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1-42 is listening to... |
 Ambulance
LTD. :: Self-TitledAt the risk of getting the shit beat out of me by some angry NME editor, could it be that the compendium of all British rock can be summed up by an album made by four New Yorkers? Melodies like the Beatles. Anthems like Oasis. Crunching guitar workouts like Ride. Ambulance LTD.’s self-titled debut contains all this, while also adding the sound of (insert favorite British band here) here and there. A little derivative, yes. But the quartet has recorded an album equal parts rock and pop that is almost always catchy and immediately makes you go back and play it again. While heavily influenced by 90s britrock and the shoegazing movement, Ambulance LTD. fashion out a creative and highly original whole much greater than the sum of its parts. As you build your britrock collection, throw this disc in with your Supergrass and Ride CDs and try to trick friends when they hear this. J. Newman |
 BrokenKlutch
:: Bobwire Stensols EPUpon first listen of the ‘Bobwire Stensois EP’, the voice of Broken Klutch has a good chance of standing out, but not necessarily in a good way. Sounding somewhat like a cross between Cage, Canibus and MF Doom, his voice is not very easy to listen to, probably because it sounds like he is simply yelling all of his lines. It does, however, seem like BrokenKlutch gets down and just spits - straight up - without any nonsense, but that doesn’t mean it’s pleasurable to the ears. Potentially on the “average underground mc” tip, where the artist try to squeeze as many big words into a sentence as he/she can, a great example of this is the track “Double Dutch.” Often this leads listeners to turn to their friend with a look like ‘what did he just say?’ The production is a hit or miss combination. Some beats are decent, like “Premier Launch” and “Save the Whales”, while others are just plain boring. “Big Bertha” and “Ghost Dress” lack stimulation and feeling, and you might get the vibe that not much work was put into most of the beats. While it is apparent the BrokenKlutch uses feeling in his rhymes, it doesn’t mean that the product is as good as the effort or intent. The originality is there, but it’s not quite moving in the right direction. With his original style and sense of imagination, though, there could be more opportunity for him in the future. Dominique |
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Most of what I read about Rice prior to the release of his debut full-length solo album was very positive – almost too positive. O isn't a masterpiece, but it's one hell of a satisfying record (with great, simple, cover art as well). The opening tune, "Delicate", sets the pace, as sweet acoustic guitar starts things off while Rice paints a picture that resonates throughout the entire album: "we might kiss, we might make out, no one sees – it's delicate." The general theme of the album may not be cutting edge (who writes songs about love, loss and longing anymore, anyway?); but by the time drums, bass and cello kick in, you're already hooked, wanting to hear where his voice will take you. And it's all about the voice – a delicate one that's not afraid to let you inside his head just a bit – and Rice's ability to express himself with that instrument, the actual lyrics secondary in importance. The album is definitely front- and back-heavy, with the strongest songs grouped together (sometimes seamlessly flowing into one another) at the beginning and end of the disc. Matt Biscuiti |
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ESP :: The Strange Force The debut album from the 7-member East Coast collective known as ESP is a refreshing change of pace from the now-ubiquitous bling-hop firmly entrenched in the ears of the masses. ESP takes the best of Native Tongues (mostly mellow, chilled-out beats) and independent alternative rap (confessional lyrics), while not falling into the preachiness so many of their peers succumb to. While production stays consistent throughout the album, “Maintaining"’s jazz piano loop as the background to the group's commentary on societal ills stands out as the highlight to Force. Extra props to the group for turning Massive Attack’s “Safe From Harm” into an uptempo beat on “Built From the Ground Up”! J. Newman |
 The
Fitness :: Call Me For TogetherIs it the ’80s again, or is it just me? On their debut album, Seattle’s four-piece rock band The Fitness spaz out with nine songs of bouncy synth filled pop. Sure, electro is hip these days, but is the 30-minute Call Me For Together a good album or just part of the fad? Sure, there’s nothing terribly original about the music, but that hasn’t stopped any of the “The” bands that have been tearing up the hipster charts over the past two years. Overall, if you like ’80s style dancy rock with wannabe punk chick vocals, you’ll have a great time jumping around your room to The Fitness. If you hated the ’80s, then take Iron Maiden’s advice and run to the hills — The Fitness are coming. D. Glick |
 Friends
