Texas Hippie Coalition — Pride Of Texas, Self-Recorded
Judging by the name, one might not expect THC to be quite as brutally heavy as they are. But this band of self-proclaimed outlaws comes out swinging a big-ass stick from the get-go.
The opening riff to “No Shame” is a right hook to the jaw and, before long, THC’s got you down for the count. Big Dad Ritch (vocals), Juohn Exall (bass), Cowboy Scott (drums) and guitarists Randy and Cody put together a sleazy, Southern low-end groove that tastes like whiskey, smells like gunpowder and has sawdust all over the floor.
Songs like “Clinched Fist,” “River Bottom,” “Crawlin’” and the highlight, “TX Tags,” are genuine cuts of pure Texas metal. Pride Of Texas is powerful, groovy and just dripping with attitude. Personally, I can’t wait to see this thing live. I imagine we’ll drink straight bourbon, get in a brawl and I’ll wake up in jail the next morning with “THC” and a Texas flag tattooed on my arm. (Kevin White)

ChalkLign — Beauty Amongst Chaos, Self-Released
This aptly titled e.p. from local ensemble ChalkLign is will surely find its way to repeat in your c.d. collection. This five-song effort showcases intricate songwriting and an energy that should have these guys beating major labels off with a stick. To call this radio friendly would be a disservice. Mid-tempo soft/loud dynamics give way for vocalist Chase Hemingway to lay on his distinctive wail that forms natural melodies guaranteed to stay with you. Manny Romo’s thick, distorted sliding octaves counter-balance to form a guitarist/vocalist chemistry almost unheard of in the scene today. Bassist Mike Hayes is not afraid to lace the bottom end with a little slap here and a little funk there. Drummer Matt Pfiffer churns out an instinctive style, knowing exactly when to let a song breathe and when to give it hell. ChalkLign;s Beauty Amongst Chaos will demand the attention of fans of Dredg and Life of Agony. (D.J. Ivie)

Death Angel — Killing Season, Nuclear Blast Records
Goddamn greatness. Death Angel has long been recognized as one of the very best bands to hail from the San Francisco Bay Area. As has become the standard, Death Angel starts the album with a soft acoustic passage, but then quickly dispenses with all pleasantries when “Lord Of Hate” proceeds to separate your head from your body with astonishing efficiency. Yes indeed folks, this is not just another great metal album. This is truly something special. Something the likes of which only comes along every 10 or 15 years. Far and away Death Angel’s very best record, the album closes with “Resurrection Machine,” the band’s very best song. And the production is spot-on perfect for such a vicious, overwhelmingly human and warm album. Who knew genuine warmth and anger could be mixed so exquisitely. Organic, wise, pissed and cautionary all at the same time. Truly spectacular.
(Dale Lammers)

PlayRadioPlay! — Texas, Island Records
Ft. Worth’s Dan Hunter (aka PlayRadioplay!) has proven how powerful a tool the Internet can be. Going from uploading music from his bedroom to being a serious contender on Island Records, this 18 year old has garnered more attention than many well-seasoned veterans aspire to.
Musically, Texas is dense with brilliant arrangements of twinkling pianos, laptop drum patterns, delay-drenched guitars and synthesized bass lines. Lyrically, Hunter writes about what someone his age knows — teenage romance and school. He channels Ben Gibbard (Death Cab for Cutie) delivering rich vocal melodies with an almost faux English accent. Perfectly titled opening track, “Loco Commotion” is definitely the strongest of the bunch, and lead single “Madi Don’t Leave” sticks like a spit wad on a chalkboard.
With its almost child-like maturity, its no wonder people are saying PlayRadioPlay! Texas could be the buzz album of the year.
(D.J. Ivie)

Anew Revolution – Rise, Koch Records
Texas rockers, Anew Revolution, have dropped their Koch Records debut release, Rise. Led by singer/guitarist, Joey Duenas (ex-Unloco), the Austin band shows plenty of swagger and attitude on “Done,” which has a slight punk vibe. Shaun Stockton (lead guitar) ignites the title track and “California Burning” with some nice guitar work. Joined by the former Slaves On Dope rhythm section of Rob Urbani (drums) and Frank Salvaggio (bass), this quartet supplies plenty of punch. They lose a little on tracks like “Saddest Song” and “Generations,” which find them a little cliché and lacking inspiration. Rise is worth a listen, and some of the heavier tracks can definitely grow on you.
(Travis Tutwiler)

