ACHILLES, "HOSPICE" VINYL STREAM, PRE-ORDER

I mentioned it a couple months back, but now it's finally upon us. Achilles, "Hospice" is going to be out in a few short weeks with all new artwork specifically for the vinyl version. The good dudes over at Farewell Party Records will be putting up a pre-order for the vinyl this week.
As an additional bonus, if you've never heard the record Vinyl Collective will be running a stream of it all week starting Tuesday, July 28th! So listen to it, and then order the vinyl! Here's the color breakdowns as well for you collector nerds out there:
Marble Tan – 114 VC exclusive (90 copies will be available through VC)
Black – 107
Grey – 143
Camo – 220
50 PROMO / ADVANCE copies (Black Vinyl, but promo copies, sent out to distros and reviewers prior to release (VC will have 15 copies)
We will also have a Test Press Contest (only 60 made, hand made covers by Joe OHIO PRIDE).

Finally, of course Hex Records will be getting a few of these to sell as well and I'll not only have them at shows once they're out (looking like about 3 weeks), but have some in my webstore too.

One last note, look for the band to be playing out within the upstate, NY region a little bit more than they have been (like, ya know, more than one show a year... but probably not more than 5, haha). Word is they've been writing some new songs and that could lead to a recording of some sort, but who am I to say?

IT'S SUNDAY, YOU'RE BORED, HOW ABOUT SOME REVIEWS?

ARMS EXPLODING, “Ruminari”
Cincinnati’s Arms Exploding aren’t going to win any awards for having a good name or remotely interesting artwork (seriously, you could do a lot better than just all black on the inside cover). But throwing this disc in the player one will discover some excellent progressive post-hardcore going on that is hard to ignore. While many of these songs extend past the four and five minute mark things manage to remain interesting. They are progressive in terms of the talented playing and unique arrangements in which their songs are created yet no worries about a Dream Theater-style rock opera emerging here. And though there is a strong post-hardcore lean to their sound I’d say this group takes things to the next level past where NYHC originators founded it. Think perhaps more along the lines of where Burning Airlines was sitting pretty- both rhythmic and heavy, as well as exceptionally talented musicians creating driving and complex music. Arms Exploding certainly does a good job of rocking ass and throwing in lots of curveballs at the same time. Well done I say. I like a plenty. (Phratry, www.phratryrecords.com)

BURNING FIGHT, by Brian Petterson
With a book 500 pages deep, and apparently got edited down from nearly 800 pages, “Burning Fight” is a pretty exhaustive look at 90’s hardcore as told in an oral history fashion on a variety of bands and topics. I think it’s an interesting way to approach things, though obviously leaves a lot out. The book is split into two main areas- various investigations into the big topics of the era (straightedge, spirituality, animal rights, political/social awareness), and interviews with influential bands from the 90’s. Naturally, the biggest gripes seem to have come from what bands should have been included and which should have been left out. The cries of, “Spitboy?! What about Brothers Keeper?!” can already be heard... OK, well, maybe not. But I do appreciate that the bands profiled cover a wide range of hardcore sounds- the fast and immediate sounds of Los Crudos, the obvious choice of Earth Crisis, the genre-fucking of Deadguy, the questionably hardcore Texas Is the Reason. I feel like each band’s section could have gone a bit more in-depth. The politics section certainly does highlight some important things from a wide variety of people and gives a generally good view of what was happening back then. From my own experience I was around the hardcore scene for most of this decade, but I feel like Upstate, NY was a somewhat different place than a lot of other cities insofar as hardcore goes. Our scene was really lucky to be so thriving, have a number of influential bands close by, and a solid venue to have shows at. So my perception is a bit different than others and we have our own oral history that could fill a book as well. So I feel like all readers of this book ought to read it with an open mind and understand that things may have had some similar threads no matter where the participants were going to shows, but each scene and town had it’s own personality to go with it. Additionally, it would have been nice to get a few more pictures of bands, zines, flyers, and so forth. I suggest getting it though. This is weeks of reading for a pretty cheap price. (Revelation, www.revhq.com)

