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Revolutions Per Minute by Rise Against (CD - 04/08/2003)
 

Revolutions Per Minute by Rise Against (...

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Revolutions Per Minute by Rise Against (CD - 04/08/2003)
"Revolutions Per Minute" (04/08/2003) Hardcore/Punk Rise Against, Fat Wreck ChordsContains an untitled hidden track following "Amber Changing". Rise Against: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Joe Principe (bass, background vocals); Brandon Barnes (drums, background vocals). Additional personnel: Chad Price (background vocals). Recorded at The Blasting Room, Fort Collins, Colorado between November & December 2002. Personnel: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Brandon Barnes (drums, background vocals); Joe Principe, Chad Price (background vocals). Audio Mixers: Jason Livermore; Bill Stevenson. Recording information: 11/2002-12/2002. With clenched fists in the air, boots to the floor, and anger swelling in their chests, the members of Rise Against return with their second album, Revolutions Per Minute. It's a two-pronged attack. From the north blows the fury of their hearts, swept up as they are in their passion for a girl who is "Like the Angel," but love that strong almost inevitably eventually engenders the opposite emotions -- and so it is with Rise. And even as they beg on "Amber Changing" to pretend that tonight will never end, the relationship sours, and even their "Last Chance Blueprint fails to change the emotional landscape, leaving nothing but hatred it its wake, reaching a paroxysm of viciousness on "To the Core," a ferocious, fever-pitched number written and delivered with pure vitriol. If that's the bitter northern wind, bringing with it blizzards of wintry emotions warmed only by the heat of anger boiling in their hearts, the gale from the south comes as no relief. This, to continue the metaphor, is the wind of political change that descended with hurricane force on 9/11 and left all of us, Rise included, reeling in its wake. Across the rest of Revolutions, the bandmembers scan the wasteland around them and see people running for cover, desperate to find a shred of security again. But as "Blood-Red, White & Blue" makes clear, safety is an illusion, and our bomb-laden reply futile. "Would God bless a murder of the innocents?...a war based on pride?...a money-hungry government? No." Desperate for a real leader, we are left with the blind leading the blind, where "every problem is solved with a fight." "Is this the point where we give up?...give in?...turn ourselves in?" they demand to know on "Halfway There." Railing against a government bent on revenge and friends blinded to reality, the band cries out for a revolution with "Black Masks & Gasoline." Like all Revolutions, this is an album filled with anguish -- spiritual, emotional, and political -- a roar against the tide of history washing over us, echoed by the wrenching pain of love lost. The music is as impassioned as the lyrics, rubbing emotions raw and minds numb. ~ Jo-Ann Greene

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Box Set [Box] by The Misfits (U.S.) (CD - 02/27/1996)
 

Box Set [Box] by The Misfits (U.S.) (CD ...

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Box Set [Box] by The Misfits (U.S.) (CD - 02/27/1996)
"Box Set [Box]" (02/27/1996) Hardcore/Punk Misfits (U.S.) (The), Caroline DistributionBOX-SET is a 4-CD set containing 104 remastered tracks, 35 of which are rare or previously unreleased, including the previously unreleased Misfits debut album STATIC AGE and the original "Cough/Cool" single. It also contains a 28-page full-color booklet with complete lyrics, liner notes by Eerie Von, a complete discography, never-before-published photos, rare artwork and memorobilia. BOX-SET comes packaged in a coffin-shaped box with a faux-velour lined interior and includes a fired-enamel "Fiends Club" badge. The Misfits (U.S.): Glenn Danzig (vocals); Franch? Coma, Doyle, Bobby Steele (guitar); Jerry Only (bass guitar); Arthur Googy, Mr. Jim, Robo, Joey Image (drums). BOX SET contains most of the Misfits recorded output, including COLLECTIONS I AND II, LEGACY OF BRUTALITY, EARTH A.D., EVILLIVE, and even the legendary long lost STATIC AGE album. Rarities, unreleased studio cuts and almost every cough, hiccup and burp that the original Misfits committed to tape in their all-too-brief history as a recording unit are also featured. The best of the unreleased material includes killer versions of "Night of the Living Dead," "I Turned Into a Martian," "Violent World," and "20 Eyes." Collectors may have most of this stuff in one form or another, but for a fan desiring the vast majority of the Misfits crucial releases (and not much wasn't crucial), this is a must-have. As an added bonus, fans will salivate over ex-Samhain member Eerie Von's liner notes and the comprehensive lyrics. The packaging (a mini-coffin) is probably the most appropriate design for a box set yet to be produced.

