Cracked and Diseased with Eliza and The Strange

Sometimes it takes a lot of leg-work in this business to find the next underground sensation, and sometimes they just fall right into your lap. A lot of the bands that have made it on to NewRockNews43 have been the result of many hours searching for just the right band to next review. Eliza and The Strange, however, were the happiest of accidents that have turned into an obsessive listening binge for the last 72 hours that's almost kept me from any sleep at all. Trolling the random Facebook feeds that pop up in front of me daily, I was intrigued by a few words detailing a new "voodoo-rock" band from Nova Scotia. That intrigue has turned into an obsession and a new top-five band in my head.

Eliza and The Strange

Eliza and The Strange are a creepy voodoo-rock five-piece from Halifax, Nova Scotia, Canada that sound like darkness and exude a sexy deviance I can't help but find myself attracted to. Composed of Eliza White (lead vocals and organ), Alex MacAskill (guitar), Ian Bennett (guitar), Jake Seaward (bass), and Kenny Myers (drums), Eliza and The Strange strangle from their instruments a hair-raising groove that would find home in any Tim Burton or Johnny Depp film. At just over 30 minutes long, their self-titled debut release (which just came out this past Friday!) drips in sex, fury, dirt, and grit, and oozes from the speakers with the same kind of intoxicating rhythms that made songs like "Queer" and "Vixen" super-sized hits for Garbage.

Eliza and The Strange's self-titled debut album

One of the hardest things to do with this album is to find just the right songs to go into detail on, because there are simply too many good ones to choose from. "Lady of the Night" is bass-led by Seaward and showcases White's deceptively sexy vocals. The guitar riff and chords laid down by MacAskill are simple and catchy, and set against Myers' cymbal crashes, perfectly encapsulate the feeling of straight power behind White's breathy vocals (though Bennett is new to the group and does not play on the majority of the album, he does play on the album's final track, "They've Got Secrets").
Yet my favorite track form the minute I hear it is track number two, "She Ain't Pretty." From second one, MacAskill's guitar riffs are addictive, and as they disappear behind Seaward's basslines and Myers' dimming during the verses, the blast/disappear form that details the song's structure is a beautifully clear and brilliant tribute to the Pixies' loud-quiet-loud dynamic. The rhythms in the song are contagious, and at just over 2 minutes, "She Ain't Pretty" is a blitzkrieg assault on my senses, tearing me apart one minute and gone the next. White's vocals are sultry and seductive during the verses, but blast forward as the chorus comes, and mixed with her dirty organ notes, the gritty guitar chords and minimalist drumming, I'm reminded of a Mudhoney-meets-Garbage mashup. With a lead-single track like this, it's no wonder that Eliza and The Strange chose "She Ain't Pretty" as the song for their first music video. Shot in an eerie black and white and washed out purple, the music video for "She Ain't Pretty" is one mindfuck after another in the best of ways. Scenes of the band tearing it up live intermingle with shots of a girl dancing and walking through a cemetery. White and company revel in the dirt and grit that they pull from their instruments, and watching them play live is like watching a building engulfed in flames: almost too scary to watch, but so ethereal and transcendent that you can't look away. Beautifully scary and wonderfully creepy, "She Ain't Pretty" is a five-star track and smash single if there ever was one. Bringing together Dead Weather-style vocals and White Stripes-influenced fretwork, Eliza and The Strange make this song an instant classic. To add fuel to the already blazing fire, MacAskill brings the whole house of cards crashing down at the end, letting loose on a blistering guitar riff and solo that tops out chaos-driven drumming and bombshell-basslines. If you listen to only one track from this album, "She Ain't Pretty" has to be it.

To continue their voodoo-rock groove, Eliza and The Strange come back a few minutes later with "White Lies," a riff-driven song that builds on itself with effects and rhythm that make it unforgettable. Wet with sweat and grime, "White Lies" is everything that's great about rock 'n' roll and going to a small, hole-in-the-wall club to see an amazing band. I can feel myself being jostled and jilted between the other sweaty concert goers, and any song that can bring that to me as I sit writing at a computer has an innate intense power that makes it more than just a diamond in the rough. MacAskill's bouncy guitar rhythm is rough around the edges and helped along by Myers' simplistic yet decisive drumming. White's organ creeps onto the scene with muddy blues notes, and twinkles dimly in the night just over MacAskill's nimble fretwork. With distortion and feedback enough for ten guitars, MacAskill sets "White Lies" apart from the rest with a subtle conniption of attitude that speaks to the versatility and power behind the track. Yet "White Lies" also plays host to a brilliantly disguised rhythm change, and with the stop/start dynamic of the song and White's hypnotic vocals to sway to, I'm lost in a dark vortex of purpled-black.
"They've Got Secrets" is not only the last track on Eliza and The Strange's album, but it's also the longest. I love the slow, droning bassline, the laid-back drum beat and vocal set that reek of blues-rock heritage and attitude. The two minutes in White goes full-throttle on her organ as Seaward and Myers share energy on the rhythm section just below MacAskill's heavy riffs. Bennett, who makes his recording debut with the band on this track, is quick to keep up with MacAskill, injecting his own brand of adrenaline into the brittle skeleton of the song. The only way to describe this song is as darkness incarnate amped up to an epic level and laced with seductive hypnotism. The best way to close out the album, and certainly a track that leaves me wanting more, "They've Got Secrets" is a brash whirlwind of distorted guitars and blood-curdling wails.
The fact that this is the debut album says something to me about this band. Eliza and The Strange are full-throttle all the way through all 30 minutes of this recording, and with these ten songs under their belts, the hair on the back of my necks stands up at the thought of what else these guys could be capable of. The combination of minimalist rhythms and eerily seductive vocals is a winning idea, and on their self-titled debut, Eliza and The Strange take the idea to its most triumphant heights. The only thing that's strange about this band is that they don't already have a major following of thousands. No doubt that when people start listening to this album in addition to the music video, big things will start to happen for Eliza and The Strange. I can't wait to see what this band comes up with next, because I know in my bones it's going to be something reveling in voodoo-rock and unbelievably addictive.

Sounds Like: The White Stripes, The Dead Weather, Garbage, The Kills

Key Tracks from Eliza and The Strange: "She Ain't Pretty," "Crack," "White Lies," "Disease," "Lady of the Night," "They've Got Secrets"

Check out Eliza and The Strange more at their: Homepage, Facebook and Myspace  

Hold Tight: It's All in Your Head

There are rare times within the music world when journalists and fans can see a new talent on the fast track to worldwide attention. Yet when those realizations do hit, they come on with the power of a whirlwind hurricane. Those of us who have ours ears to the ground are sometimes lucky enough to see such a musical revolution take place, and with this new talent today, it's one of those very rare revolutions. In the same way that The Strokes broke the mold and took first the nation, and then the world, by storm, The Head too are gearing up for a takeover the likes of which we haven't seen in a good long while. 

The Head (from right): Jacob Morrell, Jack Shaw, Mike Shaw

Atlanta's newest three-piece pride, The Head, a power-trio comprising Jacob Morrell (lead guitar and backing vocals), and twin brothers Jack Shaw (lead vocals and drums) and Mike Shaw (vocals, bass and keys) are bursting onto the indie-rock scene with a flair and polish that gleam in the spotlight while still retaining their hard-rock heritage. With their first album Puckered and their subsequent EP Stockwood opening the doors, The Head's newest album, their sophomore recording Hold On, is turning all sorts of heads in the music industry, and things are just starting to heat up for these Atlanta rockers. Building off of tracks like "Miles Away" and "There Is an Ocean," songs whose rough-cuts graced their first album, The Head come back with ear-prickling tracks like "Separate Bodies, "I'm Fine with It," "Sneeze," and "Top of the World" to fill the digital bites of their second album with power, melody, and toe-tapping, catchy songwriting prowess.
One of the things I like best about the track "Separate Bodies" is the intro: simple, melodic and catchy, everything that should go into a song with crossover appeal. The intro also gives me a clue as to the influences hidden behind the backdrop: Jacob Morrell's guitar playing is immediately reminiscent of R.E.M. and Sonic Youth. Using palm-muted arpeggios to bring the melody to Jack Shaw's first snare beats, Morrell makes sure that "Separate Bodies" starts right, and just below the palm-mutes, Mike Shaw's basslines add a whole new level of depth to an already talent-filled track. As The Head build forth into the first verse and subsequent chorus, one thing is clear as can be: these guys draw from a multitude of influences to create a sound accessible not only to the hardcore alternative fan, but to the fans of power-pop, indie-rock, and prep-rock as well. As the guitar chords and arpeggios progress into full flares of sonic rainbows, The Head's rhythm section of the Shaw brothers mixes in a little of Vampire Weekend's prep-rock with the R.E.M. and Beatles-influenced melodies cranking out of Morrell's guitar. With a bridge and winding-down that hold melody tightly wrapped in rhythmic heartbeats, The Head's sound is truly that of an Americanized Oasis on Strokes steroids with Beatles polish. A clear choice for the lead-off single from Hold On, "Separate Bodies" is an immediate triumph for the Atlanta trio (and the music video's pretty sick too, see for yourself).   

