Thrill Jockey heavyweights, The Sea and Cake, have released their 6th full length record today, entitled Everybody. Double Time Feel has anxiously awaited this record, and from the first listen from beginning to end we are reminded why. Sea and Cake fans have a devoted following here in Chicago (and elsewhere I'm sure), and this record will do more to strengthen that notion.

The record kicks off with 'Up on Crutches', a song that exemplifies the Sea and Cake sound. A mid tempo guitar riff and a bouncy bass line give way to John McEntire's drums and an ever-so slightly overdriven guitar. As the song begins to take shape, the soothing voice of Sam Prekop starts the record on a great note.

The Sea and Cake aren't necessarily known for their innovation in terms of being a genre-defining band, but their prowess for writing consistently solid records is hard to argue with. For my tastes, Everybody represents a step up from their 2003 release, One Bedroom. The songs are very guitar-centric and rely on a rock solid rhythm section, and the just-above-a-whisper vocals of Prekop and Archer Prewitt are always the highlight.

If you are already a fan of the band, I don't think the record will do much to sway your opinion either way. The Sea and Cake will continue to sound like The Sea and Cake, and with fantastic results. I'll never understand why bands catch so much flak for producing one sound, because not every band needs to reinvent the wheel or challenge convention with every release. Everybody is such a great record because there is no filler, and it plays to the strengths of what make The Sea and Cake so revered in the city of Chicago. My only beef with the band lies in the fact that 1) they are relatively slow when it comes to releasing records, and 2) live shows are a rarity.

If you aren't too familiar with the band but you enjoy a great pop song every now and again, I'd highly recommend checking this record out. Sample 'Crossing Line' from the Thrill Jockey website, or check them out live during a 2 set evening at the Empty Bottle on May 31st.

In my experience, people have quite the love/hate relationship with Shellac. For every rabid fan that knows every nitty-gritty detail about the band, there are an equal amount of people who spew vitriolic rants at the mere mention of their name. Having once been on the 'what the hell is all the fuss about?' side, but now having a profound respect for the band, I can say that Excellent Italian Greyhound is Shellac's finest work since At Action Park. If you are in the 'I hate Shellac' camp, then you should probably stop reading now.

Similar to the band in my previous review, Shellac is not a record making/touring juggernaut. It has been seven years since their last release and they have only played a handful of shows, but time has done more to prove that the band has grown and refined their distinct sound. Make no mistake about it, Excellent Italian Greyhound is vintage Shellac. There is no confusing the acidic guitar tone of Steve Albini or that rumbling, fuzzed-out bass punch of Bob Weston. The drumming of Todd Trainer is delivered with a precision that few can replicate, always knowing when to keep to the groove or branch off into something a little more free form. The record was recorded at Electrical Audio Studios, owned by Albini, and home to some of the best drum sounds ever captured on tape (in this writer's humble opinion).

So why does Excellent Italian Greyhound deserve such high praise? Simply stated, it delivers the trademark Shellac sound and still finds a way to explore new ground. The opener, "The End of Radio" is an eight minute and thirty second ride through a pulsing bass line over random drum hits and Albini reciting various radio phrases in an up-front, confrontational manner. The record then leaps right into "Steady as She Goes", a song they performed live in the Brendan Canty produced Burn to Shine series. "Genuine Lulabelle" is by far the most experimental song on the record, and we hear Albini sing on his own, which leads into voice overs and sound clips. It's delivered in such a creepy manner that it really forces the listener to pay attention, and by the time the instruments have come back in, its four minutes later and the crack of that first snare drum catches me off guard every time. For my money, the best song on the record is the closer, "Spoke". It starts off like some twisted commerical jingle from 1983, then Albini says "play the drum!", Trainer breaks into a solid rock beat, and Albini and Weston trade off on some pretty aggressive vocal lines until the end.

Love them or hate them, Shellac don't capitulate to anyone. It is quite obvious that they make music the way they want to, and that trait alone is a notable achievement in today's musical climate. I would highly recommend picking up this record if you have the chance, or even just listening to it once if you consider yourself a "non-believer". Of course, all hatemail can be directed here.