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All Star Smash Hits by Smash Mouth (CD - 08/23/2005)
 

All Star Smash Hits by Smash Mouth (CD -...

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All Star Smash Hits by Smash Mouth (CD - 08/23/2005)
"All Star Smash Hits" (08/23/2005) Hardcore/Punk Smash Mouth, Interscope Records (USA)Smash Mouth: Paul DeLisle (bass guitar); Greg Camp, Michael Urbano, Steve Harwell. Personnel: Steve Harwell (vocals); Greg Camp (guitar, background vocals); Michael Urbano (drums, programming); Paul DeLisle (background vocals). Photographer: Kelly Castro. San Jose, California's Smash Mouth first hit the mainstream with 1997's "Walkin' on the Sun," a groove-heavy, '60s-inspired tune (replete with singer Steve Harwell's faux-British accent) that made the quartet instant rock-radio fixtures. Those who thought the pop-punk band couldn't top that initial hit were proven wrong by 1999's catchy and utterly inescapable "All Star," which became perpetually in demand at sporting events. This best-of collection features both of those singles, and many more energetic, party-ready anthems. There's a notable number of covers on ALL STAR SMASH HITS, including a ska-tinged take on War's "Why Can't We Be Friends," a driving rendition of Let's Active's "Every Word Means No," and a faithful version of the Neil Diamond-penned Monkees classic "I'm a Believer" from the animated blockbuster SHREK. In fact, literally half of the tunes on this 20-song set were featured on movie soundtracks. To find out exactly what made Smash Mouth so popular, listeners need only hear this fun, highly accessible compilation.

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Terror State [PA] by Anti-Flag (CD - 10/21/2003)
 

Terror State [PA] by Anti-Flag (CD - 10/...

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Terror State [PA] by Anti-Flag (CD - 10/21/2003)
"Terror State [PA]" (10/21/2003) Hardcore/Punk Anti-Flag, Fat Wreck ChordsIntital pressings of THE TERROR STATE include a bonus track entitled "Fuck The Flag." Anti-Flag: Chris Head, Justin Sane (vocals, guitar); Chris #2 (vocals, bass); Pat Thetic (drums, percussion). Recorded at Skate Park and Mr. Small's Theater, Millvale, Pennsylvania. Personnel: Justin Sane, Chris Head (vocals, guitar); Pat Thetic (drums, percussion). Audio Mixers: Jason Livermore; Bill Stevenson. Recording information: Mr. Small's Funhouse, Millvale, PA. Editor: Andrew Berlin. Photographer: David Cooper. Over the course of numerous uniformly excellent albums, Anti-Flag has established itself as one the most musically accomplished, intelligent, and passionate politically inclined punk bands on the hardcore scene. Unlike similar groups, whose knuckle-headed propagandizing rarely gets beyond well-meaning but simplistic sloganeering designed more to incite unrest than to solve problems, the Pittsburgh-based foursome carefully considers its viewpoints before committing them to wax (to the extent that each song is accompanied by an explanation complete with bibliographical references). Musically, Anti-Flag takes cues not only from old-school masters like the Exploited and the Descendents, but explores advanced harmonic and rhythmic territory that recalls everyone from the similarly minded Rage Against the Machine to legendary Canadian prog-rockers Rush. Of special mention are Chris #2's snappy basslines, which often drive the songs in Bruce Foxton (of the Jam)-like fashion. With super-clean production that rivals the output of any major label wannabes, THE TERROR STATE ups the ante for socially conscious punk by infusing the oft-tiresome genre with welcome doses of spirit, chops, and musical inventiveness.

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The Greatest Gift by Scratch Acid (CD - 11/01/1991)
 

The Greatest Gift by Scratch Acid (CD - ...

