ALL WOUND UP
Hero
Tooth & Nail Records
12 tracks

More Southern Cali pop punk from Tooth & Nail. Tight, fast, melodic, competent...and completely unnecessary. --JS

THE BILLIONS
Quiet As It's Kept
independent
11 tracks/55:29

In the never-ending search for a unique and all-inclusive sound to call their own, many bands tend to neglect song structure and a more "traditional" approach, for fear they might be pigeon-holed into a certain style or genre. Such is often the case with newer indie rock, as bands try to break free from labels such as "emo" or "college rock" to carve their own path. Different, though, doesn't always mean better.

The Billions' Quiet As It's Kept is an example of one such situation. Alternating between minimalist guitar rock and more classical, 70's-era acoustic pop, The Billions have crafted a genuine, heart-felt record, but one that begs to be more than it ultimately is.

Trying to differentiate themselves from more traditional emo (with its oft-wailing and overly emotional frontmen), The Billions' songs tend to offer no emotional release whatsoever, leaving the listener wanting -- needing -- more, but not finding it. What's left is a good listen, but one that requires a certain amount of patience, not to mention lowered expectations. There are no strong, immediate hooks, save for the opening track "Millions of Miles", and the songs often drift along for their allotted three or four minutes, falsely foreshadowing their missing, but necessary, crescendos.

Add to this mix a vocal arrangement which is overtly light and whimsical -- albeit genuine and passionate -- and you have something akin to Michael Roe and Pray Naked-era 77's, particularly on more acoustic-oriented tunes like "Cavern" and "Close Your Eyes".

These songs are interspersed with more guitar-heavy numbers like "Victorian Shade", "Hand of Jesus", and the aforementioned "Millions of Miles" -- the record's most fulfilling track. These are all good, well-written and executed tunes, but I just can't help but think this could have been so much more.

Former Kansas frontman Kerry Livgren is behind the board on this album, and one can feel his influence in the production. This is a slick record, to be sure, but even one of the forefathers of arena rock can't help take these tunes to the next level.

Lyrically, the brothers Billen stick close to their Christian faith, which seems to be as deep-rooted as the grain in their Midwestern homeland. From "He Advances", a tale of Jesus' last days:

A drop of blood falls to the ground
Still praying, he advances, won't turn around
With a kiss, betrayed by a friend
Slave struck by the sword
His hearing impaired, still he was healed

Quiet As It's Kept is a welcome, if somewhat lacking, introduction to a band bubbling with potential, and one can only hope that future records will find these Kansans more comfortable with the idea of being good ol' rock stars. It's time to turn up the amps, my friends.

--Scotty Teems

CREEPER LAGOON
Take Back the Universe and Give Me Yesterday
Dreamworks
13 tracks/50:33

Music is such a contextual monster. Far too often, the merit of music is directly proportional to the validity of the band, a symptom of a deep-rooted musical bias that's been ruining pop music for years. Creeper Lagoon are the latest of the many bands that have become victims of this mind-boggling phenomenon.

If any of the thirteen pristine tracks from their new record, Take Back the Universe and Give Me Yesterday, were products of today's best-known pop outfits (matchbox twenty, David Gray, even the much-hated boy bands), they would shine with such prowess that mainstream radio would eat them up like Ben & Jerry's on Free Cone Day. But as it stands, this latest batch of tunes will only be compared to the band's previous outings, and in that light, their color becomes a little bleached.

Super slick and way-too-pretty, the songs on Take Back the Universe... pour through your speakers and into your brain like the purest of pleasures. But the effort to beautify the work has drained Creeper Lagoon of the trump card they've been holding for five years, waiting to drop on the table and blow the collective minds of mainstream American radio. That trump card is, quite simply, balls. Big ones.

Their 1997, self-titled EP was such a potent mix of masterful songwriting and emotional purity that one couldn't help but fall in love for life. However, both of the band's attempts to sustain this power over the course of an LP ('98's I Become Small and Go was their big-label debut) have resulted in records that were way-too safe for their own good. In short, they lost their punch.

