Southern California's Big Sandy and the Fly-Rite Boys is perhaps the most accomplished and diverse of the bands in the contemporary retroabilly/swing revival. Their new album opens with a real bang: the "These Boots"-ish bass line and Eddie Cochran guitars of "Chalk It Up To The Blues," which give way to a cascade of roots-music revelry—Sandy's own potent brew of rockabilly, country, and doo-wop. He even throws in a bit of cajun music (!) this time around, on the album's second cut, "Bayou Blue." The band gallops along with thumping rhythms and sweet pedal steel work, and—loveliest of all—Sandy's own fragile, but authoritative vocals. He's a fine songwriter, too, moving from one musical style to the next with equal ease in both. A latter-day master of the old-fashioned novelty song, Sandy tosses out gems like "How Did You Love Someone Like Me," "Her Hair Is A Mess," and "The Money Tree," all with his friendly, offhand, eager-to-please delivery. If you like your roots-Americana with lots of pep and a danceable beat, then Big Sandy is your man. —Lawrence R. Kay

In 1994, the granddaddies of grindcore, Godflesh, released this EP exclusively to fans on the Internet. At the time, Godflesh was at the height of its powers, both in terms of creativity and popularity. In fact, Godflesh was such a strong influence, and its style so copied, that the sound of the band itself eventually became almost commonplace in heavy music. This may have been a factor that contributed to the duo’s split and ultimate dissolution in 2002. But this 4-song, 4-remix EP is no last-ditch attempt to capitalize on a legacy. Rather, it’s the most refreshing Godflesh in years. The re-mixes stand out especially as a testament to its creative brilliance in the studio. For over 50 minutes, Justin Broadrick’s wormy, monotonous bass lines, G.C. Green’s curtains of sludgy guitar, and the duo’s signature beats and electronics thud and pound in a dark and druggy groove. A must for the diehard grindcore enthusiast. —Bill Heehan

Good Riddance   Bound by the Ties of Blood and Affection
(Fat Wreck Chords; www.fatwreck.com)

The Santa Cruz foursome, Good Riddance, gets an A+ in my book, not only for their new album but also for themselves as a band. They combine the best aspects of hardcore, old school, and pop to make a progressive sound that is entirely their own. Bound by the Ties of Love and Affection is wrought with all the dissent and frustration that make a Good Riddance album. They are so mature now with their political opinions that they don't come off as preachy. The most noticeable difference between this album and the others is that the song styles are more successfully combined. In previous attempts, the pop songs and hardcore songs were separate entities, whereas on this record, there is almost no difference. This is the perfect soundtrack for socio-political rant, or simply for locking the door to your room and punching your fist in the air to the beat of galloping drums. A great punk-record indeed. —Chris Lane

No other band besides perhaps Sonic Youth and Blonde Redhead has balanced melody and noise as successfully as Kaito. The group takes obvious cues from the aforementioned bands (particularly SY’s dissonant guitar histrionics, and BR’s high-pitched vocal yelps) but it also has a style all its own. Kaito's sound is a balancing act of contrasts, appearing both naïve and masterful, experimental and accessible, serious and fun. There’s an exuberance in these songs, and a raw meticulousness that holds them together. Singer/guitarist Niki Colk is the band’s cheerleader, belting out and moaning on “Anamoy,” while slurring and cooing her way through “Think Twice,” as the band backs her up with ease and steadfast determination. Yes, it’s another example of their duality, but that’s what’s so cool about Kaito.—Mike Alexis

The Kuffs   s/t EP
(self-released; www.thekuffs.com)

On their self-titled, 4-song EP, local band The Kuffs marry elements of space-rock with the passion of indie rock into a refreshing sound that is neither nostalgic nor self-conscious. The opening track, “Juggernaut,” begins with some other worldly atmospheric noise, and then drives into a slow space jam that sounds like it came from somewhere on the Dark Side of the Moon. The second track, “Echoing Absurd,” creates a moody coolness, reminiscent of Radiohead, that sets a rhythmic drum-beat against singer Chris Perdue’s bluesy crooning, while synthesizer riffs add a bit of ‘80s nostalgia. “Such A Pretty Scene” and “Dreaming” are both sung by keyboard player Andre Perry, who turns these hypnotic, dreamy songs into manic, explosive rock. Restraint is key to these songs, as is the balance between guitar rock and electronic textures, and The Kuffs seem to understand this delicate balance perfectly. —Kathleen Richards

