Dashboard Confessional

The Shade of Poison Trees (Vagrant Records)
Florida singer-songwriter Chris Carrabba of Dashboard Confessional went into the studio and recorded another, mostly acoustic full length fifth album. The Dashboard Confessional frontman writes his songs as if they were private conversations, but he belts them out so that the whole world can hear them. Going back to the acoustic formula that the band has been famous for, Chris Carrabba has steered Dashboard back into the acoustic pop realm with The Shade of Poison Trees. To put it simply, Chris Carrabba just can't make an album anymore. Everything here is pristine, pretty, and quite enjoyable to listen to. He always keeps the lyrics close to his heart and generally towing the line in just the right direction to create a balance of sappy but genuinely heartfelt music. However the repetitive nature of the tracks makes this album a little tedious. The same raises in pitch, the same song progressions, the same cool little guitar parts, the same vocal techniques, the same topics about love, estrangement and betrayal that he's been talking about since 2000, are easy to spot. There's nothing wrong with his formula, and individually there isn't a bad song here to speak of. Then again, it's really hard to pick out songs that stand out. Keep Watch for the Mines is a little more accusatory than most songs on here, which is refreshing. But the only real standout is Little Bombs, a highly energetic song that actually sounds like he still has any conviction. Basically, if you are already a fan of Dashboard and have enjoyed their previously 4 albums then you will probably like this album, but if not, then you may want to leave this one!  Lizzie Goodman
Dashboard Confessional Website

Neurosonic
Drama Queen (Bodog Music)
It’s good to see that Vancouver has produced another Canadian rock band akin to everything else that has ever been written in the history of rock music, amen! Well done, Neurosonic, for originality! What does Drama Queen as a debut album title really say about Neurosonic? Oh sod the psychoanalytical blurb. Did you really come up with Drama Queen during an eureka moment? The opening rift on the first track So Many People is dark, industrial grind, and I thought this is really going to kick, but unfortunately when Jason Darrs’ hairspray lyrics hit me like a hangover, the only thing left kicking was my head. How very disappointing, painkillers please! For me, the most redeeming song on Drama Queen is Crazy Sheila. At least this has a smidge of wanting more; its got a good bouncy-bass rift, the harmonies actually work very well, if not a little angry, and the guitars are pure grind; a credible rockers night club anthem. I don’t quite exactly understand what Drama Queen is meant to represent as an album because it doesn’t have a common thread or theme; it is just too pedestrian. Certainly, Neurosonic have a commercial flavour, aimed I imagine, to the younger audiences. I am sure that they will appeal to the many fans of easy listening classic-grind rock, over-dubbed with fancy guitar gizmos and vocally effects. Simon Hinchley
Neurosonic Website 

Jakobinarina

The First Crusade (Regal Recordings)

A pop/punk band, this time from Iceland who may be likened to the likes of The  Hives or The Cribs. Witty lyrics, demented guitars, angst lyrics from singer Gunnar Bergmann and catchy, hooky bass and drum lines provide the hint of resistance in the music that I like to hear in any band. The track Some People Are Just Destined For Desk Jobs demonstrates Bergmann’s no nonsense lyrics, with lots of foul-mouthed sludge and ranting, definitely one of my favourite tracks. There’s almost an emo flavour to some of the music, demonstrated by Call For Advice, included twisting guitars, unexpected turns of direction, it’s definitely not linear in terms of flow. Peaks and troughs ahoy comparable to sailing choppy Icelandic waters!Interestingly, End Of Transmission, has a very surf rocky feel with twangy, reverb guitar lines, and is an unexpected break from the rest of the album. There’s an almost detectable Undertone’s vibe to the sound of which I celebrate. My personal favourite track is Spit Me In The Eye, a very catchy, garage number that halfway through, splits into an acoustic, minimalistic swagger, before revving back into the main rift. These guys can certainly hold their own in terms of musicianship. Yes, a very interesting beer can kicking collection of songs making up an album I would definitely recommend. If its bouncy punk-based pop-rock you’re after, then Jakobinarina is certainly worth a go! Simon Hinchley