That's right folks, the first ever Double Time Feel EXCLUSIVE!. Nowhere else on the int0rw3bs can you get the inside scoop on this record, one that will undoubtedly be turning heads in 2007. Go ahead, tell all of your friends to come listen to their new favorite Chicago band, Mt St Helens.

Mt St Helens are no strangers to Chicago, having played their first show at the sort-of-defunct-but-not-really Fireside Bowl (feel free to follow along using the awesome timeline on their site). In the 9 1/2 years since that show, the band has released a few 7''s and 2 outstanding LPs (check out Ontime Always on Arborvitae Records and You Are A Ghostly Presence on Divot Records). Their sound has evolved over time and has incorporated elements familiar to the post-punk movement, yet they stand above their peers in their ability to uniquely venture out on their own.

Of Others will be released on August 31 at the Beat Kitchen on the up and coming Two Thumbs Down Records (run by Steve Reidell of May or May Not, and 1/2 of the Hood Internet phenomenon). Needless to say, I was thrilled to receive the record, which should be rolling off the presses as I write. If you have seen Mt St Helens live over the past year or so, you have undoubtedly heard most, if not all of these songs already. Upon first listen from beginning to end, it didn't take long to conclude that the band put great effort into this release, and you can hear it resonate throughout the record. I have always regarded Mt St Helens to be the most criminally underrated band in Chicago, and Of Others should be the record to help them shed such an undeserving label.

The record begins with 'Time of Low Volume', where an effected guitar loop gives way to a 3/4 time beat that provides a solid foundation for the rest of the track. There are a few transitions throughout the song that exemplify the band's maturing knack for songwriting. The record moves directly into 'Want Out', perhaps the band's most pop-driven song to date. Similar to predecessors such as Jawbox or Unwound, Mt St Helens have added their two cents to the book on 'angular' hooks, and 'Want Out' showcases the notion that pop-oriented jams do not necessarily equate to uninspiring, radio-friendly drivel (as any seasoned punk rocker would tell you).

'Omission' is one of my favorite tracks on the record, and it begins with an unassuming, repetitive guitar line, and then the rhythm section drops in to really get the song moving. Bassist Jason Sprague sounds as if he's plugged in to a power transformer at ComEd, reminiscent of the ominous, pulsing hum of electricity moving across power lines of some barren industrial complex. Its an effect that is scattered throughout the record and achieves some truly dark overtones. Peter Hook, eat your heart out.

The middle of the record, in my humble opinon, really showcases the talent of drummer Ben Geier. Those who are familiar with the Mt St Helens catalog know that the drumming reaches some critically intense levels. While I am always one to appreciate the intricacies of drumming, this is more about what Geier doesn't say with his percussive prowess. In the case of this record, he knows exactly when to make a statement and when to let the song breathe. Look no further than 'City Of', where Geier's presence moves the song along at a methodically evil tempo.

The guitar duo of Quinn Goodwillie and Mike Sprague make their presence known throughout the record, and showcase their skills in opportune moments. Also thrown into the mix on this record is ex-guitarist-but-I'm-back-again, Matt Fast (also of Rollo Tomasi). Fast adds another dimension to the band in a time where the 3 guitar player lineup has all but been abandoned, but there is enough going on in these songs to make it all work flawlessly. The ascending/descending line in 'Strange Navigation' makes the hair on the back of neck stand on end every time I hear it, and it seamlessly moves back into the main theme of the song. They show flashes of guitar wizardry without being wanky, which demonstrates attention to the composition rather than ego. Another album highlight is 'Centicorn', a Jesus Lizard-esque song about a 100-horned unicorn (the band is not lacking in the sense of humor department, either). Equally as impressive are the vocals of Goodwillie on this record, which really stand out on this record above all previous releases.

