The Cool Kids
The Bake Sale EP
Chocolate Industries

The Cool Kids, Chuck Inglish and Mikey Rocks, have released a block rocking EP. The Chicago based duo, the self proclaimed “Black Beastie Boys”, mix old school beats with a relaxed organic flow. Establishing their own label and rocking house parties in Chicago, Mikey and Chuck recently signed to Chocolate Industries to release their EP. After finding out domestic and international demand for their music was higher than they could handle, they needed help to press records. And with such a unique sound, this comes as no surprise. The Cool Kids’ best track on The Bake Sale is “What It Is”. It uses a call and response technique reminiscent of the earliest MC’s. Anyone who has seen them will tell you that they rock the party by engaging the audience and energizing the crowd. “What It Is” captures this feel, while dropping a fast paced ride cymbal, bass drum, and snare backbeat that would induce swaggering heads and break dancing in even the squarest of audiences. The Cool Kids have recently played shows overseas in Australia and Europe, and are currently on tour in the States. Catch them at Lollapalooza and Outside Lands or else you’re a loser. – Jonathan Mendick, Mannerist Zine

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Mixel Pixel
Let’s Be Friends
Mental Monkey

Mixel Pixel has enjoyed success since ten years ago when they formed in Delaware. After four albums, the band has come across a proven formula for greatness. Blending hollow distant vocals from both Rob Corradetti and Kaia Wong, Atari-inspired sound effects and samples, electronic beats, bluesy organ, and hollow echoing guitar, Let’s Be Friends casts a soft vibe into your ears. Like a sun emitting its morning glow, the album immediately initiates your friendship. Rob, visual artist and founding member of the band, drew the artwork on the cover depicting subjects as diverse as the album’s lyrics and sonic utterances. Sure. It deals with cats, sweaters, death, drugs, fashion, lightning, loneliness, New York City, rebirth, and sex. But the success of the album lies in the lover/friend dilemma. Released on Mental Monkey records, Let’s Be Friends will either be an album to fall in love with instantly, or merely one to comfort you in times of loneliness. On “Distant Station”, the last track and also my favorite, lyrics about heartbreak, warm guitar and mellow keyboard exude warmness. Kaia explains “my love for you is like a secret potion”, proving the album would like to love you. Please do the same. – Jonathan Mendick, Mannerist Zine

Monotonix
Body Language
Drag City

In spite of a grueling tour schedule last year, which on average included more than a show every other day, Monotonix persisted and recently recorded an incendiary EP Body Language. The title track, also my favorite, proclaims the band’s manifesto, “my body language says I’m not afraid”. More pure muscle than careful masterpiece, these six songs capture Yonatan Gat’s amateurish guitar sound, Ami Shalev’s spirited vocals, and a knack for primal minimalist drumming that would make punk purists proud. Before now, the only way to hear Monotonix was if you were lucky (or crazy) enough to attend one of their gritty live shows. Amassing a reputation for making Iggy Pop-esque interactions with the crowd, they’ve moved beyond merely smearing peanut butter on themselves. Instead they spew entire beer bottles into your face. Sometimes at shows, while on fire (literally) lead singer Ami chases after you. You become a greater part of the show when the trio, now signed to the Chicago based Drag City label, performs another infamous move: the drummer, kit included, crowd surfs while continuing to pound the beat. Originally hailing from Tel Aviv, Israel, Monotonix are currently on a massive tour in the U.S. – Jonathan Mendick, Mannerist Zine

