The 2011 Pydromania Awards Are In!!

You guys out there voted, and made your choices known. All the artists did amazing jobs raising votes, and just to let you know just how amazing all their efforts were, the hit count for NewRockNews43 jumped more than 7,000 hits in a matter of weeks! Though a little belated, the Pydromania winners are here finally! (And the reason for the slight wait? Not only new results, but brand new promos from a couple of the artists too!)  From around the world, you guys all checked in and made sure that the artists you wanted walked away with the bragging rights of being the "Best of's" for another year. So without any further delay (as if you guys couldn't see the results yourself anyway haha), here are the 2011 Pydromania winners!! They are:

For 2011's Best Hard-Rock/Metal Artist:

Reapers Riddle

For 2011's Best Pop/Rock Artist:

Andy Gruhin

For 2011's Best Pop-Punk/Punk Artist:

Voted Most Random

For 2011's Best Electronic/Alternative Artist:

The Orkids

For 2011's Best Alternative-Rock Artist:

Fools For Rowan

Thank you to all the artists and fans who participated! This was an awesome contest, and you will definitely be hearing these groups getting massive airplay on my radio show, Underground Takeover! Who can't wait till next year, ha?!

2011 Pydromania "Best of" Contests Up Now!!

Hey all, to mark the end of a great year for NewRockNews43, I decided to start a new little tradition. With all the amazing groups we've heard and discovered this year, who do you think is the absolute best?! I'm calling it the Pydromania "Best of" Contest because these artists are so hot, they're cool (figure that one out if you can, ha!). Five categories, over 30 bands and artists, and more amazing songs than I can count that have shaped this year for NewRockNews43 and my brand new radio show Underground Takeover, so which artists really rocked the hardest?! The winning artists of each category will get a promo of their choosing displayed on the front page of NewRockNews43 as one of the first posts of the new year. They also will receive bragging rights not only for the whole year as being voted the best and hardest-rocking, but will receive bragging rights for being the FIRST artists to ever win this brand new annual contest. Winners may also receive amped airplay on my show Underground Takeover in Boston, so who's looking for some airplay?? ;D Polls are on the right side of the pages, and voting closes in just under 2 weeks, so get listening, and get voting!!

The nominees are:


For Best Hard-Rock/Metal Artist of 2011:

• Diamond Eye
• Tetrarch
• Reapers Riddle
• All I Know
• Homebrewe
• Into the Night
• Almost Kings
• The Swear

For Best Pop/Rock Artist of 2011:

• Andy Gruhin
• Cloé Beaudoin
• The Head
• Ratham Stone
• Aerials
• The Heartshakes

For Best Pop-Punk/Punk Artist of 2011:

• Darling Parade
• The Lightweights
• Minds Without Purpose
• The Honesty
• Voted Most Random
• Versus the Robot!
• Start Up 45

For Best Electronic/Alternative Artist of 2011:

• Lost In Atlantis
• The Orkids
• The Blue Pages

For Best Alternative-Rock Artist of 2011:

• 49 Stones
• WeSurrender
• Season to Attack
• The Riot Tapes
• The Life Review
• Radagun
• Sound Express
• Death is a Dialogue
• Fit For Rivals
• LOVELOUD
• Fools For Rowan

There they are guys, so keep the votes coming, and we'll cap off this year with an explosive bang! More articles to come, and I have some awesome reviews, interviews and lists coming, so keep rocking and we'll make 2011 the best year NewRockNews43 has seen yet!

Cube41: No, They Don't Care About Us

Hey all, sorry it's been a long while, but life happens. In any event, I'm back today with a great post on Cube41. I hadn't really heard from these Italian alternative rockers for about a year now (I know! a long time, but here they are again), but it seems that their time has been spent well: they're working on a new album, and have just released the first single and video on Youtube. Now, from the start, I'm way curious to see what these guys have got: their last music video for their song "Nasty Mind" (from the second release of their previous album, PLAY) was sick, and the song itself has crossover potential written all over it. You may remember that it's got a crunching guitar riff and bass line, as well as wicked strobes and vocals that blast forward in brash fury and alternative attitude. The drums, too, are exceptional, providing a rhythm that is altogether addictive. Listen here for a refresher:

But now the Cube guys have returned with something completely different, and I must admit that in the beginning, even I am confused. The first release from the as-of-yet untitled new album, a cover of Michael Jackson's "They Don't Care About Us," seems an odd choice for an Italian alternative-rock band whose last video threw back to artists like Shiny Toy Guns and Nine Inch Nails. The video, too, is weird in the truest sense of the word. Simply a flash mob with the desired choreography and totally minimalist, Cube41 themselves don't even make an appearance in front of the camera, and even the song seems drawn back a little. Though the video is just a girl in a studio demonstrating the choreography to Cube41's new rendition of a Michael Jackson classic, the video is at first a disappointment as it's so far from what I saw in the "Nasty Mind" video. But then it dawns on me: these guys have evolved; grown in artistic musicality and performance direction; they don't need a front shot in a video to establish their dominance over the track. I listen once, twice, three times, four, and then it becomes addictive; Cube41 have succeeded here precisely because they've done away with the superfluous effects of their last video and focused solely on the music. The "video" then is just a transport by which Cube41 can debut their new song to the public. In it, I at first think it's Michael Jackson himself singing, expecting some dramatic change to happen any moment now. But then I realize that this is them, this is Cube41; they have succeeded in their cover so brilliantly that I couldn't even tell it was a cover. They own this song and with the intrepid vocals laying staunchly over reverb guitar, and a bass/drum combo that makes the song.

The video of the flash mob in the main square of Cube41's hometown, Verona, Italy, is a powerful sight. In addition to having the power of an unexpected performance, when coupled with Cube41's cover of the Michael Jackson's classic track, the song takes on a guise it had never donned before. Is the cover minimalist? Yes. Is it odd and unexpected? Yes. Does it work? Yes! Yes! Yes! Cube41 have triumphed in their stripped-down cover of a Jackson classic, and prove that they can hold their own against the King of Pop while at the same time nodding to his legacy. Do they really care about us? I don't know, but after this cover, they should.

Lost and Living in Atlantis

I've been waiting for a few weeks now to have some time to devote to this article and this group. Sometimes listening to new music, the words just flow out and onto the page, painting for you guys a very real and interesting picture of who the artists are and what they do. Other times, however, it's a little more difficult to put my finger on just the right words to describe a new group or artist, and that's the obstacle I've been trying to overcome with this band for a few weeks now. Fortunately for these guys, and all of you guys out there though, the words seem to have finally come to me, and now I feel I can finally describe fully and accurately the talent with which these new NRN43 features approach their music.