All of that being said, though, let me note once again the contextual state of these critiques. The songs, in and of themselves, are magnificent. Filled with riffs, hooks and sing-along choruses to boot, Take Back the Universe... is a record that doesn't have one song that you want to skip past. They're all solid, short and sweet -- just like good radio tunes should be. This is a purchase well worth your hard-earned cash.

From the acoustic based power-pop of "Under The Tracks" and "Wrecking Ball" (the catchiest tune of the lot), to the more aggressive "Up All Night", and the awesome, epic "Keep From Moving", this is a record that plays like a candy bar - sugar sweet, baby, right down to the end. But like any good chocolate buzz, there's just not enough substance to make you feel like you've experienced something significant. To me, that has always been Creeper Lagoon's allure - pop with purpose. They've always embraced their mainstream sensibilities, but never have they played into the labels' hands so blatantly. It's frustrating, because once a band has shown what they can do, you want them to continue to grow with each record. The problem here isn't lack of growth, however, it's just the direction these growing pains seem to be heading.

Lyrically, frontman Ian Sefchick plays with words in often abstract, sometimes melodramatic fashion, but he's never lacking for good poetry. From the lush ballad "Naked Days":

there will be love in the heat
naked days and jealous weeks
white shoes in leather
fading, losing their shine
dollar bills made of sadness
asking you, are these things mine?

Creeper Lagoon are ready for the big time, there's no doubting that. What is in question, though, is just what they'll do when they get there. Bands like this don't come around often, and one can only hope they'll use their amazing abilities to bring back some depth and dignity into the shallow world of American Radio.

--Scotty Teems

THE DINGEES
The Crucial Conspiracy
Tooth & Nail Records
13 tracks/39:17

Third CD by this ambitious band who bring credible truth-tinged punk & reggae for fans of The Clash and Rancid. Not much ska this time, and several excellent melodic rock songs make them worthy of notice for music lovers outside the roots tradition. Worth buying for "Latch Key Kids" alone. --JS

GREEN OLIVE TREE
Things I Tried to Do
Syntax Records
12 tracks/61:38

Mostly meaty, dirty grunge with nicely tortured vocals and struggle-based worship lyrics. Good stuff. Also, some punk, hardcore, and industrial thrown in, due to the band's background as a youth worship band capable of playing multiple styles. The grunge songs are well worth checking out for fans of Nirvana, Sometime Sunday, early STP, Bush, Alice in Chains, etc. --JS

To order, visit Syntax Records.

HANGNAIL
Facing Changes
Tooth & Nail Records
12 tracks

Sophomore album by pop punksters. The metal elements are gone, and so are the MxPx copy vocals, but this is still uninteresting for anyone over 16. Even less lead guitar than the first album, which shows they have no clue what they're doing -- since the soloing is their step up and out of their dead genre if they'll just take it. --JS 

JAI AGNISH
Automata
Blue Bunny Records
35:17 (2000)

Lovely acoustic guitar, meditative vocals, and assorted electronic noise meld to create the unique futuristic folk sound of Jai Agnish. It would be expected, therefore, for Automata to have a dreamy, poetic feel and be bursting with fresh sounds and insightful lyrics. Fortunately, Jai Agnish doesn't let us down.

The first track, titled "Introduction", is quite interesting. A woman sounding like the narrator for a children's program coaxes the listener into taking a ride in a spaceship as electronic beeps and boops cascade up and down in the background. As the song fades out, the woman begins to panic about the spaceship spinning out of control. The final track, "Send Me", swells grandly and powerfully with accordion-like sounds but is given a clean beat with a drum machine. Sandwiched between these two lovely songs are nine more tracks, each one brimming with mellow electronic and acoustic goodness.

