D.F.L.-see Dead Fucking Last

D.I.
State of Shock
(Doctor Dream)
reviewed in issue #55, 5/31/94

Straightforward melodic punk from a few folk who have been doing it a while.

The production is a little raw, but that's certainly nothing to bitch about. The lyrics get a spot contrived at times, but that's nothing unusual, either.

I guess the thing that bugs me is the lack of a distinguishing characteristic. This is good punk stuff, but there's a lot of that going around now, and I can't find a spark here. This edition of D.I. is merely above average.

D.O.A.
13 Flavours of Doom
(Alternative Tentacles)
reviewed in issue #24, 11/15/92

After recording a fine EP with Jello Biafra, D.O.A. roar back on their own (and on AT) with this great album. There are no Canadian punk bands even close to this, and damn few American ones. This is as tight as …Missing Neighbors and just as fun. It outstrips the album they had on Restless, Murder, easily. They sounded tired then. Now the energy's back and so are the tunes.

In an issue with a ton of hard core reviews, this is a real standout (not to put anyone else down). No posing, just jams.

It would have been real interesting to see how they fit five tunes on a vinyl seven-inch, but I am rather grateful for the CD service.

The title track, a rather straight (punk-wise) cover of the Tom Jones tune, is pretty decent. The other four originals are straight, by-the-book punk musings, which, of course, make me hop all over the room.

A lot of you didn't get into 13 Flavours of Doom, and you missed the boat. These guys have been around with various configurations for almost fifteen years, giving rise to the question many in MaxRNR have been asking: "What do you do when you're a 40-year-old punk?"

D.O.A. have a few years to ferment before then, but they don't seem to have aged a day yet.

Preachier than your average punk band, D.O.A.'s new single (with an album due later this month) is a benefit for the Friends of Clayoquot Sound. That's the big body of water near Vancouver, if I can read a map correctly.

The rant is a fun one against rich people who like to fuck the environment to make more cash. Let's all go grab some 12-gauges and shoot out the windows of the local Wal-Mart (not mentioned in the song; just my idea).

The flip is yet another cover of "Folsom Prison Blues". I guess I never realized how influential Johnny Cash was to the past two generations of loud music heroes (not to mention pretentious Irish twits). Smiles all around.

Another slab from the band that keeps the preach in punk. If you like your messages blunt and to the point, you can do no wrong here.

The lack of subtlety is nothing new, and the music does seem a little more sophisticated than previous efforts. Many tracks here have a heavy environmental theme, which was foreseen by the seven-inch.

In general, I found Loggerheads a lot more interesting than 13 Flavours, and I don't know why. It might be just a weird mood, or maybe I'm just feeling a little holier-than-thou today. Whatever. I've got the volume up to eleven.

D.O.P.E.
Resination
(Anti-Gravity)
reviewed in issue #72, 3/15/95

What if King's X grew up listening to Led Zeppelin and Deep Purple instead of the Beatles and Sly and the Family Stone? Well, they might have turned out like D.O.P.E.

J.C. Stokes does a passable Doug Pinnick imitation (and he does sound a lot like Pinnick), and the rest of the band cranks out bass-heavy metal anthem after metal anthem. Sorta like if Pantera lost the guitars or something. And when you hear a guitar, it sounds like a pale imitation of the effects Ty Tabor puts on his.

King's X is a fine band to emulate. But D.O.P.E. needs to expand its sound past the anthem stage and find its own niche. These folks make up a good band. They just need to mature a little.

D.R.I.
Definition...
(Rotten Records)
reviewed in issue #23, 10/31/92

You know, I remember when D.R.I. was an amusing hardcore outfit who really didn't know where they stood in the musical food chain. Now that they're an amusing metal outfit who still haven't figured out who to munch on, I'm still not sure what I think of them.

This album is not as metal as "Thrash Zone," and the move to Rotten has served them well creatively. This sounds real good, and the lyrics are very good, which is not something you might always expect from these guys.

But this isn't hardcore. And it's not really metal. I hope you folks play this, because it is very interesting and at times real good. It sure is loud. And D.R.I. have achieved legendary status just for hanging as long as they have.

They aren't what they used to be, but they just might be better.

You know what happens after making albums for 12 years? You get to be an institution. Hell, I remember when the paper boy came to our house when I was in high school (mid-80s--yow!) with a D.R.I. t-shirt. And this was in the wastelands of eastern New Mexico. So they've obviously sold out and moved on, right?

Well, those Metal Blade records might be considered sell-out, I suppose. But the sound hasn't really changed, except that the songs sometimes approach three mnutes in length. And that's been the case for ages.

No, D.R.I. doesn't rip off these super-speed-demon riffs for songs at a time anymore. The folks have slowed down and gotten a touch more tuneful. And now that punk is cool again, people are even buying the CDs.

Full Speed Ahead is cheesy at times, I guess, but the sound is a nice approximation of that snotty thrash stuff that hardcore bands cranked out in the mid-80s. And let's get real: this is much better than that shitty Circle Jerks reunion disc from last year. D.R.I. never quit. And it's still a real deal.

Paquito D'Rivera
100 Years of Latin Love Songs
(Heads Up)
reviewed in issue #173, 12/14/98

Ten songs, each from a succeeding decade. Paquito D'Rivera generally plays the soprano saxophone, but he also picks up an alto and a clarinet from time to time. These songs were popular hits of their times, which means they aren't necessarily the most sophisticated tunes around. Could make for some treacly listening.

Sometimes, particularly on the pieces which feature a full string orchestra, but producer Bob Belden generally manages to imbue his arrangements with more of a jazz feel than they probably had originally. D'Rivera does his part, providing soulful playing without pandering. These are songs which, indeed, express the many lights of love.

An ever-complex subject, and these renditions are faithful to both the originals and the intent of the project. To provide an introduction to the wide influence Latin music has had on "American" culture. I recognized many of these songs, even some of the older ones, and these performances are certainly the best I've heard.

High on the schlock potentiometer, D'Rivera, Belden and company instead deliver a fine album with all the grace and beauty such an endeavor requires. Difficult, but mission accomplished nonetheless.

Dabrye
Instrmntl
(Eastern Developments Music-Hefty)
reviewed in issue #231, July 2002

A little one-off--Dabrye is still hanging his shingle out with Ghostly International. But first, some work for this new "feature" imprint from Hefty.

Dabrye's realm is electronic. He dabbles in funk and hip-hop and isn't afraid to throw a little jazz in besides. His pieces have a thick sound, but they're never cluttered. Every bit is organized down to the last byte.

There's no getting bored with these fun jams. Sure, Dabrye insists on crafting original beats and clever asides. His experiments simply merge into the smooth flow that he's created. This is music for a mellow, but not calm, evening. If you know what I mean.

And if you don't, well hell. Dabrye's got soul coming out of every electrode, and he's not afraid to infuse his pieces with that emotion and desire. Just makes me like the stuff that much more.

Daddy Longhead
Supermasonic
(Honest Abe Custom Records)
reviewed in issue #131, 3/31/97

Texas blooze 'n' boogie, filtered through a heavy psychedelic filter. Featuring Jeff Pinkus, he once of the Butthole Surfers, which makes sense once you hear this.

Kinda like if Kiss (with Gene singing) played ZZ Top, with Kramer producing. It sounds like a good idea, but the execution leaves a lot to be desired. The songs are not terribly well fleshed out, and the production has left everything under this layer of haze.

Alright if you really like this sort of thing (and old Surfers fans just might, though I'm not betting on it), but just too mundane for me. Daddy Longhead simply never gets anywhere.

And I'm not sure if the guys are really trying that much. Stirring the sludge is an interesting experiment, but it doesn't cut it with me here.

Daddy's Hands
Tutankhamun
(Headhunter-Cargo)
reviewed in issue #200, 6/5/00

So imagine if Deadbolt utilized a cheap keyboard sound and dropped in vocalists that sound like the B-52s on X. I'm not even going to talk about the lyrics. When they make sense, they're dreadfully out there.

All of which, of course, makes this somewhat compelling. Not unlike your average car wreck, I suppose, but still, boring it's not. Daddy's Hands never gets dull.

Which is not to say that what's going on here is untrammeled brilliance. There are some nice moments (probably the last words the band members want connected to their work), and even some kooky little bits that work. But most of it is a bit too close to dada for comfort.

Weirdness without a point doesn't get me off. Perhaps there is a message within this madness, but I didn't divine it. Fun for kicks, but not much more.

Dade County Resistance
with Burns Out Bright and Last to Know
Twelve Step Program
(Three Day)
reviewed in issue #227, March 2002

Who knew that Columbia, S.C., was such a haven for great emo? Well, there have been signs. A while back I was pretty well knocked out by Burns Out Bright, and it's pretty rare that a scene has only one good band. If there's no competition, it can be hard to really be inspired to work on your chops.

And once again, Burns Out Bright blows me away. Without sticking to any one particular emo ideal, the boys do a nice job of hitting the sound just so. The depth of the ideas in the songs is most impressive.

Dade County Resistance is a bit more limited in its approach, sticking to an uptempo, melodic feel (not unlike a rougher-edged Ataris, say), but these guys do have four great songs here. Same goes for Last to Know, who whipsaws from contemplative to blistering (sometimes in the same song).

The production values are a bit limited (particularly with the second two bands), but the songs are great. And isn't punk supposed to be just a little ragged on the edges? I thought so. I wish more bands and labels would put together projects like this. It's always nice to have a snapshot in time of a particular scene.

Dag Nasty
Four on the Floor
(Epitaph)
reviewed in issue #7, 2/14/92

The second half of my Saturday serendipity (see Bad Religion review if you don't understand). Not a reunion as much as meeting cemented by Mexican food (so the press states). No, they will not tour or even acknowledge the real existence of the band (or even necessarily use their real names, due to major label contracts with other bands). But there's the problem of this album, you see...

And what a problem. Punk is not dead, and today it seems to be the source of the best pop songs out there. While not as fast as many of their hard core buds, Dag Nasty have aggression to spare and great tunes to boot. While many alternative bands are selling out and adding lots of crap to their music, it's refreshing to see Dag Nasty sticking to simple roots.

If you can't find room for bands like Bad Religion and Dag Nasty on your loud music shows, then you are really missing out. You'll not only be depriving deserving bands of airtime, but you'll be depriving your listeners of some of the best music around.

Another "comeback." Another label. Another good album. So what if it's been 10 years since Four on the Floor? Some punks do get better with age.

Daisycutter
Cavity
split 7"
(Starcrunch)
reviewed in issue #128, 2/17/97

I accidentally listened to the Daisycutter side first (it's not like there are any clear markings or anything--I had to read the vinyl etchings). Daisycutter deals in sludge, cutting the mess with samples and some other weird stuff that simply happens by. The song was a bit dirge-like, and I'm not sure why. Let's just say I didn't like it.

