Favorite Albums of 00s

**Allow me to preface this obnoxiously long post (when I wrote it in Word, it came out to 12 pages) with this: I don’t expect you to read the entire thing. If you do, you’re a champ. Scroll through and see if there’s an album that peaks you’re interest and go from there. Otherwise, do what thou wilt. **



This world is comprised of lists. Top 10 Ways to Kill a Ferret. Top 50 Dresses that No One Should Wear, but they Always Do. Top 5 Biggest Wastes of Time and Resources that our Government has been a part of. You get the idea.

Suffice it to say that lists are biased and always flawed by someone else’s perspective. They inspire arguments and comment wars (always entertaining) and are never “correct”.

Frankly, I don’t care. I think they’re meant to be highly entertaining and some people put far too much stock in them. There are few individuals who can pull off a completely universal list of something. I know for a fact that this will not be one of those. In fact I’m betting that there will be some level of, “Psssh, yeah right. That album suuuuccckkkksss” in the comments section, but that’s acceptable to me. Not everyone likes the same thing and I’m happy to defend my personal choices, but I don’t have to justify them to anyone. I like what I like and I have solid reasons for doing so, just like you have solid reasons for taking a dump on them.

ANYWAY, here’s my list of My Favorite Albums from the 00s. The only rules that I set forth was: 1) one album per band, no multiple entries; 2) it had to have a deeply profound effect on me and my surrounding immediate universe and 3) no particular order. They’re all equally important to me, but these were my favorite of the last 10 years.

Depeche Mode – Playing the Angel

I’ve been a fan of Depeche Mode for a long time, at least 15 years. I’ve seen them in concert twice and I own all of their releases shy of the “deluxe edition” re-releases and the singles box set they put out. The day that KROQ played “Precious” in 2006 I was ecstatic. This was the greatest piece of music they had put forth, to me, since Violator. Every song on the album is fantastic. They had capitalized on all that made them a great band in one record: introspective lyrics that everyone can connect to, dark atmospheres that are also hauntingly inviting, warm and loving vocal work and an all around relaxed feeling while listening. Simply put, this is their greatest album of the last 10 years, despite releasing two other ones in that time span.

Amon Amarth – With Oden on our Side

There are a few things that make a successful metal formula to me: growled (but mostly distinguishable) vocals, riffs that won’t quit the assault on your brain after the song is over, drums that would level a small town and an overarching sense of pride and danger at the same time. Conversely, I’ve always been on the fence with any band claiming to be “death metal” as they have a tendency to be to muddled with each song sounding the exact same (blast beats, unintelligible lyrics, sloppy solos etc). Happily Amon Amarth is hardly true death metal. Yeah they have the swagger and sense of doom that comes from death metal, but there is so much more there; one of the catchiest guitar tones ever, pulverizing drums, lyrics that you can understand without the CD booklet to guide you, and hook after hook! It’s almost impossible not to feel inspired when listening to With Oden on our Side. Such an amazing sense of primitive pride swells within you, all you want to do is go out and conquer a small town for the sake of doing so. Easily one of the most underappreciated bands that will someday become metal kings.

Metallica – Death Magnetic

The moment I heard that the mighty Metallica had released a new album in 02, I was excited. I was praying for the fact that it would be decidedly “more metal” than Load or Reload. What I was presented with was such a pile of garbage in St. Anger that I still refuse to even listen to it. Everything about that album is wrong: a continued attempt at capitalization on the current state of heavy music (in the popular world) and a simply horrid production quality. So, when there were reports that they were going to release something else within the same decade, I didn’t have much hope. Then, little by little, the viral videos sprouted up. My hands loosened from around my ears and I started to show some interest. When Death Magnetic (by the way, one of the worst album titles of all time) finally dropped I couldn’t stop listening to it. A literal culmination of their entire career. Probably not the greatest album of their career, but a definite piece that no one will have to justify liking.

Chevelle – Wonder what’s Next

A funny thing happened at the start of the 00s. Bands that were raised on equal parts skate punk, heavy alternative, hard rock, and hardcore were releasing albums that made all kinds of people drop what they were doing and take notice, including me. Chevelle came out swinging with their initial single (though, their sophomore release) with “Seeing Red” that combined all that’s great about hard rock with just a hint of honest emotion in the vocal work. It wasn’t a metal growl and it wasn’t a hardcore bark. It was something just shy of a full blown scream. Something that oozed gut-spilling complimented by the “clean” vocal parts (non screaming) that provided an outlet for all guys. Pair that vocal work with the backing music that was heavy enough for the metal kids to like and simple enough (they only use three to four different chord progressions, all in the same key) to latch onto for the pop rock audience. This album isn’t quite a guilty pleasure record, because so many other people will admit to listening to it, but it’s not going to be hailed as one of history’s most ground breaking albums either. What it is is just good. Nothing more or less.

Finch – What it is to Burn

On the same tip as Chevelle, but in a much catchier way, are the gents of Finch. What it is to Burn is like your musical best friend almost instantly upon hearing it. Not only are you bobbing your head to the music, you’re nodding in agreement with what the singer is saying. Even when the band gets serious or “dark” it still feels good to jam out to. The best part is, these guys taught me how to sing in the higher octaves without singing out of my nose in a Billy Corgan kind of way. I can sing along to nearly every song on the album (still can’t do the screaming any true justice though). I think it’s actually pretty essential that everyone should own this album. It’s just that good and will always sound refreshing when you reach for something deeper in your library. Besides, they’re all swell guys and deserve the support.

Reggie and the Full Effect – Songs not to get Married to

It’s not often that a man’s personal hell becomes fodder for a solid album. It’s even less often when that same man is a giant goof ball with a tendency toward the maturity level of a 14 year old to be able to come up with something so impressive. Well, such is the case of the superbly put together Songs not to get Married to; a thirteen track encapsulation of one man’s struggles with a broken relationship and his own personal demons whilst seeking refuge in hard substances. Much like most of the artists on this list, I’m a fan of Reggie’s entire catalogue with each album speaking to me in a slightly different way. There is always one constant in each album, in that there are multiple musical styles featured each time and all of them I like. Pop punk, electro, metal, industrial and new wave. I would actually say it’s hard not to find a reason to like a Reggie album, because you have so much to choose from. Songs . . . does a great job at pushing the production and songwriting forward to the point that the songs are perfect for what they are.

Rammstein – Rosenrot

Rammstein have had many years to perfect themselves, be it sound quality, song writing, stage show or lyrical antics. Rosenrot sees them at the top of their game after a steady ascent of trial and error (albeit, very little error). Even though they just released a brand spanking new album, Rosenrot has had more time to marinate with my psyche and allow me to bask in its industrial-metal glory. I’d say about 90% of the songs on this album would probably make solid live tracks to slam to. Not to mention I ‘m sure that some rock chick turned stripper (or drunken stripper in the privacy of her boyfriend’s bedroom) probably does her routine to “Te Quiero Puta!”.

Nine Inch Nails – With Teeth

NIN is another band that I’m a fan of their entire catalogue. Like DM I own nearly all of the official releases (I’m not bragging, just reinforcing my love for them). I’ve seen them in concert five times. I’ve been an audio witness to the progression of the NIN sound. Even though they managed to release three other albums in this decade (including one double album 36 tracks deep) With Teeth screams to me the loudest. The best part is, upon first listening to it, I was kind of put off by the off-kilter song styling. It succeeded in growing on me like a fungus, until the point that it’s my favorite album to play loud (each album is a different “favorite” of something) and made for some of the best live music in recent memory. It also holds a special place in my heart because a former co-worker and NIN fan did nothing but shit on the album after it came out. I like to revel in the fact that he’s an idiot and blatantly wrong.

