Transitional
Nothing Real Nothing Absent
Conspiracy Records

People who are not mentally stable will like this album. But since that includes all of us, I would recommend that everyone listen to Nothing Real Nothing Absent. A collaboration between Kevin Laska and Dave Cochrane, Transitional’s debut album is a post rock apocalypse. Though there are some elements of traditional instruments, most of the music is electronic. Some of the songs sound like tanks rolling over cities, while others sound like robots colliding with the ocean. Perhaps it would be best not to talk about the instrumentation, because it sounds like it was mostly done on computer. Many of the sounds are not “Musique concrete”, that is, real world sounds. They are mostly the result of a strange and troubled person who decided to mess with a computer. My favorite song is “fractured” which begins with a slow, windy rumble, and crescendos into a terrible industrial feedback cacophony. For someone who has seen it, this track might bring flashbacks of Koyaanisqatsi: man destroying earth with machine, alienating all life, and extinguishing the world as we know it. Though there are very few words, the music expresses a profound message through its dissidence. – Jonathan Mendick, Mannerist Zine

Rahim
Laughter
Pretty Activity Records

Rahim are four friends from Long Island, New York. They sound like a garage rock band that plays clubs in a hipster bar or club somewhere downtown. Laughter begins with some mature instrumentals, which are slightly apocalyptic. Instrumentation includes drums, guitar, horns, and keyboard, creating a subtle platform for awkward singing, giving the album angst filled twinges. Vocals by Chris Bordeaux and Christian Little sound like apprehensive, depressed confessions. Their voices are neither soothing, remarkably brash, nor innovative. My favorite track is “Dark Harbor” with its ominous keyboards, sad vocals, and brooding trumpet solo. Indie Rock fans may give this album much more credit than it deserves since it holds everything an Indie Rock fan needs – four white musicians playing weird-sounding mellow rock. But like a piece of plain bread without the crust, this album has too much of the same consistency throughout for the album to be interesting or even tasteful. About three tracks out of the eleven are interesting, but the rest are extremely boring filler. However, the band seems to have some potential, and the three or four experimental songs here will help Rahim approach a better album next time around. – Jonathan Mendick, Mannerist Zine

The Mighty Underdogs
Droppin’ Science Fiction
Definitive Jux

This album begins with an annoying woman reading, “This is the Mighty Underdogs’ Droppin’ Science Fiction. October 14th on Def. Jux”. Because this message repeats every thirty seconds, I got annoyed after a few tracks and gave up. Luckily I found myself copy because the album (the store version uninterrupted by some Definitive Jux Nazi) is wonderful. For those who don’t know, The Mighty Underdogs are a Northern California hip hop “superband” which includes MCs Gift of Gab from Blackalicous, Lateef the Truth Speaker of Latryx and producer Headnodic from Crown City Rockers. From track one, the album flows at a breakneck pace, with both MCs rhyming tag team style. Then in the middle section, there are guests on number of songs, some of which are my favorite on the whole album. These include appearances by MF DooM, Julian and Damian Marley, and Lyrics Born (another NorCal hip hop group), among others. One of the most impressive qualities of the album is its production. Each beat is incredibly simple and melodic, with either a jazzy acoustic guitar or piano as the only compliment to the standard rhythm section of bass and drums. Sprinkled throughout are tasteful break-beats especially on “Aye”. –Jonathan Mendick, Mannerist Zine

When Dinosaurs Ruled The Earth
Not Noiice
Chalk Circle

When Dinosaurs Ruled The Earth have an awesome name. But their singing is less than awesome. A seven-piece band becomes a disorganized chaotic wall of noise throughout most of their debut album. Let me clarify. All the musicians are great, but the two singers are hacks. Perhaps it’s the sound of dinosaurs they both channel when they “sing” over music. But to me it sounds like whatever they have to say is not important enough to enunciate, because not a single word of the band’s lyrics is intelligible. A few tracks like “Hairvest” and “It’s Casual” have syncopated bass slaps which combine with a danceable backbeat and droning guitars which groove well together. On most other songs, however, droning guitars and screaming dominates. One exception is the instrumental “Big Fuck Party” which sounds like a parody of a porn soundtrack. Nevertheless, all you fans of Noise and Drone rejoice! This album has lots of droning, and noise – just like every other noise and drone album. Who knows? I may end up liking it. Maybe I’m old fashioned, and this stuff is the new Punk – difficult tolerate to for the uninitiated, but sublime to the seasoned listener. – Jonathan Mendick, Mannerist Zine

Brothers and Sisters
Fortunately
The Calla Lily Company

Brothers and Sisters are led by rocking siblings Lily and Will Courtney. One lyric from their album’s title track sums up their philosophy: “Surround myself with friends…because misery loves company”. You may have heard them jam at SXSW, or on the road with friends like Spoon and Jeff Tweedy. Their latest record Fortunately expresses a distinctive country rock sound that is far from bland or hokey. In fact it’s as experimental as Wilco’s earlier stuff, while still being deeply rooted in country and pop. Ray Jackson’s pedal steel guitar weeps along with Will Courney’s Neil Young-ish, clean-cut folk voice. Lily Courtney adds another dimension to the vocals, sometimes taking lead, sometimes adding tasteful harmony. They evoke California sunshine on some songs while reminding us of the Austin Indie scene at others. During the song “ainrofilac” (California backward) a backwards steel guitar track adds a haunting riff. Ending the record is a sweeping wind of sound that causes a cathartic reaction, sending you into another world entirely. They’ve got a distinctly modern American sound, and I would expect them to have a bright future in music, if this album is anything to judge them by. – Jonathan Mendick, Mannerist Zine