As the indie-rock boys keep on rolling, "I'm Fine with It" bleeds through the speakers like a Posies-influenced aloe for anything wrong with the world. Perhaps a little lighter and brighter than The Posies (after all "Dream All Day" and anything else from Frosting on the Beater had a bit of a dark edge), The Head shine brightly on "I'm Fine with It," reveling in indie-rocking guitar notes running through forests of cymbal-cracks and bass-bumps. Jack Shaw's vocals are mesmerizing and and melodic, and from behind his kit, one would never know that he's not front and center. Proving that drummers as much as anyone can be lead vocalists, he's joined by brother Mike Shaw, whose vocal talents are no less admirable. With the Shaw brothers taking care of the lead vocals and rhythm section, guitarist Jacob Morrell fills the air with sonic butterflies of the brightest tint, as his "Ah, ah, ah's" lift up the Shaw twins' vocals to even higher plains. Most certainly one of the songs I'm sad to hear end (and more than happy to play again on "Repeat"), "I'm Fine with It" is a homerun for The Head, plain and simple.
If "Separate Bodies" and "I'm Fine with It" aren't enough to sate your indie and pop-rock pleasure, then tracks like "Stockwood," "Sneeze," and "Top of the World" will have you happier than a pyromaniac in a fireworks shop. "Sneeze" brings a Strokes-esque rhythm from the Shaw boys, and married with Morrell's Vampire Weekend-influenced guitar parts, there's nothing more I could ask for. "Stockwood" is perhaps one of the more interesting track on the album: showcasing Mike Shaw's keyboard talents, the track has a decidedly '60s sound, courtesy of Morrell's guitar chords and notes. And right on top sits (literally) Jack Shaw, the drummer with the voice of a born lead singer. Boasting lead vocals from both brothers and fretwork from Morrell, "Stockwood" could quite possibly be the undiscovered jewel on the album. Yet with "Top of the World" providing even more incredible rhythm and melody to the album, I find myself beginning to wonder if there's anything The Head can't handle. I'm inclined to answer "no."
The next level in an intensely growing catalog, Hold On takes everything The Head learned on Puckered and Stockwood and amplifies it 10,000 times. If this is any indication of what these guys are capable of, then the news is out and the future is clear: The Head have the ability to go as far as groups like Oasis and The Strokes did before them. The Shaw brothers and friend Morrell exhibit an astonishing amount of talent for a group so young, yet age is never a factor when true artistic creativity is at play. The album title says it all: hold on, and hold tight, because with The Head behind the wheel, things will never be the same.  
   
Sounds Like: R.E.M., The Beatles, The Posies, Vampire Weekend, Oasis, The Strokes

Key Tracks from Hold On: "Separate Bodies," "I'm Fine with It," "Stockwood," "Sneeze," "Top of the World"

Check out The Head more at: http://theheadmusic.com/ and http://www.facebook.com/theheadrocks  

Bangin' on the Bass Drum of Death

In an age where the quality of a band is so many times measured by the number of heads rounding out its lineup, there are few groups that find the strength to soldier on in the true rock fashion of the DIY ethic. Gone are the days of the revered power-trios that blasted out tunes that sounded like full-scale warfare only to shock us to our cores when we realized it was only two or three guys. The reign of bands like Rush and Cream ended long ago, and although they sit forever atop the hill of everything that classic rock and heavy metal is based on, there have only been temporary stop-gaps (like those with The White Stripes and The Kills) where the smaller rock unit has taken the power back.
Yet new heroes are rising every day, and among these are the duo-rockers of Bass Drum of Death, an alternative/grunge machine from the Deep South that's dirtying up the clean and polished pop of the current decade. A project that started as a solo outlet for lead vocalist/guitarist John Barrett, Bass Drum soon started gaining steam and it was time to find a more permanent seat on the drums. Enter Colin Sneed, the new gut-buster behind the kit letting loose in blistering roughness as Barrett throws back riff after riff like whiskey shots on his guitar. A two-man team set to take over the alternative underground, Bass Drum of Death are more than what they seem upon first glance; the group moves uncomfortably away from the Black Keys comparison.
And I'm inclined to agree. The two-man comparison aside, Bass Drum's serrated alternative/grunge sound does little to stir a thought of the Black Keys' blues-punk notes. In fact, the more I listen to them, I think more of very early White Stripes and the gritty grunge of Green River and Mudhoney. Finding a small, albeit grungy, abode in late 80s' grunge mixed with early 90s' garage-punk, Bass Drum carve out a niche all their own among the new alternative powers taking flight.     
Songs like "Heart Attack Kid" and "Get Found" from their most recent effort GB City solidify just what these grunge rockers are about. The riff on "Heart Attack Kid" is simple, repetitive, and hypnotic in the best ways. As Barrett's voice bleeds through the speakers backed by Sneed's head pounding drums, Bass Drum prove themselves a force to be reckoned with. Vocally, it sounds to me as if Barrett is using a butterfly-mic (like Jack White has done so many times), but maybe it's just me. Whatever it is, by the time he reaches the splintering solo, it sound like his guitar is screaming for release, and man does he give it. The attitude that Barrett and Sneed let loose on "Heart Attack Kid" make it one of the must-hear tracks from the album.
Yet even among the grunged-out tuneful tracks of "Heart Attack Kid" and the equally riveting "Young Pros" (a song that serves only to further Bass Drum's party atmosphere, though only in the best way) sits "Get Found," a track that sticks out like a black thorn from a blood-red rose. Clearly I'm not the only one with this opinion, though, as Bass Drum opted to make "Get Found" the center track for their first music video, and performed the song live on The Daily Habit. What strikes me watching the live performance are the movements of the two rockers up on stage: Sneed goes at his kit with the look of controlled fury on his face, and Barrett himself seems just to hide everything, literally. Hair hanging down like a new-age Kurt Cobain, all of my attention is drawn to Barrett's right hand, shredding away on his light blue axe. Truly Cobain would have found Bass Drum to his liking, hovering mesmerizingly between garage-rock sneer and pop-song dynamics.
But it's the power that emanates from Barrett and Sneed that truly make up their sound. I've always been of the opinion that I don't give a fuck how many people make up the band so long as the music rocks hard. Here, Bass Drum of Death have succeeded in letting loose a serrated album with teeth enough to rip you apart and still leave you wanting more. Their music may be muddy and dirty, gritty and grunged-out, but Bass Drum know what their doing, and their rewriting all the rules on what alternative-rock and grunge sound like with every performance. Keep your ears peeled for these guys, and if they start to bleed, then you know something awesomely sick is just over the horizon.

Sounds Like: The White Stripes, Middle Class Rut, Green River, Mudhoney

Key Tracks from GB City: "Get Found," "Heart Attack Kid," "Young Pros"

Check out Bass Drum of Death more at: http://www.myspace.com/johnbarrettmusic and http://www.facebook.com/friends.tv?sk=wall#!/pages/BASS-DRUM-OF-DEATH/295269142164

My Blood Runs Thicker with 51/50s

I've often thought that we live in a new era of music; an era in which genres and sub-genres are getting blended and reblended with the results of sound that we've never heard before. As much as I love the music of the decades before me, and could have definitely seen myself growing up in 1986 or as a teen in 1992, I realize that I would then have to sacrifice something that I as a music fan have come to see as my own: namely the era in music which has seen the rise of new genres and the reemergence of classics with new flavors.
This is no more apparent than with 51/50s, a garage-rock/alternative quartet from the banks of the Thames in London, England. A subtle mix of White Stripes-esque garage-rock sneer with a melodic polish reminiscent of '90s Britpop, 51/50s blend seamlessly an amalgamation of genres that I never thought could work together in a million years. Yet they make it work, and do so with style.
When members Rikki Lee (lead vocals), Ollie Cook (guitar), Jason Gale (bass), and Billy Baker (drums) first got together, I don't think that they in any way could have foreseen what kind of sound would be coming out of their speakers once they plugged in. But that's how the best sounds come to life. Rarely do artists know exactly how it's going to sound, or how they want it, and that's what makes for the most interesting albums and songs. Some lineups are poison to the music they create: prone to infighting and clashes in artistic direction that eventually lead to the demise of a clearly talented group and thoughts of what might have been. I'm no band therapist, but I don't see any signs of that here. Something about their music shows that 51/50s know exactly what they have going, and know how to keep it coming.
With the release of their album Dangerous State of Mind, 51/50s are definitely poised for a garage-rock takeover of the unsuspecting underground masses. The energy that flows from songs like "Heartbleeder" and "Blood Runs Thicker" isn't something you can fake. You either have it or you don't, and these guys really have it. A mix of garage-rock smirk and alternative swagger, "Heartbleeder" showcases 51/50s' fantastic instrumental talents as well as their cleverly written lyrics. With a cymbal-led intro by Baker and a vocal slide-in by Lee, I immediately see influences from JET and The Vines. Gale is on his mark brilliantly, and his bass lines pulse with the energy and attitude befitting a true punk-rocker. Halfway in between classic bass influences like Jack Bruce and Geezer Butler and more modern ones like Flea and Greg K, Gale's bass fills in breaks of the song that would otherwise be lacking without him. Yet his bass lines, funky and sexy as they are, would seem empty without Cook's guitar work. Relying heavily on a great amount of distortion with stop/start chords and catchy melodic hooks, Cook makes "Heartbleeder" a must-hear track on the album.
One of the songs that really impresses me after "Heartbleeder" is "Lies," a poppy, almost theatrical track where Lee shows that he's got something to say. I can only imagine that this would be a great song to hear live, and in my mind I see Lee bounding over the stage to the beat set down by Gale and Baker behind him as Cook's guitar fills in the rhythm and musicality behind him. This song must be a crowd-pleaser, and if the melody and "la, la, la, la" chorus weren't enough to get those fans up and jumping with the beat, then Cook's guitar solo would be. "Lies" is definitely a party song, and any party going on and these guys playing out back is just destined to be legendary. Blending raw energy with party-starter attitude, 51/50s take it to the next level, and I have no choice by to ride shotgun on Baker's pounding drums and Gale's head-bopping bass. If there is anything wrong with this track, I can't find it, and if there is, it doesn't matter anyway: there are just too many things right with this song for it to be brought down by anything. Brilliant.
The party continues with "The Great Pretender." I'm having a hard time finding words just to describe this track. It's so melodic and guitar heavy that I don't know if it falls into alternative-rock or just a category of its own. Cook's guitar is a bit heavier here, but with riffs and chords that you can't help but hum along to. Hell-bent on leaving no fan behind, Lee's vocals pack a punch, leaving your head spinning as Gale and Baker drill into your mind with a rhythmic set that moves the song along at a break-neck speed. Fast enough to keep you guessing, but not too fast to leave you behind, "The Great Pretender" seems to be the epitome of great British rock of the modern age, boasting commendable guitar work by Cook and Gale and drumming that lends just the right of kick to the back-beat. And with Lee as frontman and lead vocalist, the chorus here is something I won't forget for a very very long time, if ever. If every track on Dangerous State of Mind is like this one, I see no stopping any time in 51/50s' future.
I'm so flustered by the catchy and hard-rock nature of their sound that I can't find anymore words to write about 51/50s. Their songs are top-notch, their melodies and rhythms tight-knit, and their hedonism stylistic in its execution. These are the guys that every new band will want to model themselves after, and the one that no one will ever get close to. Like I always say, the mark of a truly great artist is what sets them apart from others, and here 51/50s have set themselves so far apart I wonder if they're even in the same universe anymore. But I don't care; their music is amazing and their collective attitude contagious, and that's something I don't see changing anytime soon. I love it.

