Crystal Castles
Self-titled
Last Gang Records

You may know Crystal Castles by their packed live shows, which blend rave, old school videogame sound effects, and a disco backbeat. Crystal Castles’ self titled 2008 release, the duo’s first on Last Gang Records, captures the essence of He-Man and Donkey Kong Jr. throwing fireballs at each other in Bowser Castle. Mixing Mario-esque musical samples and a microphone, Crystal Castles displays the talent of Toronto team Ethan Fawn and Alice Glass. Glass’ vocals draw from a diverse number of styles including punk, hip-hop, and noise, while Fawn’s keyboard sounds like it has an arcade machine chip inside it. Named after the fortress in the sky in which She-Ra, The Princess of Power dwells, Crystal Castles conjures a world of 8-bit videogames, eighties synth-pop, and sword-wielding cartoon characters with muscular figures wearing only their underwear. The only problem I have with the lyrics is that they are largely unintelligible, and the only resemblance to a theme is hinted in each song’s title. Still, the vocals remain beautiful, and the album packs an abstract intensity only matched by the combo of He-Man and She-Ra themselves in a tag team battle against the Mario Brothers and Donkey Kong. – Jonathan Mendick, Mannerist Zine

Ghost of the Russian Empire
The Mammoth
Thirty Ghosts Records

Ghost of the Russian Empire is a quartet based in Austin Texas, and their album is the first Apocalyptic Surf Rock album ever. In other words, their debut full-length album The Mammoth sounds experimental, complex, haunting, doom inducing, and yet somehow remains hopeful and energetic. More ambient than rocking, most of the tracks evoke something natural, like the sea, and paint a primordial vastness with reverberated, barely audible and at times completely unintelligible lyrics. From beginning to end, the infamous grey sky over St. Petersburg Square slowly drifts its way across the earth toward the end of the world. It envelops everything in its wake, looms amid cities, along beaches, and over rainforests. A follow up to last year’s With Fiercest Demolition EP, The Mammoth sometimes becomes so ambient you forget it’s on, then it haunts you with drone-ish drumming and again gets your attention. Each track holds natural layers of darkness as exemplified in “The White Sea”, my favorite track. “We rose from the dirt/got off of all fours” and now we’re “just chasing at nothing” lead singer Brandon Whitten explains. Only a hollow echo remains from the animal life that was once abundant on earth – like the mammoth. – Jonathan Mendick, Mannerist Zine.

Caterpillar Tracks
Scrape the Summer
Phratry Records

Caterpillar Tracks has followed up their 2004 self-titled album with an EP, Scrape the Summer. Though it’s a short five-song CD, it packs an emotional punch. A split release on both Phratry Records and Bacteria Lounge, guitarist Dave Cupp’s own record label, Scrape displays noise and rock. Four of five songs are rock; one of five is noise. The four rock tracks display layered guitars, screaming vocals, solid thumping bass, and adept drumming. My problem with the singing is that Shane Johnson ruins his otherwise talented voice by screaming, and in doing so, renders the lyrics indecipherable. Known to be a socially conscious band, their best statement is their lyric-less-ambient-noise-drum-n-bass epic, and my favorite on the album, “Midnight at the Taser Ground”. Also the last track, “Midnight” leaves you with a hopeful feeling, because after the rhythm-less first five minutes with simulated grenade explosions and other destruction, a triumphant, powerful lead guitar line floats lingeringly above the fray, signaling that you have survived a track written by some disturbed individuals. Only one minute later, the guitar drops out again. You are left with a death march. Then the snare drum becomes a flickering heartbeat. Then it dies. Thank goodness. – Jonathan Mendick, Mannerist Zine

The Pharmacy
Choose Yr Own Adventure
Don’t Stop Believin’

