The Thermals "Fuckin' A" (Sub-Pop) Sounds like: "More Parts per Million" B+
Kids these days are out of control. They're sassy, snarky, snotty brats who definitely aren't afraid of the cops. They wear the tightest of Wranglers, jump off each other in the middle of crowded venues and talk incessantly about their crappy college radio show. They spill their tepid PBR and then sheepishly suck it out of their ultra-absorbent threadbare T-shirt because they know they're probably making the choice between that beer and subway fare.
What sort of band embodies all that and more? Who plays the thrashing, acerbic tunes that can provide me an adequate outlet for releasing all this impish, youthful energy? Look no further, for the Thermals are back. Their second Sub-Pop release, "Fuckin' A," picks up right where their previous album, "More Parts per Million," left off. In fact, it's so seamless a transition that I am certain the third and fifth tracks of "Fuckin' A" are actually on "More Parts." It's solid gold when a band unabashedly uses the exact same drum line in all 12 of its tracks, but it's even better when that drumline is a memento from their first album. At this point, I would select a choice song from the album to dissect, but seeing as how there's positively no discerning them, "Fuckin' A" is 30 minutes of singer Hutch Harris bleating out lines like, "You call the shots! It's in your face! You don't have to sweat!" and "Hack, hack it up!" "Fuckin' A," this band rocks!
- JEN TURNER
Flogging Molly "Within a Mile of Home" (Sideone dummy) Sounds like: traditional Irish music with a rockin' edge B
With their third album, Flogging Molly continues their mastery of the fusion between Irish folk music and punk. Mixed in with hard-driving beats and accordions, singer-writer Dave King shows his love for the homeland he left so long ago. However, at times it feels like King is jumping up and down with a sign that says "I Love Ireland."
In his lyrics, there are constant references to the country's past and its many struggles. In the slower songs, it is difficult not to feel like you're sitting in history class, though in the faster-paced and more upbeat songs, the feeling is not as prevalent.
King also includes references to the late Joe Strummer (in the song "Seven Deadly Sins") and the late Johnny Cash (in "Don't Let Me Die Still Wondering"). Flogging Molly tones away from the label "Irish punk rock" with this new album but it doesn't take away from the high quality of the music.
-ALICIA KRAWITZ
Lovedrug "Pretend You're Alive" (The Militia Group) Sounds like: heavier Coldplay with early Our Lady Peace A
Once you put Lovedrug's first full-length album, "Pretend You're Alive," into the stereo, you will instantly relax to their hazy, dreamy sound. The group, formed in 2002, brings its powerful live show into the studio on "Pretend." The guitar works with the piano, which works with the drums, and everything clicks to make this one of the best albums in recent memory.
There are brilliant, powerful lyrics that range from love to death and anything in between. To quote the song "Angels With Enemies," "I don't think we'll get out of this hell, but the time here with you has been nice." The lyrics, in combination with the deeply melodic music, make nothing short of poetry. "Pretend You're Alive" isn't one of those catchy albums that listeners will randomly sing on their way to class, but once the record finishes, they'll instantly go back and hit replay.
-A.K.
Sparta "Porcelain" (Geffen Records) Sounds like: decaffeinated At the Drive-In B
Take celebrated indie rock band At the Drive-In, slow things down a bit, remove the esoteric lyrics, add a dash of mainstream rock appeal, and you've got Sparta.
After At the Drive-In's breakup in 2001, the band split into two new projects. At the Drive-In lead singer Cedric Bixler and guitarist Omar Rodriguez went on to form the experimental and eccentric band the Mars Volta, while the remaining members formed Sparta, opting for a calmer, more accessible sound.
Sparta's first album, "Wiretap Scars," released in 2002, was an incredible effort from the foursome from Texas. With dynamic vocals, from soft singing to straining yells, and ambient, ringing guitars, Sparta took At the Drive-In's energy in a new direction.
Unfortunately, their sophomore release does not live up to its predecessor. There's nothing really wrong with this album, but then again, there's nothing particularly great about it either. The highlight of the record is when vocalist Jim Ward sings earnestly and emotionally, "I wouldn't trade what I got, not for anything," on the song "Breaking the Broken." Otherwise, the album is slightly forgettable. Overall, Sparta is sailing in chartered waters on this album-"Porcelain" offers nothing that was not done, and done better, on "Wiretap Scars."
-LAURA KAPLAN
Hot Water Music "The New What Next" (Epitaph Records) Sounds Like: Hot Water Music has reached their boiling point. A
Hot Water Music just keeps getting better and better. Since 1994, this foursome from Florida has been churning out anthem punk rock and well-written songs. In 2001, Hot Water Music reached a turning point in their sound with their seventh release, "A Flight and A Crash." Working with indie recording engineer Brian McTernan, the band evolved from gruff anthems to more refined, mainstream rock. Their next release in 2002, "Caution," reflected this transition and adjustment, but on their latest album, "The New What Next," Hot Water Music has truly settled into their new sound.
This album offers solid rock songs, melded with moments reminiscent of Hot Water Music's earlier, gruffer sound. The vocals come together on "The New What Next," with singers Chuck Ragan and Chris Wollard's harmonies adding to the polished sound of this album. "The New What Next" is a promising progression from a stellar band that might prove to be one of the best releases of this year. On this album, Hot Water Music shows that they're going to keep getting hotter.
-L.K.
Bob Schneider "I'm Good Now" (Shockorama) Sounds like: The Counting Crows meet Howie Day and Ryan Adams, and they all have a party with Jack Johnson. B
Bob Schneider is a singer-songwriter-guitarist, a formula that has been employed numerous times. However, he is definitely something different and well worth noting. When the album starts, listeners may be immediately reminded of Adam Duritz of the Counting Crows. Schneider bears similarities to many other artists as well. "Come With Me Tonight" is reminiscent of the songs from Howie Day's "Australia," but less acoustic. A few songs, such as "Medicine" and "I'm Good Now," have a definite country influence. However, it's a country sound that calls to mind Ryan Adams, not Tim McGraw. Schneider actually appeared with Ryan Adams at the Austin City Limits Festival last weekend.
With this lyrically decent and musically respectable album, Bob Schneider should gain acclaim and respect as he continues his career. He still has a while to develop as a musician, but it is still a worthwhile album to buy.
-LAUREN GARDNER
Roger Sisters "Three Fingers" (Troubleman Unlimited) Sounds like: the best of the B-52s B+
It's not very hard to come up with comparisons for the Roger Sisters; their punky art rock immediately invokes some of post-punk and new wave's most revered bands. The retro guitars and beats are hauntingly reminiscent of the B-52s, and the band's combination of male and female vocals sing and shout in the tradition of "Love Shack" and "Private Idaho." Indeed, all of this album's seven tracks are less sung than yelped.
The Roger Sisters-composed of real life sisters Jennifer and Laura Rogers and friend Miyuki Furtado-share vocal duties on the album, with all three taking turns yapping into the microphone. The result, in combination with their raw, swaggering instrumentals, is a brief (the entire album is only 21 minutes), aggressive throwback to the late '70s and early '80s that is impossible to ignore.
One song on the album, which is backed by a string arrangement, slightly deviates from the B-52s-like grinding chord progressions and call-and-response vocals. "Five Months" is almost like a fusion of new age with new wave, and the only place on the album where any of the singers' vocals sound remotely melodic.
"Three Fingers" is not exactly a unique creation, nor is it exactly worth the $15 due its extreme brevity. However, it is clear from their music that the Roger Sisters fear nothing, and that passion alone carries this album beyond being simply derivative.
-EMILY ZEMLER