Sounds Like: JET, Kaiser Chiefs, Oasis, The Vines

Key Tracks from Dangerous State of Mind: "Heartbleeder," "Lies," "The Great Pretender," "Blood Runs Thicker"

Check out 51/50s more at: http://5150smusic.com/, http://www.myspace.com/5150smusic and http://www.facebook.com/5150s

Feelin' Cheap and Deadly with The Biters

Hey all. It's been a crazy week: my brother's birthday, a graduation party for some close friends, band practice, and other assorted stuff that would just bore you. Negotiations are moving ahead with Platform One: we're still trying to figure out the best way to help each other, but I'm sure whatever arrangement we come to, it'll be good for everyone.

Anyway, like I say every week, enough of this stuff that you guys don't really come here for: let's get on to it and let me unveil my new, awesome discovery. Today that unveiling is in honor of The Biters, a garage-rock foursome right out of here in Atlanta. I first came across these guys a couple months ago when they were featured on Comcast's Bands on Demand for local bands right here in the ATL. I thought they were great then, but as with so much music, it took a few weeks for them to really sink in, and I dare say now they have. In fact, I've been listening to these guys all week long, and with melodies and sing-along lyrics like the ones that populate all their songs, these guys are most certainly poised for an underground takeover the likes of which we haven't seen the garage-rock explosion of the early 2000's with bands like The Strokes, The White Stripes and JET. 

Composed in brilliant simplicity of Tuk (lead vocals and guitar), Matt Gabs (guitar and vocals), Travis (bass and vocals), and Joey (drums and percussion), The Biters deliver a blistering punch through the speakers that I haven't felt since the first time I listened to "Ride" and "Get Free" by The Vines. These guys know their instruments back and forth, up and down, and all the freakin' way around: there's no filler track anywhere on their playlist, and every song you hear, you walk away air-guitaring to until your arms are sore.

Case in point: "Hang Around." A classic garage-punk track that just drills through my ears, tearing up every concept I had of garage-rock along the way, "Hang Around" is clearly the choice lead-off single for The Biters' self-titled debut EP, and that's a choice I whole-heartedly support. Tuk's and Gabs' guitar licks are brilliant Vines' style: serrated, melodic, and hardcore until the end. The ear-splitting solo that's followed by a head-banging bridge only serves to further the "hard-rock" grit of this song. Travis's bass, meanwhile, hits me in the stomach again and again, knocking whatever air was left in my lungs out without a break. I like a bass-line that will absolutely destroy and break my bones, and with it tied to a gut-busting set of drum fills by Joey, "Hang Around" boasts all the choice aspects of a song that could easily stay on the charts for a year, if not more. What pushes it over the top, though? Tuk's vocals, backed by Gabs' and Travis's, scream Vines and White Stripes influence, peppered with The Strokes and JET. I fucking love it, and at a crisp, clear 3:00 long, "Hang Around" is the "no frickin' duh" record label choice for any promotional use. "Hang Around" is simply an incredible song that's a complete experience in and of itself. 

Track two is "So Cheap, So Deadly," and with a title like that I'm already stoked to hear what the actual music can deliver. I'm not disappointed at all: reveling in a driving bass-line augmented by classic rock drums and a rhythm taken right of the '60's rock handbook, "So Cheap, So Deadly" sounds as crisp as "You Really Got Me" did when I first heard it years ago. With a vocal style and guitar licks that throwback to the Davies brothers and classic greats like The Kinks and The Who, The Biters hit gold again with this track. The guitar is brain-splitting, and pierces to crucify any sort of misgiving I might have had about good old garage-rock being dead and buried: it's not even close, and with groups like The Biters carrying the torch, it won't be any time soon. There's nothing left to say about this track other than it's simple audio bliss, and to listen to it would be to get your recommended daily dose of rock. A brilliant accomplishment and a seamless triumph: love it.

The last song I'll let myself reveal here (because let's face it, there's no way I can even hope to do these guys justice with just the words I have here, but I'll try) is "Dreamer." At first, as the waves of sound bleed out and into my room, I'm at a loss for what to write: there are no words for this one, but I'll do my best. This feels like what my dad tells me the summer of '68 felt like, everything I could possibly imagine: a melodic, sing-along chorus with lyrics that float you away and a message that makes you happy to live and even happier to rock. Tuk's vocals are raw and meaningful, and his guitar dances fantastically with Gabs' to produce a technicolor vision of rock. Travis's bass lies just on top of Joey's kicking drums to push me full-throttle into oblivion, and when Tuk and Gabs get to the guitar solo, I'm reminded of the way I felt when I heard The Beatles and Cream for the first time: pure audio utopia, and one I never want to stop.

It should seem a superfluous statement by now to say that these guys are amazing: that doesn't even begin to cover it. Bridging the small expanse between The Kinks and The Who, and The Vines and JET, The Biters are fanning the flames of the garage-rock revolution again. It isn't going to be long before these guys get their due, and when they do, their impact will be the same as when The Strokes and The White Stripes burst onto the scene. If you like anything classic rock, or anything garage-punk, it's like this group was custom tailored for you, and I don't see any way you could possibly be disappointed. The Biters' stuff makes me a dreamer again, and reminds me why I fell in love with rock in the first place, and if you ask me, that's the best thing a band could ever hope to do. Absolutely freakin' amazing. 

Sounds Like: The Kinks, JET, The Strokes, The Vines, The Who

Key Tracks from The Biters: "Hang Around," "Dreamer," "So Cheap, So Deadly"

Check out The Biters more at: http://wearethebiters.com/ and http://www.myspace.com/thebiters  

Haunted by Phantom Ratio

It's been just about a week since my last post went up, and as I'm trying to get back into an easy routine for you guys, I decided today would be a good day to show you something new. In fact, new is probably the wrong word altogether: these guys are breeding a sound so old and classic that's it's taken on new life in our day and age. I was too young to truly appreciate the greats of punk-rock in their heyday: Sex Pistols, Ramones, Black Flag, Fugazi, The Germs; these were all groups I missed in their prime, though I love listening to them now. And as I was getting heavily into Nirvana and Soundgarden a couple years ago, I came across the name of a group as I was reading Kurt Cobain's journals: Wipers. I checked them out and immediately loved their style of classic punk-rock and their no-frills approach to instrumentation.

Now, just a week ago, I get a Facebook message from one Brad Davidson, a former member of Wipers who played with them for many years. I was psyched to say the least, and any skepticism I might have originally had was blown away after Davidson asked me to take a short listen to his new band, Phantom Ratio. These guys are as classic punk/sludge-rock as you can get, and there's no doubt in my mind that they're the brainchild of a former Wiper and friends. It's almost as if the Wipers and Melvins got together and had a child: a sick, twisted, demented monster of a kid that loved to play loud, fast, and hard. 

Straight out of San Diego, California, and composed of former Wiper Brad Davidson (bass and vocals), E. Raymond S. (guitar) and Jimi J. (drums), Phantom Ratio just drips from the speakers like ooze from a broken pipeline. The first track I listen to is "Secret Invention," and what a fucking wild ride it is. Jimi J. counts off and clocks in as Raymond S. takes off on a riff that is in every way something I'd expect from Eric Clapton. The brilliance already in this group's cohesive sound is that they are able to marry blues-rock riffs with grunge and punk rhythms. Davidson's vocals are gutteral yet oh so clear, the Mudhoney words of a new generational grunge-rock band. The bass lines are serrated and heavy-hitting, and the drums blast your guts apart as the sharpened guitar riffs cut into you with their demonic feedback, clipping you to tiny little pieces. This song is pure, straight-forward punk rock. This isn't for the weak-hearted. But that doesn't apply to me, and I fucking love it.

Track two's "Screw Your Face Up" is no cleaner than its predecessor, and for that I toast the gods of rock. The feedback, the reverb, and the simple yet powerful drumbeat reminds me of Melvins' "Eye Flies," and already I love it. If you guys are looking for pure, polished pop melody and catchy hooks, look elsewhere, this song isn't for you. But if you're looking for something powerful, hedonistic, and delirious with teenage alienation and disgust, then this track will definitely screw your face up. This is what they play during a montage of slides showing how fucked up the world is, and how apathetic we really are. That's what it means to me anyway. Great rhythm, pumping bass-lines, guitar notes that resonate with you, and vocals that tear you from your apathy, that's what this song boasts, and if you ask me, that's a hell of a lot more than most nowadays. 

I could go on and on. "Gravity" was a frickin' masquerade of blood and guts behind two guitars and a drum kit, but the one I really love is "God Told Me To." A total "fuck you" to everything organized religion stands for (again to me at least), "God Told Me To" is just a total full-throttle forward into the madness of punk rock. Davidson's vocals are grated and gritty, his bass-lines groundbreaking, as Jimi J.'s drums push and pull you in a virtual mosh pit of melody and rhythm. Raymond S., meanwhile, busies himself with shredding his guitar to bits, and by the way the notes are coming out of the speakers, his fingers must be smoking because those riffs are just blasting through my head faster than I could even imagine. The hooks are clear, and as is so rare with a hardcore punk song, this is one that I can hum and air-guitar even after it's done. Brilliant, I fucking love it. 

These guys have so few plays on their Myspace that I don't even think they break 100 plays with all their songs together. That, my friends, is an F-ed up tragedy: these guys are frickin' incredible, and I can only imagine how insane their live shows must be. Waving the banner of everything that the underground is all about, Phantom Ratio are true punks in a modern world where they have become an almost extinct breed. Maybe that's too philosophical, I don't know. I do know one thing: these guys fucking rock and if you don't believe me go listen for yourselves. Punk-rock is alive and well. Long live DIY.