CHOOSE DEATH #2
Here we got a local zine that, in it’s second issue, devotes a good deal of space to exploring the scene in the Dominican Republic. Yes, there’s a punk scene there. How about that? Of course, there’s a lot of local love as well as interviews with Night Owls and Rochester’s Like Wolves are thorough and a good read. An exhaustive report on a local house that has been doing lots of shows in the last year is in these pages as well. Finally, a good deal of smart-ass humor from the author (some guy) rounds this thing out. You can’t go wrong for a buck and a shot of Larry Bird smoking a stogie on the cover. (www.barbarossarecords.com)

COALESCE, “OX”
Seriously... wow. Ten years, multiple breakup’s, off-and-on reunion tours with mixed results, and dozens of kids later the grown-ass men in Coalesce have given it another go and holy picnic basket full of shit sandwiches this is a whopper of a record. I have thoroughly been beaten into submission by all the raw aggression and ridiculous creativity they had in their heyday. “Ox” takes all the hyperactivity and mind-fucking complexity of “Give Them Rope” or “Functioning..” and gives it a heavy dose of rhythmic groove found on “012”. Basically, it’s everything pure and wholesome about Coalesce all rolled into one amazing album. This band has always been able to throw me for a loop with how wild and complex their music could be, yet keep my attention because no matter how many times they were fucking with the timing, or throwing in one crazy riff after another, I’d still be in rapt attention. This is no exception. The bass is thick and muddy, almost overpowering in how huge it sounds, while the guitars are at once precise and calculated, and at the same time totally spiraling out of control and unraveling as if Jes is playing with a power drill instead of a pick. New to the Coalesce gamut are reverb-heavy slide guitar and sung vocals (“Wild Ox Moan”), monk-like chants (“Dead Is Dead”), and acoustic interludes (“Where Satire Sours”), all of which seem completely out of place, but actually work exceptionally well. Another facet that remains the same is vocalist Sean Ingram’s distinct throat-shredding scream. His voice is dead on for the music, and when he adds clean vocals here and there they work really well. His penchant for terrible song titles and extremely wordy lyrics also remains (seriously, the solo vocal section in opener, “The Plot Against My Love” is so close to rapcore it’s almost embarrassing... just cut a couple lines and it would be all good). Some people love his lyrics, and some hate them. I’ve really never been a fan, but not due to subject matter... I just can’t get into how they’re written. So when I hear his voice, which I like, I can just pretend he’s screaming about being stuck in traffic or something. And then it all makes sense. Minor gripes aside, this is easily the best thing I’ve heard so far this year. I know the year is only half over, but Coalesce have seriously gone above and beyond for making a hell of a great return to form by creating a dense collection of raging songs sure to destroy any current perception of what you’d call ‘heavy music’. (Relapse, www.relapse.com)

GIFTS FROM ENOLA, “From Fathoms”
This thing come packaged in what looks like a greeting card made by a fancy art student. It’s certainly an interesting way to present it, just bizarre! Packaging aside, Gifts From Enola... whom I’m guessing are not referring to the plane that dropped the atomic bomb on Hiroshima give their take on the whole post-rock, minimal vocals, shoegaze thing with a long record full of long songs that fade into one another. Thankfully, they deviate from the Isis-Neurosis glut (man, am I ever sick of that trend), even though there are a few heavier moments. I’m getting more of a Mogwai/Mono feel from this band, as they get a lot more into melody. And while I’m not too terribly interested in those bands either I’ll give Gifts From Enola credit for mixing a lot of different sounds into their music- acoustic parts, electronics, heavier bits, and most anything else short of the kitchen sink- to make for a pretty cohesive whole. It definitely sounds like they are enjoying themselves by utilizing many different elements and having fun a long the way. “Weightless Thought” may be the most upbeat song on the record with it’s erratic sliding riff, but overall this makes for engaging background music. It’s not really anything I’ll be listening to repeatedly, but I can appreciate it for it’s creativity. (The Mylene Sheath, www.mylenesheath.com)