The Mars Volta – Deloused in the Comatorium

In the late 90s there was a band that was just beginning to make nationwide rumblings of greatness, At the Drive-In. Unfortunately, the things that made this band so great: limitless talent, danger, explosive songwriting and some of the most inventive music to come out of the U.S. in a long time; caused the band to break into to two factions. On the one side you had the mentally deranged musical stylings of Omar Rodríguez-López and Cedric Bixler-Zavala who crafted The Mars Volta, and on the other side you had the label friendly madness of everyone else in Sparta. The most frightening part of The Mars Volta is you’re sure they’ve made a deal with some sort of evil deity to be as obnoxiously good as they are. Hell, even their albums invoke some kind of musical exorcism in you, brining out the deranged music fan buried beneath the sheen of mass acceptance. Deloused in the Comatorium makes me want to start a fight immediately followed by passionate love making and rounded out with the greatest liquor known to man (not all conducted with the same person mind you. This isn’t ancient Rome now). The Mars Volta went on to make three more albums of sheer musical madness and, to be fair, they’ve never reached that pinnacle of importance again. It is hard to recreate a masterpiece, but it also seems like they’ve tried each time. The formula has already been proven once gents, no need to do it again – we get it!

Flogging Molly – Within a Mile of Home

When I first heard Flogging Molly on a Warped Tour comp, I couldn’t believe my ears. What I was listening to was the single most exciting piece of music I’d heard in a long time. I was instantly hooked on to them. Within a Mile of Home was the first album that I was able to see them tour behind and if you’ve never seen a Flogging Molly show, you’re missing out on one hell of a party. Within a Mile of Home is a testament to an equal balance of responsibility and having a throw down good time every chance you get. Songs of hope, friendship, loss and adventure – all told in a fantastic Irish fashion. Dave King is probably one of the world’s greatest front men; equal parts entertainer and drinking buddy. You can’t help but listen to him. You also can’t help but get addicted to Flogging Molly, its impossible not to.

Alkaline Trio – Good Mourning

I was introduced to Alkaline Trio while I was working at Hot Topic. I felt like I had been missing out on something so vastly important that I was ashamed. I’d never heard songs of broken hearts, drunken nights and all around dark imagery sound so enticing and feel good in my life. I even drove to LA to watch these guys tear apart the Palladium (along with Reggie, who performed “Raining Blood” to a motionless audience, wankers). The problem these dudes ran into with Good Mourning is the increased production value of the album. Their legions of cult fans denounced their increased talent and song crafting attempts as a “sell-out” since they no longer sounded like three guys who could barely play with a production quality of a garage band. I understand what they mean, though I disagree. The raw emotion and rage that came along with their first few releases is lost in the polished production of Good Mourning, but it’s certainly not a bad thing. The songwriting is better, the atmospheres are more interesting, and the lyrical content remains in tact – a prime example of a good band growing up well.

Roadrunner United – The All Star Sessions

Roadrunner Records is responsible for signing several bands that comprise some of the more essential albums in my collection: Sepultura, Soulfly, Fear Factory, Coal Chamber, DevilDriver, Trivium, Killswitch Engage, Slipknot and Stone Sour. I’m fans of more of Roadrunner’s bands, Machine Head and Type O Negative, but I wouldn’t put them at the core of my musical universe. ANYWAY, in 2005 the label celebrated their 25th Anniversary and to commemorate this milestone properly they had a rather clever idea. They recruited four artists from their stable, Dino Cazeras from Fear Factory, Joey Jordison from Slipknot, Matt Heafy from Trivium and Rob Flynn of Machine Head, and gave them the task of recruiting other Roadrunner musicians and write brand new material that reflected what Roadrunner was all about. What was produced is some of the most interesting metal songs ever, especially when the tracks that were crafted sounded unlike anything some of the musicians had ever written before. This album really opened the door for me to further explore different styles of metal and different metal musicians. Though only some of the finds were a success – Annihilator, Machine Head, Exhorder – and others not so much – Deicide mostly – I still really dig the album. It even came with a “making of” documentary which I think is actually the best part.

Sentenced – The Cold White Light

Though I had heard Type O Negative and Paradise Lost in the past, I had only a brief inkling of appreciation for their sound; dark, slow and heavy goth-inspired metal. While I was digitally thumbing through random music pages on Myspace one day, I came across a rather unusual song title that I had to download, “Excuse Me While I Kill Myself”. Equal parts cheese and comic depression, I had to have it. What I didn’t expect was how blazingly brutal the song was while maintaining that dour outlook; like the goth kid standing up in the middle of class after years of being ridiculed and proclaims, “Excuse me while I end my life”. I managed to track down the album, The Cold White Light, and now worship (almost) everything this band has ever done. Their work is more than the slow moving beast that TON and Paradise Lost put forward, its metal while being bummed out. It’s empowering and self-deprecating at the same time. It’s amazing.

Senses Fail – From the Depths of Dreams

In the late 90s and early 00s there was a batch of musicians that crafted a sound that combined equal parts H2O, The Get Up Kids, The Ataris and NOFX with a splash of metal. Senses Fail are among that throng, combining the ‘bouncy” guitar work with the aforementioned emotive screaming vocal and the hardcore rhythms created a brand new subgenre – “screamo” or “heart-core” – a sound that is comprised of squealing and crying about feelings rather than raging against a system or comparing a relationship to a murder scene as opposed to rallying for justice. The only thing that truly struck me about Senses Fail, more than other bands that came out with them at the same time, was the incorporation of comparative religion and popular culture as a simile for a broken heart or tarnished relationship. This initial release, From the Depths of Dreams, managed to strike some deep resonating chord with me; to the point that I was inspired for weeks writing down new pieces of poetry or song lyrics. Probably the biggest cementing of my appreciation for the band (although I have since grown out of that mindset as there are other bands that have done the sound with better musicianship, Funeral for a Friend for instance) was the opportunity to scream some of the lyrics into the microphone with the lead singer, Buddy, at a show in Anaheim. Probably the greatest interaction I’ve ever had at a show (next to being suffocated against the front barrier at Ozzfest and having Tim from As I Lay Dying jump down next to me) and I never even had the opportunity to thank him for that. Maybe someday.

Stone Sour – Stone Sour

Oddly enough, there’s nothing overly spectacular about this album. It rocks hard as all hell. Corey Taylor’s voice is at its most intoxicating. The songs are all super memorable to the point that you want to sing along; even if it’s the first time you’ve heard it. But other than that, it’s just a straight up rock record. It’s the simplicity that gets me the most; the stripped down aggression that only these cats can truly deliver without all of the pretentiousness of Theory of a Deadman or Nickleback. It barrels right through you and you’re enjoying every moment of it. Even the inclusion of “Bother” the album’s lone acoustic track, doesn’t stick out in a poor way, rather it acts as an illustration of the raw sensitivity that’s buried beneath that brutal exterior.