Sounds Like: Mudhoney, Melvins, Wipers, Green River

Key Tracks: "Secret Invention," "Screw Your Face Up," "God Told Me To," "Gravity," "The Growth"

Check out Phantom Ratio more at: http://www.myspace.com/phantomratio and http://www.facebook.com/pages/PHANTOM-RATIO/118059694883750?ref=search&sid=1125090129.3064011380..1&v=wall  

At the Perfect Plex

Hey all. It's been a couple weeks since I posted anything new. I do apologize for that, but a break was sorely needed, and I didn't want to burn myself out. After all, neither the artists nor you guys would benefit from boring and stale articles.

But I think it's safe to say that break time is over. I have for you today a fresh new band which mixes the stripped down chords of the Ramones with the folk-punk stylings of the Violent Femmes to produces a truly fantastic sound that you can sink your teeth into. Out of Cuba, New York, Perfect Plex is a rock trio consisting of Brady Doyle (vocals and guitar), Kip Doyle (bass and vocals), and Erik Freeman (drums). Though many groups have trouble making the power trio work (for lack of creative direction, or honestly for lack of pop sensibility), Perfect Plex proves here that three heads are definitely better than one, or more. Their 2009 demo consists of three tracks, and each one is a fresh smack in the face that redefines what garage rock can be next to punk and pop. 

Track one is "Salesman," a post-hardcore tune that blends Violent Femmes'-like pop tunes with Vines'-influenced guitar riffs and drumming techniques. It seems that the whole track is consumed by Freeman's drumming, as his Keith Moon style only brings the song to higher levels. It's intense, it's chaotic, and it's something that sets a brilliant stage for the Doyles' hardcorse-garage vocals. Brady Dolye's guitar riffs harken back to The Strokes and The White Stripes, and Kip Dolye's bass breathes with garage-rock intensity and punk grit. Both the Dolye's contribute hardcore, almost slurred vocals to the song, and it seems to move from garage-rock-punk to grunge-punk. This song is incredibly difficult to classify, but maybe that's the beauty in it. It's fresh, it's gritty, and it hits below the belt in a way only a few songs dare to do.

Next is "On a Horse." The beginning of this song reminds me so much of something Vampire Weekend might do. But don't worry, if you're really not into VW (and they are an acquired taste), then rest assured that Perfect Plex moves quickly away from any comparison, and into their own sphere of influence. Freeman's drums are start/stop, and among pounding bass lines from Kip Doyle, bring the song to new rhythmic highs. It's a song with a rhythm that could hold any listener, and what only drives it higher is Brady Doyle's guitar. With riffs that bleed indie influence and punk savy, Brady and Kip polish, or rather tarnish, off the track with indie-punk vocals. Almost unidentifiable through the melodic mayhem of the instrumentation, the Doyles' vocals contribute to the song something special, and it sounds like nothing else.

The last track on the demo is "At Midnight." I think this one is my favorite, and the more I listen to it, the more I think that with more certainty. Starting on a blistering bass line layed down by Kip Doyle, Freeman and Brady Doyle crash in together, and already the song is at 110 mph with no end in sight. Kip's bass keeps pounding my ear drums as Freeman graces me with cymbal crash and high-hat rhythms. Bringing it all to a head is Brady Doyle's guitar, churning out crushing chords that grind against my bones and skull. The vocals here, too, like on the two previous tracks, are hardcore-punk, and only serve to further the intensity of the song. A truly, truly fresh song on a brilliant demo, this is definitely one to listen to if you're looking for something new and gritty.

Sounds Like: Violent Femmes, The Vines, The Strokes, Pixies

Key Tracks from 2009 Demo: "At Midnight," ""Salesman," "On a Horse"

Check out Perfect Plex more at: http://www.myspace.com/concordcuba and http://www.unsigned.com/perfectplex    

At 35,000 Feet with Aviators

It's been one crazy weekend, and I desperately needed a group that could dull a headache while at the same time rocking hard. I found such a group in the Aviators, an alternative-rock group out of Fenton, Michigan, USA. With their progressive sound and clear hard-rock influences, Aviators will take you off on a psychedelic journey high above the clouds before dropping you into a sea of melody and rhythm.

Composed of Dylan (vocals), Ethan (guitar), Matt (keyboards), Josh (bass), and Danny (drums), Aviators' versatile sound approaches levels of space-rock, while at the same time keeping us on the ground with good, old-fashioned hard-rock and alternative. Though I absolutely loved their two tracks "White Symphony" and "Ignition" from their album We're Not Lost, what I have to ramble on about tonight is their EP, the Desert Flower Demo. With influences that span the spectrum from The Doors to Zeppelin, and Cream, to Hendrix, the Desert Flower Demo is a refreshing take on what alternative rock can be that I've been craving for quite a while. 

The title track of the album is incredible to say the least. Right off the bat I hear Doors and Pink Floyd influences mixed with Zeppelin riffs and even Radiohead-style vocals. The way Dylan composes his vocals and lets them fall over Ethan's Hendrix-like guitar riff can only remind me of Jim Morrison. As Danny builds in on the drums, favoring the cymbals in an eerily Pixies fashion, Matt's keys scream Ray Manzarek, and Josh's bass lines are tight and strong. But Aviators don't fall into a jam-band style in this one. Instead, they keep it on a Pink Floyd level, making sure every riff, every keystroke, is precisely where it should be, weaving them all together to create a tapestry of sound that hasn't been heard since the likes of "The End" and "Stairway to Heaven." Yet this song never tires, and like a Metallica masterpiece, I don't want to speed it up or rewind; everything works, and as a whole, the song is tight and powerful. I love it. 

The second track I listen to is absolutely one of my favorites. "Z Chord" is a complete departure from the Doors-esque sound of "Desert Flower." Instead, on this one Aviators opt for a more alternative approach, creating a song that makes me think more of The White Stripes and Smashing Pumpkins than Pink Floyd and Led Zeppelin. Yet other aspects are out of place here. Matt's keyboards are clearly Iron Butterfly-inspired, and I love it. The keys give the track an "In-A-Gadda-Da-Vida" feel, while Josh's bass lines could easily be confused with those of Krist Novaselic from Nirvana. Then Ethan shreds in on guitar, and my face is so melted I can't see out my eye sockets. Fantastic. Above it all, Dylan's vocals remind me of Jack White's, and Danny's drumming has Keith Moon aspect to it. All around, this track is totally different from the first track, and is all the better for it. Aviators have clearly cemented the fact that they can be part of any genre, and that they're not going to be pigeon-holed. 

The last song I listen to from the Desert Flower Demo is "Hawkshaw," a track that continues Aviators' alternative stylings while at the same time crossing over into new progressive-rock territory. Here, Matt has unplugged his keyboards and graces us with a beautiful piano piece as Dylan's vocals are deeper, more stable, and clearly heart felt. Then Danny crashes in, and among pounding bass notes from Josh just above Danny's base drum, Ethan's guitar riff cries Cream influence, and coupled with Matt's piano prowess, combines to make this a must-hear track. Already a five-out-of-five track, "Hawkshaw" continues with a building rhythm, and vocals that exhibit Dylan's influences from blues-rock and alternative-rock. Amid a sick guitar solo from Ethan, the song begins to trail out, and this is easily a hit single for college radio. Before long these guys will be a household name the same as other alternative groups like Dinosaur Jr. and The Posies. Brilliant. 

Sounds Like: The Doors, Pink Floyd, Cream, Pixies, Dinosaur Jr. Radiohead

Key Tracks from Desert Flower Demo: "Desert Flower," "Z Chord," "Hawkshaw," "Ballad of a Summer Day"

Check out Aviators more at: http://www.myspace.com/aviatorsthin, http://www.unsigned.com/aviators and http://www.purevolume.com/aviatorsthin      

The Road to Bremen

Hey everyone. I know it's been almost a couple of weeks since I posted about a new artist, but with college applications due so soon, and the holidays, plus getting sick for a few days, I was just swamped with stuff. Luckily though, I found a group last night to help sooth my over-worked mind, and I've been listening to them all day. So, without any furthers digressions, I present to you Road to Bremen.

An alternative-rock/pop-punk band out of Los Angeles, California, Road to Bremen combine sharp-edged alternative-rock rhythms with pop-punk-inspired vocals and melodies. Composed of members Darren Massey (lead vocals), Nick Alley (lead guitar, piano, and vocals), Danny Bell (bass), and Johnny Ashkar (drums and percussion), Road to Bremen's sound showers listeners with a rainbow of influences, from AC/DC and My Chemical Romance to The Strokes and The White Stripes (at least by my opinion). 

I was so floored by this group's debut EP, I couldn't think of any reason in the world why these guys aren't playing shows on Warped Tour, or headlining the pop-punk or alternative circuits with Sum 41 and MCR. Though RTB's EP Foreword starts off with "Oxygen," however, which is in itself a kick-ass track, I'm pushed over the limit with their next song, "Hands Down," the first track that begs to be described here, in luscious detail. Biting the pop-punk heels of "Oxygen," "Hands Down" begins on a slick guitar riff laid down by Alley, and as Ashkar counts in on the drums and Bell pumps us full of anticipation with a building tempo, Massey's Queen-style vocals bring the house down and burn the dance floor up, and this song is already my new favorite song of the week. A song that would be at home on both a rockin' car stereo or a DJ's jam amp, "Hands Down" delivers a punch of raw-edged rock with a nice lace of pop-punk vocals and melody rounding it off. As all four members build towards the conclusion, the floor suddenly drops out, and this song is fucking incredible.

Track three is "Paper Walls," another MCR-esque song that makes phenomenal use of Alley's key prowess, as Ashkar descends into a jazzy drumbeat, but picks up the pace as Bell chimes in with a John Entwhistle-like bass line. Meanwhile, Massey busies himself with combining the vocal styles of Ryan Key with the musical ferocity of My Chemical Romance, and this track is versatile enough to play well next to Kill Hannah, or sit anywhere on The Black Parade. With a bursting chorus that makes use of Bell's blasting bass notes and Ashkar's drumbeats, situated next to Alley's quirky keys and powerful guitar riffs, and Massey's smooth-as-steel vocals, "Paper Walls" is definitely one of the must-hear tracks on the EP.