Jakobinarina Website

  
My Device

Jumbo Fiasco (Shifty Disco)
My Device’s second album Jumbo Fiasco continues the Brighton trio’s eccentric take on disco indie with a healthy slug of punk thrown in for fun. Their sound relies on catchy disco style beats heavily overlaid with loud and fast guitar work and some occasionally bizarre samples (there’s a circular saw on one track but you will have to listen to find out which, I’m not telling!). What makes My Device stand out from similar bands is this ‘loud and fast’ approach which gives each track a certain edginess and a hook to drag you back for more. The album is full of short but punchy and engaging tracks such as Rusty Trombone which conjures up images of Electric Six acting out a surreal comedy sketch. The breadth and depth to the tracks suggest that My Device have found a style that they are comfortable with and they exploit this with a certain panache that is pleasing to see. However the one commonality all the tracks do have is an off the wall approach to lyrics, which can sometimes detract from the overall enjoyment of the song. Fortunately this is only real flaw with the album and certainly should not put off any potential listeners. To use a cliché, this album really does get better with every play. Each time you listen you take something more from Jumbo Fiasco's diverse array of tracks. It’s rather like watching The Usual Suspects over and over once you have seen the twist at the end for the first time, but with music obviously. Dan Skurok
My Device Website

 
Kubichek!
Not Enough Night (3030 Recordings)
Kubichek! have descened from Newcastle, and just like their Sunderland cousins, The Futureheads, they deal in making poppy art-rock noises. Not Enough Night is their debut album release, coming out earlier in the year in March. The 12 songs on this album clock in at just under 40 minutes which works well as the band just knocks the songs out just like a quality pop album should do, none of then outstay their album. Brevity is something to be cherished in a world where many bands feel the need for padding out their album with rubbish. The album opens with Roman is Better, a song that sounds like Idlewild before they wanted to be the Scottish REM. The album contains big, anthemic, energetic rock tracks such as 100 Broken Windows, with the rest of the album brimming with jittery new-wave energy that makes you want to dance. Think Bloc Party, without the overwhelming sense A'level student pretence. This is most evident on Night Joy with its addictive chorus and Method Acting which is driven along by chiming guitars and stuttering drums. Kubichek! seem to have been over-looked this year in favour of inferior bands like The Enemy and The Pigeon Detectives, which is frankly disturbing and deperessing when Not Enough Night shows Kubichek! to be a band of depth and talent, something a lot of the indie bands in the Top 20 today seem to lack. Paul Klotschkow
Kubichek! Website

Land Of Talk
Applause, Cheer, Boo, Hiss
Land of Talk deserve any plaudits or acclaim they may receive, because they have managed to come up with a sound totally reflective of our times. To my humble ears at least. This sound isn’t exactly original in the true sense of the word, it’s a melting pot of styles combining the dirty metal of Kyuss and QOTSA with the angst of Nirvana but with an indie sheen. What should sound dated, feels fresh and exciting but with a strange air of familiarity. The album gets off to flyer with Speak to me Bones, a fuzzy bass driven track with smooth yet passionate vocals. In fact, each tune continues in the same vein, with distorted guitars powering through a grungy baseline with angsty vocals. Elizabeth Powell’s vocals are strangely compelling, managing to sound both laid back and restless. Other highlights include Breaxxbaxx, Young Bridge and Summer Special. But, the albums true quality is how it flows from song to song, it’s a complete album with no track sounding out of place. The only problem with Applause, Cheer, Boo, Hiss, is that it lacks the killer song it deserves, there are occasions when the distorted guitars should start to soar and the vocals become more impassioned but the raging finale always becomes an anti-climax. As a band, Land of Talk are missing that killer instinct in their song writing, restricting them from achieving great things. All in all, however, this is a good place to start for a band that I think are going places. Joe O'leary
Land Of Talk Website 

Mewithoutyou
Brother Sister (Strange Addiction Records)
It has taken six years and three albums for Mewithoutyou to reach these shores. Quite what took them so long is open to question. Did our border control turn them back after the sniffer dogs caught whiff of the band's Christian Rock roots? Or were they deemed too leftfield for our kitchen sink Indie tastes? Regardless, it takes just three minutes and 53 seconds of Brother Sister's opening track, Messes of Men, to make it seem utterly ridiculous because this is a remarkable album. As vocalist Aaron Weiss opens his mouth and begins reciting lyrics like poetry, with a drawl that would put to shame a bourbon soaked, chain smoking trucker. Weiss imbues the words with compelling authority and when he does ratchet things up and move into song, his wailing seems almost a plea to the heavens. This mastery of tempo and refusal to observe classical verse structure is reminiscent of Tapes n Tapes' The Loon, and Mogwai's Mr Beast. However, their willingness to explore alternative sounds, from Islamic chanting, to the odd accordian and a classical harp for good measure adds another dimension to the music. The result is something that can only be appreciated as a whole, that old mantra of being more than the sum of its parts. Brother Sister works - and it works so well - because it plays on its apparently contradictory elements - it is freeform yet focused, fractured but intricately constructed, uplifting yet pained, delicate but undeniably powerful. It is one of the most fiercely original albums I have heard, and if this is Christian Rock, consider me converted. Andrew Merrington
Mewithoutyou Website