"How You Dream" is the biggest standout on Automata, with its irresistible hook and upbeat tempo. Phrases like "unwilling to make believe" and "let the rose that binds drown, drown" blend to form beautiful lyrics. The words definitely tell a story but Agnish leaves the story itself open for contemplation.

Most of Agnish's lyrics are exquisitely crafted and marvelously poetic. However, there is frequent lyrical repetition, which can become a bit dull after a while. Also, though he leaves the meaning of his songs rather ambiguous, allowing the listener to come up with his or her own interpretation, some songs would benefit greatly from a little more clarification. For example, in the first verse of "Somerset Streets", Agnish sings:

Hop into my RX 7
I'm on my way to Heaven
It's no coincidence that heaven and seven rhyme
Or car and far
You and two
Three and four
Under the door

Automata's production is fairly clean. Unfortunately, the vocals, and occasionally the guitar, are sometimes overpowered by the electronic elements of the music, making it tricky to hear the lyrics. Hopefully, Agnish's next album will have better musical balance.

All in all, Automata is an excellent debut. Though things may sound slightly unpolished, Jai Agnish is a diamond in the rough.

--Teresa Santoski

LIFT TO EXPERIENCE
The Texas-Jerusalem Crossroads
Bella Union
Disc 1 - 6 tracks/39:22
Disc 2 - 5 tracks/55:04

Wow. Ambitious 2-disc album that mixes early U2 vibes with indie rock and dream pop's meandering song structure. A concept album based on an odd fusion of Biblical themes and prophecy with Texas pride. Ironic, or serious? Not quite sure, but definitely fascinating. Lyrics and music are rich enough to make this a work of art worth many, many visits. --JS
To order, visit Bella Union.

LIVING SACRIFICE
The Hammering Process
Solid State Records
10 Tracks/38:58

Living Sacrifice have proven to be a chameleon band, changing their sound to fit the times while never losing their basic brutality. They've done thrash, death metal, metalcore, and now...new metal. It's a logical progression -- and improvement -- from Reborn. An added percussionist (from Eso-Charis) keeps them on par with acts like Soulfly, who they all but mimic on "Not My Own." At other times, they could be mistaken for Meshuggah (the mechanical stutter riff in "Local Vengeance Killing") and Fear Factory (the melodic singing in "Altered Life"). "Hidden" throws in some of their old death metal sounds, while some clean singing also slides in on several songs. Though they're basically building on what's been done before by others and themselves, they're damn good at it. More poetic lyrics than in the past, but no less powerful. Take "Bloodwork":

I desire. I invite this process. Injection begin.
Begin. Break the skin. Salvation quickly driven in...
A new supply running red with purpose.
Nothing less than flawless in design.

--JS

OVER THE RHINE
Films for Radio
Virgin/Back Porch
11 Tracks/57:03

"I think maybe this recording, this collection of songs is about internal worlds, about the dialogue that runs inside all of us, conversation we have with ourselves. We hope anyone who hears these songs will find some fresh language and maybe a soundtrack of sorts for the stories we're all writing everyday with our lives, whether or not we ever pick up a pen..." -Linford Detweiler

Fans of Over the Rhine will say they're not just a band, they're an ethos, an awareness, a media of consciousness on a Jungian scale. On their latest project, Linford Detweiler and Karin Bergquist have once again enabled that communion of ear, eye, soul, and friend. Films for Radio, OtR's latest, makes no exception to the rule of musical excellence and lyrical lucidity that has marked all of their work to date. Nestled in the middle of its musical journey, I Radio Heaven particularly looks life straight in the eye:

the truth is i bleed you
when these frequencies cut me
i'm a slut with a mission
a singular vision
i radio heaven
i get mixed signals
i move the antenna
i switch the channels

From the modern, loop and string ingrooved "The World Can Wait," to the sparse and breathy "When I Go," OtR delivers an extremely mixed musical set, while at the same time the intimate and uncautioned tones of Karin's voice become almost a mist, an aroma...

the body
is a book
of matches
a little fire
is required
of this kindling flame
Ohio Blue Tip Strike Anywhere
strike me
anywhere

...longing to feel, longing to be felt; longing to know, longing to be known.

