ACRISIA: Self-titled: CD
This is heavy “nü-metal hardcore” (my own quotes). Some really shreddin’ guitar solos, doom/death minor scales, and a lot of screaming. Some of the titles are “Eons of Illusions,” “Clown Penis Fart,” and “Microchip Orgasm.” If yer into this, yer into this. –Jason Donnerparty (Follin Artist Management)

ACTION DESIGN, THE: Into a Sound: CD
When I pressed play, I immediately thought to myself, “Wow, this is kind of where Tsunami Bomb would have evolved to had the keyboardist not bailed and had they moved from Kung Fu Records to a major instead of breaking up.” Then, lo and behold, the fancy one-sheet declares that this CD is for fans of Blondie and Bloc Party (I don’t hear either) and Tsunami Bomb! The band features Agent M from said band on vocals. Except now, imagine less just-starting-out-vinyl-pressing-pre-Warped-Tour Tsunami Bomb and more Kelly Clarkson. Gag. Gag. Spew. –Mr. Z (Pop Smear, popsmearrecords.com)

AESOP ROCK: None Shall Pass: CD
Look, I totally understand that the current situation with people posting full albums for download on the internet is a problem, especially when said album hasn’t even been released yet. As a serious music fan, I totally agree it’s a fucked up situation, not only for the smaller indie labels but also for the artists creating the music in the first place (and for those who think that someone being paid for their work is somehow not “punk rock” or somehow synonymous with “selling out,” allow me to offer a sincere, heartfelt fuck you). Here’s the thing, however: when a label sends a copy of a release for review, the fuckin’ thing should at least be listenable. In this case, the copy of this disc that was sent carries with it a “conditions of use” sticker that says, “This promotional CD is unique and traceable. The copyright owner is able to monitor its use and identify the source of any unauthorized copies.” How, you ask, are they able to do this? Apparently by placing individualized spoken identifications (in the case of this copy “This disc belongs to Jimmy Alvarado”) through every track, sometimes smack-dab in the middle. While this may, indeed, deter the uploading assholes who score a copy from the label from posting the copies they receive, it also so distracting that it effectively renders the CD unlistenable for those who actually are trying to do a legitimate review and will ultimately not get played more than once. That said, anyone tuned into hip hop’s underground knows who Aesop Rock is, and this latest release stands toe-to-toe with the best of his preceding albums. He employs a rapid-fire vocal style to deliver dense rhymes sick with metaphors that appear wholly abstract until one digs a bit deeper. This is thinkin’ man’s hip hop, a continuation of a tradition of rap-as-art that is too often overshadowed by the mainstream’s insistence on throwing money at the bottom of the barrel. Aesop Rock deserves all the accolades he receives, and this album will easily secure a place within hip hop’s top five releases for the year, but this particular copy of the album is an embarrassment coming from a label with enough experience with the genre to know better. Ah, but then you all now know about the disc, the label has its review, and I’ve got a new beer coaster. –Jimmy Alvarado (Definitive Jux)

ALABASTER SKELETON: Back in the Sad Hole Again: CD-R
Alabaster Skeleton is Harvest Moon Society’s Nick Zigler performing a nine-track-long solo adventure into the wild, unpredictable world of blunt honesty. While the musical tone of these songs may somewhat vary, the earnest crooning of lost love and lost faith remain constant throughout the CD. The musical change ups are never desperate for a style to cling to; rather they demonstrate Zigler’s talent and versatility. Everything from the Troggs-meets-Sonic Youth whirlwind of guitar on “Ten Little Indians,” to the Postal Service-inspired adaptation of Harry Belafonte’s “Jamaica Farwell,” is consistently high quality and remains interesting. With fast tempo-ed rock tracks placed sporadically within the majority of folk-esque and indie rock, Back in the Sad HoleAgain is a romp of a good time for anyone who appreciates well written songs of overwhelming candor. –Daryl (Griznar, myspace.com/alabasterskeleton)