The record ends with the brilliant 'Interruption', a song that I debated adding as an mp3 to the track listing below, but I'll save it so that you can buy the record for yourself and decide. The song represents the culmination of everything that makes this record one that you should not be without when it is released, and why Mt St Helens will not be flying under the radar for long.

here is the track list for Of Others:
1) Time of Low Volume
2) Want Out (myspace)
3) Omission (* doubletimefeel.com exclusive track!)
4) Massive Dosage (courtesy of Two Thumbs Down Records)
5) Seething is Believing
6) The Drink (myspace)
7) City Of
8) Strange Navigation
9) Centicorn
10) Interruption

Unfortunately, I completely missed the boat on The Jesus Lizard. Just as my interest in most underground music had begun to branch out, this phenomenal Chicago band was just calling it a career. Everything I have learned about the band to date comes from first-hand accounts of their live shows, relentlessly listening to albums, and scouring the internet for any information I can find on them. I do have faint recollections of seeing a few of their records in the BMG/Columbia House catalogs that I used to order from, however I was too busy buying Anthrax, Cannibal Corpse, and Exodus records to take much notice. I am in no way belittling my metal upbringing, but I clearly missed out on something special.

Luckily for me, a DVD was released earlier this year that Netflix finally had available, and I was able to get a small taste of what so many others had reveled in for years. After sitting through the entire live show, filmed in 1994 at the Venus de Milo in Boston, and watching the bonus footage of a 1990 show at CBGBs in New York, I believe why Touch and Go Records says that "To put it bluntly (or perhaps merely state the obvious), The Jesus Lizard were the greatest live band of the last decade of the 20th century. Mr. David Yow will forever be the frontman to end all other frontmen. The Chicago live music scene may never be the same again and for that, we are eternally grateful."

The Boston show isn't filmed extraordinarily well, but it's not deficient, either. Rather than the bells and whistles of many other music DVDs, the footage captures the band amidst a show that was probably on par with a typical Jesus Lizard show. To clarify par for the course, I would automatically be putting the band in a rather select group of bands who, when playing live shows, not only deliver in terms of stage presence, but also stunning attention to the songs themselves. Frontman David Yow constantly engages the audience, jumping into the crowd by the 2nd song and losing his shirt before the end of the 4th song. He paces back and forth on the stage, pausing every so often to stare into the crowd, and unleashes some truly guttural vocals into the microphone, making me sit back in amazement and wonder how such sounds can emanate from such a relatively small dude. It may be hard to understand what he's singing 95% of the time, but its 100% clear that he is doing all he can to give the audience their money's worth. Even from this one show, it is clear to see why David Yow belongs in the discussion of the greatest frontmen in rock history.

With all of the attention sometimes going Yow's way, it is imperative to know that he could have just as easily been another crazy singer in a mediocre band. The Jesus Lizard would not have been the band they were if not for David Wm. Sims, Duane Denison, and Mac McNeilly. This trio of musicians managed to hold the songs together while Yow flailed away, and this DVD is yet another great example of that. While Yow is being passed around the crowd after yet another stage dive, the band carries on, unaffected and clicking on all cylinders. McNeilly is an atomic bomb behind the drum kit, hitting every piece as if it was going to be his last, and Sims is always right in the pocket, playing thumping bass lines as he stares out into the crowd, well aware of the frenzy the band is whipping the crowd into. Denison creates guitar parts that one would not normally expect from a rock band, but the results are an integral part of what defines The Jesus Lizard sound.

To summarize, a Jesus Lizard show is kind of like trying to explain the effects of a particular drug to someone who has never experienced it... you can't fully comprehend it until you've tried it yourself. Perhaps a DVD is second rate version of the experience, but it is all I have to go on. I have a really difficult time getting into music-related DVDs because I really don't think one can truly get a feel for the moment. The Jesus Lizard DVD is the first I have seen in quite some time that, because of the simplicity of the shots and the clarity of the sound, really make you feel as if you could have been there that night in October 1994. If you were ever into The Jesus Lizard, or if you are looking to see what the epitome of a great live performance looks like, I highly recommend buying it or finding another means of checking it out.

Here is a preview of the DVD on youtube of the song Boilermaker:

I can't say that I'm overly excited with what I've heard this year. 2007 had its moments, but overall the current musical landscape had me wishing for more. Perhaps its due to the fact that I did a lot of looking back and discovering loads of music from years past, and what I heard in that regard outweighed 90% of what was released in 2007, but alas... it's only my opinion.

