Top 5 of 2011

Another year has gone (or nearly). This list is in no order, it's just the albums I've most enjoyed this year. I haven't reviewed all of them here, but I would have liked to if I got the jump and the music came to me early enough (hear that, musicians? Get me your stuff!!).

This was a great album for a great cause. A combination of folks you wouldn't expect to perform together and, as an added bonus, Neil Gaiman sings!

Donald Glover used this EP to come out in a big way as one of the most talented MCs the rap game currently has to offer while at the same time taking a shot at the game itself.

I tried not to like this album. I was afraid all the hype surrounding it would lead me to disappointment. Well...in short, it didn't. The album is brilliant and I thank Josh of Sinners Repent for showing me the error in my arrogance.

Young the Giant was a surprise that seemingly crept slowly up. Call it a come from behind victory. A great album of lament and life day-to-day.

The metal album of the year goes to Mastodon. Well played, technically salient, and their first non-concept album to boot.

Hopefully, 2012 will have even more to offer. Happy New Year!

Music Review - Sledding with Tigers/KIDS Split

This review is for a split release, therefore "Have Fun, High-Five and Stuff" will be a split review. For the first half: Sledding with Tigers!

SWT is nothing if not prolific. The great part about finding them so early on is having the chance to really see them evolve. When I first heard SWT, I was reminded me of a talented young man striving to get his punk images of his own life out on an acoustic guitar. But now, they've become more than that.

What we find now is much more reigned in acoustic guitar sound playing rhythmically and melodiously with a voice that has grown stronger and more sure of itself. Additionally, we hear the return of, and more prevalence of, violin, the inclusion of a banjo, and some nice texturing with an ambient electric guitar. The instrumentation is well balanced and well played, simple without being easy. It could be said these tunes are less punk and moving in a bluegrassy direction, easily seen on "Southbound!!! Northbound!!! Partybound!!! Dead", which also sneaks in some Charlie Brown-type whimsy.

The main stand out here is "Pizza Party! 1, 2, 3!!!". Here is a song that says, "we're growing up, and we're not 100% sure we're ready for that". The emotions of day to day life and the overwhelming feeling which can be felt is conveyed in such a way it becomes easy to remember being twenty-something all over again. With "They Sure Are Going All Out For Labor Day This Year, Aren't They?" we see a return to the poppier/punkier style we've come to know from SWT and it's reassuring to know, yeah, they still got "it".

RIYL: Greg Graffin, Paul Westerberg, Conor Oberst

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Part 2 of this review is, conversely, for a band I'd never heard before. Rumor has it these two bands are close and play quite a bit together. It's easy to see why when listening to the "second side" of this split.

With a full band (guitare, keys, drums, bass), KIDS has a slightly different sound, a mixture of mid-90's meets mid-50's feel. Dual (but not dueling) singers makes for a nice change of pace from song to song. The male and female vocal intertwine in a nice echo of each other that isn't simply call and response, but a conversation between two good singers. This is especially obvious on the cover, "Do you wanna dance?", which is really a re-interpretation of the song than a cover, strictly speaking.

With straightforward lyrics, KIDS seems to be striving to have a good night out. The songs are upbeat and the toil of the day-to-day is left behind. Songs such as "Monkeys" really pull out this feeling subtly whereas the final track, "Where have all the dancers gone?" Really point out that no one wants the party to end.

Tanya Donelly, She and Him, Coyote Shivers

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Where to find them:

• BandCamp
• Mediafire

This album is pay as much as you want, but that's all the more reason to pay $10 or so. Support independent music!

Music Review - Florence + the Machine

Florence + the Machine caught quite a few people by surprise. Whether it was during the vapid, worthless film lucky enough to have a song on the the soundtrack (Twilight), or when the sonic assault of the song "Dog Days Are Over" hit the airwaves, Florence + the Machine made a it clear that a rich, powerful voice and some less-than-usual instrumentation could combine for some very good music.

On their first album, Lungs, FTM (for brevity) were all over the musical map. With near-punk songs like "Kiss with a Fist" to soul throw-backs like "You've Got the Love" to goth-esque songs like "My Boy Builds Coffins", the album was best labeled as eclectic. This is less apparent on their follow-up, Ceremonials, where find a more matured Florence and a more robust Machine

Bringing in more traditional rock elements has not hurt this album in the slightest. Florence Welch's voice is still the main focus, but focus is a key word. Where Lungs was a few of Flo's favorite things, Ceremonials is a more honed experienced. The songs still vary from quiet and subtle to rocking and raucous, but seem to move in a similar vein.