Cavity, though, does the same thing, only better. The music moves just a bit faster, and the absurd rant that is laid over the music is just coherent enough to be amusing. Excessive use of the word "motherfucker" that borders on language abuse. So right there we're in good company.

I figure I'd like some other stuff that Daisycutter does; this song just didn't appeal to me. But the Cavity was damned exciting. They split the rating, but this slab is worth checking out if you're into the unusual.

Dakind
Dakind
(Foot Shakin' Music)
reviewed in issue #129, 3/3/97

Way out off the trendy road, Dakind flicks off the rap-metal-funk trip like Infectious Grooves, Scatterbrain, Love/Hate and others. Not the commercial stuff of latter-day RHCP, but the stuff that has never quite broken into the mainstream. And Dakind does it fairly well.

Oh, the waves of excess are apparent and annoying. Dakind doesn't try to pretty anything up for the masses, and the band insists on making its own way through the a morass of unpopular music. This is compliment, so don't take me wrong: Dakind is precisely the sort of band that my brother Matt (the Lies guy) would love to front.

I find this sorta stuff fairly cheesy most of the time, but Dakind is damned impressive. Whenever I think I can predict the band's next move I'm surprised. The mark of fine songwriters.

And they didn't skimp on the recording budget, getting Steve Albini to work the knobs. You can hear Albini's contribution in the rich guitar sound and the wild diversity of sonic textures. And the vocals are astonishingly good for an Albini recording.

Far better than I would have expected, especially if I had been given a description before listening. I have no idea how many people would appreciate this sound, but Dakind makes it as attractive as is possible.

Dali's Dilemma
Manifesto for Futurism
(Magna Carta)
reviewed in issue #179, 3/29/99

Just in case you miss Fates Warning (say, the 1991 vintage or so), here's Dali's Dilemma. Could a band with such a name play anything other than prog? I doubt it.

For the most part, these guys manage to hold a groove constant in each song, even while going through all the prog machinations (stop-start drum licks, etc.). This is where keys and a good singer come in handy. And Dali's Dilemma is blessed in those areas.

Tight harmonies (tight everything, of course) and some strangely inspired riffage. Dali's Dilemma doesn't break out of the genre, but it does the sound about as well as it's gonna get done. Most impressive for a first album.

Most impressive, period. Most prog albums require a bit of work to get into. Dali's Dilemma allows many access points, making it that much easier to get within the sound and enjoy the technical brilliance which, of course, must be displayed. Well put.

Dallas Orbiter
Magnesium Fireflies
(Princess)
reviewed in issue #263, April 2005

There's something about Minnesota that seems to inspire kids to play uptempo, off-kilter music. Think about it; even the most famous musical denizens of the Twin Cities are considered weird, if not demented. And hell, anyone who would call an album "Magnesium Fireflies" can't be all well.

That's cool with me. Dallas Orbiter does depart a bit from the formula I described above. While the songs here are decidedly off-kilter--trending somewhere between straight up psychedelia and simple dementia--the boys aren't afraid to be contemplative when necessary. Always, though, with an attendant boot to the head.

These boys aren't weird for the sake of being weird, though. There's a method to the lunacy. The songs make more sense than the sounds that make them up, if that makes any sense at all. Sometimes it helps to be able to assemble a song after it has passed, but hey, isn't that exactly the sort of band music critics love?

Of course. Dallas Orbiter doesn't make things easy for its listeners. But it does reward the adventurous with a journey that is well worth the fare, one that improves in value every time you take it. Get lost. And don't come back until your head has been rearranged.

Dalton Gang
Miami Shadows
(Second Step)
reviewed in issue #83, 8/21/95

Willy Dalton may be the namesake of the band, but his guitar takes a second seat to the horn members of the gang.

For the most part, this is that sort of music I like to call (derisively) happy jazz. But instead of making sublime standards saccharine, Dalton merely writes his own cheesy pieces. So one notch higher on the ladder.

I like the emphasis on the horns, but the 70's Latin funk fusion style that the Gang plays is not one of my favorite idioms. The playing is competent and even occasionally inspired, but there is this nasty Tower of Power feel to things that makes my skin crawl.

Many folks dig this sort of thing. I don't. To me, this seems like pandering to commerce instead of creating. But that's just me.

Dama
2000 A.D.
(Eterniti)
reviewed in issue #184, 7/5/99

Some of that Jesus Lizard Chicago-style noisage, with a definite SoCal touch. I know, Rage is from the East Coast, but the mosh rap groove has been appropriated and updated by folks across the country.

The band is tight, and the songs are also tightly penned. At times I'm a bit concerned that nothing is really being said, but the music does sound reasonably good.

The modifiers are telling. Dama is good at what it does. But there isn't enough here to stand out in any particular way. Good, but kinda generic. I'm not hearing the fire of originality which would really kick me over the edge.

These boys are solid, though, no doubt. And maybe it's my jaded palate which is the problem here. Quite possible. Dama just doesn't get me off.

Damaged
Token Remedies Research
(Rotten)
reviewed in issue #146, 10/27/97

Mixing the noise metal of Eyehategod with the metalcore drum grooves of Pro-Pain, Damaged kicks out some serious rhythm-laden goo. And they're Australian to boot (as if that means anything).

I'm already getting cute, and that's one thing Damaged is not. This is sludgy stuff that probably would have been called death metal a couple years back, though it's more like Buzzov*en than Incantation. And while the drums have been mastered to a strange, artificial quality, those skins power the songs.

Everything else kinda revolves around that percussive center, sometimes actually even cooperating with the other instruments. Often enough, though, anarchy reigns. I'm not opposed.

A glorious mess. I think the band should, you know, act like a band and play as a unit a bit more than actually happens, but the resulting cesspool is still fun to play with. I can only imagine the live show.

Riding the modern edge of the extreme, Damaged combines the full-throated aggression of old school death metal with the somewhat more hyper intensity of bands like Hatebreed and Earth Crisis.

These guys almost always find their groove, too. The songs are tight and generally short, focusing on one musical thought at a time. That keeps the focus lean and the intent mean.

Sharply-produced, too, which leaves the sound fast and crunchy. Not a mess by any means, Damaged has some ace players who can play well even as the tempos spin faster and faster.

Yeah, it's just a modern sheen on an old sound. But boy, it sounds great. Damaged knows what it's doing and it does this oh-so-well. Top notch aggression.

Damnation
Beelzebubble Gum 7"
(BYO)
reviewed in issue #177, 2/22/99

Kinda like a slightly more manic Ramones, Damnation kicks through three "demonic" songs, with clever lyrical and musical references.

Like, say, the riff on "Sympathy for the Devil" which introduces "666 13" on the flip. So light it threatens to fly away, but still worth a smile or two.

I like the way the guys all weapons at their disposal to get some humorous points across. Top marks.

EP? Try six songs in less than eight minutes. With titles like "Fucked," "Hell Race" and the title track, you know you're not in for an evening of discussing the great Greek philosophers.

What can be found are six hi-octane punk rawkers, each charming in its own way. Basic basic, but amusing as well. My only real problem is with the sound. This thing sounds like it was recorded in a padded cell. All of the sounds are rather muffled for a professionally-recorded set.

Ah, well. It is punk, after all. Can't have everything. I'll take the adrenaline and cheap three-chord symphonies just fine, thanks.

Cheap 'n' sleazy rock and roll. Not exactly punk and not exactly metal, but rather a muscular fusion of the two. Think of early Crue--with a sense of humor. Indeed, most of the songs here are wry enough to bring a smile to the faces of the most jaded.

The Damned
Not of This Earth
(Cleopatra)
reviewed in issue #115, 7/29/96

Exceptionally crisp and refined, this "here we go again" reunion studio album brings together most of the original line-up (even if Brian James is merely a guest) to crank out stuff that does sound something like what we now know as the Damned.

Dave Vanian's vocals are in fine form (though a bit high in the mix, if you ask me), and there's plenty of fine guitar work from former Godfathers (he quit that band before Unreal World) Kris Dollimore. Now that I think of it, the hack and slash guitar sound the Damned promulgated twenty years ago is a ready precursor of what Dollimore played with his old mates.

Fun, easy, and kinda forgettable. It doesn't suck, and it doesn't excite me, either. While certainly a record worthy of the Damned above the title, it would have taken a really great album to extend the legend further. That didn't happen.

"Shut It" has been mixed by Die Krupps, but it doesn't sound much different than the album version. The song is a decent punk raver, but not particularly wonderful. The new mix doesn't change that.

The flip is just the album version of the same song. You can do a little comparison for yourself. Apart from emphasizing the lead line a bit more, the Die Krupps boys didn't do much at all.

For die-hard fans only.

The Damnwells
PMR + 1 EP
(In Music We Trust)
reviewed in issue #237, January 2003

I'm not a patient man. I am a fan of abstract music, but when it comes to pop music I much prefer getting hit over the head. Give me the hook, give it to me fast and keep beating me until my brain bleeds.

The Damnwells don't play that way. These boys work their way slowly into songs. Sometimes there really isn't a discernible hook until the piece is more than halfway done. And worst of all, the pieces are decidedly slow.

Of course, all of this is done with such immaculate precision that I have to choice but to praise it lavishly. I hate it when that happens. These folks are too good for their own, um good. And as a side note, despite the clever little bit in the liners about how six-song releases aren't necessarily EPs (preferring to call them poor man's releases, or pmr for short), I'm calling this puppy an EP. Sue me.

Damone
From the Attic
(RCA/BMG)
reviewed in issue #238, February 2003

Every once in a while a major label sends me a disc. Every once in a great while I actually like what they send me. Damone is one of those bands.

Rather than stick to the under-produced sound of the current garage trend, Damone plays the style but goes for the over-the-top sound (mixed by Tom Lord-Alge, which is really all you need to know there). Full of reverb, with lots of extras on the edges. And then there's the vocals of a certain Noelle, who is apparently still in high school. Even though the guys in the band appear to be well toward 30, if they aren't there already.

I don't say this to be mean. It worked for Garbage, right? And anyway, I really like this stuff. It's simple, it's loud (almost glam metallic at times, which is perfectly cool with me) and there's serious amperage in the playing. A fine rush.

Okay, maybe I wouldn't have gone for the tenth vocal overdub on a couple of these songs. If you want me to be picky, that's about what I have to work with. I'm not in love, but I'd sleep with this band in a minute. Cheap and slutty is a fine way to go.

