By Matt Walker, December 2008
Self-Titled, No Idea Records
The debut solo album from Hot Water Music’s Chris Wollard sees the singer/guitarist settling into a batch of great songs that somewhat bridges the gap between Rumbleseat’s acoustic-country jaunts and Hot Water’s post-hardcore anthems. It’s all a little more laid back though with a straight-ahead rock twist. And Wollard’s vocals come across smoother than ever, wrapped in reverb and harmony, and welcoming anyone to stay a while and listen. Read the rest of this entry »

By Matt Walker, December 2008
Self-Titled, ADD Records/Kiss of Death
The Shaking Hands have been spreading high-energy punk anthems around Gainesville for a few years now under their previous name, The Horror. And with a new name and a new full-length packed with instantly memorable sing-along choruses and politically charged lyrics, they sound more ready than ever to shake the system’s foundation. Read the rest of this entry »

By Fred Sowder, December 2008
Get Guilty, Matador Records
On his second solo outing, the New Pornographers leader settles into a heartland-rock vibe by the use of Beach Boys-esque harmonies. At times channeling Conor Oberst, Newman’s pop sensibilities can also take a turn toward the sounds of British Invasion bands on songs like “Submarines of Stockholm,” complete with requisite singsong choruses. Read the rest of this entry »

By Fred Sowder, December 2008
Night Shot, Kindercore Records
From the debris of I Am The World Trade Center arises Ruby Isle, a jubilant mix of garage-conceived electronic dance music to tremble the dance floors of Brooklyn and the world. This trio goes beyond the clichéd dance rock styles of The Rapture and LCD Soundsystem to create a dirtier yet euphoric sound that only builds with the appearance of guests such as Tay Zonday and Daniel Geller’s IATWTC cohort Amy Dykes. Read the rest of this entry »

By Dan Fitzpatrick, December 2008
Throwing Sparks, Claire Records/Barracuda Sound
Averkiou makes music that makes you want to play air guitar. Don’t get me wrong here – by that, I don’t mean the two-minute unnecessary, self-indulgent, guitar-shredder solo Slash takes after every chorus. Read the rest of this entry »

By Jake Crown, December 2008
Bridge, Suburban Home
Bridge is Joey Cape’s (from 1990s punk band Lagwagon) first solo record.  I hear not only acoustic guitar, but some piano and violin as well. I think the thing I like best about this record is its honesty. He sings mellow songs about growing up in music, saying goodbye to his idols, having kids and pill popping. Read the rest of this entry »

By Jake Crown, December 2008
A Hull Full Of Oil and Bone, Self-Released
This is the first review where I asked The Satellite to, “just send me something, anything.  I don’t want to review a punk band this time around.” Man I am eating my words. Listing Ship sounds like if the Brady Bunch kids grew up and changed their sound to “indie rock.” Read the rest of this entry »

By Jake Crown, November 2008
Death Magnetic, Warner Bros.
I know that I will get laughed at for this but, the new Metallica record is good. Not great, but good. The thing that makes Death Magnetic good is the raw and fast power of the songs. Kirk Hammett still writes face-melting solos, I must admit. Read the rest of this entry »

By Jake Crown, November 2008
Chemistry of Common Life, Matador Records
Fucked Up’s new album is their most intense record to date. Dare I say the most intense hardcore/punk record of the year? F’ed up is a dangerous band, in a sea of kids playing “punk” with makeup and women’s haircuts (remember Poison? Give it up). Read the rest of this entry »

By J. Maggio, November 2008
Acid Tongue, Warner Bros.
I was primed to take pleasure in this album; I enjoyed Jenny Lewis’ last CD, I really am fond of Rilo Kiley, and, to be honest, big breasts turn me on a lot. But this is a horrible CD only somewhat redeemed by the presence of Elvis Costello—who must also like big boobies, too—on its best track, “Carpetbaggers.” Read the rest of this entry »