SILENCE IS TREASON - S/T

Not since the Vietnam War has there been such an uprising of musicians who have used their music to make political and social statements. Chances are most of you have yet to hear the music of Silence Is Treason. On their self-titled release, they bring us lyrics strong in meaning and don't hold back. The music is along the lines of a System of a Down sound, but a bit more progressive. Musically it's very intricate, but I didn't care too much for the vocals. I was impressed with the content of the lyrics. "A New American Century" is a song that exposes the dirty truths behind the controversial neo-conservative group The Project for a New American Century. Overall, this is an impressive yet sobering album.

(Review originally appeared in the December 2005 issue of Skratch Magazine)

THE BLAM - CAVEAT EMPTOR

The Blam treats us to a collection of mellow soundscapes and driving artsy rock. This album would sure please anyone who likes straight-ahead indie rock. Unfortunately, this album didn't do too much for me. My problem lies in the fact that the music featured on this album sounds like something that has been done a million times before. It's fairly obvious that they draw from many different influences but don't separate themselves from those influences. There's nothing really original here. CAVEAT EMPTOR isn't the worst-sounding album, but it came off bland and uninspiring. I did enjoy the title cut, but its recycled sound had me searching for something with more originality.

(Review originally appeared in the December 2005 issue of Skratch Magazine)

THE JADE SHADER - CURSE OF THE TUATARA

Hailing from San Diego, The Jade Shader brings us this seven-track EP. At first listen, the first track, "Minnesota", introduces the band's sound. It's slow to mid-tempo sound seems to flow quite naturally and gives off a great vibe. As the album plays on, the tracks become more up-tempo and turn from something natural into something more clichéd.

It's not necessarily bad-sounding, but the music becomes a bit repetitive.

The vocals glide along to mediocre guitar work, and the rest of the tracks seem to blend into one. Maybe a change will occur by the time The Jade Shader returns with a full-length effort—but for now, I'll pass.

(Review originally appeared in the December 2005 issue of Skratch Magazine)

VARIOUS ARTISTS - PRIMOSONIC RHYTHMS VOL 2

Ska isn't dead. Nor is this album, by a long shot. This disc is filled with some great ska, dub, reggae, and rocksteady tracks from some of California's best skankin' acts. The Aggolites provide some great dub with the first track, "Black Lung". Its sound is reminiscent of Lee Perry from the early 1970s. Chris Murray's one-man ska act contributes the moving song "Fourth of July". Monkey represents the Northern California ska sound with pride with "Sound System". This is perhaps one of the best compilations I have heard in years. Spark it up, my friends, and enjoy!

(Review originally appeared in the December 2005 issue of Skratch Magazine)

THE DREADFUL YAWNS - S/T

It's time to slow things down with this self-titled disc from The Dreadful Yawns. This is their first full-length album to be released on Bomp! This title ended up hitting me like a fresh breeze with its Southern folk sound and country twang. The lyrics have a bluegrass feel and are simple but stellar throughout. I was impressed with the use of harmonica and steel guitar on tracks like "You Sold the Farm" and "Get Yourself Back Home". This album hints at influences ranging from Bob Dylan to The Grateful Dead but remains unique to The Dreadful Yawns original sound. I'm still taken aback by the fact that SKRATCH is reviewing music like this. It's fresh, and its different sound is a nice change from the hard punk-rock music I'm used to hearing.


(Review originally appeared in the November 2005 issue of Skratch Magazine)

JOHN DUFILHO - S/T

This is the first solo effort for Dufilho. On this album, he takes on the task of writing, producing, and recording all the music on his own—not to mention playing all the instruments. The music is a mix of quirky mid-tempo power pop. It's clear to see that Dufilho has brought a lot of influences out on this disc, as he uses a lot of electronic loops and silly yet catchy lyrics. I loved the fact that one second you feel as though you are listening to a rough demo album and the next he hits you with a lush stereo soundscape. The one thing I took away from listening to this album is that there are still musicians out there who are talented enough to take their music and do what they wish with it. It's honest music that stays true to Dufilho's intentions as a musician.

