The Jonbenet - Ugly Heartless

the whole album has a really quick franticness about it and the instrumentals will flare into very quick riffs, groovy riffs, and heavily distorted riffs (and the odd accoustic melody in there) the drums can follow the complex and randomly changing rhythm very well...

...take the song "Eating Lightning II" as an example...starting with a huge amount of feedback suddenly a quick and frantic riff combined with the yell (it is a very beautiful yell...if that's possible) and then turns into a slower more sludgy riff with low growls...then transforms into a very groovy (perhaps Sabbathy riff)...it then randomly jitters away to itself mutely and yet again explodes into action...the only part of this song that is repeated is the groovy riff...besides that everything about it is completely different...like when someone is trying to break in if one method doesn't work they will try multiple other methods...


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Droids Attack - Fatal Error

In a world of perpetual war and death, where pestilence and pop music kill our collective soul, one band of brothers may just save us all! Armed with metallic riffs, stoner savagery and terrifying tone, Droids Attack may be the best hope for the survival of humanity against the coming onslaught of mechanized, robotic pain. But unlike those lazy superheroes that are content to simply protect the weak and save some fictitious city from various vicious supervillians, Droids Attack tears into their strings and skins to keep you rocking out while saving you from certain destruction. They won't just snatch you from the jaws of death in a brazen display of inhuman strength and audacity, they'll simultaneously kick in your face with raucous power chords, crazed solos and some of the most entertaining and hilarious lyrics around.

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Apes - Ghost Games

Forgoing lead guitar for shambling, sinister organ licks, DC post-punk outfit the Apes strike a strange middle-ground between minimalism and maximalism. Lacking guitar accompaniment, Jeff Schmid’s drums and and Erick Jackson’s bass tend operate in spare cages of plunging rhythms and blurting stabs, and when the keys afford them some space, the whole feels crisply open. However, organist Amanda Bynes doesnt allows herself to be constrained by the others’ rhythms, she surges past and breaks free, letting her organ swell to fill every gap with psychedelic squeal. It’s a decent formula, and Ghost Games moves well. New singer Breck Brunson, whose vaulting falsettos and snarling incantations put the cramped range of all too many post-punk vocalists to shame.

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Gogol Bordello - Under World Strike

Here is another one that is hit or miss, but then again Im not aiming to please anyone.

Boring old black-white miscegenation is so 20th century -- to really freak out tight-ass bigots in the '00s, somebody's gotta take the multiethnic gene-pool reconstruction worldwide. Mustachioed Gogol Bordello frontman Eugene Hutz is just the mutt to do it, and your daughter could one day be the honey he does it with. The Ukraine-born New Yorker is so smooth with the slogans -- "Think Locally, Fuck Globally" is indeed a bumper sticker whose time has come -- that even his drunken lechery feels politically astute.
"Cultural revolution's just begun," Hutz announces as he swoops into Nebraska to liberate the corn-fed teen on "Sally." And with violin riffs scratching alongside electric guitars and accordions, tumbling into a cacophony while racing to keep pace with the drums, his Gypsy-punk comrades respond: Duh.
With its paired chords landing deliberately on the upbeat, Eastern European two-stepping lends itself to Gogol Bordello's occasional reggae and dub fusions. In fact, Gypsy music -- simple yet amorphous, absorbent rather than assimilating -- is the ideal medium for sentiments like "Of course there is no 'us' and 'them,' but 'them,' they do not think the same," and other lines that flaunt the rootless cosmopolitanism that has always unsettled social conservatives. But this is also urban music; its sounds in giddy collision rather than thoughtful collaboration, its melodies in constant adjustment to the beat pounding through your neighbor's wall and the radio blare from down the block.
As Hutz swaggers, "I am a foreigner / And I'm walking through your streets," his band exudes a mingled whiff of hot-dog-cart steam and taxi exhaust crowd sweat. It's the vibrant stench of the one place nomadic sophisticates can call home -- the city that terrifies middle-American know-nothings and Islamofascists alike. At long last, here's New York punk that genuinely stinks of New York.

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Mr. Bungle - California

I cant find a quality review snippet to cut and paste, so I'll try to do this album justice with my own ramblings. I post alot of things on here that I'm sure many people have already heard, or are well aware of. this blog is not for those guys. This blog is for those type of people who think Mike Patton was only the singer of Faith no More, and for those who may have heard of a band but never taken the time to check out what I consider essential listening. To me California is the quintessential Mike Pattton record. It goes everywhere any of his other output has gone only this is by for the most streamlined and accessible for new listeners. You see, Mr. Bungle is not your everyday rock band or punk band, or jazz band, or death metal band, or acopella band or etc... Mr. Bungle takes just about every imaginable musical style and somehow incorporates it into one flawless piece. some songs are soft and mellow like the first track "sweet charity" which sounds somewhere along the lines of Frank Sinatra on some sort of pharmaceutical. and then there are other efforts like "ars morendi" that reminds me of an Italian circus house band performing on acid. and there are so many other great tracks on here like "air conditioned nightmare", " goodbye sober day" and "pink cigarette" that just makes this album so worth checking out. This is one of those albums that will remain in my top five favorites for the foreseeable future.


