ISIS
Wavering Radiant
(Ipecac)
Art metal has often had the misfortune of being a genre whose sound you can't quite put your finger on, but with their latest release, ISIS seem on the verge of taking their music to an even rarer realm: the mainstream. Ambient guitar textures abound, with electronic flourishes adding intriguing layers to the already varied musical maelstrom. The vocals go from gruff hardcore barks to expansive, mood-heightening melodies, but remain largely in the background. Despite ISIS' more mainstream sounds, with only one track coming in under the seven-minute mark and with many stations ignoring album-oriented rock, any hopes of frequent radio airplay are likely to be unrealized. —Michael Cimaomo
Shakyfoot
Down on the Rain
(Scarlett)
Shakyfoot's first album, Down on the Rain, is all guitar rock. A solid base of classic rock/bluesy guitar echoes with just a hint of grunge and rings with at least one lengthy guitar solo on every track. In places the keyboards are distracting, and the saxophone and optimistic beat of "In the Middle" might leave listeners wondering who changed the CD. Lyrics like "He wants to get off somehow/ and he wishes it could be right now," probably won't inspire any life-changing epiphanies. Down on the Rain is a good example of rock and roll like it used to be, especially if you spent the late '90s wishing for the return of the guitar solo. —Jennifer Burwell
Swillmerchants
The Mint Hotel
(Mad Ones Entertainment)
The Mint Hotel offers an unusual mix of elements. There are a lot of single-note guitar lines with the nasal, distorted tone endemic to dinosaur rock. Not that that's necessarily bad. The vocals offer plenty of swagger, with an insistent rapid-fire delivery that often lands after a quick slide up to the note in question. The album's pounding rhythms are varied, and the frequent power-chord passages are sometimes broken up with synth washes or unexpected changes in texture. In a recent interview ("Selling Swill," April 30, 2009), frontman Rich Tardy said, "People are going to be surprised. Listen to the album or come to a show and you're gonna be like, 'Holy fuck, I didn't fucking expect this.'" Well, I can't say I expected it. —James Heflin
Art Brut
Art Brut vs. Satan
(Downtown)
"How can you sleep at night," Art Brut asks, "when nobody likes the music we like?" Simultaneously heart-on-sleeve and tongue-in-cheek, this nagging question haunts the band's third album. Call it more songs about listening to rock music. Insta-classics like "Demons Out!" and "Slap Dash for No Cash" find Art Brut dishing out bon mots and angular post-punk riffs, decrying the record buying public's ignorance and celebrating lo-fi production. Some credit for the album's success goes to producer Black Francis. Art Brut previously swam or sunk on Eddie Argos's lyrics, but this time, when his inspiration flags, his mates are there to pick up the slack with another sturdy riff, surging solo, or sing-along chorus. —Jeff Jackson