Lost In Atlantis's debut album, Silent World

Based in Phoenix, Arizona, Lost In Atlantis is a techno-rock foursome comprising Elisabetha 'Liz' Rosnowski (lead vocals and synths), Alex Eldridge (drums), and brothers Eric Pinedo (guitar) and Tim Pinedo (bass). As I start listening to LIA's Myspace page, it's clear that the musical dynamics at play here are worth mentioning. Some artists just have it, and when Lost In Atlantis commences with tracks like "Ready to Go" and "FireFireFire", it's like a whole symphonic rush of sound and attitude.
A mix of '80s new-wave and '00s alternative and garage-rock punch, Lost In Atlantis rips a sound from their instruments that's like a sonic display of light and love for my ears. Halfway in between the punk rush of Paramore and the synthesized bliss of Muse, Lost In Atlantis create a sound that is impossible to ignore. The group's debut album, Silent World, now on sale online, is a brilliant flash of genius reveling in pop-sensibility and alternative edge. Even great songs like "Whisper" and "Unwind" are no match for the most powerful songs on the album. "Alien" is as lovely in its subtle nature as it is opaque. A blurry vision of gray hope and love, "Alien" is a clear triumph for LIA. Rosnowski's vocals are soft; at home in the cradle of Eric Pinedo's guitar chords as Tim Pinedo's bass lines soothe the rhythm softly above the kick of Eldridge's drums. A pseudo-sonic love-letter, "Alien" is pushed higher by the building bridge that drives full-force right into the last minute of the song. If LIA did everything wrong with every other song on this 15-track breakout record, "Alien" would surely be their saving grace.
As "Alien" ends in a creepy cradle of keys, LIA blasts forward with "Catastrophic Compromise," a Paramore-inspired track that throws back to Hayley Williams' vocals on RIOT! and All We Know Is Falling. Rosnowski's pipes are just choice here, and as they melt over the pop-punk rhythms of Tim Pinedo's bass thumping over Eldridge's toms and high-hats, "Catastrophic Compromise" is an LIA trophy hands down. Not overly complicated, but still a great song to listen to, "Catastrophic Compromise" is one of the tracks that makes Silent World a fun album to listen to. In an era when artists think that every song has to have some deep political meaning, it's nice to just have a song that's ear-candy.
But even among the four and five-star tracks that pervade Silent World, one stands out as LIA's clear breakout song. "Tek No" is LIA's greatest work to date. I can't quite put my finger on it, but for one reason or another, this song just draws me in to it in ways the other songs hadn't. To ask what's right with this song is simply too difficult a question to answer. Where to begin? The beginning of the song is a page right out of the ELO playbook: Eric Pinedo's guitar leads right into a blasting rhythm on Tim Pinedo's bass and Eldridge's drums before they all drain out and Rosnowski's keys serenade me in a lullaby of romantic bliss. A cross between Paramore's vocals and Muse's synth-driven rock, "Tek No" brings to mind a bright tapestry of sounds and emotions. Rosnowski's vocals are smooth and firm, and as this romantcore track blasts into the stratosphere, I'm engaged in it like this song holds the key to some mysterious cosmic message I can only hope to hear. Definitely my pick to LIA's lead-off single, "Tek No" is a masterful piece of cosmic proportions. 
While we here on the east coast seem to not be hearing as much about them, I'd bet anything that Lost In Atlantis are making waves over on the west coast like there's no tomorrow. With a sound like this, it must be beyond impossible for anyone to ignore this group. Dynamically savvy and clearly technically talented, Lost In Atlantis are the 2010s' answer to the question of whether or not true techno-rock is still alive. And it is, truly alive and kicking. If you're looking for the next big thing to come out of the south-western U.S., take a peek, because Lost In Atlantis are goin' up fast, and there seems to be nothing this side of the galaxy that's gonna stop them.    

Sounds Like: Muse, Paramore, Smashing Pumpkins, VersaEmerge

Key Tracks from Silent World: "Tek No," "Alien," "Catastrophic Compromise," "Ready to Go," "Disaster"

Check out Lost In Atlantis more at: http://www.lostinatlantis.com/, http://www.myspace.com/lostinatlantisband and http://www.facebook.com/pages/Lost-In-Atlantis-Official-Facebook-Page/137627106273846?sk=wall

Go Periscope Up for the Cover of Rolling Stone!!

Today I've got some unbelievably exciting news for you all: Go Periscope, the electronic-rock duo from Seattle, WA premiered here a few months ago are in a contest to be the first unsigned band to appear on the cover of Rolling Stone. Though I don't read Rolling Stone as often as others do, and though I sometimes find their writing style not to my taste, it is nevertheless undeniable that their influence if grand, and that any group who might get to be featured between the pages, let alone on the cover, could see significant success afterwards.
Go Periscope, who made waves with their song "Crush Me," enjoys the talents of vocalist and keyboardist Florin Merano and vocalist, guitarist and keyboardist Joshua Frazier. Releasing their new song, "Boys Like, Girls Like" for purchase on iTunes just a weeks ago, Go Periscope are making sure that they are not swept underfoot and left behind. Yet "Crush Me" still has the same crisp and sexy vibe that it had when I first listened to it, and if GP do make it to the cover, it will be to the credit of this song.

Get it done GP! We all wanna see Go Periscope on the cover of Rolling Stone!    

