LATTERMAN - No Matter Where We Go..! CD (Deep Elm) I see lots of jumping in place. Lots of fingers pointed in the air. This long Island, NY quartet know how to belt out catchy numbers. Their second release (Turn Up The Punk, We'll Be Singing also on Deep Elm, being their first) is a furious, sing-a-long dancefest. This really is a great record, but I have to say one thing: this will remind most you of Hot Water Music, Tiltwheel, Panthro UK Untied 13, Planes Mistaken for Stars, Strikeforce Diablo, and mostly Small Brown Bike. If you can't get enough of Gainesville indiepunk, DC emocore or the Northern Middle-America sound, this is definitely a record for you. A highly energetic, hooky, call-and-response filled, hardcore-punk anthem is blasted at you with every track. They do well standing on their own, but damn it if you haven't heard the sound before. I know it sounds like I'm taking shots, but if you're a fan of the genre, you know I'm loving every note.

LATTERMAN - ...We Are Still Alive CD (Deep Elm) Deep Elm Records is one label that has consistently put out good emocore. True emocore, without the overly produced guitars and vocals, or sugar-drenched pop ethics. Consistent in good rock and roll with an emotional edge that makes you want to dance or sing along. Like DE, Long Island, N.Y.'s Latterman have proven in the past that they know how to make you dance and sing along, and each's current release, ...We Are Still Alive, prove that band and label both are not only alive, but kicking and dancing about. Latterman's third album is a patchwork of early DC call-and-response hardcore-punk, Midwestern indierock, and the Gainesville sound made popular by Hot Water Music. This is a disc prefect for those who think HWM and Small Brown Bike have gone the way of Mtv and the emo ballad. Ten tunes of hook-filled, energetic punk rock that will have you tapping with the beat and chanting to the choruses.

LEE MARVIN COMPUTER ARM - s/t CD EP (Conspirators In Sound) This is the best release I've gotten all month! I just wish it wasn't an EP. I want more songs, damn it! Lee Marvin Computer Arm (yes, a strange name indeed) just leveled everything within listening range, and it all got back up for some more. Imagine a choppy garage rock, with late 60's punk elements, adding the artistic insanity and creative schizophrenia of this new millennium. Sounds that take you back, while keeping you firmly planted in today. Kinda like a blender full of some MC5, The Sonics, NY Dolls, Stooges, Nation of Ulysses, The [International] Noise Conspiracy, Division of Laura Lee, and The Hives. Every one of these five tracks is a fuckin' dance masterpiece, from of the hook-rock anthem "First Thing's Fucking Last" to the lazy-gone-ecstatic preachings of "Black Bottom". I want more Lee Marvin Computer Arm... hmmm. Again. What kind of name is Lee Marvin Computer Arm?

LECHEROUS NOCTURNE - Adoration of the Blade CD (Deep Send) Extreme metal band Lecherous Nocturne formed in '97 by South Carolinian guitarists Lofgren and Lollis, plus vocalist Hohenstein, and currently features members of Nile (Wade) and Monstrosity (Poggione). New England's Deep Send Records found their blend of Tampa death metal and Northern European black metal to be worthy of a full length, after the band gained notoriety for their demo in 2001 and self-titled EP from 2003. These eight tracks deliver a racket like Morbid Angel meeting Emperor for band practice in a garage, while Gorguts and Marduk battle in the driveway for the last of the Heineken. Old(er) school extreme metal for the headbangers in us all.

LETTERS IN BINARY - Pretty and Perpendicular CD (Conspirators In Sound) Before you know it, your asskicking is over within fifteen minutes. Three ambient-electro breaks and eleven tracks of pissed off chaoticore. Numbers that are over before you get the title out of your mouth ("Doing Pushups With One Broken Arm Is Easier Than With Two", "Open Your Heart, Not Your Watch Wrack"). Hardcore-tinged metalcore pushing punk rock choruses and screamo breakdowns. "My Favorite Cheer" was my favorite thing to scream throughout the house. Math rock guitar play versus sandpaper vocal and jackhammer drumming the likes of the top grind masters. This Detroit trio (featuring members of Phoenix Bodies and Enkephalin) stomp their way through their second release (2003 saw their debut self released CD) really punching and kicking.

LIGHT OF SHIPWRECK - From the Idle Cylinders CD EP (Light of Shipwreck) No bio or one-sheet - just a three song disc with limited information that found its way to being dropped in my mailbox. Usually, I don't have much to say with so little to go on, but while my enlightenment on this project is almost nil, the music does speak volumes. I would have called this an EP at only three songs, but it plays at ten minutes under an hour. The band name is taken from the American, Objectivist poet George Oppen (1908 - 1984). I have no idea where this outfit is from, and maybe they'd like to keep it that way. What I do know is that most everything is done by Ben Fleury (from guitars to percussion, and vocals to the steiner [an electronic valve wind instrument]), as well as a bit of help from Ric Tutlo on bass and additional guitars. The three tracks are long musical pieces, ranging from 13 to 20 minutes each, that float from solid droning Kraut-rock ala Can and Faust, on to ambient soundscapes and aural textures, and then back again. While the ambient moments work fine, it's when the guitars and drums come in where this evokes the tribal wonder that is Can (a huge favorite of mine). I wound up liking this a lot, and have been playing it often, so I guess I didn't need a band biography that much, did I?

LIGHT YOURSELF ON FIRE - s/t CD-R DEMO (Light Yourself On Fire) A goodie that was dropped in my hands at a Swarm of the Lotus / Dove show I drove to Tampa for (as well as a later Conflict show). Two songs in four minutes of Mastodon-like metal mayhem, with more brutal vocals reminiscent of J. Hunt of Dead to Fall. Some pretty mysterious stuff here. No song info on the disc, or on the band sticker (which is simply of a gas can - yes, no band name). Interesting. The website is bare bones, with only a few photos and no lyrics, song titles or band information. Woe is me.

THE LITTLE KILLERS - s/t CD (Crypt) Andy, you're a bastard. I'm shaking my fist at you. Bio quote, "All I wanted to do was play Chuck Berry songs, get loaded and hang out with my friends." I guess I'm jealous of those who live out their dreams, eh? Who hasn't dreamt of playing guitar and beltin' tunes for a killer rock-n-roll band, with two beautiful women backing 'em up on bass and drums. Andy's living that dream, though Chuck Berry songs these ain't. If Chuck wrote these songs he probably would have released so much pent up energy he wouldn't of had that 'crapping on women' hang up. Chasing dreams (and Chuck Berry's scatophilia) aside, it must have been hard for Crypt to find a band good enough to release, as this is their first new signing in 5 years! Well, you picked a good one too. Crypt - as well as The Little Killers - come out swinging like they woke up from a bad dream. From the album's catchy, power-pop rock opener, "Volume" to the very end of their Cramps meets Redd Kross, "Choppin' Block", this record is on fire. Infectious beats, furious rock-n-roll guitar solos, snotty attitude, no posing and harmonicas abound. This is about as forceful and dynamic as rock gets.

LOCK AND KEY - No Fate CD EP (Deep Elm) I've been listening to a lot of Neil Perry lately, and I think except for without the screaming, I've found the new record to mope around to. Understand that like all other hopeless romantics, I too like to wallow - sitting around, packing a bowl and I'll play a record that just depresses me. It keeps me creative, or maybe I can just be a drama king. No matter what, I like like violence in my music. Power, aggressiveness, explosive energy - that'll do. While this record toyed with my emotions, No Fate does totally rock. A seven song EP (but at 22 minutes it comes close in length to many hardcore albums) from this Boston four piece which pours out a Hüsker Dü indie-rock meets the modern emotional post-hardcore, similar to Small Brown Bike, Panthro UK United 13 and, yes, Hot Water Music. Almost the entire record is at a speedy pace, solidifying their tag of 'hardcore', but the chords and riffs are intricate, as well as touching, but the choruses, not mention the verses too, are a sing-a-long dream. Fingers in the air, kids shouting along, crowds bouncing in unison, party atmosphere at shows - I picture it all as I listen. No highlights to point out here because I can play the entire disc without finding a single song that may be 'weak' or even 'okay' - from "Independence Game" to "Provocation" and over again, as I just keep poking that play button.

LOCK AND KEY - Pull Up the Floorboards CD (Deep Elm) Every fan of bands like Small Brown Bike and Panthro UK United 13 (or even Taking Back Sunday and Hot Water Music) must take note: Deep Elm has your new favorite band! If you've been big on 'em and already loved their EP, No Fate, then you will just wet yourself over Pull Up the Floorboards. Am I admitting something embarrassing here? Fuck it, I really dig these songs. Ten tracks and not a single let down or clunker in the bunch. Power backed by emotion. Hooks filling grinding verses and catchy, melodious choruses. "Alchemy" got me right from the beginning and onto "Process of Molting", while "303" just keeps me singing, tapping my foot and rocking out. "Volatile" had hardcore riffs, backed by soft vocals here, and exploding into moments of fury there. "Albatross" had an almost 80's pop sound blended with their stylish elements of emotional post-hardcore. Unlike Lock and Key's earlier material, they slow things down a bit around tracks like "Ammonia" and "Beneath the Surface", though still keeping my interest. These kids want to make a living off the music they produce, and I think they're on the right path for sure. Them live shows must be a roaring spectacle of kids fighting for the mic and oceans of bodies jumping like heartbeats. Keep it up fellas.

LOCKED IN A VACANCY - Ethos CD EP (Purity) This little five songer landed in my player and will not come out. Okay, sorry - I don't let it come out. LIAV play a blend of heavy styles from hardcore to heavy metal to thrash to punk rock to doom and back. It's similar to what some of those in chaoticore are doing, but almost crazier. If you can you believe that. "To See the Invisible Man" alone combines about six different styles of crushing music. "Control Panel 3" is an ambient track if I ever heard one. Can you go wrong when a song is titled, "Everything I Know About Sex I Learned By Watching Porno"? Yes you can, but LIAV don't, and it's always a plus when the music is just as good as the title makes it seem it might be. The last track is unrelenting thrash meets melody. I keep repeating that track over, just before I start the disc all over again. There are over 6 minutes of gunfire, taken from Saving Private Ryan, to put up with until... oh yes, a cover of Iron Maiden's "The Trooper". The vocalist, Dyami, comes nowhere near Bruce Dickenson's original vocal notes when he screams, but it's still beautiful. Recorded and mixed by NY hardcore legend Don Fury. Not one complaint about this release - okay one - I wish there were more songs. That's it.

LOOKING UP - s/t CD (Panic) I love this band, and mostly because I'm an ego maniac. For you locals who miss my old band (Sound 4 Sound), this band is a close call, and mostly because the vocalist sounds very much like... me (though I doubt he's jumping off amps into the drumset or smashing bottles behind the bar). Anyhow, many reviews wrote that my vocals in S4S (as well as my previous outfit, Timescape Zero) made the band sound like Cro-Mags. While the vocals are in a style very similar to John Joseph's, the music isn't exactly NY style. For those who know not what I go on about, Looking Up play a catchy and anthemic hardcore in an old-school vein, but more West Coast. We're talking fast riffs, gang chants and a drum pace that'll make your feet tap. This Los Angeles quartet only formed last year (2005), but they got the sound right as if they were once members of Chain of Strength, Uniform Choice or Chorus of Disapproval. This is their first album, but at a little over twenty minutes, I'm craving much more.