Here is what stuck with me when it comes to 2007:

10) Spoon - Ga Ga Ga Ga Ga (Merge)

Spoon is very easy to like. They make simple, well crafted pop songs that lack the layers and layers of production that other bands often employ, often to a fault. Ga Ga Ga Ga Ga is a straightforward look into a band who has finally broken into the national consciousness, and barring a band split, will continue to write great records. It took a while for this record to grow on me, as I pretty much dismissed it after the first listen, but recently gave it another chance when I began compiling my 2007 lists. Admittedly, it was the end of The Underdog that snapped me out of my Spoon-shrug-off. The dropping of the piano top at the very end of the song was quite the slick move, and sounds great in headphones.

9) Pig Destroyer - Phantom Limb (Relapse)

If you have quickly glanced at my list, you'll definitely notice I'm a metal fan. However, that wide net is not usually cast over grindcore, which i normally tend to shy away from because of its inherent unintelligible, breakneck pace where actual tones and notes are replaced with more piss and vinegar than anything I can latch onto. Pig Destroyer's Phantom Limb is the first record in quite some time that fits the typical grindcore mold, but comes away as a definitive album of its kind. The riffs are some of the most furious I've heard since, dare I say, Slayer. Although the band does not include a bass player, there is plenty of low end provided by the drums and guitars, and perhaps it is the lack of a bass that keeps the record sounding muddy and convoluted. The usual "chugga chugga" riffs (aka the breakdowns) are present, but they never strike me as cheesy or contrived. Check out Heathen Temple to see what I mean. The middle of the song is a pretty lengthy breakdown, but the listener is rewarded with a fast paced Sabbath-type outtro that packs a serious punch to the gut.

8) El - P - I'll Sleep When You're Dead (Definitive Jux)

If I've said it once I've said it a thousand times: most hip hop artists and I don't get along. I think it all boils down to the fact that I feel like I can never relate to it. There are a few artists every so often that can break down that barrier and really make me listen, and El-P is quickly becoming an all time favorite in that category. I'll Sleep When You're Dead is an incredible record that I have really been able to latch onto and move well past the "uhhh, I don't get it" moments that I have when listening to most hip hop. El-P's dark, foreboding take on his music has reached heights that put him right up there with Chuck D of Public Enemy in terms of influence as far as I'm concerned. Check out Habeus Corpses, by far my favorite track on the record, and highlights the sinister production that makes this album one you shouldn't be without this year. It may not be the future of hip hop, but it provides a much needed alternative to the bitches, hos, and bling nonsense that crowds the airwaves today.

7) Baroness - Red Album (Relapse)

The Red Album by Baroness is a perfect blend of everything that I like about metal. This quartet from Savannah, Georgia has really refined their sound with their latest release, and the result gives me something I can listen to in just about any situation. The opener, Rays On Pinion begins with an Isis/Mogwai-esque riff that slowly turns into an intense metal jam. The third track, and perhaps my favorite on the record, Isak is carried by a riff that musically harkens back to Kyuss, and the vocals let you know that these guys listen to a lot of Mastodon (there is something pretty amazing going on down in Georgia, for sure). I mention these bands not just to namedrop, but to give you an idea of just how much promise this band has. These guys aren't out to reinvent the wheel, but rather draw from an interesting blend of influences to create a sound that is all their own. On every song, you could draw a specific reference to band xyz, but by the time the record is done you feel like you've just listened to the future of good metal music. Make sure to keep an eye out for Baroness.

6) Dinosaur Jr - Beyond (Fat Possum)

J Mascis, Lou Barlow, and Murph. I could just leave it at that, because it's hard to imagine a record with these three dudes being anything short of amazing (ahem... You're Living All Over Me). Ok, I guess it would be easy to give Dinosaur Jr a free pass even if Beyond was a steaming pile of garbage, but I think you'd be hard pressed to find anyone who thought that. In my perusal of other "best of 2007" lists, this record seems to crop up on a healthy amount of them. If you were a Dinosaur Jr fan back in the day, this record will seem like more of the same, but "more of the same" is by no means a bad thing and far outweighs the bummer of hearing an old favorite pump out a reunion record that lacks any shine. J Mascis has some amazing guitar riffs on this record (listen to the guitar solo in Pick Me Up... like whoa!), his lyrics and delivery are true to form, and the rest of the band is right in tow, feeling like they picked up where they left off after Barlow left for Sebadoh. Beyond is a great record that can stand up on its own in the Dinosaur Jr discography, and even surpasses some of its counterparts because, to me, it represents an amalgamation of everything that made Dinosaur Jr a truly thrilling band to listen to.