The Pharmacy began in 2002 when Brendhan Bowers and Scott Yoder got together to play garage punk. Since their Vashon Island (surrounded by the Puget Sound) roots, their band has added an array of styles, members, and instruments. Their second full-length album, Choose Yr Own Adventure contains harpsichord, viola, violin, cello, drums, guitar, horns. Its fifth track “Warm and Untorn”, opening with a harpsichord solo, moving to a guitar solo, to a punk scrub at the end of the track, displays the versatility of the band’s talents. Or perhaps my favorite is the closing track “Adieu Adieu”, highlighting the new keyboard player Stefan Rubicz, as well as beautiful violin doubling the guitar line. Its refrain “I do I do/ bid you adieu”, is a pop-laden rich rhyme where “I do” and its homonym “adieu” close the record on a friendly note. Unfortunately the rest of the album, released on the Don’t Stop Believin’ label, lacks a lengthy harpsichord or violin part. In fact, only one thing keeps their album from being a weak collection of pop tunes – their unusual instrumentation. It makes you want to scream, “Give me more harpsichord!” – Jonathan Mendick, Mannerist Zine

Watson Twins
Fire Songs
Vanguard Records

You probably know Jenny Lewis (Rilo Kiley) and the Watson Twins’ album Rabbit Fur Coat. Critically acclaimed by many, the 2005 album found itself on the reputable top ten list of NPR’s All Things Considered. Continuing to ride a wave to success in 2006, the Twins’ self released EP Southern Manners propelled them further, the song “Time of My Life” being featured on ABC’s popular show Grey’s Anatomy. After extensive touring, the identical twins signed and recorded with the historic Vanguard Records, famous for holding such folk, country blues, and jazz acts as Joan Baez, Big Mama Thornton, as well as Buddy Guy and Louis Armstrong. Containing beautifully soothing qualities, Fire Songs, the Twins’ upcoming full-length album, holds more than enough softness to remedy anyone’s aggression problem. Though many are bittersweet love songs, they display mature simple chord progression filled with haunting and affective harmony. Each airy layer of clean acoustic guitar sounds like an experienced studio musician’s sad strumming. My favorite song “Old Ways”, a painful sleepy ballad immediately paints a picture of unrequited love with its poetic, juxtaposed first lines, “ You’ve got angel eyes/ but you’ve got devil’s blood”. It’s certain to be a classic. – Jonathan Mendick, Mannerist Zine

Mixel Pixel
Let’s Be Friends
Mental Monkey

Mixel Pixel has enjoyed success since ten years ago when they formed in Delaware. After four albums, the band has come across a proven formula for greatness. Blending hollow distant vocals from both Rob Corradetti and Kaia Wong, Atari-inspired sound effects and samples, electronic beats, bluesy organ, and hollow echoing guitar, Let’s Be Friends casts a soft vibe into your ears. Like a sun emitting its morning glow, the album immediately initiates your friendship. Rob, visual artist and founding member of the band, drew the artwork on the cover depicting subjects as diverse as the album’s lyrics and sonic utterances. Sure. It deals with cats, sweaters, death, drugs, fashion, lightning, loneliness, New York City, rebirth, and sex. But the success of the album lies in the lover/friend dilemma. Released on Mental Monkey records, Let’s Be Friends will either be an album to fall in love with instantly, or merely one to comfort you in times of loneliness. On “Distant Station”, the last track and also my favorite, lyrics about heartbreak, warm guitar and mellow keyboard exude warmness. Kaia explains “my love for you is like a secret potion”, proving the album would like to love you. Please do the same. – Jonathan Mendick, Mannerist Zine

Monotonix
Body Language
Drag City

In spite of a grueling tour schedule last year, which on average included more than a show every other day, Monotonix persisted and recently recorded an incendiary EP Body Language. The title track, also my favorite, proclaims the band’s manifesto, “my body language says I’m not afraid”. More pure muscle than careful masterpiece, these six songs capture Yonatan Gat’s amateurish guitar sound, Ami Shalev’s spirited vocals, and a knack for primal minimalist drumming that would make punk purists proud. Before now, the only way to hear Monotonix was if you were lucky (or crazy) enough to attend one of their gritty live shows. Amassing a reputation for making Iggy Pop-esque interactions with the crowd, they’ve moved beyond merely smearing peanut butter on themselves. Instead they spew entire beer bottles into your face. Sometimes at shows, while on fire (literally) lead singer Ami chases after you. You become a greater part of the show when the trio, now signed to the Chicago based Drag City label, performs another infamous move: the drummer, kit included, crowd surfs while continuing to pound the beat. Originally hailing from Tel Aviv, Israel, Monotonix are currently on a massive tour in the U.S. – Jonathan Mendick, Mannerist Zine