Deftones – White Pony

The Deftones had two albums under their belt by the time they released White Pony and they had ridden the crest of the alt-metal wave with their associations to the likes of Korn, Staind and Limp Bizkit; so one would assume that their third release would be 100% geared for rock radio (as the other three inevitably did). Well, it ended up there, but I highly doubt it was intended to do so. Every single song is so meticulously put together and the production value is so incredible, I can’t fathom the thought that these guys had a platinum status in mind. Instead, I figure they were trying to write the best songs that they could at the time; consequences be damned (very much a Tool frame of mind). White Pony is probably the smartest rock record in this entire list in that it’s not a straight ahead frat boy fist pumper (take that anyway you see fit) nor is it so difficult to get through that it’s only a cult record. It plays so well in the middle that anyone would be able to get behind it, even Radiohead fans. The true highlight of the record is “The Passenger” which features Maynard James Keenan on guest vocal. “The Passenger” is essentially the follow up to “Be Quite and Drive (Far Away)” from their previous release, Around the Fur, to the point that stylistically it’s a sequel. Any way you slice it, White Pony is totally an album you must listen to before you die.

A Perfect Circle – Mer de Noms

Billy Howerdell is probably one of my top 5 favorite songwriters of all time. The man can bounce between beauty and brutality with such ease it simply boggles my mind. Teaming up with Maynard James Keenan from Tool, these two crafted some of the most beautifully haunting music I’ve ever heard. You can’t help but feel completely emotionally vulnerable throughout. The interesting part about it, too, is that it’s everything that Tool isn’t – delicate, airy and ethereal – even at its heaviest parts, specifically in the bruising single “Judith”. I’m hoping against hope that they come out with something new in the next few years (after a new Tool record of course, that one is 3 ½ years in the making so far).

Soulfly – Primitive

When Max Cavalera left Sepultura in 1996, it took him some time to get back to music again. When he did, he put together a project (as opposed to a band as the members are always changing depending on Max’s musical direction) that would showcase as much of his influences as he could; tribal music, acoustic guitars, alt metal, thrash, hardcore the list goes on. With his second album, Primitive, he harnessed as much of his aggression and frustration and channeled it into a thrash-y alt metal piece that lays waste to all that’s in front of it. Featuring the vocals of Tom Araya of Slayer on the hardcore anti-government track “Terrorist”, Corey Taylor on “Jump da Fuck Up” and Sean Lennon on a heartfelt eulogy to family members who have passed on in “Son Song” (Max lost his step son, Dana and Sean, well you know who his dad is). Primitive is probably the most cohesive (and I use that term loosely with Max) of the Soulfly records, as it’s the most straightforward the most often. A solid alt metal outing that is very much a snapshot of the point in time it was recorded, not really a timeless piece but still a very good one.

Innerpartysystem – Innerpartysystem

There are few people in this world that I fully respect their musical opinions; my brother, and my friends Blake, Capone, Kathleen, Mark, Cody and Bob (now, let me stop you there for a second. I don’t disrespect anyone else’s opinions; I seek as much input as I can find, and these few just have the best track records so far that’s all). Capone introduced me to Innerpartysystem as he was rallying as hard as he could to get them some major radio exposure. He described them as Depeche Mode meets Pennywise and Nine Inch Nails. He didn’t have to tell me twice. Once he was kind enough to get me a burned copy of their major label debut, Innerpartysystem (I’ve bought it since in support of the band), I couldn’t take it out of my CD player (and that’s a big feat for me. I don’t want to get sick of albums, so I don’t listen to them more than a maximum of twice in a row) for days. Songs detailing the darkness beneath the club sheen and the torment of the shallow (I know, sounds kind of unrealistic) with a voice that is so amazingly delicate and powerful its hard to believe that these guys got dropped by their label (though, in this day and age, if you’re not on auto-tune or named Rhianna or Jay-Z your chances of sticking around on a major label are less than zero). I’d list specific tracks, but I’d end up giving you the titles to all of the songs on the album. There’s so much talent there. Such a best kept secret that I’ve tried to champion as hard as Capone did. With any luck they’ll end up on the Metropolis label and release several killer albums from here on out.

Julien-K – Death to Analog

Speaking of the darkness in the club scene and the torment of the popular and shallow; Julien – K managed to craft a highly universal record that has so far gone unnoticed. Comprised of the guitarists from Orgy and a handful of musicians they’ve met along the way; Death to Analog should be played at any party (‘cept of course one that’s being thrown by Suge Knight.; wrong crowd there) because you just feel so good listening to it, but in a sinful kind of way. “System de Sexe”, “Kick the Bass”, “Forever” and “Nvr say Nvr” all scream party-hardy. To be fair, there’s not a terrible amount to say other than this album is simply just solid from start to finish. Go get it on iTunes and mix it into your party or girls night out mix. You’ll feel naughty when these tunes come on.

VNV Nation – Futureperfect

I’ll need to get this out of the way, because I’ll be crediting my stint at Hot Topic for most of the introductions to these bands. I made some friends, listened to new and interesting music nearly every week and had a blast. There, all done. ANYWAY when I first heard VNV I was completely taken aback by the power that was generated from their albums. Sounds of entire universes compacted into 45-52 minute albums – it was astounding. Futureperfect is the soundtrack to building a better humanity. Not in a final solution or master race kind of way, but about achieving the best in one’s self in every way possible. There are also the standard love laments as well, but mostly we’re presented with a, “we can do this, I know we’re capable of it” vibe. It makes you feel good the same way that DM makes you feel good; power and pride while remaining humble and realistic. It creates an interesting juxtaposition in your mind that urges you to give your all in everything you do.

Apoptygma Berzerk – You and Me Against the World

Previous Apop albums that lead up to this one were more focused on the programming side of industrial to club type tracks; heavy on the synths and drum beats and light on the musicianship and song writing. You and Me Against the World sees the man behind the music gathering a band together and creating an electro-rock record that is absolutely fantastic. Standard European song sensibilities abound throughout with amazing melodies, hook after hook in the choruses and great big sounds make for a killer turn of musical events. A brand new chapter was written for this band, and it’s one of the best chapters in the book (typically due to the disjointed evolution in sound as the band grew. Some strange first albums there guy).

Bad Religion – Process of Belief

There’s an old joke about Bad Religion (and can be said about Pennywise too) that they’ve made the same album 10+ times in their career (at this rate, its closer to 15+ times) so to try and differentiate between albums is like trying to differentiate between American style lagers; they all taste and look the same but have slightly different (very slight) characteristics between them. The thing that stands out the most for me with this album, is the long lasting single of “Sorrow”. It will always be in the top three of their biggest hits of all time. My attraction to this song was perfectly illustrated to me by my wife as she described it as having an Irish tinge to it, almost as if it should be played by Flogging Molly instead. Makes perfect sense. Simply put, Process of Belief sounds like every other Bad Religion record ever, but I’m oddly more attracted to this one than others, kind of like how I’ll reach for a Bud Light before a Miller Lite at a party - virtually the same beer, just a different taste for one over the other.

Thrice – The Artist in the Ambulance

On the surface, Thrice is a stereotypical So-Cal balls-to-the-wall rock band: loud guitars, big emotive vocals and raging songs. What you’d be surprised to find, however, is the level of depth in the lyric writing and the honesty that’s squeezed out of every ounce of the songs that comprise The Artist in the Ambulance. Songs of hope and perseverance told in such fantastic metaphoric fashion it makes for more than OC hardcore-ish tunes; it makes for a record that is aware of its importance but will do it’s best to be modest about it. I’m not a huge fan of the thinly veild Christian fables, but you have to take the “meh” with the “awesome” in this case, because the “awesome” makes up for it often. Not even the inclusion on a major label seemed to affect the sincerity of the group, which is so welcome in this time of sell out idiots (I’m looking at you Hollywood Undead). Although Thrice has since traded in their fiery rage for introspection in the more recent years (see the Alchemy Index, Volumes I – IV for reference) I’m grateful that they made the change on such a fantastic high note.

