FILM

set your goals

by BOBBY WESTFALL THE ROXY, BOSTON - MARCH 10, 2007 MELISMAreviews

Knowing that Set Your Goals’ last appearance in Boston was in the opening slot on a Less Than Jake and Catch 22 fall tour stop at the Avalon, I was pretty much convinced that the only opportunity I would have to see them in the near future would be opening for Anti-Flag, Alexisonfire and Big D and the Kids Table. Honestly, considering the infectious nature of Set Your Goals’ hardcore/pop punk crossover sound, it’s not surprising that they would be bringing their Gorilla Biscuits meets Saves the Day sound to a wider audience, but it still irks me to see them leave the hardcore scene behind so soon after they came out of nowhere with their excellent 2004 demo. The set consisted entirely of songs from their first full length, Mutiny, completely ignoring the band’s excellent Reset EP. Though the dance floor was packed, the uninterested crowd, with the exception of a few kids running into each other in a haphazard attempt at moshing, made it quite clear that they were waiting for the later bands. The presence of a barrier and a bunch of beefy security guys in front of the stage managed to drain from the set what little energy was left. Rather than playing one of their usual Gorilla Biscuits or Jawbreaker covers, SYG pandered to the pop-punk/ third wave ska crowd with an uninspired cover of Operation Ivy’s “Jaded” that still failed to evoke even a slight increase in participation from the crowd. The band’s two singers would, however, visibly light up on rare occasions when a fan from the band’s hardcore days could be seen singing along or crowd surfing, though the barrier still limited interaction between the band and those fans who wanted to see them. They closed with the fittingly ironic “To Be Continued…” Set Your Goals’ rise to the top of the mainstream punk world will certainly continue, but it seems the chapter of their story where they mattered to me is now closed. I’ll keep listening to their records, but no matter how many Trial sweatshirts they wear in their music videos, I’m afraid they’ve said goodbye to hardcore. On “We Do It For The Money, OBVIOUSLY!” from Mutiny, Set Your Goals sing, “We’re all sellouts in your eyes/All these accusations hurt/If we share the same stage, why do you act this way?” But they don’t share the stage with any of those bands that would have criticized them before. Through Big D’s set, I entertained a faint hope that the SYG guys would be hanging out with kids at their merch table. I walked over to check once before leaving after Big D to find that I had, indeed, hoped in vain. Well, maybe they can follow in the footsteps of Civ, who released the album that gave SYG their name, and have a song featured in a car commercial.

half-cocked SHARKS AND SAILORS! by MICHAEL T. FOURNIER

The grey hair and age rings around my eyes make all the flags I fly much easier to believe. Still, when it comes right down to it, I surf eBay, just like everyone else - though I have yet to get my grubby paws on any of the vintage shirts I missed the first time through: Christie Front Drive, Crimpshrine, Stricken for Catherine, Rodan.

Let’s talk about Rodan for a sec. A great many of us aging hipster-types used to genuflect in front of the altar of mid-to-late-Nineties Louisville. Since the Slint reunion shows a few years back, nary a peep – back into the oblivion of every record ever recorded being readily available for download, two listens and an “It’s okay, I guess.” Like secrets, we need study right now. The angular post-whatever nautical rock used to rule the school – hundreds of us trying to lurch our heads in 15/4 time to SHARKS AND SAILORS! SHARKS AND SAILORS! SHARKS AND sailors! Gone just as quickly as it started, seemingly blown out to sea by a gale of bleepy post-jazz or grubby kids screeching in a basement Mr. Microphone, something. I don’t know. But I miss it. Hell, nowhere to be found, even on eBay, any of it – June of 44, Crain, even Hoover and the 1.6 Band, stretches both, gone without a trace. Imagine my relief when I discovered Half-Cocked had arrived in DVD format, with the oft-rumored Radiation attached! Whooo! Crates of hand-screened 7-inch singles exhumed and blasted in celebration!