ANDREW JACKSON JIHAD: Candy, Cigarettes, and Cap Guns: CD
Take the political, acoustic, folk punk of Defiance, Ohio and strip down the sound more, take out the female vocals, and really ratchet up the sarcasm. They also have a tendency in this release to sometimes make so-dumb-it-must-be-smart lyrical choices worthy of their folk punk predecessors in the Dead Milkmen. Also, they really hate the hipsters—as expressed in one of their untitled songs—a sentiment I can totally share after going to the Detour Fest in Downtown L.A. –Adrian Salas (No address)

ANTHRAX: One Last Drop: CD
An essential compendium of this venerable U.K. anarcho-punk band’s recorded output here, meaning that you can now listen to it in your car without worrying about the record skipping about every time you hit a pothole. Demos, singles, and compilation contributions of their “Crass on a more traditional punk bender” sound all make an appearance here, all of it serving as a nice reminder of why these guys were one of the better bands to come out of that scene. Add some stunning packaging and you’ve got yourself one great fuckin’ CD. –Jimmy Alvarado (www.anthraxukofficial.com)

AUTONOMADIC: The Missionary: CD
This is great disc, but a tad too short for my liking. The music seems to land somewhere in between gruff, yet earnest melodic punk coming out of the San Diego area and the pseudo political punk from the EastBay in the early ‘90s. Seven songs are just not enough for me. I’d really like to check out some more by these guys. –Ty Stranglehold (Bleeding Ear, no address)

BABY WOODROSE: Chasing Rainbows: CD
Baby Woodrose’s music licks from the same lysergic sugar cube as the Brian Jonestown Massacre. Guitar strings are bent into brilliant splashes of colorful sound, while the children of Aquarius stand swaying, entranced, palms turned upward, faces to the sky. Fans of druggy, retro pop will appreciate the atmosphere created on this album, whether it’s the arch, “White Rabbit” drone and hypnotic beat of “Renegade Soul” or the shimmering, enveloping fuzz of “Someone to Love.” –Josh Benke (Bad Afro)

BAD ROBOTS, THE: Self-titled: CDEP
Not too interesting, limey (well, judging from their accents [and, of course, they could be an affectation] they’re limeys) modern pop made interesting by the fact that it’s delivered by a band that sounds desperate and hungry. This should no doubt score them a record deal, but where they go from there depends on whether their songwriting becomes more interesting. –Jimmy Alvarado (www.thebadrobots.com)

BARREN: Sterile, Without, Devoid: CD-R
Five song demo from these Chicago anarchists. This outfit is pretty political, and the tempos never let up. We’ll see where this goes. If you liked Bikini Kill, you may like this band. They play their instruments a little bit better though. –Sean Koepenick (Demo-barrenband3@yahoo.com)

BATWINGS: At the Mercy of Technology: CDEP-R
This somehow reminded me of both early Blood Brothers and Modest Mouse without sounding particularly like either. Dissonant, chaotic, and driving hardcore, this album falls somewhere between what I like and what I actively dislike. Not for me, but I’m not a big hardcore girl, so what do I know? –Sarah Shay (Self-released, www.myspace.com/batwingskillyou)

BENJI COSTA: Between the Blue and Green: CD
Why me? If there is a god, is he/she/it punishing me for something I did or didn’t do? Was I supposed to kill George W. before he became president? Here’s some folky stuff with a guy singing falsetto, sort of like Tiny Tim (ask yer parents) with an assortment of folky backing instruments, including glockenspiel, as the press release proudly lists. They also say that Benji Costa is a “mad genius.” I usually think of a genius as someone who turns the status quo on its head and does something new and different. I guess it’s not too bad, sort of a third rate acoustic John Lennon, but definitely not genius. –Jason Donnerparty (Precedent Media Unlimited)

BEST FRIENDS FOREVER: Romance Conflict Adventure: CD
Female-fronted indie pop stuff of the kind very popular with college radio stations. I can totally see the kids over at KXLU putting this into heavy rotation (well, heavy rotation for them). –Jimmy Alvarado (befri4u@yahoo.com)