Dance Hall Crashers
Purr
(Pink & Black-Fat Wreck)
reviewed in issue #187, 8/30/99

Pink & Black is Fat Wreck Chords' new imprint designed to showcase female-led bands. And for a splash, why not the first post-major label release from the Dance Hall Crashers?

For those unfamiliar (and given the level of ska awareness out there, my guess is there aren't many in that category), Dance Hall Crashers start with the vocals (tightly-written parts) and then add a basic guitar-drum-bass trio backing. The stripped-down style belies the lush vocal arrangements.

A nice dichotomy, one that would make the band attractive, even if the songs themselves were merely mediocre. That's not the case, though. Stripped of the major-label production excess sheen, Dance Hall Crashers really rip through these solid tunes. Probably the band's most immediately arresting disc ever.

At the top of its craft, let me be the first to say. This puppy just screams pure joy. Play it loud, and sing along. If you dare.

The big question here: Can the Dance Hall Crashers sustain their vocal brilliance in a live setting? Well, that one is answered immediately in the affirmative. Not only that; the live arrangements take a little bit of sheen off the songs, which makes them even more warm and approachable.

Also, these arrangements are rather faster than the studio versions. There are 25 songs here in a bit less than 70 minutes, and the pace never slows down. Even the "witless banter" advertised on the cover zips by quickly.

So this serves not only as a cool live set, but a more-than-decent DHC compilation. Certainly it's a fine advertisement for the next show in your town. If this is any indication, the live is the best way to experience the band.

Few live albums are worth the time of day. This one is one of the best I've heard. Top quality all the way.

Dangaru
Dangaru EP
(self-released)
reviewed in issue #209, 12/11/00

A few guys from the city formed Dangaru after they "had grown tired of sitting around the house after their bands had broken up." That same sort of basic attitude is reflected in the writing and playing.

Just yer basic rawk with some nice flourishes (these boys do know how to use distortion as a melodic element). The hooks are loose, but sweet. There's nothing spectacular going on, but the songs are fun and they've all got a nice, live feel.

I'm constantly amazed by the number of bands who can't figure out how to play simple music. Dangaru knows the secrets, most of which involve not sweating the details. Just have a little fun, and the music will reflect that. And Dangaru is nothing if not fun.

Danger Doom
The Mouse and the Mask
(Epitaph)
reviewed in issue #270, November 2005

Collage fans exult! Danger Mouse and Doom come together to salute "Adult Swim." Yeah, it sounds silly, and so it is. And rather than try to dignify this concept with some sort of meta interpretation, Doom and the Mouse embrace the silliness of it all.

The cultural references (many hailing from universes far removed from Cartoon Network) fly almost as fast as the beats--precisely the sort of zeitgeist surf fans of these guys expect. No disappointment there.

Or anywhere. The beatwork and production are stellar, and the sound is smashingly smooth. This album has that loopy cocktail hour feel, the sort of thing you might play if serving bubble gum martinis.

Like I noted up top, this stuff is utterly silly. And that's cool. Why make this any more than it is: An exceptionally silly, fun and infectious album.

Dangerous Toys
Pissed
(dos/DMZ records)
reviewed in issue #58, 7/15/94

Yes, I played "Sport'n a Woody" just like everybody else. I even bought a t-shirt with the same slogan at the concert. It was dumb, but certainly entertaining. Then came the follow-up, whatever it was called. Yeecch!

A few years on down the road, Dangerous Toys resurfaces.

The title track is about the catchiest thing here (or maybe the stuff just starts to wear on me after a few songs). Still, it is damned entertaining, and you will find yourself singing it over and over again. Until you barf.

My musical tastes have evolved since I dug the first DT record. I don't listen to Cinderella anymore. But I jammed the advance twice, which means I did like it the first time (and the second).

It's cheap and easy and kinda dumb. But it is also fun, without crossing the line over to stupidity. Eat it like Chili Cheese Fritos.

The press claims a different musical direction. Well, the production has added heavier edges and the occasional grunge feel (and sometimes a little of both), but the base of each tune is still that patented DT take on glam metal.

And, actually, I prefer the tunes that stick closer to the older roots. I mean, why should Dangerous Toys really want to sound like Pantera (check out "The Numb")? And sometimes, as with "Take Me Swiftly", the boys find a sound that mixes the catchier elements of glam and drum machine-driven industrial grooving. The glam-grunge of "New Anger" and "Cure the Sane" is also most appealing.

There's still a ballad and lots of other stuff that sounds calculated. But if you have to pick a glam record this week to dig, then the Dangerous Toys is head and shoulders above that Tattoo Rodeo crap. This is not a great album, but it's certainly worth a spin or few.

Jennifer Daniels
Dive and Fly
(self-released)
reviewed in issue #221, 9/3/01

Jennifer Daniels is certainly ambitious. This album ranges widely both in terms of lyrical and musical content. Daniels is, in a way, a typical singer-songwriter. In that she sings her own songs, anyway. But all the stops were let in the production of this album. Hardly an amateur effort.

When I talk about the production, I'm not saying it was overdone. It's simply that the sound is full and lush, even when it's just Daniels and her guitar. Sometimes a veritable orchestra surrounds her, and sometimes she stands alone. In every song, Daniels is the center of attention.

Precisely how it should be. The songs are the stars and she is the lead instrument. All of the accompaniment in the world couldn't hide bad writing, but in this case there's no need. Daniels is adept at penning perceptive and evocative--yet not cloying--pieces. These songs get right to the heart without playing silly games.

Not just well done, but greatly done. Daniels has the ear to know exactly how to sell her outstanding songs. She's put together a first-class album. Someone ought to take notice.

Danko Jones
Danko Jones EP
(Sonic Unyon)
reviewed in issue #158, 5/4/98

Basic, exuberant rawk. Disjointed as all hell, but still compelling. The songs revolve around the exhortations of the singer (no band credits in the liners), a guy who sounds like hešs trying out for the MC5.

The music follows in the same vein. Sludgy, driving riffs that never let up. The jerky style is a bit off-putting at first, but once I found the groove and settled in, the ride was fine.

Retroid as hell, but still amusing. A nice little pick-me-up for a blue day.

Danzig
Danzig III - How the Gods Kill
(Def American-Warner)
reviewed in issue #18, 8/15/92

Okay, so I'm one of those fools who thinks Glenn Danzig hasn't done anything useful since the disintegration of the Misfits all those years ago. But he comes close here.

Certainly the best of the Danzig albums (the stupidity of the first and incoherence of the second are not present here). Musically, the band has coalesced it's sound into a more definite time and place (say, May 1980 in Seattle). Still listening to too much Led Zeppelin and Eric Clapton, but you can almost taste the beginnings of today's ugly Athens-acne case.

As for the lyrics, well, they aren't quite as dumb as in the past, so Glenn scores points there as well. I don't know if four stars is right (especially when the same RS issue gave the Poster Children two stars for an album that was released almost a year ago), but life rolls. And Danzig gets more and more popular. Many worse things could happen.

Thrall is a set of three studio tracks. The first two sound just like the Danzig you know (and love, I assume). The third, "Trouble", is a cover of a song I think Elvis did first. I'm a little hazy on that particular part of rock history, but I know most of his early stuff was written by the team of Leiber and Stoller, who penned this thing.

The Live (Demonsweat, if you must) has four songs, all sounding amazingly like the studio stuff. The way live stuff gets cleaned up these days makes it sound like the studio track with crowd noise pumped in (and I think that's exactly what Vanilla Ice did on his last thing, like you care). Glenn always shouts, and there are signs of some overdubs. Oh well, that's the biz.

It really is fruitless to try and review Danzig from a musical standpoint. After all, since the beginning all the band has done is rehash Deep Purple, Led Zeppelin and other seventies axe-heavy outfits while Glenn spewed his malevolent silliness.

The more important question is can we still believe this persona? Glenn Danzig as the embodiment of evil, or at least an icon of the same? Does it wash?

He has the posturing; that's for sure. And the music is entertaining, if nothing spectacular. After all, this is an entertainment industry. And if things get a little silly, well, try and remember that a band called Soul Asylum used to known as a hard rock band.

I digress. Glenn Danzig was once a hardcore horror hero. Now he's a metal pinup. The music (including lyrics) may be some of the silliest recorded, but the kids like it. If you fall for the romantic fantasy, dig in. If not, then chill out and listen to something else. Why harp?

Daredevils
Hate You CD5
(Epitaph)
reviewed in issue #106, 4/15/96

Brett Gurewitz has finally gotten tired of just running the most successful punk label in the universe. So he put together this band, made up of a few survivors from the L.A. scene.

Perfectly catchy pop stuff (with oddly mean lyrics). Gurewitz's voice sounds odd on top of two songs that are unmistakably his. This does sound like Bad Religion with a new lead singer. And his voice is fairly weak, which doesn't really help move the songs along.

Gurewitz still hasn't rediscovered the fire (the lack of which plagued his--and Greg Graffin's--later songwriting with Bad Religion). This is fine for someone who hasn't written such punk classics as "You" and "Walk Away". But Mr. Brett has a past to live up to, and this doesn't quite cover. But it's also only two songs. Let's see what the forthcoming album (due in the fall) has to say.

See also Bad Religion.

Darediablo
Feeding Fenzy
(Southern)
reviewed in issue #245, September 2003

Remember that great British hard rock from the early 70s? Deep Purple, Black Sabbath, Uriah Heep and all that? This unconventional trio (guitar, drums and keyboards) replicate those thick, fuzzy sounds and actually improve on them.

First, there are no vocals. This means that the riffage (be it guitar, organ or whatever) has center stage. Second, it means that the music never slacks off for a moment. These boys know they've got to keep the pedal to the metal just to keep these songs together.

Man, what a rush. The inspiration may be 30 years old, but the execution is ultra modern. Darediablo isn't afraid to bring things down a notch in decidedly non-hard rock ways, and it's also quite happy to throw in all sorts of quirky thoughts into the mix. Loud, heavy and damned creative. Quite the combo.

Yeah, it helps to have a soft spot for cheesy hard rock. But Darediablo is inventive enough to impress even the most jaded critic. This stuff is not just technically brilliant, it's a big wad of fun as well. Now, where the hell's my lighter...

SAT nostalgia time: another analogy. If Capillary Action represents the pleasant, rounded edges side of geek rock, Darediablo is the band on the edge. This trio takes the Trans Am vision and then burns holes in every expectation.

This is music that excites on all levels. There's the visceral rush of the riffage, which is consistently awe-inspiring. And then there are the softly-spoken lines in the background, the stuff that is worth pondering for an age or two. Some albums simply scream "Listen to me again and again" from the first note. This is one of those.