Here’s how it went: Michael Hawley and Suki Golinsky, these two kids in an indie rock band, decided they’d try and make a film about…..being in a band. Kinda, anyway: the musical group in question can’t play. We’re not talking about Darby’s first gig here – Rhonda, played by Tara Jane O’Neill, is hit by her brother, played with great aplomb by none other than Ian Svenonious, the legendary Spiv of Nation of Ulysses and The Make*Up. Spiv’s in this band called the Guilloteens, see, and Rhonda and their friends bumrush the stage (yo!) and mess up the encore (be careful with that trampoline – my mom got me that for Christmas!). Rhonda then steals the van full of the Guilloteens’ gear, picks up her friends, and they drive all night, only to find themselves in Chattanooga with a stolen vehicle and a bunch of musical instruments. What to do? Book some shows!

I worried that Half-Cocked was going to be one of those films that only looks good in the light of nostalgia – I was into my Louisville pretty hard when I bought a VHS copy of the film in 1996, after all. I’m happy to report that the movie is still as charming and inviting as it was the first time around. Little to none of that charm is due to the all-star Louisville-and-friends ensemble. I’m pretty sure that I’d be a huge fan of the film even if pretty much all the members of the drool-worthy, probably-mentioned-too-many-times-already Rodan weren’t integral cast members. And have I mentioned that members of Rodan are prominently featured? They went on to be in June of 44, Shipping News, Retsin, Sonora Pine and Rachel’s, if you’re keeping score. As if that weren’t enough, Radiation features members of Come in the story of a flaky Italian booking agent. It’s a hell of a package from the couple that went on to make a highly-regarded film about the fracas surrounding Fortunate Son, the ill-fated GWB book.

If I weren’t grinning so hard you probably wouldn’t be able to count the rings so easily. Ah well. It’s worth it. SHARKS AND SAILORS! 

TURN IT ON AND TURN IT UP m.pulse

Souvenir’s Young America September Songs (Protagonist/The Perpetual Motion Machine)

A tragically beautiful release, September Songs continues to highlight Richmond trio SYA’s zeal and raw capacity for depth. Championed by a pronounced harmonica presence, layers of instrumentation sprawl across each other to create a cathartic, moving symphony of texture and prowess. The band maintains the darker, Western undertones that keep their sound fresh, and punctuate it with loads of ingenuity. The keys and other percussion act as the record’s cohesive thread, stringing with it complex rhythms, entrancing riffage and a delicate rolling twang that weaves through the sparkling melodies. Fragile and crushing alike, this remarkably developed effort resonates past its runtime. (MT)

La Piovra Self-Titled 12” (Youth Attack)

A transatlantic gem, Italian band La Piovra combines elements of surf and thrashy hardcore into a catchy and visually pleasing 12-inch. Although the energetic vocals are in Italian, the message is clear: keep on fuckin’ shit up. From the blistering first track (“L’Ultima Sigaretta”) to the sixth and final song (“Fait? Dens!”), guitars shred and rock nonstop over a continuous torrent of percussion, while maintaining an infectious swagger. The record’s aesthetic is as breathtaking as its content; a gold silk-screened octopus shimmers on side B, making for one hell of a look when spinning the 12-inch. Although the first pressing on gold vinyl is gone gone gone, some copies of the clear second pressing may still be available. (RH)

The Evens Get Evens (Dischord)

The second full-length from DC’s The Evens is easy listening at its most edifying. For powerhouse members Ian MacKaye and Amy Farina, this minimalist approach is new territory made possible by strong songwriting. Combining delicate vocal harmonies and skillful drum fills with warm, baritone guitar, The Evens create an impressively full sound without resorting to traditional tricks of increased speed or volume. More frenetic and aggressive than their first release, Get Evens is, lyrically, the product of election year disappointment. Often, it’s almost hard to hear the gravity through Farina’s sweet soprano. Haunting, beautiful and incisive, Get Evens is a gem. (SH)

Absentee Schmotime (Memphis Industries)

Rough guitars and bright horns, buoyant melodies and sad-sack lyrics, grumbling male vocals and pretty female backups: Absentee have made my favorite kind of record - the kind that contradicts itself. Singer Dan Michaelson combines smart turns of phrase with a wicked sense of humor on songs like, “We Should Never Have Children,” and “Something To Bang,” crooning with a voice somewhere between a deep moan and a mumble. Think if the “Mahna-Mahna” guy (not to be confused with the Menomena guy) learns to speak English. Coming with me on that one? Good. (MF)

Amy Winehouse Back to Black (Republic)