Silver Jews
Lookout Mountain, Lookout Sea
Drag City

As soon as I heard that the Silver Jews were releasing Lookout Mountain, Lookout Sea, I straightway journeyed to the paramount of Lookout Mountain to exclaim my joy for such an occasion. When you have Pavement in your pedigree, you can put a guarantee on your band’s ability to excite. As I gazed upon the blue/green waters of Lookout Sea, I reminisced about all of the great songs that the Joos have recorded and how I still listen to The Natural Bridge on a regular basis. It’s been a few years since I’ve heard anything new from Silver Jew family. (In fact, American Water was the last Silver Jews album that I purchased despite the reality that they have been regularly releasing sonic gems in my periphery). The slight changes that the Jews have made in this timeframe are a very pleasant surprise, especially if didn’t follow them through this adaptation/reformation (but not renovation). The instrumentals have been fine-tuned; David Berman’s deep vocals seem to have cultivated confidence, creating a sound akin to Lee Hazelwood or even Mr. Cash. I don’t know what else to say about this record other than it rawks. The intro track “What Is Not But Could Be If” is pretty much great: one of those songs that sounds so good it seems to rinse away a bad day. The Joos don’t quit. Thank goodness. – Kelly D. Williams, Mannerist Zine

Sky Hero
Rose Hip (Silent Tracks Vol. 1)
Kreativ Network Recordings

Sky Hero is officially in the air. With the release of Rose Hip we are reminded that sound is not always sound. This particular release, more of a “performance/sound art piece” than party mix is composed of 15 tracks (two of them bonus tracks) of raw silence introduced by a consistent sound of something starting and stopping. These starts and stops are the essence of the album, as one forgets he is listening to anything at all until the next track is introduced and audibly startles the listener back into the activity of listening… intently… to nothing… to silence. Maybe it’s all a joke. The perfect solution to rid your ears of today’s appalling music: no music at all. Grab a listen (or download your favorite Sky Hero album) at Last.fm. – Ryan Stephens, Mannerist Zine

Finest Dearest
Self-titled
Bloodtown Records

The rocking prowess of this San Francisco quartet is the result of gambit basement jams a few years back. After a few lineup adjustments, Finest Dearest is now equipped to release a notable album with a blasting vocal front courtesy of Carly Schneider. Clean and convinced, this band is obviously still new, yet reminds me of a Sleater-Kinney/Belly/Breeders mashup. As far as lyrics, there are a few witty remarks and plenty of chic prose, but this element comes off as secondary to the instrumentation, which is highly studio-processed. The final word is that these folks have packaged some refreshing rock for you to discover. – Kelly D. Williams, Mannerist Zine

Bronx River Parkway
San Sebastian 152
Truth & Soul

Bronx River Parkway makes their debut on Truth & Soul with one of the best Latin jazz funk records that I’ve heard. This timeless sound is a collective product of Pablo Rodriguez (of Candela Records) and artist Rostarr that successfully presents the diverse sounds of Puerto Rico’s brilliant music scene. Excellent recording and overall soulful aesthetics make this album sound like it could have existed in the atmosphere of your favorite bodega twenty years ago. Veiled with the aged samba beats of the past, heightened with finger tapping instrumentals and coalescing vocals. San Sebastian 152 boasts the type of relentless sounds that make the forehead sweat. I like it. – Kelly D Williams, Mannerist Zine

The Atari Star
Aniseed
Johanns Face Records

Allow me to begin by answering a quote from one of this albums less forgettable tracks, “let me be a taste you have to acquire”, um… no thanks guys. This is a group with a ton of talent and zero originality. Honestly, listening to this album was like talking to a gorgeous dude asking predictable questions and giving predictable answers. I just kept hoping for something to redeem itself, but the bore kept pouring out. If you like John Mayer, or Teen Disney T.V. shows you might dig this stuff… might. - Ryan Stephens, Mannerist Zine

Heartsrevolution
Switchblade EP
IHEARTCOMIX

Heartsrevolution needs way more cred and attention than I can possibly attempt in this measly little paragraph. To get a feel for what this duo is all about you gotta check out heartschallenger.com. It isn’t the bands website, but is about the personas that form the HEARTS duo… kind of. But wow! Switchblade EP is definitely danceable. It’s the kind of record that you would catch “Misses Toughie Cool Hottie” brushing her teeth and flexing to in the morning. I was hypnotized by hypersensual vocals filtered only by the techy grit of the input device repeating phrases like, “foxes and bunnies, fire and snow”. I must also add that the rhythm and beats are precise and unique to each track, while keeping a cohesive handclap throughout the EP. Way to go team! - Ryan Stephens, Mannerist Zine