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wesly willis fiasco - Spookydisharmoniusconflicthellride

If you don’t know who Wesley Willis was, then you are missing out. Think of him as a bigger, fatter, crazier ODB that appealed to more white kids. If you do know who wesly willis is than you know the deal, you either love him or hate him. This isn't the usual Willis output however. In this record he is graced with the presence of a band and they are good too. Its still the same ol' ranting that you would expect and hilarious as ever, but this time its to the tune of punk meets stadium rock. Think Rollins band and you re getting close. If you are one of those people that couldn't get into his barely more than jingles, but still thought his lyrics were at least humorous should check this out and see if you like him now.

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DMBQ - Essential Sounds From Far East

DMBQ(dynamite Masters Blues Quartet), The most obvious comparison point for the band is a host of mid-’70s rockers (think Hawkwind/Deep Purple on acid... or, uh, more acid than they were already on). While the Dynamite Masters love to kick out the 4/4 jams, they have also adopted a more rugged, psychedelic take on those huge, Bonham-esque stompers. Mirroring the modern Japanese psych/rock scene’s aesthetic abandon, nearly every song on The Essential Sounds From the Far East seems moments away from falling apart completely. The rhythm section is absolutely insane; a far cry from the bombastic stability of most ’70s rock groups, it recklessly scrambles around an otherwise traditional base of psychedelic blues. On the drums, exotic temptress (read: Japanes woman) China breaks into disorienting sixteenth note fills at the drop of a dime, directing the music’s tempo and flow to shaky heights. Perhaps most notable though, is the voice of Shinji Masuko. His guttural yelps are painfully Japanese, even when trying to impersonate his American forefathers. I’m going to go out on a limb here and call his lyrical antics endearing and pretty humorous, too. Masuko only reaffirms a common belief that balls-out rock music is best heard with a grain of salt. And even if being funny isn’t DMBQ’s real intent, every time one of their killer riffs or gravity-defying drum fills blasts through my speakers, I can’t help but grin. This is the band that I feel Monotonix emulates the most.

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Murder City Devils - In The Name Of Blood

In Name and Blood is the third and strongest release from the Seattle-based six-piece. While it's not much of a stylistic deviation from previous releases, producer John Agnello gives the whole shebang a bottom-heavier sound. Atop this, front man Spencer Moody does what he does best: holler, holler, and holler some more. Keyboardist Leslie Hardy, a newer addition to the group, adds many Farfisa stabs and squiggles in classic garage-rock style. As the rest of the band holds down the fort, the hits keep on coming. The lead off track, "Press Gang," sounds monstrous and powerful and, like some of the other anthems on In Name and Blood (especially the cutting "I Drink the Wine"), there's almost a whiff of the lukewarm beer that was probably spilled on the lyric sheets during the album's recording sessions. The grisly, crime-scene theme of the packaging complements the MCD's excellently executed rock.

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Amplified Heat - How Do You Like The Sound of That

Now, I’ve said more than a few harsh words about deliberately ‘retro’ bands in the past. However, like all music fans, I’m a total sucker for some styles when played well enough. One of those styles in my case happens to be groovy, swaggering, blues-based throwback hard rock, and Amplified Heat are masters of the craft. I enjoyed the shit out of the self-titled EP they reissued through Arclight Records earlier this year, and since then the members of this act (the Ortiz brothers; Jim on guitar, Chris on drums, and Gian on bass) were involved in a knife fight that left the rhythm section with multiple stabwounds a piece. They’ve already gotten back on their feet and recorded a new full-length, which sorta gives these guys the rock version of 50 Cent’s injury-based street cred (unlike some other Texan “badasses” I could name). More impressively, they’ve outdone their already fun packed EP with another slab of foot-stomping 70s-style rock and roll. for fans of cream, the flying burrito bros, old ZZ Top, blue cheer, SRV

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Find him and kill him - cut them to pieces

Find Him And Kill Him musically are short, fast, loud, and noisy. No metal, no chugga, just blazing fast verses, thrashy blast beats, and great mid tempo mosh parts. The average song length on "Cut Them To Pieces" is forty five seconds, with the longest song on the record clocking in at a minute and five seconds. Musically, the group is akin to Infest, Charles Bronson and unit 21. I haven't been this satisfied with nine minutes and fifty-four seconds music in a long, long time.

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