A sultry jazz singer on her first album, Britain’s Amy Winehouse has put on the guise of a retro soul singer for her sophomore release. In Back to Black, Winehouse puts forth a truly competent collection of recreated Motown-era tracks. The impeccable instrumentation of backup band the Dap-Kings is just as important to the album as a whole – so much so that their name ought to be affixed with an ampersand after Winehouse’s on the cover. Winehouse’s powerful bourbon-soaked vocal performance evokes the sound of past masters like Billie Holiday, making for a sonically rich 11-song LP. Plus, there’s a profound sense of schadenfreude in listening to a woman who admits to being “an ugly dickhead drunk,” complain about not wanting to brave the 12-steps (“Rehab”) and how hard it is to remain platonic with her already involved male friends, “in the evening, when [she’s] been drinking” (“Just Friends”). (MS)

Crime In Stereo The Troubled Stateside (Nitro)

Crime in Stereo hails from Long Island and posses the characterizing L.I. sound, as evinced by locals like The Back-Up Plan and reflective of influences like Lifetime and Dag Nasty. Merging traditional hardcore punk with soft edges, the third CIS release is the most melodic to date. In fact, the album altogether tests the limits that define and constrain hardcore. With sharp indictments of life in America – from disparities in income and opportunity to dead-end jobs and the disastrous War in Iraq – Kristian’s lyrics articulately embody the disappointment and frustration of growing up today in these “troubled states.” At the end of the day, where else could these boys come from but Levittown? (SH)

The Arcade Fire Neon Bible (Merge)

Since writing a 100-word review consisting solely of the word “awesome” repeated a hundred times is unprofessional, I’ll just say that the Arcade Fire’s sophomore effort is an amazing new record from indie’s biggest sensation in recent years. Although it seems incredible that Arcade Fire could keep up the standard set by 2004’s Funeral, the intricate melodies, sweet lyrics and poetic mood of their new album are truly fantastic. Perhaps it’s not quite the “religious experience” it’s been hailed as, but I am, however, going to strongly recommend Neon Bible to anyone who likes rock, indie or just chill, quality music. (RC)

Relics Demo 7” (Clean Plate)

Dizzying and crushing, and propelled forth at a lightning pace, Relics’ 7-inch demo spans four menacing tracks in less than eight minutes time. Fronted by vocalist Meghan Minior, the Western Massachusetts four-piece delivers brutal, yet almost graceful hardcore. Pulling elements from bands whose influence is etched into the very cornerstones of Relics’ compositions, the demo’s sonic intensity and song structure reflect much of the face of the current scene, but also creates a niche for Relics as new DIY pioneers. Minior’s driven screams radiate over pummeling instrumentation, which halts and grinds with the same fervor and vivacity as it moves. Practically seamless, the record is best played at a cacophonous roar. (MT)

The Dears Gang of Losers (Arts & Crafts)

MIXTAPEOLOGY SONGS FOR A MAKEOUT SESSION

The Dears is one of those bands that gets better with each listen, until you’re left wondering how you ever survived without its sprawling, layered instrumentation and passionate, unpolished vocals. The band’s newest release, Gang of Losers, is less complex than 2004’s No Cities Left, but still manages to retain the latter’s majestic, melodic sound. Musically, the album ranges from catchy piano ditties to repetitive, resonant choruses to sharp guitar refrains, while its lyrics are very personal, detailing Murray Lightburn’s fascination with ostracism. The Dears live up to their impeccable standards while still experimenting with instruments and sound. It’s perfect for anyone looking for a unique but accessible album. (AK)

Archer Prewitt – “Way of the Sun” Jill Scott – “Do You Remember” D’Angelo – “Left and Right” Prince – “Soft and Wet” Jeff Buckley – “Lover, You Should Have Come Over” (MS)

Bloc Party A Weekend In The City (Vice)

The feel of the new Bloc Party album can be summed up nicely by listening to “Kreuzberg.” The songs - sometimes more romantic, and sometimes creepy in a horror film-like way - are decidedly softer and slow than earlier Bloc Party endeavors. However, for those of you longing for more of those fast, hard party beats and ripping drum lines, you’ll certainly find them in doses on the new album, with songs such as “Hunting for Witches” and “The Prayer.” A drawback, though - with many of these new songs, you might have to wait several measures for the intensity to build. (ID) Apostle of Hustle – “Animal Fat” Handsome Boy Modeling School featuring Cat Power – “I’ve Been Thinking” Elbow – “Any Day Now” Slowdive – “Altogether” TV On The Radio – “Province” (AB)

