When I heard that Dirtnap Records planned to reissue The Exploding Hearts album Guitar Romantic on vinyl (as well as a 16 song compilation called Shattered, which will compile the bands singles, demos, alt takes from the Guitar Romantic sessions, and unreleased material), I felt obligated to spread the news.

If you’re not familiar with The Exploding Hearts and enjoy power pop/punk done properly, I strongly suggest picking up a copy of Guitar Romantic. This isn’t a garden variety band from the States influenced by Green Day. These boys had looked across the pond more than once and digested their fair share of classics before picking up instruments and calling themselves a band.

If I were to create a recipe card for what a good band should sound like, the results would be very similar to The Exploding Hearts: 1 part Clash, 2 parts The Jam, 1 part Undertones, 1 part Ramones, 1 part Buzzcocks…you get the picture. Good stuff!

Guitar Romantic was being praised by many critics as the best album of 2002. Major labels smelled blood in the water. The sky was the limit for this lot until tragedy struck…

The vinyl reissue and Shattered release date is October 31.

- Kip Gasparick

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Hilly Kristal founded CBGB in December of 1973. The full name of the club is CBGB & OMFUG. The acronym stands for “Country Bluegrass Blues and Other Music For Uplifting Gormandizers”. By definition, gormandizer means to eat greedily or ravenously…in this example, music is what’s being consumed.

Kristal originally intended his new venue to feature artists true to its namesake. The club’s direction would change early on when Hilly met three members of the band Television while outside his club on a ladder fixing the awning. On the night of March 31, 1974 Television would play their first gig at 315 Bowery. The “street music” (as punk acts were initially known) floodgates were beginning to open.

Television’s performance that evening didn’t leave Hilly begging the band to return. After being coaxed by their manager, he allowed the band to play again with another up-and-coming local band, The Ramones. This incredible story went on and on for 30 plus years!

There wasn’t a lot going on in New York City for a rock n roll band at that time. There were very few places for them to practice or play. Bands were virtually ignored unless they had recording contracts. CBGBs made the most of the situation and allowed unsigned artists to showcase their original material. This welcoming of originality turned things around for the club and the legend continued to grow.

Here’s a small taste of the CBGB alumni: Talking Heads, Blondie, New York Dolls, Dead Boys, Johnny Thunders & The Heartbreakers, and Richard Hell & The Voivoids to name a few.

In 2005, a landlord-tenant dispute began. Kristal was billed $91,000 in back rent. He claimed he had not been informed of increases in his monthly rent. After his lease expired, an agreement was reached for the club to remain open for fourteen more months. Efforts to save the club were numerous, but the writing was already on the graffiti plastered walls.

The club will reopen in the near future. Kristal plans to move it far from its roots. Las Vegas currently seems to be in the forefront. He plans to strip the club down to the bare walls, bringing as much of it to the new location as possible. “We’re going to take the urinals,” he said. “I’ll take whatever I can. The movers said, `You ought to take everything, and auction off what you don’t want on eBay.’ Why not? Somebody will.”

Patti Smith will perform CBGB’s last show on October 15th.

- Kip Gasparick

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The Hourly Radio hail from Dallas, Texas. Their sound suggests otherwise. Named after the upper caste newssheet from Aldous Huxley’s Brave New World, even their name suggests they’ve spent time on the streets of London.

Founding members guitarist Ryan Short and vocalist/guitarist Aaron Closson have carefully selected the path they travel. Joined by bassist Tim Jansen and drummer Adam Vanderkolk, the foursome pen songs with a less is more mentality. Aaron confesses,’I’m a reluctant guitarist, as every guitarist should be. I play what is required. Any more would be distasteful.’

Their Kirtland Records debut, History Will Never Hold Me, hits store shelves September 5. It sounds like a cornucopia of the best British bands their album collection has to offer. The Smiths, Joy Division, The Verve…it’s all in one tightly wrapped package. The wonderful thing is that they somehow manage to sound completely different and vaguely familiar at the same time. The end results was one of the catchiest albums of last summer.

While I doubt that History Will Never Hold Me will end up on many year-end best albums lists, it’s not hard to envision it breaking the airwaves. There are so many radio ready songs on this opus it would be difficult to pick a first single. Perhaps that’s why the band chose to release the 7” vinyle double A-side “Deaf Ears”/”Crime Does Pay”? Perhaps.

- Kip Gasparick

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It is theorized that the famous Dutch artists used the reflection of a Camera Obscura to capture the life like details of their subjects. This Scottish band uses similar techniques grabbing the best of their musical influences to make music that is familiar, yet all their own.

The song of the year on this disk reaches back 22 years to positively answer a question from Lloyd Cole. The mesmerizing result: “Lloyd, I’m Ready To Be Heartbroken” grooves along like a car on a Sunday drive to the beach. It is the highlight of the album and segues nicely into the rest of the mix on this CD.