The Neutrinos
One Way Kiss (Wetnurse Records)
Hailing from that unlikely punk hotbed of Norwich, The Neutrinos have quietly gone about cultivating a loyal following and it is not hard to see why. Kiss Like Killers is a confident opener, with vocalist Karen Reilly playing the role of film noir femme fatale, hinting at something dark and unhinged. That menace is carried over into One Way Kiss, as the growling guitar of Mark Travis Howe feeds Reilly's general rising sense of injustice. By the time you reach the track Eat My Hole, you don't know whether to get down on your knees and beg for more or curl up in a ball. There is though, much more to One Way Kiss than untramelled biting sexuality. Girlfriend's Got a Gun is funny and quirky, and has echoes of Nirvana, while Horsepills is a haunting lo-fi Portishead-ballad. Tracks such as ‘Sharkbait’ and Build Him Till He Breaks allow Reilly to explore her full vocal range before the driving drums and guitars build to a wall of noise crescendo. The result is sultry and swaggering, not unlike a certain PJ Harvey with whom The Neutrinos are often name-checked. But it is a testament to the album that it can absorb these irritations and come back at you with something to assuage any doubts. Corpse is quiet and delicate and dark track, which sets up the listener for the final onslaught of Six Noughts, a thunderous punk parting shot, with its frantic guitars and Riley hooting away like the Pied Piper, seducing us all to follow. Andrew Merrington 
The Neutrinos Website 

Cookie
Nottingham (demo)
Passion is the one word that defines this EP. How many other people do you know with 9 songs written about their home town? Move over London, its Nottingham’s time now. In terms of the sound it’s very Irish inspired folk and if ballads were still in popular demand these days, they’d be just what the people would want. The second track has that ‘we all love clover’ sound to it but obviously replace Clover with any area of Nottingham. Other tracks on the EP make references to familiar Nottingham names and places such as the infamous xylophone man, Lister Gate, Market Square and the Left Lion. Later tracks gain a more lively tone with liberal clapping added, making songs like She’s My Home the kind of song you’d want to sing around a campfire whenever you feel the urge to pay homage to Nottingham. Admittedly there isn’t the greatest depth to the EP but what we do know is that Cookie is a dedicated and enthusiastic writer with a love for our town is something we all share. Hats off to giving it the recognition it deserves. Kristi Genovese
Official Cookie Website

Oi Va Voi 
Oi Va Voi (Self Titled) 
If you are unfamiliar with Oi Va Voi and were thinking that the modern music scene lacks any originality and is filled with manufactured rock bands then buy this album and rejoice, for the scene is alive and well! Principally a fusion of East European Balearic rhythms with rock, folk and West European electro but they’re more than happy to add a sprinkling of jazz, classical and operatic Influences where appropriate. The album begins with Yuri a track that grabs you by the balls with its punchy infectious beat and tickles your imagination with its intelligent lyricism disguised behind a Vocoder. The album later slows in pace but retains it’s rhythm as the haunting and melodic Further Deeper introduces the mellifluous voice of Bridgette Amofah. The album switches male and female lead vocals throughout as Nik Ammar returns to vocals on Look Down an achingly soulful tune interspersed with powerful classical refrains. Dissident slows down the pace of the album but remains uplifting as it introduces a more operatic vibe to the album before Balkanik assaults the senses with a joyful Klezmer instrumental spiked with acid house, a guaranteed floor filler at any Ecstasy fuelled Bar-Mitzvah. The overall vibe of Oi Va Voi’s eponymously titled third album is soulful and uplifting, although melodic ballads provide the main part of the album, each song contain its own individual sense of inspiration and wonder and when the tempo quickens, its infectious and hard to resist. Strikingly original and brilliant. Alan Taylor 
Oi Va Voi Website

