SLEEPING PEOPLE

SLEEPING PEOPLE
GROWING (2007)
320 KBPS

Growing advances Sleeping People as a band in every way. It's faster, more aggressive, more thoughtful and more dynamic than their debut. Engineered by Ben Moore (Hot Snakes, The Black Heart Procession), the songs are pushed to extremes, sparking an addictive adrenaline high that is ultimately eased by Rob Crow's surprise appearance at the conclusion of the album, his saccharine vocals providing a perfect, blissful freefall. Growing is Sleeping People at their most inspired. It is a document of a sometimes frantic, always fearless band who sounds best when they're only pretending to be in control. Like the band itself, Growing embraces change with an improvisational flair that is both confounding and consuming.

1. Centipede's Dream
2. James Spader
3. Yellow Guy/Pink Eye
4. Mouth Breeder
5. ...Out Dream
6. Three Things
7. Grow Worm
8. Underland
9. It's Heart Loves Open
10. People Staying Awake

LIGHTNING BOLT

LIGHTNING BOLT
EARTHLY DELIGHTS (2009)
320 KBPS

For the uninitiated the mighty Bolt are art students from Providence, Rhode Island. Brian Gibson plays bass and Brian Chippendale plays drums, often with a mask made out of a pillowcase on his head and a mic in his mouth so he can ‘sing’. Together they make a sound not unlike an angry volcano god jizzing hot magma into your ears. Live they are kings of the guerrilla gig, playing at intense volumes in the middle of their crowd, often causing pandemonium. On record some of this context is lost, but the band make up for it by plumping for overdriven, live-in-the-studio performances. Out of the lo-fi punk/hardcore/black metal bedrock clatter of sound they create, lysergic and buzzing riffs clarify gloriously before melting back into chaos.

1. Sound Guardian
2. Nation of Boar
3. Colossus
4. The Sublime Freak
5. Flooded Chamber
6. Funny Farm
7. Rain On Lake I'm Swimming In
8. S.O.S.
9. Transmissionary

PELE

PELE
ENEMIES (2002)
320 KBPS

Instrumental music in general is always a tough genre to tackle. Very few bands are ever able to create any kind of substantial fanbase, and those that do just tend to get weirder and weirder [I'm looking in the direction of Godspeed You Black Emperor! and their fans]. Pele, on the other hand, isn't trying to reinvent the wheel with their laid-back jazzy grooves - they merely want to see how many different ways they can spin it.
"Enemies" is the fifth proper release from this Wisconsin quartet - yup, you heard me right, they are now a quartet, with the additon of Jon Minor playing, of all things, computer. I suppose he's the one who is responsible for creating all the atmospheric sounds that ebb and flow throughout the album's 47 minutes. While there are technically 9 different tracks, they all sort of blend together in one gigantic indie rock symphony. You can always seem to feel when one song winds down and the next starts up, but none of it feels forced. The album sounds like it was recorded start to finish - I could envision the tracks in no other way.
The disc's artwork lives up to Polyvinyl's always high standards, utilizing what could be charcoal drawings for liner notes. It's all very soothing [although as I examine the back cover more closely, it looks as if the sketch of the drummer contains no pants], and adds to the overall affect of the release.
This music won't blow you away, nor will it have you singing along to the mysterious guitar melodies. It is the absolute perfect chillout CD, and is in heavy rotation on my "Sunday morning" listening agenda. Pele's "Enemies" has made one friend right here, and I bet they'll make more if you give it a try.

1. Crisis Win
2. Safe Dolphin
3. Hooves
4. Hospital Sports
5. Hummingbirds Eat
6. Super Hate
7. Sepit
8. Cooking Light

THE MERCURY PROGRAM

THE MERCURY PROGRAM
ALL THE SUITS BEGAN TO FALL OFF (2001)
320 KBPS

An excessively rich and gorgeous five-song EP from the Mercury Program, who are growing to become recognized as one of the most ingenious and talented bands active today. All the Suits Began to Fall Off shows a remarkable progression from their first full-length, From the Vapor of Gasoline, as their songwriting has become more tactful, interesting, and therefore effective. The bare traces of vocal stylings found interlaced in previous efforts have been completely removed, allowing the music to bloom more on its own.