(Review originally appeared in the November 2005 issue of Skratch Magazine)

HORSE THE BAND - THE MECHANICAL HAND

If the Super Mario Brothers formed a metal band, it would probably sound something like this. Horse the Band brings us an interesting mix of hard rock laced with synthesized sounds that remind me of the endless hours spent playing Nintendo as a kid. The music is hard and fast, and the lyrics are loud but really hard to understand. This album also reminds me a bit of bands like System of a Down. At times, the keyboards border a Van Halen sound and provide a different sound not found in today's mainstream hard-rock scene. In the end, THE MECHANICAL HAND is a truly original album that isn't afraid to be different-sounding than the rest of the music out there today. It's odd sound kept me amused...but didn't blow me away.


(Review originally appeared in the November 2005 issue of Skratch Magazine)

TSAR - BAND GIRLS MONEY

Attitude oozes out of the latest effort from Los Angeles's own TSAR. This 10-song disc is loaded with catchy, clichéd rock riffs and vocals that at times sound just too sweet for my liking. They seem to be going for a post-glam rock, Sunset Strip hair-band feeling that left me half satisfied (if that). I was not impressed with the lyrical content, which seemed to be thrown together. It's quite easy to name a song and repeat its title over and over again (as in "Straight"). I was impressed with the guitars throughout this album, as they hammer out some hot licks; but the use of echo effects on the vocals become quite humorous and annoying. Although I can say that there is potential here, the clichéd sound left me bored and searching for something else to satisfy my musical cravings.

(Review originally appeared in the October 2005 issue of Skratch Magazine)

SILVER - WHITE DIARY

They say you shouldn't judge something by its cover, and it's true—especially in the case of the debut album from Norway rockers Silver. By the looks of the cover, I was expecting a horrid Guns N' Roses cover band. I found instead a decent mix of straight-ahead rock with influences ranging from early punk to glam rock. There is nothing out-of-this-world amazing about this release, but there is also nothing too terribly wrong with it, either. Its sound is quite poppy, with catchy vocals and riffs, and it's put together quite nicely. I would say that Silver played it safely when it came to making this album, with a mix of tunes that don't stray too far from a mainstream sound. For what it's worth, WHITE DIARY proves to impress within its boundaries but is far from exceptional. www.thesilverband.com

(Review originally appeared in the October 2005 issue of Skratch Magazine)

NUMBERS - WE'RE ANIMALS

It's Moog synthesizer appreciation time as we take a listen to the newest album from Numbers. The use of this unappreciated instrument is the driving force of WE'RE ANIMALS. Its eclectic sound mixes a brilliant use of rough guitars, as if aiming for a garage sound, while undertones of the Moog top it off with a very experimental, electronic ambient sound. There is a lot of Devo-influenced material here (e.g., "The Fuck You Garage"). The lead vocals from Indra Dunis (who is also the drummer) remind me of Bjork, especially on "Beast Life". This album grew on me each time I popped it into my stereo. It's subtle but driving sound left me very, very impressed and wanting more. Numbers are currently in the middle of a nationwide tour but are to return to West Coast in November. www.numbersmusic.com

(Review originally appeared in the October 2005 issue of Skratch Magazine)

HANK JONES - SATURDAYS OF THUNDER

There's a certain attitude hardcore bands have to live up to to be tougher than the next guy. These rules don't seem to apply to Hank Jones on their newest release, SATURDAYS OF THUNDER. Don't get me wrong, though: it's filled with hard-hitting, balls-to-the-wall rock with unmercifully harsh vocals. Those vocals from the mouth of Mike Torti are consistent throughout this effort and bring the lyrics to life with emotion and power. Normally, non-stop screaming would bug me to the point of turning it off and never going back again, but that didn't happen with this album. The guitars produce simple but exact riffs that generate a feeling of pure adrenaline. SATURDAYS OF THUNDER comes off as an honest account of what this band is about: music minus attitudes and egos. www.undecidedrecords.com

(Review originally appeared in the October 2005 issue of Skratch Magazine)

THE TRACK RECORD - S/T EP

This five-track EP from The Track Record has all the makings of a successful pop-punk release. It's got the high screechy male vocals and the never-ending saga of young adults and their battle with teen angst. To say it's been done before would be a major understatement. When dissected track by tack, this album comes up way short of being original. The vocals remain high-pitched and annoying though all five tracks, and the musicianship is average, at best. It's cookie-cutter pop-punk sound might catch the ears of those who like bands like Yellowcard or The Starting Line. Although I don't think much of The Track Record's sound, I wouldn't be shocked if we hear from them again in the near future. This whiney drab has staying power that can't be explained.