Standouts are the nearly religious "What the Water Gave Me", a romp with power and overtones of self-redemption, "Never Let Me Go", a slower, softer tune seemingly about a love affair with the sea, and "Leave My Body" which has a strange gypsy/Celtic feel to it. The entire album is permeated with veiled religiousness and darker marks or a life of the experienced seeking redemption, from society or a lover or a god is left up to the listener to make a final decision.

Many critics worried the sophomore effort from FTM would be less charismatic or moving as they found Lungs to be. Fortunately, Ceremonials comes to us firing on all cylinders showing us a singer in her prime.

Where can it be found:

• iTunes
• The Flotique
• Amazon

RIYL: Siouxsie and the Banshees, Kate Bush, Tori Amos

Music Review - Apparat - The Devil's Walk

It seems the autumn music is upon us. And the upcoming album from Apparat, The Devil's Walk, makes for a great addition to any fall music collection or playlist.

This album is reflective, seemingly filled with songs of longing for instant nostalgia, like telling stories of a party you went just a few nights ago as if they were the childhood we've all lost somewhere along the way. These songs, "Escape" immediately comes to mind, have such a mix of melancholy and upheaving redemption, it makes it difficult to say this album is morose. It's really enjoyable as a roller coaster of surface emotions, the type that don't want to delve too deep and spill over into true feelings.

As far as instrumentation is concerned, it's all programmed. This might turn some people off, but the orchestration and the way a melange of sounds is pulled together to form melody and structure is pure genius. Then there are the voices: lilting, lazy, stretching themselves out to the point where it seems each breath is held standing on the edge of a 200 meter drop, but caught just in time for the next lyric. "Song of Los" and "Ash Black Veil" are great examples of taking that voice, slowly pulled from the throat, and stretching it over beats and tones that are moving at a frantic pace so that the two, juxtaposed, form a balance.

This album is a brilliant piece for your autumnal listening pleasures. It comes out next week and everyone should scoop it up as soon as possible.

Where to find it:

• Amazon pre-order (for regular or special edition)
• You can preorder on iTunes
• The Apparat Website

RIYL: Mogwai, Toe, Godspeed You! Black Emperor

Special thanks to CJR for the hook-up on this one!

Music Review - Ichabod

Ichabod is the latest dark pop/folk-ish artist to escape the hallowed halls and pubs of the UK. With a dark sensibility and a straight-forward delivery, Ichabod's latest 7 song release, All My Beloved shows some branching out compared to earlier releases while staying at home with themes that are easy to relate to and a sound that harkens back a bit to late-80's/early-90's alt rock.

On previous releases, Ichabod was a one man show with occasional help on percussion. This album finds him joined by The Inglorious, a capable backing band which gives the music a fuller, less controlled sound. This becomes apparent on the second track, "Godzilla Love", a campy, call-response love song that where the instrumentation is free and flowing. The one negative I can find on these recording, though, is, whether due to haste or desire, occasionally the mix is a bit off. The snare sound for the drums is tinny and obnoxious. Additionally, some lead guitar parts are so far up in the mix as to make it difficult to hear the rest of the band.

It's sad that the songs aren't better produced, because they are truly brilliant. Lyrically, each song is a dark poem depicting addiction, love gone wrong, and a generally rough life as lived by someone with experience in the less than light side of life. Ichabod's voice pulls it all together in a way that makes the poor production, almost disappear. Almost.

To be honest, though, the darkness is of a type where brief glimpses of hope shine through. On songs like the title track and "Edmund the Martyr", we understand that the bottom has been reached, and at the bottom, clarity has finally been reached. This is not an album that leaves you feeling all is lost, more that mistakes have been made, but even through the worst mistakes, we can learn and move on.

Where to find this album:

• BandCamp
• MySpace

RIYL: Jeff Buckley, Ted Leo and the Pharmacists, Built to Spill

Music Review - Bird

As we usher ourselves into new realms of music distribution, we need new monikers. For example, Liverpool's Bird have released 4 songs, so to speak, so I would call such a collection an EP. However, they are just on SoundCloud, not in an organized form. I think I like this, but let's focus on the music.