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The Greatest Gift by Scratch Acid (CD - 11/01/1991)
"The Greatest Gift" (11/01/1991) Hardcore/Punk Scratch Acid, Touch & GoTHE GREATEST GIFT is a 28-song compilation of every Scratch Acid release, including the JUST KEEP EATING LP, the SCRATCH ACID EP, the BERSERKER EP, and one unreleased demo. Scratch Acid: Brett Bradford (vocals, guitar); David Yow (vocals, bass); David Wm. Sims (guitar, piano, bass); Rey Washam (drums, piano). Engineers: Fred Remmert, Tim Bradford, Kerry Crafton. Principally recorded at Earth And Sky Studio, Cedar Creek Studio, and Studio West, Austin, Texas between July, 1984 and September, 1986. Includes liner notes by Mike Hunt. Scratch Acid played a huge part in the noisy underground movement of the 1980s; they took punk to the dirtiest, dingiest mudhole they could find and sullied it from top to bottom until it looked and sounded like some hell-bound bogeyman. It's not too far-fetched to think of Scratch Acid as the American equivalent of the Birthday Party, the Texans donning the mantle that was dropped when the BP disbanded. The Greatest Gift contains everything the band ever recorded, including a few lo-fidelity instrumentals. Scratch Acid never received the notice it deserved, but the musicians could pound out brilliantly frenzied and highly original post-punk/noise rock that sometimes rivals the material released by singer David Yow and bassist David Sims' future (and much more well known) project, the Jesus Lizard. The first eight songs were originally released in 1984 as an eponymous EP; from the opening crashing bars of "Cannibal" to the terrifying lyrics heard on "Lay Screaming" (a song which reads like something culled from a medieval book about torture), this band obviously never had any desire to control itself. Only one slight reprieve can be found in the relatively tender "Owner's Lament," a song replete with weeping strings. Songs nine through 20 first saw the light of a sickly day as Just Keep Eating, Scratch Acid's one and only full-length that found the band expanding its musical palette: insane noise rock numbers ("Eyeball," "Holes"), jaunty, faux lounge grooves ("Amicus"), goofy Zeppelin-esque riffs ("Cheese Plug"), and a spot-on cover of the Webber-Rice rocker "Damned for All Time," complete with exclamatory horns. The remainder of the disc comprises the songs from their definitive statement, the 1987 Berserker EP. A little more money went into this recording; as the sound quality is better than on Just Keep Eating, it was definitely worth it. "Mary Had a Little Drug Problem" and "Flying Houses" are whirlwinds of pounding drums, foreboding basslines, and scathing, blinding guitar phrases. The band never played so well or wrote better songs. Highly recommended to any Jesus Lizard fan and noise rock/hardcore punk aficionado. ~ Will Lerner

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Sing Loud, Sing Proud by Dropkick Murphys (CD - 10/01/2004)
 

Sing Loud, Sing Proud by Dropkick Murphy...

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Sing Loud, Sing Proud by Dropkick Murphys (CD - 10/01/2004)
"Sing Loud, Sing Proud" (10/01/2004) Hardcore/Punk Dropkick Murphys, Hellcat RecordsDropkick Murphys: Ken Casey (vocals, bass); Al Barr (vocals); Marc Orrell (guitar, accordion, background vocals); James Lynch (guitar, background vocals); Ryan Foltz (dulcimer, mandolin, whistle); Spicy McHaggis (bagpipes); Matt Kelly (drums, bodhran, background vocals). Additional personnel: Shane MacGowan, Colin McFaull, Desi Queally (vocals); Rick Barton (guitar); Johnny Cunningham (mandolin); Brian Queally (whistle); Carl Kelly (Uilleann pipes); Joe Delaney (bag pipes); Andreas Kelly (accordion); Zack Brines (piano); Katie Terrio, Ryan Whelan, Marissa Alterie (background vocals). Recorded at The Outpost Studios, Stoughton, Massachusetts. Personnel: Marc Orrell (vocals, guitar, accordion); James Lynch (vocals, guitar); Matt Kelly (vocals, drums, bodhran); Colin McFaull, Ken Casey , Shane MacGowan, Al Barr (vocals); Rick Barton (guitar); Ryan Foltz (dulcimer, mandolin, tin whistle); Johnny Cunningham (mandolin); Spicy McHaggis (bagpipe); Marissa Alterese, Brendan Alterese, Katie Terrio (background vocals). Recording information: Outpost, Stoughton, MA. Photographers: Amy Archer; Angela Giovine. Arranger: Dropkick Murphys. The Dropkick Murphys are to punk what House of Pain was to rap. They bring an explicitly Irish sensibility to their chosen style (there are shamrocks on the album cover, and there's a bagpiper in the band, for goodness' sake) while remaining true to the conventions of the genre. Still, despite the occasional jig-like detour or pennywhistle flourish, the Murphys aren't trying to reinvent punk. Their songs are presented the way punk was meant to be; loud, fast, hard, and simple. The driving guitars and pummelling drums that power these songs could be descended from the vintage Ramones (or at least Social Distortion) album of your choice. Admittedly, there aren't too many other punk bands that combine mohawks with kilts, or power chords with bodhrans, but that's what gives the Murphys their distinctive sound.