Eminem – The Eminem Show

No matter your stance on Marshall Mathers, aka Eminem, there are a couple of things you can’t deny: his knack for catchy as all hell songs and a lyrical ability that few other rappers can touch. I’m not saying these things because he’s one of the biggest names in hip hop history, at least from a pop perspective, but I’m saying these things because I truly believe them. The man is flat out gifted. It’s a damn shame that he is such a temperamental idiot though. He has a shorter fuse than most boxers I’m aware of. I know he has spent some time in the past few years returning to earth and trying his best to be a father. I commend him on his efforts. Unfortunately for him, though, his music has suffered greatly. Although his adolescent opus was the Slim Shady L.P., The Eminem Show is a perfect storm of maturity (what little there is), talent and introspection. It certainly helps that Dre produced some wicked beats for most of the album and the tracks that Em produced ain’t half bad either. This is one hip hop album that I just can’t get sick of listening to, virtually ever. Everything since then, on the other hand, wreaks of a deliberate attempt at recreating it.

Dredg – El Cielo

I was fortunate enough to catch these guys in an intimate setting, The Roxy, when they opened for Onesidezero and Audiovent (two bands that went nowhere really fast). I was floored. I’d never heard such a genuine vocal performance from anyone before. Most times, rock singers will get on stage and hoot and holler and try to overcompensate for their mediocre voice that is always impeccably overproduced on record. With Dredg, however, what you see is exactly what you get only live and more intense. El Cielo was my go to album for chilling out after a stress laden day or lulling myself to sleep. Most of the album is comprised of journal entries by individuals who suffered from sleep paralysis (where you’re fully conscious and dreaming but completely unable to do anything about it; kind of like a bad trip with no hallucinogens). Even as ho-hum as that concept may sound, the album provides you with such a sense of overwhelming hope and optimism you can’t help but feel centered – like meditating without realizing it.

Rob Zombie – Hellbilly Deluxe

When White Zombie broke up at the end of the 90s, I was bummed. I had just started getting into their groove-oriented horror-themed brand of alt metal and now it was going to be taken away from me. Low and behold, Rob Zombie, singer and creator of White Zombie, had more to say. Hellbilly Deluxe picks right up where Astro Creep 2000 left off – the same signature boggie-fied metal but this time infinitely more dastardly. I listened to this album so much I wore it out within a year and a half. I still have the copy, but can’t listen to it anymore because of all the scratches. It’s on my list of albums to repurchase I just haven’t gotten around to it. Sorry Rob!

Incubus – A Crow Left of the Murder

I’ve several friends who are Incubus fans, and one of their main complaints is how much they don’t like later-day Incubus. They feel that after S.C.I.E.N.C.E. the band peaked and has never returned to what they loved about them. Well, I’m sorry to tell you, but you’re totally wrong. Incubus is about one thing and that’s growth in any direction they choose. The thing I love the most about A Crow Left of the Murder is the obvious increase in songwriting and musicianship. Not to say that their previous efforts weren’t well done, but the album prior to A Crow . . . , Morning View, could have been written by Jack Johnson and no one would have known the difference. A Crow . . . has psychedelic trip out sessions, guitar solos and freak outs – everything that theses creative guys are capable of doing well. It’s the perfect answer to the overwhelming pop success the band had found with Morning View, something that was only slightly familiar to the casual fan and a welcome change to the passionate one.

Tiger Army – II: The Power of Moonlight

Before listening to Tiger Army, I’d never really listened to Psychobilly. I was in love with the tortured croon of Nick 13 and the punk rock feel paired with classic Rockabilly. I think its fair to say that II . . . is Tiger Army’s best album of their career. After this, they seemed to slow down musically. I’m not complaining, as I still kind of like it, but I miss the fire and raging power that I felt with II . . . . Tiger Army is another band, along with the Dropkick Murphys, that you instantly want to be a part of what they’re putting out there. You want to sing along, even if you don’t know the words. It’s inspiring music to say the least.

Mastodon – Leviathan

It took a long time for me to truly appreciate prog-inspired heavy music. Tool was the only band I was comfortable with for a long time during their extended solos and dizzying breakdowns. Then my buddy Blake introduced me to Mastodon on the way to Ozzfest. Oh my god, the sheer power of it all! Leviathan is entirely inspired and based on Moby Dick (which the drummer had read on a rather long plane ride prior to writing the album) and it’s as epic as a whale hunt can be; especially when your ship’s captain has gone insane with his attempts at hunting this elusive monster of a white whale. The single greatest part of this entire album, and I’m totally serious here, is the production of the drums. That drum sound is simply brilliant. The cymbals are just barely audible in the mix and the fills are capable of rattling your brain. Even the order of the songs is perfect, a flat out assault on the senses until the last two songs, when it all slows down into oblivion. Even then, you want to continue listening as the album beckons you much like Ahab waving on his shipmates after being tied to Moby Dick and dragged to his death.

Killswitch Engage – Alive or just Breathing

While punk rockers and emo kids were reinventing themselves with “screamo” and “heart-core” metal kids were adapting as well. They began taking the speed and technicality of traditional thrash and pairing it with the barked vocals and chugging guitars of hardcore. What was born has since been labeled metal-core, complete with breakdowns and tight pants. Killswitch Engage was poised to be metal’s next big thing, when their original singer left the band just prior to a major tour in support of the introduction to the masses with Alive or Just Breathing. The biggest thing that I took away from this album, and still worship about it to this day, is the fantastic vocal work. Bouncing from an earnest clean vocal to a harrowing scream and a blood curdling growl; all telling stories of remaining true to oneself, love for others and denouncing things like violence and hatred (which the music totally inspires, oddly enough). The singer has since been replaced by a worthy candidate, but the overall impact is different. The previous line up had a feel of vibrant passion and now we’re left with angst-filled mourning. The music is still the same, almost tiresomely so, but it just doesn’t hit quite the same mark with me.

Death Cab for Cutie – Transatlanticism

I’m usually one to traditionally poo-poo most bands who have an air of taking themselves entirely too seriously and I must admit that I thought a band with a name like Death Cab for Cutie was going to be sitting pretty atop that list. Thankfully, I was wrong. I’ve spoken about genuine and earnest vocals before, but now I’m speaking solely to from-the -heart lyrics. The only other person that writes from the same lyrical perspective is Morrissey and even he can come across as a pretentious douche. The story telling in these songs is so coffee shop simple and poignant, and yet you’re kind of captivated by that simplicity. Like the smaller budget films that do better than anyone could expect, especially with no name actors. There are die hard Death Cab fans out there and they’re probably not to keen on the band’s recent pop culture acceptance, but I applaud them for it. Sublime was able to capitalize on their bare bones story telling and they’ve become one of the biggest bands in this country. Though Death Cab are no party hard pot heads, they are a band that deserve all the credit they receive, so long as they don’t spiral into the land of Chris Carrabba we’ll be ok.

