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14 July 2006

Fernando, Enter to Exit (In Music We Trust)
While it might seem like simple PR to highlight the fact that Fernando's Derek Brown and Jeff "Chet" Lyster have also played with Eels, there's more than a passing resemblance between the two outfits. But it's not just some similarities in instrumentation -- Fernando Viciconte has much in common with the qualities that make Mark Oliver Everett's songs so compelling, not least of which is a comparable ability to marry melody with melancholy. So Fernando is certainly in the vein of Eels, and if you like the latter, you'll probably enjoy the former. Viciconte has his own spin, though, and much of the music on Enter to Exit consists of McCartney-isms filtered through a vaguely Wayne Coyne-like pop sensibility. And while Fernando may draw many comparisons, there's a distinct variety to these tracks, ranging from the bubbling "The Reluctant Deity" to the psych-tinged "Another Day in My Head" to the acoustic folksiness of "The Change in Us" to the buzz of "My Magnetic Field", all of which offer different canvases for some poetically downtrodden lyrics. Fernando doesn't challenge the listener with novelty, but it plays with familiar tropes in charming, sometimes captivating ways, making for a consistently rewarding listen. [Insound]
      — Patrick Schabe
multiple songs: [MySpace]
Indie / Pop  

, If That Is What Is Being Thought, Liberated Sound Talks the Depth of the Musical World (Status Quo)
If That Is What Is Being Thought, Liberated Sound Talks the Depth of the Musical World starts loud and ends loud and features a lot of loud all the way through the middle. The stadium-rock guitars charge at a stampeding pace, and the drum kit thrashes alongside like a whipped horse. Té are a Japanese post-rock band who sound something like Kinski. Their music wants to move outside the strictures of lyrics and three-minute hit singles, but beyond that it doesn't have a strong identity of its own. It doesn't have the scornful weight of a Mogwai, or the spaciness of a Sigur Ros, or any of those touches that makes a band immediately recognisable. It's wordless rock, all heave, slam, and large, dramatic, empassioned gestures. They play well, and it's evident that they believe in what they're doing, but it's hard not to feel that you've heard it all before. [Insound]
      — Deanne Sole
"A thought would never let people watch what they choose. Instead, it let them see what they hope to see": [MP3]
"Avarice would speak with every word, it acts every part and it even pretends to be not avaricious": [MP3]

Street Drum Corps, Street Drum Corps (Warcon)
Street Drum Corps might claim to be a combination of DIY punk and the tribal rhythms of Stomp, but having seen this act in person, it's clear this war painted SoCal trio lack the ingenuity and creativity that made Stomp such a ubiquitous entity in the '90s. They milk the "found materials" gimmick to death, banging on everything from garbage cans, to beer kegs, to fire extinguishers, but hammering tired alt-rock and hip-hop rhythms for 20 minutes can get painfully monotonous, whether you're pounding it on a regular drum kit or a pile of trash. Their debut CD actually marks a considerable improvement over the live experience, as the threesome bring in various samples and electronic elements to keep things interesting, most notably on the exuberant "Flaco 81", the drum and bass inspired "Achilles", and the closing track "Bang!!". The disc is a paltry 24 minutes long, which is actually a good thing, and to give the kids some bang for their bucks, there's a supplemental DVD that comes with the album, containing 45 minutes worth of clips, including footage of their rather silly live set. It's harmless stuff, but ultimately quite witless, too. [Insound]
      — Adrien Begrand
multiple songs: [MySpace]