LOOK MEXICO - This Is Animal Music CD (Lujo) Look Mexico is four chaps from Tallahassee, Florida, and formed in 2004. They self-released an EP (So Byzantine in 2005), and that got them the attention of Lujo Records who released another extended player, The Crucial EP, in 2006. This Is Animal Music is their newest work, and it's forty minutes of some well crafted indie-rock... emphasis on the rock. When the horns come in on "I Promise We'll Swing For the Fences" I don't get a ska vibe, and that's good. "I Had A Wrench, and I Hit Him" had a great, yet somewhat very touching, alt-country feel. "Watch Out For This" brought to my mind some of Samiam's slower - and major label - work. "You Ever Get Punched In the Face For Talking Too Much?" made me think of The Smiths, and the follow-up "Me and My Dad Built Her" brought to my head a more serious version of The Rapture (mostly thanks to the dance-y drumming). Come to think of it, wrapped up as a whole record, fans of Modest Mouse's later works would really dig this LP. Also, the sound is also somewhat reminiscent of Deep Elm Records' newest signing Trace A Tiger, yet there's more popcore involved - a little faster on the time signatures, as well as beat, and a little less on the alt-country. Altogether they've done a good record that is heavy on the pop and punk, without being whinny pop punk

LOOK WHAT I DID - My First Time CD (Look What I Did) I'm torn. I like this record, but let me get started. Look What I Did remind me of Nigel Pepper Cock, or a less intense Racebannon - though the sense of humor is much closer to the first. A bizarre mix of metalcore, hardcore, punk rock and... and... nümetal (there I said it). The music to "Shadowboxing (to Stay Fit)" is wild metal with hardcore breaks, but the lyrics are sharp as a knife, and had me holding my stomach from laughing so hard. 'Fighting sounds fun, but enemies, please, that's messy,' and 'Pump your fist in the air if your an idiot. Down with bad stuff. It's just like punching only you don't have to hit anyone'. That's some serious lyrical wit. "Last Call for Rufenol" goes from a satirical Weezeresque power-pop into wild grindcore. Schizophrenic? Well, the next song ("Lipstick Liaisons") goes from a crazy metalcore-nümetal hybrid, singing about Double Vaginal Double Anals to a Parlament-like funk number and back again. Mix the current Converge sound with the last two Suicidal Tendencies LPs and you get a strange idea of what LWID's sound is like. "House of Cards" was a good song on its own. Musically I mean, as without the humor or guys jumping around in G-strings during live shows. So it shows that they can write powerful material. Especially the strangely titled, "Feast of Breath and Teeth" which really brought to mind Tool. So while I like it, it's hard to take the more straight up tracks ("House of Cards") seriously when so much is presented in a way as to make me laugh (which it succeeded).

LOUDNESS - Rockshocks CD (Crash Music) This may be a short review. When it comes to things I'm crazy about, I'm quick and to the point. First, time for class, kids. Loudness was a pretty good hard rock band from Japan. Formed in '81 they gained a bit of notoriety in the US with their 1985 releaseThunder from the East (on Atlantic Records), and again a little later with the rise of L.A. hair metal. Mind you, this is no hair metal or glam rock. What this is... is sweet! Rockshocks is their best material all re-recorded - beefed up and louder than ever before (plus three new tracks). Twenty-five years after it all started, everyone is still in the prime of their game. The vocals are amazing, the guitar solos are manna. Straight-up hard rock for old metalheads, as well as fans of power metal, and a definite for the new stoner rock crowd. "In the Mirror" (even sung in Japanese) is worth the price of admission alone.

LOUD QUIET LOUD: A FILM ABOUT THE PIXIES DVD (Music Video Distributors) The year was 1990 and my girlfriend was playing the hell out of this one record. While it was catchy in parts, I just didn't get into it, as I was just too hardcore then. I never even bothered to get the name of the band. Fast forward to 1993 and I'm standing in an alley outside The Cameo Theater at the last American Pixies' show, when some dude in a purple flight jacket asks if I want to get into the sold-out show. I say, "Sure." He shows his pass, I get lead in, and when this gent later hits the stage, my jaw drops to find it's the guitarist, J. Santiago. Then, when some of those songs played, that I used to aways hear from my ex's car stereo, I giggled like a kid. The following year I was washing clothes at a laundromat on a few months stay in Amsterdam (Holland) and I see a face that looks a little familiar. "I think I know you," I say. "Are you American?" he replies. Upon my answer, he says he's glad to meet a fellow Stater and tells me he's Frank Black and playing a solo gig. We chat for a bit and he invites me to see the show. I thanked him kindly, but I had a date with a sweet little Swede named Dunsvee, and some ecstasy. I regretted my decision when everywhere we went played techno - not to mention her puking half the night away. Upon my return to the U.S. I decided to grab Trompe Le Monde. I picked that album for the cover of "Head" by The J&MC. I'd soon bought every record, and have been a huge fan ever since. It figures I'd be after their breakup - I am late on a few things. Still, collecting their vinyl, discs and videos, I had to get the new documentary I'd heard about. Thanks to MVD, this quickly popped into my mailbox. The DVD is an hour and a half story of their reunion in 2004 - not their entire history, though it does fill you in. Here, you get a front row seat from almost the very day each band member hears the news of a get-together. Following them through their first show since the early 90s, on to their 'warm-up' tour, their Euro-tour and back to a full U.S. tour. You get to see the many ups, but also the downs (drummer, Dave Lovering's dad's passing and his needing to kick drugs, as well as the fact they still don't really speak to one another). One of my favorite things about this doc, besides the bright colors and the access to member's thoughts and views on the band, is that, except for about three tracks, the songs are played in their entirety. Extras include director's commentary, over 30 minutes of deleted scenes (including moments with Steve Albini and Sigur Ros), plus a nifty thick booklet. Seriously... this monkey's gone to heaven.

THE LOW BUDGETS - Go For Boke CD (Akhenation / Schuylkill) When this record began I really liked it - a lot. But in later parts of the disc, I was put off. Let me begin with an introduction - The Low Budgets are from Philadelphia and have members of The Dead Milkmen and The Town Managers, very little of either do I hear, but that is neither good or bad. Now, why did I like it so much? I've been listening to the Nuggets compilations for the last few months, and I've been jonesin' for a little more psychedelia. "Ripped Off", "El Hombre de la Noche", "OE in the AM" are great garage rock-n-roll songs, and the keyboards add this great late 60s psychedelic feel that makes many of the songs on this disc standouts. The recording isn't the greatest, but after hearing so much of the bad recordings of The Sonics, Chocolate Watchband and The Blues Project, I'm used to it. Those were all from 1968 - Low B, it's 2003. At times this launches into pop-punk anthems, which aren't bad, and remind me of The Rentals. For those songs, I would have definitely wanted a better sound recording. Now, why was I put off? I was left saddened at the attempts at, or insertions of, ska or reggae (ie - "Poseur Punk", "Crappy Family"). Overall this isn't a bad release, but those few moments can really kill it for me.

THE LOW BUDGETS - Aim Low, Get High CD (Akhenation / Schuylkill) The Low Budgets are from Philadelphia and have ex-members of The Dead Milkmen and The Town Managers. I have their last effort Go for Broke (also on Akhenation), and while their debut record is pretty good, this one is more focused and much better by far. Picking up their garage rock anthems, adding punk elements and those catchy keyboards. "Oh Yeah", "Hey, Hey", "Burn Your Money" and "The Valu Bull" all have an early synthpunk sound ala Screamers, with some pop punk overtures. While "FNI", "Thrift Store" and "Low Budget Life" all have a hooky 60s garage sound similar the the Nuggets compilations. My biggest, and only complaint, is that the lyrics are awfully elementary ('I'm gonna sue McDonald's because I am so fat. I have bad allergies, I'm gonna sue your cat. I'm gonna sue this pen because these lyrics are so cheap, but that's just how I feel man, I don't give a bleep.'? - from the otherwise awesome, "Lawsuit"). You fellows have come a long way, now get yourself a thesaurus and a rhyming dictionary.

LOWER FORTY-EIGHT - Apertures CD (Monotreme) A math-rock three piece from Frisco (who formed in 2000 from the ashes of Spackle and Rail Gun Empire) comin' at ya with some mad chops, or just chop it up mad. Mad enough to get them notice of a European label too. I wasn't familiar with their 2003 release Skin Failure (also on Monotreme Records), but their sophomore release got my attention well enough. Taking heavier elements of hard-alternative rock like Helmet and Quicksand and combining it with an early 90's Dischord sound, the likes of Jawbox, Soulside or . Sometimes it comes off as as southern-fried kick of AmRep styled rock, with a slice of 120 Minutes-era alt-rock. The heavy pounding and hard chugging riffs are plenty ("Mass Denial, Massive Guilt", "Desperate Signs"), but there are also moments that show off a softer side of this trio ("Truth from Fact", "The Ring"). A decent mix of indie-rock and metal that comes off as powerful, yet catchy, and melodic. And of course, new.

LUDICRA - Ludicras's Hollow Psalms CD (Life Is Abuse) This San Francisco outfit release their first album, and I feel like screaming, but that's a good thing. Just for finding out about them too late. The vocalists, Laurie Sue Shanaman and Christy Cather (who also plays guitar), both - as you may have guessed from their names - are females who front a black metal band. Now, don't think this may upset your precious views of your manly genre, as the track "Userpent" will prove both genders can make great, haunting, screeching and throaty howls. The fact that this was formed by metal-veteran John Cobbett (of Hammers of Misfortune, on guitar), with Ross Sewage (of Impaled, on bass) must help the fact that while this is wholly a black metal album, it brings doses of melody, psychedelia and grind. The interlude for the first track has an almost jazzy effect, smooth and calming, then back to being torn apart. I could have done without the "oooeeeooo" chanting vocals on "Hollow Promise"; these ladies are actually better at sticking to screams. Hey, someone is actually playing a flute ("Awake to Grey"), instead of using stolen samples - good call. The digipack look, and especially the marbled-paper booklet are just beautiful, yet very dark; all illustrated by bassist Ross Sewage.

MAGRUDERGRIND / SHITSTORM - s/t SPLIT CD (Robotic Empire) The District of Colombia's Magrudergrind open up this split album (though it clocks in at under twenty-five minutes. Hey, that's grindcore for ya!). The name implies an extreme allegiance to grind, but much of the drumming (as well as sludgier moments) cast much of this off as power-violence, reminding me of Spazz, without the call and response vocals. I have to admit, the sound still pummels. Unrelenting songs blend together to thrash your scared little ears. They have some 7"es under their belt, and I'm interested to hear their earlier works, so that says a lot there. "Scholastic Burnout" is a real standout on this disc. Next up is Miami's own Shitstorm. This local three piece uses no bass, walls of distortion, and possibly the fastest blastbeats ever recorded in south Florida. Featuring ex-members of Tyranny of Shaw and current members of Torche, taking the laters' beats per minute, but like Torche, playing all at full volume. The vocals are far different from both, as they're in a lower guttural, yet throaty bark. If you like your guitars buzz-sawing and high bpms ala Napalm Death, Discordance Axis or Infest, your in for a punishing treat.

MALKOVICH - The Foundation Rocks CD EP (Coalition) I have to admit I don't think I have ever heard of Malkovich before. Proof I really need to pay more attention. Made up of members of Face Tomorrow and Remorse (which I had heard) they may bring to mind Suicide File and Swing Kids, but there seems to be a bigger punk feel at times - more metalcore at others. Hmm, for metalheads it's as if The Refused beat up Deftones with shorter songs. "011" had an Iron Maidenesque intro, Born Against-like verses and hooky choruses ala Kill Your Idols. "012" is the most metal thing on here, while "016" is the most discordant, yet poppy song on here... and they both totally shred. I love how it sounds like there's a constant buzzsaw howling in the background of the entire record. Feral riffs, pounding, hammering drums and to-the-point ferocity, yet I feel all the better for being put through all this. Move over Sweden - another band from The Netherlands has captured my ear. But, six songs in 14 minutes? Now I have to go hunt down their self-release debut 12". That sucker is one sided too! That should make the hunt more worthwhile.

MALKOVICH - s/t CD (Coalition) Coalition records sent me Malkovich's first EP and I really fell for it. Made up of members of Face Tomorrow and Remorse, and what I had heard was some killer shit that reminded me of Citizens Arrest and Born Against. I hunted down Malkovich's first release, finding it was limited to just 300 copies. By the time I had discovered their EP, I thought those one-sided 12"es would be long gone. But I got one. Ha! Either way, Marcel and Jeroen at Coalition have decided to release it on CD, which I think will help get the name into slackers heads, as they usually don't touch vinyl. This release is much rawer than their EP, and I hear a much heavier edge - much more of the Suicide File comparison from the first EP. More straight-up hardcore, yet bordering on a near-chaotic state. "001" opened things up raw. "004" brought old Rorschach to mind. While "009" brought to mind newer metalcore stuff similar to Converge, and closing with "010", an almost screamo number. After you check this out, if you can't get enough Malkovich, check out the EP too, and they should also have a new album out by now as well.

