For better or for worse, the Accused have a definite sound. They are unique. Hailing from a town known for really only one sound (at the moment), they have persevered with their own vision through the years.

To clear up any past misinformation, the Accused are still around and have a 38-city world tour scheduled for the summer. Tommy has left to join Gruntruck full-time, and he has been replaced by Andy Massey. Catch the show; a friend of mine saw them in New Orleans a couple of years back and still raves.

On a critical note, I preferred their last album, Grinning Like and Undertaker, by a hair, but I absolutely loved that thing, so don't take that statement as a slam. This is a fine piece of work, as many of you have already noticed. A real rage-releaser.

Maybe he wasn't sincere on Arsenio. Maybe he is the world's biggest prick. But lots of people laugh at Dice. And he makes a sincere effort to take on authority figures rather than minorities for the first time in his recorded career.

But the audience really could care less. It responds only when he spews four-letter words incoherently.

It sounds like Dice is trying to become a real comedian, as opposed to just a hatemonger. Some real crafting to his jokes, an attempt to diversify. But from the sounds of his audience, they will have none of it. Once he quits spouting off about tits, blow jobs and jerking off, no one will listen, even if he is really funny.

Self-released, but the production (both musically and packaging) are exceptionally good. And the most important part, the music contained inside, is very fine.

At times a little reminiscent of Primus, but plenty of Pixies in the mix as well. You can't fault them for that, as they do hail from Boston. But the mix of influences boils into a real sound of their own.

They are also releasing seven-inch singles to radio stations, so if you happen to get one, pick it up. You have been forewarned. This six-song cassette impresses me greatly, and not just because the guys in the band are nice folk. But that doesn't hurt, on the other hand.

Wow! A real departure from anything Grind Core has released before. First, I must acknowledge the incredible buzz this album has gotten; almost unheard of for an act on a small label. I hope you get this and play it a lot.

The sound is in the slower category, kinda like a raspier Candlemass. And all of you who have been playing Cathedral and Solitude AEturnus, dig into this as well.

The buzz is deserved. This is brutal music, the kind that shakes you to your core. If the world hasn't heard of Crowbar in a couple of years, I'll be rather surprised. Make that incredibly surprised.

My God, the noise! If this thing doesn't excite the masses, I'll be surprised.

Why? Well, for one thing, industrial dance IS rather hip these days, even overshadowing Seattle in the college ranks. Now, I realize the real watershed was years ago, just like Seattle was really vital, oh, say seven years ago. Why do posers like the Warbabies get any play at all?

Anyway, this is the closest FLA has come to a mainstream sound, and kids out there are buying the stuff. If this follows the NIN trend, then FLA will play Lollapalooza III and watch this album sell millions over a year after its release.

Well, worse things could happen. Sometimes million-sellers are actually good albums.

This is a demo?

I now understand why everyone is reporting King Hell. This tape sounds better than most "real" releases I get. How a band with the talent and sound contained herein could avoid getting signed is beyond the scope of my imagination.

A brief description: shredding riffs, intelligent lyrics, gruff, yet enunciated vocals, and a rhythm section that would be the envy of most bands. Watch out: King Hell is a definite band to watch.

I've been crazy about these guys since one of our music directors took me to their show at CMJ. I shoulda noticed sooner. While their 5" of last fall was pretty cool, this album is much better. First, the songs here are written with that hot horn section in mind. And the guys really know how to pen great tunes.

The heaviest songs take advantage of those horns, adding depth and texture to the bass and guitar. Dicky Barrett's gruff vocals keep the hard-core ska sound rolling right along. What more can I say?

Well, this is one of my favorite albums so far this year. It's perfect for a party or just a little headbanging on the side. Don't pass this by.

In the vein of newer Napalm Death. But the copyright notice on the inside claims the songs were written in 1988, which would put them slightly ahead of their time.

The songs are fast and vicious, but the riffs are kept under control. This sounds great. If only more death metal bands would allow their sound to be stripped down, to be the slightest bit vulnerable. It really makes for a more impressive production.

These guys are pretty big in Mexico, and if there is any justice, they'll get noticed here. Grind Core has serviced this only to those who ask for it, so why not give them a call and score a great album (if they have any promo copies left).

Fairly aggressive dance music. The short version of the single is positively infectious (and rather heavy, as well). The 7 and a half minute re-mix is a bit long and redundant for my taste, but the other two tracks are better than gets played in clubs around here.

Less heavy keyboards and more emphasis on the beats. Sounds good to me.

They're not out for appeasement. As you might guess by the name, these folk are animal-rights activists. Very aggressive industrial dance music, when the beat gets going. When it doesn't, however, the results are even more interesting.

For the most part, club-types will not flock to this release. The stuff just isn't always that danceable. But it is very good, and has a message to boot.

Perhaps this album, along with Malhavoc and the dance re-mixes of "Slavestate," provides the idea bridge between the dance floor and a loud music shift. The stuff certainly has the volume and aggression. The innovative programing is up to you.

Can you go wrong with songs by Poster Children, Hammerbox, Superchunk and Tsunami? Um, the obvious follows...

Brilliance, sheer brilliance. This may the last time you even hear Poster Children and Hammerbox on an indie. PC has signed with Sire, and Hammerbox has been mulling over several offers. But what a way to go out.

If you haven't been serviced with this, then you won't be. This was issued in a limited edition of 2,500, and only about 60 were sent to stations. If you want to buy one, better call C/Z fast. These puppies are all but gone. Or, you could wait a few years for the next (and last) CD compilation.

From deep in the heart of Texas (like San Antonio, man) comes this rambling psycho-sludge-funk attack that sounds like everything college radio holds near and dear to its heart, but blasts most of that to shit.

This album has an incredible live feel to it. There couldn't have been any overdubs in the studio. World Bizarre crunches my brain.

I know I'm a sucker for stuff that makes me groove as well as relieves my aggressions, but this is seriously pretty damn good. I'm not sure who gave the Belt Drive folk my address or anything, but I'm glad they did. It meant receiving this great tape.

I could keep raving, but why don't you just get this and listen for yourselves.

Saint Chaos
Songs from the Crab Couch
(demo)

Sorry so little space, but you know Saint Chaos from the last review. Still good, heavy, commercial metal. If you didn't score any earlier demos, do yourself a favor and play this one.