Cheer Accident, Tracker, The Fucking Champs, Sombertown, The Search for Saturnalia, Perforated Head, Keith Monacchio, Michael McDermott, Traindodge, Jejune, Morbid Angel, Bloggs, Bertrand Burgalat: The Genius of..., Hotshot Satellite, Simon Fisher Turner, Bluetip, BLUE, Mount Florida, The Microphones, Paris Vu Par

	Cheer-Accident / Salad Days / Skin Graft (CD) Sample 30 seconds of "Graphic Depression" I'm really not sure what to make of Cheer-Accident. Reading the press materials, I get the sense that this is the kind of band with a backstory that's just as important as the music. I also get the sense that to really be appreciated, Cheer-Accident needs to be experienced live. So if you live in Chicago, go check them out. Anywho, this is an odd CD full of momentary funky beats, snatches of sampled conversations, the occasional melody, bad falsetto vocals, guitar wizardry and some lovely, quiet instrumental passages. Occasionally proggy, but mostly just odd, Salad Days sounds like a conceptual album with a well-concealed concept. Mr. Steve Albini was involved in the recording and mixing, for what it's worth. I want to like this CD, and admire the band's experimental outlook, but somehow the music just isn't pulling me in. -- ib
	Tracker / Ames / Film Guererro (CD) Sample 30 seconds of "Waiting For Food" Here's an excellent accompaniment for those long journeys via highway. When you've got plenty of hours left to kill and lots of asphalt to cross, Tracker's countrified indie rock is perfect for helping you zone out and pass the time. Remember that you're driving, though -- you don't want to totally zonk out and end up dead in a ditch! Tracker lets Neil Young and Pavement influences combine, creating a brand of rock with a pleasant twang about it, keeping you alert but allowing your mind to wander without missing out on any of the music. Ames alternates between calm and quiet numbers and a few upbeat rockers that'll keep them eyelids of yours peeled, but not bugged out and bloodshot...that is, as long as the more depressing missives don't move you to hit the bottle while behind the wheel. -- am
	The Fucking Champs / IV / Drag City (CD) Sample 30 seconds of "Thor is Like Immortal" It takes a lot of balls (and more than likely a lot of beer) to call your band the Champs, let alone the Fucking Champs. It is essentially throwing down the gauntlet and saying "we rock harder then you ever will". Fortunately, without noticeably trying, the Fucking Champs actually do rock harder than most bands ever will. Listening to IV is like taking a trip through the rock 'n' roll hall of fame without leaving your living room -- in just under 40 minutes the band manages to concoct a sort of supersonic rock stew, using ingredients from every major rock band of the last twenty years. And boy, does it smell good. In this piping hot gumbo you’ll find dirty Sabbath riffing (“What’s a Little Reign”), Rush-aping guitar histrionics (“Policenauts”), Queen-esque guitar rave-ups (“Thor is Like Immortal”) and a Zeppelin-inspired moment of placid reflection (“Lamplighter”). IV bundles years of lighter-waving, pyrotechnically enhanced, groupie shagging arena rock into one nice, neat, shiny little package. As far as I’m concerned, as long as they keep churning out album after album like IV, they can call themselves whatever the hell they want. -- jj
	Sombertown / Hot Rod Dress EP / Sombertown (CD) Sample 30 seconds of "Kaleidoquiz" I know little or nothing about the musical tastes and background of this Minnesota quartet, but Hot Rod Dress just happens to sound like a lot of the records I bought during my college days (known to other Splendid staffers as "The Dawn of Time"). They've got a friendly, jangly/fuzzy indie rock sound, full of loping, melodic guitar lines that recall the Cure, the Feelies and half a dozen other bands from the days when we weren't quite so good at slapping genre labels on everything. "Kaleidoquiz" sprawls in Dinosaur Jr. (or, if you prefer, early Elf Power) territory and "Chalkboard Fingernails" wanders through minor-key borderline-goth territory, while the title track combines indie-folk fuzz and a crystal-clear Cure melody. If not for its female vocals, "Slide the D" could be inserted into the first Chills album, leaving most fans none the wiser, and "Tide Pools" floats in the undefined space between post-Floyd psychedelia and shoegazer drone. In short, Sombertown have hit my nostalgia vein full-on...but I suspect this isn't entirely intentional. Their unassuming-yet-hummable approach works as well today as it would have fifteen years ago. I hope they go far. -- gz