BEUAMONTS: The Brainless Sessions: CD
Some pretty damn decent punk rock and roll here. Most of the tracks are mid tempo numbers that have a slight pop aspect to them (think Angry Samoans) but with a lot of searing guitar and growling vocals. Speaking of vocals, the songs run the gamut. Booze, drugs, violence, murder… you know the deal. I could see these guys playing on a bill with The Demonics or someone like that. My only complaint is that I’d like it to be a little faster. –Ty Stranglehold (myspace.com/beaumontsrock)

BIG BEAUTIFUL, THE: The Way Things Are: CD
Very poppy pop punk and so melodic it could be made into muzak. There are inspirational lyrics like “Keep your eyes up on the stars.” And then some more depressed songs about wanting to wake up. There’s an acoustic ballad too with the lyric “you’re everything to me” that seems like it could be a radio or MTV hit. All in all, the songs are played with precision, but very dull. I wish bands like this would make it a little (or a lot) grittier. About what you’d expect. –Jason Donnerparty (Fudge Sickill)

BITTER HOMES AND GARDENS: Self-titled: CD
Holy fuck, this is awesome! If you took a piece of Bloomington sidewalk chalk and drew a picture of a Carrie Nations song and then used a Drunken Boat-colored crayon to color in the sunny parts, then got a can of Land Action spray paint and shaded heavy on the dark parts, you’d end up with just the kinda street art that this CD is. Totally fucking DIY as shit, it looks awesome, and it sounds great. Any band that samples the movie Slacker is okay in my book. Get this. It’s fucking awesome. –Ben Snakepit (Hello, Asshole Recordings, No Address)

BLANCHE DAVIDIAN: Orange Sunshine: CD
This is kind of an odd mix. If you can picture Bob Mould fronting the Didjits; that is probably about as close as I can get with this disc. Cover of “Let’s Get Wasted” by Warrior Soul here and that is another good reference point. It is an alright mix of punk, glam, and rock but all it is really making me want to do is pull out my Lee Harvey Oswald Band records and get my own fix of glitter punk. –Mike Frame (Vodka Tonic Media)

BLITZKID: Five Cellars Below: CD
I can’t tell if there’re only two guys in this band or if just two of them decided to show up for picture day. Either way, this is a horror-rock band. One of the dudes has a devilock, there’s a bunch of songs about horror movies and stuff, but the press release goes out of its way to stress that they do not sound like the Misfits. And they don’t. Not really. They go “whoa oh” and stuff, but, honestly, they sound like radio-friendly Hot Topic crap. And you know what, being from Bluefield, VA is no excuse. There are a lot of real, awesome punks and punk bands and shows going on in the Appalachians. Just not at any of these guys’ houses. –Ben Snakepit. (fiendforce.com)

BLANK DOGS: 20!07: 7” EP
Vaguely poppy, very arty new wave stuff, recorded all low-brow and raw to give it some edge. Ain’t bad, but I’m betting they’re probably more interesting live than they are here. –Jimmy Alvarado (Sweet Rot)

BLASTOFFS: 666-Pack: CD
This one got buried in my review pile for a little bit. This is pretty straightforward poppy punk with a touch of rock and rollishness that breezes by pretty quick, as only two of the ten songs surpass two minutes. It’s a pretty good release, actually, and sounds like it could have probably been a lost Epitaph or Fat Wreck album from fifteen years ago. The singer guy has one of those very limited range everyman shouts, like Paddy from Dillinger 4 or the guy from Pegboy, which he manages to make work for him. Plus one of the songs is a Marty Robbins cover that isn’t “El Paso” or “Devil Woman.” Not too shabby at all. –Adrian Salas (The Blastoffs)

BOBBY JOEL EBOLA AND THE CHILDREN MACNUGGITS: Carmelita Sings!: Visions of a Rock Apocalypse: CD
This is a reissue with a few extra tracks from when the album came out from a few years ago. This is basically vaguely folky punk like the Dead Milkmen, but with some more theatrical vocals. This is actually pretty catchy, but in a way that I don’t really like. This album tends to bring to mind what would happen if one of those guys who writes silly songs to play at preschools and after school programs decided to put together a band and shoot for a more mature audience of thirteen- to seventeen-year-olds. Also, at thirty-two tracks this is just too long, because by track six or seven, the jokes just start wearing thin. I’m not down on goofy songs, because bands like the Dickies, The Hanson Brothers, and The Briefs can pull them off magnificently. –Adrian Salas (Thrillhouse)

