Album Reviews

AUTOLUX
Future Perfect
(DMZ/Red Ink)
A decade ago, a band applying drastic dynamic shifts and squalling noise to melodic rock like Autolux would have been the toast of the alt.rock underground. Nowadays, after the failure of similar bands like Medicine to live up to their potential, the "edgy" alternative rock of Future Perfect sounds not only dull but, even worse, old hat. Nicely produced by T Bone Burnett, though. Michael Toland [buy it]

DAMNATION
Destructo Changelia
(Threeman/Candlelight)
There are about a zillion bands with the name Damnation; this black metal troop has been stomping across Scandinavian climes since 1990, though Destructo Changelia is its first album. Led by a couple of malcontents who call themselves Churchburner and—get this—Insulter of Jesus Christ, Damnation eschews the progressive leanings of its peers for pure, unadulterated hate and as much raw power as possible. The band's use of almost catchy riffs, surprisingly articulate vocals (more growl than screech) and clear sound sets it apart from otherwise similar Nordic smears like Darkthrone and 1349. Connoisseurs of the genre will definitely dig Damnation. But how do these guys take a piss with those long nail-spiked wristbands? Michael Toland [buy it]

THE FLESH
The Flesh
(Gern Blandsten)
I know new wave is back, but I had no idea there were so many bands who liked to party like it's 1982. The Flesh yelps its way through this disk over busy analog synths, scratchy guitars and a twitching, demi-funk groove. Sometimes the NYC quartet brings to mind early Cure, sometimes Wall of Voodoo, sometimes ABC. Unfortunately, it doesn't compare favorably, no matter what your opinion of its inspirations. And when the band tries to cross their retro approach with hip hop on "Cuts," it just makes me want to smack each member with a box of Afrika Bambatta 12-inches. Michael Toland [buy it]

FLOORIAN
What the Buzzing
(The Committee to Keep Music Evil)
Dark psychedelia from Columbus, Ohio. The band veers deftly from raging guitar maelstroms like "Or So They Say" and "Alt.11" to almost ambient drifters like "Aether Spill" and "Heavium." While the band is expert at both approaches, it's at its best splitting the difference with spacey, feedback-ridden epics like "Symptoms Alone" and "Overruled." Admittedly, there are a ton of bands that do this kind of heavy psych orchestration, but if, like me, you think there can never be too many acid rockers frying amps and piercing eardrums, than Floorian will be happy to take you on your next trip. Michael Toland [buy it]

THE GRIP WEEDS
Giant on the Beach
(Rainbow Quartz)
The Grip Weeds' fourth album is, well, pretty much like their last three, full of jangly, psychedelia-tinged guitar pop that's 60s-derived in execution but contemporary in production. Almost scary in its consistency, the band is as tight and tuneful as ever—cuts like "Midnight Sun," "Closer to Love" and "Give Me Some of Your Ways" burst with melody and hooks. Not sure what the mystical spirituality of "Infinite Soul," "Waiting For a Sign" and "Astral Man" is all about, but hell, when the messages are married to music this good, I'll overlook a lot. Michael Toland [buy it]

HELL'S HOUSE BAND
Dozen Lies
(Hard Soul)
Dozen Lies slams into gear with its title track and takes you on a blues/rock journey until it delivers you back in your driveway. Sounds range from "How Bout A Few Words," with its infusion of an almost jazzy rap feel, to the dark and contemplative "How Many Fools" and "Two Angels." "Deep Dark Well" laid down a groove that forced me into submission. Despite all the various sounds and influences, Mark Curry and the band maintained a unified sound that is distinctively their own. With the intimate feel of this recording, I sometimes felt that I was sitting back in a club listening to them live. But don't mistake this band for background music. Curry, the band's vocalist, has a distinctive history of songwriting that cannot be ignored. Through the nineties, Curry has worked with names like Lenny Kravitz and Keith Richards, among many others. After several solo albums, this collaboration is yet one more addition that will please Curry fans and newcomers alike. Jeremy Gant [buy it]

LOW MILLIONS
Ex-Girlfriends
(Manhattan)
Low Millions' Ex-Girlfriends is a collection of sophisticated, though mushy, pop songs. The band, probably induced by the revolving door philosophy, cover plenty of territory on this record. But more than the subject matter, the striking thing about Ex-Girlfriends is the way each song drips with sound. The arrangements utilize every note to the fullest as the band creates a perfect perch for Adam Cohen's vocals. Guitarist Michael Chaves has the entire record at his command, blazing a trail for the others to follow. Low Millions has been known for its live shows and seems to have captured the spirit of a live gig with this album. Lance Looper [buy it]

MENOMENA
I am the Fun Blame Monster!
(FILMguerrero)
You could listen to the first four tracks of I am the Fun Blame Monster and have no idea it was the same band behind each of the wildly different songs. The group's experimental approach takes center stage, leaving the actual music as nothing more than background noise. At first, this album is melodic and ethereal instrumentals. Then, after finally creating an identity for itself, the songs take a turn for the melancholy with "Oahu," an over-produced but spooky tune with a really cool guitar/piano combo. Finally, we are shifted into a more traditional sound with "Rose and the Monkey's Back." The one constant of this record is the great drumming. Another cool thing that may interest only me is that the record comes with a nifty flip book, rather than the traditional jewel case. Lance Looper [buy it]

THE MILLION DOLLAR MARXISTS
Give It a Name
(Gearhead)
Give It a Name is an ear-splitting flood of blazing punk guitars and angst-driven lyrics. Beginning with practically the first chord, the band packs as much as possible into each song. "Do the Emotion" and "Bleed," the one-two punch that launches Give It a Name, establish the chaotic and angry tone of the record. This gives most of the album its punk-by-the-book attitude and makes the band come across as limited, a one trick pony. "Le Shake" breaks from the formula, however, and provides a glimpse into what the band might be capable of with a little experimentation. The final cut, "Hold Me," is also a breath of fresh air on the album but these two tunes come too late in the punk-dense "Give It a Name" to save it. Lance Looper [buy it]