Though the track "Bitch," is also a fun song, the last song that really sends shivers up my spine is "The Vagrant," a piano-guitar riff-driven song which again melds Queen-style harmonies with MCR theatricality and AC/DC guitars in an unusual, but flattering and interesting fashion. The lyrics are clever as hell, and the melody is catchy to the point that I'll be humming it all night through dinner and as I go to sleep tonight. I know it's been a couple of weeks since I had a group for you guys, but I'm telling you, these guys are well worth the wait. Catchy, clever, and with a sick sense of style that throws back to MCR's theatricality, Road to Bremen is sure to take the alternative/pop-punk circuit by storm. But just because these guys share a few characteristics with some other bands, don't even think of pigeon-holing them in any category. If RTB have proven anything, it's that they're versatile enough to go in any direction they want, and rock at it. I'm already getting money to reserve for Warped Tour next year, because with a sick EP like this, there's no way anyone in their right mind would pass these guys up. 

Sounds Like: Queen, My Chemical Romance, The White Stripes, AC/DC, The Beach Boys

Key Tracks from Foreword: "Hands Down," "Paper Walls," "The Vagrant," "Oxygen"

Check out Road to Bremen more at: http://www.myspace.com/roadtobremen and http://www.unsigned.com/roadtobremen  

And We're Mod Amish

I found these guys today while just typing in random words to Google and seeing who came up with a Myspace account. Luckily though, I was rewarded with the discovery of these guys. I guess sometimes things just happen like that, and you just get lucky for no reason at all other than taking a swing and seeing what you hit.

An alternative/indie-rock band out of San Diego, California, Mod Amish create an all-new sound with their traditional four-man lineup. Composed of Shannon Jones (vocals and guitar), Mike Drake (guitars), Gerry Matthews (bass and vocals), and Jim Benuska (drums), Mod Amish burst out onto the indie/alternative scene with surreal lyrics encased in meldoic and catchy tunes.

Though these guys aren't signed yet (and I can't for the life of me figure out why that is), their album No Use for Sunshine was on UCLA's most played albums of '08, and after listening to a few of their songs I can see why. With a sound that blends Oasis with The Posies, Mod Amish craft a sound that has me swaying, almost like I've discovered an acid-alternative band. A unique combination, and one that my love grows for with every passing second I listen to them.

The first track I listen to from No Use for Sunshine which has me immediately hooked is "Involving a Hearse," a creepy name for a truly alternative song. Starting with a feedback-filled guitar riff by Drake, Jones pulls the song into the stratosphere from second 3 with his unique vocal style. Layed on top of Matthews's pumping bass notes and Benuska's frantic drumming, Jones's vocals are like nothing I've ever heard before. Pretty good for the first 25 seconds of the first song from a band I've never heard of before from San Diego. The song is short and sweet, the way it should be, and just as quickly as it started, it's over. What makes this song so playable for college radio, though, aside from Jones's unique vocals and Drake's melodic, yet garage-rock-inspired guitar, is the rhythm section. Matthews's bass notes synch up nice and tightly with Benuska's drumming, and behind the frantic pounding away there is an almost romantic feel to the song. Five out of five stars easy, and a great first track to listen to.

Track two is "September," a popular play on UCLA college radio, and after hearing Drake's starting guitar riff, it's no wonder why. The song is unique in its ability to exude the feeling of September. I can literally feel the cold air around me as I listen to it, and that's the test of a truly amazing song. Here, Benuska has opted for a minimalist druming style, but that changes dramatically as we enter the first chorus. Then the chains are off, and Benuska is almost Travis Barker-like in his rhythmic style. Beside him, Matthews applies a Krist Novaselic bass line to the verses that almost drowns in the choruses, only to resurface again during the next chorus. While Drake, Matthews, and Benuska make solid use of the Pixies loud-quiet-loud dynamic, Jones adds sparse rhythm guitar riffs to the wall of sound, and vocals that just swirl around you. I am truly so wrapped up in Jones's vocals, made stronger by the music set out by the other three, that if it was the middle of July it would still feel like September. Two thumbs up for this one. Way, way up.

And as "September" trails out "Fade" begins, and I'm glued to the speakers once again by the alternative honey dripping out of them. This one is less meditative, more rock-inspired, and starting on the drum bashes by Benuska, and the hard thumping bass lines by Matthews, Drake and Jones lay down Pixies and Posies-like guitar progression, creating an alternative paradise. Jones's vocals here are amplified by Matthews's vocals as well, and the interaction of the two voices takes on an almost Alice in Chains vocal dynamic. Again, Mod Amish make use of the Pixies' sound dynamic, and the song is only better for it. It's short, it's catchy, and the melody stays with you even after it's ended. That's the mark of a good song; if you remember it.

The last track on my set-list is "Disgrace," a slow, surreal song that grabs me from second one. Drake's guitar is on the ball here, and he sound more and more like Joe Santiago with every note he plays. Jones's vocals and rhythm guitar are steady and controlled; almost hypnotic. Matthews particularly shines on this song, as his bass lines carry the guitars to new heights, and it certainly wouldn't be the same without him. Then there is Benuska, laying down a slow, rhythmic drumbeat. Benuska proves here that the drums don't need to be hit hard or fast to be powerful. The power is in how they relate to the guitars and bass. A truly solid track, and the best track that I could have ended my set-list with. If you haven't heard of these guys yet, you will, and I wouldn't be surprised in the least if it was very, very soon.

Sounds Like: Pixies, The Posies, R.E.M., The Who, Sonic Youth

Key Tracks from No Use for Sunshine: "Fade," September," "Involving a Hearse," "Disgrace"

Check out Mod Amish more at: http://www.myspace.com/modamish

Right Hand Blue, Left Hand Red

So I've recently written about a group out of New York City with the name Left on Red, and at first glance, this group's name, Left Hand Red, is eerily similar and begs the question if they're just a ripoff band of Left on red (though how you could ripoff their unique sound is a bit beyond me). But the minute these guys crash into their first song on their set-list, I know that it must be just a coincidence at their name similarity.
Out of Brighton, England, U.K., Left Hand Red is a garage-rock, indie-rock experience that will leave you wanting more. Most definitely. Composed of Dan Scully (vocals), Darren Cook (guitar), Barry Bloye (bass and vocals), and Russell Pilfold (drums), LHR's sound combines the melody of The Posies with the forcity and garage-rock funk of The White Stripes.
From their new recording, the Rope Burn E.P., the first track I listen to is the title track. Starting with an alternative guitar riff from Darren Cook, Bloye and Pilfold soon join in on a garage rock rhythm that already sets LHR aopart from other alternarive-rock stylings. Scully's vocals here hover between Pixies and The Posies, while drawing on the bass lines of The Vines and The Strokes. Pilfold's drumming is eerily reminiscent of David Lovering's, making use of the Pixies' loud-quiet-loud dynamic while Scully is, at the same time, appealing to the melodic vocals sounds of The Posies and Smashing Pumpkins. The stripped down sound of the song, though, based very much in Cook's garage-rock guitar riffs and feedback, and Bloye's front-and-center bass lines, gives the track a unique quality that seems unreached since the big garage-rock revivals of the '90s with The White Stripes and The Hives.
The second track from the EP, ""Eagle Road," makes me think even more of the Pixies, but not in the way it did before. While the Pixies influence in the last song was due mostly to the sound dynamic, here it is based solely on the blending of Scully's stripped down vocals with a very melodic guitar progression. Cook has abandoned the sole guitar-feedback sound in favor of a more melodic and tuneful riff which holds a melody all of its own, and blends with Scully's vocals perfectly. In fact, at parts, it seems like Cook's notes dabble a little in ska-punk influences. Meanwhile, Bloye's bass lines are heard throughout, providing a solid stage for the guitar and vocals in a most Krist Novaselic fashion. The bass lines do not exist all on their own, but meld with Pilfold's tom and cymbal hits to create a unique rhythm section. The real jem of this song though, what sets it apart from so many others, is its almost solid stop about 2/3 of the way through. Here, Pilfold stops immediately, and playing on a brand new guitar riff that Cook lays down, builds in slowly with Bloye's bass notes. On top, Scully sings in an almost meditative tone, and it's a surreal experience. Then the drums and bass rev up, and we're shot to the end of the riff that brought us in. A solid track, and one I'd definitely shop around to a label.
The last track I listen to on the EP set-list is "Make a Killing," an eery track that is clealry Vines and White Stripes inspired. With creepy, almost drowned-out vocals from Scully (which seem like a throwback to Kurt Cobain's almost oblique vocals in Nirvana), Cook experiments with his guitar chords, going from a heavy, grunge-like riff to clear notes that just wipe the rust from my ears. Mean while, Pilfold's drumming seems minimalist here, but it works perfectly with Bloye's pumping bass notes, and when I get to the 2/3 mark, I'm floored by Cook's guitar once again. This song in particular has a grunge ambience to it, almost like Soundgarden or Mudhoney, and that's a unique quality I wouldn't trade for anything. then it just stops, and it is a solid wrap-up to a phenominal set-list. Definitely check these guys out. They're experiemental, alternative sound will bring together all those who like The White Stripes, The Hives and The Vines with those who rock out to Nirvana, Soundgarden, and the Pixies. Absolutely brilliant.

Sounds Like: The White Stripes, Soundgarden, Nirvana, Pixies, The Posies, The Vines

Key Tracks from Rope Burn E.P.: "Rope Burn," "Eagle Road," "Make a Killing"

Check out Left Hand Red more at: http://www.myspace.com/lefthandred and http://www.lefthandred.co.uk/

I Don't Get Much Sleep with Alexis Blue

I started today really late, being that I was up really late last night. That being the case, I didn't think I'd have the time to find someone I really liked, because there are only so many hours in the day. I shouldn't have worried though, because as soon as I came across these guys, everything was great, and it's probably due to their upbeat, pop melodies. Usually I'm very critical of such sound in the rock genre because people tend to overdo it, and then we're stuck with something like 'N Synch. But these guys provide just the right about of pop to their songs, and everything works perfectly.