Plastic Little She’s Mature (Tonearm)

It’s ironic that the subject of Plastic Little’s most recent album title is “mature,” because the band certainly isn’t. Lacking any pretense or axe to grind, these crude Philly-based rappers are straight-up fun, pumping out dance beats and ridiculous lyrics like, “This is the remix of my penis.” Covering The Cure and featuring guest spots by Ghostface Killah and Spank Rock, Plastic Little spends most of the album inadvertently making fun of other rappers by simply refusing to take himself seriously. (CB)

Al Green – “Let’s Stay Together” The Moldy Peaches – “Jorge Regula” The Beach Boys – “God Only Knows” The Cure – “Friday I’m In Love” The Magnetic Fields – “The Luckiest Guy on the Lower East Side” (DC)

Mixel Pixel Music For Plants (Kanine)

Music for Plants comprises ten enjoyable but unremarkable songs from a midlevel indie band. Nothing more, nothing less. Throughout, the band seems confused about its place in the pop versus noise spectrum, but instead of reconciling their contradictions they choose to ruin decent songs like “Black Van” with odd noises that cover up instead of complement their one true strength: melody. It’s all pretty decent, but it’s also pretty lifeless, stumbling half-rock, and the tracks that actually are interesting, like “Switchblade Sister,” often seem to succeed in spite of themselves. Mixel Pixel doesn’t really do anything other bands haven’t done better, but they aren’t that much worse either. (MF)

Explosions In The Sky – “Your Hand In Mine” Souvenir’s Young America – “Still Like The Hummingbird” The Notwist – “Neon Golden” The Album Leaf – “Another Day” Songs: Ohia – “Lioness” (MT)

Beirut

Lon Gisland (Ba Da Bing!)

MIXTAPEOLOGY RECORDS FOR A LONG DRIVE

One time, I let Zach Condon blow it all over my face. I am, of course, referring to the 19-year-old indie rock prodigy’s trumpet. After seeing him live and hearing the material that was not on the debut LP, Gulag Orkestar, I craved more, more, more! The five-track Lon Gisland EP delivers that much needed fix of Eastern European audio heroin with amazing tracks like the epic “Elephant Gun” and an entirely reworked version of “Scenic World,” which satiates the craving perfectly. This EP bears testament to Condon’s growth as a songwriter and composer. These aren’t B-sides; these are pure gold. (DC)

Rjd2 The Third Hand (Xl Recordings)

Sonic Youth – Daydream Nation Stars – Set Yourself on Fire The Raveonettes – Chain Gang of Love The Pixies – Doolittle The Stills – Logic Will Break Your Heart (AK)

Combining his production skills with ambient sampling to create a bizarre – but altogether listenable – set of tracks, experimental British hip-hop artist Rjd2 established himself as indefinable with his first two albums. However, the artist’s genre jumping transcends the line between interesting and confusing with his third album. On The Third Hand, an excess of indiepop elements, as well as an overkill of vocals and guitar instrumentation, detract from Rjd2’s signature style. What’s problematic about Rjd2’s transition – except for a handful of tracks like “Get It” and “Beyond” – is that it lacks the soul, the danceability and the inexplicable moodiness that made his first two albums so addictive. (CB) Cut Copy – Bright Like Neon Love Sparklehorse – It’s a Wonderful Life The Joggers – With a Cape and a Cane The Sea and Cake –The Biz East River Pipe – The Gasoline Age (MS)

Rx Bandits And The Battle Begun... (Mashdown Babylon)

The Rx Bandits’ fifth record release reveals the band’s most progressive sound to date. The rhythm is tight, the horn section is more distinct than on The Resignation, and, it’s even got a Bob Dylan reference. A live recording, the album sacrifices a bit of quality for a raw, genuine sound. The Bandits continue to define the structure of their music while still implementing complex rhythms and explosive breakdowns in their typical fashion. Battle is one album you can listen to straight through with very few skips and fast-forwards in between. And hey, don’t feel ashamed if you find yourself replaying the contagious a cappella introduction over and over before you even reach the second track. (ED)