The music is like a soundtrack to the perplexing story of a life, moving around the deep-rooted plot like smoke fills a small social hall. Musical and ethical comparisons aside, OtR definitely belongs in the soul timeline somewhere near Joni Mitchell and Jewell.

As with any greatness, one's strength can also become one's weakness; and if Linford uses one more juicy simile in his writing, it will be like a...well, you get the idea. And the lack of a definable single will most likely keep this Cincinnati duo, best known for touring with the Cowboy Junkies, Americana's best kept secret. Which is exactly how OtR's strong, and extremely loyal, fanbase would like it to stay.

Films For Radio is indeed an apt title for this storybook medley of life, art, and music.

"...These days are pages, these years chapters. A plot emerges which is sometimes lost, often revised. Characters come and go, the people I have known, the limited cast of humans that one life can bear. Some I betray, some I love. Some I admire, some I pity. Some I teach, some teach me. Some I lust after, some are naked and I hope to clothe them."

--Daniel Miller

STRETCH ARM STRONG
Revolution Transmission
Solid State Records
13 tracks/38:32

More of the same creative juxtaposition of hardcore with indie rock, though perhaps not as fresh or as aggressive as their T&N debut. The songs might be more diverse, with more actual singing and even some piano, but it's not different enough to turn off old fans or bring in new ones. Their most compelling moments are still when they layer emotive clean singing (or wailing) with pained shouting, or when they repeat a meaty riff to drive a song home. No lyric sheet with this promo, but you can count on their words being intelligent, relevant, and free of cliche. --JS

TEMPLE OF THE TIMES
Requiem For The Lost Children
10 tracks/35:40
Blacklight Records

The debut EP from Temple of the Times (ex-Luxt member Anthony Roberts and his longtime friend Bikos) takes the listener on an industrial dance/synth-pop/synth-core biblical expedition, delighting the ears as well as the mind.

Requiem for the Lost Children opens with the soundtrack-inspired "Intro." Although it is the slowest track on the CD, this short instrumental soundscape introduces us to the eerie and industrial trip to come. The CD then kicks into overdrive with the title track. With in-your-face pro-life lyrics and move-your-feet techno-industrial beats, this song makes you want to get involved. Which I assume is the point.

Take it apart piece by piece,
No living soul just bone and meat,
Stand in line to protest rights,
Don't waste a life join in the fight

Even with trite lines like Fight for the right to save a whale, But save a baby go to jail, Temple of the Times pulls it all together and somehow makes this preachy song a pro-life anthem worthy of any industrial fan.

"Bloodstained" would make my grandfather proud. This hell, fire, and brimstone sermon reminds us all that we have fallen from the grace of God and only the bloodstained cross can save us from our demise. It's a classic combination of musical and preaching genres. The music would fit perfectly on the play list of any goth-industrial club while the message would fit perfectly in any Baptist church!

Not to be outdone, "Babylon" and "Seventh Seal" continue with doomsday apocalyptic sermons. Musically, "Babylon" sticks with what these guys do best: great beats and samples coupled with aggressive mind-bending sounds. "Seventh Seal" mellows out a bit, but don't let that fool you. The song grooves and moves and is a pleasant change of pace. It definitely keeps this EP from becoming too monotonous.

The rapid-fire drums of "Out of the Darkness" kick off the last original song. A call to return to God's word, this song successfully uses samples and lyrics to present a very gritty and energetic message.

