Just hear me out - this particular audio selection, Ojee Walk Upright, by west coast (San Fran via LA) duo Ojee requires one of those hypothetical musical equation introductions.

Here goes: What if.. . . you took 2 like-minded young men, one partial to the joyous songwriting of Kevin Barnes - the other influenced by the likes of They Might Be Giants, and placed them in a scientific "freeze" for 30 years - only to thaw the two when "popular" music needed a hero? Now is that time for some originality. There's more: once thawed, the two (for the record, we shall name the specimens Brian and Eric) are detained in a studio with an acoustic guitar, steel drum and melodica to see if our hypothesis is true. Wait - to serve as motivation, we give them a vast collection of Ska / Rasta records from the Trojan era (Toots & the Maytals, Desmond Deeker).

The end result lies in the 11 song, sunny dub collection of tunes entitled Ojee Walk Upright. When listening to a track like 'Friend', it is nearly impossible to not envision a sunny beach, filled with tropical animals as well as fruity drinks - and people getting along like happy people should. This album just evokes this kind of audible sunshine. It's also catchy as hell - I've had the subtle organ hits and stray drum of 'Shy Anne' stuck in my head for quite a while now, not that I'm complaining. Most definitely unlike anything I have heard in some time (this being a positive statement), Ojee Walk Upright is a genuine mix of talent & influence that is waiting to be heard. Walk on.

+ kaleb . 06.29.04

"I'm not upset - just confused" - from 'erroneous escape into erik eckles'.

We may have the solution to global warming, deadly disease and most evil leaders in Satanic Panic in the Attic's artwork alone. I spent well into 3 hours in a dark closet with a single emergency candle exploring the wealth of creatures in it's illustrations, and by the time the wax had reached my feet, I swear I nearly had the answers. Then I decided to pursue the vinyl edition direct to get a closer peek (the artwork is approx. 250% larger on an album, you see) - still, the answer seemed to be in the music itself.

'Satanic Panic in the Attic' is / was one of Kevin Barnes short poems from the of Montreal website - and it is now a full-on 14-track journey of audible grandeur. From the synthed up openings of 'dis-connect the dots' to the enhanced reverb of 'spike the senses', this is certainly not an album to write oneself off to - but likely find yourself suppressed in sheer jubilation. Truth be told, the only of Montreal release I own [and positively cherish] to this day is Cherry Peel, the beginner set from way back in 1997 [Bar None] - so you're getting something of an outsider's view on the whole journey that is OM. In short - I find Satanic Panic in the Attic a wonderous affair, much like a magical night on any near-weightless planet with the creatures from Sid & Marty Krofft's H.R. Pufnstuf (that leaves out the impossible chance of the mentioned "gay time" on a neutron star).

Who could have seen the time-changes that take place on 'lysergic bliss' coming? That song in itself develops & reforms at least 4 times before ending a glorious chorus of joy. Am I right in reading that "all instruments played by kevin (barnes)", except for 2 songs? I've always been a sort of a sucker for an intelligent singer / songwriter - but this is quite the impressive feat given the amount of depth this album possesses. City Bird, the lone track that was written by one other that Barnes (Dan Donahue) is simply delightful - the past Sgt. Pepper comparisons ( to 1999's The Gay Parade ) are beginning to make sense. Another tune of complete brilliance is 'Your Magic is Working' : "Lately I've been so happy, just holding you and gazing into your eyes - like an old movie" - over the top sweetness, for the lucky Nina I would guess.

Certainly one of the most important & interesting releases of 2004, let's not fret any longer - some are just born with greatness.

+ As an added "welcome to Polyvinyl - you may very well be our best selling artist of all time" bonus - there is a 4-track limited covers disc that is being bundled with SPitA, and it is well worth the time to track down. The take on 'know your onion" (the shins) is a puzzling case in itself - I can't figure out if the OM camp are "making fun" or just putting to tape a version of the song that rivals the original.

Simply splendid indeed.

+ kaleb . 04.16.04

Growing up in the Jackson family out in Oxnard, California must have been tough. Your uncle is a respected jazz musician, your parents are soul singers, your older brother Otis (Madlib) keeps playing around with the turntables and turns out to be pretty good, and then Michael (Oh No) goes and follows in his brothers footsteps. I imagine there being some younger sister who will be upstaging Alicia Keys or Jean Grae within the next couple years. For now, it's Mike's turn to shine. So where Madlib helmed Stones Throw first major release of the year, Madvillainy, his younger brother Oh No takes over for the fall release, the impressive debut The Disrupt.

