems to just be an extension of that success. The songs are mostly acoustic with random backing vocals or odd blips to add some fullness to the song but overall this was sparesely recorded in a bedroom and it shows. Luckily it's this bareness to the recording that makes it enjoyable. While this definetly isn't for everyone, it's an honestly fun recording that once you drop your guard over the lo-fi-ness of it all can be enjoyed. Just sit back, listen for the slide whistle and remember that it's okay to laugh AT this album as much as it's okay to laugh with it. [www.adamgreen.net]

One listen to "Remember The Future" and you can feel confirmed in knowing that long gone are any previous notions you had about Creeper Lagoon. When a band splits up and one member continues making music under the same moniker, it's a pretty safe bet that it's not going to be the same sound you remember. Ian Schefnicks vocals and upbeat writing style are completely non-existent on this recording. The presence of an actual drum kit is even sparse here. So if you were a fan of old Creeper songs such as "He Made Us All Blind", "Drink and Drive" and "Lovers Leap" then this EP is the perfect extension of their sound for you. Because Remember The Future features the songwriting skills of Sharky Laguana and only Sharky Laguana the songs contain intricate backing vocals almost too subtle to hear, swirling keyboard noises, and just alot to listen to while staying within the expected slow dark writing style. Somehow even the most upbeat songs ("Crisis", "There's A New Girl") seem dark and slow. But that's how Sharky's songs have always been, so it's not a terrible surprise. Overall, it's a very slow tempered record that should be listened to when in the mood for contemplation or sleep but not for singing along with at loud volumes. The record must be docked some points due to the fact that it's under the Creeper Lagoon name and most certainly does not represent the sound that people may have come to know as Creeper Lagoon. Sharky has a great bunch of songs here, he just needed to release them under a different name. [www.creeperlagoon.com]

To fully understand the Teaches of Peaches I decided that the best thing to do was first concoct my idea of a (fictional) myth for Peaches. Say that Thomas Dolby and Spandeau Ballet were really hardcore BDSM 80's dudes that had to tone their act down to get any recognition or hits to sell albums. Okay, but in their secret Canadian lab, these guys were harboring ideas of the ultimate blow-up toy for their needs- A mistress, if you will- that could come about when their pop music had lost its fizzle and other, much crappier, pop music was taking over (that would be about... now). She would take all the elements their music that they loved and fuse it into a cocky, quirky, Kraftwerky synergy coupled with a insouciant yet in-your-face persoane. And she would be named Peaches. And she would sing about seXXX. Done! And here's the product- The hilarious and Playskool porno that is the Teaches of Peaches. This pink hot-pantssed Canadian is a surefire babe with libido to spare, so check your inhibitions at the CD player. While Lovage, Mike Patton's journey into the passion playground, was shot on glossy paper with fuzzy, sensual lights, Peaches prefers to illuminate the more grungy areas of sex- Y'know, the mottled skin, the faintly odorous sheets, and the fucked up hair- That's where she's coming from. And when her bored-yet-charged purr utters vagaries like "Huh? What? Right. Yeah." you know that she's not in your average Anatomy 101. With track titles like "Loveritits", "Suck and Let Go", "Fuck the Pain Away" and "Cum Undun", it's obvious that Peaches is uninterested in PG-13, she's more steeped into the culture of NC-17. And it's not artsy, so don't be fooled. It's pure easy-beats and expression for expression's sake. And when lines like "Only double A, thinking triple X" get stuck in your head, and you wanna share this CD with EVERYONE, then you know you're sold on this lady's class act. Only problemo is the cover of Berlin's (get the enhanced CD, by the way, cause it's fun to hear Peaches' mixes up against others) "Sex (I'm A...)" which was done so flawlessly by the aforementioned Lovage that Peaches' raunch quotient only makes the track derisible and less intersexible. But other than that, you've got a grade "A" album where the rod is not spared yet the child remains spoiled in the cartoonish lust of Mrs. Peaches. Class dismissed. [www.peachesrocks.com]

