Piebald "All Ears, All Eyes, All the Time" (Side One Dummy) Sounds like: Something you would have died for when you were 16
***
Piebald's fourth full-length release (their first on Side One Dummy Records) departs very little from their pattern of yore. The Boston band sticks with full-force rock 'n' roll and, in the process, creates a pop-punk album a full step above other groups of that classification. The production is polished but not overly slick; the guitar solos are never over-indulgent, and the sub-40-minute runtime is perfect.
One thing the members of Piebald certainly do not do is take themselves seriously. The title "The Song That Launched a Thousand Ships" (a play on the Death Cab For Cutie/Revolutionary Hydra song "The Face That Launched 1,000 Shits") and the chorus-line-esque rollicking beat of "Present Tense" proves this. Singer Travis Shettel firmly winks through lyrics "Poke me with a Q-Tip/ then claim it's a knockout." With his sense of humor forever on his sleeve, he allows Piebald to avoid the emo pratfalls of their genre so many bands fall victim to. Everyone should be thankful for this.
- LINDSAY BERNIER
Deerhoof "Milkman" (Kill Rock Stars) Sounds like: Bj?rk in the land of Noise Pop
** 1/2
Most of the guitar parts on Deerhoof's "Milkman" are pretty similar, but that doesn't mean it's not hop-around-in-your-underwear good. Some songs feature heavy, descending guitar riffs straight out of the '80s, while others are a bit dreamier and brimming with synthesized drum beats. Though the album has some instrumental tracks, most others are characterized by lead singer Satomi's distinctive vocal delivery, which, though sweetly high-pitched, fails to match the heavier guitar parts. Her quiet lilts seem like a filler appetizer while the listener waits for the meat to be served. Despite the downs, the repetition in songs is indiscernible - there are so many tempo changes and shifts in mood that when a song loops back to a previous part, it goes unnoticed, making the experimental aspect of the music taste overwhelmingly delicious.
- REBECCA ARMENDARIZ
Lola Ray "I Don't Know You" (DC Flag Records) Sounds like: Jet and Simple Plan's less annoying offspring
**
It is unfortunate for Lola Ray that they will henceforth be known only as a Good Charlotte-approved band. While this certainly pigeonholes Lola Ray as a sophomoric pop-punk band, it is also a branding that will assure the band fans, and a certain amount of credibility among fellow fake punk rockers like Simple Plan and Good Charlotte themselves. Lola Ray's debut album, "I Don't Know You," is being released on Benji and Joel Madden's (of Good Charlotte fame) new record label DC Flag.
Despite the strong pop-punk associations, Lola Ray is actually a decently solid band whose hooks are less pop and more rock. The band offers decidedly upbeat songs that are sure to appeal with their catchiness and lyrical simplicity. If Lola Ray does become successful, however, it will not be due to their musical quality, but rather based solely on their connection with Benji and Joel. And, depending on their intentions, this may not be a bad thing.
- EMILY ZEMLER
Dilated Peoples "Neighborhood Watch" (Black Eyed Peas) Sounds like: Jurassic 5, Kanye West and a bit of Public Enemy narrowly avoiding the Black Eyed Peas.
** 1/2
Self described as "L.A.'s Finest," rap crew Dilated Peoples latest effort, "Neighborhood Watch," is as good as they often boast on the record. The group's pride is backed up by their great rap skills and fantastically original beats. For the most part "Neighborhood Watch"'s creativity makes people like Lil Jon and his Eastside Boyz look like stupid idiots (Is it that hard?). Despite walking a fine line between mainstream and underground, Dilated Peoples brings artists from both sides as guests. Kayne West helps the group out on one of the weaker tracks, "This Way," which sounds a little bit like "Through The Wire," which isn't that surprising since Kanye also produced the track. Unfortunately the song and group is featured in a lame new Volvo commercial, which, sadly, indicates they may be going the way of the annoying new Black Eyed Peas. One of the finest tracks is "Reach Us," which outlines some interesting positive messages about keeping it real. Another fine track is "Marathon" about how Dilated Peoples is in this business for the long run and has a fantastically catchy beat and background singing. On "Big Business," the group name-drops Michael Moore, Herbert Hoover and others, thus leaning toward a left political stance that many rap groups don't attempt. Overall, "Neighborhood Watch" is pretty good but has many songs that sound a bit like better versions of popular songs. The beats are great, but it is sad to see the group start making commercials when it seems like they would be so much cooler without them.