Street Drum Corps - Wreckse

Kim Chi, Kim Chi Music (self-released)
"Cho-nun wonswugi-nun p'iryo opsoyo." ("I don't need a monkey.") "Willhom issoyo!" ("It's dangerous!") "Swugon! Torop!" ("Dirty towel!") Look at all the exciting things I can say in Korean now that I've listened to Kim Chi's ebullient new dance pop record! This short and lighthearted slice of electro-pop incorporates samples from Korean language tapes into its synth and drum-machine driven anthems. So if you like machine-drilled four-on-the-floor beats, sugary-cute girl harmonies and handclaps along with your cultural improvement, this is for you. Best of show goes to "Cold Food Dirty Towels," a wickedly synthy guide to how to deal with sub-par hotel accommodations. Weirdly enough, Kim Chi is from Kansas City and none of the three members are Korean. "Isang han-ne" ("That's strange") indeed! [Insound]
      — Jennifer Kelly
multiple songs: [MP3]
Indie / pop  

Helvetia, The Clever North Wind (Static Cult)
Helvetia stinks of aspirations toward self-conscious neo-prog, an art-rock band for artists, a band who writes songs with names like "Statica" and "Voltaire", both of which can be found on their debut album The Clever North Wind. There's nothing wrong with aiming for "art" with your music, it's just that Helvetia ultimately achieves a rather lazy form of art, one steeped in in-jokes and unintentional simplicity. "Beezlebub" (sic, and pronounced "Beezle-boob", apparently) ambles along like One Foot in the Grave-era Beck, while "Deirdra of the Sorrows" and closer "The Drowning End" play tricks that Flaming Lips already numbed us to, employing synthesizers and odd vocal melodies to strangely unimpressive effect. There's very little joy to be found in these tracks, unless you count the silly "This is the end of the song" lyric at the end of "Now & Formerly" or the aforementioned toying with the word Beelzebub, both of which come of as slightly conceited (as if they're already at the point where they feel they can get away with anything), not to mention silly. The awful-sounding production (which was, apparently, entirely intentional as an attempt to preserve the sound of the album's four-track demos) doesn't help. If I can find one redeeming quality in The Clever North Wind, it's in the title track, which is actually a not-bad slice of unpredictable indie-rock. Otherwise, this is 65 minutes for masochists. [Insound]
      — Mike Schiller
multiple songs: [MySpace]

.: posted by Editor 7:32 AM

13 July 2006

Lupe Fiasco, Touch the Sky (Hosted by DJ E. Nyce) Mix Unit
For rival emcees, Lupe Fiasco's Touch the Sky mixtape could be the jab that precedes the knockout punch. For hip-hop fans, the mixtape is a snack before dinner, as the rapper adds the finishing touches to his upcoming full release, Food & Liquor. The purpose of the snack isn't to satisfy you; it's just something to hold you over until it's time to really chow down. As snacks go, Touch the Sky is a mammoth 29-piece bucket of rap -- an hour and eighteen minutes of rhyme. Lupe Fiasco holds his own over popular beats, as on "Lu Myself" (playing off the title and music of Eminem's "Lose Yourself"), "Ignorant Freestyle" (rapping over a sped-up sample of the Isley Brothers), and Kanye West's "Touch the Sky". His rap skills are generally impressive, but are even more so when he's focused on the content of his rhymes rather than structure, which is also tight. On "The Twilight Zone", he weaves a hip-hop Alice in Wonderland, where nearly everything is personified, like shoes that talk and a television on death row for "killing BET and CNN over a dice game". The widely regarded "Conflict Diamonds" offers 24 karats of conscious rap, as Fiasco forces us to consider the consequences of our love for bling at the intersection of politics, economics, and materialism. Also, battle rhyming doesn't escape his reach on songs like "Switch Science Project" and "Gemini - Southside". Although it's heavy on interludes, the mixtape seems to be working as a promotional tool. MTV's Wild 'N Out, hosted by Nick Cannon, ended an episode with a clip of the song "Kick Push", and BET regularly airs commercials for Lupe Fiasco ringtones. [Insound]
      — Quentin B. Huff
multiple songs: [MySpace]