(Review originally appeared in the September 2005 issue of Skratch Magazine)

EMPTY SILOS ECHO WAR - INNER WORKING MECHANICS OF A FAILED CONSTRUCT

Ever discover a band or album that you just can't recommend to everyone due to the fact that it's a bit too "different" for mass acceptance? After listening to INNER WORKING MECHANICS OF A FAILED CONSTRUCT, it's safe to say this album is "different." This disc will take you on a roller-coaster ride of emotions. One second you get suckered into a false security with a soft harmony filled with almost subsonic sounds, and the next second you are being slammed about by harsh vocals and heavy guitars and drum beats. This album is also quite versatile, as evinced on "We Share a Frequency", with its funked-out guitars and catchy lyrics. If you have an open mind to eclectic music, I'd say check it out. You will either love or absolutely hate this album. www.roklokrecords.com

(Review originally appeared in the September 2005 issue of Skratch Magazine)

MINUS THE BEAR - MENOS EL OSO

On their Myspace page, they describe their sound as, "ting ting ting ting, ting ting, ting ting ting ting." But there is a lot more than just "tings" to this second full-length release from Minus the Bear. What you will experience within this album is a great balanced mix of mid-tempo rock with a rock-solid electronica foundation. Those "tings" could come from the high-strung chords of guitarist David Knudson or the futuristic, tweaked computerized sounds of Matt Bayles on electronics. Knudson's guitar seems to be the driving force of the band, along with the impressive and emotional vocals of Jake Snider. The laid-back beat and mellow vocals on "El Torrente" definitely makes it track one of my favorites. This album is worth checking out.

(Review originally appeared in the September 2005 issue of Skratch Magazine)

PRIDEBOWL - DRIPPINGS OF THE PAST

Originally formed in 1993 in Sweden, Pridebowl brings us DRIPPINGS OF THE PAST. This is a re-release from '96, which also includes their '95 EP LONG DISTANCE as bonus tracks. This album features Aaron, the only American in the band, on vocals, while the rest of the band (Stefan and Henrik on guitar, Oskar on bass, and Martin on drums) are natives of Sweden. What you will find on this album is a collection of mainly fast-paced punk-rock tracks. Influences range from Millencolin to Iron Madden. The percussion is the driving force through most of this album, with guitars screaming out hard and heavy metal riffs. I found Aaron's vocals to be one-dimensional, monotone throughout the majority of the songs. In all, the musicianship on this album is impressive, but nothing out of this world. www.badtasterecords.se

(Review originally appeared in the August 2005 issue of Skratch Magazine)

FACING NEW YORK - S/T

The long-anticipated debut album from Facing New York is finally here. Even before cuing up the first track, I was impressed with the fact that this album was recorded entirely live in the studio. The band also took up the grueling task of producing the album. Sometimes taking chances like these can produce great results...and this album is no exception! Its progressive rock with an indie rock twist comes off crisp and vibrant. I absolutely love the use of keyboards in the song "Full Turn". The lyrics of the first track, "We Are", hit home with tons of emotion that puts you into the shoes of a band that struggles day to day reaching for their dreams of a musical euphoria. This album has a certain flow that is consistent throughout the entire album and subtle but not held back. This is a definite buy!

(Review originally appeared in the August 2005 issue of Skratch Magazine)

WORLD WAR IX - PANIC ATTACK

f there's one thing World War IX has made clear with their debut album PANIC ATTACK, it's that simplicity is a good thing. This 11-track disc is filled with good ol' three-chord East Coast punk rock. No need for flashy sound effects and extravagant guitar solos. The catchy vocals from Max Strum and bouncy guitar riffs from guitarist Justin Melkmann make for an upbeat feeling that has your foot tapping though out the duration of the album. They also threw in a surprise by covering GG Allin's "New York Tonight". PANIC ATTACK has the feeling of a classic punk album. It's raw sound makes for a real treat for anyone who enjoys no-thrills, no-frills East Coast punk rock. Surf on by their Website for more info on this four-piece band from NYC. www.worldwarix.com