IRON AGE, “The Sleeping Eye”
It was sort of strange when I saw this band a couple years ago after hearing their first full length and enjoying their direct line of thought straight to the mind of Harley Flannagan via total Cro-Mags worship. After this I heard nothing about the group, until out of nowhere friends of mine who were into more powerviolence and stoner metal styled hardcore were raving about the new record Iron Age just delivered. Was this the same band? Did my friends have a sudden change in musical taste? Finally hearing the record for myself I can see a few noticeable things that are worthy of accolades- this record sounds huge. Apparently a good deal of money went into recording this, so it sounds pretty awesome. Secondly, they still sound like the Cro-Mags... mixed with the first three Metallica records. Maybe this is the draw for people across the board to love this record, I don’t really know. But yeah, if I was a metalhead in 1989 (I wasn’t really) I’d be in such a rush to find a patch of this band to sew onto my denim jacket I’d probably forget to avoid the route the jock kids took home from school and I’d probably receive the taunting of a lifetime. Of course, that’s all a hypothetical situation. And this still sounds like it was recorded in ‘87, shooting bolts of lightning up your ass. (Tee Pee Records, www.teepeerecords.com)

“MAKE YOUR PLACE”, by Raleigh Briggs
Another in the assortment of Do It Yourself books from the folks at Microcosm. I should totally feel like they are getting redundant with lots of books that essentially cover the same stuff in a slightly different way each time, yet each one seems to have it’s own personality and gives me something new to be interested in. And the fact that I just flew through this book with such interest leads me to think a couple things- I’m getting old and really domestic, and that my mother would probably love this book. So what does that say about me? Essentially, this is a book that (all handwritten and illustrated) goes through ways to make your own first aid materials/ medicines/ ointments, cleaning products, and gardening skills. There are numerous recipes for making everything from toothpaste to laundry detergent, all without the use of nasty chemicals and so on, so forth. I personally feel that’s a great idea and as someone who is a level 5 vegan I tend to think that I neglect these things more often than I ought to. So having a guide on how to make some of this stuff yourself naturally is a great resource. Plus, I’m an avid gardener, so having some additional info on that is cool as well. The medicinal info sounds like the sort of mumbo-jumbo Grandpa Simpson would spout off, expect that these really are old timey-type cures for things like headaches, fevers, burns, and other minor ailments involving herbs, tinctures, and ointments. Neat stuff from a corner of the all-natural side of things often overlooked. (Microcosm, www.microcosmpublishing.com)

OUTRAGE, “Broken”
I feel like I’m stepping into the Lost Horizon, circa 1995 as an unidentifiable band is raging on stage and I’m still fresh-eyed and into everything that I see and hear at every show. Granted, the band is playing the same kind of chunky riffs that every other band is playing, but so what. I’m 17 and anything related to hardcore fucking rules no matter what. That’s what listening to the new Outrage record is like. Somehow these young dudes have channeled mid-90’s hardcore as if they were having a seance, drawing power from the ghost of Eric Allen and having John Pettibone officiating the proceedings. Or like some Luke/ Obi Wan Kenobi post-death guiding spirit sort of thing. Yes, many of these songs are about depression and being bummed on life, in the way that most people under the age of 25 are, and this definitely is not adding any new spokes to the proverbial wheel. Still they get the idea of how to do hardcore in a way that I grew up with and do it well. It’s most certainly a large step up from their EP and I’m pretty stoked on it. (Panic Records, www.panicrecords.net)