Out of Liverpool, England, they are Alexis Blue, an indie-rock quartet that exudes catchy tunes and soulful lyrics. Composed of Andeh Stewart (lead vocals, guitar, and keyboards), Paul Easton (lead guitar and vocals), Tom McCarron (bass and vocals), and Mark Easton (drums, cowbell, and vocals), Alexis Blue certainly have what it takes to be the next Smiths, or perhaps even Oasis, depending on their musical direction.

Though, I listen to a number of singles and EP tracks, they all tell me that Alexis Blue is one of Liverpool's best kept secrets. The first I listen to is "Your Easy Life," an indie-inspired track from the Your Easy Life/Swings & Roundabouts Single. The track begins with a great garage-style guitar riff from Paul Easton, and as Mark Easton works his way in on the drums, McCarron's bass lines are simple but powerful, and Stewart's vocals and rhythm accompaniment are perfect for this track. It's got a bouncy beat, and soon we work our way to a fantastic bridge laid down by Paul as Stewart lightly sings over it, and Mark then moves from the snare to the high-hats quickly, sharing a great rhythm section with McCarron. Everything about this song is right, and the simple but catchy chorus puts it over the top, and already this group are at 110%.

Track two is the second half of the single with "Swings & Roundabouts." Here, much like the previous track, Alexis Blue starts with an indie riff by Paul Easton as Mark's drumming style makes me think of The White Stripes and The Strokes. Though some would point at this minimalist drumming as taking away from the song, I love it, and I wouldn't have it any other way. Among Paul's catchy guitar notes are McCarron's bass chords, which, when listened to carefully, can be heard keeping the time with Mark Easton's snare, and providing a great rhythm for Stewart's pop-style vocals and indie choruses.

Tracks three and four come from the What You Don't Know Can't Hurt You and Dyslexics EP's (respectively). First on "You Wont Get Much Sleep," we started off with a fantastically ominous guitar riff from Paul Easton. But Paul's guitar notes aren't the only brilliant aspects of this song. Mark Easton's drumming has picked up, and coupled with McCarron's bass lines which are now out in the open, send "shivers down my spine," to use an appropriate line from the song. Stewart's vocals fit the melody perfectly, and his rhythm guitar parts are right where they should be. If all that doesn't impress you though, Paul Easton's sick indie guitar solo will definitely push you over the edge for sure. And if "You Won't Get Much Sleep" isn't enough for you, try on "Dyslexics of the World" for size. It's a fantastically snare-driven song, and hear Mark Easton's and McCarron's tightly synched rhythm section shines. Starting on a brilliant drum roll, we're soon launched into a melodious track, and Paul Easton's riffs take us away as Stewart's vocals and lyrics serenade us into oblivion. If any track should wrap up a demo EP, this is it.

Normally I finish the review with four songs, but today I'm going to expand it one song more, simply because this one is newer, and just so different from their previous songs. The last track I listen to is "Passive Agressive" from the single version of the song. Among the more pop-inspired guitar notes here, we are thrust into a new sound, one that introduces Stewart's keyboards as a prominant sound in the song. Mark Easton's drumming is tight and easy, and McCarron's bass is ever-pumping. Paul Easton's guitar has gone from Pixies to Pulp, and Stewart's vocals exude so much melody that they blend with his keys to provide a brilliant sound. It is beyond clear that this review would not have been complete without this song, and if you need any convincing of this group, here's the first track to start with. A fantastic job. Alternative meets pop and gives birth to indie. Two thumbs up.

Sounds Like: Oasis, The Strokes, The Smiths, The Vines, Pixies, Pulp, The Cure

Key Tracks from Your Easy Life/Swings & Roundabouts Single, What You Don't Know Can't Hurt You EP, Dyslexics EP, Passive Aggressive Single (respectively): "Your Easy Life," "Swings & Roundabouts," "You Won't Get Much Sleep," "Dyslexics of the World," "Passive Aggressive"

Check out Alexis Blue more at: http://www.myspace.com/alexisblue, http://alexisblueofficial.moonfruit.com/ and http://www.unsigned.com/alexisblue

Hangin' Out with The Coathangers

I found these guys, or girls rather, today, and after hearing their song "Toomerhead," I had to check them out at a place where I could here more from them. The girls I'm talking about? The Coathangers, an experimental post-punk rock group that I'm proud to say comes from right here in Atlanta.
Comprising members Julia Kugel (guitar and vocals), Meredith Franco (bass and vocals), Candice Jones (keyboards and vocals), and Stephanie Luke (drums and vocals), The Coathangers deliver a solid punch to the gut of post-punk Slits-style rock with Bikini Kill type vocals. Don't let that be your deciding factor, though. These girls may share some similarities with Bikini Kill, but like their bio says, they'd rather "crack jokes with Andrew W.K. than sip tea with Kathleen Hannah and her crew." That's ok with me though, since I love Andrew W.K. as much as Bikini Kill (and my sister entered to his song "She Is Beautiful" at her Bat-Mitzvah). One thing I learn, though, while reading the Hangers' reviews on their site is that, although receiving reviews by such publications as Spin.com, MTV.com, and Creative Loafing, I have yet to read an in-depth review that truly exposes The Coathangers through their unique sound rather than stringing a few words together that sound nice. That is gonna change today, right here.
So I guess I'll take it from the beginning. While it was "Tommerhead" that originally attracted me to their new album Scramble, I was soon blown away with some of the other tracks on the CD. Case in point, "Stop Stomp Stompin'," track three on the album, which starts out with a very Slits-inspired drum beat by Luke which I love. I've always liked minimalist drumming (one of the reasons I love Meg White so much), and here Luke says more through her minimalist drumming than most people would be aware of. Right on top of Luke's beat is Franco's bass, a strong backbone for Kugel's weird, yet interesting guitar notes. While Jones's keys are scaled back a little here, she can be heard along with the other three delivering Bikini Kill-style vocals. While these girls must hate to be called Riot Grrrl, I see it not as a label for them, but mainly as one of their possible influences.
Their next track that I listen to, "Bury Me," seems to go beyond the Riot Grrrl sound, encompassing also Babes in Toyland, Pixies, and L7 (at least to my ears). While there is an undeniable proto-punk influence here, with vocals like Bratmobile's Allison Wolfe, Kugel's guitar chords have become more melodic than Riot Grrrl really allows for, and Jones's keys here add to the melody, making it a thicker track than the previous. Luke's drumming too, mixes with Franco's harsh bass notes to provide a Doors-like sound under the proto-punk guitar work and vocals.
I think one of my favorites from the album, though, is the very next track, "Dreamboat." Here Jones shines, her keys providing an easy, yet strong melody that Kugel solidifies with her riffs. Luke's drumming is Pixies meets The Slits, and Franco's bass work is Stooges and Raincoats-inspired. A fantastic track the exudes melody and tact, rhythm and power. A definite must-hear single, at least in my book.
"Dreamboat" is followed by the last track of my review, "Pussywillow." This song is definitely one where Franco's bass prowess is showcased, and again the Hangers seem to have altered their sound to something different. Now, rather than hearing Bikini Kill and L7, I hear Robots in Disguise, an all-female electropunk group. The Coathangers are not copying RID, but to drastically alter their sound style from The Slits and Bikini Kill to The Doors and Robots in Disguise just speaks to their versatility, and their talent. Luke's drumming now sounds Pixies-led, and with Kugel's sparse notes, and the lack of a prominent key section, I'm floored that The Coathangers can make such an amazing change in just 2 seconds. This must be killer at their live shows, and I hope they play here again soon, cuz I'll definitely be in the crowd.
These girls are so far more indie than major, and perhaps that's they wanna keep it. But if I heard them, and I worked at SONY or Geffen, I'd try everything I knew to get them to sign with me. Brilliant work girls.

Sounds Like: Bikini Kill, The Slits, Pixies, Robots in Disguise, The Doors

Key Tracks from Scramble: "Pussywillow," "Stop Stomp Stompin'," "Dreamboat," "Bury me," "Toomerhead"

Check out The Coathangers more at: http://www.thecoathangers.com/index2.html and http://www.myspace.com/fuckthecoathangers

We've Abandoned Our Sea Men

I thought with my last post that that would be all for today, but I was way wrong. The way the last group I reviewed appealed to the romantic side of the rain that's pouring outside, that is the way this one appeals to the darker side of it. It's the way their music makes something so dark seem to beautiful that first entranced me, and it's something that I continue to love.

Out of Leeds, England, U.K., I present Abandoned Sea Men, an alternative-rock four-piece that stretches the boundaries of alternative rock to new lengths. Comprising members Aaron Dulay (lead vocals and guitar), Oliver Blair (keyboards and vocals), Elliot Hillary (bass and vocals), and Will Long (drums), ASM are a fresh new sound on the U.K. alternative scene. Much like my previous post, these guys have a four-song demo that's available to listen to (and probably buy), and I love every song from it. I'll start at the beginning though, to do this demo the justice it deserves.

The demo starts off with "The Way You Do," a creepy, alternative-styled song with apparent influences by The Cure, Muse, The Cult, and other darker musical acts. The song starts with a Cure-like drumbeat by Long, and is quickly bounced out by a searing guitar riff from Dulay. In the back I can hear Hillary's bass providing an almost grunge-like element to the mix, while Blair's keyboards are cold and soulless; a perfect sound for this song. Dulay's vocals approach Muse-like levels, and the sound of the song makes the hair on the back of my neck stand up. I'm also more than partial to the stop/start flow of the song, going from a very choppy chorus to a very fluid verse. And towards the end, the meshing of all the instruments in an almost chaotic fashion deals a deadly blow to any reservations I might have. A brilliant starting song that deserves every one of the five out of five stars I give it. Definitely a would-be breakthrough single.

Song two is "Admittance," another Muse-style song that relies heavily on Dulay's unique vocal style to make the rest of the song work. But that's not to slight the other members; Blair's keys here are relentless in my ears, and Hillary's bass lines approach levels owned for years by Soundgarden. Then Long's drums take off, and while Dulay chokes his guitar for just the right alternative notes, Blair's keyboards explode with Hillary's bass behind him, and the song is a complete success in my book. Long's drumming is particularly excellent here, with rolling beats and fills, and Dulay reaches vocal notes not heard since The Darkness and "I Believe in a Thing Called Love." A song that continues ASM's techno-rock/alternative-rock sound, and definitely one I'd expect to hear on a greatest hits collection. 