Turning The Blue Pages

The story this week is one that will have you dancing with your best moves, your worst moves that you think are great, and everything else in between. With a sound that I can only describe as indie dance-pop on an adrenalized cocktail of steroids, The Blue Pages burst through the speakers to my ears and even I, someone not comfortable at all with myself on any dance floor, find myself popping my head and getting into the groove of the songs.
Comprising the tasteful talents of Zac Barnett (lead vocals and guitar), James Adam Shelley (lead guitar), Dave Rublin (bass and keys), and Matt Sanchez (keys and drums), The Blue Pages for me find themselves balanced just right between the techno-pop sound of Owl City and the pop-punk sneer of Eve 6. For The Blue Pages' homebase of Brooklyn, New York, the instrumental execution that these guys clearly pride themselves on throughout their songs is something that the city can rejoice for, and definitely something that they can take a bow for; it's catchy, melodic, and truly one of the best aspects of their music. The melody, however, is compounded by lyrics that are clever and funny and vocals that are clear and lucid enough to provide great choruses and verses to sing along to.
With two EP's released in 2010, The Blue Pages show that they are four guys brimming with talent and are ready to lay down as many tracks as it takes to get them to the top. One thing that sets TBP apart from other dance-pop and powerpop bands is that their songs are unique from one other; they clearly work hard to make each track its own song, and I can't imagine that there are any filler tracks on either EP.
Releasing their most recent EP in July of this year, the Up All Night EP features the hit song "A Little Bit More." Right from the start, I'm drawn in the by key strokes of Rublin and Sanchez before Barnett's voice comes in, distorted and oh-so-addictive. To explain just how catchy this song is, all I can do is call it perfect ear candy. It's got the greatest rhythm, thanks to Sanchez's drums and Rublin's bass notes. Clearly these two musicians are just as proficient on their respective instruments as they are on the key-work that they both share. Barnett, meanwhile, has a voice that seems hypnotic, and his guitar chords, too, are something that deserve a tip of the hat. Shelley seems to be a little more in the background, preferring to drive the song forward with great guitar fretwork than by doing over-the-top pick-slides. Yet as the song zeros in on the final chorus and Barnett's vocals near the pitch that I haven't heard since The Darkness, Shelley's guitar winds up to pack one final punch of melodic heaven before drowning out with the others. Definitely a fantastic track, and one that the Up All Night EP can only benefit from.
Rounding off an EP filled with great tunes and rhythms is the title track, "Up All Night." One thing that immediately sets this song apart from any other is the unique mix of reggae-style beats and electro-pop melodies. Rublin's bass lines are infectious in a funk-ish kind of way, and the keys he and Sanchez lay down lend are catchy and contagious. Barnett's vocals are in a pitch I didn't even know existed, but somehow he makes it work, and while he hopscotches around the funky beats from Rublin's bass, Shelley's guitar trades melodic tricks with the keyboards, back and forth. If the song itself wasn't enough to sell and record label exec or fan that these guys are the real deal, than the music video for "Up All Night" would certainly seal the deal. An all-star track on an EP that's so much more than just one good song, "Up All Night" is a neon sign showing just what these guys are capable of.
I'd love to just keep going and going, because God knows these guys have enough tracks to fill a party playlist to the brim. I don't know what it is that connects The Blue Pages the way they are, but whatever it is, it's something that seems to fuel a collective creativity that results in every song being single-material. Case in point "Slow Down," a synth-heavy track from the Nighthawke EP with a melody and rhythm I could see creeping onto one of the soundtracks for Glee. However these guys make their partnerships work, it's something that spills over into "That 850." If nothing else, this song has a great intro and a verse that would get even the most stiff of people moving. A definite hit and instant Blue Pages classic, "That 850" is easily one of, if not my favorite song of the bunch.
However they market themselves, whether it be as an electro-pop band or a pop-punk band with an electronic twist, The Blue Pages have struck gold again and again with songs like "Up All Night" and "That 850." As long as they keeping pumping out tracks of this caliber, they will have no problem carving out a niche for themselves among the new wave of electronic artists that are starting to grace the alternative scene. The only thing I'm gonna say when these guys are showing everyone else up is, "told ya so."