	The Search for Saturnalia / Four Letters / Has Anyone Ever Told You? (CD) Sample 30 seconds of "In General" This Austin, TX quartet follows in the footsteps of uber-experimentalists Sonic Youth. While many bands stumble in the dark shadow cast by that band, The Search for Saturnalia manage to shine. Instead of trying to out-weird their predecessors, the band concentrates on writing solid songs which, although noisy in spots, contain hummable melodies. When dissonance rears its ugly head among moments of beauty, the band heightens the emotional power of the technique, creating a startling rather than brutal result. Additionally, by reigning in the tunes before they meander too far, the Search manages to keep listeners focused on the songs as opposed to looking for something to alleviate the boredom. Four Letters may not be as viciously experimental as others out there, but in the end that's definitely to its benefit. -- rd
	Perforated Head / Maybe I'm Mayonnaise / Perforated Head (CD) Sample 30 seconds of "Whirlpool" The title may be quirky, but the tunes are rather commonplace. This five-piece rock outfit delivers tight two-guitar ditties riddled with plenty of punch and solid harmonies. Thrown in for good measure is a shake of keyboard here and there, which gives at least a little flavor -- albeit '80s pop flavor -- to one of the four otherwise rather bland tunes. A tight outfit, Perforated Head would certainly be a welcome find if you were club hopping or had been dragged to a house party -- these generic songs would facilitate beer drinking with ease. But as for seeking them out for a dedicated listen, well, you might be left hungering for a little something spicier. -- rg
	Keith Monacchio / Anchor / K Music (CD) Sample 30 seconds of "I'm Rough" Keith Monacchio's moody musical vision and spare, earnest vocals drive Anchor across a variety of influences: rock, indie-pop and, well, almost folk. The three are never fully blended; it's as though Monacchio hasn't made up his mind whether he wants to be the Sundays or Springsteen. In "I'm Rough", he denies folk associations: "I ain't no finger-plucker". At times, though, his sound is stripped so bare that it's tough to call the difference, as in "Last Night It Almost Went Down Intertwined", where it's just his voice, block, cymbals and guitar for most of the song. "Lonely" features fast guitar strumming and rapid beatbox, set off by melancholy but rich cello. Some of the lyrics are self-indulgent: "I'm going crazy, I'm kind of mental/ I'm not sure, I think I've got potential". Ignore missteps like these lyrics, and just concentrate on the instrumentation (including his voice)-- you'll enjoy it that much more. -- js
	Michael McDermott / Last Chance Lounge / Koch (CD) Sample 30 seconds of "Getting Off the Dime" Don't get me started about Last Chance Lounge! I really don't like it (see, you've gotten me started). If you enjoyed McDermott's big single a while ago ("A Wall I Must Climb"), or his 1999 self-released album Bourbon Blue, I apologize up front for my undiplomatic response to him. Sometimes McDermott sounds like Springsteen, sometimes he's Rod Stewart, but mostly he's just derivative. There's a certain type of rock 'n' roll that I've never liked. Most recently its representatives have been people like Sheryl Crow and Hootie and the Blowfish, and now Mr. McDermott has joined the ranks. I'll grant that the man is clearly very talented. His music is polished, deep, smart, literate, etc. What it isn't is edgy! It doesn't push any envelope. It's just not challenging. For me this is where Last Chance Lounge falls down. It's bland. "Getting Off the Dime" is a prime example -- everything from the corny rim shots in the drums to the gritty rock vocals screams "cliché"! If you're a Triple-A radio station programmer, you might want to pick this up. Otherwise I can't recommend it. -- nw