The Appreciation Post Brighter Sides (Self-Released)

Remember when you really liked Weezer? When Pinkerton was as good as it got? Boston’s The Appreciation Post helps you get those days back. The Appreciation Post, geeky 20-somethings named for – yes, it’s true – message boards, retain the sunny melodies of Motion City Soundtrack that conjure up memories of high school. However, the incorporation of Moog lines gives their music a level of sophistication that elevates them above a potential audience of 15-year-olds. Brighter Sides isn’t terribly original but it doesn’t have to be – neither was The Blue Album, and look how big Weezer became. Let’s just hope that success doesn’t ruin The Appreciation Post, too. (SH)

The Velvet Undergound – The Velvet Underground & Nico Saves The Day – Through Being Cool Thursday – Full Collapse Elvis Costello – This Year’s Model Jawbreaker – 24 Hour Revenge Therapy (MT)

Neutral Milk Hotel – In The Aeroplane Over The Sea Sonic Youth – Daydream Nation Wu Tang Clan – Enter the 36 Chambers The Mountain Goats – Tallahassee Miles Davis – Bitches Brew (DC)

Swan Lake Beast Moans (Jagjaguwar)

Beast Moans is a fascinating burst from the Canadian weird-masters behind the bands Destroyer, Frog Eyes and Sunset Rubdown. Swan Lake, for the most part, avoids all traces of traditional pop/rock song structure, putting as much emphasis on the spaces between and behind the notes as on the notes themselves. The record is admittedly disorienting on first listen, but over time, landmarks appear in the reverb and the songs attach themselves to your memory center. You realize that it isn’t an empty space you’ve been hearing, but a million mirrors reflecting the songs back to you. There is nothing quite like it. (MF)

Panda Bear Person Pitch (Paw Tracks)

The third solo album from Panda Bear, one of the musical maniacs behind experimental rock troupe Animal Collective, is like biting into a juicy mango – but for your ears. For those expecting something typical of Animal Collective, fear not: Person Pitch is more akin to a mash-up between The Beach Boys and Liars (think Pet Sounds on acid). It is Americana refracted through a prism made of dark crystal. Besides its strikingly vast appeal, the Paw Tracks website proclaims, “ Person Pitch [will be] sitting alongside the great solo albums of Paul McCartney, George Michael, and Ghostface Killah.” Friends, Romans, pandas: truer words have never been spoken. (DC)

Busdriver Roadkill Overcoat (Epitaph/Ada)

With the production assistance of DJ Nobody and Boom-Bip, Regan Farquhar (Busdriver) has managed to hit “catchy” right on the head. Layering insanely fast, nearly incomprehensible rhymes over drum-and-bass loops, acoustic guitars, synths and melodic female vocals, Busdriver has finally made his rhythmic quirks and harsh voice play to his strengths. Standout tracks like “The Troglodyte Wins” and “Casting Agents and Cowgirls,” will make even skeptical listeners pump this album on repeat. (CB)

Explosions In The Sky All Of A Sudden, I Miss Everyone (Temporary Residence)

Temporary Residence strikes gold again with the release of post-rock super-humans EITS’s newest ethereal journey. The six-track beacon rings with the same airy center and resonant prolificness characteristic of the Texas-bred quartet’s back-catalogue. Anchored by its twinkling guitars and delicate movements, the release doesn’t offer too much distinction from its predecessors. However, tracks like “Catastrophe and the Cure,” on top of their expected ambient splendor, prove that All of a Sudden possesses some of the most impressive percussive showings of the band’s career. Certain slower moments in the sonic syntax drag slightly, but the formula works, regardless. This is one band that has no problem pushing barriers. (MT)

Anchor & Braille Demo 7” (Woodwater/Spartan)

Anberlin vocalist Stephen Christian takes unabashed sincerity to a fresh level. Christian’s crooning, harmonious at the core, is enveloped in a vinegary vale that gives the vocals an edge on top of their soaring, melodic dynamic. The combination of soft instrumentation, underscored by vibrant piano lines, provides a lush foundation for Christian’s vocals. The 7-inch begs questions throughout: “Is this heaven or is this hell?” on side A’s “Sound Asleep” and “How could I let you leave my side?” on side B’s “Wedding/Funeral,” which get at the essence of the record’s quixotic, begging undertones. Christian consistently weaves intelligence into the lyrical quilt. The 7-inch is an excellent precursor to whatever is next. (MT)