1. The Secret to Quiet
2. There Are Thousands Sleeping in Peace
3. Marianas
4. Undiscovered Genius of the Mississippi Delta
5. Delicate Answer

A DATA LEARN THE LANGUAGE (2002)
320 KBPS

The third album by Florida-based quartet Mercury Program is a small departure, eliminating vocals entirely and adding electronics for the first time to what had previously been a richly acoustic, almost jazzy sound. The band is still centered around Whitney Travisano's electric piano and vibraphone (guitarist Tom Reno and drummer Dave LeBleu also add vibes to several songs), which gives A Data Learn the Language a cool, mellow feel, like the Sea and Cake reinterpreting their favorite Modern Jazz Quartet sides. The electronics and loops are introduced sparingly, supporting the eight lengthy songs and adding new and interesting textures, but never becoming the center of musical attention. A Data Learn the Language will be of no interest to those who find instrumental post-rock insufferably dull, but it's consistently melodic, rhythmically varied, and unfailingly listenable. Coctails and Tortoise fans take note.

1. Tequesta
2. Fragile or Possibly Extinct
3. Slightly Drifting
4. Egypt
5. To/From Iceland
6. You Yourself Are Too Serious
7. Gently Turned on Your Head
8. Sultans of el Sur

AHLEUCHATISTAS

AHLEUCHATISTAS
OF THE BODY PRONE (2009)
320 KBPS

It’s like a full moon madness when one of your favourite bands has a new release on your favourite label. Asheville, NC power trio Ahleuchatistas‘ (pronounciation tip : the name comes from the Charlie Parker song “Ah-leu-cha”) fifth full length called Of the Body Prone is hands down the best mathcore/improv album this year to grace your speakers, and it might be the most balanced of their full buffet. Ahleuchatistas takes math rock’s erratic features to extreme levels while retaining melody and musicality, only to destroy it a few bars later and found something new. For the untrained ear it might be hard to follow, because of the hectic pace, but repeat listens put forth the complexity and compositional power. There’s a whole bunch of intellectualism on reviews, name dropping Gödel, Deleuze and Adorno, you might head to their myspace if you want to delve further into theory, but these two lines are enough talk about the music, say I.

1. 2/3 Consensus On The Un-Finite Possibilities
2. Owls
3. Those With Guns
4. Why Can't We Be In Jamaica?
5. Racing Towards The Hard Kernel
6. Eastside Uptight
7. Dancing With The Stars
8. Total Nightmare In A Deep Dive
9. Making The Most Of The Apocalypse
10. Map's Tattered Edges

NO KNIFE

NO KNIFE
FIRE IN THE CITY OF AUTOMATONS (1999)
320 KBPS

With Chris Prescott as the new drummer and Greg Wales handling production in place of Trombino, on Fire in the City of Automatons, No Knife would seem to be wanting a fresh start all around, though it's more a logical extension of where the band's been. In ways, though, the band has never sounded more immediately radio-friendly — and that's not an insult. There's something about the choppy but never spastic flow of songs like "Academy Flight Song" (with an obvious titular and subtly musical nod to Mission of Burma) which makes good driving music, propulsive and cleanly powerful. Overall, meanwhile, there's a sense — almost indefinable, but still present — of trying for the post-punk soar and sound of American bands like For Against, the Curtain Society, and 12 Rods. It's not only in the guitars, but in the way Mitch Wilson's voice, which shows ever more control and subtlety as the years go by, sings in a strong but not testosterone-laden way while also avoiding shrill shrieks. Meanwhile, the music shows the powerfully sorrowful side of the band like never before, whether it's the slow groove of "The Spy" (Brian Desjean and Prescott in particular deserve some credit on this one, while Ryan Ferguson's piano is a fine extra touch) or the equally captivating film noir shades of "Under the Moon," Wilson's singing often at his quietest yet most direct. The really wonderful "Minus One" not only shows off one of Wilson's best lead vocals yet, but is shot through with a swinging, epic rhythm mixed with just enough melancholic guitar chime. There's still enough out-of-nowhere rhythm section shifts to remind one of the earlier band — check out "Heavy Weather" or "Angel Bomb," the weird radio-signal guitar on the verses in particular being a strange, captivating touch.