5) Dirty Projectors - Rise Above (Dead Oceans)

When I first heard about this record from a bandmate of mine, it made me want to throw up in my mouth a little bit. In case you aren't familiar with the concept, let me fill you in real quick before I continue. Dave Longstreth, the main force behind the Dirty Projectors, had the idea to record Black Flag's Damaged... from memory. He assembled people who were not familiar with the record and recorded the end result. As someone very familiar with the record, I envisioned a bullshitty, pretentious art project that could only go horribly wrong. Imagine my utter surprise when I heard the opening track, What I See, and was so pleasantly surprised that I really felt bad for having such bad thoughts about it in the first place. I will glady eat my initial words/thoughts on this record, as it was definitely the biggest "where the hell did that come from?" of 2007. I don't particularly love every minute of the record, but there are definitely parts one can discern from the original versions, although these songs bear absolutely no likeness to its visceral predecessor. Howling vocals and screaming guitar lines have been replaced with subdued vocals and lush musical landscapes, and .... strings! I have no idea if Black Flag fans will like this record, but I sure did. Even if you don't particularly care for Blag Flag, the Dirty Projectors version is highly recommended to at least check out.

4) The Eternals - Heavy International (Aesthetics)

If you live in Chicago and you haven't checked out The Eternals yet, I seriously feel bad for you. If you live elsewhere and haven't checked out The Eternals, I seriously feel bad for you too. I haven't heard a record as musically diverse as Heavy International in... well... I'm not even sure when. Maybe its just where I'm at when it comes to my musical tastes, but if you are into rock music, dub, afrobeat, punk, reggae, hip hop, whatever it is... Heavy International has something for you. I'll never discredit a band for sticking to what works for them. Not every band feels the need to evolve and make a statement every time they write a record, and they certainly don't have to. On the opposite end of that spectrum, The Eternals seem to evolve with every song that they write, and the results blow me away every time. Take the first two tracks on Heavy International: The Mix Is So Bizarre starts the disc with a rump shakin' bass line over a solid drum groove, and vocalist Damon Locks bursts into a vocal assault that reminds me of a reincarnated Fela Kuti, and he starts singing about gamma rays and laser beams... its very unsettling yet completely raw and powerful at the same time. The next song, Astra 3b does a complete 180, slowing down to a stuttering bass/drum groove over Lock's high pitched howl. More often than not, there is such a diverse mix of influences that come spilling out of every song, and the way it is all fused together makes this a record you need to check out. Now.

3) Battles - Mirrored (Warp)

Just when you think that everything has been done before, that bands can't possibly do anything that will make people stop and pay attention... along come Battles. It took the band 3 years and multiple EPs to refine their sound, and Mirrored represents an excellent culmination of those efforts. It still blows my mind that the old guitar player of Don Caballero (Ian Williams) is playing with the old drummer of Helmet (John Stanier), both of whom I considered to have come from 2 completely different worlds as far as music is concerned, but its hard to argue with the results when you listen to Mirrored. I think the key to what makes this record so successful is the band's ability to find a good groove and just run with it. Of course, even the casual listener could identify that there is a lot going on within each song (with all the electronic madness,quirky vocal hijinks, and looping effects on this record, that may just be the understatement of the year). When you sort through all of the layers, each song on this record is carried by a super solid rhythm, and that is what resonates with me more than the glitchy, electro-snap-crackle-pop effects that also dominate Mirrored. Imagine Steve Reich with ADD and you pretty much have Battles. Check out this video of Tonto and you will get an idea of what I mean:

2) Down - III - Over The Under (ILG / Warner Music Group)

I heard Down's first record back in high school and I completely loved it. Of course, I was obsessed with Pantera at the time, so anything any of those dudes did I was sure to eat up. Over time, Pantera pretty much dropped off the face of the planet, and so did most good metal music as far as I'm concerned. Their second effort was released in 2002, and that's all the mention I'll ever give that record (side note: don't name your record after a Led Zeppelin lyric... ever. please. especially from Stairway To Heaven. come on dudes.)