The sound is heavy and sharp, and the use of keyboards (a synth, I assume, as the keyboard sound morphs from organ to electric piano to a wide variety of artificial sounds as well) isn't a mollifier. Rather, these keys are played to their full effect, blistering holes in the ozone layer as they spread their destruction. The overall sound is so enthralling I simply cannot imagine anyone failing to be taken with it immediately.

Yeah, but then, somehow, there are some people didn't like Pulp Fiction. Fuck 'em. This is one of those albums that ought to tear the ears off just about everyone. If there's a fault to be found here, I don't know where it is. Pretty damned fine.

Darkest Hour
So Sedated, So Secure
(Victory)
reviewed in issue #219, 7/16/01

Blurring the line between extreme hardcore and death metal almost to incomprehension, Darkest Hour is probably best described as simply "mean." These songs rumble and thrash past with not so much as a passing glance.

Cascading drum breaks and melodic lead guitar lines provide most of the easy access points. Past that, Darkest Hour delves into maelstromic washes of excess. Perhaps the songs could be centrifuged out, but I doubt it. This stuff is stuck in permanent solution.

Which is not to say I don't like it. Quite the opposite. Darkest Hour isn't one of those bands that switches gear constantly. It's always pushing the pedal to the floor, and that sense of forward motion serves the sound well. Onward to the apocalypse, man.

I'll follow. So what if this is pretty much an album of hoary rants? That works for me. I've bitten into the adrenaline wire and now I can't let go. Too much pleasure flowing into my veins.

Darkest of the Hillside Thickets
Cthulhu Strikes Back
(self-released)
reviewed in issue #82, 8/14/95

Four guys who really dig H.P. Lovecraft ("Without whom we'd be singing lame love songs", the liners say) and, obviously Star Wars. I can empathize.

The music is highly-polished punk-pop harmonized stuff, rather addictive and astonishingly accessible. And, much like a Christian rock band, there are notes on each song telling us what Lovecraft story (or merely a pithy paragraph on pretty much nothing) that we should read to understand the lyrics.

The packaging is dead on, and the music is simply divine. This is fun3. Really. If you have this, then play it. If you don't, you simply must find it. Darkest of the Hillside Thickets must be heard to be believed. And once the sonic force has cruised your ear, then nothing can be done. The invasion is complete and you are helpless. That's how these things get started, anyway.

Darkthrone
A Blaze in the Northern Sky
(Peaceville/Caroline)
reviewed in issue #11, 4/15/92

"Darkthrone plays unholy black metal exclusively." That's what the end of the liners says. And when they aren't going for the world speed record, they sound great. The "Satanic poetry and haunting chants" are the best part of the album. But when they keep it slow(er) and simple(r), they really excel. When they speed it up a lot, they sound rather generic.

Cruise through this disc. There are some truly inspired moments. The opening of the album does have a Warrior Soul-like quality, but most of the rest of the thing ignores that stuff. Hey, if you're looking for pretty weird, possibly satanic, lyrics and cool music, this is the place.

There are lots of reasons I can't take black metal seriously. For one, it's just damned silly. But then, you could say that about the origins of grindcore and death metal years ago. So there must be more.

And there is. Unlike death metal and grindcore, black metal isn't a radical music change. Most of it is cheap thrash. In Darkthrone's case, it's cheap thrash sequenced by a cheap Casio. Or at least it sounds that way.

For you who really like this stuff and know what I'm talking about, four of these songs were written by the infamous Count Grishnackh, who is still in jail for generally being a dick (and for murder, too, I think). Since the lyrics are in Norwegian, it's kinda hard to tell exactly what they're about.

"Darkthrone is for all the evil in man." Um, okay.

Jason Darling
Underground
(Surprise Truck)
reviewed in issue #207, 10/30/00

Acoustic guitar-driven rock, very much influenced by Neil Young. Jason Darling acknowledges as much with the first song, placing Young dead center in the piece.

But the real link is the poetic way Darling expresses himself. The lyrics (and the guitar work, occasionally) don't always follow an obvious linear track. The stuff can get a bit expressionistic at times.

The only way to make that work is for the poetry to resolve itself. In other words, the shit had better be good. And Darling is. He slings his songs with a easy intensity, the kind of delivery that's impossible to teach. He is his songs.

Kinda cool when that sorta thing works out. There aren't many people who can pull off an ambitious set of songs like this. Hell, most wouldn't even try. Darling succeeds in spectacular fashion.

Darlington
Girltroversy
(Last Beat Records)
reviewed in issue #156, 4/6/98

The latest in a line of pop culture-frenzied pop music. Nerf Herder, Size 14, you know the names. Darlington (previously known as Mess, not to be confused with The Mess). The first tune is "Jodie Foster", and there are also homages to Judy Jetson, espresso and Baltimore (well, the song doesn't actually mention the city, but whatever). Mostly there's songs about longing and loving and eating and crashing about with no particular destination in mind.

The songs are breathless, crunchy trips through power pop land, with easy hooks and very basic songwriting. Sometimes the simplest things work the best.

Oh yeah, and Darlington is not complicated at all. Strip away the odd esoteric reference and this is three chord heaven. Basic, but too solid to dismiss.

Summer, summer, summer all year long. Stuff that will inspire folks to take a chainsaw to the roof of the Cavalier and spend a blissful topless summer. The sort of harmless anarchy that makes this world so much fun.

The boys are still on Last Beat, but this album comes out here. In lieu of liner notes or lyric sheets, per se, the guys simply included a glossary of all the hip phrasings they utilize.

As in: "Gelatin: Jeffrey Dahmer's favorite snack". C'mon, these guys are fun and the riffs shine all night long. Yes, almost all of the songs concern weird segments of American culture (Marcia Brady, NASA, Christmas, etc.). That's the whole appeal.

Clever? Definitely. Classy? No. Vulgar? You bet. Darlington has no sense of shame (the three--male--members of the band appear on the back cover in panties and curlers), and that's probably why I like this stuff so much. Silly and quite possibly inane, sure, but big-assed smiles all the way.

And should we ask for more? Perhaps, but I'm not in the mood to do so. Nope. I'm just gonna turn it up a bit more and hit repeat. Smiles are always worth the effort.

A couple of pop punk bands do the split album thing. They each cover one of the other's songs and then add seven or eight others.

The Huntingtons are the poppier of the two, almost Queers-like in their bouncy hooks. There is, of course, a strong Ramones feel as well, but not so much as to get annoying. Cheap and easy, sure, but with a nice gooey filling.

Darlington cleans up its act a bit (musically, anyway) with these tunes. There's a tribute to Donna A. of the Donnas, a nod to the Ramones with "Pogo Beach" and then lots more of what Darlington does best. I do wish there was a bit more guitar (that sound is a bit thin), but the songs are as tight as ever.

Perhaps cotton candy isn't filling, but it's sure a load of fun to eat. Likewise, these two bands aren't the most adventurous around, but they sure know how to knock out a hook or few.

Dartz!
This Is My Ship
(Deep Elm)
reviewed in issue #292, December 2007

Perky mathy stuff, with some nice dorky hooks to go along with the technical riffage. The playing is precise, but the spirit is loose.

I like that, myself. This is the sort of sound that appeals to folks who like to think of themselves as intellectual, but in real life would much rather pound some beers. That's me straight down the line.

There are lots of interesting things going on within the musical lines. Dartz! doesn't play anything straight, and there's plenty to discover within the layers. In the end, though, there's this joyful vibe that's hard to shake.

Don't know why you'd want to shake it, though. Joyous music is hard enough to come by as it is. And if there's some serious heft tagging along for the ride, well, that's pretty much irresistible to me. Fun for all centers of the brain.

Dash Rip Rock
Tiger Town
(Doctor Dream)
reviewed in issue #45, 11/30/93

There are few absolute truths in this life, but one of them is never miss a Dash Rip Rock show. If you haven't been following this admonishment, then get with the program.

This is their first release for Doctor Dream (they were most recently on Mammoth), but they share the one characteristic I've heard from DD artists: good songwriting.

Whether the inflection is C&W, punk or just plain pop, DRR tear through the patterns to create a whole new suit. And this is no exception to their career so far. Some bands are best described as bar bands. The kind of band that plays music you think you've heard before, but in fact the music is so infectious you just don't realize it's original. When you're sloshing around in front of the stage with a beautiful girl, and the bands seems to read your mind and play a song like "True Drunk Love".

That's why you never miss a Dash Rip Rock show.

Nick Dastardly and the Escape Artists
Let Go of My Bruised Wing
(Parachute Entertainment)
reviewed in issue #170, 10/26/98

Speaking of using backbeat and harmonies to a cloying effect. Well, actually, there isn't much in the way of harmonies, but still. This is right down that Blues Traveler-Hootieman-etc. alley.

The songs have rather intriguing titles (they're all quite long--see the album title for an example), but what lies within generally doesn't live up to the hype. And let's just say I'm not the biggest fan of blown up roots music.

Which is too bad, probably. Dastardly (or whoever) has a good voice, slightly raspy when he needs some edge, and the band is more than solid. The sound is good, bringing out the right parts at the right time. It just...

I don't particularly like acoustic guitars with my backbeats, y'know? It sound arbitrary, I'm sure, but that's just how it is. I can't dig it, man.

Data Cadet
Life*Pod 7"
(Westside Audio Laboratories)
reviewed in issue #152, 2/9/98

Languid, but still rockin', noise stuff, replete with whorls and squelches of distortion and lots of fine riffage. Goofy and intense, with plenty of punch.

Kinda like listening to a radio station which keeps going in and out of phaze between a radio station playing Space Streakings and another playing some 70s lite rock. Each is just out of range, sometimes bleeding into each other and sometimes utterly fading to black, with an omnipresent layer of white noise coloring everything.

Wonderfully disturbing fare, completely askew from the normal, acceptable standards of society. There comes a time when lunatic rantings begin to make sense. We just might have reached that point.

Daubert & Holcombe
Lennon, More than a MemoryCD5
(self-released)
reviewed in issue #196, 3/6/00

Just yer basic tribute song, aping the style of the object of affection and working in as many references to his works as possible.

The synthesized production is lush, but the processed horns and strings are a bit tinny. As for the song itself, it sounds like a generic John Lennon song. That might be the aim.

I wish the song was more personal, that it gave a few reasons why the writers love Lennon so much. This is more of a mass market kitsch run.

Daver
PopArt
(Modern Relic)
reviewed in issue #193, 12/20/99

I got this CD in an LP sleeve. Sez it's the compact disc version of the double LP. There certainly are enough songs and enough time. And despite the some what whimsical cover, the music is a lot more subdued.

Is that the right word? Dunno. What this isn't is effervescent and silly. The songs have a contemplative bent and the lyrics tend toward the serious. Oh, there's a little sarcasm here and there, but this is more in the grand statements sorta realm.