MANDA AND THE MARBLES - More Seduction CD (Go Kart) This is not taking a shot at the Go Kart crew at all, but how the fuck do major labels get Mtv and kids across America drooling over acts like The Donnas - who are doing nothing more than recycling Ramones riffs over and over - or worse yet, that Avril kid, hopping around to studio-made pop music disguised as punk. So, what's with always wearing the wife-beater with a tie? We get it, you're Avril, hit the skids so you can do a spread in Playboy already. Where was I? Oh shit, inexcusable misogyny aside, what I'm trying to get at is that bands who are run of the mill (like No Doubt and the Distillers) get top airplay, while small labels carry quality releases by bands that couldn't get the time of day in the middle of Times Square. Last two years it was Le Tigre showing skills, and now it looks like Manda & the Marbles will be the next girl-fronted outfit to give all these Mtv-yearning, Courtney Love rejects a run for their money. Taking the 'punk bible' and shredding it to pieces by mixing old-school 70s punk like 999 and Alley Cats, together with power-pop - like The Go Gos or Missing Persons. The only song that is outright punk-rock sounding is "I Wanna Go Home", and it's a Holly & the Italians cover. I enjoy the keyboard, but found it just a little buried in the mix. Some of these songs have been released on Manda's last release, Seduction, but they get a re-mastering. This record wants to seduce me, and I've listened to what they've got - I need a live show, cuz I'm half way there.

MANES - How the World Came To An End CD (Candlelight) It's hard to believe that this Norwegian act was once a black metal outfit. Together since 1992, they released their first album (Under Ein Blodraud Maane on Hammerheart Records in '99) as a two-member line up, and it was a true masterwork of atmospheric black metal, with progressive rock influences. Their second release (Vilosophe on Code 666 Records), added a few extra members, and was another great work, but completely different from their black metal roots. Their sophomore effort was more a mix trip-hop, some jazz and electronic elements with only a touch of metal, along with clear vocals. This really upset many in the black metal music scene. Their newest work, How the World Came To An End, follows the path of their second release. The first track ("Deeprooted") is a mix of power metal and synthpop. The next is hip-hop in the vein of Candiria - though much of it is in French. "Last Lights" had a lick of Mos Def's smoother moments meeting Bad Brains reggae material. "Nobody Wants the Truth" was a bit of a shoegazer number with a seeming nod to My Bloody Valentine. "The Cure-All" went back and forth from a dream-pop song to an industrial metal crusher, and "Transmigrant" had moments of drum-n-bass. An interesting blend for fans of Ulver, In the Woods or even Radiohead, from a band that's left their past behind in skid marks. They're already working on their next LP, which is so far titled Be All / End All - looking forward to see where they take their sound.

MAN OR ASTRO-MAN? - Time Bomb DVD (Cherry Red) Another great concert of a band I wish I had the pleasure of seeing live. Sadly, south Florida wasn't a big attraction to many bands - and I understand it, cuz it's so far out of the way. 400 miles to get there meant 400 miles back to anywhere else. That's why you have to love many of these Cherry Red live shows. You get the chance to experience the fun and sometimes fury of a live set by bands you may never have seen or will get to see. For any dummies out there, Man or Astroman? was a mix of synthpunk and surf-rock with running themes of sci-fi, B-movies and film noir. They started in the early 1990s and released their first LP (Is It... Man or Astroman?) in '93 and put out another seven before disbanding around 2002 (though reforming briefly in 2006 just for the 25th Anniversary of Touch & Go Records). Their almost-lyricless approach helped focus on the music, which became an almost psychedelic swirl of garage rock with speedy surf guitar and trippy keyboards, peppered with samples of strange and unknown movies from years long forgotten. Many liken them to Shadowy Men On A Shadowy Planet or The Monomen, and I would have to agree, yet they're faster and a little more experimental than either. This concert was shot at the Edinburgh, Scotland venue Castle Rock in 1994, so it was early enough to catch them in their prime, yet late enough to still have them playing a few of their crowd favorites and singles ("Time Bomb", "Cowboy Playing Bombora" and "Destination Venus"). So, yes, the theme song from Mystery Science Theater is here! (Now bring back that show!!). The seventeen song, fifty-five minute set was captured on multi-cameras at many angles from all over the place - in crowd and up on stage. The crowd is equally energetic, as is the lightshow, which helps thrust the set of space-punk tunes into a frenzy. I hear the band are requesting fans to submit live footage to compile another DVD, but until then get beamed up by this live slice of garage-damaged, surf-prog.

MARDUK - Dark Endless CD / MARDUK - Those of the Unlight CD / MARDUK - Opus Nocturne CD / MARDUK - Heaven Shall Burn... When We Are Gathered CD (Regain) This black metal outfit's releases haven't been easy to get for many in North America, but Regain Records has decided to change all that. Formed by Morgan Steinmeyer Håkansson around 1990 in Norrköping (Sweden), Marduk set out to write some of the bleakest and darkest music available in those days. They fared pretty well in that area too. In 1991 they released two demos (the self-titled and Fuck Me Jesus tapes), later getting label notice and releasing full albums in 1992 until today. These four discs are the North American re-releases of their first four albums from 1991, 1993, 1994 and 1996 (originally on the Swedish label No Fashion Records, and later on French label Osmose Records) along with new covers and bonus material. It's fun to review these all at once because I'm playing every album back to back and witnessing the growth of a band from seeming imitators to constructive creators. Their first LP, 1991's Dark Endless, is good, but for black metal it seems more influenced by the American school of death metal, though the lyrics fit along BM lines. This release is very fast-paced, and there's not a lot of melody around the lines of Burzum or fellow Swedish acts, but more like Tampa-based bands. The extras on this disc is a live show of five songs from the same year as the album. Up next is Those of the Unlight from 1993, and shows years of growth in only a brief span of time. The speed-picking is great, the blastbeats are just as fast, though moments of slower material seeps in, as well as melody (especially on tracks like "Wolves" and "Echos from the Past"). The guitar solos smoke, and the song structures are much better balanced. A way better sophomore effort, and it's probably my favorite of all the Marduk discs. Oh, the bonus material is live footage from '93 you can view by popping this disc in your computer. In a simple year it seems that the speed was increased even more so and a more black metal structure found it's way to Marduk's third album Opus Nocturne. Wonderful overlaid guitar work, one buzzing with the vocals, as one melodically structuring the blastbeat tempos into oblivion. Many tracks feature operatic and symphonic keyboards that bring to mind a bleaker and devilish playground for our lost souls. This is the release that picks up their status as black metal heavyweights. The extras included with this LP are four studio rehearsal tracks from a session in early 1994. Last of the Marduk represses is Heaven Shall Burn... When We Are Gathered (1996). The music seems even faster than on any of the previous releases, and the beats are almost machinelike and remind me of early Bathory, but faster. The vocals are still well done in the half-growled / half-shrieked insanity the likes of Dimmu Borgir or early Cradle of Filth. Calls to Impaled Nazarene or some Immortal tracks may abound, as they have grown leaps and bounds past their first release. The bonuses on this are six tracks that did not appear on the original release (on Osmose Records, which contained only eight). That was a fun near four hours that really took be back to the old school of black metal, yet still stands up fairly well today.

MARTYR A. D. - On Earth As Is In Hell CD (Victory) The 'Victory touch' is an interesting phenomenon to me. It seems that many bands I find to be simply 'decent music', matures musically once on Victory Records. As with Scars of Tomorrow I am suddenly playing Martyr A.D. on heavy rotation. I found Disembodied - bassist Tara Anderson and guitarist Joel Johnson's first band... and album, Diablerie (on Ferret Records) to be much better than The Human Condition in Twelve Fractures (also on Ferret). Could be that after their split and reform, they picked up Karl Hensel (drums) and Andy Hart (vocals) of Holding On? Possibly, but don't be fooled as it's much more metal than old school hardcore sounding, as was Holding On. Either way, this record is blistering metalcore. "Bring Out Your Dead" breaks things out in great fashion: harsh. "Misery Dance" brought Jane Doe-era Converge to mind, but with more of a Swedish touch. "The Last Words of Any Meaning" is a two-part song, half instrumental metalcore, half hardcore fury about how 'the real me could fucking kill'. Ah, isn't that true of all of us? If the blistering hardcore-metal doesn't get you in the mood to, the bleak, dark lyrics on this disc should help. "The Dead Reprise" ended the record, and finished off everyone in earshot with it's doom laden chords and eerie ending. Glad to see you are back guys... and gal.

MASTERPLAN - MKII CD (Candlelight) This power metal album threw me for a loop. Now, if I grew up on Dokken, Judas Priest, Warlock and Iron Maiden, why did Masterplan's MKII throw me? Well, it's great melodic power metal, but has a few pop (and even gospel) elements in some of the choruses, and even in a few of the keyboards riffs... and more so because it actually works. Pretty well might I add. Masterplan started up in Germany back in 2002. A few changes have been made as members have come and gone - and gone is original vocalist Jørn Lande, and replaced by Mike DiMeo (of The Lizards, and Riot). Masterplan also added ex-Rage member Mike Terrana (who also recorded all the drums here as their drummer split before recording). I have to admit I have not heard, or even heard of, their previous works, Masterplan (The End Records, 2003) and Aeronautics (Candlelight Records, 2005), so I'm not sure if they're treading new ground, or if they've been kicking this sound around for years, but I feel fine being schooled when the tunes are this good. The poppier moments are on tracks like "Lost and Gone", "I'm Gonna Win" and "Heart of Darkness", but then they seriously rev up the metal on tracks like "Warriors Cry", "Watching the World". "Enemy" and the excellent "Masterplan". Imagine if Queensryche had larger musical testicles, if Iced Earth cheered up a bit and smiled a little more, or if Helloween had a more modern sound. If you can picture any of that, then you may already be a fan of bands like Symphony X, Edguy, Dragonforce or Blind Guardian, so I suggest you check out Masterplan if they've yet to be spotted by your radar.

MARTRIDEN - s/t CD EP (Candlelight) Harlowton, Montana's Martriden originally began as Pale Horse in 2004. After the name change they recorded a self-titled EP at metal-master Dave Otero's Denver headquarters, Flatline Audio, which Candlelight heard and decided it deserved a proper pressing and decent distribution. This twenty-five minute EP is a raging four song, 5" disc of extreme Euro-inspired metal. While staying true to the likes of Emperor, Opeth and Enslaved, they also have tremendous breakdowns of the metalcore field ala Dead to Fall (the vocals also bring them to mind), or As I Lay Dying. I wish I could say more, but at only four tracks, all you need to know is that I keep hitting play over and over again.

MC5 - Kick Out the Jams DVD (Music Video Distributors) My DVD player is dying, so all my friends visually and audibly profit, as I've been carrying this from house to house - not just to review it, but to keep on watching it. Kick Out the Jams is a collection of hours upon hours of footage shot by Leni Sinclair of the late 60's MC5, much of it never before seen. The final result of this DVD is only thirty-five minutes of your life, but it will result in continuos play, so mind your time. While it's quick, it plays well. Each live track is played to a film blend of live shots, psychedelic mixed-colored oil blots and Detroit hood life. What I like most is that each 'video' doesn't just use one live show per track, but no less than three are spliced throughout the song... and the swirling colors of hippie oil. You also get a bonus feature of MC5's John Sinclair playing '03, plus the insert layout comes with an original MC5 article from Creem magazine from 1969. MC5 mean a lot to current rockers, punks and even metalheads, but this Detroit rock explosion never really got their due, other than in hipster whispers and sheepishly passed mixed-tapes. So, come on brothers and sisters - it's time to... fill in the blank.