The Smashing Pumpkins were always hailed as demagogues of something left untapped by the ferocity of other 90's artists, or, more specifically, Billy Corgan was painted as the patron saint of lost children, lost ethos, lost...hair? See, I never really got it, the whole Pumpkins thing, because I thought of Corgan as obnoxious- Smart, yes, but obnoxious and pompous. A more sensitve Liam Gallagher. And, lucky for you, I put that aside for this (second year in a row, yo) best-of collection, which is understood to be a companion for the Pumpkins' "Viewphoria" DVD. Basically, Earphoria is the Smashing Pumpkins' answer to Nirvana's Muddy Banks of the Wishkah, without the burdens of posthumus reverance or sighs of "what could have been." This is straight up pat on the back, "1993 was a good year for us" CD, and rightly so, as there was nothing the Pumpkins could have done to ressurect themselves after the horror that was Adore, but I promised... So here's the positives This album was not made for me, the non-fan. It was made for you, the long-suffering devotee. And with extras like "Bugg Superstarr", "Sinfony", and "French Movie Theme", the CD attains the feel of non-bootleg, which is always nice. "Today", performed live in Chicago in 1993, is notable for Corgan's vitriolic whine over the crowd, who rebounds his pain and throws it right back at him, so thus no Tom Petty sing-for-the-singer allowed: Billy has to do this 'cause he wrote the song, not you, dammit. (That was a reference to "Break Down", btw.) Why mention this? It serves to remind us of the separation between audience and band that was always present with the Smashing Pumpkins: Pain was the product, you were the consumer, and you were perverse yet gratifying to the band. Anyway- "Disarm" sounded better with the violins, but here takes on a tattered pleasantry, and "Cherub Rock" gets less seraphim and more demons, while "Soma" gets an anthemic makeover. The best track on the album is "I Am One", taken live in Barcelona, Spain, in 1993. Corgan is his best starred kitten, his mew of "gimmie-gimmie-gimmie-gimmie-gimmie-gimmie-NOTHIN'!" fierce and the opposite of cum grano salis: That, I guess was the majesty of the Smashing Pumpkins- they weren't faking. The armored wall of noise from D'Arcy, Iha, and Chamberlin stands firm and unwavering against Corgan's howl, and the defiance of the song, along with it's unapologetic victim cry, make me realize that this band was probably a pretty good live act... Too bad now, eh? The soaring, sprawling 15-minute opus of "Why Am I So Tired", the last track, is a perfect ending to a CD that highlights the rise of the Hero that was Zero. If you're a fan, get it and revel- If you're not, skip it. Billy Corgan won't care. [smashingpumpkins.com]

Making pop rock actually sound good again, Zetamale are an indie rock collective with a rich history in the underground music market. Mellowing out from former bands Bats and Mice and Engine Down, the five songsmiths of Zetamale have veered off the road of their heavy indie rock past in favor of soft, acoustic driven rock that hits at the heart. For those of you past the uncomfortable Dashboard Confessional fad, but still in need of acoustic rock, Zetamale have arisen to answer your need for tunes that are melodic and soft, but also emotionally riveting. Although a five-man outfit playing merely acoustics may seem a bit bland, Zetamale enhance their familiar sound with laptop effects and electronic undertones to brighten the acoustic perimeter around this five song EP. Although most definitely not original and lacking in the ingenuity department, Zetamale take cues from early Radiohead, Coldplay and recent Shiner to arrive at music that is, at the very least, more compelling than the new metal hacks and pop-grunge dicks hogging all the airwaves. It’s sensitive acoustic rock with an electronic tinge that isn’t afraid to mellow out let its vulnerable side show... but just don't call it emo. [www.zetamale.com]