Sounds Like: Shiny Toy Guns, The Killers, Franz Ferdinand, Kaiser Chiefs

Key Tracks from the Up All Night EP and the Nighthawke EP (respectively): "A Little Bit More," "Up All Night," "Slow Down," "That 850"

Check out The Blue Pages more at: http://www.myspace.com/thebluepagesmusic , http://www.purevolume.com/thebluepagesmusic and http://www.facebook.com/TheBluePages?v=wall

Mike Hart Keeping It Real

It's a beautiful August afternoon today as I sit down to write a new article for all you reading out there. As the breeze rustles the leaves outside in a mildly poetic way, I flip on the Myspace of today's story, and nothing says Friday night like this music.
Many of you guys probably know Mike Hart as the former lead singer of So Contagious (fka Seven Story Fall), who've been featured and mentioned here a number of times. Now I could sit here and speculate until the end of time why Hart has embarked now on a solo career, but to be honest, that's between him and So Contagious. Besides, this is a music site, not some tabloid, and precisely one of the reasons I started New Rock News 43 in the first place. I was so tired (as I'm sure you all are too) of publications like Rolling Stone and Spin coming off as tabloids with a music flavor, rather than real in-depth music news magazines. If you're looking for something like that, look someplace else, maybe the Enquirer or the Globe. But if you're here for some new stuff to listen to, read on.
Hart is my focus today because of his newly released summer EP, We Keep It Real. Debuting just four days ago on Monday, August 23, We Keep It Real is a bit of a departure for Hart in terms of sound as he opts to stray a bit from his comfort zone in pop-punk and experiment with a more electronic-pop sound with dance rhythms that even exude an R&B flavor.
For those of you who aren't familiar with him, Mike Hart is an extremely talented vocalist and musician from here in Atlanta, Georgia. Singing on some of So Contagious's most well-known tracks like "The Getaway" and their rendition of Akon's "Right Now (Na Na Na)," Hart demonstrates a vocal talent that bleeds all the way over from pop-punk to dance and emo-punk. Now however, he's pushing his talents even farther as songs like "Telling Me No" and "This Is War" explore a more unique dance-pop background.
In fact, this brings me to the first track from We Keep It Real that blows me away. Released a few weeks ago as a teaser single for the upcoming EP, "This Is War" showcases not only some of the best examples of Hart's unique, smooth vocal style, but also his musicianship as he contributes to this track catchy synthes and rhythmic drum-tracks. Normally dance-punk is a hard genre for me to really appreciate, but Hart's use of pop-punk-ish lyrics mixed with an electro-pop sound gives this track a oddball flavor that makes me unable to turn my head away from it. A great dance song, and one that nods a bit to other electro-pop acts like Breathe Electric and Owl City, "This Is War" is definitely one of the best tracks on Hart's new EP, and it's no wonder why he released this one as the teaser.
"Lights Camera Action," another dance-punk track which features a guest appearance by DJ Vault, shines a knowing light once again on Hart as a clever writer and phenomenal singer. I love Hart's synthe progressions in this one, and his rhymes and clever phasing demonstrate his mastery over an ability to write as well as sing and perform. "Lights Camera Action," though, also benefits from a rhythm and beat the are, in every sense of the word, infectious. If you're looking for a track to play at a party or something to chill out to in the car with the top down on a beautiful afternoon, this one is a favorite in that category.
The last couple tracks from the EP I can't keep myself from writing a few tidbits about are "My Kryptonite" and "Secret Lover." Partnering with Atlanta producer and musician Nikolai Prange to set down a driving, synthe-ridden rhythm, Hart's composition "My Kryptonite" strikes a more romantic tone than I've heard in the previous tracks. With this, "My Kryptonite" is immediately set aside as the track the boasts some of the best rhythms and piano on the EP, as well as the one with the romantic nature under the surface. "Secret Lover" contrasts perfectly with this, leaning more towards a sort of forbidden/dangerous undertone that makes me think of sneaking out at night to see your girl or guy. These songs are brilliant compositions, and We Keep It Real most certainly benefits from their inclusion.
For those of you out there who have seen Mike Hart live, you all know this guy can definitely get a concert floor going. I myself have had this particular pleasure, and it's no overstatement that when he starts singing, he's got you jumping and all your energy going. It's no surprise to me, then, why it seems to me that Hart finds himself so at ease with dance-pop compositions. His punk attitude and ethic mix well with his smooth and polished vocals and synthes to produce a must-hear EP. Coming across as a brash collection of catchy, clever and energetic songs, We Keep It Real is definitely on my must-hear list for you guys this week. Make your way over to his Myspace and have a listen for yourself. Hart's talent puts something like the popularity of Justin Bieber to shame (and his cover of Bieber's "Baby" is, in my opinion, way better than the original). Once word gets out about him, Hart's gonna rise far and fast: of that I am sure. There are no ifs, ands, or buts with this guy; success is inevitable, period.

