Bite Me! CD Reviews A - F

2¢ Worth – American Bread & Circus (AVD Records, www.avdrecords.com) ½

I enjoyed 2¢ Worth’s last CD – must be All or Nothing I’m thinking of…I don’t remember, but these guys are so indy you can’t find this release well, anywhere!  American Bread & Circus feels like a totally different band is playing – it’s like they’re being restrained, but you KNOW 2¢ Worth just want to go into a spinning punk thrash mode.  And I’d really prefer that over this boring steaming tripe.  The vocals are monotone, the music the same on each song, the drumbeats similar, yawn.  Gimme some excitement people!  Something.  Anything at all.  -J

30 Seconds To Mars (Immortal/Virgin)

It’s rare that a band would release a concept album as a debut but, then again, nothing about 30 Seconds To Mars is by the book.  The L.A. based unit is fronted by actor Jared Leto (Panic Room, Fight Club, American Psycho…).  Jared supposedly plays all the instruments on the album, except the drums, which are handled by his brother Shannon.  This self-titled effort capitalizes on special effects, which add a futuristic feel to the band’s pro-metal stylings.  The listener’s journey begins with “Capricorn,” in which Jared croons, “So I start again with a brand new name.”  One has to wonder, “Was Jared contemplating a pseudonym?”  Most rock stars do.  Who knows why he didn’t because in all honesty, the multi-talented artist has a solid voice.  He doesn’t have to rely on his status as an actor to sell his music. On other tracks, such as “Oblivion” and “Welcome to the Universe,” Jared’s otherworldly lyrics unfold like a script from a space-aged screenplay.  Delving further into this richly textured offering it becomes apparent that 30 Seconds To Mars has a fondness for huge melodies, and Bob Ezrin’s production expertise adds a near perfect sheen to this disc.  However, there are few mishaps, but they are minor.  The voyage ends with Jared singing “We’ll never fade away,” over and over again.  It’s a bold statement for such young act.  Only time will tell.   -NIN

98 Mute – After the Fall (Epitaph) ¾

It’s not very often I hear what I consider to be “thrash” anymore.  Seems 98 Mute’s style of music went out of style in the mid-1990’s.  Nice to see it back – big, bold, and like it never left.  Tell those nu metal guys to get out of the way – this is the shit that should be the soundtrack to things like X Games and WWE.  -J

Abandoned Pools – Humanistic (Ecstasy Records International) 1/2

Listening to former Eels bassist, Tommy Walter’s Abandoned Pools one thinks of two words: Billy Corgan or perhaps: Smashing Pumpkins.  Those four, really being the same two, adequately describe Abandoned Pools debut disk, Humanistic.  With a dose of twenty-first century flavored emo, Abandoned Pools take their mid-90’s famous Chicago band influences and deliver 12 ready for 2002 rock radio tracks.  Abandoned Pools are at times haunting and others rocking.  Walters sounds just downright melancholic on “Blood” as he sings, “Staring into the sun.  We eat our young.  This can’t be what we are waiting for.”  Synthesizers, drum machines, and samples create the image of a sold out rock band playing a full house packed with sweaty lighter-holding teenagers somewhere in Germany.  Standout tracks include “The Remedy,” the very sunny, “Sunny Day” and most rocking” Mercy Kiss” &  “LVBD”  -Brendan McMahon

A.I. – Artificial Intelligence (Dreamworks) 1/2

A.I.’s drummer, Zack, once played bass in the ‘80’s teen metal outfit Bad 4 Good, but don’t hold that against him.  Keyboardist Pablo Manzarek is the son of Ray Manzarek (The Doors) and, like his father, Pablo is blessed with the ability to compose basslines with one hand while pounding out melodies with the other.  After listening to the first couple of tracks on Artificial Intelligence, it becomes apparent that this three-piece unit grew up on a steady diet of Happy Mondays, Prince, and Janes Addiction.  A.I. arrives under its own stylistic power.  Brazenly free of genre propulsion, the innovative group fluidly balance elements of psychedelia, jungle, trip-hop, and indie rock.  Chris Vrenna’s keen sense of production gives this rocktronica release the spark it needs to heat up the dancefloor as well as the airwaves.  Artificial Intelligence's hypnotic embrace begins with the syncopated dance rhythms of “Bottoms Up”.  Nick’s dreamy vocals add an ethereal tone to a majority of the tracks, but the boy gets downright nasty on the funkalicious “Alien Sex”.  From there the love affair grows stronger with other tantalizing treats, like the tasty trip-hop flavored “Soul Rescue”.  Equally addicting is the electrifying “Addiction Game” and the Santana-esque “Forever”.  If you’re looking to add a little spice to your life, I suggest you pick up Artificial Intelligence.  This invigorating disc delivers something new and exciting with each spin.  -NIN

