The Poppy track is more of the meandering pop I've heard from those folk in the past, though it seems to be a little more focused and heavy now. "Undoing" flows nicely from mellow to fortissimo and back. Sure, it's a trend, but Poppy has a fresh take on that motif.

Anthrophobia is much heavier and active, barely sticking on the fringe of pop music. I know it sounds weird, but it reminds me of something like Van Halen (1980 model) meets Treepeople. Crunchy and tasty heavy pop. Very nice.

When you think you've gotten used to the bands on a label (Mount Shasta, Shorty and the incomparable Dazzling Killmen, to name a few), it's nice to hear a surprise.

Brise-Glace practises a sort of eclectic jazz-industrial thing. Not jazz in the mellow sense, but more of a bop/jazz hard core thing like John Zorn or Ornette Coleman of a few years back.

You haven't heard anything like this before. That isn't a challenge to your musical range or anything. It is a statement of fact. This is weird, and I love it. The a-side sounds something like hyperactive elephants in heat (I guess it's the bass clarinet), with the flip slowing up a bit, still managing to destroy me. Oh, that eerie organ!

The nucleus of Brise-Glace is Jim O'Rourke of Gastr Del Soul (the press says B-G is his rock band. Wow.), Darin Gray of Dazzling Killmen, Thymme Jones of Illusion of Safety and Dylan Posa of Flying Luttenbachers. A full-length is due at the end of August, with some help from Henry Kaiser (!!!) and others.

The best dose in a 7" casing I've had in some time. Maybe ever.

Very low-tech production, leaving a lot left in the muddle.

The liners proclaim themselves purveyors of "true" death metal. Okay, but there isn't one shred of originality wandering anywhere near here. If you want to be old school, fine. But have your own stamp, other than shitty production.

There are some nice riffs meandering in and out here, but on the whole this disc is a loss. And I was really looking forward to it, too. Bummer.

Yes, I played "Sport'n a Woody" just like everybody else. I even bought a t-shirt with the same slogan at the concert. It was dumb, but certainly entertaining. Then came the follow-up, whatever it was called. Yeecch!

A few years on down the road, Dangerous Toys resurfaces.

The title track is about the catchiest thing here (or maybe the stuff just starts to wear on me after a few songs). Still, it is damned entertaining, and you will find yourself singing it over and over again. Until you barf.

My musical tastes have evolved since I dug the first DT record. I don't listen to Cinderella anymore. But I jammed the advance twice, which means I did like it the first time (and the second).

It's cheap and easy and kinda dumb. But it is also fun, without crossing the line over to stupidity. Eat it like Chili Cheese Fritos.

If you weren't already familiar with Farside's take on pop-punk, gather 'round and take a listen.

Popeye's low and slightly scuffed vocals sound much like Mr. O's of fluf. Farside aren't quite so bombastic as that San Diego crew, though.

With a fine sense of melody and subtle lyrics (a real unusual find in punk), Farside build on the roar that began with Rochambeau. Yes, there is an anthem or two, but I don't think the guys are full of themselves or anything. They just know when to catch a particularly catchy wave in their songwriting.

Yes, his third album release in a year. This one is more in the industrial vein of Dick, but does retain some of the hard core feel of Getting Even. In other words, more of the same.

That's not necessarily a bad thing, but it does start to wear on you after a while. This is quality stuff, as Ginn sure knows how to translate pure-bred rancor into sonic fury. But after some time, my reaction becomes: anything else?

One album of ill will is one thing. But three in a year definitely pushes the edge of my tolerance. Maybe Ginn will get a drug habit, or break up with his girlfriend or find something else to write about than oppression and hatred.

The gig is beginning to wear thin, though Let It Burn is a fine recording. Time to move on.

I can't think of a person who doesn't consider Streetcleaner one of the greatest albums of all time. Not just metal or industrial or whatever. One of the greatest albums, period.

Which leaves the past few years as disappointing, of course. Godflesh has gone a little more on the industrial dance side, perhaps trying to be more accessible but ending up just weaker. Here, however, I think the chips are starting to fall correctly.

No, nothing will ever match Streetcleaner. And even if it did, who would say so? But with the heavy-yet-groovy beats underscoring a real assault of distortion and despair, Merciless has Godflesh on the right track. This sounds like a compilation of some of the boys fine side projects. I wouldn't have believed it, but it seems Godflesh may be making an artistic comeback. I sure hope so.