Mudvayne – L.D. 50

To be blunt, Mudvayne are the weird, creepy art kids everyone had in their high school: dissociative and nonconformist but talented enough for millions to pay attention to. Their unique brand of alt-rock which has very little to do with the hip-hop inspired bands that got them signed is quickly compared to that of Slipknot. Although I can see where the comparisons come from – both bands cover their faces and wear costumes, have a manic frontman and sound like insanity personified – Mudvayne are as much about the outward expression of madness as they are about the inward journey to digging up more. Strangely enough, this album would always take me to the mental space of lustful thoughts. Not that I was attracted to any of the band members (they’re all typical metal guys, nothing overly attractive about them and I simply don’t play for that team) and their lyrics sure as hell don’t ooze romance or sex; I think their particular brand of music has an odd way of connecting to people on the strangest levels. I’m sure some people are inspired to run for a political seat after listening to these guys, or rob a liquor store. There’s a weird primal urge that’s (pardon the pun) aroused upon listening to L.D. 50. They’ve tapped into something that they’ve actually never found again in any of their later albums. It doesn’t mean that they’re any more or less intriguing now; rather they managed to really strike a nerve that they can’t find anymore.

Outkast – Speakerboxx/The Love Below

Probably the most ambitious musical outing that I’ve witnessed in an extremely long time. A hip-hop team, known for being able to play off of each other well with the standard southern swagger of Big Boi and the quirky off-kilter antics of Andre 3000, decided to create a double album with one disc helmed entirely by each MC, and released at the same time. What we’re presented with is two very different and distinct sides to the same wicked coin. Each rapper had room to breathe a little bit and indulge on their particular tastes. Big Boi incorporated other notable rappers to his disc and put forth a straight-ahead catchy southern style hip hop album. Andre 3000, on the other hand, told a story from start to finish about boy meets girl. If I remember right, The Love Below was being pitched as a mini-series to HBO. It would have been killer if it was done right. The story telling, on both discs, is fantastic and the beats are so catchy you walk away infected to the point that the only cure is to listen to it all again.

Lamb of God – As the Palaces Burn

Before I had heard of Lamb of God, my metal pallet was quite fickle and limited. I had tried bands like Pantera and Slayer, but couldn’t quite latch onto them like I had Metallica and Sepultura. When Lamb of God hit Headbanger’s Ball with the video for “11th Hour” I was intoxicated with the sheer simplicity and brutality of it all. Randy Blythe is now one of my top three metal vocalists of all time; he posses a roar and a scream that shakes you at your core. With songs that are as politically charged as they are beer swilling inspired it can drive you to punch that bully you have in your life (be it your boss, room mate, school chum) square in the nose and watch the blood run down their shirt. I find it interesting to think that an American metal band inspired me to listen to more European groups and get me back to the metal roots. I’ll never be a huge fan of Slayer, but I like more of their stuff now. I also have a deeper understanding and appreciation for Pantera. I didn’t get it before, but now it makes sense. Thanks LoG!

The Streets – Original Pirate Material

At a time in hip hop that was saddled with “WHHHATTT!” and “YEAAAHHHH!” oh and “HHHOOOKKKAYY!” it was difficult to find something with some substance and no crunk. Low and behold the little Englishman known as The Streets; no flash, no pimp cup, no ho’s and nothing to prove. Instead, you have straightforward story telling paired with bare bones, self-produced beats that screams DIY and working man’s hero. Songs detailing daily life of an English 20-something that frequents clubs, gets hammered and high and just tries to live life to the fullest – even if it kills him. The interesting thing to remember when listening to this album is to not look for that super poppy hip hop sheen that we Americans are used to. For whatever reason, the English have a tough time emulating that sound. Lady Soverign has kind of done it, but not nearly to the same extent. What we’re presented with is more of a trip-hop set of songs with a rapper over it. He’s a great story teller though his flows are kind of disjointed, but that lends to the overall charm of it all. You don’t get the sense that he’s trying to impress you; instead he’s just relaying stories of crazy nights the best way he can.

10 Bands that Need to be Pulled from the Airwaves

In this modern age of technology, there are multiple outlets to satiate your musical taste buds; the radio (and all of its latest mutations), CDs or iPod’s. The only constant, at least at the most basic of levels for the listener, is radio. Standard terrestrial radio. It comes gratis in all cars and is always only a button push away. It’s even latched onto the iPhone frenzy as a downloadable app.


The problem with traditional radio is the extremely limited catalogue that 95% of stations pull from. This is why you can criss-cross this country of ours and be able to listen to the exact same radio station in different states. This is also why people are turning to their iPods for in-car entertainment as opposed to the radio (but that could be the topic of another blog on it’s own for a later date).

I know that there are staple artists in every genre that suite every taste. That’s why there’s still a “classic” rock format and a “mix” format for radio. Handfuls of artists are cornerstones to that station’s library. I think it’s high time we started changing some of those artists a little bit. Not that there’s anything wrong with them (in most cases) per say, rather the country has gone into complete overdose to the point the toxic levels are responsible for global luke-ing (it’s a cross between warming and cooling. It’s a proven scientific fact, man).

In this list, I’m going to focus solely on rock radio for two reasons: a) I’m really only cognizant of these artists as I really only pay attention to rock radio and b) all of the pop artists on top 40 radio or “Hits!” stations need to die in a horrible fire. There are some cross overs here, but we’ll ignore that part for the sake of argument.

10. The Red Hot Chili Peppers

In the late eighties and early nineties a group of hyper-active 20-somethings got together and started raising musical hell. Eventually they needed to continue their euphoric feelings from their lively stage antics and became entranced with hard drugs. Realizing the error of their ways (after members died) they started to pen songs about what it meant to come out of that dark period and the different perspective they had on life. “Under the Bridge” coiled around America’s collective heart and allowed RHCP to forever inundate us with bad beat-poetry and watered down funk. I respect what they did, but have distaste for what they’ve done recently. There was talk of a brief retirement that was a little too brief for my liking. Suffice to say, the world would breath a sigh of relief should RHCP hang up their slap bass, meandering guitar riffs, monotone vocal work and unimaginative drums for good. Thanks guys, your collective expiration date has come and gone.

9. Foo Fighters

When Gen-X’s patron saint of corporate disillusionment and depression, Kurt Cobain, committed suicide in 1996 millions of flannel-wearing teens were inconsolable for years. From those ashes rose a happier repackaging that focused more on hooks and gags than angst and distortion. Slowly but surely the Foo Fighters scratched and clawed their way to the top of the international rock heap and in turn driving millions of American’s mad in the process. If you’ve heard one Foo Fighters’ song, you’ve heard them all. The recent pummeling of the overly insistent vocal work and tired gut-spilling of front man Dave Grohl (probably the nicest man in rock today) has lead me to the need of shoving a dull and rusted metal object into my ear canal. The band has said, recently, that they’re taking some time off. Personally, I think it’s time for Dave to step away from behind the mic and continue his work with the other musical inclinations he has (his metal project Probot or focusing on his “supergroup” Them Crooked Vultures for instance). The Foo’s have done their job and given those Gen-Xer’s something to giggle at. Thanks fellas, move along.