Audio Karate - Space Camp (Kung Fu Records)

How do I really feel?  I like “Nintendo 89” and the raspiness in the singers voice when he says, “wasted all your time.”  Plus, I enjoyed the music video on the new Kung Fu DVD as well.  These kids have a great sound but seem to follow the heartbreak trend of a lot of their labelmates.  But, aside from that, lyrically they’ve found a niche they should stick with.  They seem to not only transfer into their chorus’s but blast into them with furious guitars and drums.  “San Jose” is a friend reaching out to another friend in what appears to be a drug problem – good message.  As far as stand out tracks, “Hello St. Louis” takes home the prize.  Audio Karate’s songs just strike an almost emotional chord – fast and fun. -Skye

Audra - Going To The Theatre (Projekt Records) 3/4

Brothers Bret & Bart Helm are the driving force behind Audra—a band whose sound resonates with the warm undertones of late ‘80’s new romanticism.  This shadowy album derives its character from the consumption of a heaping helping of Bowie, Iggy, Velvet Underground, and Roxy Music.  Bret’s seductive vocals contribute to the ambience especially on “All Ghosts Spend Their Time Alone” and ‘Fearless “Peaches”’.  This meticulously crafted piece of work concludes with the brutal industrialized beats of “Cabaret Fortune Teller”.  This fiery tune is more than just the cherry on the sundae.    -NIN

Authority Zero – A Passage In Time (Lava / Atlantic) 1/2

Vivacious, inventive, and infectious are just a few words that describe Authority Zero’s A Passage In Time.  These boys from Mesa, Arizona don’t give a fuck about what’s currently hip on MTV.  They just want to play good music that motivates people to get off their asses and move to the groove.  On their major label debut, Authority Zero takes a new direction on the well-worn punk rock path.  Need proof?  Then check out the infectiously catchy “One More Minute,” which blends surf guitar riffs with aggro grooves and Latin rhythms and displays the group’s penchant for experimentation.  The cross-pollination continues with the Sublime/Reggae-esque “Lying Awake” and the Flamenco inspired  “Over Seasons”.  “Mesa Town” is somewhat of an Irish punk ditty that calls to mind a combination of Flogging Molly & The Vandals.  As varied as the music is, nothing about A Passage In Time sounds scattered or misplaced.  You’ll be singing these tunes long after the first listen, even the ones that contain lyrics in Portuguese and Spanish.   Authority Zero’s solid work ethic, broad horizons, and eclectic tastes will take them far.   -NIN

Avail – Front Porch Stories (Fat Wreck Chords) ¼

Avail plays better than average melodic meets hardcore punk, with issues.  Based out of the Virginia, the songs on their latest Front Porch Stories are a reflection of their environment.  Avail may be categorized as “emo” because of their lyrical emotionality, but their music is definitely not whiny in any sort of way.  Put up against their other CD’s (6 now, can you believe it?), Front Porch Stories stacks up against them all, and winds up near the top.  -J

Brant Bjork and the Operators (The Music Cartel/Duna Records/Fly PR)

Brant Bjork has what would be considered a serious pedigree in the stoner rock world.  He has been involved with bands like Queens of the Stone Age, Kyuss and Fu Manchu.  I have to say that this work branches beyond what one would consider stoner rock.  Sure this self-titled CD has many of the essential elements, but you have to consider the other ingredients involved – jazz, classic rock, funk, pop.  Brant Bjork sounds almost like early Santana without the annoying guitar solos.    -J

Jerry Cantrell - Degradation Trip (Roadrunner Records)