THE MEASURE [SA] - Historical Fiction CD (Team Science) The Measure [SA] are a New Jersey four piece that know how to hook you with both rhythm and melody, and they play a really good catchy, poppy punk rock, though not coming of as pop punk. TM[SA] have released a slew of 7" records starting off with the Union Pool EP (2006 on Idiot Box Records), then a few split releases with O' Pioneers (on Kiss of Death Records) and The Modern Machines (Salinas Records), and finishing off the smaller vinyl with 2007's Old Crow EP on Los Diaper Records. Team Science Records decided they needed a full length and it's a good thing too. A lot of times with EPs, by the time certain bands pull you in the record is over, and you wind up spinning the hell out of the three to four tracks, often getting tired of the same ditties quickly. Here you can spin the hell out of fourteen tracks, and while it is a quick listen (two minutes shy of a half hour), when you come back to track one (and you will) enough time has gone by to be ready for another round without the songs getting old. Musically, The Measure [SA] bring to mind The Dead Milkmen joining forces with Hüsker Dü, or if Jawbreaker flew overseas for a garage jam with The Pouges. When Lauren and Mike trade off sings there is a sort of Kim Deal / Frank Black vibe which does bring to mind a more punk rock version of The Pixies. Actually, some of the stop-start moments do too, as does a sort of Midwestern indie rock sound. For their namesake, and those of you feeling a CD has distorted it (because the [SA] stood for 'strictly analog"), Salinas Records and Don Giovani Records have teamed up to release a vinyl version on a 12" slice of wax. Whether digital or analog, you'll find yourself singing or tapping your foot long with the tunes, so go for either. Hell, go for both.

MEHKAGO NT - s/t CD EP (Mehkago NT) MNT is a new five piece out of Miami featuring members of Torche and DNME, as well as exmembers of Out of Spite and Tyranny of Shaw. With that said, you locals know it's heavy. While it does have members of various hardcore, metal and metalcore locals, it doesn't sound like anything local. Everything from doom to grind abound, as the pace goes from under-the-heartbeat to blastbeat in no time, and the guitars go from a steady crunch to buzzsaw in zero flat. A touch of San Diego power violence (Spazz and Dropdead) comes to mind, but much of the darker, doomier parts to the tracks shake off that memory and reinforce the fact that I haven't heard many bands like this - especially locally. This CD is limited to only 100 copies, so you are all probably out of luck as of reading this. It's been noted that the two best drives are anger and pride. With anger being such a big part of hardcore, I'm sure these five ditties'll be repressed as secret tracks on their debut, cuz these guys are proudly going places.

MELENCOLIA ESTATICA - s/t CD EP (Aeternitas Tenebrarum) Another black metal band that chooses to be so mysterious I know nothing about them. Where they're from, how long they've been together nor how many members are in M.E.? I know not a bit of info - not even the lyrics! What I do know is that this is some fine melodic black metal. This thirty minute EP is four tracks listed as "Meditatio" Parts One through Four. Moments blast about in the blackest of black metal, then turn things melodically gothic and emotionally bleak within a drum beat. Musically around the lines of early Katatonia, or maybe Forgotten Woods. Since it seems they'd like to let the music speak for them, I'll do the same and cut it short by simply saying, 'If you like your black metal melodic, just listen.'

MELVINS - Salad of A Thousand Delights DVD (Music Video Distributors) Now, someone at MVD knows their history because this video has been highly sought-after for the last decade. Originally released in 1992 (taped at the North Shore Surf Club in Olympia, Washington in 1991), and forever hunted by many a Melvins fan. Finally re-released - as all good music and video should - and with a few extras to boot. From the self-titled first LP, to the 5" on Slap A Ham, and the Boner Records discs... later signing to a major label and on, I have been a fan of the Melvins since 86. Their Kiss worshipping-riff-fests, I felt, picked up where Black Flag left off. Hardly appreciated in the 90s, thankfully Mike Patton must have read the 100+ interviews where Kurt Cobain would state how Melvins changed his life, as after Atlantic ran King Buzzo & crew through their grinder, Ipecac has gotten to release some of the best shit Melvins has done to date. But classics remain classic, and here we have "Antioxidote", "Euthanasia", "Zodiac" (off the excellent Bullethead LP and possibly my favorite Melvins song), "If I Had An Exorcism", "Boris", "Kool Legged". 12 songs in one 45 minute set of four camera angels (rare for a hardcore show), which luckily taped a show that just goes off the handle. Instruments are hurdled. The crowd is fierce, and fans are rowdy. The place is small, crowded and the cameras are a whirlwind of Buzz praying to the God of Riffs, Joe's aggressive bass antics and vicious stage nature, Dale is in his underwear, and miscellaneous happy (and stoned) faces in the crowd. A well captured moment, on top of an excellent show. Extras include another show from 91. Although poorly filmed, Dale appears again in his briefs - black this time instead of purple. Best of the extras would be Melvins making a studio tape circa 1984 & KB looks about 14. Sweet.

MEMFIS - The Wind Up CD (Candlelight) In 2003 Memfis formed in Kristinehamn, Sweden, and currently features a member of The Kolony and Brimstone. In 2004 they recorded two demos (The Judgment and Breathless), which got them the notice of Sweden's Dental Records. In 2006 they released a 7" vinyl single on Denmark label Futhermocker Records, and later that year originally released The Wind-Up through Dental Records. Candlelight's U.S. branch wanted them to get a good hold of North American ears, hence this domestic release. This four-piece post-metalcore outfit will find a few comparisons to Isis and Mastodon, but there are strange little jazzcore bridges in the vein of Dillenger Escape Plan, and lush pop metal moments ("Eternal Failure") similar to The Gathering. Many of the songs have an emotional / melodic build up of a band like Burst, broken up by odd signatures and frenzied time changes. The cleaner vocals will bring to mind Opeth (as does a bit of the music), but the growling, throaty yells will bring to mind Mastodon (as does a bit of the music as well). It all comes off as a great, melancholic, progressive metalcore, but I'm a little surprised this hit the charts in Sweden.

MENTAL HORROR - Proclaiming Vengance CD (Death Vomit) Brazil is the latest place to look for new music I hear. With Brazilian friends, and living in Florida with the south American traffic - drug traffic too - it should make it easy for me to hear the latest sounds from south of the equator, but alas the sickos at Death Vomit (a side-label belonging to Necoplois) in California of all places had to school me on the new extreme death metal. Extreme? Maybe so. This is the fastest drummer I've heard in some time. Sometimes using dual vocals, and always displaying very technical guitar playing. "Black Spiritual Void" is the most ungodly and insane song, but every song on here is totally unrelenting blasphemous death metal to the second power. If you are a fan of the newer, darker, faster metal from lands unfamiliar - why are you wasting your time reading... when you could be thrashing? Hail me, you long-haired freak, for your enlightenment - I'll thank Necropolis for mine.

THE MENTORS - El Duce Vita DVD (Music Video Distributors) The masked trio known as The Mentors formed in Seattle during 1976, and later hightailed it to become an L.A. mainstay in 1978. They say it was for bigger shows and a better music scene, but it may have been that they were chased out of the liberal city for coining the musical genre of 'rape rock'. Even so, they didn't release material until 1982's Get Up and Die, also known as The Trash Bag EP (on Mystic Records), but they haven't stopped since. And though they're still around today, it's without their best known member, El Duce, who was killed when he didn't hear the train's whistle blowing. For many (many!) of you, this will probably be the first time you've ever seen a Mentors music video. No, I ain't talkin'bout live footage, I'm talking full-blown music video. Remember though, it's The Mentors, so you may already know that if you haven't seen 'em it's because of tons of curse words, violence, mature content and, of course, nudity. These videos are freakin' hilarious!! "On the Rag" has a bit of bleeding from... guess where? "Forty Ouncer" has tons of drug use. "Golden Shower" has El Duce bearing it all, along with girls taking the stream along with a steam (if you get my drift). "Donkey Dick" had women going down on a rather large floppy dildo. "When You're Horny, You're Horny" was the tamest of the bunch with barely any nudity. "All Women Are Insane" was like a mix between band documentary and Discovery Channel doc, with shots of the band's life combined with footage of animals humping. "Sex Slave" was my favorite, for it's lyrics as well as half-a-dozen dancing naked chicks chained with dog collars. Between the videos there's interview clips with El Duce himself, Sickie Wifebeater, Gen from the Genitorturers, as well as clips from the U.S. Senate's 'Porn Rock' hearings from 1985. Aside from the seven rare music videos, you get three live shows - one at 7th Street Entry in Minneapolis, one at The Country Club in Los Angeles, and another in Austin, TX at some unknown juke-joint all filmed sometime in the early 1990s. Fun? Well, knowing it's all a sick gag - you bet. Misogynistic? Hell no, I love women and think everyone should own one!

METACONQUEROR / NEVER PRESENCE FOREVER - s/t CASS (Dada Drumming) This is a split cassette release with one track per band. Side one is Texas' Metaconqueror. Their track "Illuminati" brings to mind a night out in the woods, spying on a Masonic ritual. Eerie, somewhat calm and you don't know what the fuck is going to happen next. Pulsing rhythms and looped noises (which sound like night sounds... crickets, wind and empty space) develops into loud hums and static sounds that take over until it becomes less ambient and more death industrial. I want to do what the voice tells me to, but I can't understand it. Damn it's hard being a lemming for the Illuminatus conspiracy. On side two we have Richmond, Virginia's Andrew Anti.5 and his project Never Presence Forever making light of the blessed 14 words those with their arms stuck at a right angle position love to use, on the track "Fantasy and Reality Remain One as Your Fears Nourish the Machines of Internal War". Witty, and well done. It begins quiet enough, using several tones that could drift one into la la land, if it wasn't for the upcoming 'speech' and the pops and loud static that tries to drown out the poor idiot's ranting, only to go almost quiet and lull one back into a false sense of security - especially with the backwards guitars towards the end. Cover art by Scott Candey and packaged to look like a book on tape, this is another noise project very worth hunting down for you musical misanthropists.

METALIUM - Nothing To Undo: Chapter Six CD (Crash Music) These Germanic metalheads have been releasing almost one album a year, as they formed in 1999 and are now on Chapter Six in 2007. How I wish there were more acts like this one. There's a word I use for music like Metalium's music: 'Slayerific'. Crushing, speed metal beats, fast thrash guitar licks, hot guitar solos, half-spoken vocals with moments of high-pitched banshee wailing... you know, similar to Slayer. Much of the blazing git work also brings to mind early (and better) Metallica, Megadeth and Testament. Anyhow, this quintet (three original and two new members), keeps the metal fresh. Since Millennium Metal: Chapter One, each LP tells the story of Metalian, and has developed quite a lyrical following, as much as it has for its musical prowess. You can follow Metalian's story line through State of Triumph: Chapter Two, Hero Nation: Chapter Three, As One: Chapter Four, Demons of Insanity: Chapter Five (all on Europe's Massacre Records) and now the newest installment. In the vein of Destruction, Whiplash, Testament and, yes, Slayer, this new Metalium record will make you wish there was more space in your room to start a mosh pit, while you pump each fist and flashing the 'sign of the horns'. The tracks "Spirits" (track two) and "Straight Into Hell " (track four) alone are going to make you listeners hurt yourselves. Use caution.

MEZZANINE~C14 - He Keeps Silent and Sacrifices Himself CD (Break Even) Mazzanine C~14 originally started in 1998 in Chattanooga, TN, debuting with an EP, Machinegun Camera (Homicide Records). In 2002 they moved the band to Jersey City, NJ (what a change of scenery), as they released their first (self titled) album and toured. Only to later - as many bands do after touring - loose steam and part ways. today, founding member Will Walker revives Mezzanine after a two year lull and the result is this ten song, half hour album of post-hardcore that is all kicks and flips with a San Diego sound. Music to make you bug out and shake in your boots, while you slam dance. I'm a fan of bands like Antioch Arrow, Heroin and Universal Order of Armageddon. Don't say that 'S' word. The kind of music that is somewhat emotional, nerd rock mixed with spazzed out hardcore. Sc, Screamo... damn it. The music is intricate, serious in its humor of itself (complete with witty titles, "You Have the Freedom to Do As I Say"), and contains momentary jam outs, stomping breakdowns, and a lot of discordant choruses. The vocals are sand-papery screams in a forceful scream/sung fashion. "Devious" is a heavy, screaming, almost-pop number complete with hooks and melody, that will still bash your head in. "Bedroom Eyes" sounds like the DC sound taking steroids. The layout and watercolor artwork by Paul Ching-Bor is great, but I wish this release came with the lyrics.