And it works well enough there. This is fairly strong lyrically. I do wish a little more attention had been paid to the music, but it hasn't been shortchanged too much. Even if the results don't always measure up to the ambition, Daver does fine.

And that's really the deal. This doesn't bowl me over, but it's pretty good. I'm all for ambition. Even when it isn't fully realized, ambition means the artist is working his ass off. That does show.

Dave's True Story
Sex Without Bodies
(Chesky Records)
reviewed in issue #153, 2/23/98

The "alternative" bands at the forefront of the whole loungecore movement (a term I despise, by the way) seem to think that the idea is to play mellow music with horns and hope the listeners are too drunk on their martinis to notice that they're merely purveying schlock. Which is too bad, because some of the most talented songwriters of this century wrote songs that have been cast in this sound. I mean, if you want to say that Billy Corgan is a better lyricist than Cole Porter, fine, but don't run into me after I've had a couple beers.

That tangential extended introduction is my way of saying that Dave's True Story understands that mellow, pseudo-jazzy music doesn't have to be insipid. The lyrics are clever and evocative, delivered by Kelly Flint's versatile alto. Not husky, but plenty of verve. The Dave in question is David Cantor, who wrote all the songs (with the exception of a cover of "Walk on the Wild Side") and played a sly guitar.

The songs run from spare arrangements to full lush orchestrations, but what always sparkles are the lyrics. These songs really aren't even aimed at the current trendy lounge crowd. I mean, how many of them would recognize the reference in the song "I'll Never Read Trollope Again"?

Truly sophisticated, even as the lyrics undercut that high life with biting sarcasm. In other words, great stuff. Intimidating, challenging and glorious. There's nothing even close.

Guy David
Legend Music EP
(self-released)
reviewed in issue #219, 7/16/01

On the cover, he's billed as "Non DJ" Guy David, but I figured I'd list this under his regular name. Call me anal or whatever. David may not be a DJ, but he does traffic in electronic music. Panoramic dry techno, to be more specific.

Very much from the German school. The sound is about as artificial as you can get. I'm not complaining; I'm just describing. In fact, David has a real nice feel for this kinda stuff. The lines move in abstract ways, with his beats keeping the pieces together.

Real nice. Four songs that fit together well without sounding alike. David does have a nice handle on this sound, and he knows how to put his own music together. Fine work.

Dave Davies
Unfinished Business 2xCD
(Velvel/BMG)
reviewed in issue #174, 12/28/98

The first disc is a set of "Kinks Kronikles". The second is a set of "Solo Kronikles". The first set includes a few early hits (including "You Really Got Me"), but most of it focuses on later works or latter-day live recordings of the hits, though skipping such songs as "Lola" and "Come Dancing". Actually, that's fine with me. The hits are easy to find.

Quite honestly, though, the amazing thing is that Dave Davies has been able to sustain a career all this time at all. Or that the Kinks, who did have a hell of a run in the mid 60s, still tour and sell out shows. As anyone who has heard a Kinks album in the last 15 years will tell you, there's not much to hear. Generic is a kind word.

The Kinks were heroes of the garage sound, and when they learned how to properly speak and play their instruments, well, they lost the only thing they had going for them: Their ragged energy.

Listening to the "solo" disc is almost embarrassing. The stuff is so dull, even when Davies manages to howl. Hey, I dig those old Kinks songs as much as anyone. "Lola" maybe be the best rock song ever (it's certainly in the running). But there are plenty of places to find the good stuff. There's too much filler here.

Matt Davignon
Music at 1/2 Speed
(Edgetone)
reviewed in issue #253, May 2004

Matt Davignon was just sitting around, bored off his ass (I'm extrapolating ehre, of course), when he decided to pop a 4-track into a regular cassette player. Whoa! The mind boggled. He reached back, found these recordings from the mid-90s and mastered them to half speed.

Instead of the Chipmunks, we have the Narwhals. Or something like that. Some of these pieces were experimental to begin with. It relatively easy to pick those out. They make no sense at all. But there are a few former pop songs in there, and those turn out so damned cool. You can imagine what these things might sound like at speed (making them an octave or two higher in pitch).

I dunno. Maybe I'm just a jaded music critic who latches on to anything that doesn't sound "normal." But I think Davignon is really on to something here. Slow down songs, and you start to really delve into their inner secrets. That or, as I noted, I'm simply trying to justify the preferences of my burned-out brain.

Nah, this stuff is great. Once you get a load of the blown-out harmonica in track two, you'll agree. This album is an experience that never fails to excite.

Duf Davis + the Book Club
Shut Up and Detune Your Guitar
(Orange Entropy)
reviewed in issue #190, 11/1/99

The title does have some bearing on the sound of the album. The guitars are acoustic, and they're not always immaculately tuned. In fact, they're often used to a jangly ukelele effect.

It works. I mean, I can't really believe it, but this sometimes utterly bizarro strumming thing really works. Vocals or no, the songs manage to convey some truly intense messages. In fact, the non-lyric-bearing songs are rather more intense.

Alright, this isn't Jim O'Rourke picking, but actually, the disorienting effect is in the same ballpark. The sometimes less-than-tuned guitars can get spooky, and certainly, the sound can get violent. Really, I mean that. There's some heavy stuff here.

It just keeps burbling out. Davis says he only releases this stuff to satisfy his need for attention. Well, the songs deserve it. This is wacked stuff, sure, but vital in its rage. Betcha never heard acoustic guitars sound so menacing.

Another set of deceptively menacing songs from Duf Davis and friends. The vaguely-tuned acoustic guitar is still strummed to strange effect. I still get a little creeped out by the whole thing.

That's good, because I think that's what Davis wants. He's not trying to make happy, cheery music here. He's trying to express a number of different ideas, and his hyperkinetic strumming helps to get those thoughts across.

Really, though, the star here is writing. Davis has a warped way of penning lyrics, and he and his pals then paint some of the more intriguing musical pictures you'll ever hear.

Some folks might find Davis' idiosyncrasies a bit off-putting. Annoying or aggravating, even. Life goes on. I really like the way Davis and friends express themselves. Period.

Geater Davis
The Lost Soul Man 2xCD
(AIM International)
reviewed in issue #275, June 2006

The term "soul music" means many things to many people. Most folks can agree on Aretha Franklin, Sam Cooke, Otis Redding and Marvin Gaye. After that, well, you get in trouble.

Geater Davis is from the second generation. He uses plenty of rock and blues in his songs, and he's not afraid to shift from Muscle Shoals-esque horns to electric piano jams. What carries through every song is his utterly pure voice. Listen for two seconds, and there's no doubt he's a true soul man.

He's something of a growler and a wailer, not unlike Edwin Starr or, more correctly, Bobby Womack. These are songs of love and loss--and more loss than love, to be sure. If Davis had been 20 years older, he would have been a blues man. His songs still retain many blue touches, but by and large he remains committed to the soul side of the tracks.

These songs date from 1970 until Davis's death in 1984. As the liners note, he was making his music during a time that didn't want to hear it. If he'd managed to last just a few more years, he might've seen some daylight toward the end of the 80s, when soulful bluesmen like Robert Cray scraped some success. Nonetheless, we've got the songs here. And they're something to behold.

Davis Waits
The Evolution Of...
(self-released)
reviewed in issue #187, 8/30/99

A band, by the way. Playing the songs of Ken Kunin (Kunin does the singing and plays guitar, too). Some of the pieces are from Kunin's solo album and from his previous band, Jet Jaguar. These are new recordings, I think. In any case, they are new to me.

But I wish they weren't. This stuff, something in that electronic-tinged California roots rock phase. Kunin has a knack for writing off-the-cuff choruses which wiggle straight into your head. They don't leave.

Not that I mind. Not in the least. These are great songs, heavy with cynicism but buoyed by moments of guarded optimism. I can identify with that approach to life. Maybe that's why I'm so knocked out by these songs.

Or maybe, just maybe, this stuff is really great. I've got enough objectivity to say that the latter is probably true. Davis Waits (or whatever it is Kunin is doing) plunks down a large set of incisive and insightful tunes. With just enough of a commercial edge to be attractive to the regular set. An altogether enrapturing set.

See also Ken Kunin.

Dawn
Slaughtersun (Crown of the Triarchy)
(Necropolis)
reviewed in issue #153, 2/23/98

Produced at Peter Tagtgren's Abyss studios, these Swedes show that black metal isn't necessarily crap. Slaughtersun doesn't quite out do the fine work Tagtgren has done with the Abyss (a sidelight of his Hypocrisy duties), but it's pretty damned good.

Sounds a lot like Iron Maiden playing black metal, without much keyboard interference. The drums eternally cascade and the guitars whipsaw through a series of triplet runs. Really loud? Yep. Nutcrushing? Sure. A complete and utter adrenaline rush? Abso-fuckin-lutely.

Adherents to the original black metal ideal will cringe at the thought of, say, songwriting or the acoustic interlude "To Achieve the Ancestral Powers". Actually, Dawn sounds a lot more like latter-day Hypocrisy than anything else. Though that makes sense, and I'm not complaining too much.

The sort of album that will appeal to more traditional metal fans. A sell out? More like an evolution. The ultimate extreme will always fall to the center. A musical law of entropy, or something like that. There's an old joke about inevitability, but I'd best not repeat it. Just sit back and enjoy.

Day of Reckoning
I'm Not a Strong Swimmer
(Blood)
reviewed in issue #66, 11/15/94

Good melodic pop, at times as punchy as early Superchunk, but often mellow enough to just roll along.

Folks speak of summer records, and this is one of those. There isn't the big standout track, just one upbeat sing-along tune after another. The kind of tape you throw in the deck and drive out to the beach with. Of course, it's still 85 degrees here, and there's only mile after mile of beach ten minutes away. Hmmm...

Yes, DOR passed that field test. Perhaps not the most distinctive band, these boys have crafted some fine tunes that will make most anyone smile.

Dazzling Killmen
Medicine Me 7" and comic book
(Skin Graft)
reviewed in issue #32, 4/15/93

A brutally intense band live (take Helmet and pump the adrenaline a bunch). The a-side is a real mess, with a ton of noise and absolutely no direction. Fuckin' cool.

The b-side is a P.I.L. cover, and everything seems to be in slow motion. Personally, I've heard these guys do much better live, but I'm not complaining. As for the comic book: completely tasteless art combined with irresponsible story lines.

If I didn't get this sent to me, I woulda bought two (but feel free to keep sending 'em!).

Perhaps the one band that Steve Albini can produce perfectly. The minimalist approach Albini takes to everything but guitars captures the pure sonic intensity of a Dazzling Killmen show.

And if you have been privileged enough to catch one, you know how manic they can be. Leave you in a cold sweat. I first saw them open for Poster Children, and the Poster Kids were rather impressed as well.