1. Academy Flight Song
2. Minus One
3. Secret Handshake
4. Heavy Weather
5. K-214
6. The Spy
7. Charming
8. Angel Bomb
9. Short Term Memory
10. Under The Moon
11. Mission Control
12. If It Moves Kiss It

SPY VS. SPY

SPY VS.SPY
LITTLE LIGHTS (2000)
320 KBPS

Spy Versus Spy were an influential post-hardcore/math rock band from Stoke-on-Trent in the United Kingdom. Formed in 1998, Spy Versus Spy toured extensively in the United Kingdom and mainland Europe until their split in 2001. Members went on to play in the bands Future Adventures, The Wow, The Leif Ericsson, Radio Alice and Sequing and Panachio.
Today I give you their debut EP and album. A real treat for the connoisseur and a must hear for anyone interested in post-hardcore/math rock. Were they not english and have they had a little more chance, Spy Vs. Spy would have been big. They're just cult but still awesome.

1. Waiting For Centralia To Sink
2. Best Man Nomination
3. Little Lights
4. A Machine For Living In
5. Red Cars Go Faster
6. Kittyhawk
7. Petit Lumiere
8. The Captain Is Sleeping
9. Twenty Year Old Boys With Ten Year Olds Haircuts
Bonus Tracks
1998 EP
1. Game Ruiner
2. How The Cat Was Invented
3. Helpless, Sign In Please
4. Mocking Function
5. Rich Girl's Mistletoe
6. Union Station Still

EULCID

EULCID
THE WIND BLEW ALL THE FIRES OUT (2002)
320 KBPS

Almost as well known for their side projects, collaborations and connections with CAVE IN’S Stephen Brodsky and the vibrant Boston hardcore scene as their own considerable musical abilities — drummer Matt Redmond played with Brodsky in KID KILOWATT. CONVERGE’S Kurt Ballou briefly played drums in EULCID, and Law and Brodsky have recently formed NEW IDEA SOCIETY — EULCID’S The Wind Blew All The Fires Out is unquestionably a remarkable album, firmly standing on its own merits and music. A throwback of sorts to the post-rock/punk of early ’90s DC-inspired fury and DIY ethos, yet somehow never dating itself, The Wind Blew All The Fires Out retains all the energy and aggression of its predecessors yet reveals itself as an impeccably crafted and thoughtful endeavor. Utilizing layers of melodies, moods and tapestries of sound beneath the initial crash of EULCID’s fury, interwoven with meticulous playing that is at times restrained and at others nearly frenzied, The Wind! Blew All The Fires Out swirls in discordance excess while retaining melody and hooks, all the while being driven by the faltering yet perfect screams of Law. The Wind Blew All The Fires Out is not as much a traditional album as it is an adventurous and remarkable sonic journey posing as one.

1. Reaction Impulse Theory
2. To the Death of Intellectualism
3. Single Sender
4. To the Death of Irony
5. Forcing Forever Stopping Forever
6. Perfect
7. Persimmons
8. The Wind Blew So Hard All the Fires Went Out
9. Nickel Red
10. The Ocean vs. the Sand
11. Double Point Double Switch
Bonus Tracks
The Crane EP (1998)
1. Polite Guest
2. Postscript About Dancing
3. Dulling Gage
4. What to Do with Absent Space
5. Short Instrumental (Cranes)

CHEVAL DE FRISE

CHEVAL DE FRISE
FRESQUES SUR LES PAROIS SECRETES DU CRANE (2003)
320 KBPS

What can you do with an electro-acoustic guitar and drums? Cheval De Frise can make a whole wonderful insane album.
Cheval De Frise's music is an avant/math/noise-rock which is at times reminiscing Upsilon Acrux, Ruins and Don Caballero and yet they definitely have a sound of their own, easily identifiable and original.
A lot as Cheval De Frise manage to do in their albums and in this one in particular. Brilliantly going from the acoustic fast paced parts to the more twisted electric sounding ones; they manage to convey in their music vitality and complexity intertwined. It is fast-going, intense and determined, going forward all the time, without looking back or to the sides. It is a fantastic harmonious monologue-a-deux of the two musicians on their drums and acoustic and the electric guitar. It is not as weird as it might sound; rather the intensity of it might deter listeners and give a strong impression of hyper-complexity; this is indeed sophisticated and intricate but not as inaccessible as other avant-rock bands are. Rather it is quite accessible to my ears. They do show at times a hyper-fast typical math- rock characteristic a-la Don Caballero, but for the most part, the acoustic guitar is played ultra-fast which gives the chaotic impression a-la Ruins. I for one also feel that they have a good sense of melody, which may sound weird to people unfamiliar with this sort of style. However, this album would resemble even more other avant/math-rock bands if melody would not be part of it. The tunes here are as important as the complexity. This is not a stage to show only their skills as players, but also their talent as composers of a particular style that is more often than not, not associated with beauty. However, I find it is inherent to their sound. The electric guitar gives a good measure of variety to the intensity of the tracks; it also serves as good peaking point, a further climax in a multi-climatic track structure album. It also gives another dimension to the sound, keeping it from being too one dimensional. The album is made up of mostly short tracks, which goes well with this sort of style, and yet as I listen to it, there is a feel of continuity in a way that there is a sort of connecting thread linking the various tracks.
One thing that must be said: the musicianship is astonishing! The energy that the two musicians put into each track is amazing and probably equals that of entire albums of other bands. Both the guitar playing and the drumming are phenomenal; they are virtuosic, fast and accurate, passionate and jagged. This album is a delight to listen to not only for the music but also for this aspect, which is the brilliant playing.
This is a frantic ride, a fabulous avant-rock album that will please those looking for a rush and excellent fast and furious musicianship, highly recommended.