The writing and singing of Tracyanne Campbell paints thick and lush with a slight country flavor that can especially be heard on “Tears for Affairs” and “Country Mile”. Bringing out the Belle and Sebastian influence is “Dory Previn” her voice intertwines perfectly with the melodies she has created, making ahauntingly rich texture. Towards the end of the album you are rewarded with “I Need All The Friends I Can Get” a biting and well written song that fits nicely with the rest. This CD is perfect for setting a relaxing, easy mood, you’ll find yourself getting lost in the music much like Mazzy Star or Luna, and that’s a good thing.

- Andy Theiss

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Paris natives Phoenix recorded and self produced their third album It’s Never Been Like That at Planet Roc Studios in Berlin. ‘There is a brutality to the record,’ says vocalist Thomas Mars,’This was about starting all over, making ourselves scared again and telling the truth.’

The album has a no fuss charm to it. Simplicity is the key. Guitars, bass, drums, vocals,
handclaps and tambourine, what more is needed really? If there was an anthem for my so called life this summer, it would definitely be the ultra-catchy “Consolation Prizes”. I should’ve charged that song rent for how long it’s been stuck in my head. “Rally” is another personal favorite. I think I had a different favorite every week this summer, that’s how much I enjoyed this opus.

While doing my homework for this review (and tiptoeing through numerous Strokes-light
comparisons), I stumbled upon information that didn’t directly pertain to the album, but was certainly worth sharing. The band’s involvement with director Roman Coppola (Coppola directed their videos for “Everything Is Everything” and “Long Distance Call”) further suggested that Phoenix could very well fancy The Strokes more than I initially expected…or did it? It’s hard to refrain from making such comparisions after listening to It’s Never Been Like That and then realizing the band are using the very same video director as The Strokes. Enter Roman’s sister Sofia…Sofia Coppola is such a big fan of the band that she gave their profile a little lift by weaving their songs into her movie Lost In Translation. ‘I love them,’ she told Entertainment Weekly,’so we used the song “Too Young” for the scene when Bill [Murray] and Scarlett [Johansson] are dancing.’

Sofia - now dating Thomas Mars - has gone one better for her next film. In spite of the fact that Marie-Antoinette is set in 18th-century Paris, Sofia has given the band a further boost by casting the boys as court musicians in the film. From the happy endings department: Sofia and Thomas are expecting their first child this November.

- Kip Gasparick

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Discouraged with the direction of the bands he was playing in, Thomas D’Arcy returned to the basement of his childhood home determined to make music his Mother would be proud of. Equipped with a 16 track recorder, a Roland 707 drum machine, and several vintage Moog keyboards, he laid down the foundation of what would become the Small Sins album.

The Ladies and Gentlemen would initially release Small Sins on Vancouver-based label Boompa. The album was well received. After a sold-out showcase at Austin’s SXSW festival, the group signed with Astralwerks in 2005. They would change their name to Small Sins because of copyright issues in the States. Their self-titled Astralwerks debut (same tracks, new name) was released on June 13th, 2006.

Sounding like the bastard offspring of The Postal Service and The Magnetic Fields isn’t necessarily a small sin. Truth be told, it’s a very pleasurable experience. While not as clever as Stephin Merritt, D’Arcy’s wry lyrics hit home in similar fashion. The first single, “Stay” is definitely the cream of the crop.

“And when the right time comes, I’ll be what you’ve grown to hate,
Like your high school crush, Made you pass your papers in late.
Well you can stay if you want to, But you can’t sleep in my bed.”

Now, you might be thinking that’s cheesier than a block of pasteurized gouda, but l guarantee that cheese will lodge itself in your head after a listen or two. “She’s The Source” is a similar slice of not the right one. “That little junky girl, you’re playing right into her hands, you know.” If that doesn’t pump blood through your broken heart, I don’t know what will.

- Kip Gasparick

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In 2004, Southampton UK’s Delays produced a record of rare Kaleidoscopic beauty in Faded Seaside Glamour. With 2006’s You See Colours one expects the band of bartering sonic ambition for the en vogue indie-dance pretension of pedestrian rock. However, upon repeated listening one realizes the truth. These boys rock better than the herd. With synthesizer (the verses in “You and Me” are pure “Charge of the Light Brigade” exhilaration and the line in “Out of Nowhere” sears), remarkable harmonies, and crisp songwriting, this band is not afraid to stare down radio and deliver pop with depth. The chilling Stevie Nicks incantations of lead singer Greg Gilbert remain, but rather than blend with the band’s now-discarded Byrds and Cocteau Twins colors, Gilbert glides atop the pulsating Moroder-esque synth-bass of first single “Valentine” with arresting ease. While Delays’ best has yet to appear on the horizon, these seafaring rough traders have recorded an album worth its weight in FM gold.

- Eric Anthony White

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