BRING BACK THE GUNS: Dry Futures: CD
Musically, this is all over the map with little swatches of stuff plundered from nearly every conceivable source. Taking those swatches, they’ve created a quilt of herky-jerky rhythms that hinge on, say, early funk one minute, then hardcore, then some nice, catchy melody, and then some weird art-skronk tangent rears its ugly head. Dunno if it works consistently, but I give ’em an A+ for really going out of their way to think outside the box. Given the caliber of musicians involved—it’s obvious right from the get-go these guys are good on their respective instruments—they could’ve easily just opted to go the easy, usually sucky, route, but instead tried something a wee bit different, and it’s most appreciated. –Jimmy Alvarado (www.feowrecords.com)

BUCK-O-NINE: Sustain: CD
This keeps the Southern California ska-punk flag flying with a release that’s equal parts ska and punk. This release is not really breaking any molds, but it at least sounds energetic when it has to, and properly skankable and moody when it slows down. If you need to get your horn section and ska fix in the late 2000s, this is as good as anywhere to get it. –Adrian Salas (Asian Man)

BY THE END OF TONIGHT / O PIONEERS!!!: Sweet Junk: 7” EP
By the End of Tonight: ...I will be wishing I’d gone with my gut instinct and stayed away from this record, like it was crawling with cooties. Emo-sounding noodling sans vocals doesn’t make it any more palatable. O Pioneers!!!: ...didn’t help matters one iota. –Jimmy Alvarado (www.teamsciencerecords.com)

COBRA SKULLS: Sitting Army: CD
Intriguing debut from this Reno trio. Every song has either “cobra” or “skulls” in the title. Just to be sure you won’t forget their names, I guess. It’s not just standard punk fare here. “Charming the Cobra” has a cool dub vibe. “I’ll Always Be a Cobra Skull” sounds like Johnny Cash on meth. “Cobraacoustic” is a pleasing way to wrap things up. Solid debut, but I have to brush up on my Spanish for this burrito-stuffed treat. –Sean Koepenick (Red Scare)

COLA FREAKS: Self-titled: 7”EP
This has all the earmarks of me no-brainingly drooling over this—like somewhere between Gorilla Angreb and The Vicious (2000s Scandinavia semaphoring late ‘70s L.A. punk)—but I’m just kinda shruggin’ instead of soiling my whites and I don’t know why. Here’s my guess: it sounds too captured and too all right with being in captivity, probably because they made their own pen. After the fifth try, The Cola Freaks just didn’t rattle my cage. Sorry. –Todd (Hjernespind)

CRAWLERS, THE: Self-titled: 12” EP
Straight-forward, amped-up hardcore punk—in the vein of Bad Reaction or Hollywood Hate—that comes across as earnest, yet is mostly predictable in sound, tempo, and how they approach topics (religion bad, scene has problems, politics are fucked). Check, check, and check. The two brightest spots are the last songs on each side. It’s always a little problematic that my favorite song on a new record is a cover (The Cure’s “Fire in Cairo”). Yet, “Village of the Damned” dilates the band’s scope up a little bit, gives the song varied tempo, some time to breathe, and develop its own voice. And that gives me hope that The Crawlers will expand a bit in the future because they feel like a tight dot right now; easy to overlook. –Todd (Blind Spot)

CRYPTOMANIACS, THE: Garbage: 7”
A from-beyond-the-grave, four-song 7” from the Cryptomaniacs, who called it quits four days after this record arrived from the pressing plant. Three of the songs, “Good Enough for Garbage,” “Eyeballs,” and “Heart of Trash,” have a county fair haunted house feel; enough organ, fuzz, echo and specter-like singing to give a bit of a startle, but nothing contained therein to truly scare the ever-living shit outta ya. “Ha Alright” is the equivalent of