Speak the words of life to me,
Read the words that set me free,
Words of life not pain and hate,
Words of truth it's not too late,
Give me truth and peace of mind,
But in the world I cannot find,
Searching for someone to care,
To love me, hold me, and be there,
Take me in your arms my friend,
Take this broken heart and mend
Now your peace has found my mind,
Searched God's word and I did find

This exhortation pretty much sums up what these guys believe and present in the lyrics of their songs. A love for God and his word and a faith that is not ashamed to let people know. Being in a genre that is pretty easily identified, and showing obvious influences (Front 242 and other 80's dance industrial bands), Temple of the Times do a good job being faithful to the style yet setting themselves apart. If you dig this style of music and enjoy distorted vocals, this EP is for you.

After the six original tracks, there are four remixes of the title track done by Luxt, Pulse Legion, 9th Wave, and Imperative Reaction. These remixes never seem to fall far from the figurative tree. Although they are enjoyable and very well done, the best parts of this EP are the six original songs.

--Simon Smith

To order, visit Blacklight Records.

TOOL
Lateralus
Tool Dissectional/Volcano Entertainment
13 tracks/78:57

Tool get even more labyrinthian, obscure, and unstructured. This is basically modern alt.metal psychedelia -- I've listened to it a dozen times and still can't distinguish one track from another. Added percussion makes it all groovier, but Keenan's vocals seem less distinctive, more muddled or something. Add the absence of a lyric sheet to that, and you're kept from hearing what have traditionally been misguided rants against Christianity by the band (but who knows, maybe they've branched out this time?).

All in all, superb background music for minor-key hipsters like you and I. Heavy, melodic, and mellow, at the same time. --JS

WEEZER
the green album
Geffen
10 tracks/28:34

Weezer's debut album is still the best CD I've heard since it came out in '95, with every single song a classic sing-along rocker. It's a peek into divine perfection, as far as I'm concerned.

Everyone knows it's a law of the musical universe that greatness like that is rarely repeated, ever (exceptions being Led Zeppelin, U2, and Metallica). So I wasn't really expecting Weezer to be given such grace again on their comeback third album, though the return of producer Ric Ocasek (The Cars) did give me a dash of hope.

I've only listened to the disc once so far, and as predicted, the magic is gone. Sure, all the songs (mostly about love and girls) are good guitar rock that will give driving that extra dimension that good guitar rock does, and it's better than 99% of the other rock out there...but otherwise it's another quickly fading moment in musical history. They just don't seem to have the exhilaration and energy that marked them in the beginning.

Of course, it's only been one listen. It could grow on me. --JS

ZAO
self-titled
Solid State Records
10 tracks/36:08

Zao's fifth full-length album finds them further down the path of exploration. Last time they visited the bowels of hell; now they've entered a strange new land beyond hardcore hades. It's not as abrasive and corrosive as Liberate te ex Inferis, with more atmospheric textures via acoustic guitars, whispering vocals, digitized accents on percussion, and ambient electronica sections punctuating some songs. The brutal heaviness remains in full force, but the black/death metalcore has been tempered by the same experimental muse as drummer/sometime singer Jesse Smith's solo project Through the Eyes of Katelyn. Minor key melodies also occasionally remind one of the Deftones. Mature music fans will recognize this as metal-as-art, a sonic painting of recurring revelation.

There was no lyric sheet with this promo, so unfortunately the tortured vocals kept most of the lyrics obscured. A line in track 4 stood out and struck home, though, with the eerie statement and question: i watch as my dreams bleed -- which one of you hunters got me? Zao's imagery-laden examination of humanity in all its fallenness would seem to be intact; check the lyric sheet for more dark insights (assuming the official release includes the lyrics).

Complaints are few. The short length of the songs and the album gives it an unfinished, unsatisfying feel. No epic masterpiece here--just the ingredients for one. Track 8 repeats a jarring rapcore chorus she didn't know he was going to die, which mixes horribly with the surrounding deathcore. That's one experiment hopefully never to be repeated. Some will say Zao have and could have done better, while others will raise this as their best yet. Either way, this latest self-titled effort is a bloody champion on a battlefield littered with the corpses of mediocre bands. --JS

(This review also posted at The Phantom Tollbooth.)