Lilting vocals from a female singer are the most noticeable features of Bird at first. These vocals are very reminiscent of mid-90's alt-rock vocal styling, with a touch of femininity splashed over a clear sensuality of power. This power emanates from the progenitor of the band, Adele Emmas, who gathered musicians for the project in order to give music to her words.

And the musicians responded. Playing what seems to be atmospheric styled dream pop, Bird brings together the ideas of alt/rock with the slow, folkiness of modern indie rockers. In songs such as "Tides" the guitars compete without overbearing each other or the listener. The bass and drums work together to form a cohesive unit, perhaps a bit understated in most songs, but providing a driving (if simple) churn to move the melodies along to. With other instrumentation added as needed, the "dash of this, pinch of that" approach allows the vocals to fill spaces that might otherwise be left vacant. Put all together, the sound is sexy and exceptional, although it harkens back to a time when this sound was underground and a bit more common.

Bird stands out on the basis of their willingness to not lock down on one style. They range from raunchy slow-churn blues ("Wanna be your dog") to choir-esque atmospherics ("Phantoms") with stops in between. If these four songs (which I will call an eponymous EP for lack of a better word) are a good indication, I think we have a lot to look forward to from Bird.

Where to find them:

• Thanks to user yflmd on Reddit, I was directed to Bird's website


• Their SoundCloud page

RIYL: PJ Harvey, Concrete Blonde, Tanya Donnelly

Music Review - ††† (Crosses)

It's been a while, but it's summer and I've been busy busy busy. So to make up for it, I bring you the latest solo effort from Chino Moreno, best known for his work with hardcore band, the Deftones.

I wasn't sure what to expect from †††, the name of this project (heretofore referred to as Crosses). Moreno is well known to experiment when outside of the Deftones umbrella, and this is no exception. While still tinged with guitar riffs and lyrics that follow the dreamy ghost story of Moreno's style, these five songs have a much dreamier and ethereal quality. Vocals are clear and concise with unquestionably straightforward poignancy. The music, while mostly electronic, doesn't overtake the lines of the main melody or overbear the vocals.

This nice part of this EP is that Crosses retains all the lyrical workmanship of the Deftones with a much less emotionally wrenching sound to bring it out. Sometimes, the lyrical message gets lost in Deftones songs, but with Crosses the vocals drive the music. A good example of this is "†hholyghs†" (yes, the whole '†' in the title of everything is a little ten angsty), where the emotion of the vocal pulls out the heaviness and softness alternatingly, making this a great, anthemic tune.

Listening through, this EP has been a great release with enough energy to pep a listener up, but no so much aggression so as to make the listener want to jump in the pit.

Where to find it:

• On the Crosses site


• iTunes

RIYL: Deftones, Nine Inch Nails (especially Ghosts), The Crow - OST

Music Review - why+the+wires

The first thing I can say about why+the+wires is wow, what an amazing live show. The Ithaca, NY math rockers have lost a few people since recording Telegraph Flats but that by no means diminishes their ability to kick you in the face with pure musical energy.

Their second release with Habit Forming Records, this album best exemplifies the ability to take something raw yet subtle and put it to use. With killer percussion provided by Chris Romeis, pulsating bass by (now former) bassist Tito Butler, and a nuanced guitar rhthym and gravely Tom Waits crooning from Dave Nutt, a listener could be easily satisfied. But why stop there? why+the+wires goes a step further with a violinist, Haley Dossinger, to pull out the softer tonalities that might sometimes get lost in the more abrupt or raucous pieces, and Keevin Dossinger to tear up everything in sight on accordian, sax, random percussion (often at the same time).

Telegraph Flats is a romp through the Northeast with tinges of that "Northwest" sound. Opening with the title track, you are immediately pulled into a van with people you can trust and love and feel good about. But as with any cross-country road trip, there is oscillation. "Smokehoods" shows the bitterness that sometimes builds up in this trips while "Another Fucking Waltz" kind of gives the feel that there is some sort of redemption in every ride. The entire album leaves a feeling of having done something...even though all that something was is actively listening.

The only negative I can find on this album is that it doesn't quite capture their unbelievably energetic live performance. I look forward to seeing if they can get a little of that in the future, or maybe a few live videos or recording to capture that essence.