When their first album came out, Into Another were simply the finest Black Sabbath-style band around. No one has matched that standard yet. But Into Another has moved on.

Creepy Eepy showed where the band might venture, and Ignaurus blows those high expectations away.

You can hear edges of bands like Mind Over Four and early Fates Warning (yes, this is prog-metal, but it sure tastes like candy) in the new songs, but only Into Another could make things sound the way they do.

I'm too amazed to write any more. Suffice it to say that Into Another has crafted a great album. Stunning is such an understatement; words cannot begin to explain the ecstasy within. Play only if you want to find your mind blown.

Not three chords, but four!

I really have never liked these folk, even when Sony or Warner Brothers or whoever got radio stations to play the stuff. Now that they're out in the real world, the music has to convince people to play them.

And they have. I think this is pretty awful, but many people whose musical taste I respect like it, so it obviously has appeal.

To compare this with the Dangerous Toys release (two bands in the same situation), it's not even close. I'd like to hear a full disc, because I might find something redeeming. Not in this song, though.

As soon as I had reviewed frontman Tom Brignall's last band, Konnichi Wah, I heard of its untimely demise. But now here's a new load of industrial goodies to chew on.

Same exquisite production; everything is clean and tight. Perhaps a bit sample heavy at times, as the songs could really stand on their own merits. But that seems like nitpicking; this is highly appealing music. Folks should really perk up and take notice.

So the full-length World Demise was pushed back a couple of months. At least you get a taste now.

I read about the new "alternative" sound Obituary had come up with to avoid stagnation. I applaud the effort, though I'm not sure how anyone could consider grunge alternative anymore.

Actually, ignore the title cut. It's pretty awful. But "Solid State" is a nice merging of traditional metal and death metal sensibilities. It's so clean you could do root canal work on it, and it's still damned heavy. No, it sure isn't the old Obituary, but I think you'll like this.

I understand the live show is not to be missed, and the music qualifies for that rating as well.

Merging the anthemic tendencies some Seattle bands are afflicted with industrial noise and a punk-pop sensibility, Pleasure Elite has its own sound.

And, of course, you never know what each song is going to do. Where Skatenigs always go for the chunky riff to pull through a song, the Pleasure Elite may rely on a sample or weird lyrical idea or even a new beat to pull off a success.

Artistically, of course, that puts them in a higher category. And in the final test, they succeed. Bad Juju is a cool album that defies real description. Yes, it's awful difficult to work with, but since when have college radio programmers ignored something because it was too good to be labeled? (Please don't answer that. I don't need to be depressed.)

Their debut was a commercial, if not always a critical, success. Now Pro-Pain has refined its message and its sound. The result is a groovier yet heavier feel. Not so such of the thrash tendencies, and more plain heavy riffs.

Yes, Ice-T has a guest shot on "Put the Lights Out", but there are plenty of other tracks to pick up on as well. Listen to the music.

Everything about this disc is calculated for maximum commercial potential, and yet it still sounds fresh. I can't think of one reason to dislike The Truth Hurts. Hell, even the artwork is truly disgusting. So what are you waiting for?

Somewhere between glam and what I call "wank-metal" (RHCP and other weak funk acts), Pushmonkey plies its wares.

Passable, I suppose, and the occasional appearance of real horns and even decent attempts at funk are nice. But with all of the fancy tricks, Pushmonkey doesn't have that "something" to make it memorable.

Lots of you will play this, and you should. There are good songs and some nice performances. But Pushmonkey still has a long ways to go before they will be remembered six months after their albums come out.

Is it music or just random noises strung together?

Well, my answer has always been music, but then, I'm weird. And to be honest, the flip does contain a minute or so of stuff that might be considered real songwriting by people who think R.E.M. is alternative (but not to compare said moment to R.E.M. God forbid).

I've always been interested in sonic sculpture, and this definitely out there. U.O.D. is a side project of a couple of Boredoms members and a member of Leningrad Blues Experience. I'd list their names, but I would misspell them for sure.

Highly unusual; This and the Brise-Glace 7" makes my month (maybe year). My brain has been addled.