The name says it all. Sludgy rhythm guitar riff attack with the occasional lead streak. The sound is tres early 70s. Nothing new or inspired here, but not too bad, either.

But they must have influential friends, as Shimmy-god Kramer produced this live ep. Oh, yes, this was recorded live at CBGB's, and deserves a mention just for that, I suppose.

And yes, I get the name. It just doesn't seem to be a joke.

If you missed their lp earlier this year (or late last), then go find it and jam for a while. That way, when you get this, you will be prepared. This is Kevin Marvelli (Seconds)'s new band, up from the ashes of 7 Seconds.

Sure, it's driving, punk-influenced pop-rock. But what's wrong with that. It's good, and that's all you should be concerned with.

Like a dumbshit I lost all of the info with the cassette, so I can't tell you when it's supposed to come out or anything like that. But hope to see it in your mail, because it will make you smile. Worked for me.

From the same pipeline as Punisher comes this Ohio outfit. Same fine production, both musically and artwise. Whoever is behind the cassette sleeves for these bands should have a job at a label.

Fine sludging going on here; this would fit in well with the folks playing Defiance out there (and there are a few of you). Sometimes when I hear a band like this I begin to wonder if it's worth it to stay in the Midwest when talent like this is being missed. then I console myself by listening to talent like this.

If you're out to become brain-damaged, crank this for a few minutes and try to survive.

Their first album established them as one of the tighter death metal bands around. This one is faster, harder, more grinding, and yes, better.

While many bands of this ilk sing the glories of decapitation and general mayhem, Malevolent Creation speak rather eloquently about the problem violence presents in our society. The fact that Brett Hoffman leaves his vocals untouched by machines means the kids just might get the point.

A second album already makes them veterans of the scene. And it moves them toward the top of the heap. Definite rising stars.

King Diamond and friends burst upon the scene with some real Satanism and some good music over ten years ago. Since the King has done Geraldo and gone solo, the music and act have bordered on parody. But this disc shows what was there in the beginning.

This is music from the NWOBHM era. Songs with epochal lyrics, a dependence on rhythm guitar and screeching vocals.

Today, King Diamond still prances around wishing he was half as cool as he was when these songs were recorded. Enjoy in good health.

This is what is left of the once proud, often cheesy Camper Van Beethoven, whose grating cover of Status Quo's "Pictures of Matchstick Men" (from their last and worst album) still gets played too much on college radio.

The title track is, of course, a musical rendition of Edward Gorey's book, and there are Syd Barrett and (on the CD) Zappa covers to amuse yourself as well.

The Monks of Doom seem to have found a little of that early Camper spirit and lost much of the pretentiousness that many college "supergroups" seem to find necessary to live with.

Fun music for listening on a cruel evening.

Something of a superstar project. Recorded by the much-worshipped Steve Albini, produced by the folks in the band, this retains a heavy flavor, but not quite an amalgamation of the corresponding parts. To be honest, the only name I can figure out is Chris Connelly, who you all should know (if not, read your Trouser Press). Unfortunately, the Chicago industrial scene is not where my interests have been concentrated for long.

I like this, though. It is more heavy mood music than real industrial stuff. There is a definite feel for emotion on here, which is kinda refreshing from folks better known for trashing feelings in order to grind away at the brain. Don't get me wrong, rocking occurs here. But listen to the whole thing. All songs are worthy of airplay.

Trying to avoid the dread "Seattle band" label, My Name moved to Tacoma. I think this find band would have made a name for themselves without the change of scenery, but U-Haulin' didn't hurt them in my book.

Pick your favorite innovative loud band, be it Mind Over Four, Libido Boyz, Porn Orchard, whatever. Add these guys to the list. They refuse to be pigeonholed, playing heavy, meandering pop songs that please my soul immensely. And the word that they will be touring with ALL this summer (and Bad Religion on the East coast, what a bill!) means I will have to find the fuckers somewhere down the line.

Already this year C/Z has two of the best albums out, with My Name and the Treepeople. Look out, it could be a killer autumn!

The first thought is: "My God, these songs go on forever." You notice three songs = 55 minutes. And then you see the notation "dedicated to biosphere one and the sixth sense."

Biosphere One is, of course, that pseudo-scientific thing going on in Arizona where eight "Biospherians" will live in a huge glass house and be completely self-sufficient. Many scientists aren't quite so sure this is a scientific enterprise.

And this album goes the same way. It's elevator music with a beat. But my roommate likes it a lot.

This is an example of what a good local scene can do for you. These boys have done shows with the Black Crowes and Drivin' N Cryin', as well as a bunch of dates around their hometown of Birmingham. The guy who sent this to me said they had moved 600 units in a couple of weeks. Damn impressive.

And why not? This is a good album. Straight-ahead, three-chord rock and roll. In fact, if the Easy Beats had been from Alabama, I bet AC/DC would have sounded a lot like this.

Not to say they rip anybody off. A definite southern feel, but also just good rockin'.

When you live, breathe and feed by the riff, they have to be good or you die. Trouble has put out (at least) four albums where they thrived by their riffs, artistically if not commercially. This is their chance to cash in the success of their last album.

And I hope they do. The riffs are as crunchy as always, and Rick Rubin is masterful as always with the knobs. The three-track sampler was just a taste of this masterpiece.

There is a flow to the album. Every song seems to connect to the next one, without actually bridging the tracks. Kinda building to a climax, and then winding down. You finish, spent, but happy to have had the experience.

The most tasteless cover (and inner) art I've ever seen. Well done, boys. And the music is the same way. Those seeking the next Brill Building hits (check yer history books) should (and already have) run screaming. This is not average, mundane music. This is not even normal "metal" music. There's some serious experimentation going on.

"Not" live, but sort of compiled from a live show, this album (or ep, no one could decide which) is a challenge to listen to. Just not a challenge to appreciate. Eat some beans, chow down on lots of fruit, and get into that fecal rage.

Mmmmm... tasty!

Somewhere deep in all of our hearts there lies something that loves Neil Diamond. And Neil was instrumental in ridding my house from an infestation of drunken fratboys at one of my parties last year. But enough of that...

As you probably know by now, this EP opens with the lesser-known Diamond track "Girl, You'll Be a Woman Soon." And well done, boys. And if you missed their Sub Pop single (I don't have the cash for that stuff, either), don't worry, they're here.

For some unknown reason, Newsweek used U.O.'s name in the deck on its story "Looking for Nirvana II." If you want to read a completely musically-naive piece of work, find it. After all, didn't you know Nirvana was a punk band?

Enough yapping; this is a fine EP from a band which is only now getting the recognition it deserves. Six great songs on marbled vinyl. Who could ask for more?