To me, musical degradation is when you get stuck in such a musical rut that you just keep making the same song over and over with diminishing returns.  Think of the recent Jason X.  Do you really think just because there's different imagery that it's going to be different?  Of course not!  The tenth time to the plate it's the same old thing.  At least the proposed Freddy vs. Jason movie had some hope.  So, Jerry is now on the degradation trip as his first solo record, which as a refreshing, if uneven, departure from Alice In Chains didn't sell and resulted in his leaving his old label Columbia.  So, in the interest of the almighty dollar I assume, Jerry has made a mediocre bland Alice In Chains retread record.  It's not bad (after all, it's not Jerry X we're up to yet), but it's certainly a musically degrading path that will please certain fans while the rest of us collectively yawn. -Repojay

Capitol K – Island Row (Beggars Banquet/XL)

I admit it - I like electronica and DJ’s and ambient music just fine.  Capitol K’s sound has a basis in all of these things, and layers on top of it real guitars, singers, and other instruments.  And then flips it all around, inside out, and upside down to achieve the sounds he hears in his head.  Island Row, Capitol K’s second CD, is a funky, laid-back, even groovy little collection of songs that are good for background music (if you don’t mind some serious musical farts once in a while).  Think Sonic Youth meets Orbital meets Moby in his rock phase.  Not everyone’s cup of tea – if you like it you’ll love it, and if it annoys you, you never want to hear it again.  -J

Chumbawamba – Readymades (Republic/Universal) 1/4

Chumbawamba have always marched to the beat of their own drum, and on their latest communiqué they continue to do so.  Readymades leaves behind the pop anthems of days past and replaces them with chilled out Brit-pop dance ditties.  The album’s tracks incorporate mid-tempo breakbeats, ambient textures, techno grooves, and English Folk structures.  Gone are the shout-out-loud choruses.  In their place are four-part harmonies and plaintive melodies, which make the band’s social and political commentary a little easier to digest.  The album has a nice flow due to its mellow vibe and low-key nature—it’s more of a consistent listen than a skip to your next favorite track type of record.  Highlights: “One Way Or The Other” with its mix of scratch, samples, ambient & techno grooves.  The electro-tinged “After Shelley,” and the Hip-hop influenced “Sewing Up Crap”.  -NIN

The Code - Alert Aware Involved (A-F Records)

Punk rock angst and the knowledge of government – what a scary combination.  Although it’s been pulled off for years – insert Bad Religion, Pennywise and heck maybe even Rage here. The Code’s quick-rough lyrics and “hey, Oi, hey” attitude in songs like “Riot” would easily stir up the politically confused and the “world owes me” crowds of today.  Youth throwing fists up into the air and dancing around in a pit to the hard-guitar saturated “Brian’s Song.”  Scratchy vocals with quick chorus’ permeate “Story of My Life” as even attempting to understand what this guy is saying is near impossible.  Final analysis: The Code is very pit worthy.  As for the album – there is just too much going on in this package.  Save the bucks for the live show.  -Skye

Cradle Of Filth (KOCH Entertainment/Music for Nations) 1/2

What I have here in my grubby big hands is a promotions sampler for Cradle of Filth’s ‘very best of’ release Lovecraft And Witch Hearts, which came out last May.  So why am I even bothering to review this?  There’s nothing new here, and it’s a motherfuckin’ promo sampler!!!  Well, Cradle of Filth have been spreading their dirt for almost 10 years now, and not a lot of you out there have even heard of them.  I have a real problem with that and want to convert you all into the dark black goth scene!  I just want you to listen to them because they’re good.  Although, this promo starts off with one of my least favorite Filth tune, “Macabre”, which reminds me of some kind of tecno/goth multicolored train wreck.  However, the rest of the CD is gold.  (Sorry about sending you a sampler CB.  I hate the band so much I just had to get the damn thing out of my house. – NIN)  -Colin Bowel

The Crosstops - Cloverleaf Fandango (Tinnitus Records) THIS SUCKS!  AVOID!

