I threw this album on when I woke up this morning, still a little dazed from the beer and champagne of the previous night…really not the best time to try and listen critically to any kind of music. That being said, it’s a credit to the band that I actually really enjoyed it. Hailing from Louisiana, Wolves, Where? are like some weird hybrid between The Darkness (remember those guys?) and any prog rock band with a higher pitched Danzig on vocals. That’s not going to make sense to anyone except me, but fuck it.

Wolves describe their sound as good, authentic rock and roll. I partially agree, I guess. Those basic characteristics bring to mind a band like the Stooges; loud, gritty, no frills, and still fucking mind blowing; no tricks, just “raw power” (yeah, I totally just said that). Now, Wolves are good. Very good, in fact. But here is where I disagree with their description of themselves. They have tricks, and this is not a bad thing. I repeat: their fancy musicianship aka musical talent makes them extremely fun to listen to. BUT…it’s not just your good old basic rock and roll.

A friend and I were conversing the other day about how it’s awesome when you are listening to a song that sound-wise could be few separate tracks. That’s definitely our generation’s complete lack of attention span coming out. Wolves execute this perfectly, switching tempo and melody throughout their songs and leaving you no room for boredom.

To try and sum up Wolves, Where? in some comprehensible way, I leave you with a quote from the band: “Head exploding tunes that make you want to take off your pants as you dance like you’ve never done so before.” If I had pants on when I was listening I totally would have gone for it.

-Kelly Dalbeck

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wolveswhere.com

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3. Make Me

In some rare cases, the formula can have a pay off. Andy Warhol capitalized on this. Even Blink-182 made some catchy tunes using a pop-punk formula. Sadly, Sundowner’s We Chase The Sun was not one of those rare cases. A ten song full length from songwriter Chris McCaughan, the album sounds like a first attempt at folk with a singer-songwriter twist.

Packed from front to back with the same four chord campfire sing-alongs , I’d say at a general overview this album is very weak. Songs seamlessly flow into each other without any pause for change up in tonal, lyrical, or music direction. I fought my way through each song, only to be greeted with what appeared to be a doppelganger of a tune on the next track.

The only detail that piqued my interest was that this album was recorded primarily live at a local street corner in Chicago. The down side is that I think this completely open aired and carefree approach to the album could have led to its downfall, in songwriting quality control and in approach. The strongest song, although, is “Jewel of The Midwest” a fast paced folk romp which in essence captures the overall album with its nostalgic lyrics and neo-roots feel… We Chase The Sun does have a healthy dose of energy, and conviction in its delivery, but sadly this remains a “I’ve heard this all before” album.

-Nikolaus Bartunek

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myspace.com/thesundownermusic
asianmanrecords.com

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I’m not going to lie about this one—when I first got a hold of this record I had some reservations. The band’s shmedium t-shirts, gauged ear plugs, and hipster-style comb overs had me wondering just what the hell I was about to get myself into. After a few listens though it was clear these guys are devoted to their punk roots, but their undertakings into newer territories are mixed at best.

Let’s start with the parts I really dug; the opener, “When You Wake Up,” brings a vigorous vitality to the forefront that sets a strong precedent for the first half of the album. “Side of the Road” is an upbeat enough number with a slight rockabilly twang to it that embraces the group’s youthfulness, and “The Process,” which deals with the inner conflict in every artist, stood out as a particularly spirited highlight, if for nothing else than the fact every writer, artist, and musician should know just what it’s like to deal with the struggles of creative output.

But then…then things start heading to parts I just couldn’t dig, starting off with “Train Song.” I’m not really sure what this is doing on the album, as it’s sort of an overly drawn-out jam session by a handful of punks, but it doesn’t really go anywhere and just feels a bit unnecessary. From there there are bits and pieces that had me bobbing my head but the rest of the record is a bit repetitive at times, especially considering nearly every song is given some kind of over-extended intro rather than just getting to the parts you really want to hear. Ultimately I wouldn’t go as far as to say the record is bad by any means, but I feel like once all their playfulness has passed and a real attitude is established this group could kick some serious ass. For now though enjoy their reckless youth—you can tell they are.

-Alexander Zeddemore

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myspace.com/dirtytactics
say-10.com

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Honestly, with a name like AssPiss, is it too much to expect some legitimate griminess when it comes to the music? Instead, the songs on this 7” makes me think of what elevator music would sound like if we lived in some alternate universe where punk rock was the status quo of larger society.

Which isn’t to say that the band is awful; just merely forgettable. Of the four tracks on this album, expectedly rapid, but at times seeming like they’re in a hurry to get themselves over with, only the first, “Rubber Bullets”, is at all memorable. That’s because it has just enough of a Murder City Devil’s quality to it that one finds themselves at least interested to know what follows.

What they find, however, is run-oof-the-mill thrashcore, where quickly sputtered, cliched mantras—the title track, as well as the chorous of song #4 “Already Dead”—are tossed off to the listener, who stands in, seemingly, for both unamed but targeted individuals of the band’s disesteem, and society as a whole.