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Cheer Up! by Reel Big Fish (CD - 06/25/2002)
 

Cheer Up! by Reel Big Fish (CD - 06/25/2...

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Cheer Up! by Reel Big Fish (CD - 06/25/2002)
"Cheer Up!" (06/25/2002) Hardcore/Punk Reel Big Fish, Mojo Music (Independent)Reel Big Fish: Aaron Barrett (vocals, strings); Scott Klopfenstein (vocals, guitar, electric piano, trumpet); Carlos de la Garza (drums, percussion); Dan Regan (trombone, special effects); Matt Wong (bass). Additional personnel: Travis Werts (Flugalhorn); Tyler Jones (trumpet); Iki Levy (percussion, samples); Ryland Steen (percussion); Nic Tenbroek, Gordie Johnson. Producers: Aaron Barrett, Scott Klopfenstein, Gordie Johnson. Recorded at Sound Factory, Paramount Studios, Grand Masters, Hollywood, California, Jake's Place, Studio City, California, Brando's Paradise, San Gabriel, California and World Class Audio, Anaheim, California. Formed in Southern California in the early '90s, Reel Big Fish has slowly gathered a massive following by virtue of a combination of relentless touring and relentlessly peppy albums, following in the wake of such erstwhile ska/punk bands as No Doubt. While Reel Big Fish lack a front person with the obvious charms of Gwen Stefani, they plough an irresistible Bare Naked Ladies-type furrow with energetic frat-boy anthems such as "Ban the Tube Top" ("beautiful girl, ugly shirt--you are a fashion red alert") and the ska/R&B flavored "Suckers." There's no denying the attraction of sardonic lyrics set to upbeat rhythms, a formula the Fish stick to throughout CHEER UP! that hits home time and again, in songs such as "What Are Friends For," and "Dateless Losers," a self-explanatory frenetic excursion through many solitary Friday nights--("we're not so bad you know, but you won't give us a chance," they whine) that should find an echo in the hearts of dateless Reel Big Fish fans everywhere. With its refusal to take itself too seriously and its irrepressibly smart pop hooks, CHEER UP! is a joyous soundtrack to an endless summer.

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Crimson: Deluxe Edition [12/6] *
 

Crimson: Deluxe Edition [12/6] *

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Crimson: Deluxe Edition [12/6] *
"Crimson: Deluxe Edition" (12/06/2005) Rock & Pop Alkaline Trio, Vagrant Records (USA)The deluxe edition of the Chicago-based Alkaline Trio's CRIMSON contains a bonus CD of demo and acoustic versions of songs from the original album, providing a raw and intimate look at the band's writing process. The disc also contains two videos. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Alkaline Trio: Matt Skiba (vocals, guitar); Daniel Andriano (vocals, bass guitar); Derek Grant (vocals, drums); Heather Hannoura (spoken vocals); Nolan McGuire (guitar); Warren Fitzgerald (strings); Roger Joseph Manning Jr. (piano, keyboards). The bowler-hatted, three-piece-suit-wearing figure on the cover of Alkaline Trio's CRIMSON seems emblematic. The edgy, emo-tinged pop-punk group is dressed up a bit here, sporting a wherewithal and sophistication that distinguishes this 2005 release from its previous efforts. In part, this is thanks to producer Jerry Finn (of Green Day and Blink 182 fame), who gives the album an impeccable razor-like sheen, but the clincher on CRIMSON is the quality of the tunes. Nearly every cut here teems with memorable pop hooks integrated into tight song structures. But while sing-along choruses ring out for miles, harmonies chime, and bright guitar lines color the spaces in between, the band never sacrifices its trademark thunder. Alkaline Trio rocks plenty hard on CRIMSON: "The Poison" is a direct, punk-inspired tune, and a nu-metal riff crunches between the verses of "Time to Waste" before opening into a melodic chorus. And though "Burn," with its slow, spacious melody, recalls Love & Rockets-era post-punk, there is plenty of the familiar Alkaline Trio sound on songs like "Dethbed" and "Fall Victim." CRIMSON is the mark of a group underscoring its strengths by pushing forward in directions both familiar and new.

