The Radio Dept.- Pet Grief [2006]

Their second album, Pet Grief, is stacked with syrupy pop songs, as Johan Duncanson's effortless vocals ride the crest of soft-focus synths and programmed drums. Between the band's production choices and lovely (if understated) vocals, Pet Grief is built to be instantly pleasing and, as a result, sometimes smacks of déjá vu. -John Motley

Pet Grief [2006]

Always a Relief

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Chikinki- Lick Your Ticket [2004]

Bristol's Chikinki, who have one of the most "you think you have the pronunciation right but you don't" names around, sound like they want to be several different kind of acts at once -- a dance group, a Britpop act, a punk band -- on Lick Your Ticket, which in itself is no bad thing. Any number of U.K. acts aim at pulling off a hybrid with what's around them, sometimes to success, such as with the Super Furry Animals, the Beta Band or the Lo Fidelity Allstars. say. Lick Your Ticket is a strange album, though -- it doesn't quite fall down between two (or more) stools, perhaps, but it does have an uncomfortable edge to it that makes it an album to be a bit impressed by rather than to love. Something truly memorable could yet come from Chikinki, but for now they still seem to be a work in progress. - Ned Raggett

Lick Your Ticket [2004]

Ether Radio

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Ecstatic Sunshine- Freckle Wars [2006]

The greatest praise one can give Ecstatic Sunshine when it comes to Freckle Wars is for consistency of vision. It's a vision that consists of two young gentleman in Baltimore, probably hanging out in a dorm, strumming away haphazardly at guitars with little knowledge of chords or songcraft. There's really no other way and no truly nice way to put it: the album's indistinguishable 12 tracks seem recorded by preteens or some other innocents who have just recently been introduced to musical instruments. Distant inspirations like Fahey, Kotke and Modest Mouse are obvious, but at this point in their career, Matthew Papich and Dustin Wong (Ponytail) simply can't measure up. While the guys might have fun jamming, laughing, and possibly indulging in some college substances, the music that results isn't typically the kind of stuff that's released by a record label. In their Freckle Wars, Ecstatic Sunshine wins the battle of outlasting a listener's patience. Perhaps with more variation and a great deal of practice, their future might be brighter. - Tim DiGravina

Freckle Wars [2006]

Perrier

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Garageland- Last Exit to Garageland [1997]

Given how many contemporaneous EPs by the quartet had overlapping track listings with this album, in its various forms, it's almost more accurate to call Last Exit to Garageland a best-of compilation than a standalone release. However one wants to consider it, Last Exit is pretty darn brilliant, an enthusiastic, sharp collection of punk/pop indie songs that find their own approach. At the time, comparisons flew thick and fast to such similarly minded bands as the Pixies and The Poster Children but Garageland share an aesthetic rather than cloning anyone. It doesn't hurt that Jeremy Eade has a great singing voice and is able to kick up some high-volume delivery here and there (without sounding like, say, Black Francis) but is also just fine at calmer singing. -Ned Ragget

Last Exit to Garageland

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Starfucker - Jupiter [2009]

Starfucker is an American indie electronica band founded in the summer of 2007 in Portland, Oregon by Josh Hodges, Ryan Biornstad, and Shawn Glassford with Hodges on drums and Biornstad and Glassford on multiple instruments including keyboards, turntables, synthesizers and drum machines.


Just over eight months after the release of their well-received self-titled debut, electro-pop upstarts Starfucker are putting out another album to coincide with the onset of the universal summertime adrenaline rush. The record is entitled Jupiter and is considered by the group to be a sister LP to their debut, bringing to light a smattering of songs that have already gone into heavy rotation in Starfucker’s live performances. Jupiter is scheduled to be released on May 5 on Badman.

Judging from the opening track “Medicine,” which can now be streamed at the band’s MySpace page, the Portland-based quartet seem steadfast in continuing their allegiance to synth bliss and distorted hooks, which is a noble venture if there ever was one.


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Pavement- Watery, Domestic EP

Released between Slanted and Enchanted and Crooked Rain, Crooked Rain, the Watery, Domestic EP captures Pavement in a transitional phase, as the band began to abandon the static-laden guitar rock of their early recordings and started to move toward a cleaner sound. Most of the innovations of Watery, Domestic have to do with recording techniques, yet the songs are certainly fine. The cleaner production brings Pavement's inherent fractured melodicism into sharper focus, which benefits "Texas Never Whispers," the wistful "Frontwards," and the bright, nearly jangly "Shoot the Singer," but the slow grind of "Lions (Linden)" would have been mesmerizing regardless of the production, or the lack of it. - All Music Guide

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