Fast forward to 2007. Down releases III-Over The Under, and I'm mildly intrigued. I had no expectations when i purchased it, but by the time the 12th song had come to an end, I was officially back on the Down bandwagon. This record is a no frills, wankery-free, ball busting album from beginning to end. The riffs are dark and heavy, and combines the absolute best of what I like about this "supergroup's" previous efforts (Down has members from Pantera, Crowbar, Eyehategod, and Corrosion of Conformity... check 'em all out). This album was written in the aftermath of Hurricane Katrina and the unfortunate circumstances surrounding the death of Pantera guitarist Dimebag Darrell, and the gritty feel of the album lets the listener in on a lot of that anguish. Most of the band lived in New Orleans and were temporarily displaced by the Hurricane, but they regrouped and recorded Over the Under in New Orleans with producer Warren Riker.

For my money, the most powerful song on the record is not necessarily the most abrasive or heavy song, but the one that left me feeling like, "ok, even heavy metal dudes have feelings". Although vocalist Phil Anselmo has lost some of the bite and swagger in his voice, it has been replaced by a more strained and bluesy feel, one which almost suits the record better than what he may be better known for. Nothing In Return is perhaps the quintessential metal "slow song" for me, and is about as slow as a metal band should ever get while still kicking ass in the process (maybe like Zep's "No Quarter"?... sorta). The end of the song is particularly haunting, as the last minute and a half contain some haunting lyrics of Phil wailing "and when we walk away there will be no coming home". Whether or not he is talking about Katrina or the tragic falling out with Dimebag Darrell, its a poignant ending to an amazing song, and a killer record.

Unfortunately, there is no official video yet for songs from III - Over The Under, but you can peep this "album trailer" that I found, containing a clip of On March The Saints.

1) Big Business - Here Come The Waterworks (Hydra Head)

Of all the new music I heard in 2007, no record excited me more than Big Business's Here Come The Waterworks. It's 8 quick-hitting songs that clock in at just over 40 minutes, and every single song on this record is an epic jam. How one drummer and one bass player manage to create such a heavy wall of sound is a testament to how intense this record really is. Whether you want to call it metal, stoner rock, punk, whatever... this is a record that I believe will stand the test of time and be something that I can pull out in 5 years and still be thrilled by it. The vocals on Here Come the Waterworks are also something to behold. Every time I listen to this record I feel as if Jared Warren is towering over me, shouting in my ear, forcing me to pay attention and listen to him as if I were being chastised by my dad for breaking the neighbor's window when I was 8. That immediately puts Big Business into elite company as far as I'm concerned. When a vocalist can make you feel like they are talking directly to you... it makes the listening experience that much more cathartic.

Although the bass tones are very sludgy and laden with distortion, the lines are still discernable and played with awe inspiring precision. Listen to Start Your Digging and you'll see what I mean. Even with the solid drumming of Coady Willis, this record would not resonate the way it does if not for the buzz-saw like qualities of the bass guitar. When there are only two instruments to rely on, every note and every beat come under the microscope because there aren't layers of instrumentation that you can just hide parts under, and I can't think of a single part on this record where I thought, "uhh.. really? why?" The payoff on this record comes with the final track, after Big Business has pummeled your ears with 7 heavy songs, they sneak up you with a colossal instrumental jam called Another Day In the Pacific Northwest. The song conjures up all sorts of imagery of being out on some mountainside in Washington, surrounded by an expansive pine forest and a looking upwards to a sky thick with dense fog (or maybe thats just me?) Either way, as soon as I record ends, I find myself starting it over again, and the rush of hearing the first song all the way through to the stoner/sludge ending is an experience that I highly recommend.

Here is a video of Big Business playing "Grounds For Divorce". I took some video of them doing the same song at a different venue, but these results turned out much better than mine did.