After the soundstorm that was "Admittance," I move on to "More," a song that is slightly scaled back from the chaotic sound waves of its predecessor. Beginning on Long's count, Dulay slides in on a more indie-rock sounding guitar riff. His vocals are haunting and soulful, and during the chorus I hear backup vocals from Hillary and Blair as Hillary's bass lines are soft and almost undetectable, and Blair's keys add to the melody of Dulay's guitar notes. The real jewel of this song, however, is the interlude, where Dulay lets go with a clean riff while Blair goes to town on his keys. With accompaniment by Hillary and Long, the interlude in this song makes it a must-hear.

The last song on the demo is "Not the Same (Without You)." If I had to describe this track in just a few words, I would term it as ASM's ballad track. With melodic vocals by Dulay that you can sing along to, and guitar notes meshing perfectly with key strokes put down by Blair, this is a definite would-be staple during their live show. Long has scaled back his drumming to just the toms and a few crash hits, and Hillary's bass is firmly rooted in the background keeping the song moving with strong notes and tight control. This was the perfect song to wrap up the demo. A great end to a demo that demonstrates what an incredible group can do with its first four recordings. 

Sounds Like: Muse, The Cure, Pixies, The Cult

Key Tracks from demo CD: "Admittance," "The Way You Do," "More," "Not the Same (Without You)"

Check out Abandoned Sea Men more at: http://www.myspace.com/abandonedseamen and http://www.unsigned.com/abandonedseamen       

Counting 50Leaves

These guys were my indie-pop surprise last night, and as I discovered them right before I went to sleep, I listened to them as I drifted off, and it was amazing. It took just four songs, all that there was to their demo EP, to show me that these guys have what it takes to be as big as Oasis.

Composed of Rob (lead vocals and acoustic guitar), Stu (vocals and guitar), Mike (keyboards and guitar), Lee (bass), and Ady (drums and percussion), 50Leaves hails from Manchester, England, U.K., and is here to treat us to amazing alternative rhythms laced with indie-pop vocals and lyrics with deep messages. So no more stalling, let's get to it. 

The first song I listen to has apparently garnered some attention, and after listening to it, all I'm wondering is why it hasn't garnered A LOT of attention. "Wide Open" starts with a cool acoustic note progression from Rob, and as the others come in, Rob's vocals have already knocked this song up a couple of notches. Ady's drumming is easy, cool, and Lee's bass is almost non-existent at some places, but during the chorus you can hear it locked tightly with Ady's kit. Stu's guitar riffing is only outshined by his great backup vocals for Rob, and here, Mike adopts a piano sound over that of a keyboard, and I love this song. I'm listening to it for the eighth time already. As we reach the interlude, the sound is like nothing I've ever heard before; ambient, encompassing, easy, but powerful; this track is a five-star song easy. Love it. 

Track two is "Run from the Sun," and though it begins like the first with an acoustic string set, it quickly moves away from sounding like "Wide Open" as Ady's drumming has picked up noticeably, and Lee's bass is more out in the open here. Mike's keys have a more electric sound to them, and the combination of Rob's and Stu's vocals sound incredible, as Stu lets loose with small note progressions that remind me of the Pixies. I can't even begin to stress what pop ambience this song exudes, and for anyone looking for something strong to listen to, but not too overpowering, this is your song. Definitely not a filler track. 

Track three's "May You Never" is a tribute to painter John Martin, and makes use of Ady's unique drumming style, coupling it with Rob's acoustic guitar, and his sultry vocals. This is perhaps Lee's greatest moment, as his bass is front and center during the verses, and the notes are strong and tight, carrying the song anywhere it wants to go. Mike's keys are scaled back here a little, and perhaps he's chosen on this one to play guitar alongside Stu, who is providing incredible vocals of his own behind Rob. It certainly seems to me like a two-guitar song, and I love it. And the riff about two-thirds of the way through is brilliant. Here, Mike has moved back to melodic keys, and beside Stu's guitar notes, builds a bridge that is solid and full of melody. 

The last track I listen to is "Man on Fire." This track seems like the perfect way to end the EP, as it is melodic and continues 50Leaves' sense of musicality, but is easy and soft enough to leave you wanting more; looking for more; waiting for more. I love what happens right after the second verse, where the song starts building into a frenzy of melody set down by Rob's acoustic guitar, Mike's keys and Stu's guitars, and capped off by Lee's bass lines and Ady's cymbals. A solid finish to a great EP. If I were a record label and heard this EP, I'd get these guys into a studio so fast it wouldn't be funny. Amazing.

Sounds Like: Oasis, Live, Blur, Pixies

Key Tracks from demo EP: "Wide Open," "Man on Fire," "Run from the Sun," "May You Never"

Check out 50Leaves more at: http://www.myspace.com/50leaves, http://www.50leaves.co.uk/index.html and http://www.unsigned.com/50leaves       

It's a 3rd Rock Revolution

I discovered these guys yesterday, but I was so flustered going to sleep early (if 2 A.M. is early) to wake up for a Bar-Mitzvah this morning that I had to wait a day to write about them. After all, a poorly constructed article simply wouldn't do these guys the justice they deserve.
So without further ado, I present 3rd Rock Revolution, a blues/funk-rock band out of London, England, U.K. Composed of members Andy West (vocals), Mark Noe (guitar), Lee Hill (guitar), Jamie Acteson (bass), and David West (drums), 3rd Rock Revolution blends traditional, Cream-style blues with modern Primus-like funk to produce a truly unique sound.
The first song I listen to by these guys is actually from their debut EP, and just rocks so hard I have to mention it. "Put on Ya Boots" starts with a Geezer Butler-styled bass intro by Acteson, and already it's a great track. I hope this was track one on their EP, because it's a freakin' solid start. Building on Acteson's strong bass notes, David West's drumbeats are simple but tight. Against this rhythm are Hill's and Noe's guitars, providing a perfect tapestry for Andy West's chilled, bluesy vocals. By the way, the sick mini guitar solo right after the first verse definitely makes this a five-star track. It's not fast, it's not overly hard, but it's a perfect track. Something I'd listen to any day of the week. Definitely the best first track I could listen to.
As "Put on Ya Boots" trails out, I start on "A Portion of Distortion," a track off their debut, self-titled album. Starting on an indie-styled guitar riff by Hill, Noe soon enters on a more blues-inspired progression, and already the foundations are laid for a slick, flashy song. David West's drums are minimalist here, but that plays to the advantage of the song. And with Acteson's bass lines providing an easy stage for his vocals, Andy West lets go with a scruff in his voice that makes me almost think of Clapton or Howlin' Wolf. Things only get better when we get halfway through the song, and a dazzling guitar solo bursts from the speakers. A freakin' amazing track that would be the envy of any new group. Two thumbs up.
Track three is "Scapegoat," a harder-edged track that starts with a post-grunge-style guitar riff, and already the sound is much different from the first two songs. When the second guitar comes in, the sound is even more varied, and it almost sounds alternative. Andy West's vocals are way different here, leaning more towards an Eddie Vedder influence than an Eric Clapton one. David West's drumming has picked up a little, and is tight and strong against the blues riffing, with Acteson's bass mimicking the base drum perfectly. This song is so far flung from its blues brothers, that it sounds like something that was influenced by "Even Flow," with Stone Gossard-like guitars, and Mike McCready-esque rhythm progressions. And as David West builds into a drum roll from the high-hats towards the end, this track is 110% new and unique. There's nothing left to say about this track or these guys. I can, however, sum it all up in one word: brilliant.

Sounds Like: Pearl Jam, Cream, Black Sabbath

Key Tracks from 3rd Rock Revolution and 3RR - E.P. (respectively): "A Portion of Distortion," "Scapegoat," "Put on Ya Boots"

Check out 3rd Rock Revolution more at: http://www.myspace.com/3rdrockrevolution

Friday Night with The Shackeltons

So I've been listening to these guys all morning, and I just gotta say, they're freakin' amazing. Hailing from Chambersburg, Pennsylvania, The Shackeltons are a new-wave/indie-rock band with an amazing sound that seems to blend Cage the Elephant with Silversun Pickups. Fitting, it seems then, that they're touring with Cage the Elephant. I got way psyched, though, when I saw they were coming to Atlanta this Saturday. There's no way I'm missing seeing these guys live, especially if Cage the Elephant's gonna be there too.

Made up of Mark Redding (vocals), Eric Fisak (guitar), Ryan Egolf (guitar), Justin McDaniel (bass), and Sean Hallock (drums), The Shackeltons bring a soul-ish funk to their new-wave numbers, and as they expand on the indie-rock sound, I'm floored that these guys have a sound that's so different. I see on their Myspace that they've recieved rave comments by the Seattle Times and Rolling Stone, but unfortunately I just don't trust big name magazines and papers to talk about what's really important. So here I am, and four track reviews later, you'll know all you need to know about The Shackeltons.

I start with "Get Out," a clearly indie-rock/blues-rock-influenced track that takes away any wonder I might have as to why these guys are touring with CTE. Fisak's and Egolf's guitars are distorted pleasures to my ears, blending new-wave/indie-rock with blues rhythms and garage-rock beats. Hallock's drums are crazy here, reaching John Bonham-like levels, and as McDaniel's bass just keeps pumping and pumping, I'm reminded of John Entwhistle by his style. Above it all are Redding's frenzied blues-rock/funk vocals. I can't decide whether he's singing or screaming, or a mixture of both, but the bottom line is that I love it, and whatever he's doing, he's doing it right.

Song number two for me is "Emergency," an easy-starting song that rides on Fisak's melodic guitar progression as Egolf's lays down a rhythm track. One thing I love though, is the way Redding speaks the vocals at the beginning of the song. I'm reminded of a Johnny Cash/Jim Morrison sound, where Redding here is trying to get something deeper out of the lyrics. Trying to push the poetry through to the audience, and I love it. Among it all is McDaniel's bass, softly keeping time in the background as Hallock's drums are slow, almost lazy, but still managing to find the snare and cymbals at the right times. Definitely a new-wave-inspired track, and I'm almost tempted to label this track at least as shoegaze-alternative. It reminds me a little bit of Smashing Pumpkins through the lazy beat and heart-felt, poetic vocals. And with everything speeding up towards the end, it's definitely one of the must-hear songs on the album.