MINSK - Out Of A Center Which Is Neither Dead Nor Alive CD (At A Loss) Listen, when the record's producer (ex-Buried At Sea's Sanford Parker of Volume Studios) loves the tunes so much he joins the band, that alone says many things about the music. There are a lot of words to describe Minsk; heavy, psychedelic, bombastic, epic, poetic - so, yes, there are similarities to Neurosis, but jokes aside, who would have thought that I wouldn't lose interest in a fourteen minute track, but "Holy Flower of the Northstar" had me from beginning to end. The standout track has got to be "Narcotics and Dissecting Knives" with eleven minutes of doom-y drone, kicking into a chorus-filled, hard rock-bliss morphing on into electromadness. While Neurosis may come to the mind of many, so will bands like Hawkwind, Warhorse and Pelican. The riffs are long and massive, the acoustic guitars are creepy, the drums are tribal, the sound is explosive. You would think this is an EP by the track listing, but clocking in at an hour, this will thrash you around for a bit.

MINUS - Halldór Laxness CD (Victory) Halldór Laxness is punk rock's answer to math rock. It opens with a forceful, heavy riff and proceeds to spiral into a psychedelic combination of hard rock, punk, hardcore and metal. A testament to what seeing volcanos in the day, and the Aurora Borealis at night, can do to your imagination. "Who's Hobo" is a stoner rock song the likes of Shallow or Sea of Green, sped up and peppered with metalcore chords, and punk anthems. "Romantic Excursion" is like The Stooges meeting Helmet, or as if At the Drine-In threatened The Hives into playing original riffs. The lyrics are wonderfully scattered with lines like "I wish I could see my own funeral to regret being dead." "My Name Is Cocaine" is a powerful song, and while I do agree with the premise, I also believe statements like, "Use me just once and you too will be sold," increase curiosity in the experimental. And also seem to simplify the drug issue. Musically I hear many influences from older 80s alternative to modern metalcore, as "I Go Vertigo" is more Converge than Cure, while "Insomniac" is a heavier Smiths with a disco beat. Who would have thought that the last track, "Last Leaf Upon the Tree" would be an almost-reggae inspired trip-hop number, complete with female vocals (Katie Jane of Queen Adreena). The funniest thing is that it actually fit the record well, but would possibly seem out of place in their live set, where they are just as noisy, and twice as powerful.

MINUTEMEN - We Jam Econo DVD (Plexifilm) I can't say enough good things about this documentary. I originally thought this would be pretty boring, even though covering one of my favorite early hardcore / punk bands of all time. I thought there wasn't much to say for a doc that's close to two hours, but I was wrong. Glad to be, too. Mostly following Mike Watt around town, and a sit down interview with George Hurley, they tell the story of the Minutemen, intercepted at moments with video of an old college interview with D. Boon present, guest who were personally involved with the band (from friends to labelmates, Jello Biafra,Henry Rollins, Ian MacKaye, J Mascis, Thurston Moore and a host of others... hey where's Greg Ginn?) plus live footage of the band. The first disc includes Minutemen music videos ("This Ain't No Picnic", "Ack Ack Ack Ack Ack" and "King of the Hill"), as well as the entire college interview previously mentioned in its entirety. The second dic contains three live shows, two of which are actual punk sets (L.A.'s The Starwood in 1980 and D.C.'s 9:30 Club in '84), plus an acoustic set in Hollywood 1985 just a few months before the death of D.Boon. Poetically, musically, and philosophically this trio remains one of the best bands to have ever graced a slab of punkrock wax. If you are unfamiliar, you are not only a musical novice, but are missing out on their spectacular double LP, Double Nickels On the Dime. Listen, learn, then watch.

MODERN MACHINES - Thwap! CD (New Disorder) It scares me when I open promo packs and read the words 'punk rock' in the bio. For the most part, no one ever means that. What they usually mean is 'pop punk' or 'stuff they play on Mtv and call punk'. Dig? Luckily, I got to put my fears aside as this is some sweet punk, and rock, from the city of beer, Milwaukee. Some trips are straight up old school rock and roll, similar in sound to the Nuggets compilations from the late 60s. Others are a brash mix of old school indie rock smarts (Replacements, Dinosaur Jr., Hoodoo Gurus, etc) with pure '77 punk (like "Radio Tower" which sounded part Bo Didley [chorus], part Hüsker Dü [verse]). Catchy riffs, anthemic chords, some twang, a touch of keyboards, and a harmonica... the rock-n-roll works. A good example of most of these tunes are as if The Glasspack played faster, and traded guitar solos for more punky chords, or if Screeching Weasel did the opposite. The CD layout is simple, but who needs flash when the music can support the whole release - not to mention the cover art is an inside joke I don't get (Tomatoes for Taft?). I did paid attention in History 101, but never watched The State. Hey MMachine guys, another presidential factoid: Taft was once stuck in a bathtub. He needed the help of his Secretary of State and three others to pry him loose. No joke. Unlike others I tell.

MONARCH! - Dead Men Tell No Tales DOUBLE CD (Crucial Blast) This is a re-release that had to be. Hailing from Bayonne, France (a Basque country town which gave its name to the bayonet), these big amps and little lady will knock buildings down. Three gents and the hottest black metal maiden from the European landscape creep forth walls of feedback and drone, with slowly pummeling riffs and punishing doom. Crucial Blast brings you the North American version of their newest double CD (the import version is from Spain's Throne Records). The Crucial Blast version on disc one is a CD re-release of Monarch!'s vinyl-only LP Speak of the Sea (which was limited to 666 copies), and holds an extra track, "Dead Men Tell No Tales" from their 2005 debut (also on Throne). At just three tracks it's close to an hour in length, so prepare for riffs as slow, yet as hot, as lava. The second disc in this set is their newest work, the Die Tonight LP, which is also a vinyl-only release from the Spanish label, and limited to 666 copies. At two tracks clocking in at forty minutes, expect much of the same riff-indulging madness, but more matured and knowing better when to strike and when to back off and regroup. Music-wise these ex-members of Miercoles and Gasmask Terror slowly bleed tunes that are comparable to Sunn O))) asking Melvins to provide more musical structure, or if The Goslings began to incorporate more black metal influences. Imagine Burning Witch and Corrupted tag-teaming NON and Tangerine Dream for a match inside an Orange amplifier. Though having a femme fatale lead (ex-Electronic Funeral) she growls and shrieks like the best of the death metal clans, yet whispers and sings as well - sometimes in front of the sludge, other times buried deep beneath the debris. I'm so in love, but I'm not sure which more - Monarch!'s music or Monarch!'s lead singer. Either way, thanks Crucial Blast!

MONOLITH ZERO / NEVER PRESENCE FOREVER - s/t CD (804 Noise) This is a split CD between two artists in Richmond, Virginia's 804 Noise Collective. First we have two tracks from Monolith Zero (Adam Hudson). "Template 237864" was nice, but sounded just like it's name... a background template. "_O_" is a much more active track and caught my interests with its explosions of sound and change-ups. Next are two pieces from NPF, and by far, the more musical tracks here. Never Presence Forever is Andrew Westerhouse (aka Andrew Anti.5, also of Aversionline infamy) and he gives the listener "Searching for Heaven in the Face of Hell" and "Living with Regret Without Regretting to Live", both of which are noisy, yet haunting; harsh, but at times melodic. The CD is worth the price for both artists, and though I enjoyed Hudson's laptop tinkering, to my ears, Westerhouse clearly has the standout tracks.

MOONSPELL - Under Satanæ CD (SPV) If you think this is a new album by Moonspell... you're half-right. Let me explain. In 1994 this Portuguese quintet released their first EP, Under the Moonspell (with another seven albums following that - Wolfheart [1995], Irreligious [1995], Sin / Pecado [1998], Butterfly Effect [1999], Darkness and Hope [2001], The Antidote [2003] and 2005's Memorial). What they've done here is re-record their entire Under the Moonspell release, as well as other pre-Wolfheart tracks (the band’s early demo tape, Anno Satanae) and released it as a new disc. If you're unfamiliar with Moonspell, they're the only metal band in Portugal with a certified gold record, and they started out as a black metal band, but began to incorporate elements of native-folk, as well as more gothic elements to their music (along the lines of Paradise Lost and Tiamat). This newest work takes their older (read: less mature) sounding stuff and revamps it with their current sound. The last track ("Serpent Angel") on Under Satanæ is a pre-Moonspell song that was actually written in '92, and has a bit more of a black metal sound than the rest of this album, but still fits in perfectly. If you like black or doom metal with a bit of musical thought behind it, and a little flair, then this is the LP you should be checking out.

MOUSE FIRE - Wooden Teeth CD (Lujo) I'm surprised this isn't being worn down by radio stations like Miami's WVUM (90.5 FM) or Tallahassee's WVFS (89.7 FM), especially since this band is from Florida. These twelve tracks are right up their alley, plus they'll give a local act some much needed exposure. Mouse Fire, and their debut LP, Wooden Teeth, are a bit of melodic college rock with a touch of dancefloor groove - part Pinback, part Franz Ferdinand (check out "Feel Good Drag" for proof). It also brings to mind Koufax, Manchester Orchestra or the second-album-era The Killers. This foursome from Lakeland, FL can't, I'm sure, get the press they deserve. I mean, it's Lakeland, FL for god's sake. While a record label like Lujo Records can sure as hell help them out with distro and recognition, it's almost like starting from scratch. No wonder I left Florida. It's kinda like a black hole; everything trying to escape, including light (or in this case music) cannot escape. If you're tired of the bands everyone already knows about, checkout one that no knows about and be hip - for once.

MOUTH OF THE ARCHITECT - Time & Withering CD EP (Translation Loss) One of my favorite albums of 2004 was Rune's The End of Nothing (Willowtip Records), which was a black metal meets sludge insanity. Having members of Rune, I expected this to be very similar. I was totally wrong. No black metal, except for maybe a touch in the vocal department. Hardly any sludge, though the set pace is pretty doom-y. It could be said that Mouth of the Architect fits into the school of Neurosis and Isis doomcore, even Pelican - but the songs are even longer. Hell, it's a four song EP that is forty seconds short of forty minutes. The opening track, "A Vivid Chaos", is an amalgam of psychedelic doom, guitar mayhem and folkcore that's twelve minutes long. A lot of this is very ethereal, and sometimes it'll lull you ("The Worm"), but then the vocals kick in - eerie. "Heart Earters" is the shortest track at five minutes, the heaviest track on here, and it's where I wish they'd take the band. I like the rest of this release, but that song was crushing.

MOUTH OF THE ARCHITECT - The Ties That Blind CD (Translation Loss) Starting with an ex-member of Rune (drummer Dave Mann), guitarist / vocalist, Gregory Lahm, and Jason Watkins (vocals and keys) going on and off with other musicians for a bit, Mouth Of The Architect, now solidified as a quintet, play a heavy brand of the psychedelic doomcore. These Ohio stalwarts deliver six tracks at over an hour of ethereal hardcore, doom-ladened drone psychedelia, with lots of atmospheric walls of guitar hum and progmetal / jazz drumming. Still reminiscent of Isis and Neurosis, though the guitar licks are way heavier throughout. Admittedly, I really like the vocals on the Time & Withering EP more (also on Translation Loss), though there is better actual singing, as well as more vocal control on this release. Guest vocals by Hinds of Mastodon on "At Arms Length". A keeper for fans of more intricate hardcore the likes of Mono, Rosetta, Meatjack or Wolves In The Throne Room.