But the anger is too wide, the fatalism too stock, and the music too rushed and bland (the anthemic qualities of the songs are quickly dropped, giving way to uninspired guitar solos), to have much of an effect. I imagine that this is a band that might be fun to see live, but as recordings go, it seems like they spent more time on the packaging than they did the actual recording.

—Zach Vasquez

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suburbanwhitetrash.com

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From the dreamy and rhythmic “News”, to the strange world of Fuzzy Ambience that is the song “Playtime”, it is clear this band has sonic and tonal capabilities. Although this was in some ways squashed by the lo-fi recording quality, which I felt was a downfall for the recordings. I’m a sucker for special and limited edition pressings, and so I was immediately enchanted with this Audio Cassette pressing, of only 61 copies (A strangely odd number if you ask me). So whats the low down from yours truly? To be fair, Thralls is an outfit of musicians who knows exactly what they want, but I personally was not (get ready for the pun) enThralled with them. What can I say? Sometimes you like your music muddy and dissonant, and sometimes you like it clear and melodic. I guess I’m just all for the latter.

-Nikolaus Bartunek

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myspace.com/soundsofthethralls

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From the opening chords of this Ontario punk quartet’s third full-length, Cavalcade hits the gate with a full force of uncontrollable audial magnitude. Armed with a lyrical complexity embedded within a handful of catchy choruses, the group reveals much more depth than one would typically attribute to a punk band, as the years of refinement and development have paid off for these guys. Lead singer Chris Cresswell’s voice evokes both the euphoria of glory and despair of defeat, each being common themes found throughout the album. Rest assured though you’ll still find them thrashing their way through the record, with tracks like “The Calming Collection” and “Monumental” as notable highlights. Another standout song would have to be “He Was A Jazzman,” which exhibits the band’s ability to produce a track at a slower tempo without sacrificing their hard-hitting essence or compromising their raw aggression. Throw in the few Spinal Tap sound bytes for good measure and I’m sold.

-Sean Logic

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theflatliners.com
fatwreck.com

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3. Sundowner | We Chase The Waves

-Alexander Zeddemore

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superfinosvto.com

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Have you ever wondered what it would be like to ride an elevator all the way to Africa? Look no further than this CD. It’s less than an hour’s worth of tracks, but you’ll swear entire election cycles have come and gone in the span of a single listen.

The music of Africa is richly infused with virtuosity and tradition—it’s where Soul music gets its soul. Sadly, Tan Lines, a supposed “African” effort, is a bunch of drum loops and synthesizers that harkens to a 1980’s, post-disco hangover. Remember the first time you walked into a department store and heard the Muzak version of Smells Like Teen Spirit? Felt pretty awful, huh?

If you like Muzak, great, I’ve got a real gem for you. Play it at the mall, play it in the elevator. Just don’t play it around me.

-Matthew Monte

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truepanther.com
myspace.com/tanlinestheband

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Oh Gainesville, you just don’t want to leave me alone this year, do you? Here we have another band from the Florida music Mecca, but don’t let their location fool you. Young Livers have nothing of the poppy punk we’ve come to expect from that scene. Noisy and brooding, their music reminds me a lot of early Isis (you know, before they started doing what a friend of mine calls “ambient space metal”).

Progressive hardcore is an accurate summation of Young Livers’ sound. Citing bands like Big Business and Baroness as influences, my expectations for the album were high. The Livers delivered (get it? delivered?) on their share of prog, but unfortunately a lot of those elements got lost underneath the distortion. Though all members are clearly excellent musicians, the songs take a couple listens to pick up on the intricate instrumental work. It’s a shame that it isn’t showcased more.

Regardless, the awesome hopelessness of the lyrics paired with the gritty vocals and surprisingly complex ocean of distortion make Young Livers’ latest album well worth a listen (or two). Recommended for moments of greater fear and loathing.

-Kelly Dalbeck

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myspace.com/younglivers
noidearecords.com

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Four Days Deep

The album starts out slow with a track called “Kinda Light Up” -probably more accurate a title than Sentinel would have hoped.  As with most of the tracks on the album, its beginning is crisp and tight, but takes an inevitable turn for the repetitive.  This cloak of monotony seems to be lifted with “All That’s Necessary”, a song that does start strong and fresh but ultimately falls victim to the same fate. There are a string of three or so forgettable tracks, most of which should be described as bumbling. “Locator” in particular hints at Sentinel’s ambition but ends up sounding like the ’90s took Quaalude and stared at the wall for five hours.

“Whaley”, a middle track that showcases some very pretty sounding guitar, is a welcome respite from the tedium, as is “Sunset”, the album’s last –and best- track. This is where the guitar and vocals are strongest and Sentinel is able to demonstrate a bit of originality.  Incidentally, it’s the only song that made me tap my foot, though it’s also worth mentioning that the reason for this may be, as my boyfriend says, that it sounds like a Dance Dance Revolution track.  I suppose something that can elicit such conflicting responses is worth listening to.

-Lindsey Piscitell

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myspace.com/sentinel

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