Some bands are trying to get a jump on the early September push that coincides with school's return to session by releasing their stuff in mid-to-late August. Let's seek out the brave ...

Campaign for Real Time - "Is Anybody Listening"
C4RT sent us a home-burned disc of new songs, not sure if these are demos or a preview. The trademarked industrial / new wave / rock / hip-hop meld is not apparent in this bunch of tunes, instead they mine a sprawling 80’s new wave meets rock melding of bands like U2 or INXS. It’s definitely less LRC friendly and therefore less C4RT to my ears. While I’m not complaining about the quality of this song it does not possess that unique C4RT sound.

Severed Heads - "Petrol"
Australia’s offering to the industrial movement gets their own 2CD retrospective on LTM, and it’s a well-deserved tribute. They often get missed in the midst of more mentioned bands like Front 242 and Front Line Assembly, perhaps due to their pop orientation or 2nd tier status at the time. In my mind they had many winning songs just as deserving of "Headhunter" status. Some of their softer techniques many not have rattled the subwoofers as hard but certainly inspired many a dancefloor exploration. Played a shorter song on 8/9/07

New Young Pony Club - "Get Lucky"
Their ep from earlier this year featured an addictive leadoff track "Ice Cream" which certainly inspired anticipation on my part for the full-length. While there are some similar moments here, it largely comes off as a Delta 5 post-punk inspired dance pop that cleans up into a far too friendly medium range. The deadpan female vocals eventually grate underneath the repetitive vocals exposing the playbook as being thinner than expected. Spun on 8/9/07.

Department of Eagles - "Noam Chomsky Spring Break 2002"
These cut-and-paste sonic collages fleshed out with organic instruments are as unpredictable as they are enjoyable. Inspiration seems to come from all corners of the musical map from jazz to funk to electronic dance yet each genre exists comfortably; the songs do not bend under the weight of multiple masters. This album could be a real grower. Played a different song on 8/16/07 as there are more than a handful of quality choices.

Caribou - "Eli"
Is this really the same band as Manitoba? The enticing electronic element has largely been removed from this new effort, and I can’t say the more traditional band result is very exciting. I guess they’re aiming for 3-minute Mogwai moments here but the record feels very underdeveloped. Just when this particular retro-harmonizing tune starts to show signs of liftoff it simply stops.

New Buffalo - "Emotional Champ"
One of the few songs from this new piano-and-female-vox effort that takes off, thanks largely to the reduced role of the vocalist. She simply does not have the breathy ability to carry a song on her own yet is far too often required to do so, leading to multiple fast-forward moments. The production helps her out here as well as the limited range required by the song. Played on 8/16/07.

Nina Nastasia & Jim White - "Odd Said The Doe"
Contrast the weaker moments of the previous record with anything Nina has ever recorded and the choice is clear. How Jim White gets 2nd billing for showing up on drums baffles me, but perhaps the name recognition will help Nina earn some new admirers. Otherwise this is lighter territory for Nina, folkier in tone than her previous records, but at least it doesn’t stray into faux-blues territory. Aired this on 8/16/07.

Amandine - "Better Soil"
A warmly recorded roots album with plenty of sandpaper used to smooth away the grit ... as is the Swedish way. Meaning the production is sumptuous and note-perfect, with vocals sometimes barely distinguishable as a lilting instrument. As with the previous Amandine album there were only a couple of tunes I found exciting though those few are worthy of repeat performances. Played on 8/16/07.

David Dondero - "You Don’t Love Anyone"
David has a tendency to quaver his vocals slightly near the end of each line or held syllable, which quite frankly pegs my annoying-meter. But there’s enough charm in the simple rattling drums and spiderweb guitar that this track was reserved in case I ever need some rootsy filler.

Amp - "Melatonin Red"
We received (or maybe purchased?) a 3 CD Amp box set spanning their career. This tune is an early one, mixing the glossy ambient guitar twiddling of a band like Soul Whirling Somewhere with barely-there vocals drifting in and out of the mix. Slot this one in the overly pretty acoustic end of the shoegazer market, with some low end distortion randomly thrown in for flavour.

Plane - "I See Love In The Future"
Not every band that tries to replicate the sound of UK guitar pop of the mid-80’s gets played on my show, I swear. Still, Plane proves that even the most vaguely competent followers of that genre will get consideration. The majority of songs on this disc eschew production for flat vocals (vaguely NZ in style), cheap keyboards and some lovely low/high dual guitar strumming. This one keeps it together the best, which I guess is why it’s the title track.