MURPHY'S LAW - The Party's Over CD (Artemis) My history with Murphy's Law: I saw them play in what I remeber to be 1987 at the Cameo Theater in Miami Beach, on tour to support their first album out, which was on Profile Records. I bought a shirt (which kept me popular with teachers throughout high school) and gave them a $10 bill, the shirts were $8 and they had no change. I told them to keep the other two bucks and they shower me with praise and stickers. When they played, Jimmy G's running all over the stage throwing half empty beer cans and going nuts. One of said beer cans hits me dead in the eye, and I proceed to gome home and have to explain to my parents why their seventeen year old has a black eye and wreaks of Budwieser. I hadn't seen them again for years, 1991 (I think), until the infamous incident at Summer's in Ft. Lauderdale. The show was packed and durring Murphy's set a fight breaks out, my friend Zack maces everyone. It hits Jimmy G, he screams, "You got me in the eyes! Trash this place!" and everyone takes him literally and proceeds to riot. People streaming out into the streets choking from mace. Cops everywhere swinging billy clubs, me grabbing my ex-girlfriend's hand and running off into the night, and Jimmy G getting arrested for inciting a riot. The next time I saw Mr. Gestapo was last year in the backroom of Fat Cat Tattoos in Astoria, New York. Chilling in the back smoking shit you just couldn't get without seeds and laughing about all the crap gone past. So, I didn't jump on the bandwagon when the Bosstones had him appear on Devil's Night Out to give them street cred. From their beginnings with hardcore punk to the last couple LPs worth of skacore and back, Murphy's Law always gives it their all, live and on record. The Party's Over was produced by Daniel Rey (who also produced new Misfits - as well as Ramones) and contains 15 tracks of some mad, mad punk. Forever changing, yet always leaving their roots showing... on this disc you can hear everything from raw punk to reggae inspirred tunes. The party has only begun.

NACHTMYSTIUM - s/t CD EP (Battle Kommand / Drakkar) This is Azerntrius' (of Southern Lord's black metal super group Twilight) first release as Nachtmystium. Originally released on New Jersey label Regimental Records in 2002 and limited to 1000 copies, there hasn't been a pressing since. Since Battle Kommand has decided to put out all of Nachtmystium's back catalog, for fans as well as purists this disc had to be repressed, even though it's really a different band, as it's a lineup and vocalist different from all other releases. Still, it showcases Azentrius' early material, and is still a brutal near-halfhour of aggressive, yet often melodic black metal, with the sixth and final track being a cover of "Gaze Upon Heaven In Flames" by US black metal band Judas Iscariot. My turntable curses BK for putting this out on CD.

NACHTMYSTIUM - Instinct: Decay CD (Battle Kommand) There's a slight buzz again in the world of black metal, as Lords of Chaos prepares to be flashed on the big screen, as well as bigger labels once again taking notice. I'm well along for the ride, as I've been finding myself re-enchanted by speed-picking buzzsaw guitars, and doomy, operatic madness. Nachtmystium is (one-fifth of Southern Lord's all-star North American black metal band Twighlight) Azerntrius' main project, and a sure fit to that fix I'm currently craving. Heavy at times, noisy others. Gloomy sometimes, angry moments later. Creepy, screechy and atmospheric here - evocative, emotional and enchanting there. Crushing, pounding riffing everywhere else. "A Seed for Suffering" is truly the most emotionally-touching song I've ever heard written by a black metal band. "Here's to Hoping" was almost a new wave song. Nachtmystium's newest work is very unique, while staying true to black metal's most blackest roots. My favorite black metal album of this year, so far.

NAGELFAR - Virus West CD (Ván) First off, let's get something straight, Nagelfar is a German black metal band, and is usually confused with Swedish act Naglfar. When hunting each band down remember that Nagelfar is from German-E, while Swedish Naglfar has no 'e'. That aside, Virus West is a repress of their 2001 release on Ars Metalli Records. This output is quite different from this band's freshman and sophomore efforts (1997's Hünengrab im Herbst and Srontgorrth [1999], both on Kettenhund Records). More straight forward black metal, and less of the arty patchwork of epics they gave us on Srontgorrth, plus tighter, better put together and structured than on Hünengrab im Herbst. Mind you their second LP (at five tracks in way over an hour) is still a very good record, and though the mixture of ambient interludes and industrial beats was an interesting blend for a black metal band, sometimes just straight-up BM / doom works so much better. Hence on tracks like "Sturm Der Katharsis" where it opens with a depressing, though melodic intro on into a set of stoner rock-ish doom riffs, until blastbeats and speed-picking kick in, then a quiet break and back to a 300 bpm fury that melts into an almost hardcore groove only to come back to the melody and Gregorean-like singing - all in a marathon of nearly nine minutes. "Fäden des Schnicksals" opens like a black metal track should (fast and furious), on to a breadown that will make many dance wildly in the pit, which is suddenly interrupted with more blasts and speed, and back to groove again to make the dancefloor go nuts - back and forth, back and forth for seven minutes until your a bruised and tired mess left in the middle of a moshing crowd. The album's closer ("Meuterei") captures some great guitar riffs and double-bass drums at both moderate and fast-as-fuck tempos - all with horns blasting in the background. This is a beautiful work that really did need to be re-released, and it's a total shame that the band went their separate ways back in '02, because this repressing is going to make them a minion of new fans.

NARCOTIC DREAMS - Shattered CD (804 Noise) I am somewhat jealous of the 804Noise community. I wish Miami had a noise collective. Actually, I wish this plastic city had any kind of music collective. I digress... as does this town. Anyhow, the folks in Virginia's 804 do quite a few projects, one being a record label. Their newest release is from fellow 804 area-coder, James McCrea who goes by the artist name, Narcotic Dreams. This is his fourth release, yet first legit CD (i.e. - not a CD-R) and I like what I hear. Nine tracks of guitar, bass and organ sonically morphed and electroclashed into quiet ambient soundscapes to harsh feedback bordering on power electronics. Very similar to 23 Skidoo before they went all funk and disco, or early Coil (when they constantly worked with Boyd Rice and David Tibet), and very much the type of album that makes the mind float and wander as you listen. I also thought the artwork adds to the release, with the musician's own sketches for the cover and back layout (McCrea's black and grey shouts Pushead). Not many can complain at a mere eight bucks - that's with postage included. Nice work. Damn you, 804!

NASHVILLE PUSSY - Keep On Fuckin' in Paris (Music Video Distributors) From Atlanta, Georgia, Nashville Pussy cross the pond to blow away some Parisians. Which makes me ask, 'Why is American hard rock, more popular in Europe than at home?' It's bigger in Sweden alone than here than in the entire east coast. Sorry, but to quote the French, 'Stupid Americans.' Another question would be, 'Is KatieLyn Campbell the hottest bass player ever?' Hormones aside. A great live set captured on three to four cameras, which cut in and out pretty quickly, though nothing that would incite epilepsy. I would prefer to stare at KatieLyn a little longer anyhow. Back to the review. No intro or speeches, Paris knows who it came to see - music straight out of the opening. Fourteen songs of AC/DC and Lynyrd Skynyrd inspired, heavy-ass rock and fucking roll - real rock and roll! - with white trash titles like, "Gonna Hitchhike Down to Cincinnati and Kick the Shit Out of Your Drunk Daddy", "The Bitch Just Kicked Me Out", "Shoot First and Run Like Hell" and "Fried Chicken and Coffee". Oh, and two covers ("Shot Down in Flames" AC/DC and "Age of Pamparius" Turbo Negro), which make sixteen live tracks. This husband and wife team write some spanking tunes. They shred through their songs, chew out an audience member here and there and end it all with Ruyter strippin' down to her leopard bikini underwear at the end of "Go Motherfucker Go!" to hundreds of cheering and sweating fans. The extras are nice to boot. You get a sing-a-long option, a picture slide show, complete lyrics and a music video for "Say Something Nasty" (Putas Del Fuego vs. The Hellcats in rollerberby!). Get this and help get the word out, as Blaine sings, 'Keep on fucking, it's God's first commandment.'

NEBELHEXË - Laguz: Within the Lake CD (Candlelight) I did not expect something like this from Candlelight. Not their usual death metal. Picture a mix between Dead Can Dance, Siouxsie and the Banshees, Black Tape For A Blue Girl and contemporary Current 93. A perfect blend between the Projekt school and the World Serpent camp, Goth meets neo-folk. Nebelhexë is actually Norway's Andrea Haugen. The drums of the title track (track two) have an impressive march that seems to give a wink to Death In June. "My Visual World" begins almost like ambient techno, and becomes a warped Enya singing for The Cure - enchanting. "Wake to Wither" walked the line between electro and apocalyptic folk, yet maintains a sound not unlike Muzlimgauze (the CD also contains a video for this track). Andrea covers the new wavy Lene Lovich's "Bird Song". Next is a new remix of "Raven Night", a song that originally appeared on Nebelhexë's Hagalaz' Runedance LP, but here sounds more like early Lords of Acid. The last two tracks can be spun at a Goth joint, and the kids would do their morbid little dances without skipping a beat. The disc outros on "Touch of Morpheus" and this track is the closest thing the metal on here, with it's lush, yet well distorted guitars and a few chugging riffs. Something different for you long hairs. Best after a long night at a black metal festival.

NEW YORK DOLLS - All Dolled Up DVD (Music Video Distributors) At first, I said, 'What, no narration? This may turn out to be kinda dull.' I was quite mistaken, as for an hour and forty-five minutes I watched with interest as a band went from packed houses and being the new boys on the the block, to half empty clubs and being old news. Yep, all the way from make-up and high heels on over to red suits and Communist flags (Thanks, Malcom McFuckhead!). As friends and professional photographers, Bob (and wife, Nadya) Gruen, who purchased one of the earliest video recorders, got to follow, tour and go backstage with the band, you watch groupie love, after-show antics, interviews, get a full twelve songs, plus snippets of over forty hours of other tour and stage footage, even TV appearances. This disc also contains a sweet little booklet of photos, as well a DVD extras like a Bob Gruen photo gallery, an interview with Gruen and mutherfuckin' Handsome Dick Manitoba, and running commentary by Doll's David Johansen and Sylvain Sylvain, as well as Gruen. One watch of this flick and you'll thank them for 70's punk, and hopefully forgive them for 80's hair metal.

NEVER ENOUGH - Dead Set on Destruction... CD (Organized Crime) This is an awesome release, as you can never get enough of Never Enough. Okay, bad jokes aside, this really is a great release. First, an intro: Baltimore, Maryland's Never Enough has only been around since 2003 and they're making a fuckin' name for themselves whether you like it or not. Old school NY hardcore via the 87 matinees, with a bit of the early-to-mid 80s West Coast hardcore sound and even a touch (just a touch) of the D.C. Dischord school. Oh, and the vocals smoke! Raspy screams ala Pat Dunbar (Uniform Choice), yet harsher, but manlier. I can't point out specific tracks because there are twenty seven (that 27 for illiterates) songs on here. You get the Give Me Oblivion EP, Our Will is Done EP, their 2003 demo and a live show recorded at WMUC in 2004. Okay, okay - "An Abyss" is a hardcore, rock-n-roll bad ass number... you happy now? Still, trust me it's worth it for their first two releases alone. If you love hardcore, you'll love every track.

NEVER PRESENCE FOREVER - Recycled CASSETTE (RRRecords) Though I know an interesting side-note about this release that makes it all the more interesting, I have to admit it's my least favorite NPF release. I am a fan of Merzbow, Massona and others who prepare harsh noise and power electronics, but I prefer quieter tracks. Especially NPF - the biggest reason is that the sole member of Never Presence Forever (Andrew Anti.5) really knows how to actually arrange and combine structured soundscapes and samples and make some excellent compositions. Sometimes harsh, but mostly ambient and always very tasteful. Two long tracks taped over an old cassette, hence RRRecords name for this series of releases, Recycled. Side one starts off with distorted music and DJ chatter from, what I made out to be 10something.7 (an R&B station in Richmond) and continues getting louder and crazier. This isn't bad at all, but NPF's punch at complete and utter chaos comes off better on side two. It's the same track, but played backwards, which makes the singing sound like creepy howls. While I believe this is still quite listenable - I actually enjoyed this on low volume a few times - but it really is my least favorite NPF release.

NEVER PRESENCE FOREVER - Scum 3" CD-R (Never Presence Forever) Noise freaks, you're all too late. All copies of this release - limited to only an unbelievably low 55 - are gone. Ha, ha. I'm one up on most of you. Track one sounds like early tape loop experiments. Both somewhat quiet and loud, bubbling with static and a single distorted note hanging in the air - dipping in and out of ear-range. Track two ("Self-Imposed Mind Control" - love that title) is around the same lines, but louder and that single note sounds like a chorus of monsters. The third track is in the style I so enjoy off other NPF releases. Static hums, feedback and harpsichord samples. The last track is a cover of Napalm Death's "Multinational Corporations", which is actually very fair to the original, while still adding much of NPF's original touches. The cover artwork also is a takeoff on Napalm Death's Scum LP. My only gripe (there's always one) is only that the songs are too short. The entire disc is five and a half minutes. Still, if you know someone, see if they'll let you take a listen.