Oh No has been hanging around with the Stones Throw crowd, and it shows. Where he really succeeds is in integrating a lot of the styles that the collective works with. There are elements of Madlib's jazz, the old-school funk that Egon works with, Jay Dee's club sensibilities, and PB Wolf's sampling skills, but all in a unique style. While he may not be able to match his sibling at the tables (hell, few can), Oh No blows him away at the mic. Jaylib proved that while producers may want to rap, they should be restrained most of the time. The Disrupt gives the counter argument, as Oh No proves himself a quick, clever spitter.

The album opens strong through the aggressive triplet of openers, especially "Move," which rides off a great easy drum beat with a synth line backing it up. The fucked up video game beat on "The Ride" plays off a choir's worth of handclaps, and still manages to pull it off. The album bounces all over the place, manages to steer clear of most filler, has most of the Stones Throw roster in guest spots, and pulls in at a very complete 50 minutes. Not bad for a first release.

peter 12.07.04

" and when these bridges burn, i'll bleed this river dry and walk to you ... "

If Every Time I Die went down the toughguy path, they'd wish they were as good as One Dead Three Wounded. Combining elements of all kinds of " core's " to create a work of beauty that will forever leave a mark on the scene. One Dead Three Wounded hail from a one street town in Pennsylvania called Philadelphia which is becoming increasingly known for producing some hardcore giants and ODTW is no exception. Brutal guitars backed by a menacing assault of double bass and led by a raspy, 'I swallow swords for fun but not by proffesion' scream, ODTW are the new breed of what hardcore is slowly becoming ... it just doesn't know it yet.

These aren't your typical breakdowns. These aren't your typical lyrics. This isn't your typical 'judd judd ree ree ree' mixed with extreme metal bullshit that's been flooding the scene as of late. These guys bring much more to the table than your average, run of the mill hardcore band. Yes, they have breakdowns, but these guys go into breakdowns unlike any other band, the way I wish more bands would. Most of the songs just go into a breakdown, there's no build up or slow part to insinuate a breakdown, it just pops out of nowhere and spin kicks you in the mouth. All-in-all ... Paint The Town is a breath of fresh air for your everyday hardcore enthusiast ...

visit: >> 1D3W <<

ray. 04.07.04

The Only Children
Change of Living
( Glurp ) 2004

As 2000 came and went, it seemed as if every band in the hip rock and roll scene was aping a genre from the previous century: the Hives, with their energetic 70's "Buzzcocks-in-suits" punk; Interpol broadcasting Joy Division's transmissions from 1980; and more recently, the Darkness, bringing back catsuits and power ballads to the new millenium. The Only Children are of a like mindset.

Comprised of three ex-members of the Anniversary (James David, Josh Berwanger, and Christian Jankowski) with new friends Heidi-Lynne Gluck (Some Girls), Case Priestwood (Hot Rod Circuit), and T.K. Webb, the Only Children make album country-rock straight out of 1971. Recalling the Band, Lynyrd Skynyrd, and the Birds circa "Sweeheart of the Rodeo", Change of Living's songs, like "Sky Begins to Storm" and "Jesus Came Too Late", sound like lost radio singles from the era of roots revival after the psychedelia of the Sixties faded. The problem is, the Only Children seem to do little more than recreate the sound of that era. Although bands like the Darkness and the Hives are "throwback" bands, they do one important thing to keep them from being mere genre exercises: they write interesting, original songs. Although Change of Living does fine in perfectly recreating the mellow, rootsy feel of the Band, the songwriting doesn't match the par set by the classic bands from the era.

There are a few bright touches, though, that keep this album from being a tosser, including the beautiful voice of Heidi-Lynne Gluck, whose voice kept me listening the entire album. There are also other inspired small moments, like the vocal break in the middle of "St. Graves", and the honky-tonk piano solo in "Sky Begins To Storm". But when the album really picks up is when the band decides to move on from the sound they are trying so hard to replicate, and write a brilliant song: on the album highlight "Lonesome Road", the distorted guitar break in the middle invigorate the song with an inescapably modern-rock feel that breaks the tone of the album but elevates the song from decent to great.