Patrick Watson
Close to Paradise (V2records)
This album is a gem! Haunting, melodic, hypnotic and moody the keyboard and guitar driven tunes are lifted by Watson’s falsetto vocal, which seems to range somewhere between Anthony (of the Johnson’s) and Jeff Buckley, it is instantly pleasurable and it’s a grower! Described on their own web site as a “Montreal based art-rock quartet” the classically trained (jazz pianist) front man Watson, began his music career singing in local churches. He then transcended a number of genres ranging from ska to gangster politics, before reaching his current collaboration with fellow band member Simon Angell whose soundscapes and noise influences blended perfectly with the Watson’s arrangements. With a rhythm section bolstered by Ukranian born Mishka Stein and Swiss/British Colombia ex-pat Robbie Kuster, they enjoyed a residency at the legendary Café Sarajevo where the compositions for this album gradually evolved. The vocal, shines through best on the less elaborate lo-fi stand out tracks Bright Shiny Lights and The Great Escape. Some of the tracks have a slightly spooky fairground feel to them and Watson’s recent collaboration with Cinematic Orchestra is apparent in places, particularly in tracks such as Sleeping Beauty and Daydreamer. With echoes of Radiohead, Sigur Ros, Bjork  and The Beatles there is something for everyone on this album and it really does take you closer to paradise on each listening, when you discover drum beats, bells and horns that you never heard first time around. Enjoy! Alan Taylor
Patrick Watson Website

Ray Davies
Working Mans Café (V2 Recordings)
So Kinks legend, Ray Davies and Prince actually have something in common? Yes, that is, they both gave away their latest CD’s with a Sunday newspaper. Davies went with The Times. I am not sure if this was done ironically with the subject matter of the songs in mind. The CD cover and sleeve notes to this album is a bit of a give away when it comes to judging its mood. Grey scale images of a lonely man with a wry smile, in a greasy spoon café complete with formica tables and plastic bucket seats, looking out forlornly through the window at an England that once was. Sounds grim eh? Well it actually is worth a listen. That is, if songs railing against the state of our new fangled modern world are your cup of tea. On tracks such as Voodoo Walk, Davies invokes that 60’s Kinks/Beatles feel, but at times, frankly, the arrangement sounds more Steve Earle, than our English ambassador. Other stand out tracks worth sampling, are In A Moment and Imaginary Man all melancholia extremis, but none the worse for it. You may want to have a listen to You’re Asking Me, if only for the mid-life crisis advice. I would recommend this is one for die-hard fans or perhaps as therapy for all those out there, who hanker for an England which is really just a memory. Alan Taylor
Ray Davies Website

Babyshambles
Shotters Nation (EMI records)
Is this the album that has revolutionised Pete Doherty? Not even 2 months since it’s release and its already got a top ten single under its belt, been placed in the top 5 album chart. In a nutshell it’s Kinks meets Iggy meets The Clash and gives you avant-garde melodies. Unbilotitled is one of the more poignant tracks on the album. Essentially it is about being let down, with a lingering monotonous air throughout. Crumb Begging Baghead has a completely different sound with a dominant chorus with an almost 60s swingy blues feel to it. French Dog Blues has a ‘probably-going-to-be-a-release’ radio friendly feel to it with its tight song structure and once again, those sentimental lyrics, that seems to be a running theme through the album.Deft Left Hand with a featured xylophone has an uplifting feel to it and the acoustic Lost Art Of Murder is a revealing track, as Pete says ‘stop smoking crack’ over minor chords which conveys confusion and helplessness with spine chilling lyrics. In 45 minutes we are immersed in the soul of Babyshambles and for every bad line that was ever written about them, a whole song has been fired back at the critics. Now all we need is for Pete to keep it up. Kristi Genovese 
Babyshambles Website 

Shrivastava
Shrivastava (Distinctive Records)
This self titled collection has impressively been written, recorded and produced by the highly talented local boy, Jamie Shrivastava. Jumping between dark chilled out electronica on tracks like Smoke, mysterious acoustic strum-a-longs with Wasted and energetic synth pop in Goodtimes. Fans of acts like Massive Attack and Portishead really need to go and check out this album as they will not be disappointed. Plus, it will keep them occupied whilst the afore mentioned bands still potter around in the their studios taking their time trying to see if they can recreate past glories. Whilst they do, new artists such as Shirvastava sound talented enough to jump in and take their place. The stand out track on this eponymous album must be Everythingz4gotten. Its text message speak name betraying the fact that its roots are firmly in the 80's. Pulsating synths and foot tapping drums give way to Jamie Shrivastava's melancholic falsetto voice and all manner of playful sounds, making this come across as Depeche Mode sound-tracking a John Hughes Brat Pack movie. You can just imagine it accompanying a scene in which Emilo Estevez is walking around all moody and introverted at night after having an argument with a girl. These songs show Shrivastava to be a songwriter of some talent, and it is really good to hear something as unique like this album coming from a city like Nottingham. He just needs to play some gigs and get his name out, because songs as good as this need to be heard. Paul Klotschkow 
Shrivastava Website 

