Scroll down for capsule reviews of The Intercontinental Playboys, Alex White, Mad Science Fair, Modern Giant, the Burning Effigies, The Contrast, Calexico/Iron and Wine, The Dipsomaniacs, Frontier Index and Madness

The Intercontinental Playboys – Sonic Seducers (Off The Hip): When I listen to this band, I find the answer to a question I had never thought to ask myself before: What if The Stranglers played traditional garage rock? Two things about the Playboys make me think of Hugh Cornwell and the boys. One is Tomi Loncar's voice, which, like Cornwell's stays in a lower register most of the time. Maybe Cornwell mixed with a bit of Lou Reed. The other thing is Michelangelo d'Alluro's Hammond Organ that reminds me of the great keyboard work on so many early Stranglers classics. Of course, I think this similarity is wholly coincidental – but if you're going to sound like someone, sound like someone good. The Playboys have a bushel basket full of good rock and roll tunes, and Loncar has a great swaggering personality to sell each one of them. It all comes together on "Journey to the Center of My Dirty Mind", a nice and sleazy number which plays like a slightly less frenetic Cramps, with Loncar sounding like the filthiest rocker since The Troggs' Reg Presley. That's pretty fucking filthy. "Rock ‘N' Roll Johnny" is more decadent – this song pumps like The Modern Lovers and would segue well into "Road Runner". Another rock and roll classic is invoked on "Downright Right Down", as the band starts the song with a variation on the intro of Love's "My Little Red Book". Mind you, a variation, as the song then moves into its own garage dimension, and sounds great. There are three bonus cuts, older tracks the band cut a few years ago. One of them "Just Turn On" is simply outstanding, and just makes this a better value. offthehip.com.au

Miss Alex White and the Red Orchestra – Miss Alex White and the Red Orchestra (In The Red): 20-year old Chicagoan with a bluesy voice bashes out primitive R & B laced garage rock. Detroit wunderkind producer Jim Diamond forgoes fidelity to capture a raw sound. Miss White's talent as a howler is evident. However, her songwriting has a long ways to go to catch up to her voice. Although White and Wesley Kerstens (guitar) and Edward Altesleben (drums) rock decently, it seems like they are between two spectrums: either tighten up the writing and playing (kind of get closer to the territory of The Detroit Cobras) or, if you want to stay this loose and basic, then rock more. Because some of these tunes could be more explosive. That's not a problem for the songs that begin and end the disc. Opener "Don't Turn Me Up" careens out of the gate, and White's vocals exit on a rocker that sounds like an adrenalized Pearl Harbor and the Explosions. The album closes with the ultra-primal "Chainsaw", which simply oozes six-string muck, Kerstens jabbing a lead while White's guitar just hums. The single minded nature of the tune is an advantage, as each player just focuses on beating his or her instrument into submission. White picks an inspired cover, doing a nice job on Teenage Head's "Picture My Face". The song has a snatch of melody and a solid hook, which is something that White needs on more of her own songs. The potential here is evident, and I figure the songs will get better. So keep an eye on Miss White. intheredrecords.com

Mad Science Fair – ...for a better tomorrow (Mud): Hot Glue Gun was part of the vital Champaign rock scene of days of yore, along with bands like Poster Children, Hum, Honcho Overload and Didjits, among others. Mike Clayton now fronts this new trio, and he still rocks out. This band plays a streamlined melodic hard rock that might best be termed Really Powerful Power Pop. The tunes here compare favorably to the best material from The Foo Fighters and Swervedriver. Yes, this is a really good debut. Clayton has a great guitar sound. His tone is really thick and muscular, yet it still has a warmth to it. You could easily hear these guys knocking out a great Tommy Keene cover. While some songs move right into the riff, I like the ones that build up a bit more, such as "Shot on Sight". When the guitars kick in, they support a shimmering hopeful melody that just can't be contained. The closer "The World I Want" is more intent and the song simmers and then burns. The band doesn't rely simply on Clayton's considerable guitar chops. "Shimmy Shammy" reminds me of the playful side of Tom Verlaine, and hooked me immediately with its rhythm-centric approach. And I'm just glad someone finally put out a song called "Green Day vs. Weezer". This sound may not be trendy today, but smart loud rock songs will always be stylish in my book. parasol.com