1. Lucarnes des Combles
2. Bora Lustrai
3. Le Puits
4. Deux Nappes Ductiles
5. Songes de Pertes de Dents
6. Fresques sur les Parois Secrètes du Crâne
7. L'Agonie dans le Jardin
8. Phosphorescence de l'Arbre Mort
9. IX
10. Chiendent

CHEVAL DE FRISE

CHEVAL DE FRISE
CHEVAL DE FRISE (2000)
320 KBPS

What can you do with an electro-acoustic guitar and drums? Cheval De Frise can make a whole wonderful insane album.
Cheval De Frise's music is an avant/math/noise-rock which is at times reminiscing Upsilon Acrux, Ruins and Don Caballero and yet they definitely have a sound of their own, easily identifiable and original.
A lot as Cheval De Frise manage to do in their albums and in this one in particular. Brilliantly going from the acoustic fast paced parts to the more twisted electric sounding ones; they manage to convey in their music vitality and complexity intertwined. It is fast-going, intense and determined, going forward all the time, without looking back or to the sides. It is a fantastic harmonious monologue-a-deux of the two musicians on their drums and acoustic and the electric guitar. It is not as weird as it might sound; rather the intensity of it might deter listeners and give a strong impression of hyper-complexity; this is indeed sophisticated and intricate but not as inaccessible as other avant-rock bands are. Rather it is quite accessible to my ears. They do show at times a hyper-fast typical math- rock characteristic a-la Don Caballero, but for the most part, the acoustic guitar is played ultra-fast which gives the chaotic impression a-la Ruins. I for one also feel that they have a good sense of melody, which may sound weird to people unfamiliar with this sort of style. However, this album would resemble even more other avant/math-rock bands if melody would not be part of it. The tunes here are as important as the complexity. This is not a stage to show only their skills as players, but also their talent as composers of a particular style that is more often than not, not associated with beauty. However, I find it is inherent to their sound. The electric guitar gives a good measure of variety to the intensity of the tracks; it also serves as good peaking point, a further climax in a multi-climatic track structure album. It also gives another dimension to the sound, keeping it from being too one dimensional. The album is made up of mostly short tracks, which goes well with this sort of style, and yet as I listen to it, there is a feel of continuity in a way that there is a sort of connecting thread linking the various tracks.
One thing that must be said: the musicianship is astonishing! The energy that the two musicians put into each track is amazing and probably equals that of entire albums of other bands. Both the guitar playing and the drumming are phenomenal; they are virtuosic, fast and accurate, passionate and jagged. This album is a delight to listen to not only for the music but also for this aspect, which is the brilliant playing.
This is a frantic ride, a fabulous avant-rock album that will please those looking for a rush and excellent fast and furious musicianship.

1. Connexion Monstrueuse Entre un Objet et Son Image
2. Noblesse De l'Echec (1)
3. Constructions d'Ecorces d'Arbres
4. Langue Hastee
5. Lundi Deux Mars
6. Un Pont et des Eaux Noires Limoneuses
7. Incline Et Chenu
8. Le Feu, Le Lin et la Bougie
9. Les Canaux Sont Ouverts, Les Moustiques Meurent, Le Monstre Disparait
10. Mille Courbettes Cheval De Frise
11. Douche Froide, Harmonium Cheval De Frise
12. Le Vestibule des Laches Cheval De Frise
13. Noblesse de l'Echec (2)