Lupe Fiasco - Kick Push

Lane Steinberg, The Return of Noel Coward's Ghost (Cheft)
Tan Sleeve member Lane Steinberg starts off talking briefly about Buffy Saint-Marie before getting its pop mojo working with the trippy rocker "Bottlenose Dolphin (Thanks For The Milk)" that sounds like it came straight from the Reservoir Dogs soundtrack. Meanwhile, tracks like the psychedelic-tinted "Face Down" bring to mind The Byrds. There are 20 songs here, well 17 actually not including some brief interludes. Steinberg seems caught in a lovely little time warp, with his delayed harmonies working off his lead on "Gain Luster" for roughly two minutes while "YamYam" is a waste of one moment in time. But throughout the record, Steinberg shines with "Let's Touch" that sounds like a rollicking Joe Jackson while XTC is heard in the rather lush, melodic "Something Is Waiting for Someone" and "Eye for the Ladies". A couple don't gel as well, particularly the ordinary "Bare Walls". Steinberg does shine though on the ambling, Beatles-esque "Beautiful Day, Take Me Away". [Insound]
      — Jason MacNeil
multiple songs: [MySpace]

The Riverboat Gamblers, To the Confusion of our Enemies (Volcom Entertainment)
The super-charged pop punk here may not break any new ground, and by all reports, it's a pale shadow of this Denton band's live show. Still, if every Warped band was putting this much oomph into their three-chord bangers, we'd all be less inclined to toss around terms like "mall punk". The best cuts -- "The Biz (Loves) Sluts", "Don't Bury Me... I'm Not Dead Yet" -- here have the celebratory anarchy of early Green Day, the fierce chord-chugging fun of Bad Religion. There's a goofy sense of humor at work, too, as when a song, called "The Gamblers Try Their Hand at International Diplomacy", incorporates the not-very-Kissinger-worthy sentiment of "I'm sorry for harshing your vibe", into its chorus. But mostly, this is an album you could love with your brain turned off, all body-pummeling guitar riffs, jackhammer drums and five guys shouting "hey" in unison. A guilty pleasure is still a pleasure, right? [Insound]
      — Jennifer Kelly
multiple songs: [MySpace]
Punk / rock  

The Riverboat Gamblers - in the studio

Tomihira, Play Dead (self-released)
I can't escape the feeling that Tomihira is just another indie-rock band who was inspired by Joy Division and The Cure and now must write songs like them. If debut album Play Dead is any indication, Tomihira's songs aren't bad -- at least, not in the kind of way that makes you want to convulse in a writhing heap on the ground -- but they're so indistinct and uninspiring as to make them seem bad. That the song titles read like an over-emotional high schooler's blog post titles ("I Hate the Fucking Rules", "Loveubye", "Color of Destroyed", etc.) doesn't help. And really, when you give a song a title like "I Hate the Fucking Rules", it should do something other than mope along aimlessly until it ends. The one exception to the pointlessness is "All to Be Undone", which still mopes, but happens to do so in a fairly majestic, synth-augmented sort of way. It's lovely, really, something the rest of Play Dead can only aspire to. At the very least, there's enough potential here to court a few indie-label dollars for a second album -- a second album which would almost certainly be an improvement over this one. [Insound]
      — Mike Schiller
multiple songs: [MySpace]
"All to Be Undone": [MP3]
"World Class": [MP3]
Indie / rock  

.: posted by Editor 8:06 AM

12 July 2006

Track a Tiger, Woke up early the day I died (Future Appletree)
Dear Track a Tiger, I am so so so sorry for my late correspondence. For I really feel after listening to Woke up early that you are truly interested in the two-way communication only good music can offer. You know as struggling up-and-comers how hard it is to get people to take a chance on unknowns. That's because 99% of the aluminum filling up record stores is made by people who want to talk to us rather than with us. But from the first clattering drum beat of "Glad to Be Scattered" onward, I knew you weren't like that. Apart from conjuring the best moments of Yo La Tengo, Ida, and other champions of atmospheric indie pop and soothing boy/girl harmonies, you make me want to dance awkwardly to "Happy" and write long, understanding apologies to mistreated ex-girlfriends because of "Seashaken Heart". Seriously, that twittering guitar thingie you've got going on "Happy" has already earned me many a puzzled look from passersby. I wish you a long career with a full mailbox. [Insound]
      — Michael Metivier
"Glad to Be Scattered ": [MP3]
"Sound As Ever": [MP3]
"Seashaken Heart": [MP3]
multiple songs: [MySpace]
Alternative / Folk Rock  