Germany’s national pride comes from being at the forefront of a number of vocations such as chemistry, cars, and beer. Le Scrawl’s discography released on CD by the East Bay label, Life is Abuse, establishes this German band as a leader for sure, though difficult to categorize.... Over 9 years of recordings bring 66 songs of mayhem together for a fantastic trainwreck for the ear. The band expertly executes changes between and within songs ranging from jazz, ska, metal, disco, rock, middle eastern, and soul. The only way you would know that each song is by the same band is by the same guttural singing over the top (think Naked City meets Napalm Death). Why if it spent so much time learning to play so damn well, didn’t it get a singer that could contribute as much as the musicians, or just go instrumental? I can’t answer because I am too busy listening to this wonderful trainwreck. —Donner Pardee

Everyone knows I dig Scandinavian rock, and this is no exception. Oslo City says it all. Hailing from Norway’s capitol, these three ladies (and one feller) deliver the straight-up rock ‘n’ roll goods. It must be hard to live in the same city as Turbonegro, but by the sound of this Ramones/New Bomb Turks/Donnas hybrid, they don’t seem too stressed. Comparisons aside, I like this and all its adrenalinized goodness. Punk rock ‘n’ roll for the boys and girls to go apeshit for. Mensen come blasting out of the gate with the opening track, “Keep Up!” and barely let off the gas throughout the 13 tracks. Further proof that Gearhead is the premier garage-rock label. Produced by Nicke Andersson of The Hellacopters! —Royce Seader

The first New Pornographers record, "Mass Romantic," was certainly a hard act to follow. Tinting post-grunge power-pop with the tinny, punky, rhythmic ooompf of '70s-style glam rock, the album was simultaneously super-retro and forward-looking. Other indie bands had tried to recapture the brazen, bubblegum irresistibility of glam, but no one had done it so well, or given the music such an original, modern twist: naturally, the Newbies became everyone's darling. Their follow-up album is perhaps a little more conventional and proceeds on a more even keel, yet it builds on the strengths of the first, and is packed with plenty of poppy pleasures. The Pornographers lead with their best material, such as "From Blown Speakers," which is a marvel of stop-and-start melodicism, although deep into the disc, gems such as "The New Face Of Zero And One" emerge, showcasing writer Dan Bejar's way with mystifying, inscrutable lyrics. It's a pity alt-y diva Neko Case isn't as prominent here as on the last album; her keening vocals are well-suited to the band's treble-heavy style, helping push the songs beyond the same-old indie rock territory. But as it is, this is a mighty fine disc, and should keep the fans coming back for more. —Lawrence R. Kay

Has this band already been around for 20 years? How time changes things. This new LP is a far cry from the pro-carnivore ranting of Liberal Animation, or the veritable drug binge of Pump Up the Valuum. The War on Errorism is a more sober collection of politically minded snotty punk songs, à la typical NOFX. In fact, this record has everything a great NOFX record should: shit-talking, leftist ranting, self-deprecating humor, paraplegics, and keyboards. Well, the last one doesn't really fit, but they are on the album and surprisingly they work. Make no mistake, Errorism isn't a vast departure from the band’s other material but it is, in my humble opinion, the best attempt since its punk epic, The Decline. So whether you’re an old fan and want to see what Fatty ‘n’ crew are up to, or just someone who is tired of hearing about them and wants to know what NOFX is about, The War on Errorism is a great record for you. —Chris Lane

Paloalto   Heroes and Villains
(American; www.americanrecordings.com)

