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