Bayside – Sirens and Condolences – Review

April 19, 2004

Sirens and Condolences, is absolutely awesome. It’s morbid, melodic rock that’s catchy and intense, with rough guitar solos, gentle, brooding vocals and lyrics that are masochistic and often murderous.

Madcap – Under Suspicion – Review

March 29, 2004

Madcap rocks out on their third album with punk, reggae, rock, and ’80s dance inflections. “Keep Dancin” made me sit up and give this band a serious listen. Then I got up and danced. That’s how catchy the songs are.

Minus – Halldor Laxness – Review

November 5, 2003

Breaking off a chunk of melodious/atmospheric nü rock to blow open the emotional palette and drawing textural tools from old and new psychedelic bands.

Snapcase – End Transmission – Review

January 3, 2003

As Snapcase has carried on Refused’s progressive hardcore, they’ve been swept aside by the rise of nü metal and “poppy” hardcore. An unfair turn of events.

Strife – Angermeans – Review

June 28, 2002

The new disc is a bit of a letdown. Far from explosive and groundbreaking like their earlier releases, Angermeans is good Strife, not great Strife.

Snow Dogs – Animal Farm – Review

June 28, 2002

The “soft pop” feel of the music could’ve easily been turned into something with a bit more bite. A “buzz band” that ends up being a weak.

Ringworm – Birth Is Pain – Review

March 29, 2002

Yet another Cleveland-style metalcore band? Something in the way they revive the lust for early-’90s NYHC says that they’re better than that.

Student Rick – Review

March 15, 2002

Student Rick does a great job of transplanting their idols’ campy, teen-sitcom soundtracks into emo anthems, but who the fuck cares?

A Fistful of Rock – Vol. 7 – Review

February 22, 2002

This series is for anyone who gets cranked up by Motörhead, Agent Orange, AC/DC, pre-Beatles Redd Kross, early Kiss, The Runaways/first couple Joan Jett recs.

Thursday – Full Collapse – Review

February 22, 2002

Interesting arpeggios and harmonies, loads of breakdowns, heartfelt singing, At The Drive-In-ish guitar pull-offs, and none of the stubborn predictability.

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