Sounds Like: Breathe Electric, Owl City, Phoenix

Key Tracks from We Keep It Real: "This Is War," "My Kryptonite," "Lights Camera Action," "Secret Lover"

Check out Mike Hart more at: http://www.myspace.com/mikehartmusic and http://www.facebook.com/MikeHartMusic?v=wall

Go Periscope!

Last night was a bit surreal; I was way overtired, but couldn't sleep, and as a regular insomniac, I did what I usually do in those kinds of situations: I looked for awesome new music. And may I say, I definitely found it. I came across some incredible bands that I'll be reviewing here in my next few posts, so you guys better keep reading, because I have a slew of all-new, awesome bands that deserve your undivided attention and recognition.

The first of these new giants that I'll debut here are out of Seattle, Washington, and won't stop until they take over your mind and body. But a far-flung cry from Seattle's grunge giants Nirvana, Alice in Chains, Pearl Jam, and Soundgarden, Go Periscope delivers unbelievably catchy synth beats and notes that just invade your mind and pervade your soul. A dynamic duo of Florin Mehedinti (vocals and keys) and Joshua Frazier (vocals, keys, and guitars), Go Periscope have started cementing a name for themselves in the Northwest with hardcore touring and loyal fans. The group's self-titled debut contains 15 synth-poppy tracks that rock in every way pop and electronica can. Yet there's something different about these guys. Groups who deal in heavy electronica need something that sets them apart from everyone else, lest they sound too much like their peers, and Go Periscope have that extra "it" factor that tells you they refuse to be the same as anyone else. So let's dive in then, and let me show you just what is so sick about this periscope.

The first track I listen to from the album is "Crush Me," an easy track that boasts distorted vocals and a strong synth-line. The combined vocals of Mehedinti and Frazier work so well together it's amazing; it's like having surround-sound because the voices come from everywhere. Mehedinti's keys drip in gothic-industrial coarseness, and Frazier's keys and light guitar notes bring the sound home in a ballpark homerun. These guys are so difficult to compare to anyone today because they incorporate such a wide array of electronic influences, but if I were hard pressed, think Owl City's melodic and catchy vocals with Savage Garden's rocking synths and rhythms, and maybe you can get close. This is clearly one of GP's five-star songs on the record, period.

Track two for me is "Emily." Now for me personally, to hear a song with the title "Emily," that always speaks to me in the form of Bowling for Soup's "Emily" from their sick breakthrough album Drunk Enough to Dance. But here GP take the title to a new level and give it new meaning. "Emily" is a synth-poppy ballad that just bathes in romance and pop-sensibility. Frazier and Mehedinti totally nail the vocals here, breathing in sultry voices to pile on the romance and emotion and it's almost like they're here in the room with me. Now, solely as a music fan, that speaks to me, because it sounds like these guys are playing live right in front of me, and that's a five-star track on my list easy. The rhythm is slow, and for all you guys out there looking for the perfect song woo your girls with, this is it. The melody, the keys and notes, works so well with Mehedinti's and Frazier's voices that it's like the whole song is one entity, and that's the ultimate product when you're listening to a song. Incredible track. 

The last song for me is "Take It Personal." This one leans more to the Savage Garden sound than perhaps the Owl City influence. Though the rhythm is a little more electronica than Savage Garden was, the hardcore synths and strong vocals remind me easily of "Break Me Shake Me" and "To the Moon & Back." Now, no one sounds exactly like Savage Garden, and I wouldn't want them to. But Go Periscope just totally break through that wall of being "some electronica band with a cool sound" to being "Go Periscope, a sick new force to reckoned with out of Seattle." Anyone who's looking for a killer dance song, by the way, this is it. Turn the music up, turn the lights down, and turn the strobes on because this is one that'll tear up the dancefloor. 

Go Periscope are set to be featured on MTV's The Real World, but remember you heard about them here first. Now get up off your asses and go check out this amazing synth-pop group. You won't be sorry.