Comparisons to Radiohead and other moody British bands abound, but do I also hear a hint of Jeff Buckley? I think so. Ultimately what you get with Paloalto is well-written and well-played modern rock with sweeping dynamics that captivate and entrance the listener. James Grundler is the brains behind this outfit and wears his influences quite well. “Fade Out/In” is the standout track here, encompassing all of the earmarks of a rock radio hit. Paloalto was recently on tour with Johnny Marr & the Healers and garnered themselves some excellent praise from the critics. I would certainly recommend Heroes and Villains to fans of the aforementioned Radiohead, Jeff Buckley, and even Pete Yorn. Great production values by Rick Rubin. —Royce Seader

The Peppermints   Sweet Tooth Abortion
(Pandacide Records; www.pandacide.com)

The Peppermints’ debut full-length, Sweet Tooth Abortion, is an antagonistic ode to the black, black heart of punk rock. The album recalls Huggy Bear, with its lo-fi, frenetic, kinetic charge and is not for the faint of heart, but its utter disregard for everything reminds you of why teenagers will always love punk rock. Frontwoman Emmy’s intense guitar-playing and vocal assault give the album a sense of urgency that will scare the crap out of little children. Yet it is still a fun, chant-a-long record, as in the head-bobbing tune, “Rodeo.” This is the greatest album by a red-and-white-themed band to come around for a long, long time. —Brian Brophy

Radiohead   Hail to the Thief
(Capitol; www.radiohead.com)

Radiohead makes music that affects me. It doesn’t just make me want to dance, or make me want to drive my car fast. It makes me think about my life and want something better out of it. As much as I was ready to be disappointed by Hail to the Thief, ready to dismiss it, thinking their genius can’t possibly last for a fifth album, can it? But, yes, as time goes on, Hail to the Thief, just as their previous albums do, reveals itself in pieces of genius—subtle nuances here and there—that collectively make for a masterful collage. Stylistically, Radiohead continues to tinker with the electronic noise and programmed beats that Kid A and Amnesiac were full of, but this time the songs feel more open, loose, and live. There are still orchestrated moments of beauty, as in the dreamy piano ballad, “Sail to the Moon” (a lullaby for Thom Yorke’s son). My favorite track, “Where I End and You Begin” is a perfect balance of organic and textural elements that is both hypnotic and moving: Colin’s melodic bassline, Thom’s repetitive vocals, Phil’s rhythmic drumming, and the beautiful yet eerie sounds of Jonny’s Ondes Martenot (which he used on Kid A’s “The National Anthem”). “Myxomatosis” is a dance song driving drunk into an apocalyptic wall, and “The Gloaming,” which is about “the all-enveloping darkness that’s slowly taking over mankind,” mixes car-shaking bass with scattered beats and Yorke’s haunting vocals. I don’t know how much bigger or better Radiohead can get, but I think Hail to the Thief is an indication that their experimenting is just beginning, and I doubt if even they know where they’re headed. — Kathleen Richards

Schneider TM   6 Peace EP
(Mute; www.mute.com)

Perhaps you remember this group from its recent show with The Faint and Les Savy Fav, when it appeared in lab coats and danced behind the equipment? If not, Schneider TM’s six-song EP will offer an excellent opportunity to catch up. Unfortunately, the album offers no new material, but it does collect some of the brighter spots from the highly underrated LP Zoomer, as well as subsequent 12" releases and various remixes. For bip-hop fans who still enjoy the occasional vocal melody, the Peace EP starts off with Zoomer’s obvious single, "Reality Check," and then launches into an almost Beck-ish re-make, called "Frogstears," taken from Frogtoise. A multimedia function allows the computer savvy to watch two of band’s videos (one of these being the brilliantly animated accompaniment to "Frogtoise," by Katsuki Tanaka). With a tasteful cover of The Smiths and re-mixes by Mogwai and KPT.michi.gan, this package is small but powerful and fun. —Steve Ford

Shai Hulud   That With Blood Ill Tempered
(Revelation; www.revelationrecords.com)