of Dean Martinez :: Random HarvestThe Tucson, AZ band featuring members of Calexico and Giant Sand weave instrumental guitar rock and ethereal keyboards into a cohesive, beautiful album, treading similar territory as Godspeed You! Black Emperor (though in healthy, under-20-minute doses). Still, the sprawling aural landscapes created by FODM constantly curve yet never veer off the cliff into unmelodic noise. “Dusk” sounds like a countrified version of one of the Doors epic songs. Oh, and try listening to the title track alone. At night. In the dark. Now try falling asleep. I tried last week and haven't slept since. Brilliantly scary. Scarily brilliant. J. Newman |
 Hurry-Up
Offense :: The Labor Day EPIf you’re going to cover a classic song, you better be fuckin’ creative about it. You can’t just change “Deadhead” to “Black Flag” and do the song exactly the same. That makes you a no-talent hack. (Ataris, I’m looking in your direction). On the other end of the spectrum comes New York punk-pop trio Hurry-Up Offense’s reworking of Notorious B.I.G.’s “Juicy” into “Punk Life.” While keeping the original flow, HUO changes the lyrics to reflect their punk history (“It was all a dream/I used to read Thrasher Magazine.”) A novelty? Sure. But nonetheless creative and clever enough to make us go back and listen again and again. The EP contains two other songs which fit in with the standard punk-pop formula (i.e. competent but not mind-blowing), but it’s worth listening to for “Punk Life.” J. Newman |
 Jazzy
Jeff :: Hip Hop Forever IINo, he's not just the bad actor who kept getting tossed out the house by Uncle Phil or the lesser-known half of one of the best-selling hip-hop duos. He’s also one of the most legendary DJs in hip-hop history. Jeff Townes aka Jazzy Jeff returns to the mix with this excellent 23-track compilation of mainly early-90s East Coast classic hip-hop songs, both famous (Black Moon’s “How Many Emcees," Smif-N-Wessun's "Bucktown") and lesser-known (I.N.I.’s “Square One,” J-Live’s “Braggin’ Writes”). It does stutter a bit towards the end, but overall is worth a listen. Jeff wisely ends with Main Source’s “Live at the Barbeque,” a track impossible not to like. J. Newman |
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If you’re a Rage fan like me, you’ve probably been secretly
hoping that the band would get back together and at least play a reunion
tour since their breakup in 2000. You can certainly keep dreaming, but
in the meantime Epic Records just released “Live at the Grand Olympic
Auditorium,” a mixed live compilation from the last two shows Rage
performed – September 12 and 13, 2000 – to a sold out crowd
in Los Angeles, CA. Dedicated to “all our fans whose belief and support
inspired our music and message throughout our career,” Rage has put
together a live “best-of” that catapulted me to their concert
energy. The set list includes all of your favorites: |
 The
Monolith :: Here Comes The MonolithFor a group of rookies, Here Comes The Monolith is a pretty decent debut, combining old school classic sounds with pop originality. Some say Elliot Smith meets Blondie, others figure the blend sounds more like The Beatles meets New Pornogrophers. Impossible? Think again. The vocals and instruments really blend well together, with Dahlia Ramirez and guitarist Bill Rousseaucomplimenting one another well enough that over crowding does not occur. The album is honest and not over produced, creating a relaxed fusion of guitar, trumpet, cello, electric piano (as well as many other instruments) that will work with any mood you’re feeling when listening to the album. |
 The
Mountaineers :: Messy Century Mute Records is pretty consistent when it comes to releasing quality music, and Messy Century continues the trend. The record is at times eclectic and endearing at others. Alex Germains, Ceri James and Tomas Kelar’s Welsh childhoods were influenced by music genres ranging from Gypsy to boogie to Viennese piano, all sounds clearly exemplified in their musical production. The music is easy on the ears but not necessarily simple. Thinka blend of Stereophonic, The Beatles and The Flaming Lips. Tracks like “All My Life”, “I Gotta Sing” and “Gruppen” are tightest, bringing together the band’s obvious appreciation for various music genres while staying light on the ears in a slightly folksy manner. “Bom Bom” and “Apart From This” introduce the group’s affinity for random beats and robotic strains, and it works…kind of…. Overall the band’s production is instantly likeable and can be increasingly appreciated upon every listen. |
 TV
on the Radio :: Desperate Youth, Blood Thirsty BabesThe current “Cool Band to Namedrop in New York” lives up to its hype on their debut full-length, Desperate Youth, Blood Thirsty Babes, a post-punk/electronica album mixing doo-wop, gospel, African tribal rhythms and a dead-on Peter Gabriel imitation by vocalist Tunde Adebimpe (in a good way). While not afraid to experiment in their sound, the Brooklyn trio is more dark melodies like Mars Volta than the atonal noise of, say, The Liars. “Staring at the Sun” may be the catchiest song to come out in the past year. J. Newman |