Yeah, some say grindcore is the most extreme form of music around. But Dazzling Killmen matches up very well against such sonic disrupters as Zeni Geva, and if you think that because you can hear space between the instruments this is weak, don't be silly.

They will never be mainstream, but Dazzling Killmen is destined to be legendary.

The final word on one of the best bands in recent history. When I heard of the band's demise soon after the release of Face of Collapse, I was seriously bummed. This only makes the wounds worse, because genius resides in its collection of singles, compilation tracks and live takes of tracks from the very hard-to-find first album.

And as amazing as the throbbing buzzsaw musical world of Dazzling Killmen can be when recorded, the real joy was watching (and hearing) the guys play live. The energy was positively contagious. No one I knew walked away from a show disappointed.

And now we're left with a final reminder of how great this band really was. The music still sounds current, and almost any band today would love to be able to put out a set of songs with this much power. Sure, the live tracks are not recorded as well as they could have been (the sound is a bit flat, but not terrible), and a couple of the other tracks don't quite measure up. This disc testifies to the greatness that was Dazzling Killmen.

I called it way back when, and I'm happy to have more folks on my side today. All hail Dazzling Killmen.

See also Brise-Glace, Gastr del Sol, Yona-Kit and You Fantastic.

dB Function
Wrong CD5
(Syntax)
reviewed in issue #190, 11/1/99

You know the Bernard Sumner track on the latest Chemical Brothers album? dB Function sure does. The title track is nothing if not a similar updating of the New Order sound. Highly infectious and terribly sterile. In a good way.

Which makes the second song almost inexplicable. It's a basic pop song without much of a chorus or hooks in general. Just psychedelic emo guitar licks and something which sound very much like... real drums. Is this the same band?

I guess. It IS the same single. The voice does sound right both times, but everything else is different. Except, of course, that both songs are pretty fucking cool. Maybe it is the same band.

DC to Daylight
Xmas Murder '74 EP
(Urban Cheese)
reviewed in issue #239, March 2003

Talk about riding the bottom end. DC to Daylight rocks out a series of fine r&b riffs and then turns the whole sound pyramid upside-down. All the fuzz is in the bass, which makes the uptempo attack that pervades this disc even more astonishing.

Think the last Laughing Hyenas album, or maybe something from the Delta 72. And then add a bizarre sense of humor (the pseudo-ska beat and Jimmy Buffett-style organ in "My Way to Hell" ought to clash blindingly with the rest of the album, but the song becomes something of a touchstone nonetheless) and then simply let these boys roll.

In all honesty, this short piece of mutant music speaks for itself. I can try to describe what I hear, but in no way can I capture the strange appeal of these songs. One note (seriously!) and I was hooked. Even more impressively, the disc tightened its grip as it played. Compelling doesn't even begin to tell the story.

Christoph De Babalon
If You're Into It, I'm Out of It
(Digital Hardcore)
reviewed in issue #170, 10/26/98

The sort of music I'm used to getting from the Cold Meat Industry label. de Babalon crafts intricate electronic soundscapes, full of re-engineered sounds, washes of distortion and the occasional implied melody. Oh, yeah, and some of that killer hardcore electronic percussion work.

The best part about the disc is its diversity. The tracks do not sound alike in any way, shape or form. There is a spirit of experimentation and adventure here that is generally lacking in most works. De Babalon is not afraid to try new things or to put those attempts down on tape.

I simply enjoyed letting the songs track down, hearing what would flow next. The influences come from all over the electronic and gothic landscape (gothic like Brighter Death Now, just so you understand what I'm talking about here) and are merged into a nice quilt of sound.

Almost too much. This is an album of uncompromising vision and power. Mainline it and see what happens.

Lisa DeBenedictis
Tigers
(Magnatune)
reviewed in issue #272, March 2006

For those who don't know, Magnatune is one of those newfangled online labels. The folks have an interesting idea. Check it out. As for Lisa DeBenedictis, she's got some interesting thoughts of her own.

One is that lots of synthesizers go well with a folk sensibility. Maybe she's been listening to some of the more recent Emmylou Harris albums. In any case, I'm apparently one of the few who found the slightly sterile sound of this album bracing. Kinda like a cool amalgamation of new wave and folk.

As for the songs themselves, they're far-reaching beasts. There's a lot more going on here than navel-gazing. Rather, DeBenedictis tries to find some answers to important questions. I'm not convinced she does every time, but since she always shows her work, I'm happy.

This one sneaks up on you slowly. Let it. And then roll with the waves. Most intriguing.

Mike DeLaCerda
American Gypsy
(Vision)
reviewed in issue #257, September 2004

Mike DeLaCerda sounds an awful lot like Jimi Hendrix. His voice, that is. His guitar is pure white-boy blues--well, as white as Buddy Guy, I suppose. DeLaCerda does bow to convention and construct most of his songs along blues 'n' boogie lines--definitely on the rock 'n' side of the divide--but his playing has soul to spare.

And then there comes some like "Tribute to George Harrison," which is as fine a guitar noise composition as I've heard in a while. It doesn't sound a whole lot like Harrison, even when he's borrowing a bit from the Dark Horse, but it is inspired nonetheless.

What I like is the ringing tone he gets on his guitar. He's not afraid to play loud or heavy or anything like that, but his playing always dances rather than pummels. For me, that's the key difference between rock and blues. Both can be exceptional, of course, and both are inextricably intertwined, but there are differences. At the heart of things, DeLaCerda proves himself a bluesman.

And an accomplished player and songwriter. He does have a few covers here (including an interesting take on "Are You Experienced?"), but his songs shine as well. DeLaCerda has obviously put in his dues. Now he's ready to roll.

Dead By Dawn
After I Eat Your Brains
(self-released)
reviewed in issue #126, 1/13/97

Merging a grunge drone and glam whine with really silly lyrics, Dead By Dawn almost manages to capture my imagination. Unfortunately, it wasn't quite over-the-top enough.

The music is pretty damned near insipid, really. I know, I know, grunge is a man's music, and I shouldn't bitch about it, but these faux-Iommi riffs have been getting on my nerves for a while now.

Like I noted, though, a saving grace is this odd tendency to warp into a glam metal groove every now and again. And, of course, the lyrics are completely retarded, which also helps. I mean, if you can't do anything else, laugh.

For a self-produced disc, this sounds really great. Everything is sharp and in focus, which probably is a detriment, because I can hear exactly what the band tried to do (all that stuff I didn't like). Almost fun; almost enough.

Dead Fly Boy
Self-Titled Debut (advance cassette)
(Sector II-Futurist)
reviewed in issue #50, 3/15/94

I can see Beavis & Butthead bobbing and weaving, going "this is cool." It is catchy, but I'm kinda tired of this particular guitar sound right now.

Dead Fucking Last
Proud to Be
(Epitaph)
reviewed in issue #81, 7/31/95

I can't recall Epitaph ever releasing an old-school NYC hardcore disc before, but then, perhaps the fact that bassist Adam (Adrock) Horovitz co-produced the studio tracks had something to do with it.

By the way, I guess you have to refer to the band as DFL on the radio. Oh well. But now to a real dissection of the contents therein.

Well, phrases like "a sloppy Murphy's Law" come to mind. This doesn't suck, so don't accuse me of slagging the disc, but DFL isn't exactly at the forefront of the hardcore movement, either.

I personally liked the last track, "What's the Difference", an interesting deconstruction of hardcore itself. And the rest of the disc is decent fluff, but certainly nothing more. Plenty of snotty attitude to pass a sunny Sunday, but no meat and potatoes. Yeah, this is a sure-thing sales-wise, but the music is passable, too. Ignore celebrity status and make up your own mind.

I suppose the most amusing notation on the package is the DFL web site. For one of the most lo-fi (and generally low class) hardcore outfits around, this is simply too much.

Impossibly sloppy, and with a truly maddening feature: all 16 song consist of one track on the CD. So people like me can't simply skip through the bastard when we tire of one rant or another.

Anyone who's curious can find out the superstar connection to this band (it's pretty obvious just listening, really). Like I said when the last album appeared, I can't find a whole lot of reasons to buy this.

It's not that I'm against utterly messy hardcore, but on top of the musical hamburger, DFL doesn't have a damned thing to say. Punk for punk's sake, though I have to say the Red Aunts do this sort of thing so much better. I can't think of anyone who does it worse.

Dead Horse
Peaceful Death and Pretty Flowers
(Big Chief)
reviewed in issue #1, 10/31/91

As with any band on Big Chief, after you first hear Dead Horse, you cock your head and sort of turn it sideways. Then you realize all is not normal. Sure, there are very rough vocals, almost death-style, but the rhythm section has it together. And although it is close to grindcore, there is much too much sense of melody in the riffs and lead work.

Some of my reporters have already discovered these guys. Good for you! This is a really fun album. Folks at my station are wearing out their cover of "Rock Lobster" (along with "the Pee-Wee Herman Rap" and, oh, some other song as the three tunes I would never dance to in high school). Finally a decent version! Awe-inspiring cuts: "Cod Piece Face," "Like Asrielle," "Snowdogs," "Alpo" and of course the B-52s cover.

Dead Industry
Born of Creation
(demo)
reviewed in issue #128, 2/17/97

Apocalyptic, industrial death metal. Sounds a lot like Dead World, except without the little things. Those little things mean a lot.

The sound is just a little overly sequencer driven. A little sponteneity help, especially at the slow speed of the songs. In general, the music is decent, if nondescript. The lyrics need a good bit a work to rise above the middling range. Of the three tunes, the third, "Spineless", is easily the best. There's some real good work there.

One bright point in the overal package is the production, which is well above demo quality. And "Spineless" is good enough to show some potential. Lots of work is needed, though.

Dead Meadow
Dead Meadow
(Tolotta)
reviewed in issue #209, 12/11/00

Let's see. The song titles are things like "Sleepy Silver Door" and "Dragonfly Lady" and "At the Edge of the World." Is that stoner rock, dude? Well turn it up!

To Dead Meadow's credit, the only bit the band seriously cribbed is the fuzz-laden sound. In fact, one thing that's missing is serious guitar pyrotechnics. There's not even a lot of singing. Just a few ponderous musings, separated by the odd vocal bit.

And unlike most other bands in this genre, Dead Meadow has worked hard to make its sound as hypnotic and engaging as possible. I mean, these songs work. They're extraordinarily simple in construction, and the production is pretty damn basic as well, but that works.

I really can't imagine a more stripped-down approach to stoner rock. But then, I haven't enjoyed such an album as much as this one in quite some time. Just let the chords roll on through.