Shai Hulud has successfully fulfilled its manifesto as stated in the liner notes and music of That With Blood Ill Tempered. It has crafted a record of honest and sincere songs, setting itself apart from the veritable mountain of “tuff guy” metal core. Shai Hulud’s musicianship is incredibly technical and raises the bar for the aggressive-music community. However, despite the intricacy and potential elegance of its songs, Shai Hulud is handicapped by the production of the album. Aggressive music should push the envelope and teeter on the edge of destruction while maintaining a sense of musical cohesion. While the album aspires to this aesthetic, there seems to be an ever-present restraint in the overall production. It is too pristine; there are so many vocal tracks that it is almost impossible to discern what the singer is screaming about. It made for a confusing listen because I wanted so badly for this record to blow me away, but instead I found it to be frustrating and unrealized on the whole. All the talent and sincerity are there, they’re just not in the right place. Probably a good listen for diehard fans, but not for those trying to break into a new band. —Chris Lane

Spore Attic   s/t
(Pole Vault Records; www.polevaultrecords.com)

This CD comes from two Oaklanders named Seth Lepore and Jimmie Crack Corn. Self-recorded on a 4-track, these 15 short, lo-fi songs consist of the two men singing, groaning, grunting, screaming, and emoting to acoustic guitar accompaniment. One instrumental includes a cheap keyboard and a kazoo. I wonder what they think of Ween, in that there are elements of The Pod here. To suggest Ween as an influence, however, is off the mark, since Ween’s brilliance is in their complete obliviousness to and disregard for influences. Proudly carrying the torch for bedroom recording artists, Spore Attic carve out their own peculiar territory—often original, sometimes obtuse. It’s the kind of art that needs no encouragement, as it probably does just as well without any whatsoever. Also, in the midst of the abrasive wackiness—think Rob Halford at an acoustic open-mic—there is some very nice guitar playing, and a few pretty, quieter songs. One hopes that Spore Attic will continue—though perhaps with a few more instruments next time, for flavor. —Bill Heehan

Sr. Chinarro   El Ventrílocuo De Sí Mismo
(Acuarela; www.acuareladiscos.com)

It has been said that Antonio Luque writes songs with the “sad thoughtfulness of someone who cannot tell jokes or dance sevillanas, despite living at the centre of all the merriment.” For the past ten years, the brilliant mastermind behind Spain’s Sr. Chinarro has developed a venerable cult-following around that sad thoughtfulness. With the low rasp of Mark Eitzel and the staid obscurity of Ian Curtis, Luque crafts songs that make vital internal organs sink with thick fistfuls of warm minor-chords, a shared despair over heartache you wish was yours. But what is remarkable about Sr. Chinarro’s seventh studio album is the unwavering presence of his talent, despite the departure from the usual Cure/Cranes-tinged fare into the sunnier side of gloom. Already one of my best picks for the year, El ventrílocuo de sí mismo (translated: The Ventriloquist of Himself) is one of the most upbeat projects from the band to date. It is filled with the feeling of late summer mornings, a sudden gust of laundered towels, canvas shoes, and some misdelivered letters. Relish with leisure. —Delphine Hwang

Stara Nova   demo
(self-released; www.staranova.com)

Listening to these four songs is like eating a piece of frozen wedding cake: a reminder of a blissful moment long gone. The music is centered on the pitch-perfect vocals of Karina DeNike and Jessica Grace, whose superb harmonies float on a dark current of Eric Garland's restrained and textured drumming and James Frazier's guitar, which triples as bass and astral projector. Paced like Sunday afternoon, the songs are stars, cold and beautiful from afar, white-hot up close. "The Burn," feeling like an uncomfortable break-up talk, exemplifies the music's ambiguity. From arch and cool verses ("you think that you're hot/but your star is falling fast/to this cold earth") erupt passionate choruses ("don't you leave me alone"). With Garland's vibraphone finesse, "Outside Looking In" is a dilemma between comfort and vulnerability. With a killer drum outro, "Sleeping With the Enemy" swallows regret, duplicity, and lust in one bourbonic (but ladylike) gulp. Akin to Massive Attack, Bjork on a mild sedative, and better than Portishead, Stara Nova's songs keep a polite distance, but aren't to be taken lightly. After getting sucked into this disc a dozen times, you may be hesitant to put it in. It's that good. —Dan Nelson

Teen Cthulhu   Ride the Blade
(Life is Abuse; www.lifeisabuse.com)