John Vanderslice Pixel Revolt (Barsuck)

With lively piano notes, emotional strings, an array of electronic sounds and a voice tinged with dejection, John Vanderslice subtly weaves a musical tapestry, commenting on our times and country in Pixel Revolt. A cluster of characters pop in and out of songs about love, war, separation and escape. His lyrics are sophisticated and unobtrusive, spread throughout mellow electro-pop melodies and piano/cello interspersions. Vanderslice, ever a non sequitur, records all of his music using analog instruments and equipment, giving his songs a rich, unconventional sound. Perfect for late-night philosophy discussions or early-morning walks, Pixel Revolt can be enjoyed by anyone seeking beauty in unexpected places. (AK)

Plumerai Res Cognitans (Silber)

Plumerai is a Boston-based post-pop band that specializes in “shoe-gazing guitars, tight drumming… everything you could want from pop-oriented music,” according to their press release. A scant four songs comprise Res Cognitans, the band’s latest release. The album begins with “Avernal,” which sounds as if it were 80s dream pop laden with French house vocals and drums. “Linear” and “Illuminata” are more upbeat rock songs that seem to update the shoegaze to which this band obviously looks for guidance. “En Vole,” the clincher, is a poppy, yet dark number. Both violin and piano work to give it an almost cinematic feel. Res Cognitans is an enjoyable mix of energetic guitars, lethargic vocals, and relaxing instrumental passages - a mix which makes the band seem like a group searching (successfully) for their artistic and acoustic niche. (RC)

Pitbull El Mariel (TVT)

On El Mariel, Pitbull flips “Rock Lobster” and absolutely kills it. He raps with so much joy and charisma that he can make me love a song that goes “Jiggle jiggle/call your girl Bojangles.” Pitbull is so trill that I actually bought Mr. 305: The Pitbull Story (complete with a Lil Jon cameo). In addition to that, Pitbull is the only rapper I can think of who is actually a decent role model. Instead of glorifying the violence and misogyny so prevalent in the work of his peers, he mourns a friend lost to violence on “Blood is Thicker Than Water” and, in general, is polite and respectful to the women in his songs. Pitbull: good guy, excellent rapper. Go buy El Mariel. Your parties will thank you. (MF)

Tulsa Drone Songs From A Mean Season (The Perpetual Motion Machine)

The second full-length from Richmond, Va.’s Tulsa Drone is as vivid as a fine painting. On a canvas of textured post-rock, the band shades its instrumental landscapes with lush, Isis-like tones that are inextricably tinted with a subtle shade of Western folk. The record’s most distinctive feature is its focus on Peter Neff’s bass-hammered dulcimer. Its delightful twang puts the record somewhere between a Midwestern folksong and a baroque movement, all the while creating an unmistakable drone (no pun intended) that animates the pieces. Mean Season’s narrative quality causes tracks like “Risk Guitar” to leave you feeling almost unsettled at points. Some of the songs, such as “The Plague,” beg slightly for a little forward movement. Overall, though, Mean Season is a strong display of musicianship and sonic illustration. (MT)

The Spinto Band Nice and Nicely Done (Bar/None)

Titles that accurately reflect the albums they accompany are rare enough, but ones that encapsulate an album are even rarer. Nice and Nicely Done is a bouncy, energetic album that is, at risk of sounding trite, quite nice and very nicely done. Although the elements of any given song, like the kazoo fanfare at the start of “Brown Boxes,” are goofy by themselves, they are executed with such precision and enthusiasm that they add up into ten incredibly enjoyable bits of pop and one amazing slice of gold: “Oh Mandy.” Every single element of the song comes together perfectly, from the mandolin to the drums to the flying-saucer synth, and the melody is so bright that it makes lyrics like, “Alright, a gnome in the backyard/I

put him right on the X mark” sound brilliant. Highly recommended. (MF)

Jeffery & Jack Lewis City & Eastern Songs (Rough Trade)