Anushka Pop, Akathena (Sassy Boy)
This Boston power-pop band's second EP opens with some delightfully buzzing songs redolent of blue-album Weezer. In a less corrupt, rigidified radio world, a song like "Gurlfriend", with its irresistible melody and cheerfully straightforward lyrics, might be a hit. As it is, it will be driving music for the select few who investigate Anushka Pop's bubbling confections. Singer/guitarist John Soares fires off exuberant shouts, bassist Johnny Arguedas grounds things with harmony vocals, and drummer Chris Welch has a knack (the Knack, even) for finding the right beat to keep things light but rocking. The band cites inspiration from '70s heroes like the Raspberries and the Cars, but its sharper guitar tone more accurately recalls '90s power-poppers like the Smoking Popes -- a fine enough reference point, to be sure. Akathena trails off a bit on the second half of its seven tracks, but it's still worthwhile on the basis of its front end, which announces the band as a refreshing remedy to the current crop of vaguely-similar pop-punk bands less steeped in the melodic tradition. [Insound]
      — Whitney Strub
multiple songs: [MySpace]
multiple songs: [official site]
Power pop  

Viva La Foxx, I Knew It Wasn't Love But... (Shake It)
Pop quiz: Is "Viva La Foxx" the name of a band or the name of a gentlemen's club? Possible answers are: (a) a band, (b) a gentlemen's club, (c) both, and (d) neither. Got your answer? All right, if you answered "(c) both" (why is "c" always the right answer?), you hit the jackpot, which, in this case, consists completely of bragging rights. Of course, there's the additional gem of discovering the Cincinnati, Ohio rock band Viva La Foxx. Composed of Amy Jo on vocals and guitar and Danielle B. on bass, Viva La Foxx's guitar and distortion will blow your speakers out. The guitar is wild and the lead voice often sounds like a transmission through a walkie-talkie, which is actually real cool. When it comes to rockin' out, Viva La Foxx will pass the test. The eight songs on this release sound very much like an attempt to whet your appetite for the live shows rather than functioning as a stand-alone album. In this regard, the songs succeed. Accompanied by Pearlene's Reuben Glaser as co-vocalist and on guitar, the group calls its sound a "wrecking ball cabaret" and "a chorus line on broken heels". Of their original tunes, "Fake It" and "Dirty Drill" are top-notch rockers. The band also gets the job done nicely when covering "Doctor" by the Outsiders and "Clubnite" by Teddy & the Frat Girls. For the full effect, though, you gotta hear 'em jam in person. [Insound]
      — Quentin B. Huff
multiple songs: [MySpace]
multiple songs: [official site]

Anaís, Así Soy Yo (Univision)
Anaís Martinez won the opportunity to record this album when she came first in a Puerto Rican reality pop show called Objetivo Fama. She's 21 years old, has never really recorded anything before, bless her, and, as the photographer takes care to point out, she has a nice, flat tummy decorated with a tattoo of a Chinese dragon that is trying to crawl down the front of her pants. The songs on Así Soy Yo are pretty much what you would expect: slow power pop ballads (parts of "Estoy Con Él Y Pienso En Ti" suggest Celine Dion's "Because You Love Me"); a loungey number; a brassy thing called "Sexo Sexo"; and a piece of hip-pop with a repeated run of notes so stabby and brittle that I swear they'll eat into your brain. The album gets juicier when the music starts showing off some Latino roots. "Como Olvidarte" charts a course from pop-tango into a pop-mariachi trumpet jag, with Anaís' voice sounding so sternly dramatic that you might grin with pleasure. Así Soy Yo comes in one- and two-disc versions. The second disc includes a few music videos, a photo gallery, and "La Historia: Escenas de su participatión en Objetivo Fama." Don't go out of your way to find it; the one-disc version should be fine. [Insound]
      — Deanne Sole
Latin / pop  