So until the Only Children realize that the "retro" sounds they are recalling is only a means to an end, they'll have to settle for sounding like another mediocre band from 1973.

:Tyler 11.20.04

Roy Orbison
Love Songs
( Columbia / Legacy ) 2005

Even a broken cook clock is right at least 2wice a day - which is merely a critically cagey way of stating that regardless of something's seemingly dubious origins, it's the proof in the pudding that tells the tale. [Stop me before I 'cliché' again.]

The more cynical among us might look at this Love Songs series & say, "Ah, it's a marketing ploy to net the squares." I say: It matters not. This particular edition of this series is merely one of the better, if not the best, compendium of the Art of the Orb available in an overcrowded marketplace. Sure, it doesn't have "Pretty Woman" or any of his more rockin' stuff, but so what?!? One can hear "Pretty Woman" on any oldies station ANY time of day or night, and truth be told, Roy O's forte was as a Rock & Roll Ballad Singer, the Caruso of the Blue Bayou, the Pavorotti of Pensacola. (Not to imply he couldn't rock, mind you. Where d'ya think the them Cramps got "Domino" from, anyhow?) Plus, this set is impeccably programmed, setting the stage with the mope classic "Only The Lonely," pausing to reflect with the deliciously melodramatic, bolero-flavored "Borne On The Wind," and closing with the sublimely tender "Goodnight."

In many ways, Love Songs equals and at times surpasses Rhino's fine Orb compendium.

- Mark Keresman 05.28.05

the orchid pool
summer won't last
( Whirlygig Records ) 2005

Tony Paglia - trading here as the orchid pool - has crafted some wonder-stuff on summer won't last, an album that actually digs its womb-cozy mittens into each of the four seasons before fading slowly into the orangest sunset your mind can fathom. Traces of acoustic guitars, plucked with precision and care so not to wake the neighbors children (see: "snowing"), and a select set of piano-esque & plugged in electric moments (hear: "begin again") all stitch together a delicate yet solid album that begs to meet the equally brilliant home recordings of the Twin Atlas (again, I lead you to obvious favorite "snowing").

Yes, summer won't last gets its energy out as well, and "emergency landing" is just this moment. A driving snare opens the track and peaks with bells, piano and a dazzling field of other distant instruments such as trumpets & horns.

A wonderful twist to an already creative & specific breed of self-released songs, a nod to state-mates Black Moth Super Rainbow (as well as a pre-BMSR satanstompingcaterpillars lyrical homage on "Cara Lynn") with a seriously "yes!" retake on "Colorful Nickels" sets summer won't last very high on my recommendation list for 2005.. . year of the Whirlygig.

Cover artwork from his loved grandmama (Sylvia Holzen), and assistance from his talented wife Kimberly [and her own outfit, Bellhouse] - Mister Paglia, you have my respect and my envy.

Need I mention he'll ship these dozen tunes postage paid to you for $6? Modesty comes in orchids.

kaleb 07.08.05

"Tell your dad to come on over and we'll talk / you bring your drinks, I'll bring the 'fuck you's'".

When these lines drop on 'Everyone Feels Like You' after the few seconds of silence that split the song the way rooms in hotels divide lovers, it finally sets in that this is straight from the heart album. Folks who dig the reflective songwriters of our (20+ age) time such as onelinedrawing, Matt Pond PA & the Kinsella brothers earlier effort American Foootball will certainly find something their ears will dig here. Much more the delicate 'American Football'-style album than the experimental 'Joan of Arc' collective, this Chicago native we know as Mike Kinsella has surely crafted a remarkable sophomore album.

kaleb. 12.12.02

" I listen to the same old cd's - New Order & Morrisey "

Given you understand the ground Mike Kinsella has covered in the past ten (plus) years, I will continue on.. .

I am not sure if it's just bad luck, or the sole source for inspiration - but it seems Mike has been on a tough streak of sour relationships. Lucky for us, we get the tender emotions that Mike - or the character he slides into as "Owen" - puts to tape. Following up two incredible full-lengths (Owen, No Good For No One Now), (the EP) contains some of his best work to date - and both of the earlier album's already owned many hours of my afflicted days.