Where to find them (on CD or White Vinyl):

• Order through Habit Forming Records


• On their site

RIYL: At the Drive-In, This Town Needs Guns, Drive Like Jehu

Music Review - Sledding With Tigers

Back again with what might be their most "interesting" album cover, is Stockton, CA's own Sledding with Tigers. The Arrested Cats is the latest EP offering from this prolific group and while the music is still edged with punkness, their is some maturity here we haven't seen in other SWT relaeases.

With the addition of Samantha Juneman on violin, the now two-piece shows a little bit more world awareness and a softer side to the music. No need to worry, there are still plenty of group vocals on The Arrested Cats, but also a more "Kasher/Oberst" feel on some of the songs. Not completely absent, but in the minority, are the short, jackhammer punk tunes from No Randy, No and in their place are longer songs of loneliness and boredom, such as the kick off song "The Kids Will Be Alright, Eventually" and the closer, "Valentimes Is Serious Times".

Dan Faughnder brings his blend of punk acoustic guitar and desperate falsetto vocals in line with the violin of Juneman in such away as to make one wonder what genre this falls into. Which brings us to an important message: fuck genres...their stupid anyway. While they help make conversations easier, they have no place when listening to music alone. And this is music to be listened to. Sledding With Tigers conveys the type of loneliness to make it not seem so bad. This release is great to listen to when you need someone to say"It's not so bad...and it gets better". In short...give them your money and take their music...everyone wins!

Where to find them:

• BandCamp


• MySpace


• Hopefully soon in iTunes and presented by an awesome record label (they deserve it)

RIYL: Connor Oberst, Cursive, Greg Graffin's solo work

Music Review - Jake Lauer

Jake Lauer seems like a pretty nice guy, but he doesn't make my life any easier. His debut album Don't Forget to Breathe isn't really "adult contemporary" or "soft rock" (whatever those two terms mean). So I think I'll move forward and be all "I'm above genres" for this one. Yeah...I'm a real hipster or whatever...moving on.

The musicianship of Jake Lauer is apparent from the first chords of the first track, "I've Been" all the way through the last track, "Sunrise". The man can play guitar. As always, I'm a bit distracted by the use of a drum machine. There is hope that in a live setting Mr. Lauer would have someone to fill that void. The rest of the music is nicely laid. The vocals convey a subdued passion, he is truly feeling each word, but it's almost as if he doesn't want to give away too much. Jake Lauer is a cool customer who plays it close to the vest...or at least that's the image he is trying to portray here.

The lyrics are fitting in each song, and while they are very poetic, they are also easily forgettable. Not to say you can't sing along with the songs and remember them, just that they are free of over ranging imagery, which makes them easy to relate to.

All in all, Don't Forget to Breathe is a nice, easy listen. It's relaxing and showcases what seems like a burgeoning talent in the form of Jake Lauer. I look forward to hearing more in the future. Hopefully with a drummer.

Where to Find Him:

• Bandcamp


• CD Baby

RIYL: Jeremy Enigk's acoustic stuff, Walter Schriefels latest stuff, John Mayer except with decent songs.

Music Review - Incubus

It's been 5 years since we've heard from that California 5-some once known for their rapid fire lyrics full of meaning and their mixture of the hard and soft sounds that once stood out in the alt/rock spectrum. I was able to get an advanced copy of their latest album, If Not Now, When? (due for release July, 2011), and I can say I was surprised. Sadly, however, not all surprises are good ones.

If you were expecting a return to albums like S.C.I.E.N.C.E or even A Crow Left of the Murder, you, like me, would be disappointed. You see, it seems the bad boys of Incubus have grown up. And while they still like the lyrics sound deep, Boyd comes off as a caricature of his former self, only conjuring images of words he's said before. But this time slower, more melodically.

The 13 tracks all more or less meander down the same path without stretching or going anywhere. It seems that as time has passed, Incubus has lost it's passion, the desire to rock it out and put together some powerfully anthemic words and music. None of the songs reaches out and grabs you. Sadly, this album is a let done.

Perhaps they are going for a jazzier more adult feel, but personally, I think they've just lost their edge.

Where to get it:

• You can pre-order the album from the Incubus website which also allows you to preview the released track "Adolescents"

RIYL: Far's latest album At Night We Live, Owen

EDIT: Thanks for special grammatical help from renegadex415x of Reddit Land

Music Review - 8in8

To say 8in8 is a super group is an odd way to put it in the least. Made up of former Dresden Doll, Amanda Palmer, her husband, writer, musician, and all around nice guy, Neil Gaiman, the always willing to do a duet Ben Folds, and Damian Kulash, singer, guitarist, and treadmill master from OkGO. That really is 4 people I wouldn't usually expect to get together in a studio...or my kitchen. I guess that these things happen.