	Traindodge / Torch EP / No Karma (CD) Sample 30 seconds of "Mountaintown Fire Station" Though spiced with a healthy dose of emo's bleak bluster, this five song EP isn't really part of that world; it boasts a maturity that carries it beyond the histrionics of twenty-something punk rock trendiness. The next stop down the line is Arty Punk Rock, and that's where Traindodge gets off. Beneath the loud/quiet/loud transitions and raw-throated vocals, you'll find a thick foundation of prog derived riffage -- presumably the band's way of letting you know that, yes, they've got some Rush albums stashed at the back of their bedroom closets. Tape loops and keyboards help to move Traindodge past angst-rock two-dimensionality, though they're most effective on "Cactus Flag", a stirringly expansive instrumental that closes the EP. I wish they'd taken the time to write some lyrics for it... -- gz
	Jejune / R.I.P. / Big Wheel Recreation (CD) Sample 30 seconds of "The Highs and Lows" Jejune called it quits near the end of 1999, and R.I.P. provides considerable evidence that those who, like me, were oblivious to their existence truly missed out on something special. The first five songs here are the last they ever recorded. Culled from a final session with Mark Trombino, they showcase the band's vast diversity; it's impossible not to like something about them. "Lunatic" (and, to a lesser extent, "Record City After World") are arena rock, complete with monster riffs, while "The New State" is joyfully silly new wave. "The Highs and Lows", like "2000 Miles", is more along the lines of pop, and perfect pop at that; "Highs and Lows" contains, aside from excellent boy-girl vocals, perhaps the most spirited "la-la-la" chorus I have heard this year. Because of this, it's no wonder the band was annoyed by their "emo" tag, as their appeal could have extended far beyond that little subset in today's pop market. The remaining songs on R.I.P. are B-sides and compilation tracks which continue to show the band as diverse, talented, and fun. Whatever musical direction each band member now takes will be one worth following. -- td
	Morbid Angel / Gateways to Annihilation / Earache (CASS) Sample 30 seconds of "Summoning Redemption" During the late '80s, death metal was perceived by many to be a passing fad. Over ten years later, this form of extreme metal has not only survived but has seen a definitive resurgence. One of the consistent doomsayers of this metal generation has been Morbid Angel -- and thankfully enough, the band's seventh studio album triumphantly damages eardrums yet again with its pugilistic songs and pagan-influenced lyrics. Standouts include the epic "Summoning Redemption" and the resounding "Opening of the Gates", each combining the classic grind and thundering resoluteness for which Morbid Angel has become known, while including new rhythmic structures and Eastern influences that display the band's continual evolution. You'll get what you would expect from these classic metal monsters, along with a few surprises -- and a full body massage via their rumbling battery of drums and wall of endlessly heavy guitars. -- am
	Bloggs / Music for Multiples / Frenzel Lensone (CD) Sample 30 seconds of "Vision No. 17" The coolly intellectual Music for Multiples is always obscure, ethereal and at times downright depressing (after all it includes a requiem -- "Ten (requiem for david clugston)"). Your reaction to this CD will depend upon your strength, patience and imagination. Joe Bloggs experiments with avant-garde art music, seemingly using whatever comes to hand -- or rather to head -- to make noises in the shape his creative muse bids him to use. Tibetan prayer bowls, contact mics, woodwinds, harmonium, PVC pipe, plastic wrap and more are pulled in by the artist in the service of his compositions. "Untitled Piece for Bowls", my favourite track, grows as it progresses, its repetitive forms spreading out like a pebble dropped into a pond. Frankly, unless you own an art gallery or felt a need to meditate, I can't imagine throwing Music for Multiples on the CD player at home; it's so quiet that the liner notes recommend listening to it at high volume so you'll hear anything at all. In praise of Bloggs' art, I believe that when making the disc, he was faithful to to the sounds he heard in his head. -- js