(Review originally appeared in the August 2005 issue of Skratch Magazine)

SHELBY - THE LUXURY OF TIME

Let me start out by saying I have never really liked U2. They're mediocre adult-contemporary rock from Ireland. (Let the hatemail come pouring in.) So why bring up my distaste for Bono and the boys here in this review of LUXURY OF TIME by New York band Shelby? For one, the sounds heard on this album are a total rip-off of bands like U2 and Radiohead. The beat structures for a majority of the songs are simple and repetitive. The vocal stylings of Kenny Cummings are almost a dead-on match to those of Bono. The feeling I got when listening to LUXURY OF TIME was like I was listening to musical version of a mime, just waiting for it to break out of its imaginary box and have a personality. My suggestion: pass this up, unless you enjoy bland and boring contemporary rock. This one is a dud!

(Review originally appeared in the August 2005 issue of Skratch Magazine)

THE WILLOWZ - TALK IN CIRCLES

Don't be fooled by their name: The Willowz aren't here to sing you a lullaby. With their newest release, TALK IN CIRCLES, I'm sure they will have you wide awake, bobbing your head, and begging for more. What you will find on this album is 60+ minutes of raw, unadulterated, rockin' garage music with some mellow, low-key tracks (like "Equation #2" and "Blind Story"). The vocals from Richie Follin and Jessica Reynoza make for a good balance between the strong backbeat and blaring guitars that create their unique sound. This is what garage music is intended to sound and feel like. "Horn Song", "What's Wrong Is Right", and "Linear Communication" are some of my personal favorites. WALK IN CIRCLES is a must-have for anyone who flat out loves good rock 'n' roll.

(Review originally appeared in the July 2005 issue of Skratch Magazine)

THE TRANSMISSIONS - OVER WIRES

Hailing from Los Angeles, The Transmissions bring us OVER WIRES. This album is a collection of 11 cuts that are filled with a mix of up-tempo rock, catchy lyrics, and funky guitar riffs from Christian Bienne. The first track, "Traffic", hits you hard with a strong percussion foundation backed by driving yet subtle guitar lines. At times, what seems to be a loosely-structured song turns into a jam session in which each band member can shine at what they do best. I liked that a lot. The guitars are always in harmony with the drumming of Dennis Duncan and are the driving force behind this album. In all, OVER WIRES showcases what The Transmissions bring to the musical table, music with a hard-hitting edge that is different and refreshing. Find out more by checking out their Website, www.thetransmission.net.

(Review originally appeared in the July 2005 issue of Skratch Magazine)

KASH - OPEN

The world loves a gimmick. If this holds true, the world will love OPEN by Italian quartet Kash. Unfortunately, after giving this album a spin, I would have to strongly recommend that the masses stay away from this release. Kash's sound is an attempt to recreate the sounds of the post-rock days of Bowie but falls way short. The vocal stylings of Stefano Abba aren't anything to be excited about, as his shrieking and mumbling lyrics feel dead and meaningless. The guitars strum sporadic chords that seem to be out of place with the beat. I did, however, find a diamond in this music madness from their drummer, Flavio Cravero, whose display of percussion skills were the only positive aspect. In the end, OPEN sounds like nothing more than musical mush, and Kash's attempt to be "different" comes off sounding a bit too rehearsed.

(Review originally appeared in the July 2005 issue of Skratch Magazine)

DISENGAGE - APPLICATION FOR AN AFTERLIFE

APPLICATION FOR AN AFTERLIFE is Disengage's third LP and doesn't hold back when it comes to foot-smashing beats and hard-hitting, heavy guitars. As I finished listening to the first track, "Pharmacyland", I was pretty impressed with the musical aspects of this album. As I ventured on through the next five tracks, the music became repetitive. The beat structure of the majority of the songs remained the same and became a bore to listen to. I found the lyrics well-written and meaningful, but lead vocalist Jason Byers's vocals didn't convince me they were heartfelt. In fact, I didn't feel anything. "Love Letter Rough Draft" did impress me with its tempo changes and lyrical content, as I finally felt some true emotion from this band. With that being said, I can't suggest buying APPLICATION FOR AN AFTERLIFE. The few songs that were promising aren't enough to keep this title afloat.

(Review originally appeared in the July 2005 issue of Skratch Magazine)