Holy shit!  Someone kill me now! It’s like the bitter truck drivers of Nashville got together and formed an Elvis wanna-be club and some record company thought, “Wow this is good!”  Wrong!  “The Boob Song?” Come on!  It’s like punk rock being translated by Buck Owens and a bunch of yodelers.  And the worst part is…there are 18 songs of it.  I can’t even write anymore.  I’m going to go out into the desert to pitch this into the air and shoot it with my .45 shotgun and pray consumers are smart enough and this never makes it into the mainstream.  -Skye

Danzig –  7:77 I Luciferi (Evilive/Spitfire Records)

Time to break out that holy water you snaked from church and start dosing the whole family ‘cause crazy Uncle Glenn’s back in town. With a new tour and fresh release, the aging misfit seems to be taking on a more powerful bit of rage than what was displayed on his last offering, Satan’s Child from 2000.  This one is pure darkness from the deep center.  It’s probably some of the best stuff Danzig has written since his 1987self-titled debut produced by that nutty werewolf lookin’ Bently drivin’ Rick Rubin.  With having produced last year’s ill fated Nitro Records side project Son Of Sam, featuring his guitarist Todd Youth and AFI’s Davey Havok, Glenn’s had plenty of time to be all pissed off and come up with something I think is going to bring the dark metal community back into his corner. -Colin Bowel

Deadsy – Commencement (Dreamworks) 1/2

This CD has been sitting on shelves since God knows when.  I can safely tell you it’s been 5 years since I first received it compliments of Elektra Records.  At that time, I slammed it in my review, it was shelved, and the review never ran.  Now, it’s a number of years later, bad new wave is almost cool, and maybe Elijah Blue (yes, son of Cher, renamed himself to “P. Exeter Blue I”.  BWAHAHAHAHA.) and Deadsy’s timing isn’t as bad as it was before.  Commencement is a goth tinged new wave CD heavily dependent on keyboards and two chords.  Not three.  Wow.  It’s annoying and then some.  If you dig Orgy but wish they were more blood-stained, more “artsy” and less talented, you might (might…) like Deadsy.  Personally – ugh.  Why this CD ever saw the light of day on a major label says everything about the power of nepotism…and touring on Family Values.  -J

Division of Lauralee – Black City (Burning Heart/Epitaph) 3/4

Hailing from the land that gave birth to the Hives, the Hellacopters, & Millencolin comes Division of Lauralee—a band whose sound is a blasting amalgamation of alt-rock, garage, and punk.  The tracks that make up Black City are infused with shades of Fugazi, Joy Division, and the Stooges.  The Swedish outfit put the petal to metal right from the get go with the attention grabbing riffs of “Need to Get Some.”  Tranquil keyboards slow the pace down on “Trapped In”.  The swirling guitar tones of “I Guess I’m Healed” evoke images of Pink Floyd, and “I Walk on Broken Glass” treads upon a similar path.  The pace picks up again with the abrasive and gritty stylings of “The Truth is Fucked”.  “Access Identity” is propelled by a forceful blast of angular riffs, and the album’s title track will bring back fond memories of At The Drive In.  It’s apparent that Division of Lauralee is unafraid to use a variety of musical weapons to get their point across.  Black City covers a lot of musical ground – taking the listener from one extreme to the next and back again.     -NIN

Dry Cell - Disconnected (Warner)

On their major label debut, this L.A. based quintet delivers edgy, hard music that is easy on the ears.  Disconnected adapts a similar style employed by the likes of  P.O.D., Linkin Park, and Staind.  But, it’s the quality of the musicianship that will keep you from writing these guys off as just another copycat.  Dry Cell has a polished sound that gives everything a feeling of substance. Three out of the four bandmembers are still in high school, yet their sound speaks of a finely tuned development and maturity.  Jeff Gutt’s powerful and versatile pipes are not overshadowed by the music.  In fact, they challenge the instruments to match their intensity.  Unfortunately, a number of tracks on Disconnected sound alike, and you’ll wonder, “Haven’t I heard this one already?”  The lack of variety is why this disc falls short.  However, Dry Cell possesses the ability to branch out and expand their horizons.  In time these boys will find their own niche.  -NIN

EarthRide - Taming of the Demons (Southern Lord Recordings)  

