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

Calvin Johnson & The Sons of The Soil
Self-Titled
K Records

This record was a treat because I wasn’t quite sure what to expect with Calvin Johnson’s latest musical undertaking. His background as frontman of the most relevant lo-fi poetry rock band Beat Happening and proprietor of K Records (and the notable International Pop Underground) has made him somewhat of an indie rock legend. This self-titled album is a remarkable release, but like I said – I didn’t really have any expectations. I was already familiar with Calvin and some of his other side projects, so I had no reason to assume this would be any different. His terribly deep voice is still bottomless (which is an acquired taste for most listeners), and his lyrics still have that familiar beat poetry aesthetic. His topsoil band has quickly adapted to Calvin’s inherent sound in order to help this album carry the load of his bass-filled vocals. For fans of Calvin Johnston, Beat Happening, or The Halo Benders (my personal favorite), you’ll dig the re-workings of some of his older material. Inimitable punk rock not to ignore. – Kelly D. Williams, Mannerist Zine