Just when we thought "Owen" had finally found his true love, it only turns to end in lust on 'That Mouth' ("You put me on / you put on a good show"). Then the sad-but-true tale of a lover who cannot been forgotten ('In the Morning'), with the pedal steel tone of Bob Hoffnar - we can only keep faith that the guy never lands a solid relationship. As Stuart Braithwaite put it - "sad songs remind me of friends". Sad songs are my new friends.

+ kaleb . 06.02.04

Owen
I do perceive.
( Polyvinyl ) 2004

"I don't miss you. I'll miss you when you're dead"

Opening a new Owen album is like a hidden, unexpected holiday. The beginnings of what you positively know will be a luxury ride. The guy (Mike Kinsella - or the slightly less experimental brother) just doesn't put his Owen stamp on songs & albums that aren't of the highest standards. I do perceive. continues in this honest tradition of brilliance - with 8 more choice offerings that should & will satisfy the fans he has picked up since American Football's inception and untimely demise as well as the past 3 Owen releases.

On the American Football front, Mike has possibly matched the classic track "Never Meant" from that only & self-titled album with the second track on I do perceive "Note to Self :". With it's "in no rush" pace and subtle instrumentation (guitar, drums, handclaps), and tone & lyrics we have come to cherish, "Note to Self :" is exactly why relationship-ruining mopes like myself really get into Mike's honesty. With a toned-back set of help from this year's (ep) (cousin Nate Kinsella is the only credited co-player on I do perceive. ) - whereas I told you folks that was his best yet, the Owen standard has again been raised.

* Note to "hardcore" bands - Kinsella's lyrics are just yearning to be delivered through a bloody scream and furious blitzkrieg of instrumentation. See: "That Tattoo Isn't Funny Anymore". When you record it, I beg to hear.

+ k a l e b 11.30.04

Album titles composed in Latin impress me very much. It can be quite the beneficial approach to purchasing new materials if you actually explore the reasons why. Let's assume for a moment that you're willing to sacrifice $15-16 for 30+ minutes of music - but, as it turns out, you come to despise the music it wouldn't necessarily matter, you're safely confined within a constant position to utilize that sacrifice. By that, I mean, in casual conversation from that moment on, you have the resources to catch you're company completely by surprise - you have now been presented with three Latin words that can be used in conjunction with other non-Latin words or phrases and people will then see past your high school equivalency diploma and your full-time position as a Subway sandwich "artist" and forever presume that you're quite the educated individual - $15-16 well spent, you may say. In other ways, you may have no fucking clue what the title of this album is supposed to mean and choose not to draw attention to your already apparent lack of intelligence (GED and Subway, remember?), but you find the musical content and the artistic packaging well worth the price you've paid. Then there are the privileged few that have both a keen ear and a well-developed mind that can appreciate both the title of the album and the contents therein. I firmly believe that I can attest to the fact, with supreme confidence mind you, that I am an active member of this microscopic organization.

Origin's sophomore effort produces this sense of superiority in listeners, although, after exhausting my intelligence on the title and the music, I found myself struggling for adjectives to describe this release. 'Brutal' was one choice, but it's utilized so often and so inappropriately that I had to disregard it due to it's status as a cliche. 'Destructive' was another, but, it was wrought with chasms of errors, so that, too, had to be abandoned. Let's just say that during and after an audio encounter with this release, one would be inclined to experience an overwhelming need to invoke a completely catastrophic disregard for human existence through domination and demolition. To simplify: if this release were accessible to Hitler in 1933, well, suffice it to say, it would have answered a lot of questions.

Nine wholesome tracks of textbook grindcore fury exposing man's affinity for death and destruction - and let me just mention that there is not one, solitary millisecond on this disc that slows enough for your head to catch up with it. Each track seems to progress at a constant, hyper pace - and when I say that these fellows are fast, I mean they're fast! But the overall technicality of the music is never compromised. James Lee's vocal onslaught straddles the fine line between hardcore and death, a style most grindcore vocalists tend to subscribe to; still, he spews his words in an anthemic fashion perfectly complimenting the aforementioned forward progression. The guitar work, though I won't go into specifics, is nothing short of phenomenal; highly technical and unbelievably precise, and I'll leave it at that. Consider yourself forewarned, though, that this release is not for the amateur listener - then again, even those who have been awarded a degree in Blastbeatology (who do not work at Subway) may not be equipped enough to traverse this terrain. For example, I really don't think that John Longstreth (drums) slows below 275 bpm, I really don't, but I haven't got the time to count - I'm too preoccupied with the whiplash to even care.