NEVER PRESENCE FOREVER / WAPSTAN - s/t CD (Brise - Cul) Very glad this split-disc project made it's way into my hands. Never Presence Forever is Virginian Andrew Anti. 5, and his track - "Laid to Rest Under the Cartilage of Ribs" - which is a close to ten minute blend of ambient hums, a touch of noise and light static. Yes I said noise, but it's mostly quiet and ethereal, as the noise elements are nowhere near as loud as many harsh noise or power electronic projects. Wapstan is merely one of Canadian Martin Sasseville's projects, as is Brise-Cul Records. His track is very similar to NPF's, but not as minimalist and has a few more layers of drones and noise. I preferred the NPF track, as it was just seemed darker and fit the look of the layout and artwork much more. The packaging is a small (3"), handmade fold-out with the CD tucked inside - all of it very well done, might I add. I have number 19 out of 100, so hurry up experimental music fans.

NIGEL PEPPER COCK - The New Way CD (Life Is Abuse) Fucking raw. Nigel Pepper Cock, featuring members of Dystopia, have come to blast you - by sound and by fist. Life Is Abuse released NPC's Fresh White Reeboks Kickin' Your Ass 7" not long ago, and I guess people really like being beaten to a pulp, so they went and put their album out. Think of bands like Cream Abdul Babar (without the trombone player, of course), playing a hybrid of thrashy punk-edged metal with keyboards and strange samples. Sometimes quick, sometimes sludgy, always heavy. You know you're in for a ride when the band has balls enough to place a photo of two dudes jacking each other off for the photo just under the CD. The keyboards are mixed well, at times they can hardly be heard, but I think they really add to the freak-ish tone of The New Way. Vocally, every song fluctuates between single, double, even triple vocals. Can't really go wrong with lyrics like, "Some preacher kid is there. Begs me to surrender, then I pray with him and do another line of coke." from "O.J.'s Wild Ride". I'm sure it's been mentioned to death, but "Respect" is an original which suddenly blazes into the Aretha Franklin version. I hear NPC have a different theme for each live set, and though not innovative, should be interesting to watch.

N. I. L. - s/t CD (Battle Kommand) Battle Kommand Records is, without a doubt, my favorite black metal label out there. Their last few releases (Nachtmystium, Obscurus Advocam, Zoroaster, etc) have totally knocked me on my ass, and their newest adventure into the realms of intense bleakness and Satanic terror leaves me in much the same way. N.I.L. is a duo, consisting of original member N. Imperial of Krieg and Twilight fame on most instruments, who formed N.I.L. after a Krieg Euro-tour in 2004, but then soon called it quits. In '06 N.I.L. resurfaced and absorbed into the fold J. Marcheski to handle guitars. While much of their sound stays true to original black metal: heavy, primitive, and very dark, it also has light moments of acoustic guitar and mandolin. The music ranges from blastbeat mayhem and speed-picking insanity to doomy dirge and droning sludge. Vocally, Imperial does a sort of witchy growl - half screeching / half barking, but he also mixes it up a bit throughout certain songs too, so he rarely stays monotone. It's great to hear bands stay true to form, yet venture out a bit from the norm. Hell, they even do a Big Black cover ("Bad Houses"), which is a band I never thought a black metal band would take on. These two should get many props for that alone. I can hear why many a metalhead would give this many props even without that cover track.

NON - Children of the Sun CD (Mute) For those of you lacking any know-whats, NON is Boyd Rice - prankster, possible contender for the French throne and one of the more well-known members of the Church of Satan (second to either Marilyn Manson or Coop). Boyd Rice is often called the "godfather of noise" - even though Luigi Russolo, Todd Dockstader, Karlheinz Stockhausen and even John Cage had been doing this stuff since the 1950s - but you get the idea, as NON started in the late 70s, and was doing this before most anyone else nowadays. I see this being something new for fans of ambient music, and possibly one NON's most popular releases yet. He tones down dishing out the (usually well-deserved) hatred, this time pushing NON into something that might be played in the 'chill-out room' at raves - or even something stoners could like. Like most NON releases, it falls along a line of textured soundscapes, droning noises, distorted tape loops and moments of sonic aggression. Fortunately it's always different from record to record. It's been toned down a touch that's all. Similar to what Boyd Rice has been doing live for the past few years; where a few simple sounds are put through the ringer as echo and flanger effects wave, warp, distort and build up to walls of sound. Now with an Arcadian flavor (instead for the Hatesville persona) and a more Gnostic outlook, the sounds are not as loud or as harsh as they once were on NON releases. I do see that as a good thing, as my pension for noise and power electronic are admittedly fading with age. There is a DVD portion on this disc, but it contains enhanced-stereo mixes of the album material and no film footage to go along with it, and I know Mute has the $ to shell out for some pretty pictures, but I'm ranting because this CD is a favorite of mine lately.

NOT A PHOTOGRAPH: THE MISSION OF BURMA STORY DVD (Element / MVD) They began playing in 1979, and influenced Minutemen and Hüsker Dü (who then influenced The Pixies, who later influenced Nirvana). They released two singles, and inspired changes in the music of Sonic Youth and Gang of Four. They released only one album at that time (Vs.), and turned down a tour with Rush. Then, they broke up in '83 and were almost forgotten by all except music critics and a handful of fans in Boston. That is, until the new millennium. It must be really odd performing with a band you haven't jammed with for 19 years. But, that is the Mission of Burma story: formed from the ashes of the punk / no wave outfit The Moving Parts, ending it all due to bleeding ears within five years, reforming a near twenty years later, and still rewriting music today. And now, you can learn the full history for yourself thanks to this documentary. Running seventy minutes, this tells the story of the band through interviews, plus music clips from throughout their history - old shows and new. The interviews are with the band, through both older videos and new footage shot for this film, as well as fans like ex-Vatican Commando and present techno-head Moby (whose most popular song "Revolver" is a MoB cover), Hugo Burnham of Gang of Four, author Michael Azzerbad (This Band Could Be Your Life), Lee Renaldo of Sonic Youth and many more. The DVD is also filled to the brim with extras, including studio outtakes from the recording of their newest album (OnoffON), a Boston news segments from 1983, live performances from The Moving Parts in '78, and MoB from' 79, '81 and six songs from different shows from the 2002 tour. Seriously, you'll have to excuse me... I'm gonna go blast, "That's How I Escaped My Certain Fate", full volume!

NOT ENOUGH GOLD - The Live and Learn EP CD EP (He Who Corrupts) Chicago scenesters had enough of smalltime bands to form something a little different from the rest. It's hardcore... well metallic hardcore, but it bursts into these sweet stoner rock parts, or rock-anthem-inspired guitar licks (and solos) that add so well to these songs. All six tracks are great for lovers of a heavier Glasspack, later Cable, Terra Firma, Orange Goblin or even Seven Gone. Still, NEG has a sound all their own. All I can say, is I really think this band will mature and give the hardcore scene a shakeup it hasn't seen since the first Quicksand 7". Nice layout, but the look of the 5"-as-3" disc / artwork always win me over. Nice touch to an already to notch release.

NO TURNING BACK - Holding On CD (Bridge Nine) This Dutch band plays homage to the NYC edge of the hXc scene. Not the school of hardcore one would normally think of when you talk about ol' school NYHC, like Youth of Today or Bold, but I'm talking about Leeway, Outburst and (early) Sheer Terror. Hardcore with an early metal feel. You know... Agnostic Front via the Cause for Alarm album (my second favorite record of theirs', next to their debut). These five folks from The Netherlands flirt with stomping grooves, guitars that crunch and cut, and choruses meant to be sung by piles of bodies fighting for the microphone. Holding On is their third full-length, as they formed in late 1990, and have already released two albums (s/t and Rise From the Ashes on Reflections Records), three CD EPs and split 7" and a 7" EP. They've been busy, and with their upcoming tour schedule, they'll be even busier. So while you look up this record, look up the tour dates too, and go find yourself giggling at the bottom of a pile of people fighting for a microphone.

NO WARNING - Ill Blood CD (Bridge 9) I never listen to what a press bio says - especially when they try and sell you who the band sounds like. I keep press bios around simply incase the CD insert doesn't give me the info I need (ie - city, band members,etc). I like to play a band's release, and make up my mind on who or what they sound like. But, this time around the bio couldn't be more correct. Take the best parts of bands like Cro-Mags, Breakdown and Biohazard - and you can even throw in some Sick of It All too. The bass guitar mosh-intros, the throaty and pissed vocals, riffs upon riffs upon riffs. There are certain parts to old school hardcore that are just amazing - the ones that tell you, "Oh oh. Something heavy is coming up." This record is packed with them. The guitars have that specific crunch so loved by NY's heaver acts of the late 80s. The vocalist spares not a single vocal chord to give the listener an earful of lyrics, dealing with personal problems to social issues. Though produced and mixed by Dean Baltulonis of the Hope Conspiracy, I expected a fuller drum sound - kick-drums need to be felt. Ill Blood also features guest vocals by Floorpunch hero Mark Porter, and guest guitars by Madball's Matt Henderson, as well as Dean Baltulonis. One of them is probably responsible for the only metal on the record - the guitar solo in "All New Low". A 12 song album in under a half hour? Well, I'll just have to hit play again.

NYARLATHOTEP - Skillful Means CD-R (Housepig) A near hour of hardcore power electronics that seem built for the darkest of rituals. Nyarlathotep is actually one desert-dweller from the cacti-covered dunes of Arizona, John Luna, and though the heat brings up sunshine and days at the beach, JL and his noise project release cold and desolate tracks of distorted feedback, with powerful howls and growls. Loud, looped madness all inspired by the Lovecraft mythos of the sleeping Great Old Ones who will one day awaken to fill our lungs with salt water. Blast it and tear your ears new holes, or listen quietly as the white noise builds to create other pops, creeks and scratches in your head. Very limited (80 copies), so get a move on, and the next time someone mentions Merzbow... say 'old hack' and bring up new, up-n-comers like Nyarlathotep.

OBITUARY - Xecutioner's Return CD (Candlelight) Let me just say that Cause of Death is one of my favorite death metal albums of all time. Everything about Obituary in the early 90s was intense - the riffs were heavy, the drumming was brutal, and the vocals were shear torturous (for Tardy to produce, not for me to listen to). I really hated it when they tried to jump on the Limp Dicksick bandwagon and attempted to tailor their tunes for a more metal-rap sound. Well, they're back again, and while this new album is no Cause of Death, it is way better that what they ended on before the turn of the new millennium. Okay, for those that are unaware, here goes... Obituary is a Tampa, FL outfit which started in 1984 under the name Xecutioner (hence the spelling of the new album title). Throughout the 1990s Obituary held the title of fifth largest-selling death metal band, and released four stellar LPs (Slowly We Rot [1989], Cause of Death [1990], The End Complete [1992] and World Demise [1994] all on Roadrunner Records) and one stinker (Back from the Dead in 1997 and also on Roadrunner Records). In '97 they split as Allen West formed Six Feet Under and Trevor Peres formed Catastrophic. They regrouped in 2003, releasing a new album (Frozen in Time, still on Roadrunner Records) and a DVD (Frozen Alive on Metal Mind Productions) as well, and have now switched over to Candlelight for their newest outing (sans Allen West). While I still have a bigger heart for their earlier works, this record is nothing for me to turn your nose up at either. John Tardy still has torturous vocals, Donald Tardy plays drums like no other, and Trevor Peres still has killer guitar licks. Good to hear that older folks - like myself - still have the power and balls to fucking bring it on.