The Vincent Black Shadow
Fears In The Water
With a band name like The Vincent Black Shadow and an album titled Fears In The Water it would be easy to conceptualise an album that sounds like the soundtrack to a macabre Gorno film. However, instead what you get is a soundtrack to a 21st century John Hughes production. In fact, the opening track Metro could easily be the opening theme for the O.C (if the whole cast dressed in black). Preconceptions aside, there is nothing dark or gothic about this album, instead what we have is slice after slice of rock pop cheese. This perhaps is no bad thing as the quality of the music is more than adequate and the band are very accomplished. Their soft rock template is set out with ease, it sounds as if they could play this kind of stuff in their sleep. Cassandra Fords voice is well polished and is the focal point of the bands sound. Vincent Black Shadow rely far too much on Ford’s pop melodies and hooks, the guitars are never fully allowed to grow as a true power and are merely a platform for Ford’s, Gwen Stefani esq vocals. That is not to say that she doesn’t do a good job as Control, Fears In The Water and The House Of Tasteful Men are sung with aplomb and provide the main highlights on this album. On a personal level, this album is not for me, the lyrics are too sickly sweet and the music too watered down. Anyone looking for edgy, original or even dark music should approach this album with caution. Do not be fooled by the albums sleeve notes and cover art, this album does not do what it says on the tin. Joe O'leary 
The Vincent Black Shadow Website

Kevin Michael
Kevin Michael (self titled) (Atlantic Records)
As I picked up this album, I couldn’t help but notice the scattering of heavyweights from the world of urban American music adorning its cover, such as Wyclef Jean and Q-Tip. Surely, this offering would quench my musical thirst even if it was not to my personal taste. Not so. Just like watching a trailer for a Jim Carrey movie, I’d seen all the best bits and the rest could be described by some as lacking in real direction or a sense of adventure. That’s not to say there are no positives however, with the opening track, We All Want The Same Thing, being a prime example as it slyly evokes memories of a certain genre-busting Blackstreet and Dr. Dre collaboration. In an era where it has become perfectly acceptable for grown men to admit they don’t mind a splash of Justin Timberlake, Michael appears to have jumped on board with his delicate and soulful vocals. It’s a pity, though, this classic sounding voice isn’t given adequate support throughout the album and is rather devalued by a somewhat generic production. With the plethora of new artists that have appeared on this scene in recent years such as Ne-Yo or John Legend, originality becomes even more important in the absence of solid song writing. All said and done, the man does have obvious talent and a voice that should elevate him above the masses. If this is your kind of music you may well love it but perhaps it’s just not enough to convince newcomers to switch their allegiances just yet. Pete Connell
Kevin Michael Website

Kingskin
Humpin Mojo (Zebra 3 Records)
I grabbed this album at random, knowing nothing about the band, out of a bunch of albums I hadn’t heard, guided purely by the fact that I've never heard a bad song containing the word ‘mojo’. I was struck immediately by the sinking feeling that I’d made some sort of horrible mistake. Perhaps my mojo theory was a load of rubbish. Kingskin were recently winners of Kerrang!’s best unsigned band competition. This did not however increase my level of confidence, conjuring images of my guilty teenage Cock-Rock, Death-Metal past. Thankfully I was pleasantly surprised by a very tight funk-metal outfit playing with the attitude of a good time rock ‘n roll band. Humpin Mojo, Kingskin’s five track debut E.P contains more than a sprinkling of the Chilli Peppers and appears to be made with the ‘if it aint broke, don’t try to fix it’ school of thought. This isn’t necessarily a bad thing if you have the passion and genuine talent to inject fresh life into a tired genre. Personally, I would’ve liked to hear the lyrics more clearly on each track but this may be down to production and my only reservation is whether the five track EP makes a sound financial purchase. I will however be keeping an eye out for Kingskin live as they are sure to be a class act in that department, and who knows, I may even be changing the name of my own band to The Mojos. Murray Brown 
Kingskin Website