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Gig by Circle Jerks (CD - 09/08/1992)
 

Gig by Circle Jerks (CD - 09/08/1992)

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Gig by Circle Jerks (CD - 09/08/1992)
"Gig" (09/08/1992) Hardcore/Punk Circle Jerks, RelativityCircle Jerks: Keith Morris (vocals), Greg Hetson (guitar), Zander Schloss (bass), Keith Clark (drums). Recorded live at Iguanas, Tijuana, Mexico; Country Club, Reseda, California and Ventura Theater, Ventura, California. The Circle Jerks burst onto the explosive early-'80s L.A. punk scene with vocalist Keith Morris fresh from a short-lived stint in the legendary Black Flag, who were notorious for their raucous, riot-police-infested live shows. The Circle Jerks earned their credibility and reputation in much the same way; with energy-packed, near-riot-status live performances. While Gig was recorded about a dozen years after their inception, the Circle Jerks live shows still proved to be edgy and exciting, although a little less riot-police prone than their early days. Through a handful of shows in Southern California and Mexico, they manage to document their ear-splitting, sarcasm-laced legacy with sustained energy and a tightly coiled attack. Guitarist Greg Hetson, now serving in the still surviving Bad Religion, plays with the speed of his early days and the skill that results from years spent honing his craft. Keith Morris' sandpaper yowl and sarcastic wit survived their hard-lived years as well, with his legendary storytelling and midsong improvisations setting the Circle Jerks apart from the tough-guy mentality that often pervades the punk scene. Rhythm section Keith Clark and Zander Schloss provide a thundering backdrop for some of the heaviest and most scathing punk rock to come out of the '80s. Punk purists might cringe at the slightly metal influence that they adopted in the mid-'80s, but these years also contributed to the development of their sonically brutal live spectacle, and all the bases are thoroughly covered on Gig. Early favorites like "High Price on Our Heads" and "When the Shit Hits the Fan" embrace the incendiary past and offer listeners the chance to hear them the way they were meant to be: live, loud, and thoroughly obnoxious. Many songs from their mid- to late-'80s heyday make the live cut as well. The ironic "I Don't" and mainstream media critical "Casualty Vampires" take on even more visceral energy than their studio-recorded versions. This recording roars to a close on an old-school note with the anthemic "Wild in the Streets" and the last-second touch of Morris breaking up a fight between some overzealous fans with his razor-sharp tongue. Gig proves yet again that punk rock is meant to be experienced live, and if you missed the Jerks in their heyday, this is the next best thing. ~ Paul Henderson

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Upbeats & Beatdowns by Five Iron Frenzy (CD - 11/03/1998)
 

Upbeats & Beatdowns by Five Iron Fre...

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Upbeats & Beatdowns by Five Iron Frenzy (CD - 11/03/1998)
"Upbeats & Beatdowns" (11/03/1998) Hardcore/Punk Five Iron Frenzy, Five Minute Walk RecordingsFive Iron Frenzy: Reese Roper (vocals); Micah Ortega (guitar); Scott Kerr (guitar, background vocals); Jeff "Leanor" Ortega (saxophone, background vocals); Wonder Brad (trumpet, background vocals); Dennis Culp (trombone, background vocals); Keith Hoerig (bass); Andrew "Chaka" Verdecchio (drums).

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Error [EP] by Error (CD - 10/01/2004)
 

Error [EP] by Error (CD - 10/01/2004)