Each track on Nighty Night (an album done in 8 hours) is an expression in and of itself, but for me, the real ear grabber was "Because Origami", a soft duet with Ben Folds and Amanda Palmer that starts soft and ends sad. Then, returning to story form, there is the dark closing track, "The Problem With Saints", where Neil Gaiman's use of the word "bifurcated" is just really scary. For something that may have come about as a joke or some fun, it has hutzpah and shows what fun it is to break out of the norm and play music instead of just making it.

At any rate, the cd is a fun listen and really enjoyable. I've gone through it about 10 or 15 times this morning and can't stop listening. If that's not enough to get you interested, initial proceeds from download-donations are going to berkleecitymusicnetwork - a charity which provides kids with every opportunity to see their musical potential. But since the music stands on it's own eclectic legs, the charity is just icing on the cake.

Where to get it:

• Amandapalmer.net


• rumors are it will be on iTunes soon

RIYL: Ben Folds, Amanda Palmer, Richard Harris, for no real reason other than the last track "The Problem With Saints" remind me of "MacArthur Park"

Music Review - The Dead Milkmen - The King in Yellow

It has been 16 years since we've had something new from The Dead Milkmen. That changed recently, with the digital only release of The King in Yellow. To say this is an exciting release would be an understatement, but it begs the question, are we excited about the nostalgic possibilities, or the music?

The first thing I noticed when listening to through the songs was the production quality. I listened to some old Dead Milkmen afterward and got the impression they were four dudes with 3 microphones in an attic recording. It didn't diminish the music, but it is what I expected to hear again. The songs on King are more polished, the drums come through clearly without that classic twang on the snare, the other instruments are nicely balanced and the vocals are clear and easy to hear. This isn't necessarily a bad thing, but it does take away from the nostalgia. The songs themselves, however, will bring it back.

While not every song is going to bring back visions of cruising in the back of your friend's Ford Tempo on the way to Ocean City, NJ in the summer of your 19th year, some of them will. There is still some intelligently veiled social commentary - especially on songs like "Fauxhemia" that takes issue with pop music and "Meaningless Upbeat Happy Song" which takes more issue with the "culture of fear", and some general Dead Milkmen wackiness can be found on "Melora Says", it's pretty clear these guys have gotten a little older. The album is fun to listen to, if a little slower on most tracks tan expected of the Dead Milkmen.

When all is said and done, it's worth the download. It brings back some memories and reminds us all that this world is full of people who look a lot like Gavin MacLeod.

Where to find them:

• The Dead Milkmen Website is currently the only place to get it


• Their back catalog is available on iTunes

RIYL: Ween, The Descendants, They Might be Giants

Music Review - Childish Gambino - Self-titled EP

Hip-hop is not dead. It just took a television star to remind us that it could be good again.

Most people know Childish Gambino as Troy from Community. And it can't be denied that Donald Glover is a brilliant comedic actor. So I wasn't sure what to think when I heard he was dropping a hip-hop album. I mean, Chris Rock had a hip-hop album once, but it was all comedy. Not so with Childish Gambino.

This self-titled EP is ridiculously thick with some of the best lyrical combinations unleashed by any rapper in recent years (I had to pause "Freaks and Geeks" and rewind just hear him say "In the back of the bush/Like Gavin Rossdale's drummer" on more time). The talent isn't just in the ability to rhyme and deliver either.

If Childish Gambino wanted to release an R&B album with just singing, no rhyming, he would still be successful. This album is funny, without being strictly comedic (some parts are funny, but that doesn't seem to be the intent overall), emotionally open without being soft, and tight as a hip-hop record can be. Makes you wonder, is there anything this guy can't do well?

Sadly, only 5 songs though. Hopefully we'll get more tunes soon.

Where to find him:

• MediaFire


• Donald Glover's website

RIYL: Jay-Z, Das EFX, Eminem

Retro Review - Kill Creek - St. Valentine's Garage

For a change of pace, I thought it might be enjoyable to review an album that isn't quite as recent as many review sites. Kill Creek's St. Valentine's Garage is an album my friends and I discovered in the warm summer of 1995. The album itself was released, independently on a tiny label called Mammoth and crept to the east coast between it's release in 1994 and when we stumbled upon it. Then everything changed.