8. Rage Against the Machine

There was a time and place for the youth of America to be vehemently pissed off with absolutely no clear course of where to aim it (actually, that trend never changed they just got whiny as opposed to angry). That time was the mid 90s and that place was, typically, urban America. The house band to all of this anger and frustration, was (key word there) Rage Against the Machine. Burning bright and violently, these rap-rock cats inspired teens to get active, with Molotov cocktails in hand. The problem that they faced, however, is you can only stay so angry for so long and you can only rally against so many points at once. It got to the point that no one knew what they were fighting for anymore (specifically because many of their “fights” were pointless as they could never win). In the end, the band broke up and went their separate musical ways. To this day, however, RATM is still a rock radio staple. My biggest complaint with it, it doesn’t sound inspiring anymore. Now it just sounds like a soapbox-shouter standing on a busy street corner. I’d welcome any new material the group would put out, but only new material. I have the albums that made them big and I’m aware of the singles. I don’t need to be inundated with them anymore.

7. The Beastie Boys

Speaking of revolutionary; if you can believe it, there actually was a period where hip-hop was only just a fledgling sound. One group that pioneered that sound was the Beastie Boys; three Jewish guys from New York with the world’s worst voices. Nothing like the nasal stylings and tired beats of early 90s rap to keep today’s audience interested in your radio station. Granted, as often as their music begins to fade away, it also seems to come back even harder the next time around. These cats truly aren’t meant for major radio play anymore, rather relegated to the hipster music festival circuit as a novelty act (like Jane’s Addiction).

6. Green Day

We can thank three insolent punks with pop-song sensibilities for the rise of modern day pop punk. We can also thank them for the insurgence of ready-made “alternative” outfits at malls across the country. We can also thank them for releasing a pop-punk opus in American Idiot. What we can’t thank them for is anything that feels as inspired or exciting as it used to when they were fresh-faced song writers. Their formula is more tired than tried. Their second attempt at a long-lasting masterpiece, 21st Century Breakdown, stinks so much I can hardly believe the populace at large is having anything to do with it. Suffice it to say, their musical well – as Green Day mind you – seems to have run dry. They’ve tried on different outfits: the 60s inspired Foxboro Hottubs that has released one album and played a handful of shows, and Billie Joe has an actual gutter-punk band he occasionally assembles here and there. It’s not to say that they don’t have music in them, more to say that most of it isn’t any good anymore. With major radio stations still supporting their half-assed efforts, they’re feeding into the mindset of these cats that their punk-rock opera attempts are actually worthwhile. They’re lying to their faces. Do yourselves this favor gents, disband and go your separate musical ways (or just enjoy not having to do anything with an instrument for money for once) and come back in 15 years when I can say, “I remember listening to these guys in junior high!” and that statement will be one of fond remembrance rather than regret for your current state.

5. The Killers

Somewhere around the late 90s early 00s a revitalization of the new wave/new romantic sound showed up to the party. At the forefront of this movement were The Killers; four guys from Las Vegas who made their career ripping off every Duran Duran or David Bowie song known to man. I will admit, at the start, I thought what they were doing was interesting specifically in contrast to the chest-beating, testosterone driven rock sound at the time. After their initial release, however, I quickly felt the need to wretch each time one of their lack-luster excuses for music made its way to the airwaves. I don’t care what they can or can’t do as a live act. I don’t care what they can or can’t do in the studio. What grinds my gears with these con-artist idiots is the level of ego that has come with their moderate level of fame. Brandon Flowers, the lead “singer”, went so far as to contend in an interview that his band’s plan was to knock Led Zepplin off of their pedestal as rock gods and take their place. Yeah fuckin’ right. You’re not even worthy enough to wipe up after their groupie parties you ass-hat.

4. Three Days Grace

There are two types of musicians in the world. The first type is constantly challenging themselves to create something new and exciting; pushing their musical limits. Even if what they’re doing isn’t overly complicated or it’s been done before, the mere fact that they’re trying to regularly build upon their existing skills is a good thing. The other type blatantly rips off everything that they hear as an “influence” and do their best to recreate it rather than build from it. Like the architect who modeled his “designer line of housing” after track homes in Southern California; devoid of originality and completely antiseptic to the world around them. Three Days Grace have made a career off of being a grunge rock sound-a-like band; complete with self-loathing lyrics, mediocre guitar riffs, raspy vocals and tortured facial expressions. Their music probably speaks to some 12 year old for as long as it takes that child to read Shakespeare. By that point, they’ll realize that TDG has the same reading and writing level as a fourth grader. At least Nirvana kept some of their songs shrouded in mystery with lyrical nonsense. Guys, stick to the dive bars that spawned you and leave the masses alone.

3. Linkin Park

The hardest part for me to include these guys on this list is they’re a true guilty pleasure for me. Ultimately, however, I don’t think their most recent work is as exciting as it used to be. It would almost seem as if they’re going the route of late stage U2. They came out swinging and embraceable at the same time with their initial release (which would be comparable to, say, All that You can’t Leave Behind) in Hybrid Theory. They followed up with a standard build-off of their original success and didn’t branch out much in Meteora (How to Dismantle an Atomic Bomb). Then, to round it out, a completely unimaginative and pop oriented release to capitalize on the level of stardom that is starting to wane, Minutes to Midnight (No Line on the Horizon). The difference between both acts is that Linkin Park has the capability to turn off the machine and let it rest for a couple of years (which includes taking their most recent singles off of the radio. I can only take so many hand-clapped beats and mediocre flows) while U2 on the other hand is like a black hole. You can’t escape them so trying to is a waste of time. If LP were to take a handful of years away from the spotlight and come out with something so amazing and mind blowing (not sure they can though) they’ll be relevant for another 10+ years. Good luck with that, as the industry thinks they’re some sort of cash-cow.

2. Rise Against

My buddy, Capone, predicted that these cats would be the next Green Day. I kindly disagreed, sighting their being “too angry” to make it that big. Low and behold, the populace is gobbling up their brand of watered down posi-core/punk rock anthems like M ‘n’ M’s on Halloween night. I’m hard-pressed to keep them on this list for the sole reason that I like the band. I just feel we’ve hit a complete saturation point in the recent months. These cats managed to release two albums, The Sufferer and the Witness and Appeal to Reason in fairly rapid succession. Each album has at least two singles on it and they’re all being played to death at the same time. I wanted these guys to do well, because their song writing and vocal style is so honest and pure. The problem is, like most bands a person likes early on, eventually someone important somewhere will find out the secret and exploit it. Granted, they’re lyrically stronger than any garbage penned by the guy-liner and tight-pants wearing idiots of Fall Out Boy, but they’re equally catchy. I want these guys to take a significant amount of time off and try to avoid the continued spot light, for the mere sake of their own musical integrity (which has already started to suffer).

1. Jack White

Christ, where to begin? First you have the exhausted White Stripes. Then you have the unimaginable Raconteurs. Finally, you have the forgettable Dead Weather. What do you have? A musician with a lot going on in his head and none of it is revolutionary material. Jack White is responsible for all of these acts (though, the Dead Weather is as bad as I think and haven’t actually made it to heavy rotation, thank god) and suffice it to say, the man can’t seem to ignore his muse. The problem is everything that this guy puts out all sounds the exact same. There isn’t a single piece of music that he’s put forth that has any shred of originality since he first burst onto the scene (even then, his stuff was simply a 60s rock revival with the likes to of The Strokes and The Hives). “Fell in Love with a Girl” was catchy, and appreciatively short. Everything since then has been the same stupid formula of maniac guitar tones, mindless drumming and obscene vocal work. I know that White has been celebrated for his musicianship, and I’m also fully aware that most people celebrate mediocrity on such a ridiculous level that I can’t stand it; so I guess this creepy looking character will be one of those individuals who will go down in the history books for some stupid reason. I just ask that we stop playing anything having to do with him on the radio from now until I’m deaf. We’d all be better off, trust me.