Dave Derby - "Beaten Down"
Former lead of the Dambuilders offers another solo album with a myriad of local guest stars and a deficit of interesting songs. Of course there are one or two tightly constructed confections which carry their energy from stem to stern but the majority meander in some soft rock purgatory. This one is vaguely T. Rexish in its mid-tempo construction and the constant presence of multiple backup singers.

Pash - "ABCD"
The lead female singer’s overly expressive attempts at vocalization made it very difficult to find one track that sublimated her octave-reaching instincts enough to play it. After further listening, perhaps I made a mistake in airing this one on 8/16/07. Thought it had some Velocity Girl-type charm, and while the guitars definitely work her sub-Sarah Shannon style just grates.

Bald Eagle - "Rodents of Unusual Size"
Based on the title this is an obvious tip of the hat to the Canadian instrumental band that gave Kids in the Hall its title theme. However, the presence of a vocally challenged male singer distracts from the overall effect. There isn’t much else like this on the full length, which is a messy rock effort. This one at least doesn’t sound like it’s going to fall apart at any point during the song.

Portugal The Man - "My Mind"
Another odd duck on an album full of stoner-influenced pop ... can’t call it rock because their guitars do not aspire to Kyuss-like levels of amp-bursting power. This particular song is a departure into Blonde Redhead territory, with tight staccato guitars straight out of "Dream On" and even tighter rhythmic control on the lockstep tempo mated with dueling vocalists. Played it on 8/16/07, nothing else on this disc feels remotely similar.

Foreign Born - "In The Shape"
One of the more promising entries into the new rack last week, I found myself choosing between at least half of the songs for airplay consideration. Eventually I picked this shapeless construction, which considering all its charms is simply some soaring vocals in the chorus, a well-applied basecoat of keyboards and some layered elements as the song progresses, including a directionless guitar solo that doesn’t know where to stop.

Empire Dogs - "Everywhere"
This band have a song that’s used in a Chevy commercial, it apes Radio 4 shamelessly. This song’s casually constructed male/female rock takes up a vaguely Arctic Monkey style. They do polish it a bit but still the elements of a rambling vocal style and incessantly unfocused guitar accompaniment fly front and center. I’m thinking this one’s not worthy of further consideration.

The Golden Dogs - "Run Outta Love"
Perhaps Jon made the better pick on 8/10/07 with the song about the construction worker, at the time I thought it was underwritten. Perhaps that’s where their charm really lies. Played this selection the day before. Still this song has a very mid-70s feel due to the horns in the solo. The rapid fire female vocals in the chorus are seriously addictive, the laconic male vocals during the verse are not. Their sound is purely mid-90s jangle on speed.

Pseudosix - "Treacherous Ways"
Generally as a rule a band must impress within the first four songs to give me the incentive to progress futher, otherwise the disc is pulled from consideration. Pseudosix is an example of a band that displays barely enough potential to keep me moving onto songs five and six before I begrudgingly stuck with #7. The vocalist has a lazy late VU Lou Reed style with more nasal execution, and the backing is similarly crisp in its production. A weaker Luna record would nevertheless outpace this effort.

Lewis and Clarke - "Crimson Carpets"
The two most appealing songs on this well-constructed pop album clock in at 8 and 10 minutes, severely reducing their airplay potential. Still I’ll probably find the time for this restrained and spacious tune. The lead singer has a slightly melancholy tone, accentuated by occasional strings but mostly carried by a very precise acoustic guitar and some brushed drums. While certainly slow it’s not at all dark or oppressive, instead there’s a slowly unfurling beauty which earns attention.

Josh Rouse - "Hollywood Bass Player"
The fact that Nettwerk didn’t even bother to service this to college radio should be a stern warning to me. Yet still I somehow cling to a tenuous rationalization that Josh is closer to the Pernice Brothers in style and intent than John Mayer’s neutered-smooth mewlings. Even worse, I read the critical warnings that this new album is his weakest, yet I still purchased and enjoyed it. I’ll even play a cut if I can remember to bring it down to the station. If I told you this song is an infectious tip of the hat to early 70’s pop, I’m sure you would believe me. But did you roll your eyes while doing it?