SALTY THE POCKETKNIFE

SALTY THE POCKETKNIFE
SALTY THE POCKETKNIFE (2003)
192 KBPS

Salty the Pocketknife's eponymous debut huffs gas from the alt-metal and post-grunge pipelines and spits the take into a pot of its own making. The fact that (in)famous TV geek Dustin Diamond plays bass for Salty is of no significance; that the entire record is louder and more ambitious than Bug Guts, vocalist Rosebud, and guitarist Scott Ireland's old band, is. Cuts like "Shiny Lies," "Sever," and "Red Panties 145" cram straightforward influences (Stone Temple Pilots, No Doubt) into oddly shaped, yet engaging templates of lurching rock fuzzery; depending on which voice she's using, Rosebud can suggest the singers of either group. "Rim Goblin" twists churning funk metal around decadent, whooping lead vocals; for "Buck the Quo," Rosebud channels Vince Neil over even more fractured riffing from Ireland. The album's late portion is its most schizophrenic — "Magic Garbage Ride," for example, begins with whispers and introspective guitar noodling before downshifting into an impersonation of what a rabid Judy Tenuta would sound like fronting a rap-metal band. This lusty, restless shape-shifting can be as irritating as it is unique; it can leave the listener a bit bewildered, like the vague "I don't get it" notion non-bassists can get when listening to Primus. Still, Salty offers plenty for the curious, patient music fan.

1. Shiny Lies
2. Sever
3. Señor Gonzo
4. Deus Ex Machina
5. Snack Break
6. Red Panties 145
7. Butterfly Feat
8. Rim Goblin
9. Buck the Quo
10. Pour No Gasoline
11. Magic Garbage Ride
12. Pissin' Outside

THE CANCER CONSPIRACY

THE CANCER CONSPIRACY
THE AUDIO MEDIUM (2002)
320 KBPS

The Audio Medium might very well confuse many into thinking they're listening to an indie rock version of Pink Floyd. The Cancer Conspiracy create songs which are elegant and exude much confidence, combining elements of jazz, prog rock, indie rock, and much more to make for some steady, upbeat music that isn't afraid to touch on its mellow side from time to time. One can totally see this three-piece on some large stage, manipulating all kinds of sounds from their guitars, keyboards, and the like in order to indulge the crowd with a unique and full sound (à la Pink Floyd). The mastery of their instruments is superb and the tightness of the album can't be overstated. The complexity of the guitar work on just a single track — "Broken Heartbeats Gathered and Rebroadcast" — is remarkable in itself. However, the primary problem exhibited on The Audio Medium is in the nature of instrumental acts themselves. It becomes very hard to draw the average, uneducated listener into the music. It's not impossible, but vocals are such a key in music that instrumental acts must work doubly hard to draw listeners into the sound. The Cancer Conspiracy are definitely a remarkable act. There is no denying that. And this is a solid album. The challenge is in trying to convince the traditional indie rock listener of the strength of this vocal-less style. The band has done their part with a solid release. It is up to the listeners to see how cult the album becomes.

1. …To Sleep
2. Broken Heartbeats Gathered And Rebroadcast
3. Our Mind’s Active Nightlife
4. Loft Complication
5. The Silence Of Underwater Traffic
6. The Audio Medium
7. Conversation With A Wall
8. Interrupted Feed
9. The Divided Heir
10. Live Through The Age Of Radio

NOMEANSNO

NOMEANSNO
WHY DO THEY CALL ME MR. HAPPY? (1993)
320 KBPS

A concept album of sorts — the question posed by the title isn't answered until the final line of the album — Why Do They Call Me Mr. Happy?, like nearly everything else the band has released over the years, is clear and definite proof of the group's inspired, creative energy. More than once the trio hits amazing rock epic heights that have more sheer lift and charge than most anything that laid claim to the title — about the only North American band at the time who had a similar feeling (if slightly different approach) was Drive Like Jehu. Songs like "The River," with a brilliant, powerful vocal matching the surging, rising riffs, and the constantly time-shifting prog/metal/punk master-stomp "Kill Everyone Now" sound like they're about to burst out of the speakers, come to life, and go off hunting and slaying. Even in short moments, like the mid-album minute-and-a-half "Happy Bridge," the sheer focus and live-wire kick of Nomeansno would leave most other bands gasping for air. That said, more than once this album found the band working in a bit more restraint here and there, almost as if the best response to grunge dominance was to find subtler ways to make the same point. Thus "The Land of the Living" mostly revolves around a low, snaky bassline that the band makes some righteous but not overwhelming noise over (and often keeps to near silence), building up to miniature climaxes throughout. "Machine" starts off calmer before getting more weirdly strident as it goes, while "I Need You" foregrounds the rhythm and vocals at the start, guitar parts echoing only briefly in the background, bringing everything up with a slow, controlled burn, exploding just when needed but ending on the same tense, threatening note.