Adventures in the Used-Bin: 10.23.09

DJ Shadow – Private Press = ***

If you would have told me ten years ago that I’d be a fan of a guy whose sole talent is mixing records together to create songs, I would have laughed in your face and told you that you’re obviously misinformed.

Well, thankfully that statement is entirely rhetorical and I won’t have to be eating any of my words.

Private Press is the sophomore follow-up to the quintessential Endtroducing . . . by American trip-hop artist DJ Shadow.  Private Press follows the same format as Endtroducing . . . with its darkened atmospheres, random bits of instrumentation paired with existential spoken word tracks.

For all intents and purposes, one is not really supposed to pay attention to trip-hop. It’s a slow-moving instrumental beast with a mildly hypnotic undertone that is substantial background music. Sure, there are the occasional vocals on top of the multi-layered compositions, but even then the voice isn’t supposed to be the main hook (though there are a few exceptions, namely Portishead’s “Sour Times”). DJ Shadow has a tendency to combine some unique instrumentation or sample some clearly noticeable bits from movies that create something that ping-pong between active and inactive listening.

If one is planning on hosting a party where the atmosphere needs to feel more intellectual than that of a Frat-kegger, DJ Shadow is prime music for accomplishing this task. It’s not lively enough to induce a drinking game, but it’s not dour enough for a funeral gathering either. It’s right in between.

Big Bad Voodoo Daddy – This Beautiful Life = **

This Beautiful Life is the major label follow up to the spear-heading swing revival Americana Deluxe and is also everything about traditional swing that is pretty . . . safe. Calculated song structures, tightly wound instrumentation and sanitary vocal work. Although the brass section can jump right out at you at certain times, the quite vocal work of the lead singer gets a little tired half way through.  He sings well, but I would expect more of a crooner than a lullaby type of vocalist.

All I can say is, its decent background noise if there’s nothing else you want to pay attention to or something to let your 5 year old have as their first record. Hell, they even cover “I Wanna Be Like You” from the Jungle Book movie. I’ll hold on to it, but I’ll more than likely reach for Royal Crown Revue if I’m in the mood for some swing, first.

{Purchased from: Lou’s Records/ Total Spent: $4.03}

Trance Music or Mental Medication - You be the Judge

There is something intrinsically gay and fascinating about Trance music. On the one hand, you have this seemingly endless drum beat paired with consistently ascending samples and the occasional European female voice singing lyrics that are so horrifically shallow that even Michael Bolton would scoff. On the other hand you have this level of energy that courses through the entire song, some lasting ten minutes or more, that can induce a level of focus and drive whilst trying to execute the most mundane of tasks.


To be honest, it’s quite the conundrum. It’s easy to laugh at the Persian male cruising down any given crowded street in his expensive (but older and somewhat haphazardly put together) import car blaring a random Trance track. Inside your head, however, your foot is tapping along to the captivating beat.

This is why Paul Oakenfold has gone platinum and is one of the world’s biggest underground celebrities. I say that he’s underground because you, more than likely, will not recognize the man on the street, but he can get into virtually any VIP area he wishes.

It’s not easy to admit that you’re a fan of the music. Upon doing so you’ll typically be labeled one of the following:

A) a drug addicted adolescent
B) a homosexual
C) Persian or Greek
D) All of the above

Suffice to say, I do like the music, but not nearly enough to worship the makers of it. There are bits that I like for the mere reason that they’re audibly intoxicating. It’s fantastic work/driving music and will keep your mind free to focus on the task at hand as opposed to the music itself. You can say the same thing for any of the garbage that’s peddled on Adult Contemporary radio, but that doesn’t work for me. I find that I grow into a near uncontrollable rage upon hearing any of that AC garbage, particularly in situations where I have to wait exceedingly long periods of time; i.e. the doctors office.

What’s interesting about Trance in general, is it can nearly be qualified as nothing more than pop music. It’s simple, shallow and easily digestible (at least on the surface). Most European pop artists have more of a Trance sound to their singles than American artists do. Maybe this is an affirmation by the Europeans that pop music is as throwaway as the prepackaged backing tracks that they’re built on. American’s have this sense of attempted musicianship with our pop music. Studio musicians are brought in to try and create an authentic feel to “music” that is a waste of time to the listener. We, as a country, have a tendency to celebrate the most useless of talent and nowhere is this more apparent than the 24-hour advertisement known as Mtv.

At any rate, for the record, I am not a drug addicted Persian/Greek adolescent homosexual. My ear just happens to have a taste for the simplest of sounds sometimes. It’s an effort to keep me mentally balanced. You can only listen to so many anti-authority punk rock songs or so many brutal metal tracks or so many shoe-gazing depressed Brit-rock. Sometimes you need that musical caffeine boost, like the 5-hour Energy Shots to your body. It just makes you feel mentally healthy, for so long as the song is actually on. When it’s over, there is a lack of euphoria, but not in a shockingly bummer kind of way. Rather a clear blue sky or a blank canvas for anything in front of you. Your mind is clear and ready to take on whatever you’re going to thrust upon it unwillingly.

Guess Trance can be equated to a mental colonic.

Rammstein - Liebe ist ür Alle Da

Rammstein - Liebe ist ür Alle Da = ****

Whatever your opinion may be about German industrial-metalers Rammstein, with their shocking imagery and polarizing lyrics, it’s hard to deny that they’ve crafted probably this year’s perfect record.

Following the release of 2006’s Rosenrot there were numerous rumors swirling around the band and, from a fan’s point of view, none of them were good. Lead singer Till Lindemann was rumored to be leaving the band to spend more time with his new wife and he was to be replaced by one of the gents from KMFDM. Guitarist Richard Zven Kruspe also ventured out into a solo effort in Emmigrate (this is a solid album, however; truly an essential for any Rammstein fan). Clearly, there was no solid forecast that anyone could point to with certainty.

Three years later these hard-rocking characters managed to stick together and release Liebe ist ür Alle Da. The lead single for this effort is probably their most debaucherous to date. “Pussy” is the metal version of the Bloodhound Gang track “Foxtrot Uniform Charlie Kilo” with all of the straightforwardness of Nine Inch Nail’s “Closer”. (Interesting side note, in such a conservative country as ours can be all three tracks have been singles.)

To get back to my original point about Liebe ist ür Alle Da (which, when translated, means Love is there for Everyone) being this year’s perfect record; suffice to say, 2009 has been tumultuous for nearly every walk of life in our country and abroad. Jobs came and went. Money disappeared and reappeared like so many Copperfield tricks. A roller coaster ride that no one really actually enjoyed (except for the hogs at the top of the heap with their golden parachutes, but this is a music blog and I’ll spare you my ranting on that). What Liebe ist ür Alle Da managed to capture, probably completely unintentionally, was the sonic nature of what it meant to be a responsible adult in this day and age. Any teenager picking up the album won’t understand what I’m talking about, because they more than likely didn’t have to pay any attention to it – unless it was a homework assignment.

Ultimately, for the average listener, Liebe ist ür Alle Da is a completely solid album that encapsulates all that Rammstein is good at: earth shaking low-end (seriously, turn it up as loud as your ears can take in your car and watch your rear view mirror for proof), haunting industrial atmospheres, pulverizing guitar riffs and entertaining subject matter.

