Wisely - Granada Theater, 5/18/08
Hippie Express, all aboard! Mr. Wisely is a one-man band, that played with a flea market guitar collection this evening. Folk/rock/pop like this has never been so entertaining. Wisely exuded the wild cooky charisma of Iggy Pop, but musically sounded like a more upbeat John Denver. Adding to his character, Wisely’s attire consisted of a pair of rockin’ white dress shoes, tattered blue jeans and a vintage T-shirt topped off with a shaggy doo. The set was buzzing with electricity but also carried a smooth earthy vibe to each song. However, the same songs recorded have a over-processed mainstream pop factor to them. Later in the performance a impromptu bongo player briefly joined in on the ride. Unfortunately, she was offbeat which was frustrating, but amusing. This was a stick to your guns, hold no prisoners show for Wisely - which makes him who he is. (Misty Johnson)

Inner Frequency - Ginger Man, 5/24/08
This is a fun band to see live. Cara Young has a great vocal style, that’s all her own and can at times becomes hypnotic -sometimes reminiscent of Grace Slick. The band and their music have a fresh rocking groove that comes off well live, with an even mystical sound. Other members are Luke Carnevale (acoustic guitar), Brad Brock (bass), and Jon Mosig (drums). Songs from their new EP - including “I Like You Better,” “Makes Me Happy” and “Exposed” -kept everyone in the beer garden hopp’n.
For most of the show, Inner Frequency played originals written by Young and Carnevale, as well as an interesting version of “Tainted Love.” You know a band is going places, when you go to see them for the first time and every song rocks. (WiL Wesch)

Rahim Quazi - Club Dada, 5/02/08
Rahim Quazi’s singing style is completely unique and his songwriting skills shine through in his music. As shown at his Supernatural CD release party this night, his sound is a cross breed of genre’s and a mix between Beck, Elvis Costello, The Beatles, Ben Harper and the Nourallah Brothers. Accompanied by some of the best horn players in Dallas, his band is a musical buffet of genius. Rahim Quaziis is already a local favorite, and his popularity will surely grow. (Scotty Mankoff)

Subourne - Skillman St. Pub, 5/16/08
As Brandon C’s screaming vocals ripped through the crowd, Eric A crunched on guitar, Reverend Billcore (drums) pounded like a madman, while the Demon of Subourne’s thunderously driving bass line rocked you to the bone. Formed in 2005, the band has taken the local scene by storm and is one of the tightest groups around. This show was a benefit for the Subourne family, which, due to a recent car accident, has left them with huge medical bills. The Dallas metal scene showed up in full force to support one of their own. All the acts, including Subourne and headliners Rivethead, put on such great shows; it was an event that will truly be remembered. (Scotty Mankoff)




The Architects - Vice, Anodyne Records
If the current state of American rock music depresses you today, then check this CD out tomorrow. Vice will save you from the shitty rock on the radio. None of the songs suck like...well, you know who sucks. If this album were a movie about arm wrestling - it would be Over The Top with Sylvester Stallone. If this album wore a shirt to work, it would have a blue-collar. Those claims mean it kicks ass, my working-class friend. The scratchy vocals and crafty guitar parts operate in tandem to give you that “1974” feeling you’ve been missing. For those who are working for the weekend, or pine to live in a “blue state,” this is your next favorite album.
(Shane Epting)

Charlotte Sometimes - Waves and the Both of Us, Geffen Records
Don’t let her cheesy name fool you-nothing in her sound is cliché. Charlotte’s debut album demonstrates she’s a delightful ditty maker with wit, wisdom and a whimsical nature. Tunefully, Waves… is pure pop. Most tracks are lively and upbeat - like a two mojito happy hour buzz. But a few are darker-like drinking alone at half-price martini Tuesday. Charlotte writes inspiring and eyebrow-raising numbers that would make a bitter Alanis Morrisette blush. The content of the lyrics is straightforwardly simple, yet there’s room for individual interpretation-assuming you are into that sort of thing. The overall style is distinct and easily recognizable, giving Charlotte effortless street-cred.
(Shane Epting)

Ben Solle - Learning To Bend, Sonablast! Records
Need a good record for a rainy day? Ben Sollee has it. Eleven songs and close to forty minutes of melancholy music is about as good as it gets, and this disc is definitely worth getting.
Even though the disc has a slow, wandering mood, it still feels energetic; thanks to the sprinkling of old school soul and Ray Charles style southern R&B. Other influences - like Dave Matthews, James Taylor, and even a touch of James Blunt - can be found throughout. But make no mistake, this is more of a pop-folk disc than anything else, with heavy banjo and violin carrying each singer-songwriter tune.
The best tracks are the peppy “It’s Not Impossible” and the softer “Prettiest Tree on the Mountain”. The rest are just as beautiful, and must be absolutely mind-blowing sung live with a little bit of grit and kick to them.
(Jason Janik)