Justice of the Unicorns
Angels With Uzi’s
Little Lamb

Justice of The Unicorns is the numinous music project of New York’s Rusty Dungan and troop. As the name of this band implies, Justice of the Unicorns is a tavern band with a penchant for fantasy tales and magical verse. The meddling theme of Angels With Uzi’s doesn’t give the band much promise of permanence, but maybe with lines like “In your dreams, the wild tiger’s eyes creep upon you in the forest,” their intentions are to do nothing more than endorse a chuckle. Like Thurston Moore singing the story line of David Bowie’s Labrynth, the novelty may be more compelling than the aptitude. This album juxtaposes blues and folk with contemporary synthetics and digital instrumentation to accompany you and your imaginary Might Be Giant on your journey to the land of Zorcon. – Kelly D. Williams, Mannerist Zine

Quiet Life
Act Natural
Safety Meeting

Hailing from Connecticut (New London to be exact), Quiet Life is in the business of creating melodic indie folk that sees its full-length debut via Act Natural, a collection of recordings that have been captured over the course of a year of touring. Quiet Life has been seen on the stage in support of acts like Matt Costa and the Shout Out Louds. Their sound is soft country crash (which should come as no surprise given the tenderness of their name), and is spot-on for chaps who dig indie rock of the modern country class. I’m not going to conclude quite yet if these guys will go far or just fall short, but there is no doubting their talent and ability to create toe-tapping songs for their coffee sipping friends. Pick up this record if this sounds like your thing. – Kelly D. Williams, Mannerist Zine

Jet Black Crayon
In The Interim
Function 8

The day that Jet Black Crayon’s fifth album arrived in the mail was a magnificent day, and I immediately opened the record to give it a listen because I wasn’t certain if I would ever hear from these guys again. Needless to say, this album did not disappoint me in any way. After weeks of earnest listening, In The Interim has earned a permanent place on my shelf. If you’re fond of Tommy Guerrero, the ambient brilliance that bandmates Gadget and Monte Vallier contribute is definitely something you shouldn’t ignore. Smooth backbeats laced with samba samples and clean Durutti Column-like guitar. Layers of ghostly industrial bytes dominate each song, making this album excellent background (or foreground) music. My favorite tracks are perhaps the opener, “Memory Lost,” “Lost In The Fog,” and “My Fair Romans” possesses some brawny spoken verse reminiscent of Beat Happening. This album doesn’t even fiddle with falling short - Kelly D. Williams, Mannerist Zine

Caroline
Murmurs Mixes
Temporary Residence Ltd.

As I was pondering what to write in this record review, I couldn’t help but think of the song “Sweet Caroline” by one Mr. Neil Diamond. I’m not sure why, but my thoughts continued to roll over that same hill to discover notions like, “…Diamond… Caroline… Ruby… What a Gem…” My conclusion of the meaning of these linked thoughts? This album is a sweet, precious stone by the artist Caroline. For those who appreciated Caroline’s debut album Murmurs, the restructured Murmurs Mixes is an appetizing bit of digital dessert that seems parallel to the sound already forged by female forerunners The Cardigans, Sugarcubes, and Frente. You may want to go directly for the album upgrade Mixes, as I’m finding that I like the remixes better than the primary recording. Perhaps the inspiration & contributions from audio allies Wake, Andreas Bjork, and DJ Poignant are what make this record worth getting. This iTunes exclusive is a perfect follow-up to the original Temporary Residence Ltd. release that was already impressive. Once again, this label has found another gem. – Kelly D. Williams, Mannerist Zine

Foot Foot
Trumpet
Oedipus/Aagoo

Robin Brown’s consoling vocals (which have a certain drone that reminds me of another singer, but I just can’t think of who it is…) on Trumpet steer each song without forcing too many expectations for facets like crescendos or tensions, yet the instrumentalists in this West Coast family band successfully add some interesting layers to almost every track. I’m kind of late writing this review, so I didn’t get into the lyrical depth too much, but I didn’t recognize any annoying argot that could otherwise spoil a good solution for those looking for a Pavement and Scout Niblett concoction. What do I think of Foot Foot? Just good background indie folk music from the living room of the Brown family. – Kelly D. Williams, Mannerist Zine