1. Land of the Living
2. River
3. Machine
4. Madness and Death
5. Happy Bridge
6. Kill Everyone Now
7. I Need You
8. Slowly Melting
9. Lullaby
10. Cats, Sex and Nazis

DILLINGER ESCAPE PLAN

DILLINGER ESCAPE PLAN
IRE WORKS (2007)
320 KBPS

After Miss Machine, Dillinger Escape Plan fans were divided. Many of the folks who were attached to the screaming mathematical metal of Calculating Infinity bailed on the band, disapproving of the experimental musical direction and the meathead appearance of new singer/screamer Greg Puciato. Open-minded listeners were excited about the progressive journey they were taking and many critics hailed the group as a true innovator of metalcore. Ire Works succeeds in many of the same ways that their previous album did, while branching out creatively. They continue to toy with technical metal, blistering hardcore, jazz breaks, and post-punk, but here they evolve again by adding more twists and turns with additional electronic elements. While the merging of too many styles in hardcore can make for a convoluted result (see Avenged Sevenfold's self-titled release), the added instruments and genre changeups enhance the result rather than acting as ornamental distractions. Edgy Aphex Twin-style drill'n'bass drum breaks and stretched and squeezed electro blips feel strangely at home next to the psychotic time-signature changes and manic riffs, especially on the tracks "Sick on Sunday," "Dead as History," and "When Acting as a Wave." Violins, pianos, and trumpets sit nicely in the mix, and the group's willingness to take chances leads to stunning artistic endeavors rather than stale attempts at crossing genres just for the sake of being clever. Original vocalist Dimitri Minakakis makes an appearance, as does Mastodon guitarist Brent Hinds, but the most notable inclusion is drummer Gil Sharone, who proves himself an expert at picking up the slack after the departure of founding member Chris Pennie to play in Coheed and Cambria. Undoubtedly, this act added anger to fuel the fire of their heavier numbers. "82588," "Fix Your Face," and "Party Smasher" are as wicked and manic as their most difficult earlier stuff; conversely, the melodic hooks and falsetto of "Black Bubblegum" and the watery ambience of "Mouth of Ghosts" balance out the album nicely. It can be inaccessible and terrifying all at once, but in a genre overly saturated with formulaic groups, Ire Works is a true standout. If DEP aren't careful and continue down this innovative path, they could easily be labeled the Radiohead of metalcore. A visceral metal album that pushes the envelope? Who would have thInk it?

1. Fix Your Face
2. Lurch
3. Black Bubblegum
4. Sick On Sunday
5. Whan Acting As A Particle
6. Nong Eye Gong
7. When Acting As A Wave
8. 82588
9. Milk Lizard
10. Party Smasher
11. Dead As History
12. Horse Hunter
13. Mouth Of Ghosts

BATTLES

BATTLES
MIRRORED (2007)
320 KBPS

In these hype-machine times we live in, there's a lot of wolf cries on the "next big thing" in music. Because of this, its easy to let some of the real good things pass by when everything is the next, whatever. Not the case for BATTLES. This album, already garnering plenty of attention, is so vital right now, its making a case for the actual "next big thing", but you've heard that before haven't you. What you might not have heard, all this year anyways, is an album this original.
Following a string of well-received EP's, Battles have survived the hype machine and have come out swinging. Calling their newest full length (on Warp Records), Mirrored, an experimental tour de force, or "math rock", would be selling it far short. Its more than the percussive noodling, and vocal effects set to rhythmic beats. Its how a band can use technology and talent to their best advantage. Battles are really trying to stretch their tech savvy arms here and I don't think they realize just how far they can reach. The idea of creating these wonderful, and catchy sound textures is nothing new, they just have found a new way of presenting it. Think of it as music in the age of ipods and wires without abandoning traditional musicianship and talent. The first single, Atlas, is 70's glam stomper, packaged like T-Rex soundtracking a remake of Logan's Run. Fun, exciting and sometimes head scratching odd, all the parts of Atlas somehow add up with amazing results. Sure the tune and the entire album get major help from former Helmet drummer, John Stanier, but this is far removed from anything from that band. The members all seem to meld with the technology, becoming one with the music itself and less concerned about featuring a standout "player" in the band. Mirrored succeeds in the idea of effortless layering of synths, drums, samples, and the latest in computer production wizardry. The percussive theme continues through each track on what is surely going to be one of my albums of the summer, if not the year. This is one of those records that screams cool, yet fails to even approach pretentious, its just too good for that.