Sweet, delicate and endearing, the Mighty Rime swoon and sneer through their rustic take on the archetypal pop song and the typical indie rock track. This self-titled offering from the ex-bassist of once-upon-a-time emo hopefuls, Christie Front Drive, diverts the path of heart-on-sleeve emotion for an outdoor rock vibe and bedroom pop mentality. Splintering and fragmenting folk, pop and rock into a confluence of music that shackles genres together with seamless ease, Kerry McDonald’s voice clouds the lo-fi lushness with a distinctly warm tone. In doing so, the Mighty Rime triumph in trading the now commercially coveted emo sound for a sing-along cross between Built to Spill and the Microphones. Tossing organs, pianos and harmonicas into the mix, this is bedroom pop rock that actually sounds like a bedroom – it’s that warm hand-stitched blanket that comforts you through the night, it’s that drawer-full of homemade sweaters to warm you through the winter. Seems as if changing the setting from a break-up scene to a friendly campfire did McDonald and his new project some good. [www.caulfieldrecords.com]

I have a habit of not liking what everyone else likes, or at least, according to some music purists, what you're "suppossed" to like. The Strokes, for example, I think are a pretty little band with fairly maintenance-free haircuts and a decent record, but not the revelation of the year... So it suprised me that I became really fond of Dragpipe's Music For the Last Day of Your Life quite quickly. The riffs aren't original outside of Helmet (see "Simple Minded" and "Puller"), and the lyrics aren't that massively wonderful either (sample crescendo-type chorus: "Drinkin' wine with my friends! Drinkin' wine with my friends!"). But something about this album reminded me of the good old gnarly crunch that is SO missing in the garage-band revival that's currently going on. This is a band that Ozzy could take on tour, a band you could really get into without having to worry if they were about to go "pop" (sorry,Incubus). It's not a revelation, this record, but rather a throwback to the pieces that made up the puzzle of greatness that once was a dirge of guitar angst-sludge. Think Superunknown, think Jane's Addiction without the introspection. Think straight shot in your face of some good itchy rock, y'know, the kind that you'd like to play behind you when you walked in to tell your boss you quit after putting up with years of bullshit. Something like that. It's Deftones without the sensuality- There's just raw energy on this record, no veils. It's good. The only reason Dragpipe doesn't rate any higher is because to describe their fusion of music I like, I have to use music I like, which draws away from their innovative points, which I live by. But honest to Buddah, this is an album that sounds like distressed sheet metal looks, and it'll get ya through the holiday season with some much needed grit. [www.dragpipe.com]

Sometimes, albums come along that spark interest because you think they should. In other words, no matter what the first song does to you, the full runtime is explored because of how much you heard about the band, how well you know the band, how many bands you love toured with them. It's a special case where you know more about the band before you aurally attack the CD, than most people do who owned it first. It's that special case with Swift. I've seen them live, their home sits not far from me, conversations sparked themselves with the band at times, and then the CD comes out. It requires some reworking to separate any personal connection with an album, and objectively place it's quality above or below the standard of today's rock-saturated music market. In an oversimplified nutshell, Swift rides the wave of groove metal in a tasteful way. They are talented musicians that could choose to play music that technically challenges what they do choose to play - instead, they stick with a simple style that focuses on their live crowds' head nods. For a locally produced CD, Waging War sounds fabulous. The guitars can be a little thin and too fuzzy at times, the vocals have a tendency to take over, and overall, the disc lacks a lot of the midrange that fills out a professionally mixed product. The vocals trudge over the sing/scream catagory, with lots of harmony and feel good choruses - lots of growl rap for the remainder. The main problem with Swift's Waging War is its timing. If this piece popped onto shelves about 6 years ago, it would be a hit, but like all other nü-rock, it falls victim to sounding like everything else. While there's nothing necessarily wrong with this simple album, there's not anything revolutionary about it either. Regardless, Waging War is a good CD, and fans of the groove will spin it for a while. However, it can't be distinguished from much else - other than coming straight from the soul of some tight local musicians and not from the brain of a Pro-tools driven, high dollar producer. [www.swift-band.com]

