Zero7, When It Falls ****Victory Records

If you rolled up Jimmy Eat World, Weezer and the Foo Fighters, into one big fat musical ball, you’d end up with The Reunion Show, a new face on the alternative rock scene. Kill Your Television is their first LP, and this Long Island based band is making waves of all sorts with their hook-heavy mesh of punk, pop, and new wave sound.

This album features many catchy songs including their opening track entitled “Television.” Like most of the tracks, this one grabs you, drags you down and keeps you down with the crashing chorus. Almost every song on the album does this, which is typical punk rock. Certain songs like “Star Training” will attract listeners right off the bat but most tunes will take a while to warm up to.

Although the band’s style is a compilation of several styles of music, their energy on every track makes them a standout. Using various harmonies and switching between Mark Thomas and Brian Diaz as lead singers, The Reunion Show puts their heart, soul and skin on the tips of their fingers into every lick and note that they hit.

The only downside of the album may be its lack of that one track that blows the listener away. All songs are strong, but that one song that makes you want to turn up your radio and freak out really isn’t there. Nevertheless, the album is impressive. The music speaks for itself. The band sings about various topics ranging from relationships to the ever important topic of turning off the boob tube.

Any fan of punk, new wave, pop and other types of music will appreciate this band. They bring energy and an overall good sound to the table. The most important thing about this band is that they are catchy but not annoying. They don’t have those “I’m just getting out of puberty” voices or have any of those punk ballads that just scream therapy. These guys are just straight music, which is a nice change and a positive outlook on the future.

-Matthew Braine

Indigo Girls, All That We Let In ****Epic

Twenty years in the business and nine studio albums later, the Indigo Girls continue to rock. Spouting tales of love, life and loss, the duo of Amy Ray and Emily Saliers maintain the formula that has made them a success with their 2004 release, All That We Let In.

All that We Let In has everything an Indigo Girls fan needs-gorgeous harmonies and melodies, fun, as well as deep and poignant lyrics and a unique blend of anger, love and political honesty that has earned the duo such critical acclaim.

The CD starts out strong with “Fill It Up Again,” a positive up-tempo song about picking yourself back up after a break-up and continuing down that road of love. The second track, and arguably the most fun on the album, is “Heartache For Everyone.” Taking on a noticeably ska-type feel, Saliers and Ray show they can still surprise listeners with a new and fresh sound. “A Perfect World” offers another well-crafted Indigo Girls tune (with a trace of accordion), sending its message of hope for a better world with lines like “Can we learn to live another way? / It’s one perfect world.”

The title track not only offers a truly peaceful and beautiful folk song, but also sends a great message of survival in the trials and tribulations of day-to-day life. Track six brings us possibly the best song on the CD, “Tether.” A hard-edged tune, more than six minutes long, “Tether” gives the girls a chance to rock out, while still managing to give us some of the best lyrics on the album. “Cordova” offers a tender, heartbreaking ballad that shows off Ray’s impressive lower vocal range, as well as some amazing harmonies from Saliers.

While at first listen, the songs on All That We Let In are moving and emotional. Yet, the political beliefs of these women don’t go unnoticed. From Environmental metaphors, to anti-war sentiments, to remembering Native American campaigners, the songs on the Indigo Girls ninth album are laced with their views and opinions. Yet, even if you don’t necessarily agree with them politically, it is clear to see that underneath the overtones of some songs, these are two enormously talented women.

-Megan King

Mum, Summer Make Good *****FatCat

Why are Icelandic musicans so creative? With the exception of Beastie Boy-ripoffs Quarashi, musicians in Iceland just seem to do things right. From Sigur Ros to Bjork to Mum, they just know how to invoke emotions hidden deep inside like no other. Maybe it’s because of the cold, sterile nature of their surroundings they feel a need to explore and communicate through the warmth of emotive, intelligent music. Or maybe there’s just something in the water over there. Either way, Mum’s new album Summer Make Good is a gorgeous voyage through the oceans of serenity.

Summer Make Good opens with “Hu Viss – A Ship” and “Weeping Rock, Rock,” a song reminscent of Godspeed You! Black Emperor’s Lift Your Skinny Fists Like Antennas To Heaven and sets the pace for rest of the album-ominous and brooding yet offering a small ray of light. This anchor of hope is provided by Kristin Anna Valtysdottir’s tender vocals moving in and out like small waves of tranquility while treacherous floods capsize you to the ocean floor.

It’s no coincidence these songs sound more like melancholic water lullabies than the jubilant ditties found on Finally We Are One and Yesterday Was Dramatic Today Was Ok. The songs were written in a remote lighthouse in Galtarviti and then recorded in an empty weather station and a lightkeeper’s cabin below another lighthouse. Sounds from these eerie locations are dispersed throughout Summer Make Good creating a level of natural atmospheric bliss amongst spectral electronics.

While Valtysdottir does sing in English, like fellow Icelandic musicians, Jonsi Birgisson of Sigur Ros and Bjork, there is no need to know what is actually being said. The vocals are used more as an instrument than as a poetic device. Emotions are evoked without any sad tales of broken hearts and slashed wrists-just soft whispers spoken in the most innocent, delicate soprano voice.

Summer Make Good will most definitely be on most music critics’ 2004 year end top ten lists. Yes, this is a bold statement with it being only mid-March, but unless John Lennon wakes from his permanent slumber and records The White Album Part Deux, there is no way an album as captivating and brilliant as Mum’s Summer Make Good will be released in the near or even distant future.

