Singing in a foreign language can throw you off if you don't know that language. I've often thought about that all these years when foreign bands sing in Anglish. I would think, they know it well enough to sing it, I can barely follow theirs. Even today I don't know if that pointed at the time to still felt after effects of WWII, or the laziness of most of my people to learn other languages. Arrival from Argentina sing in Spanish, but most of all they perform in the universal language, music. While their highly melodic metal was perfected in Europe, the Latin American marks here are reflective and bold. Epic, tightly executed metal, tonally precise vocalings, and plenty of classic hard rock riffage does this band make. Their take on Deep Purple's Burn is like a shot out of the blue, I probably hadn't listened to that song in 10 years, and I used to wear Purple albums out. The other three songs on the EP show this is indeed a good metal band with much potential. For a full length, a bit more off the known metal path might serve them well. However they come, Arrival are gaining some name in the world. This first release after their 2006 demo, shows the band growing and getting strong. Contact: http:// www.myspace.com/arrivalheavy, Luciano (011) 1563561580, Mariano (011) 1563786887, Claudio (011) 1561088979, Marcos (011)1561878431

High class, 2 toke weed Shrine Of The Monkey be. Big feet stomping original core metal, like geezer and the fathers of heavy. Their first gigs were for Hells Angels, so they are well on their way to motherfuckers completely sacrificing themselves to this shit. Their groove is strong, lyrics exceptional. True there isn't a shred of orginality as far as the arrangements (Iommi did them all first over the years), but fuck the riffs are monsters man! This recording in straight up live, and they sound powerful, which is how I like to hear it, no overdubbing processed bs when you do this deed, three piece power trio. Hailing from England, Shrine Of The Monkey continue the solid tradition of British rock, in the working band way. Fans of stonecore and doom, you need a Shrine Of The Monkey in your collection. Contact: http://www.shrineofthemonkey.com, http://www.myspace.com/shrineofthemonkey

White label on black vinyl pure punk metal on Burnt Bridges reaches to the back of your head and pumps a cap in your ass. There is the relentless hardcore pitting before you as things take off (Condemned Unit's self titled themester). Things get a bit romantic, as "love turns to hate" on second cut "Happy Ending". With Condemned Unit though, you know disdainment of destruction will soon rear it's pacifists head (War Whores)....NOT!! Vinyl singles have made somewhat of a comeback in the underground punk world, though to be honest they've always been pretty much standard fare for indie punk labels, though only now is the level returning to what it was in the mid-90's heyday when it was "punk" to say "fuck digital". Now it's just realized for that Underground sound, nothing beats vinyl (tape cassettes are a close second). Condemned Unit needs none of it though, they destroy, whatever the format. Contact: http://www.myspace.com/condemnedunit

It's like everything, blended and amplified. One minute I'm screamcored, then the next it's garaged and rebuilt. Not an overall bad ride, but damn all it's really missing are the blast beats. The minor key bend these boys have got, direction? It's a loose crapshoot spun out against the wall. I kept thinking the song was gonna end, and damn if another part didn't come back in. I felt the pull of enticement, and the repulsion of digression, and I ain't talkin' the band. When the drums come out and the guitars plow on Blindfire you can't suppress a smile, and raise a toast. It could be the very which is the essence of the band. That rough, disjointed hurrah, with riffage and jam underlining, just enough melody to be specific, it is, Bonus Beyond. Contact: http://www.bonusbeyond.com

A classic put together of many things, mostly creative, grinding, loud and occassionally prodding within the erethistic vault; L.I.E. (pronounce all letters as if one word) pull most of it off well live too, and that is the acid test. Here and there the singer might waver on his hold-outs, but it's more a case of most likely breathing, not incompetence, for at times he brings to mind singers of a golden era, however you define that. L.I.E's music is very diverse, with vast elements of space rock mixed with the tightness of many a career bar band, and a good dose of metallic jazz to finish off the meal. A time or two (one time - Egomachine) the band creates masterpieces, but there are many, many close calls on this 16 track CD. The whole Georgia music scene is full of these kinds of bands, different, creative musicians who are held back by a club/public music scene that caters to conformist blues, hard rock and increasingly electronics dominated rappers. You can't keep a good dog down though, and rough edges aside, if L.I.E. does another album, and advances upon Eviction, they are well on their way to noteriety, they may have to play 500 gigs to get there, but a band with this many dimensions goes places when the audience gets built, the hell with the scene. Contact: http://www.discoverthelie.com

Undeniably, Britt Warner has a sultry, sensuous voice that breathes heavy in your ear, and doens't so much as beg but demands that you pay rapt attention. Luke Costa, her partner in crime, weaves sounds from lounge to funk, joined in on most songs by Wendy Levin, and the 6 songs on this cd are each different through this threesome in partnership. There is the fire of submission turned to disgust clearly displayed early on (You Know You Can) and there is an air of emotions erupting in every turn (Feel Alive Go Numb). It reaches overload on This Is It, as the groove mesmorizes the listener, Warner with her extended phases seems soft and determined, at the same time. How long as it been, really, since you've had that? Hopefully we get a full length from these talents on down the road. Contact: http://www.myspace.com/brittwarner

Pristine guitar landscapes flowed in with much vertigo, like a vacation on the lake, skiiing, while being strapped to the board by psuedo alterna-college-rock straps of invisible, yet undeniable, energy. It's all like a dash, daddy-O, fine, feathered, and liquored up. "My Spine Dances" is one of my favorite lines from this album, after the department store musack has bleed into the fine lines, and some sense of delicious begins to arise. The band excells at it's funkiest best, other ventures just do not crackle. If you can verse the jazz, counterpoint and straight groove of Sabertooth Tiger (I "think" that's the name of the song), then most of the record will make not much sense to you. But you need to play this at a cocktail party. The walls begin to dance. There are more than a few album-alterna jammers herein, if that thing still exists. Contact: http://www.myspace.com/bigmovesband

The point is that it's big beat, riff based everyman rock n roll. If that turns your craw just think of her as a specialty, riff, jam, melody, rock..........if those don't work ya, get over it! We's got some electric geetars, almost sayin', but toos safe, then come the poetry, if you can say it...rock n roll poetry, like yer daddy sang to ya...With a big riff and beat to bear..Mark My Words! " You're gonna be my girl!" Poppy & the boys jam a close game, it's the big, nice distorted world of rock n roll madness. At times you think, damn, other times you think, "fuck". The band actually gets damn well wound out, like on tunes # 8 on the disc, Trouble, that nails it. You know the boys mean business! Still the big beat blues boogie strikes back, on the next song even! Dashing! Money shotrockfest.orgntact: http://poppyandtheusualsuspects.com/