Snapcase is the Lexus SUV of the northeastern hardcore scene. It doesn't really fit the catagory it's shoved into, it's looked at in brighter eyes than it deserves, and most of its value is in the name. That's not to say that Snapcase isn't a great band. They just need to be glad End Transmission has 4 major label releases leading up to it, and the fanbase is just way too big. Snapcase's history is a lucrative one, and the most positive trait holding true with the band in review is consistancy. Every album has been just as good as the one before it - not especially better, but surely not worse. To have a band that sticks to its guns through 4 albums is worth some credit. That doesn't add to the score of this release, but with a title choice like End Transmission, and with no evolution predicted in the band's future, it might be worth snatching this album up with the assumption of it being their last (plus, the album art is to die for!). End Transmission is a good CD, but the style is unfortunately dated. Most people that didn't "pick up quarters" back in 96-97 during the band's underground peak don't really understand the wicked, monotone, and childlike vocal style of Daryl Tabreski. Frankly, I don't either, but it's very addicting, and I've been stuck for years. The vocals, however, are not on the band's side regarding new listeners. End Transmission is tangible and feels good. It's a fine rock album with lots of variety scarred with a few tracks that act as "decent" fillers. Snapcase fans will scoop this up and cherish it as a probable last record from the band, and for the newcomer? People that gave At the Drive In a chance to sink in and feel the void from Helmet's departure should give Snapcase a chance - you won't be dissapointed. [www.snapcase.com]

What a change! I grew up with Silverchair, inspired by their youth and simple rock focus. I feel I should be insulted by the rock opera Silverchair has thrown at me, but I'm not. This is by far Silverchair's greatest musical achievement, and anyone who can't stomach it is missing out on one of the best albums this year. Tastes change with age, and there's no better evidence of this than Diorama. To actually call it a "rock opera", I feel, is an insult - for I abhor musicals, and wouldn't dare put it into that category. Yet, all signs point to genuine storytelling, dynamic style changes, thick symphony overload, and orchestral tendencies - basically, everything Frogstomp was not. What makes this album so different from my worst fear then? Cheese. Diorama sounds honest, yet doesn't "pretend" to be. Daniel Johns doesn't change his voice to imitate characters, insert comic relief for a response, and doesn't "overact" his parts. He simply tells his story vocally and lyrically without pushing the emotion overboard - same applies for the music. Horns, strings, harpsichord, and occasional guitar are all unexpected, but in place with deadly accuracy. Diorama is a feat, and should be heard in its entirely by all that can handle it. My only fear is that it may kill their career making music for the masses. The "masses" would love this album, if only they let themselves. Diorama may not be a great Silverchair rock album, but instead surpasses my expectations as a well orchestrated, feel-good work of art. [www.silverchairnet.com]

I have been a fan of Cursive for a while now and consider their last release, the Burst and Bloom EP, to be one of the greatest releases of the year. With that said, it will come as no surprise that I find Eight Teeth To Eat You amazing, and can't wait for the band to release a new full length in 2003. However, the inclusion of the Japanese band, Eastern Youth, on this record completely threw me off. Surprisingly though, in a good way. Now if only I could understand what the hell he is saying. With the previously mentioned Burst and Bloom EP, Cursive made an addition to their line-up in the form of cellist Gretta Cohn. It blows me away how much her sometimes subtle, sometimes over the top string additions add to the Cursive sound. The opening track "Excerpts..." is a prime example of this with Gretta's edgy arrangements leading the band into a musical tizzy. Even when she just plays along during a chorus or even during a guitar solo, her presence adds so much to the mix. Of course the rest of the band is dead on too, with great lyrics and soaring vocals from Mr. Tim Kasher, and the always great rhythm section. I couldn't ask for anything better from the Omaha boys. I had never heard of Eastern Youth until I laid my eyes on this split EP and thus had no idea they were Japanese. You can imagine my shock when track 5 rolled around and Yoshino's voice kicked in. Waaaa? But yet I found myself enjoying it. Lyrics are very important to me, and not so much what they say sometimes, but just that I can understand them and sing-a-long. Eastern Youth manages to write such good songs, that you are willing to overlook the language barrier and try and sing-a-long anyway. I mean you could be saying "I am a tool, and I suck", but who cares, because it sounds good in Japanese and is fun! The songs themselves are also great, and made we want to go dig up more from the band. Which is what a good spit CD should do. To me, the purpose of a Split EP is to introduce a band to the fans of another band or give you songs from two great bands on one CD. I for one would not have bought this CD if it had not been a Cursive CD. However, now I am an Eastern Youth fan and have gone back into their back catalog, and I am sure there are some people who bought the EP because they liked Eastern Youth, and are now Cursive fans. Mission accomplished. [www.betterlookingrecords.com]