Dead Orchestra
Sounds Like Time Tastes
(Choke Hit)
reviewed in issue #46, 1/15/94

Technical deathly thrash, the kind Europeans and a select few Americans still get off on.

With 18 songs, you have plenty to choose from. All are fairly tasty, but some just jump out right from the title. "Satan Loves Me", "Attack of the 500 Foot Hippie", "Lesson 39 on How to Annoy" and "Five Young Vikings" prove that a sense of humor is always in vogue.

Right now, the only way to get this stateside is straight from the band in Wichita, but hopefully a deal will be forthcoming. Their last album was available in the U.S. on New Renaissance, which as we all know took a dive some time ago. If they haven't gotten this to you yet, be sure to give the good folk a call.

Dead Red Sea
Birds
(Deep Elm)
reviewed in issue #223, 10/15/01

Gently rolling emo. Dead Red Sea lolls around, slowly churning out duly satisfying songs. Very deliberate, but that in no way takes away from the joy of these pieces.

The song construction is simple and direct. Almost in the realm of alt. country singer-songwriters, though the sound itself is still straight emo: Vaguely atonal guitars, less-than-perfect vocals, strident rhythms.

Makes for a good mix. Dead Red Sea veers from influence to influence, depending on the needs of the song. The overall sound is thick and full; more of an emo feel. Which only makes sense.

I like the way these songs have come together. It's hardly typical, but close enough to be comfortable. I surely would like to hear how these boys develop their ideas in the next couple of years. Could be most interesting.

Dead Voices on Air
Halfted Maul
(Invisible)
reviewed in issue #70, 2/14/95

Only for the connoisseur. I'm a big fan of experimental sound construction, so I like this a lot. DVOA is Mark Spybey, a guy from Vancouver with apparently far too much time on his hands.

Spybey keeps things fairly loose and unassuming. The samples come from everywhere, but rarely does one element drown out the rest.

I can listen to this sort of thing for hours, trying to figure out how someone collected all the sounds and put them together the way they did. This is not mere experimentation; there is an attractive end product.

But DVOA has no intentions of attracting even mainstream college listeners. You must be prepared, and if you are, you will be rewarded.

Back with his second selection of tape-loop noise in two months, Mark Spybey (with cEvin Key of Skinny Puppy on three tracks) creates six new sonic sculptures.

The tracks on this set are more moody and less intense than those on halfted maul, but engaging nonetheless. As for Key's contribution, I can only guess. I don't hear much difference in the composition of the tracks on which he guests.

Once again, a warning to those who may not be expecting this: Dead Voices on Air does not create nice little pieces of mind-numbing music. This is seriously experimental industrial noise, and you should adventure at your own risk. I'm taking the full safari tour, myself.

Dead World
Collusion
(Relapse)
reviewed in issue #19, 8/31/92

Death/doom/industrial (as in machine head) for Dead-heds. The next time you've taken a dose and you don't want to listen to more MBV or Jefferson Airplane, put this disc on. It meshes well with the new Type O Negative. Both are so far out there you don't know if you can reel them in.

Or, do you really want to? This is not radio-friendly music, although at KCOU we have two hours set aside every week for just this sort of in-house studio experimentation.

While this doesn't always translate well to recorded material, bands like Einsturzende Neubauten and the aforementioned TON do a really good job of making me listen. And Dead World are pretty damn fine themselves. To define this sound would be to limit it, so I'll retract my earlier synopsis.

I've noticed a lot of you tell me you really like the new Type O Negative, but it never shows up on your lists. The same can be said of My Dying Bride. Shame on you. You are being cultural elitists, saving the best music for only your ears. Hell, as college (or at least "alternative") loud music djs you should be playing the most extreme and innovative music around. Don't cop out.

This is more than mere music; it is a true experience. Don't ignore this because it is different. Revel in it.

I've heard many of the tracks from their upcoming album, and they are amazing. Side one here does what Godflesh used to do well: slam your head into a brick wall and pulverize your ears. Altogether vicious.

The flip is a presentation of a great poem over chamber music. This is what I think Dead World does best. Make you distrust reality. Just when you think you know where you are, their music can strip away your perceptions and drive you to despair.

Cool.

The Machine could refer to lots of things, not the least the absence of former drummer Greg Knoll, who is attending art school not a mile from where I lived in K.C. For an even weirder connection, his boss at the school's computer lab beat me out for a job at a printing service bureau.

No hard feelings, especially when music like this is involved. Dead World has evolved from simply an industrial ambient group to more of the structured song type, best typified by the first track, "Cold Hate." I've had a tape of this album and other tracks for quite a while (a year?), and that song still brings chills.

Hard-core brutality. Different but still the masters. Godflesh haven't dared do anything this heavy since Streetcleaner, and only Pitch Shifter could possibly do this well (can't wait for the new disc).

Want real industrial death? There is no other choice than Dead World.

A nice four-song collection from Pennsylvania's industrial gods. The title track is the most club-ready thing they've released. The second track is some very nice noise work. Add in an edit of "The Machine" from the album of the same name and the "Dead World" track, previously only available on a 7" and a compilation, and you get the picture.

What else can I say. I am completely in awe of what Dead World does. Maybe someone else out there will notice them, too.

Dead Youth
Intense Brutality
(Grind Core)
reviewed in issue #1, 10/31/91

This is from the title track: Now I ride a BMX bike/ And mutilate young girls who I can find at night/ I'll pick up your daughter and show her my toy/ After I kill her she'll give birth to a boy.

Not to call these boys misogynistic; let's just say misanthropic, shall we? The label describes the music, which is rather well-produced and pretty decently performed. You can't understand the lyrics when sung, so you can play them.

I've been wondering how serious the Dead Youth are; Their stuff is so over-the-top you can't take it seriously, but I wasn't sure. Until I heard the first track of this album. Funny as hell.

From there it degenerates into muddy grindcore. But there are those lyrics many women love: "I'll crunch your ballsac (sic) whip it into a mulch. Genital juices gurgle and squelch, squeeze your testicles, put them in a vice..."

Um, apart from the fact squelch means to put an stop to, or something like that, this is real art, man. I'll show you some funky divas, man.

Deadbolt
Tiki Man
(Headhunter-Cargo)
reviewed in issue #64, 10/15/94

What's Voodoobilly, you ask? Well, somewhere between Shadowy Men on a Shadowy Planet and Screamin' Jay Hawkins. Great guitar licks somewhat obscured by weird and sometimes funny (always extreme) vocals.

You do have to be in the mood to really dig this. If for some reason you're just not in the mood for silliness, then wait until such an appropriate time. Everything is pretty low-key, except for the lyrical content, which focuses on, well, voodoo.

These guys should be awful fun live, and they are pretty amusing on disc, too. The music lays down a nice atmosphere for what follows. If you just float along for the ride, you'll enjoy it.

Pure lunacy. Take a guitar, fade it to a background echo with a heavy sound. Add in straight 4/4 drumming and a bouncy surf bass line. And then deep, scratchy vocals spewing forth some truly wacky shit. Bingo! You have voodoobilly. And that's what Deadbolt plays.

Lots of songs about killing folks, bad mojos and the like. Another reviewer in my are referred to Deadbolt as the perfect Halloween party band. I'll concur.

Deadbolt has been used in ESPN2 promos (I can't remember which, but the music is unmistakable) and this should have garnered a decent national following by now. I don't get quite the cool vibe from this album as I did from Tiki Man, but maybe I've just listened to that album a bit too much. Still a big wad of fun.

And don't worry; this stuff is good enough to get past mere novelty appeal. The playing is good, the production keeps everything in a smoky room. Just where it should be.

Wonderful psycho surf tuneage with them growly, howly vocals. Yep, it's another turn for Deadbolt. And I'm always happy for the visit.

Actually, after fifty spins or so, Tijuana Hit Squad lost some of its sheen, something that still hasn't happened to Tiki Man. I'm getting more of a classic vibe from this disc, though I have to admit I'm not going to able to perform the requisite repetitions to properly adjudge such matters.

This disc is definitely less jokey and more spooky, and Deadbolt's key attribute has always been the creepy factor. Sure, this stuff is a howl, but the band has to play it straight. And Deadbolt is stiff as a rod on this disc.

More fine Halloween music. I've got enough Deadbolt to get through the first part of a serious party. Of course, I'll be spinning this puppy quite a few times before pumpkin time.

You know, it's Halloween, and what should appear in the mailbox but another Deadbolt album. Uneven sometimes, but there's always something good to be found. The stuff is simply too funny to resist.

Last album was bit heavier on the music. Good stuff. Here, the focus is back on the seriously silly lyrics. Well, if you consider death, dismemberment and demonic possession silly.

I do. And this disc is perhaps the band's most clever. The real world has been left far behind, and out here on the spooky edge, there isn't anyone who does this better. Deadbolt is Deadbolt, period. And as usual, Deadbolt does Deadbolt very well.

There comes a point when I can't say anything else about a band. I love these guys, and I listen to their albums more than I should. If you can't imagine possibilities of a spooky rockabilly band kicking out horror stories, well, too bad. I'm hitting repeat, myself.

These guys have been making spooky, jokey albums for a long time now. Nothing new here, but still plenty of creepy mirth.

Deadguy
Fixation on a Coworker
(Victory)
reviewed in issue #95, 1/15/96

Vicious hardcore that takes no prisoners. At times, Deadguy rivals the best in the business. And then they do silly things like fuck with the tempo and the groove, switching gears. Aaaaaaaaaaa!

And that's when I want to shoot them. Hardcore and death metal bands (I know the difference) seems to have this problem most often. You get a minute and a half of a cool song down, and you get stuck. So instead of repeating the cool part and getting a great three-minute piece, the band cranks another couple minutes of something else into the song, totally destroying it.

Deadguy can play fast, slow and in-between very well. And on many of the songs here, one coherent thought permeates throughout and the result is great. But then comes the odd stumble, and I get bummed. Deadguy is just a small step from moving up with the Victory big boys like Earth Crisis and Snapcase. A little more work on the songwriting should do the trick.

Deadspot
Built-In Pain
(C/Z Records)
reviewed in issue #1, 10/31/91

Philly hard core gods release another batch of truly inspiring music. Mike Illes' screeching vocals are a nice break from either Bad Religion wanna be harmonies or death metal-style incoherence. The music is top notch, with great riffs abounding and even occasional lead solo work.

Once again, C/Z has pulled a cool band out of the depths of obscurity (check out their Hammerbox release from earlier this year; it's a must). Produced by Seattle scene guru Jack Endino, Built-In Pain is a treat for the ears.

Cuts to blast: "Nightmares," "With Your Belief," "Built-In Pain," "Suicide City" and "God Machine" (woo-woo!).