1. Race : In
2. Atlas
3. Ddiamondd
4. Tonto
5. Leyendecker
6. Rainbow
7. Bad Trails
8. Prismism
9. Snare Hangar
10. Tij
11. Race : Out

FARAQUET

FARAQUET
ANTHOLOGY 1997-98 (2008)
320 KBPS

Faraquet's in a funny place: At least a decade after the singles cuts and split-EP tracks collected on this disc, it's obvious the band's post-hardcore was pointing in a direction in which much of the underground would shortly follow. It's also just idiosyncratic enough that the post-hardcore bandwagon took a parallel but different path than the one foreshadowed by the D.C. band.
For an art-rock band like Faraquet, that's the best of all possible worlds. Anthology 1997-98 corrals a 10-song set of nearly impossible to find Faraquet tunes that stakes a claim on the trio's vision and unique identity. How many bands can make such a claim a decade after they tapped their first record?
Faraquet bounced around the Washington, D.C. art-rock community from 1997 to 2001, releasing singles on a variety of labels -- Dischord, 404, Mis En Scene -- before cutting its sole long-player for Dischord, The View From This Tower in 2000. Although Anthology makes it clear that the band was second-runners in a scene carved out largely by Jawbox and Fugazi, Faraquet is a much-needed reminder of the D.C. scene's post-hardcore heyday. Like its contemporaries, Faraquet mixed brainy, convoluted arrangements with the muscle of workingman's hardcore, for the now historic blend of post-punk protozoa.
Showing off everything from the wildly, almost jazz-like chops of a band able to command an arrangement that jitters, jumps and threatens to whirl off into abstract noodling, only to be relentlessly keel-hauled back to the earth. In "Call It Sane," a skittery guitar picks its way through bales of wiry post-hardcore noodling, syncopating and running away from a churning rhythm section. "Review" flutters on stop-on-a-dime dynamics, but instead the band crafts a pop tune, switching between rich vocals and a post-rock guitar jam that doubles as a hook. Both songs have one foot in the D.C. post-hardcore world and the other in a more elaborate, far-reaching post-rock sensibility that was budding in the underground in the day. "Study in Movement," true to its name, flickers between post-rock abstract guitar, building into a jazzed-out frenzy. "Parakeet" and "Sea Song" show off the same ideals that would later blossom in instrumental indie, packaging up musician-friendly complexities, though setting them against a more salt-of-the-earth base that quickly eluded that scene.
Faraquet isn't a replacement for your beloved Jawbox collection, but it isn't meant to be. Anthology wraps up a string of singles that, amazingly, still sounds important and fresh 10 years after they were written. That's reason enough to tip your hat to this trio.

1. Parakeet
2. Um Die Ecke
3. The Whole Thing Over
4. Call It Sane
5. Study In Movement
6. Yo-Yo
7. Review
8. Rex
9. Conversations
10. Sea Song

MEDICATIONS

MEDICATIONS
YOUR FAVORITE PEOPLE ALL IN ONE PLACE (2005)
320 KBPS

Once the big, oversized intro has been navigated, Medications' debut album, Your Favorite People All in One Place is a series of softer angles than the members' past work in Faraquet and Smart Went Crazy. Luckily, vocalist/guitarist Devin Ocampo, drummer Andrew Becker, and bassist Chad Molter have chosen the latter's style and melodic sensibilities to sit in the front seat rather than the admittedly "pointy" angles of Faraquet. Sure, there are still some "points," as on "Magazines for Entertainment"'s almost waltzy intro and jangly breakdowns, but tracks like "This Is the Part We Laugh About," with an electric piano intro and Jeff Buckley-like vocal delivery shifting into a retro-early-'90s alt-shuffle, give this debut the necessary balance it needs. On the whole, the album floats from track to track, not being so cut and dry — each song fits to its follower — much like a Mars Volta suite, rather than just a math rock pummeling, which brings up the question: Is this a case of a late pioneer being influenced by those they (and other Dischord bands) have influenced in the next wave? Possibly, but who cares when an album segues and flows as well as this does? Some angular rock can sound a bit cold, a bit clinical, but when it's coupled with warmth and instrumentation and melodies like this, it becomes a welcome challenge.