You've heard me preach, now fork over my 12" Veggie Delight, you non-Latin learning Dorkus dingbatis.

ordered by the egg . zero two three eleven two zero zero four

Today's Special! : o r i g i n on wheat

OutKast
Speakerboxxx / The Love Below
( La Face); 2003

"And when I say "motherfucker" I do mean "motherfucker" / Because Mother Earth is dying and we continue to fuck her to death".

OutKast came Cadillac-steerin' through my town in 1994 via Southernplayalisticadillacmuzik and it's good times-a-havin' anthem "Player's Ball" thanks to Kenneth Edmonds, aka Babyface and his fingersnappin' when can I see you again production team with LA Reid. I was a senior in high school, where from time to time me & my friends would smoke the dope. you know, toke the lined optimo. All we listened to most of that year was a toss-up between Keith Murray and Big Boi & Dre from OutKast. I mean, when you get high - you want your music to go with you, and who better to do just that than the 3 artists listed above? Well - crazy as it seems - it's been nearly 10 years since both of these artists started laying music in the suburbs, and Outkast has survived by uping the game on each of the 5 albums they have released. As for Keith, my man keep his hands from around DefJam execs necks, and that makes for a tough touring situation if it's the hand that feeds you.

As for Andre & Antwan - these cats have seen their share of problems as well (Rosa Parks thinks they're "foul mouths"), but find the way to lay fresh shit on the table every other year, and that's all you need to do to keep it straight where I'm from. 2 Grammys can't hurt either, with another nomination this year for the magnificent Speakerboxxx / The Love Below concept double album.

It's been obvious for some time now that Dre (aka Ice Cold, Andre 3000, Cupid Valentino aka.. ..) and Big Boi have shared somewhat seperate roads of travel. Just for example, I don't see Big Boi getting measured for a Pink Panther outfit anytime soon - he'd rather shine the stripper pole that gleams in his MTV-welcomed Crib. Just an example. Dre admitted in an online interview "I took my DJ to the Strokes concert last Wednesday," (Benjamin says,) smiling. "My DJ, y'know, he'd never been to a rock concert before. I don't know if he understood it really." There's a pause. "Actually, he fell asleep." Yeah, see, that shits alot different from his Outkast partner of 13 years Boi, but they still moved 750,000 copies of this recipe in its first two weeks of release. And there are many different reasons why it has moved units, and should surely move more.

Surprisingly moving closer to the "Dirty South" OutKast sound I recognize from 1994's Southernplayalisticadillacmuzik [ still one of the upper top 10 rap albums of my time - classic ], as opposed to the future of funk influenced ATLiens or Aquemini, both of these contrasting discs are sure to please fans who have followed. For starters though, "The Love Below" is minus the weed man - Andre "Ice Cold" is a strict vegetarian / earthy no-nitrate kinda cat now. Partner Big Boi has spoken in recent interviews how he too will soon stop smoking, as he told Rolling Stone in October of this year "I will be quitting smoking within six months, I'm tryin' to watch my babies grow up." Crazy how styles can change over so many years, yet retain that certain style you originally fell in love with. For me, it's Andre's voice - this dude has one of the smothest voices in the hip-hop circut, pure butter. His instrumental Squarepusher-electroclashed version of "my favorite things" kicks Rod Stewarts new one directly in the humpback - honky please. It's the twentieth & final track on his side of the coin - the openly autobiographical "A life in the day of Benjamin Andre" that tells his story of over 10 years in just around 5 minutes that you should pay close attention to. Revealing the early stages of Georgia's little known Outkast and their ways of funding an album by-ways of "dungeon street help". Dre openly rhymes about being 19, living with his dad, his relationship with Erykah "On & On" Badu (who appeared on 2000's Stankonia and for whom the hit "Ms. Jackson" was based around as as open letter to her Mother) and his decision to halt all substance abuse - "I hadn't smoked or took a shot of drink / 'cause I'd start the 2nd album off on another note" - even though it may lead to losing a hefty fanbase. It's truly one of the finer tracks that "The Love Below" offers for just the right reasons - it's honest, it's real and it's better than all the other shit that hit the street this year. Like every handicapped, shot at soul slinger needed a 6-digit record deal in the first place, please take your seat on the back of the racks and realize the world never cared to hear your lame ass in the first place - and I love hip hop. Oh yeah - whoever "Roses" and it's bitch-themed ending was penned for - what the fuck did you do? You know who you are I bet, and you're telling all your girls "that song's about me" like it's a trophy.