STRONGEST PROOF, THE, “Robot Eats a Steak” CDEP
Seriously, can the bands on this label come up with worse names for themselves or their records? “Robot Eats a Steak”? Are you kidding me? I’m going to up the ante and call my band’s next record, “Voltron Prepares Some Waffles”. It will be a concept record. All kidding aside, it’s very fortunate that this band has come up with some good songs or else the chiding would continue until the label information at the end of the review. Like other bands on the Phratry label, this group explores more of the post-hardcore/ indie territory with strong songwriting, progressive structures, and still manages to rock face with a sufficient deal of heaviness, executed in a rather clever manner. Some of these songs tend to get a little long, but they still work without getting bogged down in filler. Seven songs in 23 minutes, so it works out to holding my attention for just the right amount of time. Now if you’ll excuse me I’m off to download some coffee into my mainframe or some shit. (Phratry Records, www.phratryrecords.com)

THE HELM TO OPEN FOR UNDERTOW, UNBROKEN!

The Helm are playing this ridiculously awesome show, which may end up being their record release show for their new full length, "Home" Holy friggin' shit is all I have to say

Saturday, Oct 3rd @ El Corazon
The NW Reunion: 6pm $20 adv.
Undertow
Unbroken
Strain
Balance of the World
The Helm
Marginal Way
+ guest

OAK AND BONE REVIEWS/ TOUR DATES

Hey!
The first reviews of the 7" are starting to filter in. This particular one comes from the fine folks over at PunkNews
Read it for yourself:
"Oak & Bone do hardcore of the smoggy, smokey variety. The guitars are the right kind of fuzzy, the bass vibrates with just the right smoldering touch and the vocals are hollered with a reared-back, D-beat-style bark. Not bad.

I'd like to compare this self-titled 7" to the No Idols full-length Hex put out a few years back, but it's really not as heavy or confrontational. It's like No Idols took a few bong hits before recording and resultingly put a hazy but still mean aura over everything. "Atavistic" begins with a couple of flourishing pounds separated by the most restrained pauses one can muster, before the song comes together a little more fluidly and some excellent stoner riffs in the bridge pushes the finish into overdrive. Closer "Momentum" has some of the more straightforward moments the record provides, clearing skies just a bit.

I'm not floored through and through, but still a cool release for sure."

The dudes are also hitting the road again, this time with fellow Syracuse metalheads Cicada. It's only a few shows, but check 'em out anyway:
Jul 10 2009 6:00P- Unitarian Church- Stratford, Connecticut
Jul 11 2009 8:00P- United Front Company- Revere, Massachusetts
Jul 12 2009 8:00P- Dead City- New Brunswick, New Jersey

TONS OF UPDATES!

Look above. See the pictures? These are the next four releases coming out. And I have a lot more information about each of them, as well as some other cool stuff!
Keep in mind, the above art you see is definitely not the final artwork for each record (except for in the case of PRIZE COUNTRY, which that is the final cover art). So let's address each one.
First off, LEMURIA will record their new 7" the first week of July with a release date shortly thereafter. If all goes well I'm thinking I can do a pre-order shortly after that and things will be done and ready come late August. The artwork is being handled by Ben Sears from Mt. Asleep and will be screened onto special 7" arigato packs from Stumptown Printers courtesy of the rad dudes at Pedal Printing. It's going to look real special I tell ya.
Next, the END OF A YEAR dudes are recording right about now for their new 7" after having just dropped one for Deathwish. If you can get the jist from the mock-up art above it's an homage of sorts and will contain a cover of a certain 80's band, but I can imagine you'll be able to figure out who. Look for this to drop around the same time as Lemuria.
Next, PRIZE COUNTRY are finished recording, finished mixing, finished mastering, and all that good stuff. The artwork is done and this beast, known as "With Love", will drop around October on both LP and CD. These dudes are on their game and will be touring the shit out of this record all Fall and Winter. Get ready.
Finally, THE HELM are in the studio right now recording their new full length "Home". Raging, crusty slabs of face-melting hardcore are being carefully put to tape, as the saying goes, by Chris Common in Seattle's Red Room. Expect this one to drop in October on LP and CD as well. And if Bob can get away from coaching track long enough they may embark on a Winter tour to show what this record is all about. More details to follow.