McRad x Frontside Five
50/50 Split
5Core Records

The search for McRad ends with this archetypal split album featuring deep-end openers Frontside Five. To give you an idea of the aptitude of this album, the first eight songs are dusty punk rock tunes from Frontside Five with names like “Shit Town”, “Thrasher”, and “Who Farted?” The last eleven tracks document the accomplished Chuck Treece and crew lending a buffet of classic skate rock and some irie dub with a nod to Bad Brains. This record is a twinpack of rock not to ignore, yet depending on your verdict; it is either properly diverse or too schizophrenic for those looking for consistency in McRad’s renewal. If you don’t know who McRad is, you better pick up all the old Bones Brigade videos and pay attention. Check out 5corerecords.com for the skinny. – Kelly D. Williams, Mannerist Zine

Knife The Symphony
Self-Titled
Phratry Records

Brutal bass guitar, well-composed vocals, and some tunage that motivates me to be less skeptical of new music. While they don’t venture far from the snowboard-soundtrack-of-the-nineties-punk-rock formula, they manage to avoid the pitfall of such audible monotony. Song number 2 is really good. Track number 5, “An Astronomers Plea” is smart. One of my favorite elements to Knife’s sound is Robyn Roth’s well-placed backup vocals. If this sounds like your deal, I’d recommend picking this EP up. – Kelly D. Williams, Mannerist Zine

Various Artists
This Just In, A Benefit For Indy Media
GC Records

Remember when all punk rock compilation albums included at least 30 tracks? What a way for the label to open the floodgates of fury and for the listener to get their money’s worth. The folks at GC Records put together a heavy dose of independent punk rock that will leave your brain smoldering. More than half of these treacherous tracks are unreleased treasures from GC bands like Coleko, Four Deadly Questions, Clarendon Hills, I Farm, Bezerk, and Fleshies. If you’re craving a giftbasket of good punk rock, order this up. Among my favorites is the “Where Eagles Dare” cover by The Wade Brigade. I also highly recommend picking up the collection entitled You Call This Music? from the same label. – Kelly D. Williams, Mannerist Zine

Das Kapital
Died True
Johann’s Face Records

Someone somewhere drew a comparison betwixt Chicago’s Das Kapital and Hüsker Dü. I must admit that my appraisal of this album isn’t quite as charitable. Hüsker Dü not only left some large shoes to fill, but they also placed a jagged bloody rock in those shoes. However, this review isn’t about them… it’s about this Died True record! If I were a genius, which I is, I’d suppose you would like this album if you like traditional melody rock that manages to stay below the radar. I use the word traditional not in a critical way, but merely because these guys haven’t applied a new formula; just predictable/poppy lyrics accompanied by big drums and well-produced guitar. What about the good songs? “Lions in Winter” is a noteworthy track. – Kelly D. Williams, Mannerist Zine

Does It Offend You, Yeah?
You Have No Idea What You Are Getting Yourself Into
AlmostGold

They said it, not me. Just so you have a little idea what you’re getting yourself into; This Britannic digi-set delivers club clamor and pain with well-titled songs like “Attack of The 60ft Lesbian Octopus”. While this is my first introduction to Does It Offend You, Yeah?, I am impressed with the well-composed sound that they have already fine-tuned for their debut record on AlmostGold Recordings. From the sound of things, DIOY,Y? were raised on glowstick attention deficit disorder stock rock. Daft Punk some NOFX in your jeans. Maybe even akin to a grittier version of Sumner & Marrs’ Electronic, this record is sure to be a regional hit on the dancefloor. – Kelly D. Williams, Mannerist Zine

Bush Tetras
Very Very Happy
ROIR Records

You really need to look up the Bush Tetras back catalogue. If you’re unfamiliar with them, start with some of the older records. Some people make funk-punk-dub-influenced comparisons to Gang of Four or even Fugazi, yet the Bush Tetras are powered by the kind of ladies that punk kids would simultaneously have crushes on, and be afraid of being literally crushed by them for having a staring problem. These dames rock hard, but to be forthright, they seem to have lost some of the rawness of past efforts like Boom in The Night. A few of the tracks that I caught myself nodding my head to were “Nails”, “Page 18” and “Fess Up”. My favorite lyric of the album comes from the gnarly narrative of Jaws, “…I didn’t have time to scream!” COOL BONUS= Three videos, including a version of “Too Many Creeps.” - Ryan Stephens, Mannerist Zine