OBLIVION - Remixed CD (Oblivion) I love re-releases. Well, this is a re-release of sorts. Three demos and a live set from a late 80s, New Jersey thrash outfit most of you have never heard of (me neither). It opens with their last demo, 1990's Contents Under Pressure, and though having a Slayer-esque quality and recorded well, it is not their best material in my opinion. Where the disc starts to really take off is track 7 with their first demo, Why Did Johnny Kill?. Next is a demo they recorded later the same year as their first (1989), War Gives Me Peace of Mind, and though having one repeating track is my favorite material. The last two numbers were recorded live in '91 and show they must have been a fun band back in the day. The layout with old Jersey fliers of other bands they've played with was a fun read, as I knew no band other than Brutal Truth. Ah, Jersey thrash... wicked good.

OBSCURUS ADVOCAM - Verbia Daemonicus CD (Battle Kommand) Take every rule in the book of black metal and these French freaks break it, tearing out a shitload of pages, so it's put back on the shelf a tattered mess. Bad recording? Not here. Wimpy, drowned guitars in the background? Not here. No bass? Not here. Pitch black cover art with corpse painted naïfs? Not here. On the other hand there are a few items added for your listening pleasure, like bluesy guitar solos, and elements of straight-up rock-n-roll structures. Yeah, you still have what makes black metal bleak, yet powerful: blast beats, speed picking and vocals that leave the singer's throat blood encrusted. All together it makes this one of the more interesting black metal releases I've had in my hands since Nachtmystium's last album Instinct: Decay, and again it's on Battle Kommand Records, so these dark folks are really on to something. Obscurus Advocam began in 2003 in the French villa of Chilly-Mazarin by members of Glorior Belli, Temple of Baal and Wolfe, and soon released a five song demo, Fervour and Devotion, that was picked up by Swedish cassette-only label Satanic Propaganda Records. In '04 they picked up another guitarist and the trio began to focus on a new road for their tunes. The result is a spirit-crushing, forty-five minute behemoth of new, fresh and creative black metal that still holds true to older stalwarts such as Burzum and Judas Iscariot. Word has it that this disc may also see light via a vinyl version, which might leave many record collectors waiting to damn their souls until its release, but I wouldn't hold off on the purgatorial punishment. Once you wax-nerds get your 12", you can always pass the CD off to an unsuspecting Christian.

OCTAGON - Artisans of Cruelty CD (Autopsy Kitchen) Octagon is a two-man extreme metal project, which started in the late 1990s but hadn't released any material until now. I have no idea where they're from, because no matter where I searched, I found no contact info. Anyhow, I wrote 'extreme metal' because while there are elements of black and death metal throughout, Octagon also fiddle with doom, gothic metal, grind and even a touch of melody and some lullful moments. The guitar work, by also vocalist and bassist Mortigan, was what pulled me in (on tracks like "Black Leather Mask" and "Psychotic Erotic") - a sort of speed picking with a punk-rock edge, and some technical wizardry thrown in to impress. The lack of info (though lyrics are included) as well as the pirated graphics were a bit dull, but I enjoyed the running theme of sadomasochism throughout.

OCTAVIA SPERATI - Grace Submerged CD (Candlelight) From Bergen, Norway comes five ladies and one gent that mix up the many schools of metal to produce a tangle I'm happy to get caught up in. Forming in 2000, self-releasing a demo (Guilty) in 2002, following it in 2004 with a few unreleased promotional tracks (though "Lifelines of Depths" found its way onto a few compilations, as well as being made into a music video). Five years later (that's 2005 for those that can't count) they were picked up by Candlelight Records, who released their first prpoer album, Winter Enclosure. While many will lumpthem along Nightwish and The Gathering, there's a it more to Octavia Sperati on this release. "Moonlit" had elements of doom, and instances of ethereal hardcore the likes of Isis. The verse of "Going North" has a punky hook, though the choruses are solid power metal (complete with elegant piano), and there's even a straight-up hardcore breakdown that closes it off. Admittedly, I didn't care much for the ballads ("Don't Believe A Word" and "Dead End Poem"), but they were surrounded by such powerful tracks I forgave and forgot. "And Then the World Froze" brought to mind Disintegration-era The Cure - that is, if The Cure had played metal with crunching guitars on that album. "The Final Rest" had moments of speed-picking, and were then balanced by sludgier points. The vocals on the entire disc are sung, and never crack a scream, so there is a pop element to this release, but it works to the album's favor. I hadn't heard Winter Encloser, but this newest work has made me curious enough to check it out as well.

OF ANGELS AND GRAVEDIGGERS - s/t CD EP (Of Angels and Gravediggers) Poison the Who? Man I wish I lived closer to Tampa. Of Angels and Gravediggers' self-titled, self-released CD is a seven song, 45 minute beatdown on the eardrums that's almost as 1993 than 2003. Seemingly inspired by Tampa death metal, NY hardcore and the Cleveland holy terror sound. Massive riffs and breakdowns. Lots of double bass drums and down-picking. Deep growling vocals, screams, whispers. Lyrically punishing insanity and heavy metal hatred. Integrity meets Deicide. Bloodlet vs. Assück. "Once More" is a six minute meeting in a dark alley. "Peace Be" is killer metalcore, but the lyrics are what really made it for me there. "Yes This One" begins heavy and in the middle becomes almost playful, only to come back and bust you up good. "Slit Throat Speaks" knows how to stretch a chord. A vicious attack with almost one note. Here repetition is good. "In Fate's Hands" is the way to close out a record. Taking the longest song that's consistent with the rest of the release and almost the best track there. If this release doesn't get them notice, their live show should.

ONE WIN CHOICE - Never Suspend Disbelief CD (Jump Start) Do you like fast paced hardcore? Sing-a-longs? Catchy guitars? Well then, you may want to check out New Jersey's One Win Choice who serve up a new record of twelve tracks that clocks in at a little over half an hour. Hardcore it is, with a near-street punk flavor, but admittedly, there's a bit more here. 300 beats-per-minute verses, moshy breakdowns, and hooky choruses - it's all there for you... and then some. Like a heavier Lifetime, or a more pop-influenced Kid Dynamite, these five kids deliver a passion-filled core that will make a dancefloor go nuts. If this record isn't enough for you, check out their 2004 EP, All the King's Men (on Scorpion Records), or the 2005 split album with Heartfelt Discord (on Eternal Hope Records). I know I'm going to.

ONSLAUGHT - Killing Peace CD (Candlelight) Oh, I wish there were more bands like this! There's a word I use for music like Onslaught's tunes: 'Slayerific'. Fast, speed metal beats, crushing thrash guitars, smokin' git solos, tough and rough half-spoken voclas with moments of high-pitched banshee wailing... you know, kinda like Slayer. The lyrics are brutal, and are usually about religion, politics and war. How the fuck can you go wrong with lyrics like, 'Spitting blood in the face of God'? Like I said, tough and rough. Anyhow, this Bristol, England quintet got their shit going before a whole lot of you were even born (1985), and had a major label putting out their discs before the rest of you probably knew what heavy music was (starting with 1989's In Search of Sanity on London Records). When the big wave of metal crashed ashore with a thousand bad copies of Napalm Death and Deicide, they took their boards and went home. Luckily for true speed metal freaks they decided to make a comeback in 2005, and age has done them well... or has at least pissed them off more so. In the vein of Testament, Destruction, Whiplash and, yes, Slayer, this new Onslaught album will make you wish there was more space in your room to form a circle pit, while you pump one fist in the air, and flash the 'sign of the horns' with the other. The title track, "Pain" (track four) and "Twisted Jesus" (track seven) alone are gonna make listeners hurt themselves.

O PIONEERS!!! - Black Mambas CD (Team Science) A two piece postpunk band. Very rare. I get a bunch of two-man black metal projects, as well as duo crust-punk outfits all the time. I had not, until O Pioneers!!!, heard a band pull off a good mix of UK's postpunk jangle with a Gravity Records' school of hardcore. This Huston, TX twosome consists of only guitar / vocals (Eric Solomon) and drums (Jeff Johnson), but rock out, and with an honestly fun vibe. Handclaps, singalongs and song titles like "I Heard That Ashlee Simpson Record Is Pretty Killer" and "Autographs Are For Rockstars and Official Papers", should crack a smile on your face, not to mention get that foot tappin' along. If much of you are still left scratching your heads over my description, picture Hot Water Music taking acid and jamming 60s garage rock style. Yep, that should confuse things a little better.

ORTHODOX - Gran Poder CD (Southern Lord) Yeah, a lot of stuff that comes this way has my immediate attention, as well as favor, simply because it's from Spain. Now, don't let a bias for my homeland steer you from this review, especially if you love doom. First, history: forming in late 2004 in the city of Sevilla, of the southwestern region of Andalusia, this three piece are labeled a doom band, but they put so much more into their tunes. The music they play is a gloomy brand of Sleep-like riffing, and Sunn O))) amplifier worship. Part Earth or The Goslings, with equal part Corrupted or Grief. While I dig the feedback, drone and often jazz-like autoschediasm, the moments of pure rock-n-roll really hold this together. Plus, them guitar solos are choice. The vocals are mostly sung, though in a wonderfully weird wobbly fashion, but every once in a while a black metal shriek will spew the pagan lyrics with mad abandon. Gran Poder (translated as 'grand power') was originally released by Spanish label, Alone Record in 2006, and was distributed almost exclusively in Europe. Even, so it gained them a hell of a lot of good press, enough for notice around the world over. And now for the rest of the planet, it's re-released (with an extra cover track of Venom's "Genocide") by the noise-loving, doom-heads at Southern Lord. I'm so very curious to the new road they're beginning to travel on, as they're collaborating with Julian "World, Shut Your Mouth" Cope. I sure hope that doesn't decrease the heaviness, nor the noisiness.

OUTBREAK - Failure CD (Bridge Nine) Furious hardcore, hooky punk rhythms, anger-to-insanity vocals and some kick-ass metal guitar solos. This Maine mob of five's newest release (first being the self-released Eaten Alive EP and later the Bridge Nine backed, You Make Me Sick EP) has similar sounds to the New England school of 80s hardcore - try Poison Idea and Gang Green, but punkier at times. All delivered in sixteen tracks, rounding out to twenty minutes of snotty, 300 beat-per-minute drums, hyper-riff guitars and gnarly vocals. Love the layout, with it's high use of red, and Japanese tattoo art. The photos inside, as well as the music blasting from my speakers tell me that these kids know how to jump around and get a crowd going. Let's go, and get it goin' down here.

THE OUT_CIRCUIT - Pierce the Empire With A Sound CD (Lujo) What a dreamy record! First, some history. The Out_Circuit is more a collective than an actual band. It's basically a District of Columbia chap named Nathan Burke (ex-Frodus), who settled in Seattle, and on his newest work he's helped along by Thrice's Dustin Kensrue and Teppei Teranishi, Sean Ingram from Coalesce, Beauty Pill's Rachel Burke, Andy Gale of Haram and Matt Johnson of Roadside Monument. TOC's first release, Burn Your Script, Boys (in 2003 also on Lujo Records) was hailed as Mogwai meets Built to Spill. The newest LP is Gregor Samsa on some sweet ecstasy, or if Radiohead's testicles descended and played some real post-punk. Ten tracks clocking in at a near fifty minutes, and while the songs fluctuate in styles, they blend together so very well without the album getting disjointed. There are moments of screaming backed by fuzzy guitar or menacing keyboards, as well as hypnotic numbers filled with ambient soundscapes, quiet piano and lullful vocals. Pierce the Empire With A Sound is a pretty fresh escape into the many realms of indie-rock that will leave the listener hoping it never ends.

OVER IT - Silverstrand CD (Lobster) When these Virginians-gone-to-California pop punkers came by these parts, they didn't know what evils to expect from Churchill's. They made the mistake of lending their bass out to ex-Poison the Well, and at the time 32forty bassist. I cannot explain what possessed Mike, or what thoughts came into his alcohol filled brain, but it was a sweet scene. In the middle of the second to last song he flies off the stage - face first into the audience. What else would any person do when seeing someone with a large piece of wood coming at them, but get the hell out of the way? So, Mike proceeds to land face - or is that bass - first into the ground smashing this poor, touring bands instrument in two. All the Over It guys run over as Mike hands one of them what was a bass, and walks away as if nothing had happened. The crowd did a nice job of getting together about $100 for the shlub, but other than a killer story to tell, this town once again wrecked it for a small band out on the road. Ha, ha... that's Miami for you.