Dearly Beheaded
Temptation
(Fierce-Futurist)
reviewed in issue #119, 9/23/96

Music calculated to fill the pits, running along at Rollins-speed. In fact, there are more than a few similarities... and don't forget the heavy Biohazard influence!

The main difference is that Dearly Beheaded just can't stay stuck in a rut all the time. The tempo sometimes moves past "dirge", and even the slow mosh works on tunes like "Witness". Yeah, you've heard this before. Metallized hardcore that grinds along just fast enough to keep you regular.

But after cruising through the album, the most obvious reference point is old Anthrax. Like before Joey, but with better production. So folks don't call this stuff "metal" any more. Could've fooled me.

Passable, but just not enough originality to really kick me into gear. Not so much generic as just unexciting. I kept wanting to really like this, but to no avail. I'm feeling awfully indifferent.

Death
Individual Thought Patterns (advance cassette)
(Relativity)
reviewed in issue #36, 6/30/93

Chuck may have been present at the birth of death metal, but so many bands have passed his, I don't know why he still tries. I wouldn't even call this death metal. More like dull thrash. Retire and become a legend, man.

When I heard the news a few months ago that Chuck Schuldiner had recruited another set of sidemen to crank out yet another Death album, I was dubious, to say the least.

I've never been a Death fan, and I thought the last two albums were particularly stagnant in the creative department.

But I'm pleasantly surprised by this disc. Chuck and Co. have given up on death metal, going for a more speed-prog metal approach, and it fits quite well.

Death has always been a bit too technically oriented to get me off, and that trend continues here. But Chuck has come up with a great collection of riffage, and for one it sounds like he really tried to write songs.

This is the best Death album I've ever heard. The performances are great, and the production is clean, which is exactly what this new creative turn needed. While still not exactly my cup of tea, I've got my hat off the Chuck and the boys: a fine album, indeed.

Death By Chocolate
Death By Chocolate EP
(Jetset)
reviewed in issue #212, 2/19/01

A multiple contributor to the two most recent Songs for the Jetset collections, Death By Chocolate takes a loopy electronic approach to 60s pop psychedelia. And don't be put off by the lengthy song list on the back. Almost half of those "tunes" are strange little list monologues.

Perhaps those odd spoken-word bits can be better explained by the fact that Death By Chocolate is Angie Tillett. While I might have guessed that from the fairly minimalist approach to the sound, this in no way sounds like a stereotypical obsessive solo project.

Indeed, there's a playfulness that emanates from each song, a feeling of joy that is pretty hard to shake. This isn't mindless effervescence, mind you, but a more mature sort of happiness that comes from having been around the block a couple of times.

Throwback? Nope. Something altogether new and unique. Death By Chocolate does feel like something of a gimmick at first. But then the depth begins to make itself known. That's when the smiles really begin to show.

Death in Vegas
Dead Elvis
(Time Bomb/BMG)
reviewed in issue #145, 10/13/97

Once known as "Dead Elvis" (the name was changed to arouse less ire from fans of the corpulent one), Death in Vegas consists of a DJ who likes to be called Richard Fearless and another guy named Steve Hellier. The sound is somewhere in the new electronic universe, though more roots-laden than chock full of throbbing beats.

This shares a lot with that Style Scott/Bill Laswell disc I reviewed last month. The grooves are thick in the South (from Memphis to Kingston, and often both at the same time--check out "GBH"). The songs are loose arrangements of tight rhythm structures. The guys give the stuff time to develop. And they don't overload with bombast, which keeps the sound in the land of the real.

They've toured with Lionrock, a band which shares many of these same attitudes. After all, just because you're using technology, you don't have to create an album that sounds like it was shit out of an Amiga, now do you?

No, it's actually possible to make a highly pleasing song using electronic cut-and-paste. String enough of those together and you get a great album. Like we've got here.

Todd Deatherage
Dream Upon a Fallen Star
(self-released)
reviewed in issue #245, September 2003

I've got this theory that Uncle Tupelo serves the same role today that Big Star did when I was in college. Back in 1988, Big Star seemed almost ancient--having broken up some 14 or so years previous. Uncle Tupelo broke up in the summer of 1993, so maybe my theory is a bit premature. And then again, listening to folks like Todd Deatherage, maybe not.

Deatherage and pals don't ape Farrar and Tweedy, but the twisting of country and roots with more contemporary sounds of all sorts kinda found its critical mass in the late 1980s with bands like the Jayhawks and Uncle Tupelo and a bunch of other bands I saw just about every weekend during my five years at the University of Missouri.

All of which is more than enough about me and my theories. Deatherage is as likely to whip out some western swing as he is to toss off a nice little two-stepper. And while each of these songs sounds decidedly straight on the surface, there's always an odd little aside rumbling in the underbrush. The songwriting is superb, and the performances are similarly superlative.

Did I mention that Deatherage and friends are from New York? I swear, there are more great alt. country types in New York than the rest of the country put together. If this is the hot sound up there, I'm at a loss to explain why the rest of the nation hasn't caught on. Todd Deatherage proves with this album that he belongs in the first rank of modern country artists (or whatever you want to call this sort of stuff). Heartbreakingly gorgeous, it is.

The Deathray Davies
Without a Trace 7"
(Has Anyone Ever Told You?)
reviewed in issue #225, January 2002

Some of the atonal, strident lines of emo imported into a clunky roots-pop style. All done up pretty-like. The Deathray Davies are much more ambitious than this fairly stripped-down style.

There are all sorts of little quality touches. The organ on the flip. A refusal to stay straight on tone. The barest hint of emotion. Subtlety rules.

And subtle pop is fine stuff, indeed. This puppy takes a couple spins to set its hook, but once ensnared, you'll find it hard to leave.

Death Ride 69
Screaming Down the Gravity Well
(Fifth Colvmn)
reviewed in issue #114, 7/15/96

A My Life with the Thrill Kill Kult side project that suffers from much the same problem as the main act: lack of a point.

As less money went into this set of tunes, the production isn't so grossly overdone (leaving a nasty glossy hangover), but the general lack of creative thought in the songwriting is pretty distressing.

Sure, this makes for decent mindless club usage. Get enough beers in me and I'll step out with this stuff. But that doesn't really excuse the lack of quality. Recycled guitar riffs over recycled beats, with inane vocals to boot. I know why this was made (plenty of folks still inexplicably subscribe to the MLWTTKK gospel), but that doesn't mean I have to dig it.

This didn't have to be so dull. Sounds like someone scraping the bottom of the barrel.

The Death Set
To
(Rabbitfoot/Morphius)
reviewed in issue #274, May 2006

New wave meets no wave. The Death Set uses bouncy keyboard riffs and increasingly strained vocals to create a grating and exhilarating album. This disc might be that one night stand you can't resist--even though you know you'll be paying for it in the morning.

Manic, crazed and yet surprisingly tuneful. If I were in a sillier mood, I might call these songs goofy. But I don't think that's quite right. Nonetheless, these folks visit the rational world infrequently.

Which makes these songs that much more exciting. Sane people wouldn't make stuff like this. I have to admit that guessing which mental disorder is most prevalent in the band is a lot of fun. Mania is winning out right now.

The vast majority of people will run screaming from this album. And they should. The Death Set is for true believers only. And if you can figure out exactly what to believe after hearing this set, you're way ahead of me.

Deathstar
Deathstar 10"
(Silver Girl)
reviewed in issue #131, 3/31/97

Noisy and raucous pop, punctuated with a nice punk feel. Really messy, though that does lend a sort of charm

The real problem is that Deathstar never really seems to kick out a very good song. Oh, there are occasional good moments, but nothing even close to great. And even the good moments are easily overrun by the mediocre.

I do like the sound, though. Very live and very touchable. This slab of vinyl makes it sound like Deathstar is really playing in my living room. Off-kilter harmonies, guitar squeals and all.

But still nothing exciting in the songwriting department. And to be honest, the playing is just average. Good things going on, but not enough to make me care all that much.

Sara DeBell
Grunge Lite
(C/Z)
reviewed in issue #38, 8/31/93

Who else could make "Smells like Teen Spirit" sound like a 1984-era Madonna song? And the strings on "Even Flow"!

It is almost impossible to sit through a single song, not to mention the entire album. DeBell did a great job. This is just as annoying as commercial Muzak (a company headquartered right here in K.C., wouldn't ya know).

I've heard a "real" Muzak version of Metallica's "Enter Sandman" and of course Guns 'N' Roses "You Could Be Mine" (talk about spooky). Don't ask me where; let's just say it wasn't at home.

This is a joke. Play it as one. While it's kinda sad this will almost certainly become C/Z's biggest seller ever, there is no other label who has had to suffer more under the grunge plague.

Let's hope Alice in Chains and Stone Temple Pilots take the hint and get jobs where they are truly qualified: McDonald's.

Doug De Bias
Coming of Age in Babylon book and CD
(New Spring Books)
reviewed in issue #178, 3/15/99

The book is a series of essays aimed at teenagers. Yes, another "How to grow up" book, though this one has the sense to tell kids to think for themselves and most importantly, trust themselves.

The accompanying CD has 20 songs from 20 bands. Some folks I've reviewed before (Three Finger Cowboy with one of my favorite songs of last year: "Kissed", Danielle Howle, the Veldt), a number that I haven't heard. There is a common strain to the music; all of the bands owe something or other to Big Star pop.

These days, that's like saying the grunge movement owed something to Skin Yard. But anyway. Within that broad classification, the bands manage to wander about quite a bit, or, as the author says, kicking out the poetry of self-discovery.

I never went for this sort of thing when I was younger (I used The Chocolate War as my manual for passage to adulthood, which is not a path I would recommend), but the book is well-written, and the philosophy cogent without pandering to "modern" conventions. The disc fits in right nicely. A right nice set.

Deceased
Luck of the Corpse
(Relapse)
reviewed in issue #7, 2/14/92

The odd great riff dots the landscape of this brutal onslaught. Unlike many death outfits who sound like they were created in a studio, this has a very live sound to it. The tempos are changeable, and these guys let the groove hang out for a while before they speed your brains to death.

At first this sounded like uncontrolled chaos, but after getting into it, I realized there is direction, and that everything hinges on the drums (very nice work indeed from skin man/vocalist King Fowler). These guys should be amazing live.

Five shades of death. A nice little ep that, while produced rather sparsely, sounds damn nice. While the Voivod cover sounds more like the Accused (which Benediction covered on their new album), it certainly is an interesting take.

More accomplished playing also is a highlight. As these American bands mature, who knows where they might end up. An almost frightening thought.

This sounds like an almost punk take on death metal. Of course, where do you think this music comes from? Tight jams here, and they're obviously having fun.

Still pushing the speed envelope, Deceased