	Various Artists / Bertrand Burgalat: The Genius of... / Bungalow (CD) Sample 30 seconds of Ladytron's "He Took Her To a Movie" Not familiar with Bertrand Burgalat? He's an influential French musician/producer, part of the Tricatel consortium, and you can hear his influence (if not detect his presence) in most of today's best lounge-inflected European pop. Perhaps he's not a genius -- his own liner note comments make an embarrassed attempt to downplay such praise -- but his work has gone a long way towards restoring the sense of joyous unpredictability that so much pop music lacks. Here, he's represented by a lot of his highest profile work: his unique remix of Air's "Sexy Boy", Cinnamon's bitterly smooth "Maybe in the Next Life" and Nick Cave's moodily grand, sweepingly orchestral cover of Michel Polnareff's "Goodbye Marilou". The real gem here, however, is Burgalat's inspired remix of Renegade Soundwave's "Positive ID", which drops the RSW vocal into a nearly dead-on cop of Martin Denny's "Quiet Village". Ultimately, The Genius of... reasserts a fact that Burgalat afficionados know well -- when he's behind the board, whimsy and sophistication abound. -- gz
	Hotshot Satellite / Canvas / Hotshot Satellite (CD) Sample 30 seconds of "Empty Space" Canvas was produced by Scott Garred of Silver Scooter. I'm a bit of a Silver Scooter fan, so I was interested to hear the disc. What I heard was credible, pleasant-enough indie-pop-rock. I still like Silver Scooter better, but these Austinites aren't bad. Some songs are better than others, of course. The opener, "Wooden Planes", doesn't do much for me, but "Empty Chairs" is cheerfully melodic and ebullient. "July 5th" reminds me a bit of early REM (which is a good thing); while it's a bit more sombre, it offers a nice contrast to some of the other more perky tracks. "Battled Time" is plain old pop balladry in the vein of New Order or The Smiths, and it's pretty enough. Canvas is basically enjoyable, but I'd like a bit more sparkle in the song writing. Because I think these guys have good potential, though, I look forward to future releases. -- nw
	Simon Fisher Turner / Travelcard / Beggars Banquet (CD) Sample 30 seconds of "Close" I had expected something unusual from Fisher Turner's latest -- he's a founding member of The The, after all -- and I was not disappointed. Using synthesizers and occasional guitar chimes, he has painted a rich sonic portrait of the transition between the indigo of evening and the rich blue of night. At times, the flowing sounds remind me of the Aphex Twin's ambient work, but with a more muscular drum sound. Travelcard is mostly instrumental; vocals do not surface until the album's sixth track, where a subdued drum-and-bass loop snuggles up to a vocal line that invokes the field recordings Moby used so brilliantly on Play. This gives the entire album a soothing, meditative feel, leaving the listener rested and invigorated as opposed to being prone to the attacks of narcolepsy that some ambient music induces. A solid album by an innovative mind, Travelcard will return to my CD player long after this review is finished. -- rd
	Bluetip / Polymer / Dischord (CD) Sample 30 seconds of "Stereo Tinnitus" If nothing else, Bluetip albums always look superb. Polymer is no exception, continuing the tradition of stellar graphic design established by Join Us and Hot Fast Union. It also finds the band back in top form musically, shrugging off the rather mediocre feel of the Hot Fast Union EP for a harder-rocking, more precise sound. While much of the previous material slouched in its seat, Polymer stands up straight and delivers ten crushing, angular blows to the skull. Anchored by the crack rhythm section of Jake Kump and Dave Bryson, songs like "Stereo Tinnitus" and "Astigmatic" arc viciously forward, their bottom-heavy grooves penetrated by shards of razor sharp guitar and Jason Farrell’s heavily enunciated vocal wallop. The ubiquitous J. Robbins produced Polymer, and his rough and ready style seems to suit the band to a tee. His production techniques dip in and out of the mix, smoothing the rough edges of "Anti-Bloom" and "New Shoe Promotion" just enough to let them reach their full explosive potential. Bluetip may finally have figured out the perfect balance of design and performance; Polymer looks great, but sounds even better. -- jj