Sounds Like: Owl City, Savage Garden, NeverShoutNever!

Key Tracks from Go Periscope: "Crush Me," "Emily," "Take It Personal," "No Chaser," "Breathe Deception"

Check out Go Periscope more at: http://www.myspace.com/goperiscope and http://www.purevolume.com/GoPeriscope

Caught on the Dancefloor with TheFlashJam

I've been searching all day for a new group to put up on here. Searching for someone with just a new, unique sound. I must say, it was a long and hard search, but I was rewarded at the end with the discovery of these guys: TheFlashJam.

Out of Edmonton, Alberta, Canada, TheFlashJam are a new electronic sensation, and once people find out about them, there will be no way these guys will be able to go back to the small club circuit.

Made up of Jamie McLean (vocals), Oliver Banjac (guitar and keyboards), Stefan Candie (keyboards and vocals), Brody Krock (bass), and Andrew Morren (drums), TFJ delivers a new electronic-punk sound that even stations that played rock and rap could agree on.

Releasing their debut EP TheFlashJam just a short while ago, TFJ rocks us with four unique tracks that just keep your heart-rate up from start to finish.

First off the EP is "Caught on the Dancefloor," a synthed-out track that grabs you from second one. Banjac and Candle rope us in with a sick synth and guitar riff, and McLean's vocals take us from there. It's fast-paced and smooth, with Korck's bass and Morren's drums double-timing every beat. I just had my cousin's Bat-Mitzvah this past weekend, and I wish we'd had this song to play, because it would have kicked the crap out of those worn-out Black-Eyed Peas songs. My fingers are already bruising because of my inability to stop snapping along to this track. If you're looking for a new song to play at any party or dance, or just freak out to, here it is, nicely packaged, slick, and sexy.

Then it's over, and a more traditional piano brings us into "Once You Know, You Know." But it's not slow for long, as Morren comes in on the crash giving us a beat Krock synchs up with, and then Jamie McLean just lets it fly, and at the chorus we're off, propped up by Candie's piano and Banjac's guitar notes. McLean's vocals are a breath of fresh air in a much overdone emo-punk-rock age, and the rest of the band make this breath of fresh are possible with tight playing and unique melodies and lyrics. Just an overall great song. Something I'd listen to on any kind of day, bad or good.

And now we're halfway done as we start in on "Lifeline," a return to speed-of-light paced drumming and synthed-out progressions. McLean leads the way with strong yet lucid vocals as Banjac's guitar riffs are particularly prominent on this song. Delivering a nice hard edge to the song with his guitar, Banjac lays a perfect foundation for Candie's kinky synths, and Krock and Morren round out the song with a tight partnership of a heart-pounding bass and drums that shakes the rust off your eardrums. Certainly a strong track for the album. Not too much like the first track, but alike just enough to know it's the same five guys delivering an electronic punch to your gut.

The last track on the EP, "Let It Die," features local hip-hop artist KazMega on guest vocals, and is a fitting end to a strong album. Acoustically driven in the beginning, it moves away from the acoustic sound very quickly with Candie's and Banjac's synths and guitar, respectively. Then McLean comes in, and it's already an fantastic song, with bombastic drumming from Morren, and a bass line from Krock that keeps everyone in line. And as McLean starts in on the second verse and chorus, you can hear KazMega in the background, getting ready for his carefully timed guest vocals. And after the second chorus, that's it. KazMega educates us with some real life truths as Candie's synths raise the bar on electronic key progressions. Then McLean's back, and brings us home, as we trail out on Candie's synth notes, and all I can think is what a freakin' amazing song. Definitely a solid end to a fantastic EP.

This, my friends is a perfect EP: every song is solid, well-produced, lucid, and catchy as hell. Looking for something new today? Listen to this, it's got every one of your names on it.

Sounds Like: 3OH!3, Metro Station, Blaqk Audio

Key Tracks from TheFlashJam: "Caught on the Dancefloor," "Lifeline," "Once You Know, You Know," "Let It Die"

Check out TheFlashJam more at: http://www.myspace.com/theflashjam and http://www.unsigned.com/theflashjam