Modern Giant -- Satellite Nights (Popboomerang): A charming collection of indie rock from a band with a few different approaches. It's not often that a band credits a member with ‘spoken word', but that's what Adam Gibson does (in addition to his bass playing duties). A few tracks here conjure up memories of The Blue Aeroplanes, who also successfully married narrated lyrics over jangling guitars. On "The Band's Broken Up", Adam starts off name checking "Midnight Oil/The Hummingbirds/The Clash", a foundation for a chronicle of man's success, or lack thereof, with women. These aren't fond reminisces, regrets mixed with temporal triumphs: "Each night I shoulda played guitars/I spent watching them/and I was drinking beers instead." Complimenting this approach, the band also turns in appealing tunes in a strumming folk-pop mode, and when they crank up the amps, they venture into territory similar to Bettie Serveert. On "Heartbeat", Adam's narration is complimented by Gynia Favot's winsome vocals to create a real tour de force. "Tie One On" is pretty powerful too, adding a Teenage Fanclub guitar buzz to the proceedings. Geez, there are so many other appealing songs - the lead cut, "I'm Not Broken" is an acoustic delight, with a pithy and memorable chorus: "I'm not broken/I just fell apart"; and the playful California surf doo-wop meets Fairground Attraction sunshine of "I Thought That You Were Somebody Else". Every year, there's one record I initially dismiss, and then spin again and wonder what the hell was wrong with me the first time I listened to it and this is 2005's entry. This is excellent. popboomerang.com

The High Dials – War Of The Wakening Phantoms (Rainbow Quartz): An impressive new album from the Montreal band who revels in ‘60s influences. On this album, the band finds a way to utilize their library of sounds from the past in service of a more contemporary sound. This may not sit well with fans who want the band to wax new Nuggets-type material. But I find that the band is getting better and better at delivering accessible and memorable music that has an emotional pull at times. One new aspect of their music is an ability to write ringing tunes that remind me a bit of House Of Love and likeminded bands. Early on, the band definitively proves that it can use its retro expertise in service of something wholly contemporary. "Soul in Lust" is simply one of the best songs of the year, a track that Nada Surf would love to have written. A mix of jagged guitar riffs and smooth melodic leads, there are three memorable guitar parts here that the band mixes in and out during the flowing verses. Then, after a middle eight, a stabbing guitar solo leads back into the icy verse. Then the chorus emerges in the last minute to bring everything together. This band knows song structure so well, they can totally mess around with it here, in a very effective fashion. They can also stretch out, like on the 8-minute plus "Your Eyes Are a Door", which is a measured mid-tempo psych-pop song that sounds like a cross between Blur and RockFour. On "The Last Explorer", they conjure up a track that could win over fans of early Radiohead and Coldplay, and really, should win them over. There are a few songs that are more solidly ‘60s-ish, like "The Drum" and "Winter Ghosts", so fans of the older discs should be appeased. rainbowquartz.com

The Burning Effigies – Pipe Dream (Better Propaganda): This Irish band mixes R & B, soft pop and even jazz rock motifs on a very nice collection. At times, the band seems to overlay a bit of a 10CC pop vibe over music that would be more associated with ‘70s artists like Boz Scaggs and Steely Dan. A couple of songs smack a bit too much of satin shirts with three buttons unbuttoned (all the better to see the gold chains) -- what David Brent still thinks is hip. But most of these are enjoyable slices of white soul. The sophistication reaches a zenith on the breezy "Get Down With Me". This song mixes the jazz precision of Steely Dan with a light funk chorus that goes down refreshingly. There is a soft-pop elegance to "The Count", which belies its menacing message of revenge: "I'm gonna make you regret/what you did to me." On "Village of the Damned", the Effigies fashion a guaranteed sing-a-long, as the melody here has a familiar ring and the band works it for all it's worth. Other than the aforementioned couple of duff tracks, I'd like to see the band's lyrics match up to the quality of the music – tunes this smart deserve equally intelligent words (not that anything here is awful). betterpropaganda.com

The Contrast – Forget To Tell The Time (Rainbow Quartz): More bilious songs from the pen of David Reid. The Contrast have their punchy rocking Byrds-meet-power pop sound down pat. They have honed it to perfection here, as the melodies breathe and each song crackles with intensity. From that standpoint, this album is easy to recommend. However, the more I listen to Reid, the more tiresome his constant negativity becomes. Here's a representative lyric: "I woke up late/I was filled with hate" (from "Side FX"). The man's paranoia and bitterness show a worldview that makes Hobbes look like an optimist. But Hobbes couldn't craft a hook like the one on "Forget to Tell the Time", which combines sweet harmonies with dynamics and adds up to a killer hook, with the added bonus of a squonky guitar solo! There are plenty of tracks in the mold of prior Contrast material, such as "What You Have Done" and "Adversity", with Reid's intent vocals and memorable guitar lines backed by Andy Hawkins' rock-solid drumming. These are all good and fine, but the band needs to mix in more songs like "Hold Your Fire". This song has a bit of a jazzy ambience, with Hawkins wielding the brushes to the snare and Richard Mackman adding some subtle bass work. This provides a nice contrast from the more typical rock bromides. This is a good album, which is to be expected, but this band needs to challenge itself more often. rainbowquartz.com.