So what's up with the HELMS ALEE 7", people keep asking me. I'm sorry for all the delays and I'm personally very anxious to hear some new stuff myself! I recently talked with Ben from the band and he assures me they are still on, it's just going to take longer than expected. They're actually writing a new full length (and currently on tour on the West Coast with Isis and Giant Squid) and want to get some of that wrapped up and possibly record the 7" and full length together. So as of now the plans look like fall we'll be hearing more about this. Sorry to shift things to the backburner for this one, but be patient. I'm certain the results will be worth it!

Finally, shout out to our boys in OAK & BONE on completing their first East Coast tour! Look for them on various weekends throughout the Summer. Also, check the short write up they just got on the Brooklyn Vegan site (as well as a free download of "Build Walls" from the 7") here . Just scroll down a bit and you'll see it. Sweet!

OK, I think that's it for the time being. Go out to Dudefest Indianapolis next month! Hex Records will be representing in full, so buy something from us! And rage!

IT'S FRIDAY, HOW ABOUT SOME REVIEWS!

It's been a bit huh? Well, that happens when... um... actually, I have no excuse. There's just been a lot of plotting and scheming on my end in regards to other things so some of this fell by the wayside. But hey, it does mean some cool music piled up. I like to think I get the chance to review a fair amount of stuff that probably goes under the radar of most people and I get the chance to shed a little light on it. So here's some stuff!

BLACK ARROWS OF FILTH AND IMPURITY, “1984 (Eternal)”
Based upon the name alone I wasn’t exactly sure what I’d be getting myself into by listening to this. I’d known their name from playing at Dudefest a couple years ago, but I missed their set. So what we got here is some straight up raging grindcore-powerviolence, sludgy metal stuff that kicks in with all the fury of a swarm of bees chasing after a snot-nosed brat who just threw a rock into their hive. Given that they begin the record with a lot of thrashing and grinding madness I was a bit skeptical that the first song was nearing the four minute mark, which is a bad sign for a band that plays really, really fast. Thankfully, the rest of the songs (at least of this nature) stayed within the two minute mark. Additionally, having long song titles that play on the oh-so-ironic and funny factor made for a negative impression so cringe worthy it gave me shivers of discomfort. Yet upon examining the lyrics and accompanying explanations it’s just the titles that are dumb. Everything else is well thought out and intriguing. Meanwhile, the band thrashes and burns through five complete ragers before going into a 12-minute record closer which feels rather unnecessary in it’s dirge-like sludgy pace. Finally, as a cd bonus, there is one more feedback-laden, tribal drumming encore lasting around 14 minutes. Maybe if that were trimmed down to about half the length it would be pretty killer. I feel like I’ve sort of slagged this band in this review, but quite honestly this is a pretty kick ass record regardless of some characteristics that seem a bit unnecessary. Apparently, this was, up to this point, only available as an LP that was released in 2005 and is now on CD. So there ya go. I wonder what their new stuff will sound like? (Gilead Media, www.gileadmedia.net)

DASHA, “Damned If We Do”
Rochester’s Dasha find their niche with playing subtle and pretty indie rock that is deceptively complex in it’s arrangements and tricky drum and guitar interplay. The soothing vocals of Colleen Vassey act as an anchor, offering a calming tone to music that has just enough in the way of catchiness to keep from the more show-off-ish elements of the very capable musicians in this band from getting too out of hand. The recording is crisp and offers a more mellowed out overall tone, even though drummer Tommy Vollmer is exorcising his inner Stuart Copeland (live it’s a different story.. dude just hits really damn hard) on these tracks and could more than likely dominate this recording were it not kept tastefully in check. Again, balancing the complexity are the soothing vocals and a pretty clean guitar tone. Nine songs well done by this up-and-coming group that sound wise is definitely different than most of the underground bands that have called Rochester home, yet somehow one can tell they’re from there. Don’t ask me how, it’s just apparent from a person who has seen scores of bands emerge from that town. (Whaleplane, http://www.myspace.com/dashaband)