Valiomierda
Self-Titled
Fivecore Records

Okay, are you kidding me? I felt like I was arm wrestling a T-Rex while Fivecore Records “Valiomiedra” was pumping up my aching arm veins and bulging neck muscles with their ripping bass lines! This is a very dark yet high-energy album. Some tracks to keep on repeat would have to be “Monster Or Man”, “Killed By Death”, and the F-Word tribute (if you think you can handle it) “I Don’t Care”. - Ryan Stephens, Mannerist Zine

Keep Singing
A Benefit Compilation for Compassion Over Killing
Exotic Fever Records/TuneCore

My first thoughts on Exotic-Fever Records recent compilation release Keep Singing, were that most of the songs were technically well done and relevant to what is happening right now, but had an overwhelming meatless flavor. This turns out to be the point, more or less, of this compilation, which benefits Compassion Over Killing, a prominent animal rights/veganism/vegetarianism awareness non-profit group. A few songs I actually really liked right from the first listen through were Gina Young’s cheeky “Too Cool Too Cry”, Sean McArdle’s consumerist awareness anthem “I Go Shopping”, and Des Ark’s raw and stinky “Punks In The Park”. COOL BONUS= A collection of the different bands favorite Vegan recipes! YUM! Tastes like chicken? - Ryan Stephens, Mannerist Zine

Future of The Left
Curses
Beggar’s Group USA

According to my genealogy, my ancestors crossed the seas to the United States from the isle of Wales long ago. I only mention this because that’s also the motherland of rock voyagers Future of The Left. Ever heard these guys before? The sound is a thick stop-beat rock with fuzzy guitar suggestive of Fu Manchu or The Fall, but with a funk-influenced hardcore yelp. The opening track on Curses is an enjoyable ear-beating, setting a mood that I wish they would have sustained throughout the rest of the album. The other dope track is the closing song, “The Contrarian”, which peculiarly sounds nothing like any of the others. My synopsis? This album is a dozen so-so blasts sandwiched between two distinguishing good songs. – Kelly D. Williams, Mannerist Zine

The Mumlers
Thickets & Stitches
Galaxia-Platform Records

Toe-tapping goodness from the Galaxia tribe. Hailing from the Bay Area, The Mumlers bring brilliant folkland jazz-bop to light with a Midlake-esque sound that reminds me something akin to Frank Black on a steady diet of Coltrane. There aren’t too many weak tracks on this, their debut album, and my favorite track on this record has to be the body moving song “Shake Your Medication.” The Mumlers love for puritan music is obvious, and their indie ethos has made them great supporting acts for champion bands like Tommy Guerrero and Yo La Tengo.  I look forward to seeing what else this prolific trio creates.   – Kelly D. Williams, Mannerist Zine

Patrick Park
Everyone’s in Everyone
Curb Appeal Records

This guy utters some spiritually sanguine acoustic tracks with a James Taylor/Matt Costa hint. As you may already know, I hate to draw comparisons betwixt bands & artists when describing them, but sometimes I don’t have the energy to go about it any other way- so those are two dudes that I identify in the sound of Patrick Park. This record has a clean-cut tang and is recorded like it was produced by a perfectionist. Anyways, if you have an empty spot on your shelf in the “P” section for a positive and reflective acoustic songster, this could be worth checking out. – Kelly D. Williams, Mannerist Zine

The Busy Signals
Self-titled
Dirtnap Records

As always, Dirtnap Records is staying loyal to good sounds and introducing listeners to fun rock such as The Busy Signals. If a more sinister and less-Hairy Debbie fronted for the New York Dolls, this could be the unrefined result. Smashing it up with good guitars, inspired drumming, and unruffled album art suggestive of older LP material, The Busy Signals of Chicago are shrieking realism like only the qualified can. – Kelly D. Williams, Mannerist Zine