I keep waiting for either "Waidmanns Heil" or "Ich tu dir weh" to become rock radio singles, as they’re on par with the original sound and pop-brutality of “Du Hast” from 97. We’ll see if they can get back to that level of exposure, but I wouldn’t hold your breath. Specifically with the current rock radio stars essentially crafting the white guy’s equivalent of a hip-hop club track; but I digress.

At any rate, do yourself at least the favor of checking out the songs wherever you can find them (and if you’re brave enough, watch the uncensored version of the “Pussy” video – provided that the viewers are all over 18 and you’re not at work of course) and listen for yourself. Perfect production, tight songwriting and catchy-as-hell sonics make for one of my top five albums of 2009.

One of the Greatest Bands You’ve Never Heard of Volume 3: theSTART

Let me take you on a brief trek back to the mid 90s. A decade of suburban aggression, testosterone and a revitalization of metal fused with an element of hip-hop dubbed “nu-metal” (although I prefer to refer to it as alt-metal as some of the bands that fall into that ill-fated moniker weren’t very hip-hop or very metal). A time when the average white adolescent male felt like they were being overlooked (for whatever reason) and the average white female wasn’t willing to put up with anymore male-guff (sounds like a bad porno).

This time period changed the course of the music industry as we were presented with the repackaging of the grunge movement via tightly wound and polished angry white dudes; i.e. Linkin Park, Korn, Limp Bizkit, Puddle of Mudd, Nickleback, Papa Roach.

Typically these bands were being “discovered” in the LA area. Two bands that didn’t quite make it as far as their counter parts, each due to their own very different reasons, were Snot and Human Waste Project. The former had one of the most kinetic and inspiring frontmen in the scene, but he was killed in an auto accident. The latter didn’t quite fit the entire mold the music industry had created for this “new sound” as their frontman was actually a woman (not to mention, the HWP wasn’t really that good anyway).

As the two bands came to their respective ends, fate would intervene and pair Snot drummer Jamie Miller with HWP singer Aimee Echo together to start a new and decidedly less aggro recording path. Ditching the down-tuned guitars for synthesizers and chest beating lyrics for broken relationship and lovelorn story lines; theSTART was born and helped to usher in the revitalization of new wave.

With a sound combining elements of garage rock, new wave and post-punk but the energy of a maelstrom, theSTART took every opportunity to get in front of as many different types of music fan as possible. Touring with several bigger name artists that already had a fairly established fan base; they released their first album Shakedown! via a smaller imprint of Geffen Records. Ultimately, however, that imprint folded, as did the contract with the band.

Shakedown! pops, squeals and squeaks (as well as rocks) it’s way into your brain with the same intensity as your new favorite TV show. With songs that encompass topics like the ultimate break-up songs “Nemesis”, “Her Song” or typical late night inspired thoughts “Glimmer Man”, “Time” as well as the title track that inspires as much dancing as self-revolution “Shakedown!”; Shakedown! takes most of its fans completely by surprise after first listen. You walk away, typically, not expecting to like it as much as you do.

With a lack of a record label, theSTART set out on an extensive cross country trek on multiple tours with all kinds of artists along the way. During this time they put together a new batch of songs and released the Death Via Satellite ep. With a slightly darker atmosphere but sticking with their signature overall sound theSTART garnered the attention of a new record label and several new fans in the process. Death Via Satellite has some of my all time favorite tracks by the band including the wicked “The 1234” and the bleak but dreamy “Death Via Satellite”.

After the success of the ep and another handful of tours, theSTART released their second full length album Initiation. A definite departure from Shakedown! and Death Via Satellite with a focus on the electronic atmosphere and less of a guitar driven framework. In fact, the only true rockin’ tune on the entire album is the opener, “Like Days”. It’s interesting to note that the band put forth such a non-rock album on a punk rock label, namely Nitro Records (created by the skate-punk icon, Dexter Holland of The Offspring). Initiation can best be described as a relationship album, as so many of the songs focus on a highly personal level though not all of the story lines can be clearly depicted. “Christian, Christian”, “Dead End Queen” and “Peacocks” are the most stand out tracks for the piece.

The last album, after another label drop and change process (the band moved to a more electronic based label this time around, Metropolis Records, go figure) is the group's most goth/electro-alternative influenced album. Ciao, Baby is the band’s darkest outing with atmospheres ranging from Bauhaus to Roxy Music.

With songs alternating from the political, “Wartime! (It’s Time 2 Go Now)” to the lustful, “Just a Fantasy”; Ciao, Baby is also the least memorable. Though the overall signature sound and lyrical themes haven’t changed, it also feels the least inspired. It’s not a bad record, by any means, but it’s definitely a stepping stone as opposed to a hallmark in their progression.

I look forward to new material from the group and can only hope that their growth ends up somewhere I can sink my teeth into.

Although this particular piece I’ve composed is meant to inspire new listenership, I can tell you with most certainty that theSTART needs to be taken with a grain of salt. The band has such a unique styling that it makes for a difficult introduction. It’s not to say that you won’t like it, rather just to give you a heads-up that this isn’t so cookie cutter simple to latch on to. I do hope that you at least go to their Myspace and preview some of the songs. If you like what you hear, by all means pursue the albums (I’m certain you can find them all in the used section somewhere as that’s a testament to my previous point) and give them the fairest of shakes. Or a Shakedown! as it were.

Dead By Sunrise

Dead By Sunrise - Out of Ashes = **

The solo project of Chester Bennington, Dead by Sunrise, is effectively a direct reflection of all of his influences. You have the synth lines and programming of Depeche Mode, the screaming vocal of Ministry and the guitar riffs of Stone Temple Pilots and The Cure. Don't get me wrong, the record isn't bad. In fact, each song is quite solid.

My biggest complaint of the piece is the mixing quality. You see, there are two gents in the music industry, the Lord-Alge brothers, who's sole talent is making hard rock bands not so hard. They have the distinct ability to flatten out the overall sound and polish it up to it's most pop level. The same thing happened with Fear Factory and their 05 release, Transgression. Out of Ashes and Transgression are both good records, but they could have been great records.

Also, when I had heard that the musicians that made up the rest of the band was Julien-K I was excited. Pair that with Chester's aforementioned influences of DM and Ministry - I was looking forward to an industrial sounding album. Alas, I have been left with a shining example of modern day pop rock with a 90s alternative shine.

I'll do a brief song by song breakdown for you as I've listened to this album twice in a row all the way through.

You have the left over Linkin Park opener in "Fire" which is probably the least exciting opening track I've ever heard. You have the career culminating riff on "Crawl Back In" that sums up every STP album ever. "Too Late" and "Inside of Me" sound like they were written in the studio, though they also sound like their own band in this instance. "Let Down" and "Give me Your Name" also sound like STP throwaways but ones that was reworked tirelessly to get it away from that feel. "My Suffering" sounds more like a Dead by Sunrise original, but with the aforementioned mixing, it's so frustratingly flat. "Condemned" would be a solid live track that would inspire some serious crowd participation. "Into You" could have been co-written by Robert Smith. "End of the World" has a studio jam feel to it that would also make a great live track to jump around to. "Walking in Circles" and the closer "In the Darkness" are good, but two downers in a row does not a good song order make.

All in all, I think it's about time Chester took some time off from the music. I don't know if he's as inspired as he used to be. It's a good record, but I was expecting more.