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Error [EP] by Error (CD - 10/01/2004)
"Error [EP]" (10/01/2004) Hardcore/Punk Error, Epitaph Records (USA)ERROR: Gregg Puciato (vocals); Atticus Ross, Brett Gurewitz, Leopold Ross. Additional personnel: Joey Karam (Moog synthesizer). Personnel: Greg Puciato (vocals); Joey Karam (Moog synthesizer). Recording information: Atticus' House. Arranger: Error. Error won't be just another Epitaph band, simply because they intend on being the Epitaph band...well, at least for the time being. Bad Religion founder and fellow Epitaph guru Brett Gurewitz joins ex-Tapeworm/Nine Inch Nails contributor Atticus Ross, his brother Leopold, and Dillinger Escape Plan vocalist Greg Puciato for the maddening experiment that is Error. Their self-titled EP trips down memory lane by plugging heavy industrial-dance beats with more stylized electronic rhythms for a nihilistic set. Who knew Gurewitz, who's entering his forties, still had the steam to create a ruckus? From the explosive punk metal mix of "Nothing's Working" to the freakish electronic storm of "Burn in Hell," Error is far from miscalculating this jaunt. Between Puciato's violent screaming and Atticus Ross' intricate programming, the Error EP manages to capture everything alt-metal wishes it was with a brave new punk rock face. If the band's cover of 999's "Homicide" doesn't remind you of how great Front 242 and Skinny Puppy were in the late '80s, you've completely missed the point. ~ MacKenzie Wilson

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A Day & A Thousand Years
 

A Day & A Thousand Years

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A Day & A Thousand Years
"A Day & A Thousand Years" (04/04/2005) Rock & Pop Walls of Jericho, EulogyWalls Of Jericho: Mike, Wes, Candace, Kevin, Aaron.

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The Rise of Brutality [PA] by Hatebreed (CD - 10/28/2003)
 

The Rise of Brutality [PA] by Hatebreed ...

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The Rise of Brutality [PA] by Hatebreed (CD - 10/28/2003)
"The Rise of Brutality [PA]" (10/28/2003) Hardcore/Punk Hatebreed, Universal DistributionHatebreed: Jamey Jasta (vocals); Sean Martin (guitar); Chris Beattie (bass); Matt Byrne (drums). Recorded at Planet Z Studios, Hadley, Massachusetts. Personnel: Jamey Jasta (vocals); Sean Martin (guitar); Mike Bryne (drums). Audio Mixer: Mike Fraser. Recording information: Planet-Z, Hadley, MA. There comes a time in young music fans' lives when they put aside the flashy, lightweight records of their teens, come face to face with humanity's harsh realities, and pick new tunes appropriate to a more serious and realistic worldview. Anyone who feels that it's time to relegate such albums to the box under the bed would do well to start a new life-phase with a little Hatebreed. On THE RISE OF BRUTALITY, the band lives up to the record's title, delivering a disc of astonishing purity and extreme volume. There is no rapping. There are no turntables and no power ballads. In fact, there is nothing here but a mind-numbing, ferocious, and totally unrelenting onslaught of drums, guitar, bass, and hoarse-voiced shouting. Unlike similar-sounding bands, though, Hatebreed never sounds less than totally impassioned, making for a uniformly thrilling listening experience. Taking its cues from socially aware 1980s hardcore like Sick of It All and Agnostic Front, the band combines positive messages with enough hyper-speed double-bass drumming and stop-on-a-dime rhythmic shifts to keep even the most sugar and testosterone-addled youth moshing until they reach retirement age.

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Haymaker [PA] by Throwdown (CD - 07/15/2007)
 

Haymaker [PA] by Throwdown (CD - 07/15/2...

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Haymaker [PA] by Throwdown (CD - 07/15/2007)
"Haymaker [PA]" (07/15/2007) Hardcore/Punk Throwdown, Trust KillThrowdown: Dave Peters (vocals); Keith Barney, Tommy Love (guitar); Dom Macaluso (bass). Additional personnel: Scott Vogel, Chad Gilbert (vocals); Jarrod (drums); Three Daves And A Kirk (background vocals). Personnel: Three Daves And A Kirk, Dave Peters , Chad Gilbert , Scott Vogel (vocals); Tommy Love, Keith Barney (guitar); Jarrod Alexander (drums). Photographer: Jeff Gros. Throwdown's followers insist that the Southern California residents are a cut above most of the bands in the metalcore field, which was extremely crowded in the '90s and early 2000s. And when Haymaker is playing, one is inclined to agree with that assertion. For all its bombast and sledgehammer brutality, Haymaker is simply smarter and better constructed than most of 2003's metalcore CDs -- which is saying a lot when you consider just how much of a metalcore glut there was that year. Haymaker isn't quite as heavy and dense as some metalcore outings; Throwdown give listeners more room to breathe and don't go out of their way to be exhausting. But while that room-to-breathe factor is a plus, it isn't the main thing that makes Haymaker superior to competing metalcore discs -- the things that make this album above average are the hooks, the vocals, and the lyrics. Lead singer Dave Peters favors the sort of tortured, screaming vocal style that metalcore is known for, but his screaming doesn't make the lyrics difficult or impossible to understand (which is a common problem among metalcore, grindcore, death metal, and black metal bands). You can easily understand the lyrics that are coming out of his mouth, and those lyrics -- for all their angst, anger, rebellion, and catharsis -- are relatively thoughtful. Peters often addresses the importance of things like friendship and self-respect, thus reflecting Throwdown's straight-edge outlook. Ultimately, Haymaker's lyrics are more positive than negative, but without getting into the sort of preachy political correctness that has made some straight-edge bands off-putting and even annoying. Heaven knows, there were plenty of metalcore releases to choose from in 2003; Haymaker is certainly among the more memorable ones. ~ Alex Henderson