I have found that it is a lot harder writing a review for a album you love, then writing one for album you don't really like. When you don't like an album there are things about it that you pick out that you dislike. But what do you do when you don't think anything is wrong with something? How do you describe how amazing it is? That is my problem with Dredg's El Cielo. To me El Cielo is the most refreshing thing to hit the music scene since Nirvana. Not that the band sounds anything at all like Nirvana and not that they are going to start some big musical trend, but it is just so different from everything that is "rock" today. So much more intelligent and worthy of respect. What do they sound like? Well I find it really hard to describe the bands sound, and usually end up saying something like epic rock, almost in a Pink Floydish kind of way. Is that a good description? Probably not, but the music really transcends a genre or cookie cutter description. This album is so full of texture and imagery that it really is almost like an audio journey through an amazing painting, something that the band themselves have said they were trying to achieve. The complex layers and multitude of time changes combined with the addition of elements such as broken trumpet solos, string arrangements, piano solos, and seemingly celestial sound effects give El Cielo a multi-textured sound unlike anything else you will find being released in today's corporate rock world. Dredg is one of those bands that the people who like them, really like them. They often tend to try and push the band on everyone and say things like "this is the best release of the year." Problem is, not everyone gets it. Then again, I think that is part of what makes it so special to those of us that do. There is something in it that we feel, that we connect with. I can only hope that some of you find that same connection. [www.dredg.com]

Since the demise of Rage Against the Machine, the rock public are in dire need of a good political band who not only thwarts the boring state of music but also is able to convey sincerity over the guise of thrash core. It's pretty obvious, after System of a Down's self-titled debut, as well as their super Toxicity, that SOAD is the new heir to the throne of music that matters in a duplicitious way... But that doesn't mean that the tailings of those albums make the same impact. Steal This Album!, SOAD's foray into the worrisome world of rock B-sides, is a great example of why editing tracklisting is necessary. Steal... is a jumpy, kinetic album full of great tunes, but they lean on the redundant side of previously released songs. But that's not a problem; the tracks were leaked, the band decided that their music wasn't ours to give, and thus a new album of outtakes and scraps were born. These songs weren't intended for our consumption until we decided that we had to have them, and SOAD granted our wishes, proving that they are a viable group... That is, if we had doubts in the first place. The album is worth purchasing by about five tracks alone, because the rest are formula System, which, may I reiterate, is not a cause for fault to the band. Highlights among the substandard: "Innervision" is medlodic in the beginning, but then turns into an emotive, anthemic love song to the lost. "A.D.D" is an ominous, foreboding venture with a Tool-like melody and a more powerful anti-cop ("Put your hands up/Get out of the car/Fuck you pig!") sentiment than the venomous Mr. Reznor has ever made. "I-E-A-I-A-I-O" is an Indian campfire gone insane, spouting spitfire versus that conjure images of the band leading a torch-parade to exterminate the politics of corruption- It's sing along time, y'all. "Roulette" is the most raw, pretty track on the album, with Meshuggah undertones along with Ukrainian hymns set to defiance and loss of purity. It's blistering, raw and the best of the album, and promises that, if the anxious of the music community had waited on the band a little longer, we would have a more stellar contribution from the magnigicence that is System of A Down. [www.systemofadown.com]