Revisions
Revised Observations
Dirtnap Records

Revised Observations is the studio creation of Doug Burns and members of Clorox Girls performing “acoustic punk rock.” At first I was doubtful of this claim, but like the Minutemen of yesterday and The Evens of today have already verified, unplugged punkrock is certainly a possibility. My only quip is that the vocals (or at least the production of the vocals) could use some general variation. I found myself getting bored with the unswerving manner of singing they employed. Don’t let that discourage you, because there is definitely a place in every record collection for this album. The ghostly echo of their makeshift recording studio is haunting enough for me to never forget these guys. Check out the other Dirtnap Records releases, too. These Portland folks are putting out some seriously good music. – Kelly D. Williams, Mannerist Zine

Tommy Guerrero
Return Of The Bastard
Galaxia-Platform Records

If you’re uncertain who Tommy Guerrero is by now, you’ve possibly picked up the wrong magazine. This album doles out an aesthetic continuation of 1998’s Loose Grooves & Bastard Blues, which was the freshman record that solidified Guerrero’s presence in the world of music. Smoother than a motor-oil sandwich and just as smooth as his command of the SF streets on his shred appliance, Guerrero’s latest release combines his intelligible jazz-samba-rock tour de force of albums past with the newer soundscape found on later releases like From The Soil To The Soul. “Bloodinthemud” and “Zapata’s Boots” are great songs, and although some of tracks with vocals come off slightly weaker than you’d expect, if listened to in consideration of this albums correlation to TG’s debut Loose Grooves & Bastard Blues, it’s obvious that Guerrero knows what he’s doing and is getting better at it each day. I love Chuck Treece’s contribution to this record, and If you know & respect TG’s saga on or off a skateboard, you ought to pick up all his records in chronological order and skate on to some of the best music life has to offer. – Kelly D. Williams, Mannerist Zine

Siouxsie
Mantaray
Decca

Many people say that once you walk down the corridors of gothylvania, you can never return. Apparently this supposition is true in the case of Siouxsie, who sounds like she’s still enduring some inner wo long after the Banshees disbanded (listen to the closing song, “Heaven And Alchemy” if you’re craving her vocalized misfortunes). To terribly oversimplify, Mantaray is distinctively Siouxsie; she commendably stays true to her patented vocals, with only a slight update in instrumental accompaniment. I couldn’t help but see this weird similarity between her choice of cover art and that of Bjorks Post album, although with crimson red in lieu of sugarcube raver pink. The intro track, “Into a Swan” is a strong opener – laced with rich digital backup and reverb, it’s probably one of the best songs on the record. On the other hand, the pounding “One Mile Below” is an excellent departure from the obvious dark & digital sound she relies on for most of the album. It’s almost as if she anticipated the aging of her audience by providing lounge-inspired songs strewn with the rapture of her sinister lyrics. Admirers of Siouxsie Sioux will definitely not want to ignore this album. – Kelly D. Williams, Mannerist Magazine

Bright Eyes
Four Winds EP
Saddle Creek

Much has already been said about the well-received Bright Eye’s Cassidega album and its chart-crushing singles, but Cassidega’s predecessor, the Four Winds EP contains some overlooked flipside songs that are maybe even more impressive than those found on the full-length Cassidega album. Here’s my take on it all; Although I like the occasional appearance of M. Ward, I’m not appreciating the top-heavy harmonica accompaniments. While Conor O’berst tries to inform the hairteens on emo-politics, I’m left longing for an album as unruffled and significant as their earlier release, Lifted Or The Story’s in the Soil, Keep Your Ear to the Ground. I know it’s probably out of the question to surpass the strength of that album, but it seems that each subsequent Bright Eyes release tends to dissatisfy those who may have been rehabilitated by Lifted’s divine weight. Simply put, Cassedega and the Four Winds EP are good, yet not great. From a band that is great, not just good. Accommodation for radio has rendered the sound more predictable/barren like many other distilled folk albums. I’ll just put Lifted back on the stereo. – Kelly D. Williams, Mannerist Magazine