Calexico/Iron And Wine – In the Reins (Overcoat): Much like they should call it Cheese & Macaroni rather than Mac & Cheese, Iron And Wine's name should come first on this nice seven song set. Much as they did with Neko Case, the Calexico guys provide a sympathetic Southwestern desert rock background for a talented performer. While there is no single song here as good as the best tracks on the last Iron And Wine album, Sam Beam is on a roll, and the whole affair goes down easy. I give credit to all of the players here for trying to serve the song, as opposed to trying to put Mariachi horns on every track. Nothing's forced. The opener, "He Lays in the Reins", has the strongest Calexico vibe. Not at the start, as Beam's guitar picking is counterpointed with a sad piano part. But as the song winds on, there is some Mexican crooning in the background and the quavering white blues of Beam successfully blends with the Calexico's spacious sound. If anything, I wish they had attempted a few more tracks that balanced the two bands styles. The best track may be "A History of Lovers", which has a relatively jaunty bounce, contrasting this tale of jealousy and murder: "Cuddle some men, they'll remember you bitterly/fuck ‘em, they'll come back for more." Truer words have never been written. Another highlight is "Sixteen, Maybe Less" where Natalie Wyants provides some nice backing vocals. Beam's lyrics sketch out part of a story of a love that started young but may have never consummated – you might be able to interpret this a few ways. It's quite lovely. But you could say that about most of this EP. overcoatrecordings.com

The Dipsomaniacs – Whatever Planet (FDR/American Laundromat): Mick Chorba and crew are back with a lot more tunes. Eighteen in fact, with a bonus disc with ten more. The basic Dipsomaniacs formula is this – Chorba's hang dog vocals, which are well suited for his sardonic lyrics, mixed with power pop tuneage that manages to be scruffy and crisp and clean at the same time. Blend some Replacements, The Who and Big Star with a whole lot of wiseacre and you get the idea. This band is remarkably consistent, which is both a blessing and a curse. It may take some time to really get into this album. But it sure sounds good with every play. The lyrics are really what make things stand out. Whether "Daddy's on a Book Tour" is autobiographical, I don't know, but it's an acoustic pop gem, in the vein of Model Rockets and Young Fresh Fellows. It isn't funny, per se, but Chorba sings it with such sincerity, and the notion of a song about a dad on a book tour seems so absurd, I can't help but smile. "Syd Barrett" is equally sincere, but it's more about memories from high school days – old friends and girls. The instrumental break on this song is simply killer – the second guitar solo even better than the first. This song also shows the sophistication of the band in the studio – they mix a lot sounds into this track, without detracting from its basic drive. The band can dial it down when appropriate. On "Goodbye 3 AM" the band delivers a nice loping faux country vibe. And "The Hoodie Song" has a purty piano part and Chorba singing with a little less drawl. A great change of pace. This is the strongest Dipsomaniacs effort yet. The band works within certain limitations, but finds the way to make the most of what they do well, and then do very very well. facedown.net

Frontier Index -- Frontier Index (Rainbow Quartz): A little ‘80s style jangle rock, some Americana and a bit of power pop inform the Frontier Index sound. They are kindred spirits with names from the past like Beat Rodeo and current acts like The Old 97s. This is an assured, well recorded debut, with 11 concise and winning songs. They know how to hook you in right away. On "If It Don't Work Out", the band finds a lurching guitar riff that Uncle Tupelo and Wilco managed to overlook and add a yearning melodic chorus, a combination that is unbeatable. Another highlight is "San Antone". This is an alt-country slow dance with a Beatle-esque melody that doesn't bring me down, if you get my drift. The middle-eight has some nice harmony vocals supporting Corey Hernden's excellent lead vocals. Hernden has a bit of a quaver in his voice, which is a wee bit thin in spots, but he's a very expressive on every song, and a pleasure to listen to. Some tracks gravitate more to the guitar-pop end of the spectrum, like the opener "Someday" and the dreamy "Silver Suns", which sounds like an Americanized version of The Delays. Just a real good disc. parasol.com

Madness -- The Dangermen Sessions Volume One (V2): Leave it to one of the biggest British bands of the ‘80s to quietly get back together to do an all-covers album. Whereas this often might be seen as a craven cash-in, with these guys, I think it was more along the lines of wanting to play together, and having no new songs in the pipeline. So why not try some old favorites? The result is a laid back ska and reggae album, with the typical consistency of such efforts. There are no terrible performances, and a few special ones. One of those special ones is a version of Lee Perry's "I Chase the Devil" (a/k/a "Ironshirt"). This is a straight up reggae track, which wasn't quite the band's forte back in their nuttiest era. But they nail this pretty well. I also like the slightly slowed down version of the Desmond Dekker classic "Israelites" which is followed by the loping "John Jones". This is nice summer music. I do find that, with the exception of "Israelites", I'm not as fond of the covers of rock songs -- perhaps my familiarity with the originals is a problem. The version of The Supremes' "You Keep Me Hanging On" is flat, and it's just weird to hear The Kinks' "Lola" as a reggae song (though the band based this on a Nicky Thomas version on Trojan Records). Actually, "Lola" adapts alright to a reggae rhythm, but it's still weird. On the whole, it's just great to hear Suggs singing again -- there's something comforting about it. This is not even close to essential, but it's reasonably diverting. v2records.com

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