This LP by Ohio quartet sounds like the flawless result of an indie rock formula: four Midwestern-to-Brooklyn dudes with great influences rocking their asses off. What’s not to like? The album is a little guitar-centric, but their songwriting is catchy and well-developed. These guys have the DIY/epic sound ratio down pat, and “City Lights” sounds like Elliott Smith with a really kickass band. – Alexandra Jones
Supported by Babyface and daughter of James DeBarge, Kristinia DeBarge debuted Exposed at no. 23 on Billboard 200 in late July of 2009. Kristinia’s sassy first single, “Goodbye,” was a confident summer staple and peaked at no. 15 on Billboard Hot 100. Exposed is pulsating with just as much swag in follow-up singles, “Sabotage” and Varsity Fanclub cover, “Future Love.” Kristinia’s vocals are on-point, combining the emotion of teen love and heartbreak infused with some soulful attitude beyond her years. Exposed is saturated with high-spirited dance tracks, as ballads such as “Died In Your Eyes” and “It’s Gotta Be Love,” continue to remain balanced and upbeat. Fresh off of opening for The Circus Starring: Britney Spears Tour and partnering with clothing retailer Wet Seal, Kristinia DeBarge has the gift and determination to live out her legendary name and make her own mark in the pop/R&B genre. - Julianne Cassady
These West Chester jokers open their debut with a paean to Vanessa Hudgens, tackle the pressing issue of texting, cover the Black Eyed Peas and throw in two—count ‘em!—interludes. Over 14 tracks, singer Mike Tonkinson shreds his vocal cords, but the rhythm section works overtime and there’s plenty of tricky dual-guitar interplay. How they develop is anyone’s guess. Meanwhile, hide the Zappa. -Raymond Simon
Music Review: Mayer Hawthorne "A Strange Arrangement"
Mayer Hawthorne
A Strange Arrangement
BAD ASS
You could call vocalist/multi-instrumentalist Mayer Hawthorne’s music neo- or retro-soul – the sound on A Strange Arrangement is ‘60s silky smooth but fresh as Dee-troit morning dew. Hawthorne combines soul sensibility with a Jens Lekman-like attention to detail, especially on the effervescent heartbreaker “Just Ain’t Gonna Work Out,” and poppy, jaunty “One Track Mind.” An excellent addition to your Motown-centric catalogue. –Alexandra Jones
So has hipster garage fuzz been a coined term yet? If not, then it has been coined now. That is possibly the best way to sum up the band Four Year Beard. With enough fuzz to make Eric Oblivion scream for the lord to save him, this makes Four Year Beard one of the most interesting things to come out in some time. With enough energy to power a city, this 12 track gem will keep you rocking out all night. - Dick Daugherty
Germano explores melancholy with such single-minded determination that she fetishizes it. The tension between the spare, mostly acoustic, pretty music and the bleak lyrics is so great it’s got to be some kind of achievement. “Bitter and worn out girl, / No one feels sorry for you,” she sings on the anti-single, “Simple.” Indeed. Only the two instrumentals and the abstract “Suli-mon” bear repeated listening. - Raymond Simon
Debut releases of many rock bands suck. From poor production to lousy songwriting, there’s a multitude of things that can and do go wrong. But the self-titled debut from Adelitas Way sounds mature in the sense that these guys know what good rock is and what it should sound like. From the first track straight through to the last, it’s clear that Adelitas Way has staying power.
-Lilly Ryden
Album Review: Five Finger Death Punch - "War Is The Answer"
Five Finger Death Punch War Is The Answer
BAD ASS
From the first few seconds of “Dying Breed” it’s clear that FFDP comes ready to throw down and beat the living shit out of the listener. While not every track is a total audio assault, the softer (for lack of a better term) songs manage to maintain an overall feeling of brutality. This album is perfect for someone looking to be in a pit or be busting some skulls. -Lilly Ryden
Album Review: Charred Walls of the Damned - Charred Walls of the Damned (Sampler)
Charred Walls of the Damned
Charred Walls of the Damned (Sampler)
BAD ASS
Heavy metal in its purest with obvious influences from Dream Theater and King Diamond, this three song sampler offers just a tiny taste of what’s to come on Charred Walls of the Damned self-titled album. Unfortunately, we’ll all have to wait to hear Richard Christy’s notable percussion skills. And how’s the rest of the band sound? The consensus is- Awesome. -Kate Gamble
Brilliant Colors frontwoman Jess Scott likely has a cooler record collection than anyone you know. On their debut LP, the San Francisco trio prove to be well-versed in Rock’N’Roll’s most significant sounds and scenes. Opening track “I Searched” embraces both the spunky pop of The Runaways and the haunting simplicity of the Velvets, “Absolutely Anything” juvenilely rocks in the style of any Riot Grrrl, and the gentleness in tone of “Should I Tell You,” combined with its abrasive echo form to make a kind of garage twee. With the recent additions of Diane Anastasio and Michelle Hill (former touring guitarist for The Slits), Brilliant Colors nearly-genius debut proves to the world of pop that they are far from Typical Girls. – Izzy Cihak