The Walkup - Down On Pacific, Reynolds Records
These New York natives have a confident sound, but they stop short of being cocky or British, even though they have a brit-indie-pop-esque character in most of their work. Maybe living in a musical melting pot gives them the right spices. Whatever the case-it works great. Down On Pacific has some crafty-ass guitar work that blends well with the lo-fi vocals. By diversifying their timing and hooks, they manage to keep the album interesting throughout. This quality, above all else, plays a powerful part in their performance.
(Shane Epting)

Microtia - Distance Is Oval, Exigent Records
Named after a deformation of the ear, Portland-based Microtia is exactly that. They seamlessly blend perfectly off-key Aftertaste-era Page Hamilton-like vocals with the bewildering changes of Mars Volta.
You’ll not find a lot of four-on-the-floor rhythms, as swaggering freak outs and angular guitar riffs are the order of the day. Vocal melodies take a back seat to the music to create a signature sound, which may not stick on the first listen. On the second spin, however, you can’t help but be struck by the complexities of it all. While no particular track stands out, this six-song offering has a cohesiveness that’s best when left on repeat.
(D.J. Ivie)

From First To Last - Suretone/ Interscope
Having faced their fair share of ups-and-downs, From First To Last has returned to rock you properly, amigo. Fans will surly note and appreciate the progression in the sound. The band’s struggles and growth are evident in songs such as “In Your Apartment.” This isn’t a simple and trite band, strictly for the shelves of Target and Hot Topic anymore. This album is pure American rock. You could argue that its of the pop-punk variety-but that argument would suck. The lyrics reach out to the listener, and they contain an element lacking in most pop-punk - substance. If you’re making tracks to Warped Tour this summer-put them on your list.
(Shane Epting)

Experiment in Error - Shibboleth, Idol Records
Kooky, crazy, quirky, odd. Add the word captivating to the previous list of adjectives, and you have the perfect description of Shibboleth’s new album. The Dallas band, known for their retro cool instrumentals, has delivered another disc full of offbeat tunes worth checking out.
Part Herb Alpert and the Tijuana Brass, part Devo, and a dash of Quincy Jones and Henry Mancini thrown in for good measure, Shibboleth finds new ways to rehash and reuse classic sounds. The 16 tracks, under an hour’s worth of songs could make for a great Martini party soundtrack. Just add a room full of go-go dancers, and things are bound to get wild!
The best track is “The Boss Bass Flute Of Ian Whithurst-McKenneth” with its new wave sci-fi feel. Others equally addictive include “Bill Cosby,” sounding as if Boston wrote the theme song for the 70’s sitcom Three’s Company. Something kooky may not be for everyone, but this disc is sure to please fans of upbeat, fun music. (Jason Janik)

Another Big Machine - Rising Storm Records
This Louisiana three-piece rocks the pop scene properly. Their approach follows a by-the-book formula, somewhat, and it works for them. Most songs will vastly appeal to sappy women and men who zealously enjoy decorating. Yet it’s accessible by many. If you chose to walk the lighthearted path of pop, this one will guide you wonderfully as you metro-sexually go about your merry adventures. Do not think their chosen path warrants shit-talking- on the contrary, amigo. If this style of music appeals to you, then AMB will be your BFF 4EVR.
(Shane Epting)

Christine Fellows - Nevertheless, Six Shooter Records
Nevertheless is a melancholy affair. Although Ms. Fellows’ disposition walks a gloomy tightrope, the album, paradoxically, has an underlying sense of merriment as evidenced by “ Not Wanted on the Voyage.” The song’s opening line expresses: bury your dead and celebrate. Similar sentiments are scattered throughout the album and provide most of its charm. Fellows ends the mix on a upbeat and positive note with “What Are Years?” Her ability to encompass diverse emotions illustrates unique character throughout this 15-song experience. Rock? You bet you ukulele-loving ass it rocks.
(Shane Epting)

Robyn - Interscop Records
Robyn’s mixes are well suited for evenings at the club - preferably those with a one-word name, like “Mush” or something. But they’re best for cruising around in a leased Jetta. Robyn, indeed, has mad skills, yo. While she has a competent command of the English language, she dumbs herself down to slang beatz-n-rhymes . Neither this album nor Robyn suck. On the contrary, they’re both great-within the confines of this Fergie-esque genre. If you commonly employ words such as “holla” in general conversation-you’ll enjoy this one, fool.
(Shane Epting)

Tokio Hotel – Scream, Universal
Tokio Hotel has a romantic rock style that rings with subtle undertones of the 1980s. This style is their trademark, plus it gives them a chic technique that sets them apart from other bands. Scream’s energy moves from medium-fast to slow as the album progresses. The best part of the collection is the first handful of tracks About halfway through the album, however, their style becomes boring, with all songs beginning to sound the same. If you’re into drinking vintage port wines, circa 1985, this CD is for you.
(Shane Epting)