1. Surprise!
2. Or At Least As Bad
3. Twine Time
4. This Is The Part We Laugh About
5. Magazines for Entertainment
6. Pills
7. The Last Of The Rest Was The End
8. Opinions
9. I Am The Harvest
10. Occupied

FIN FANG FOOM

FIN FANG FOOM
TEXTURE, STRUCTURE

AND THE CONDITION OF MOODS (2001)
320 KBPS

Fin Fang Foom could be one of the standard-bearers of the North Carolina scene. Running the gambit from aggressive, powerful post-hardcore rock a la Fugazi and Engine Down to more structured, textured bands like their companions White Octave and Sorry About Dresden, this band shows amazing talent and poise while still maintaining an edge. The vocals are unique, the guitars stellar, and the rhythm often verging on the intricacies of math-rock. And while this band will be a must for fans of bands like Cursive, Engine Down, and Fugazi, they have a style that's purely their own.

1. The Fool and the Feign
2. Dead Ringer
3. "Of Weddings and Funerals"
4. Warriors! Come out and Play
5. Fate and Chaos
6. At Age 23
7. Decepticon
8. Iron Coat
9. Blue Holes
10. Crying, but Without Tears

password: MOODSWINGSmusic

KOLYA

KOLYA
S/T (2001)
320 KBPS

Kolya arn't the easiest band to describe. On their self titled release for Caulfield records they play an intricate powerful kind of rock music where the vocals are more often spoken than sung in a similar way to bands like The Van Pelt or Her Flyaway Manner. If you had to categorise them I would say they combine the complexity, time changes etc. of post/math rock bands like Neutrino or Paul Newman with the intensity and vocal stylings of emo/dischord bands like Hoover or No Idea's I Hate Myself.
Whilst they are only a three piece (bass, drums, guitar) the sound is really full and is made more dynamic with both bassist and guitarist taking vocal duties. The lyrics on this album are also great, very abstract and poetic perfectly complimented by the other instruments. Standout tracks include the first track 'robots dream in black and white', 'astronaut', and the amazing last track 'horizons' which uses a beautiful fragile riff employing harmonics and ending with some great dualing vocals.
Clocking in at 35 minutes with 10 tracks this is quite a short album, it wont drag and you'll be left wanting more!

1. Robots Dream In Black And White
2. Somnamebulism
3. Resuscitation
4. Escape Artist
5. The Death Of Ivan Ilych
6. Astronaut
7. La Machine Est Morte
8. Cymbals Vs. Skateboards
9. Idaho
10. Horizons

password: MOODSWINGSmusic

CHEVAL DE FRISE

CHEVAL DE FRISE

Cheval De Frise is the French duo consisting of Vincent Beysselance and Thomas Bonvalet. Together, the pair present a different sort of improvisational instrumental music. They create their tunes using an acoustic guitar and drums...and that's it. Few folks could pull something like this off...but these fellows do so with style and intensity. The playing ranges from subdued to furious...and the passages range from simple and plaintive to complex and wild. The many moods expressed on these albums amplify the complex minds of the individuals creating the music. Not only are Beysselance and Bonvalet not creating music for the masses...they're not even creating music that will appeal to a very large segment of the underground market but If you like bands such as Don Caballero, Rumah Sakit, Lightning Bolt, Volta Do Mar or even Orthrelm you should get hold of this while you can.

S/T (2000)
320 KBPS
1. Connexion Monstrueuse Entre un Objet et Son Image
2. Noblesse de l'Échec (1)
3. Constructions d'Écorces d'Arbres
4. Langue Hastée
5. Lundi Deux Mars
6. Un Pont et des Eaux Noires Limoneuses
7. Incliné et Chenu
8. Le Feu, Le Lin et la Bougie
9. Les Canaux Sont Ouverts, Les Moustiques Meurent, Le Monstre Disparait
10. Mille Courbettes
11. Douche Froide, Harmonium
12. Le Vestibule des Lâches
13. Noblesse de l'Échec (2)

FRESQUES SUR LES PAROIS SECRETES DU CRÂNE (2002)
320 KBPS
1. Lucarne des Combles
2. Bora Lustral
3. Le Puits
4. Deux Nappes Ductiles
5. Songe de Perte de Dents
6. Fresques Sur Les Parois Secrètes du Crâne
7. L'Agonie Dans le Jardin
8. Phosphorescence de l'Arbre Mort
9. IX
10. Chiendent

password: MOODSWINGSmusic