-Mita Tate

Elizabeth Anka Vajagic, Stand With The Stillness Of This Day ****

A wise man once said “Art, true art is pain, is tears, is walking in a black forest with one’s eyes gouged out, arms spread, feeling for…anything, if only to feel something.” This is perhaps the best way to describe Elizabeth Anka Vajagic’s debut album.

The world expressed on Stand With The Stillness Of This Day is not a pleasant one. It is not filled with sunshine yellow VW Beetles and picnics in the park. Even on an album considered by most to be the darkest album ever recorded (The Cure’s Pornography) there was a small ray of light offered by a memory on “Strange Day.” On Stand With The Stillness Of This Day, there is no ray of light. No memory. No hope. Just unadulterated pain and loneliness set to a defeaning alto shrill.

The Montreal native’s vocals and lyrics are very similar to that of PJ Harvey, (To Bring You My Love-era) Swans’ former vocalist Jarboe and the queen of expressing pain through art-Diamanda Galas.

The backing music provided by a slew of musicians ranging from Beckie Foon (Silver Mt. Zion) on cello to Michel Langevin (Voivod) on drums, is also just as important in creating the overall apocalyptic nature of the album. The extensive array of stylistic complexity and cross-pollination are the perfect dramatic backdrop for Vagajic’s piercing voice.

“Smash Your Head And You Killed Yourself,” Vajagic sings through strained, harsh vocals while bursts of raw sonic noise explodes all around her on “Where You Wonder,” one of the album’s best tracks. While Stand With The Stillness of This Day isn’t without its flaws, like it’s absolute refusal to accept a philosophy other than John Lennon’s “All art is pain expressing itself,” it is an amazing debut from an exceptional songwriter. And as long as Miss Vajagic doesn’t discover Prozac or Xanax anytime soon, we can look forward to more haunting releases.

Future listeners must take warning, however. This album is not for persons currently suffering from severe depression. This album, in all of its existential nihilistic glory, could very well be the next “Gloomy Sunday.”

-Mita Tate

Lostprophets, Start SomethingColumbia

Quick-think of a famous artist from Wales. Time’s up, and you probably said Tom Jones. While you’re correct, with the release of Start Something, Lostprophets is another name to add to the list. The six-piece proudly represent the United Kingdom with their mix of hardcore, metal, and rock on their sophomore album.

It’s fitting that Lostprophets (who got the name from a live Duran Duran bootleg album) is finding success here in the US, courtesy of the hit “Last Train Home.” While not the most representative song of the group, at least their popularity is rising. When their debut The Fake Sound of Progress arrived in 2001, one would’ve thought that the album would fit in with audiences that enjoy Linkin Park and Hoobastank. However, an intense live show and a stint on Ozzfest 2002 helped propel Lostprophets to their current status. Of course, they would not be anywhere without the explosive Start Something.

The disc kicks into high gear immediately with the excellently titled “We Still Kill The Old Way.” Lostprophets thrash about with hardcore and metal, bolstered by Mike Chiplin’s fierce drumming. The hardcore continues on “To Hell We Ride,” as Ian Watkins and Jamie Oliver deliver some shouting vocals. “Burn, Burn,” while not quite metal or hardcore, still clocks in with energized hard rock and a fast paced beat. The metal-ish title track too is impressive with more passionate drumming and technical guitar riffs (although it loses points for the weak piano ending.) “I Don’t Know” also satisfies right up until the end.

Several tracks on Start Something show Lostprophets turning the noise down. “Make A Move” and “Hello Again” are out of place here amongst the metal and hardcore songs. The closing “Sway” sounds like something from an indie rock group, not a band bent on screamy rock. For those about to rock, you’ll find many positive aspects on the album, but not as a whole. New found fans intrigued by “Last Train Home” will probably enjoy listening to Start Something for awhile. Still, justice has been made since Lostprophets are finally becoming popular here in the US.

-Mike Fordham

Thee Silver Mountain Reveries , Pretty Little Lightning Paw [EP]Constellation Records

Up in that mysterious land known only as Canada, experimental musicians seem to switch bands quicker than aspiring actresses switch movie producers’ beds. Efrim, the founding member of A Silver Mt. Zion and Godspeed You! Black Emperor is back with Thee Silver Mountain Reveries’ Pretty Little Lightning Paw.

Efrim continues to grow as both a composer and a poet, making Thee Silver Mountain Reveries, as well as A Silver Mt. Zion, forces to be reckoned with-not only instrumentally (as with previous releases) but also now vocally.

“More Action! Less Tears!” opens with a raw burst of jovial energy. Sounding more like a bittersweet fanfare for one of life’s precious memories. Because “More Action! Less Tears!” was recorded during the The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band’s This Is Our Punk Rock…, sessions, most would think of it as a b-side unworthy of making the final cut, however it is not only more consistent but also better than the tracks found on This Is Our Punk Rock….

Despite only containing four tracks, Pretty Little Lightning Paw clocks in at over 30 minutes. The remaining three songs were recorded by Efrim during late-night sessions at hotel2tango in Montreal. All three tracks began with Efrim’s initial vocals and guitar arrangements, with co-founding member of A Silver Mt. Zion, Thierry collaborating on instrumental and backing vocal arrangements, along with Jessica on violin. Also joining the mix is a four-voice choir including two members of Frankie Sparo.

The overall organic feel to Pretty Little Lightning Paw is similar to free-form noise acts, Jackie-O Motherfucker and Animal Collective. However, where these groups rely more on “semi-improvisational primitivism,” Thee Silver Mountain Reveries embrace traditional rock form while only stepping outside of the box to emphasize the set song structure. That’s not to say that Pretty Little Lightning Paw isn’t an experimental piece of work. There are few albums that make dissonance and maelstrom sound so carefree and vivacious.

-Mita Tate