In its attempt to out-gore every metal and hardcore band on the planet, Seattle's Teen Cthulhu offer a surprisingly focused debut album that largely meets this goal. Many “evil” bands, whatever sub-genre they fall into, often look and sound absurd or, worst of all, satirical. Yet by stripping their influences of everything extraneous, TC plays a hybrid of hardcore, metal and goth that is honest, unpretentious, and truly sinister. Combining a thundering aural assault with melodic, atmospheric breakdowns, and carnival keyboards, they sculpt a wall of sound that is haunting, brutal, and to the point (the point being to induce nightmares on the waking world). Thankfully there’s a lyric-sheet, because vocals are for the most part indecipherable, and to get the full picture one must appreciate the lyrics. The band takes its name from the early 20th-century horror writer, H.P. Lovecraft, author of “Call of Cthulhu” and other classic novels. Lovecraft casts a twisted shadow across songs such as “Hydroencepheloid," with imagery that ranges from flowery mysticism to absolute terror: “Poison milk fed from poison breast/As father it is my duty to walk away/This is the song we sing as we sequester the child to the grave/La La La La, La, La La, La La La La La La La.” This stuff goes beyond a fondness for Dungeons and Dragons, people. Teen Cthulhu haa seen the darkside, and it’s not pretty. —Mike Alexis

Transmission Trio   Tiny Beast
(self-released; www.transmission.to/)

Three transplants from Ann Arbor move to San Francisco. In less than five years, they play every jazz club in town (plus house parties and rock clubs to boot), tour the U.S., play with Tom Waits, and put out this record. Colin Stetson on baritone and tenor saxophones and clarinet, Eric Perney on contrabass, and Andrew Kitchen on drums are the Transmission Trio. Stetson is responsible for the bulk of the excellent writing, but the band is a true collective. Rumor has it that this was recorded in someone’s living room, but it may as well have been the world-class studio of your choice. There aren’t enough good things to say about this record; it delivers and more on every level. In addition to the exceptionally terrific playing, the moods swing between atomic fury (Hoover Dam) and the edge of a dream (Tired of Winning)—sometimes even in the span of one piece (The Life and Times of Farmer Man-Dog). Perhaps the most important, and probably overlooked, aspect of this band is the strength of melody. For the many Bay Area bands indebted to the thorniness and bombast of the avant-garde, there are just a few who can turn their chops into songs. Transmission can, and do. This band is truly great, and destined for greatness. —Bill Heehan

Upsurge!   Chromatology
(Abolition Media; www.wireonfire.com/upsurge)

East Bay jazz-poetry ensemble, Upsurge!, has just delivered a new disc containing 15 tracks of well-executed and captivatingly conscious music. While I admit not being the best judge of what makes good poetry, there is some pretty thought-provoking material found here. They take the Gil-Scott Herron formula and turn it on its ear and even stop to cover Abdullah Ibrahim's “The Wedding.” I was really impressed with the production values and above-par musicianship. Very cool and engaging release from this East Bay institution, which also just won the Best Poet or Spoken-Word Performer Award of Best of the East Bay 2003. —Royce Seader

Yo La Tengo   Summer Sun
(Matador; www.matadorrecords.com)

It's nice to see a band grow up and continue to mature. Not that New Jersey's Yo La Tengo were ever particularly puerile or unpolished: It's just that they continue to get better, and to follow their own distinctive ideas of what kind of music to make. This is possibly their mellowest album to date, moving subtly from the shimmering, navel-gazey guitar washes of recent years into a sparser, even slower, jazz-tinged ambience. The decades are an open book for this band, as are—one would assume—several copious and eclectic record collections. Sixties pop, industrial drones, fusion, a dash of surf, every Sea and Cake or Giant Sand album you've ever heard—the influences are so wide and varied that "Summer Sun" probably functions best as a Rorschach blotch, rather than a litmus test of the band's status in the current indie landscape. Yo La Tengo clearly doesn't have to prove anything to the world at large, and more power to it. This album may not offer any radio hits or indie anthems, but as a mellow, low-key set to zone-out in the privacy of your own home, it can't be beat. Plus: love that Troggs quote embedded in "Let's Be Still"—hooray for the grownups! —Lawrence R. Kay