.: posted by Editor 7:13 AM

11 July 2006

Tied & Tickled Trio, a.r.c. (Morr Music)
This group of post-fusion, neu-kraut, alt-jazz rockers are neither a trio, nor are they... well, they certainly don't seem tied to anything but the heady, modal grooves laid down by rhythm section Micha and Markus Acher, who you may know better as two of the guys from the Notwist. They might well be tickled, though. If I were part of this creative nonet, which is filled out by four horn players, an organist, another bassist, and a member dedicated to electronics, I would probably giggle with glee every time I stepped into the practice room. Especially when the players are this good. T&TT combine the composed-yet-tribal jazz of Charles Mingus with the freewheeling, but also minimalist, rock of Can. Their emphasis is less on melody than on mood, an introspection fermenting toward revelation. a.r.c., which combines a 20-minute, one-track CD with a fully loaded DVD, showcases the more improvisational aspect of Tied & Tickled Trio. Their very good 2003 album, Observing Systems, had more of an acid jazz feel, with tighter and more organized song structures. By comparison, on both the title studio cut on the CD, and certainly in the live performances captured on the DVD, the group engage in extended jazz-rock jams, recalling the early electric era of Miles Davis. The music is very good on both media. And, while it's fun to see T&TT on stage and in action, the visual thrill wears off pretty quickly. At nearly an hour, you'd have to be a big fan to watch the concert more than once (plus the live "bonus" scenes). And, although the three promo videos are campy, cute, and cool (in turn), I would have preferred a higher ratio of audio to video on a.r.c.. Nonetheless, the music throughout is exciting, making for a worthy addition to the Tied & Tickled Trio disc- and videography. [Insound]
      — Michael Keefe
multiple songs: [streaming]
multiple songs: [MySpace]
Jazz / dub  

The Chambermaids, The Chambermaids (Modern Radio Record Label)
Previously known as The Shut-Ins, this Minneapolis trio is a well-rounded rock band that seems to mix great Midwestern rock with the likes of groups like The Strokes and The Killers. "City Predators" is a great opener that has Neil Weir and sister Martha Weir providing lead and sweet harmony vocals, respectively. "Dog Army" is another foot-stomping rocker that is quite clean and polished, bringing to mind a cross between Blondie and Blur, resulting in a tight but grandiose piece of work. Not quite new wave, the group nails the Velvet Underground-ish "21st" that soars from start to finish. Several of these are short, choppy numbers, but "Park" is a gem that could be filed right alongside The Organ and Interpol, a minimal vocal with a wall of guitar behind it. The same can be said for "Mystery" as well. The highlight might be "The Holy Terrors" that is relentless and brimming with indie rock pizzazz while "Sleeper" is a slow, deliberate tune that settles in for a long run. [Insound]
      — Jason MacNeil
multiple songs: [MySpace]
multiple songs: [official site]
Indie / rock  

Merrie Amsterburg, Clementine and Other Stories (Q Division)
On her third full-length, Merrie Amsterburg does 11 traditional folk tunes. Her style turns the old numbers into more urbane and contemporary-sounding numbers, but the songs don't always survive the transition. "Clementine" steals the show as Amsterburg's steady vocals allow the electric guitars to shift the lyrical sadness into musical anger in a very intriguing re-working. "Simple Gifts" benefits from a quick, looped drum pattern and the inclusion of electric and toy pianos. As fascinating as her arrangements can, Amsterburg sometimes just delivers the old songs with too little novelty or insight. It's still a pleasing listen, but with songs we've all known since third-grade music class, it takes something more to keep them captivating. [Insound]
      — Justin Cober-Lake
multiple songs: [MySpace]
Folk / pop  