This album is a pre-cursor to nearly everything called emo that came from the midwest in the years afterwards. Searing guitars, driving drums, solid bass work, and vocals able to drive you made with the passion coming through (every song is realatable). With songs of loss ("Kelly's Dead", "Funeral") to songs of relationships failing and the desperation in trying ("Fruit Pie", "Gett On"), this album incorporates the post-teenage/not-quite-adult mindset in a way that makes the songs still relevant today.

Produced by the now legendary Ed Rose, St. Valentine's Garage is still a great listen to this day. Powerful and evocative but sadly, obscure and somewhat left behind. If bands had the intensity, integrity, and naive honesty presented here, music would be in a much better state today.

Where to find them:

• their homespun web site


• iTunes

RIYL: The GetUp Kids, Cursive, At the Drive-In

Music Review - Elevator Music

FULL DISCLOSURE: THIS IS NOT ACTUALLY MUSIC YOU ARE LIKELY TO HEAR IN AN ELEVATOR!

That said, Elevator Music is a great indie-pop group hailing from the winter worn land of Calgary, Alberta. My first impression, listening to "When We Were Nocturnal" was that these guys could use a little more polish. The instrumentation itself is done well, but the low-fi attitude of it caught me by surprise. Then it began to grow on me. By the end of the self-titled EP, I was loving it. It was a nice throwback to a time when everything wasn't so clean and digitally scrubbed.

There is beauty in simplicity here. The music isn't pointlessly complicated, and, along with the vocals, make for a nostalgic innocence. These songs aren't immature, but they do give that sense of your last summer before college and tall the possibilities that were ahead, and all the pitfalls too (note, this may be heavily influenced by the track "Treason in the Season of Summer").

This EP is highly enjoyable, and a great escape from winter doldrums. Many bonus points for the French version of "Mirabelle".

Where to find them:

• BandCamp


• MySpace


• Facebook

RIYL: The Shins, Phoenix, PlayRadioPlay!

Music Review - Aaron Stoquert

Aaron Stoquert is a musician looking to make a name as a singer/songwriter. A musician of understatement, some might say as they listen to his first EP, Run For Your Life.

While it seems Stoquert is referring to love and lose and the way things take their course in life, I can't help wondering if he's referring to a zombie apocalypse. I know the sample on the opening track, "Bunker Hill" might make it obvious, but I couldn't let myself think such a concept could be so well done, and with such a subtle delivery too.

The delivery is the focus here. Stoquert is a talented musician, technically proficient and creative to not just play the notes. This is really brought out in his voice. I hate to use a cliche term for it, but his voice is soaringly haunting. On each song, I feel transported to the desolate air of the South in the 1930's. He gives a sense of desperation without passion, as if you know everything is lost, and you would love to get it back, but you know the odds...so you won't do a thing. This is especially clear on the track "Pass Me By".

This being his first, I think we can only expect great things from Aaron Stoquert as time passes.

Where to find him:

• the album is downloadable on BandCamp where you can name your price

RIYL: Leonard Cohen, Cursive, Afghan Whigs

Music Review - Kids Icarus

People have talked for a long time about whether or not the genre of emo (or emo-punk to be even more specific) is dead. Well, Kids Icarus vote no. I vote no with them.

Their self-titled EP brings me back to basement parties circa mid-90's, a time before rocking hard and singing great lyrics made you emo, not wearing tight jeans and shopping at Hot Topic (once upon a time, kiddies, emo wasn't a bad word).

In it's simplest terms, Kids Icarus is a 5-piece, made of crushing percussion, amazing vocals, bright and soaring harmonies, tight basslines, and guitars that will rip your damn face-off. The band kicks it off fast with the no-holds-barred "It's on Me". Probably the simplest song in the group of four on this EP, but a great anthemic start to get the listener interested. The real shiner, though, is "Monster". Great lyrics, hard dissonant beat structures and crushing guitars. That's what this game is about.

The only short coming here...it's only four songs long. C'mon, Kids Icarus...give us more...soon!

Where to find them:

• BandCamp


• Twitter


• Apparently in Connecticut...a state I can't say correctly


• Facebook

Note - Special thanks go out to Athletics for tweeting about this and bringing it to my attention.

RIYL - Kill Creek, Samiam, Gameface