Jeffrey Lewis is one of those guys; you’re either going to love his sound or hate it. His anti-folk narratives tell great stories over fingerpicking acoustic guitar songs. His quips reveal an endearing, self-deprecating sense of humor as his songs document life as a neurotic, awkward human being, well, human. Observe “Anxiety Attack” and its storytelling of Jeffrey’s adrenaline-fueled emotional state for a conspicuous example. In “Williamsburg Will Oldham Horror,” he mocks Brooklyn’s uptight hipster community while also mocking himself. However clever his stab at Bonnie ‘Prince’ Billy, he does not fill expectations created by “I Saw a Hippie Girl on Eighth Avenue” or his amazing cover of “Part Time Punks.” This album needs more great songs instead of just good ones - something it doesn’t deliver. (SH)

Das Oath Self-Titled 11” (Youth Attack/Coalition)

In roughly ten minutes, Das Oath spoil your soft-bellied ears with an all-you-can-eat buffet of home cooked feedback and thrash. Completely but comfortably stuffed, you slack in your cushioned bench seat and loosen your pants, and Mark McCoy’s throaty yell offers you a tray of decadent and glistening sweetmeats. Your greasy fingers gravitate towards the chocolate cake, but then you suddenly get punched in the gut and thrown out into the muddy street, only to come back the next meal asking for more. Featuring tempo variations, stabbing bass and guitar riffs, pummeling drums and notable guests/genre pioneers such as Joey Karam, Sal Gallegos and Will Killingsworth, Das Oath craft at the peak and end of their career what is possibly the best album of the year and one of the best hardcore albums of all time. Plus, how many 11-inch records do you own, anyway? (RH)

editors’picks SOUNDTRACK TO A SCHOOL YEAR

To round out this year’s final issue, we asked the people who do the dirty work behind the scenes at Melisma to pick a record that stayed in rotation all school year. This is the good stuff. Trust us.

Meredith Turitseredith Turits Editor-In-Chief Black Eyes – Self-Titled (Dischord) Sure, this record is a good four years young, but is there anything on Dischord that isn’t timeless? “Deformative” latched onto my turntable and iPod like a giant squid’s tentacles and didn’t let go all year. This is manic chaos at its most titillating.

Martin Sattellartin Sattell Senior Editor/Business Manager The Foreign Exchange - Connected (Instrumentals) (BBE) Yeah, The Foreign Exchange’s rapping is stellar, but Connected would hardly be a specter of itself without Nicolay’s beatmaking genius. This instrumental version of the 2004 LP allows for the true appreciation of the music behind the lyrics.

Amanda Browermanda Brower Submissions Editor TV On The Radio - Return to Cookie Mountain (Interscope) TV on the Radio’s Return to Cookie Mountain takes my record-of-the-year cake; it’s beautiful, robust and each time I listen to it, I feel like every tendon in my body is being stretched and strummed - a totally unique sensation.

Dan Caseyan Casey Assistant Submissions Editor Man Man - Six Demon Bag (Ace Fu) I’m kind of new to this whole college thing. There’s way too much going on all the time and I don’t know how to deal with it all at once. Along comes Man Man’s Six Demon Bag and it manages to conveniently package my greatest loves - moustaches, cacophony and men playing two saxophones at the same time - into one of the best albums I’ve heard all year.

Amanda Hartmanda Hart Layout Director backandtotheleft - Obsolete (Metropolis) Rather unknown (but incredible!) EBM (electronic body music) album. Keeps you moving and also works well as driving music. Not a bad track on the album, but don’t miss “Setting Sun” and “False Alarm” in particular.

Molly Lorenzoolly Lorenzo Art Director

The Everyday Visuals - Things Will Look Up (Fiberline) Just like your favorite indie pop band: obnoxiously good hooks, amazing production and heart-melting vocals - and they’re right across the Mystic River. Definitely a reason to give local music that second chance. And after a show, there won’t be any meaty bodyguards or physical barriers in your way to meet the five guys.

Michelle Hotchbergichelle Hotchberg Contributing Editor Girl Talk - Night Ripper (Illegal Art) I’ve listened to this album so many times that a third of its songs have made it into my iTunes’ Top 25 Most Played. Plus, what other album is appropriate for a show at the Middle East, feigning athleticism at the gym and late-night dance parties?