Merrie Amsterburg - Clementine [live at Club Passim, Boston]

Judge Jules, The Global Warm-Up (Koch)
Perhaps nowhere in music as much as in dance music is the divide between populism and progressiveness so wide. Judge Jules sits firmly on the populist side of dance music -– he's been churning out the same hard trance/house stuff since I was in seventh grade. The Global Warm-Up, named after his weekly BBC1 radio show, represents Jules' return to the U.S. domestic market after 12 years without a release, and we've missed? Nothing. It's not unpleasant, and at least K90's "Red Snapper" is self-assured, driving forward with surging intensity, but there's a clinical quality about this mix that totally fails the listener. Everything is version lite: E-Craig's "Call It a Day" -– "Silence" lite; Solid Globe's "Blackwood", trance lite. Matt Darey's "Eternity" has the operatic vocals that were in vogue, maybe, Sydney Mardi Gras 1999, the "Flower Song" re-cut and re-imagined, that stage when we loved the techno remix of famous songs – Andrea Bocelli, or Carmina Burana or the bloody Braveheart theme. We're over that now, I hope. Popularist dance music has the potential to be exquisite, but instead Jules –- who should know better -– has just given us a mix that is purely dance-by-numbers. [Insound]
      — Dan Raper
multiple songs: [MySpace]
Electronic / trance  

Judge Jules - Around the World

.: posted by Editor 8:42 AM

10 July 2006

Dirtie Blonde, Dirtie Blonde (Jive/Zomba)
The group known as "Dirtie Blonde" could easily have been called "Brilliant Blonde", as a nod to lead singer Amie Miriello. The Stamford, Connecticut native treats her audiences to smart and snappy songwriting, as well as intriguing vocals that will make listeners say, "How did she do that?" She can go low and scratchy like Pink and Nelly Furtado ("Officially in Love"), light and mellow like Sheryl Crow ("Change the Water"), wounded and sheepish like Shakira ("My Pride"), and could probably give Alanis Morissette a good run in a screaming contest. There's even a hint of David Bowie mixed into her vocal gymnastics ("Karma Boy"). It's distinctive, innovative, and catchy. Plus, Miriello's singing suggests that Dirtie Blonde's live shows are one-of-a-kind, with Miriello taking her vocals in different directions on each outing. Yet, although Miriello has received much of the publicity -- featured as VO5's Red Hot Rising Star and in a stack of other magazines -- Dirtie Blonde is also a band of tight musicians. Consisting of Jay Dmuchowski and Sean Kipe on guitar, Dean Moore on bass, and Tim Perez on drums, along with Robin Lynch and Niklas Olovson, this crew makes the right moves at the right times, like the tempo changes in "Bend Over" and "Lonely". With a sound that rocks ("Hard Times"), pops ("What You Want"), and even goes a little country ("Bend Over"), Dirtie Blonde promises to make big waves with their self-titled debut. Highlights are "Officially in Love", "Change the Water", "Lonely", "What You Want", and "Shut Up", while "Karma Boy", "My Pride", and "Stay" radiate with genius. [Insound]
      — Quentin B. Huff
multiple songs: [official site]
multiple songs: [MySpace]
"Walk Over Me": [media player]
Rock / pop  

Dirtie Blonde - Walk Over Me

Mr. Beat & The Ghetto Grooves, Safe as Fire (King Alfred)
Mr. Beat & The Ghetto Grooves, signed to a local Winchester label, make fun hip-hop: light and laid-back bouncy songs that prove, through contradiction, the existence of grime in the UK. And given their relative lack of seriousness and the album's availability only as a download, their debut, Safe as Fire, is surprisingly good. They're not the great MCs by any standards, but Krispee and Mr. W are talented multi-instrumentalists with a startling knack for building grooves; while the recording quality isn't a selling point here either, it fits their style adequately: the rapper/producers throw themselves whole-heartedly into their simple, nerdy flows without a shade of irony or pretense, and the live instrumentation gives it all a fresh sound, complete with solid guitar solos at regular intervals. As a 22-minute download it has a hard time justifying its selling price, but the final impression is still that Safe as Fire is a competent, fun, and bright debut from a pair of college kids with unremarkable skills but no shortage of enthusiasm. [Insound]
      — Michael Frauenhofer
multiple songs: [MySpace]