Protest The Hero — Fortress, Vagrant
This prog-metal/emo/thrash band has proven with a vengeance that the surgically-precise guitar acrobatics of their debut, Kezia (CD review, Feb. HB), were no fluke. Although that disc garnered criticism that the band was writing material beyond their abilities, Fortress is executed with a fluid complexity that clearly finds the band’s technical talents in sync with an even more sophisticated, melodic songwriting chemistry. Eschewing the epic-length song structures accepted as the footprint of “Prog,” PTH serves up technical wizardry in short, precise bursts; blending a melodic hard rock sensibility with song structures so full of time changes and hammer-on arpeggios as to betray these would-be punk rockers for the Dream Theater fans they truly are. These guys are for real and may have begun a new chapter in progressive music.
(Jason Robert)

The Backsliders — Self-titled, self-recorded
“Schizophrenia” would be an apt title for this record. After two straight-up surfer punk songs to open the CD, The Backsliders finally settle in to what they do best: mid-tempo, soulful rock, a la The Pretenders or latter-day Tom Petty.
Main vocalist Kim Pendleton probably gets told she sounds like Janis Joplin a lot, but really she’s more like Patti Smith or Kim Carnes. Her raspy, smoky voice lends an honest quality to the band’s sound. Some of the record’s best moments come in her harmonies with vocalist/guitarist Chris Bonner, himself a very good singer.
Along with drummer Nathan Adamson and bassist/organist Nolan Thies, they form a nice, laid back unit that should be playing in a cabana on a beach somewhere. Songs like “Big Deep Shame,” “If You Could Wait” and “Pour Another Glass” really showcase this group’s soul. Backsliders, if you can hear me, save the Sonic Youth-style stuff for some other band with less original style and stick with that awesome 6/8 shuffle. (Kevin White)

The Eagles — Long Road Out Of Eden
So many bands remain a tribute to themselves, Playing the same old hits year after year. Although the songs and voices are immediately recognizable as The Eagles — Glenn Frey, Don Henley, Joe Walsh and Timothy B. Schmit have delivered a long-awaited masterpiece in this 22 song double disc.
The Long Road… visits the old Southern California Feel Good Sound with beautiful vocal harmonies from the early days, It finds a funky falsetto dance groove on “Fast Company” and delivers a rare instrumental with “I Dreamed There Was No War.” Surprisingly, title song, “Long Road Out Of Eden” is over ten minutes long, starting and ending with a windy Eastern psychedelic feel wrapped around bluesy guitars and a musical voyage that would make Roger Waters smile.
In many ways The Eagles have returned to their roots, but they continue to break new ground and this album was certainly worth the wait.
(WiL Wesch)

Under the Flood —The Witness, Koch Records
Too bad the mid nineties did not get to experience this band, as it would have fit right in. With that said, Under the Flood runs along the sound of Chevelle with a heavy load of Perfect Circle. Matt Nadolski and Brandon Sidebottom, have a strong hold on walking the guitars, that appear on almost every track. Also, many echo, chorus and flanger effects tiptoe their way through this CD. Dave Nadolski’s vocals carry the polished Maynard-like complex of Tool. What this record needs to push it past a six (on a scale from zero to ten) is some catchy hooks. Unfortunately they have the bark without the bite. A couple of decent tracks, however, do stand out. “Blown Away” is highlighted by boggy, big boom breakdowns. “Signs” could easily be the single from this album. Lastly, “Endless” pops out because of the simple factor — only containing vocals and the piano with a few strings at the end.
(Misty Johnson)

Endeverafter — Kiss Or Kill, Razor & Tie Records
Those who shed a tear the day Saigon Kick or Bang Tango broke up can rejoice again. Endeverafter has arrived to bring us the record that 1988 forgot.
From shout choruses to innuendo-laden lyrics to drums you can stand up in your leopard skin spandex and still play, this thing is as 80s as a Molly Ringwald movie. Songs like “Baby Baby Baby,” “Tip of My Tongue” and the so-aptly-named “Poison” would have been monster hits blasting from the cassette player of an 85 IROC Z28. It’s all very well done, with great vocals, solid guitars and memorable hooks. It’s just that Warrant and Winger have already done it.
There are, however, two exceptions. The highlight, “From The Ashes Of Sin” has modern harmonies and a great groove. Then the last track, “Long Way Home,” is one of the best ballads you’ll ever hear, in the vein of Zeppelin’s “Goin’ To California.” If this band would go more the direction of those last two, they might really have something.
(Kevin White)