Then I move to "Yellow Cadillac," a melancholy-esque song that starts, like the previous, on a few slow guitar notes. But then McDaniel and Hallock crash in together, and with Hallock's movements on the snare and toms, it slowly builds into an amazing speed, with Egolf laying down a rhythm and Fisak following suit. Redding's vocals here, too, at more poetic, less sing-songy, and with this music, I wouldn't have it any other way. They fit brilliantly, and his voice is just raspy enough to grab my attention without alienating me with roars. I love the stop-start tempo of the song, making use of the Pixies quiet-loud dynamic, and the great, melodic guitar riff towards the end doesn't hurt either. Brilliant song.

The last track I listen to is "Madeline," and from second one, it starts with a fantastic bass line from McDaniel. Then Hallock builds in on the kit, and Fisak and Egolf lay down perfectly synched guitars to provide Redding with a stage for his harsh, new-wave/indie vocals. What I love most about this track, besides the catchy guitar riffing, is the incredible ambiance it exudes. It just feels like you're falling into the music, and that's something that will take a song right to the top if it can do it right. A solid finish to what promises to be a fantastic album.

Sounds Like: Silversun Pickups, Smashing Pumpkins, Pixies, Cage the Elephant

Key Tracks from The Shackeltons: "Emergency," "Get Out," "Yellow Cadillac," "Madeline"

Check out The Shackeltons more at: http://www.myspace.com/theshackeltons and http://www.theshackeltons.com/main/

Shattered Into Ten Thousand Pieces

After having such a hard weekend, followed by most of a hard week, it was great to find that ska group yesterday that just chilled me out and let me let off some steam. The week's gotten even better with my discovery today, Ten Thousand Pieces (sometimes stylized as 10,000 Pieces).

Out of Haworth, West Yorkshire, United Kingdom, TTP are an indie-rock four-piece comprising members Ben Guest (vocals and guitar), Chris Jackson (guitars and keyboards), Jason Cherryholme (bass), and John Holmes (drums and percussion). The four-piece just recently released a four-track demo, and after listening to the whole set-list, I knew these guys were meant for big things.

But let's go back to the beginning of the demo which starts with "Sailing Alone," an indie-rock piece with an alternative edge. The song begins with Jackson's guitar notes ringing clearly against the backdrop of Cherryholme's smooth bass lines and Holmes' easy-going drum beats. Above the chilled out music are Guest's vocals (and with it his guitar playing). It's almost hypnotic listening to it. There's no one thing that makes these guys any different from anyone else. It's the whole band together that give a song that could be easily misconstrued as a U2 or Muse track something that stands out against all other artists in the indie/alternative light. It's melodic, it's ambient, and it just works all around. A solid, solid song to begin a demo with. 

Song two is "Chasing Dreams," an almost acoustic track that begins amid rain on a rooftop. But the acoustic sound is soon evolved with Jackson's entrance on solid-body electric guitar. Holmes soon comes in, too, on his snare as Cherryholme's bass mimics his tom and snare beats. Guest's vocals here, again, are melodic enough to appeal to those listeners looking for something familiar, but also unique enough to appeal to the listener who wants something new and different. Guest's guitar, also, augments Jackson's well, and the two-guitar sound is neither drawn out here, nor set to mimic something already produced by another group. 

As the rain fades us out again, "Turn the Lights Out" begins. More abrasive from the start than the previous two tracks, Jackson's guitar on this one adopts a more alternative, less indie note progression, as Guest's guitar sets down a solid rhythm track. Holmes is more liberal with his use of the cymbals here, and Cherryholme's bass has double-timed in its beats, moving the song along at a faster pace. With drums rolls and fills by Holmes providing a shaking of the rust at the beginning of every chorus, Guest's voice meshes brilliantly with the music, and this track has quickly become one of the best I've heard in a while. One thing I also love about this song is its change in beat and rhythm on the chorus, where it adopts a bouncier meter. The juxtaposition of this against a more lax verse makes "Turn the Lights Out" a solid track for the demo.

The last track on the demo, "My Life," is a rock-solid wrap-up. Starting on Holmes' drum rolls and Cherryholme's again double-timed bass lines, Jackson's guitar is melodic yet strong, with great rhythm guitar accompaniment by Guest. Also, the vocals here are brilliantly clear and pasted over the fantastic solo Jackson lays down towards the end, making this song a definite must-hear. Two thumbs up. 

Sounds Like: Oasis, The Stone Roses, The Posies, The Smiths

Key Tracks from demo CD: "My Life," "Chasing Dreams," "Sailing Alone," "Turn the Lights Out"

Check out Ten Thousand Pieces more at: http://www.myspace.com/10000pieces and http://www.unsigned.com/10000pieces  

As I Go Marching with Irreverents

Man, between the college applications that are totally kicking my ass and the fact that I'm hungry as hell right now, it's been a hard night, lol. Luckily, I've found a couple of hard rockers that soothe the pain.

They come from Vancouver, British Columbia, Canada, and they are ready to split your insides with high voltage rock and incredible melodies. Made up of Steve Watts (lead vocals and guitar), Levi James (bass and vocals), and Brian BADD (drums and percussion), Irreverents are a force to be reckoned with.

From the very first chords of "Stopping Traffic," Irreverents delivers a punch to your gut that just knocks the air out of you. At just over 4:00 long, "Stopping Traffic" leads in on a great guitar riff from Watts and gut-busting beat from BADD. Then the crash comes, and James chimes in with a hardcore bass line, and Watts's guitar riffing might only be outdone by the incredible melody of his voice against the music, and the intelligent, lucid lyrics he slings against the backbeat. James's bass just drives me wild, and with BADD on the drums, I'm a happy camper in Hardrockville. I don't really know who I could compare these guys to. Van Halen? Anvil? No freakin' idea. That's how unique this sound is. My pulse keeps racing all the way through the incredible drum roll by BADD, and the screeching guitar solo by Watts. Just a fucking amazing song. I am totally satiated after listening to just this one track.

Then for the next track, James leads in on a solid bass line, and BADD and Watts soon follow, and "Wet Cigarettes" begins. With a a tune that I can really only describe as kinky, I'm shot through an amazing sing-along chorus, and with James's bass in this one, I give it five stars. This one is definitely one of James's finest hours. But that's not to sleight the other guys. BADD's drumming is tight, and Watts's guitar, again, just makes metal magic. With top-notch lyrics and vocals, this is definitely a single for radio.

The last track seems to move a little away from the straight-laced metal sound, with an interesting guitar intro and unorthodox drumming. "As We Go Marching" is definitely the oddball track on the record, but that is not to be mixed with it being a bad track. This one stands out, and that's great. These guys prove they can do more then just copy others. Between this, and the other two tracks, I can see that they have their own sound, and I love it. The stop-start drumming and the pulse-squeezing bass provide a great stage for Watts's killer guitar solo, and hardcore vocals. This track is different, but everything about it is perfect. I wouldn't change a thing.

Sounds Like: Van Halen, Anvil, Armored Saint

Key Tracks from For a Tranquil Life: "Stopping Traffic," "Wet Cigarettes," "As We Go Marching"

Check out Irreverents more at: http://www.myspace.com/irreverents and http://www.unsigned.com/irreverents

The Room Next Door

The last group I listened to out of Germany was Scorpions, so when I discovered that they and this group shared the same homeland, I was ready for another taste of German hard-rock and alternative-metal.

Out of Siegen, Germany I present to you and your soon-to-be-happy ears Room Next Door, a timeless mix of alternative, rock, grunge, and indie. In the fantastic tradition of the Ramones, these guys (and girl) adopt stage surnames, and frankly I love the way they sound. Made up of Steve Next Door (lead vocals and guitar), Tobi Next Door (lead guitar and vocals), Laura Next Door (bass), and Jan Next Door (drums), these guys know how to make a sound so versatile it goes from The Strokes to Nirvana in no time.

The first song  I listen to from their promo CD is "Get Out on It," a song that boasts the dirty, distortion of Mudhoney's "Touch Me I'm Sick" and the hardcore vocals of Black Flag laid next to smooth, Strokes-like vocals. Jan's simple drum beat reminds me of Meg White's minimalist drumming, which I love by the way, and Tobi's guitar riffs are reminiscent of '60s garage rock. The interplay on this song between Steve's rhythm guitar and Laura's bass is also something that strikes me, as it reminds me of the interplay heard in groups like Pixies and Sonic Youth.

The next track, "Just One Step Away from Here," is a departure from the muddled, dirty guitar, in favor of a more indie sound. Tobi, however, delivers some notes on this with the perfect distortion for me to compare them to seminal acid-rock bands like Quicksilver Messenger Service and 13th Floor Elevators. Steve's vocals on this one show he can be hardcore if he likes, but also slow himself down for a more easy-going song.

The chilled-out aspect doesn't last long though, as I'm soon launched into "Losing the Magic," a song that's got Green River's guitar riffs and U2's vocal style. There's no other way to describe this group with any other words than "different" and "versatile." I love the guitar solo on this song. It just creeps up on you and stabs you in the throat with a sick riff that would make the Scorpions foam at the mouth.  

The last track I'll touch on here is "Lost in This Town." While "Potato Man" is also an interesting track, "Lost in This Town" just screams classic punk to me, living up to the legacy of the Ramones and the Sex Pistols. In fact, not only does Steve's voice and guitar sound like Joey and Johnny Ramone, respectively, but the bass and drums also remind me of those classic punk groups. The only thing that seems to move away from the Ramones ideal is Tobi's great guitar solo. But I'm not complaining; it's sick. Check these guys out. Germany gave us the Scorpions, and now they've given us Room Next Door.

Sounds Like: Scorpions, Ramones, Sex Pistols, The Strokes, The Vines, Mudhoney

Key Tracks from their 2009 Promo CD: "Get Out on It," "Losing the Magic," "Lost in This Town," "Just One Step Away from Here"

Check out Room Next Door more at: http://www.roomnextdoor.de/htm/index.htm and http://www.unsigned.com/roomnextdoor