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Funeral for a Feeling by Kill Your Idols (CD - 07/17/2001)
 

Funeral for a Feeling by Kill Your Idols...

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Funeral for a Feeling by Kill Your Idols (CD - 07/17/2001)
"Funeral for a Feeling" (07/17/2001) Hardcore/Punk Kill Your Idols, Side One DummyKill Your Idols: Andy (vocals); Gary, Brian (guitar); Paul (bass); Raeph (drums). Additional personnel: Brad F, Nick, Skipper (background vocals). Recorded from May 6-13, 2001. Personnel: Brian Meehan , Gary Bennett II (guitar); Skipper (background vocals). Recording information: The Creep House (05/06/2001-05/13/2001). Photographer: Dale Rio. Shouted vocals, screaming guitars, and hyperpounded drums, all the hallmarks of hardcore are here. A different aspect of Kill Your Idol's Funeral for a Feeling, though, is that it seems much more crouched in late-'90s pop-punk than anything out of the '80s D.C. scene. Like most So-Cal pop-punk releases, the tracks suffer from a limited tempo range; it's always the same damn drum pounding. While it's interesting to see that hardcore has infiltrated the Epitaph/Fat Wreck camp, Funeral for a Feeling seems more like good hardcore to give to your pop-punker little brother. After he's acclimated to this, hook him up with Minor Threat. As for this album, while some tracks are good and stand apart from the thumping morass, a general sense of "feh" is the end judgement. ~ Jeremy Salmon

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Live From the Battle in Seattle by The No W.T.O. Combo (CD - 05/16/2000)
 

Live From the Battle in Seattle by The N...

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Live From the Battle in Seattle by The No W.T.O. Combo (CD - 05/16/2000)
"Live From the Battle in Seattle" (05/16/2000) Hardcore/Punk The No W.T.O. Combo, Alternative TentaclesLIVE FROM THE BATTLE IN SEATTLE was recorded at the Showbox in Seattle, Washington on December 1, 1999 as a protest concert against the World Trade Organization Conference that was held there that week. The No W.T.O. Combo: Jello Biafra (vocals); Kim Thayil (guitar); Krist Novoselic (bass); Gina Mainwal (drums). Includes liner notes by Krist Novoselic. Personnel: Krist Novoselic, Jello Biafra (vocals); Kim Thayil (guitar). Audio Mixer: Jack Endino. Recording information: Showbox Theatre, Seattle, WA (12/01/1999). Photographer: Tony Gale. The No W.T.O Combo celebrate and further the protests that took place against the World Trade Organization in Seattle during late November of 1999. Recorded live at a show amidst the protests' aftermath, he Combo brings elder punk statesman Jello Biafra together with Kim Thayil, Krist Novoselic, and Gina Mainwal. Two new Biafra-penned punk burners, the Dead Kennedys classic "Let's Lynch the Landlord," a Biafra spoken-word piece, and the DOA/Biafra jam "Full Metal Jackoff" comprise the set's material. The recording is musically noteworthy due to the musicians' obvious passion, not to mention that Thayil sounds like an unholy cross between Greg Ginn and East Bay Ray. Most interesting, though, is Biafra's subject matter -- worker rights, NAFTA, downsizing, and the WTO -- and excellent liner notes from Biafra and Novoselic summing up the demonstrations and issues at hand. At the least, Live From the Battle in Seattle is an important historical document; leave it to Biafra to show that rock and social protest don't have to be mutually exclusive, even in the year 2000. ~ Matthew Kantor

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