DEADHEAD, “A State Of Punk” 7”
Four songs that go by pretty quick with very to-the-point and bleak lyrics. I suppose that’s par for the course seeing as the music is pretty bleak as well... but nice and fast to keep things fun. Treading the thick and bass-heavy sound popularized by the likes of Tragedy Deadhead take a cue from some of punk’s finest and give it a go. And by the name you thought they’d all be hippies or something huh? I’d love to see an actual Deadhead put this record on and totally get their mellows harshed.... big time. Nothing groundbreaking, but also a fine first effort. (Mayfly Records, www.myspace.com/mayflyrecords)


DIAL, s/t CDEP
Typically, if I receive a promo that is just the cd and nothing more it goes straight to the outbox. Call it elitist, but hey, music is more than just the piece of plastic the ones and zeros are encoded upon. Artwork and presentation say a lot about a group. Well, that’s what arrived for Australia’s Dial and I’m giving them a free pass because this is a damn good release. I’m not exactly sure what to make of this. One of the only words I can use to describe this is ‘suffocating’. Everything sounds so dense and evil all at once, and carries through the entirety of this five song EP. Mish-mashing stop-go noise rock with almost tribal, repetitive and trance-like drumming Dial can ride a single riff for a whole song, but tastefully keep most of them reigned in at the three minute mark. Therefore, the sonic pounding lasts just long enough to keep you wanting more, yet breaks you down the same way a drone band would... minus the boring part. It’s a sonic, primal beating from out of nowhere and I feel like I ought to join an end of the world cult after hearing this and ready my Mad Max survival gear. (Robotic Empire, www.roboticempire.com)

FATHER PHOENIX, “Large Bodies” CDEP
There is one word to describe this and that word is ‘bitchin’’. This EP is totally bitchin’ without question. It is authoritatively bitchin’. Actually, perhaps I ought to elaborate. The organ that often takes the lead for many of these songs is beyond bitchin’. There are four songs here and imagine if you will Clutch, Deep Purple, and the Blues Brothers all jamming as one to bring forth one of the bitchinest project bands I’ve heard in quite song time. You remember that movie, “Nothing But Trouble” where Dan Akroyd played the demented old judge in the middle of nowhere? OK, you probably don’t. Just bear with me. There’s a scene where that old hip-hop group Digital Underground makes an appearance and plays a song in his court and Dan Akroyd busts out an ancient Hammond-style organ and begins playing along. It’s like they resurrected that organ and hooked up a Big Muff fuzz pedal on it and went to town, ushering forth the songs that make up this debut EP. Well done Father Phoenix. I will erect a chicken wire fence in your honor across the stage should you ever grace my town with your presence. (Forge Again Records, www.forgeagainrecords.com)

KILLER, THE, “Not All Those Who Are Lost Want To Be Found”
Chicago’s The Killer may not have chosen the most original name for themselves, but they have at least managed to spice things up in the whole tough guy hardcore realm. Actually, perhaps it’s not entirely accurate to lump them into that category but my bet is that they find themselves playing many of those shows. Regardless, as much as you can hear a good deal metal-influenced NYHC in their sound (think Merauder style double bass) they toss a number of curveballs into their sound, such as some grooving, Crowbar-style breakdowns in, various noisier post-hardcore riffs, the occasional backing vocals that sound like drawn-out chants (track 3), and vocals that have a dirty and strained approach. It definitely mixes things up more than your standard chunky hardcore fare and for that The killer gets brownie points. Plus it’s been quite a long time between records for this band so it’s natural that some progression would be made and it looks like they did a pretty good job of it on this full length. (Organized Crime, www.organizedcrimerecords.com)