- JORGE DEL PINAL
Descendents "Cool to be You" (Fat Wreck Chords) Sounds like: A serious decline in quality
**
On their first album in seven years, pop-punks greatest legends leave you wondering: Is this what we've been anticipating? Damn, even the new New Found Glory record rocks more than this!" Perhaps that's a little too harsh but the point stands. Rockin' tracks include "Nothing with You," "She Don't Care" and "Dry Spell." However, "Cool to be You" simply does not live up to Descendents records of the past. Their last record, "Everything Sucks," not only put the band back on the map with a potent punch, it kicked serious ass. This record lacks the same energy and funny humor, and wastes all the pathetic pop-punk millionaires of today. Maybe in another seven years.
- JEFFREY BERMAN
Butterfly Boucher "Flutterby" (A&M records) Sounds like: '90s girl rock
*** 1/2
Picking up the torch for female-fronted adult contemporary where Sarah McLachlan and Alanis Morissette began in the mid 1990s, Butterfly Boucher brings a poppy sound that is catchy yet more sophisticated than most radio-fare pop out there on her debut "Flutterby." Butterfly's talent not only lies within her quirky yet soothing voice, but she also plays and arranged nearly every instrument used on "Flutterby." Although her eccentric style is somewhat reminiscent of Bjork on beautifully odd tracks like "Don't Point, Don't Scare it," Butterfly is more akin to the Cardigans or Garbage, especially on the incredible standout track "I Can't Make Me" which is about trying to force love when it is not yet ready. Through and through, "Flutterby" has a sincere feel that is missing for the most part in today's Top 40 pop world. Hopefully Butterfly Boucher will change this and make radio a better place for everyone.
- J.D.P.
Phantom Planet "Phantom Planet" (Sony) Sounds like: A step in the right direction
*** 1/2
Remember Phantom Planet? Yes, that Phantom Planet. The California quartet composed of actors and male-models that only 15-year old girls can take seriously. The band who penned the theme song for the delicious television show "The O.C." The musicians who released the mediocre LP "The Guest" that hipsters could never fathom giving the time of day because they were too busy watching "Rushmore: The Criterion Collection DVD."
Forget everything you know about these guys. To quote Fred Willard, "wha happened?!" How could a forgettable-at-best band make such a quantum leap from painstaking blatant-gap-model-khaki-pop-boredom to making one of the most refreshing LPs of 2004?
Well, Phantom Planet have diversified their stock portfolio. Heavy creative investment in Blur and the Strokes is well apparent; but unlike "Room On Fire," "Phantom Planet" doesn't grow stale after the first four tracks.
"Big Brat" has such abstract pulsating pop bravado that it sounds like it was written after a marathon listening session of "Crazy Beat." From tracks like "By the Bed" to the neo-psych artwork, this record is a keeper.
- COSTA CALOUDAS
They Might Be Giants "Indestructible Object" (Barsuk Records) Sounds like: They Might Be Giants appealing to old fans and new
***
Quirky lyrics, and eclectic instruments and sounds reign on the newest EP from They Might Be Giants. Entitled "Indestructible Object," this inventive band pulls signature tones and beats from their older work, making it a pleasure to listen to for seasoned TMBG fans. New listeners will find the EP innovative in sound and the lyrics fun. The EP has a progression that starts out with a lot of synthesizer and then moves to the big band sound. Later tracks sound as if they could be off their popular album "Flood," while the first song is reminiscent of "Mink Car." But the EP works best as a complete package, showing not only their versatility in sound, but also that they are still enjoying making music after their self-titled album in 1986. The last track is a cover of the Beach Boys' "Caroline, No." It is sung almost identically to the original recording, their point being to make an exact replica. "Indestructible Object" is a fun album that would make a great supplement to a TMBG collection, but the songs will not be their most memorable.
- MARJORIE KORN