Jacksonknife
You Don’t Know What You’re Talking About EP

Jacksonknife is a quintet from New York City. Their independently released EP is perhaps the catchiest pop record ever. Its shimmering perfect production value speaks to the common person’s soul, but its unique innovation will also satisfy the creative uber-indie critic. It has all the old elements of the definitive American pop record (when vinyl was the popular media): it is twenty minutes total; all the songs are around or less than 4 minutes; each song has a chord progression including verses, choruses, and bridges; there are elements of both country and rock; there is at least one love song; also, each song would be a suitable single for modern radio. But of course, jacksonknife doesn’t have a record label, and they aren’t even popular on the radio – yet. Consisting of a bass player, drummer, guitarist/keyboard extraordinaire, the band’s sound is highlighted most by the subtle violin and the singer. Band founder Jeremy Kirkland’s vocals and lyrics are carefully bluesy and folky at the same time, cutting into your desperate soul. I would recommend having a listen or two of this album. Caution: jacksonknife is highly addicting. – Jonathan Mendick, Mannerist Zine

Shaya
Fallen Awake
Interdependent Media

Interdependent Media teems with hip-hop talent including acts as diverse as K’naan, J*Davey and Tanya Morgan; now, Shaya (pronounced like actor Shia LeBeouf). Shaya’s debut Fallen Awake shares the rebellious struggle of bebop, rock and punk. He, his mother and sisters were physically abused. Shaya also dealt with foster homes, addiction, and family turmoil. This album is a serious reflection on his difficult life. On my favorite track, “proud”, Shaya raps to his family “Father on my own/each one, I teach some/failed marriage twice/two daughers, one son… I dedicate this song to my family/gonna make you proud somehow.” Not only does it pay homage to the extended family that raised him, but the song also addresses his children. Named after a line in Blackalicious’ song “Beyonder”, Shaya means “worthy/deserving” in Arabic. Still there are a few incongruities in the album. Though most of it is “thinking man’s music”, one pseudo-Snoop Dogg song called “Take A Ride” almost contradicts what he says in the album’s intro, a promise he “stopped smoking and drinking”, and that you need to “use your brain”. About an all-night binge of doin’ drugs and screwin’ bitches, it could either be satire or memoir – hopefully parody. –Jonathan Mendick, Mannerist Zine

The Drift
Memory Drawings
Temporary Residence

The Drift’s Memory Drawings recall the spirit of 1969. Part Miles Davis’ fusion Jazz recording Bitches Brew, part Led Zeppelin II, Memory Drawings combines funky jazz with album-oriented rock. The San Francisco four-piece consisting of Rich Douthit, Danny Grody, Jeff Jacobs and Safa Shokrai possesses a maturity beyond their three years playing together. This is a result of each band member’s numerous side projects, the one which you are most likely to know being Grody’s other band Tarentel. My favorite song on the album is the ballad “Lands End”, with a flange-y guitar and sad trumpet playing. Eventually the music stops, leading to a breakdown of water falling and a dog barking. When the guitar comes back in, it does not overpower its solo, but instead shares the duty of main soloist with the trumpet. It is this balance of trumpet and guitar that gives the band its unique sound of rock-influenced jazz, or perhaps jazz-influenced rock. The echoing, reverb, and other studio mixing techniques add an even more complex element to the music, making it sound professional and analog like late sixties recordings. Overall, this is a great album for relaxation on a rainy day. – Jonathan Mendick, Mannerist Zine

J’Davey
The Beauty In Distortion/Land of the Lost EP
Interdependent Media

You may have heard of J*Davey from their collaboration with The Roots on the album Game Theory. Subsequent production by Amir ?uestlove Thompson, The Roots’ drummer, has propelled the band to new heights. One part female vocalist Jack Davey, and one part male musician extraordinaire Brook D’Leau, J*Davey is a confusing androgynous amalgam of audio. Add the fact that Jack Davey has a Mohawk and you already know that the band is bold. But you merely need to dive in and listen to learn that. The Beauty In Distortion/Land of the Lost EP is a double disc where J*Davey explores a large sonic landscape. Covering grounds everywhere between Electronica and Soul, the band is also not unlikely to be categorized as hip-hop or rock. More importantly J*Davey explores new ground on their Beauty demo, while rekindling memories of older styles in their EP. “No More”, a track off the Beauty record is a sexy love song where Jack offers her complete submission. Over the funky beat she claims “I don’t even care no more/ you can have whatever you want/ You can take me/ and you can do whatever you want.” This double disc is a taste of something wonderful. –Jonathan Mendick, Mannerist Zine

Tanya Morgan
The Bridge EP
Interdependent Media

Tanya Morgan is not a southern soul singer. She is in fact a trio of three emcees, together comprising a hip-hop group based partly in Cincinnati and Brooklyn. You probably have heard their impressive first album Monlighting, which received critical acclaim from The Source and XXL magazines, or their mixtape Sunlighting, available as a free download from Tanyamorgan.com. The Bridge EP, out June 17th joins two other 2008 releases for the group including Tanya Morgan is a Rap Group, a mixtape featuring DJ soul, and Brooklynati, their next LP. A metaphorical bridge towards their next release, The Bridge contains a diverse mixture of old school beats, unusual rhymes, and a taste of a laid back life. My favorite track is the last track “How Low”. Its fast paced beat is like an eighties break beat, and the three emcees flow quickly over the top. The third verse is the best: “Mom totally likes my band/and I’m trying hard to give a damn/but, uggh, I can’t”. It’s that swagger and talent that makes the EP great and has earned them a spot on the 45-date Freshly Dipped Tour with underground legends Heiroglyphics and Blue Scholars this summer. – Jonathan Mendick, Mannerist Zine