LICKGOLDENSKY, demo 7”
To think that anyone had an interest in this band long after they split to reach back in the archives and re-release their demo tape on 7” is almost mind-blowing in it’s desire to more or less set fire to a briefcase full of money and throw it over a cliff. This is not to say that I wasn’t a fan of Lickgoldensky while they were around. I really liked the band. But let’s be honest- they were an acquired taste and I’m sure their name will not go down in the annals of hardcore history at the end of the day. So to dig out this original recording and put it out there for those who never heard it (like me) is great, just sort of financially suicidal. Kudos to Square Of Opposition though. I’m glad to have heard this because it shows that this band had aggression in spades even early on. The music is a vicious blend of Deadguys total ‘kill everything’ frantic insanity and Eyehategod’s (where they got their name from) sludgy bong-ripping messiness (the endings of both “Pinstriping” and “Are the Neighbors Cumming?” illustrating this quite well). Totally drugged-out and manic lyrics accompany the music in screeched wails encourage, “Watch your neighbors bathe/ Watch your neighbors swing/ Watch your neighbors get syphilis from the mayor/ Watch the teens lose their virginity/ Take it to a school board meeting/ Then fuck your soulmate in the ass”. Tasteful. (Square Of Opposition, www.squareofopposition.com)

POISON ARROWS, THE, “First Class, And Forever”
I’ve given this record a bunch of spins in an attempt to try and figure out just exactly what The Poison Arrows are doing. I still can’t quite get a fix on it. They lie somewhere between some of the relaxed atmospherics of a Beauty Pill record and churning post-hardcore math rock spawned in the clubs of Chicago. It’s a rather varied mix. You got some smooth and chill sections that are accentuated with somber vocals and tasteful synth parts. But then they bust into some heavier rocking songs that would fit alongside a Fireside, Hum, or Chavez record. Needless to say I like it, and a large part of that has to do with them performing something that is one part familiar and another part a total mystery. Good and varied, yet tastefully as you know it’s the same band no matter how they mix things up. (File 13 Records, www.file-13.com)

ROBOTS AND EMPIRE, “Color Touches” CDEP
In some ways this band has progressed a lot, and in other ways it’s almost expected that they would eventually get to this point. One could always tell that there was a fair amount of Failure and space rock-era Cave-In love with this band. Yet early on, vocalist Brian Conway had a more guttural approach to his singing that had a bit of a Clutch quality to it and the weight of the music reflected that with a more sludgy style. Now, a bit more refined, I feel like they have come to a point where they want to be at, even if that point is highly reminiscent of Steve Brodsky, Failure, and Cave-In. I’m sure they’re stoked on it. I’d say they do a fine job of bringing forth those more otherworldly melodic elements to the table and still throw in some of those heavy sludgy moments from time to time. (Trip Machine Laboratories, www.tripmachinelabs.com)

TRANSIT, “Stay Home” CDEP
Pop rock played faster than normal. I’m not going to call this pop-punk, or melodic hardcore, or whatever. It’s time for these bands to come to terms with what they do and call it for what it is. You could turn on your local rock radio station and probably hear a song from this band if they got themselves a hot-shit label backing them. I’m not saying this is lousy or anything, it’s just pop rock played by dudes who probably like punk and hardcore. Saves the Day, A Wilhelm Scream, maybe a touch of No Idea Records stuff all comes to mind. Most of it is stuff I’m not all that interested in, but it is what it is. And if you like your rock blasting from the radio Transit will probably scratch that itch. I’d just feel bad for them if they had to be sandwiched between the latest offerings from Godsmack and Fallout Boy while some corny-ass DJ took callers for free tickets to Balloon Fest. (Run For Cover Records, www.runforcoverrecords.com)

RELAX....

Apparently the drummer from Swing Kids didn't like my show write up (see previous entry comments). It's called an opinion guy, it doesn't mean it's correct. It's just my impression of what I saw. By the way, did I mention how much Threadbare and Undertow killed it?