If Morningwood were a highschool stereotype, they would be the head cheerleader who likes it rough in her parents’ hot tub. The NYC outfit returns with a batch of dangerously catchy songs about late night hookups (“Three’s A Crowd”), flesh-hungry Arctic natives (“Bipolar Bear”), and the joys of homicide (“Killer Life”) that are just as suitable for aerobic workouts as “congratulating” the winning quarterback. For their second LP, the group’s brand of power pop sounds more refined, poignant, and disco-friendly than ever before. Although the doing-away-with of any major riffage has Diamonds & Studs sounding far less brash than their previous full-length, frontwoman Chantal Claret’s head is still securely in the gutter, ensuring that Morningwood are just as crassly sassy as ever. – Izzy Cihak
Had they been birthed 33 years ago, Glass Ghost could’ve scored Eraserhead. Their listless, dreamlike beats are ineffably haunting, coaxing the listener into a postindustrial wasteland ruled by rusted machinery. There is, however a Masochistic beauty to be found in the audio horror of the Brooklyn duo. The inverted vocals of Eliot Krimsky violently gasp for air, as if trapped in the nightmarish world you had always hoped for only to reach the promised land and yearn for a single sign of life. Synthesizers have never sounded so daunting and undanceable. – Izzy Cihak
Faster Pussycat Front Row For the Donkey Show Full Effect Records
2009’s best live album is less likely to be reviewed by Pitchfork than Michael Jackson is to posthumously win the Babysitter of the Year award. The kings of Sunset Sleeze (still looking like fabulous Goth queens) present you with a collection of anthems about the finer things in life, including BDSM, whorehouses, and glory holes. – Izzy Cihak
Music Go Music’s Expressions sounds a bit like Siouxsie Sioux on a hippie commune. Vocalist Gala Bell’s hauntingly soulful voice soars through one epic track after another. Although Music Go Music’s sound varies from song to song, it’s all undeniably retro. They blend groovy psychedelic riffs with uplifting disco beats seamlessly for a sound that is both warm and decadent. It’s anyone’s guess where the band got their inspiration, although if it were thirty years ago, it would be a good bet that they made a hobby of listening in on the soundtracks of their parents’ key parties. – Izzy Cihak
There is a gentle mysticism to Shelley Short that allows her to transcend the ineffably dull genre of the “singer/songwriter.” The wispy vocals and lingering guitar plucks of her brand of alt. country inspire sometimes haunting existential reflections on the most simple (and most daunting) aspects of life. Although A Cave, A Canoo lacks a standout track, the whole will serve you well on lonely Sunday afternoons spent wondering what happened. – Izzy Cihak
Imelda May’s debut album could be the soundtrack to the classiest bar brawl you’ll ever witness. Although this Irish lass kicks off Love Tattoo with a slew of dial-a-cliché jazzy Rockabilly tunes, by the fourth track May is proving to be the most badass chanteuse on either side of the Atlantic with the most intriguing take on Chicago blues since the Dolls and balladry that would’ve made Lux Interior weep. Izzy Cihak
No matter how unique you sound, listeners can lose interest. Litmus is best comparable to a third-rate upbeat Pink Floyd - lots of cool effects, but not much else, except for random traces of Rush and, oddly enough, early Joy Division. Automatic props for actually playing instruments, but with all of the spacey bleeps, a 10 minute song is just overkill. – KG
Evergreen Terrace is reminiscent to a less whiney Finch with better lyrics and some pretty funny references. For those who aren’t into metal, but occasionally still like the noise, these guys are a decent start. “We’re Always Losing Blood” incorporates some hardcore screaming layered over what could pass for Blink 182’s Mark Hoppus. Don’t believe me? Listen. You’ll hear it. –Kate Gamble
Amon Amarth’s The Crusher Reissue is Swedish death metal at its finest with one little flaw. Or maybe it’s not so little. While the album is undoubtedly solid, whether recorded studio or live, the drums are noticeably off in multiple songs. Other than that, “Releasing the Surtur’s Fire” and the cover of “The Eyes of Horror” have become personal favorites. – Kate Gamble
Cryptacize, a California indie-rock band, doesn’t rely on things like timing, standards, and supposed influence to create their eclectic sound. So, when experiencing their new album Mythomania, it’s important to put your ideas of what your indie is supposed to sound like to the side.
Part Deerhoof, part Why?, songs like “One Block Wonders” feature singer Nedelle Torrisi's high tenor voice box combined with a trebled rock guitar straight out of the late 60s. At the same time, “Tail and Mane”, the album’s first song, might as well be considered a circus waltz fit for a clown. - Randy LoBasso