Fujasaki, hca (Sudd)
Fujasaki, naturally a Swede, releases his second album on Sudd -– a swirling, atmospheric interpretation of deep house sounds, with the melancholy of moments on Moby's Play but less overt. It's music for a rainy Sunday afternoon, but truth is other Scandinavians like Shogun Kunitoki are doing this in more interesting ways. A squelching beat, percussion that breaks halfway through –- these elements we've heard elevating free jazz into sexy lounge for a while now. Music's fine for sustaining a mood, but hca's a release that will have little impact. Still, on "Boys Like You Pt. 6", the tinkling melody unfolds with the leisurely sound of Hot Chip and is lovely; at the end of "Boston Revisited" there's about 10 seconds of silence. If you were quietly walking alone, or staring out the window at the gray sky, this silence takes on a character of its own: peace, solitude. It's the best moment on the disc. [Insound]
      — Dan Raper
"Boys Like You Pt. 6": [MP3]
"Nim Remix": [MP3]
Electronic / House  

The Alarm MMVI, Under Attack (Eleven Thirty)
It's hard to criticize Mike Peters, who has battled leukemia, in the same way it's hard to criticize Karl Wallinger, but let me give it a try. The Alarm are pop generalists in the worst kind of way, in that nothing in particular stands out, which is unfortunate, considering the pedigree behind this incarnation of the group Peters' put together: Gene Loves Jezebel's James Stevenson on guitar, the Cult and Mission UK's Craig Adams on bass, and Stiff Little Fingers' Steve Grantley on drums. The song selection on Under Attack melts together in that non-descript, second-tier band kind of way, and when songs do stick out, it's for aping others' work. "Cease and Desist" finds the boys doing their best Clash impression -- right down to the song title that would have been right at home on the Clash's self-titled debut -- with charging drums and wild harmonica. Unfortunately, if you listen to the song too closely, it falls apart under the banal lyrics. Under Attack may be the album America's Alarm fans have waited 15 years for, but no one else was asking for it. [Insound]
      — Adam Besenyodi
multiple songs: [MySpace]

.: posted by Editor 7:44 AM


In bold are PopMatters Picks, the best in new music.
Abe Duque
be your own PET
Big Sandy & His Fly-Rite Boys
The Bottle Rockets
The Brand New Heavies
Johnny Cash
Slaid Cleaves
Elvis Costello & Allen Toussaint
Cut Chemist
Miles Davis
Dinosaur Jr.
Dr. Octagon
Alejandro Escovedo
Fatboy Slim
Four Tet
The Handsome Family
Matthew Herbert
Ise Lyfe
Jefferson Airplane
Lord Jamar
Mission of Burma
Mr. Lif
Mojave 3
Allison Moorer
Paul Oakenfold
Grant-Lee Phillips
The Procussions
Corinne Bailey Rae
Ramblin' Jack Elliott
Julie Roberts
Diana Ross
7L & Esoteric
Alice Smith
Snow Patrol
Sonic Youth
Soul Asylum
Sound Team
Regina Spektor
Sufjan Stevens
Matthew Sweet
Rhonda Vincent
Thom Yorke

Baby Dayliner
The BellRays
Cat Power
The Clientele + Great Lakes
The Coup + T-Kash
Mike Doughty Band
Download Festival 2006
Fiery Furnaces + Man Man
The Futureheads
The Handsome Family
High Sierra Music Festival
Billy Idol
Bettye Lavette
Love Parade
Nine Inch Nails + Bauhaus
Sonic Youth
Splendour in the Grass 2006
The Streets
Sunset Rubdown

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