	BLUE / Holly's Song / Sanity Check (CD) Sample 30 seconds of "Crying in My Sleep" This daring attempt at creating "A Gothic Drama in Four Acts" pits the artist known as BLUE against today's general contempt for conceptual albums. Acting like an operatic poet, BLUE displays his musical virtuosity while creating a euphonic sketch of a fractured, suicidal artist who has lost his mate. Overall, the calculated, folky music (with an occasional interjection of industrial beats) capably creates a vivid backdrop that's equivalent to listening to a well scored soundtrack. BLUE's vocals range from harrowing rock to a mutant-styled, countrified twang that's a bit rough on my nerves. If you've been diagnosed with a short attention span, Holly's Song will probably stay in your CD player for no more than one track. For the more adventurous and innovation-friendly music aficionado, BLUE's work can only be truly appreciated in its entirety -- so sit back with an hour to kill and immerse yourself in today's version of the rock opera. -- am
	Mount Florida / Strut / Matador (CD) Sample 30 seconds of "Poptimo" Next to making apple/carrot/lemon juice, I can think of no better way to spend 28 minutes than by listening to the four tracks on this tweaky wad of beat-oriented get-down music. "Poptimo" manages to fuse bad 1980s synth-pop with bad 1980s bleep-bloop-robot-dance-pop, thereby producing very, very good 21st century disco music. "G-Twang!" lays a bone-dry Joy Division guitar lick over an endlessly funky drummer and adds a few voice samples and sound effects; a good time is had by all. Put a cheezy techno DJ, a half-assed James Brown cover band and a steeldrum ensemble in adjacent rooms, give them all a click track and tell them bust a move, and "Last Airboat to Daytona Beach" just might be the result. Somewhere in the jungles of deepest Glasgow a mutant robot drum circle has formed, and "Split" is their first recording. Robots, Joy Division and steeldrums, I tell you! What in the world are you waiting for? (Matador will release a full length CD from Mount Florida in January, 2001.) -- ib
	The Microphones / It Was Hot We Stayed in the Water / K (CD) Sample 30 seconds of "Karl Blau" If you find Phil Elvrum's voice consistently able to convey the emotions ingrained within his new batch of songs, you're apt to consider this vague concept album about beach and death not only a masterpiece, but the first pop masterpiece ever to contain a whopping drum solo in the middle (and it's so appropriately named: "Drums"!). The more I listen to It Was Hot..., though, the more surprised I am when Phil Elvrum's gentle, sometimes quivering vocals suddenly go deadpan, as when he sings "from under the ice, I saw you in warm clothes". It doesn't seem like the right time for him to go vocally aloof on us, as if he was trying to pay homage to Calvin Johnson, and it undermines some of the tension within each individual piece. However, while I am certain that Jeff Mangum would take these songs to a colder, scarier level than Elvrum, the Microphones' often surprising delivery of heavy material doesn't produce a body blow. Instead, Elvrum's approach enables the eclectic batch of songs to complement each other nicely, with none of the emotional distance you'll find between the opening songs to In the Aeroplane Over the Sea and its other tracks. So what the hell am I trying to say? No matter what you think of Phil Elvrum's vocals, It Was Hot We Stayed in the Water is a damn amazing CD, and will inspire you to buy everything Phil and his supporting cast (such as Mirah, who always sings with feeling) has ever done. -- td
	Various Artists / Paris Vu Par / Mini Tenor (CD) Sample 30 seconds of Mr. Wright's "The Pianist" Yes, it's an entire record of modern pop songs about Paris, but fear not -- while it's fey in places, you'll find no bouncy Eurodisco covers of "La Vie en Rose" here. You also won't find yourself inclined to skulk in darkened café corners after listening, as Paris Vu Par instills happy warm feelings and fosters an air of relentless (if faintly wistful) cheer. The songs, which range from bouncy electro-pop to low-rent lounge and proto-jazz, could fit seamlessly into any film about well-groomed twentysomethings meeting cute, Parisian-style. High points include Baxendale's charming, but lyrically unwieldy "The New Parisienne Pop and Soul", the jazzy lounge swagger of Aurino's "Ugo's Café" and Mr. Wright's "The Pianist", in which he demonstrates that he almost has his Bryan Ferry imitation down perfect. With Paris Vu Par in your discman and a suitably rainy day for your wanderings, almost any city will seem a bit more Gallic. -- gz

gz - george zahora | nw - noah wane | am - andrew magilow | ib - irving bellemead | jj - jason jackowiak
td - theodore defosse | rd - ron davies | bl - beth lucht | js - jenn sikes | rg - rodney gibbs