"They put that P.A. sticker on it cause they scared we gon' curse" -
Now Big Boi's side "Speakerboxxx" is loaded with pure Outkast vices and plenty of guests: Cadillacs, rhymes about the finest wines & sultry horns are all over his disc, while industry-executioners Ludacris, Jay-Z, Killer Mike and a host of other 30030-block friends join in on the party. And that's just what these 2 discs are - a party, so get the fuck down and have a good time. One of his many highlight tracks - "War" & it's backing "tick tick boom" southerplaya' ladies and battle drum beat ("basically Amerika you got fucked" Boi claims). If you're still upset that the albums are seperate, play them together on individual players "Zaireeka" Flaming Lips- style. Shit, I did it and swear I heard from God, John Lennon & Wesley Willis - all while the rooster from the sixth track on "Speakerboxxx" did his morning call at the exact same time Dre's disc did it. Goddamn - this shit is deeper than the South Atlantic.

The two singles that were released to radio & tv first, Dre's "Hey Ya" and Boi's "The Way You Move" are obviously a couple of the only tracks that standout as "public friendly" - as in tracks that didn't need much explicit editing before hitting the air. The remainder of these 2 excitingly boundry-pushing albums is a true toss-up in whether or not the G-Unit / Shady buying public can allow their molded minds to open this wide. Here's to hoping everybody who hasn't yet heard or bought it is on Santa's good list - you need to hear these albums. If you have just heard some of it in a friend's car or only caught the singles on the radio, do take the time to truly listen to these 2 albums. Top 5 of 2003 - YES.

Here's to ten top-selling years of doing whatever the fuck you want to do - thanks.

kaleb. 12.08.03

Spencer Owen
18" x 2000'/Ribcage
( ballbearings pinatas ) 2003

Spencer Owen's 18" x 2000'/Ribcage album released on Ballbearings Pinatas is a really good and interesting album. The songs have a really nice flowing feeling to them and a really powerful energy to all the songs. Lots of good guitar and synthesizer sounds along with so many other things going on with the music. Instruments used were pedal steel guitar, electric guitar, acoustic guitar, bass, electronic organ, synthesizer, piano, accordion, and drums, all played by Owen. The album consists of ten songs which lasts about forty minutes.

This album is really good in how it's like a perfect summer album. Perfect time to listen to this album would be like on a cool sunny summer afternoon, like two-ish - just after going swimming. I'm serious, it also just makes me think of good summer-ish kind of movies like "The Graduate" and a couple other one's for some reason.

Favorite tracks at the moment are "Julian O'Neil" (which has really nice "la, la, la, la, la, la"s from two voices being layered over one another), "The Association", "The Improvement", "The Author" (which has a good loud messy jumbled kind of instrumentation with the drums and lyrics at the beginning), and "The Method". There are just a lot of great, good feeling songs on the album.

The lyrics are interesting too. Owen has a way of singing that is very introspective or something. Favorite line at the moment is from the song "The Improvement": "Oh, is this the best that you can doooo" sung over and over.

Naoko 11.14.05

Oxytocin
Love It
( Temporary Residence ) 2005

The inaugural release from Oxytocin, love it, demonstrates why New York City is a mecca for first-rate music - it's a cohesive, tight, and impressive album; the songs breathe with life from the press of the play button onward. Hooks are bountiful throughout, and it's easy for one to find something to glom onto, only to be drawn further by subtle and not-so-subtle intricacies.

Fans interested in the marvels of modern studio magic have not been forgotten; love it is riddled with tricks & oddities, yet they're sagacious and never seem to be added simply because the opportunity arose. The songs, technical in and of themselves, are well-complimented by this studio magic.

The performers themselves all demonstrate excellence with their instruments, but Phil Weitzman's command of the bass guitar stands out as a diamond in a peck of gems. While it's easy for a bassist to go nuts at every given opportunity, it's a rare breed that can leap off the deep end tastefully and still work within the bounds of a song.

With a nod to Shudder to Think, love it handsomely presents an energetic, eccentric groove ripe for the plucking for fans that want their rock fresh.

Dr. Dulcet 07.06.05