Maryland bred, Satan induced rebel rock fresh from south o da Mason-Dixon.  A Lynyrd Skynyrd on drugs with a vocalist (Dave Sherman) who sounds like Machoman Savage.  I like ‘em!  Makes me want to consume an incredible amount of beer and start smashing stuff.  The slow grooves and high intensity are fucking with my brain waves!!! Aggggggggg! -Colin Bowel

Engine - Superholic (Metalblade Records) 1/2

Yeah, I didn’t know shit about these guys until now.  After all, this is only Engine’s second release and there are so many new bands coming out.  What I found here is an excellent case study of how to do an old school heavy metal album and still manage to keep it fresh.  -Colin Bowel

The Exit – New Beat (Some Records)

New Beat?  Not exactly, but it's certainly a good beat.  What The Exit offers is fast (with a total time of 36 and a half minutes), punchy, melodic rock & roll that doesn't exactly break new ground but makes good use of the fertile pop music soil that others have plowed before.  What's surprising is the amount of Police influence apparent on this debut.  "Sit and Wait" opens with what sounds like a paraphrase of "King of Pain," while "Trapped" features an inside-out ska beat similar to the one that drove "Roxanne."  Overall, this band's sound is no more derivative than that of any of the other vaguely punk-influenced power-pop groups on the air right now.  Originality is overrated anyway; what really matters in pop music is the hooks, and this disc has 'em.  Recommended.  -R-Lo

F  (Morticia Records) 3/4

Subscribing to the D.I.Y. code of ethics, F formed their own label, Morticia, with the intentions of sharing their music with the world.  Not only that, but the band also packaged and produced this album themselves and they did a pretty good job with both.  Hovering between artsy and accessible, this self-titled effort mixes the enthusiastic unit’s melodic instincts with billowing melodramatics.  F’s utilization of brooding textures, dense soundscapes, and visceral melodies will bring back memories of the Simple Minds, EMF, and OMD.  If you’re guilty of reciting the lines to The Breakfast Club or Pretty In Pink you may want to give this album a listen. Contact: www.everythingagirlcouldcatch.com  - NIN

Jimmy Fallon – The Bathroom Wall (Dreamworks) 1/2

If you happened to catch Jimmy Fallon’s skit at the beginning of this year’s MTV VMA’s then you know the man has a knack for impersonations.  Fallon doesn’t just have a talent for mimicking artist’s material.  He is also pretty good at composing his own.  The Bathroom Wall is a comedy album for the MTV generation.  The first five tracks are original ditties, which exhibit Fallon’s vast musical scope.  The disc begins with the retro-funk infused “Idiot Boyfriend”.  From there, the comedian moves on to a Beastie Boys influenced tune titled “I Can’t Play Basketball”.  You also get a country ballad (“Drinking In The Woods”) as well as a track that caters to the old-skool punk crowd (“Snowball Fight”).  Each song fits its genre and comes complete with laugh out loud lyrics.  After that, Fallon moves into stand-up and reflects upon life as a college student.  For the most part, these bits are mediocre, but Fallon redeems himself with “Troll Doll Celebrities” and “Troll Doll Jingle”.  The latter finds him changing the lyrics to popular songs by the likes of U2, REM, Alanis Morrisette, and 4 Non Blondes into a jingle for the Troll Doll.  “I bought a Troll for you.  The one you wanted was blue, but they only had yellow,” Fallon sings in his adaptation of Coldplay’s “Yellow”.  The Bathroom Wall ends with the artist declaring that you can sing any 80’s song to M.C. Hammer’s “U Can’t Touch This,“ and he proves it with “Hammertime”.  All in all, Fallon’s The Bathroom Wall is an enjoyable comedy album from beginning to end.  -NIN

Fall Silent - Drunken Violence (Revelation Records)

With a unique blend of hardcore punk, heavy metal, and brilliant songwriting, Fall Silent have once again managed to catch my hard fought attention.  Last year’s release of Six Years In The Desert convinced me that this fivesome is by far the best currently on the Revelation label.  Drunken Violence follows suit with the same aggressive, antisocial riffs that slowly seem to be this Reno, NV.  band’s trademark.  Starting off with the pro-dude anthem  “Flowers For  Whores” and winding down with a fantastic remake of a Heart classic, “Barracuda,” these guys have all your disgruntled bases covered.  -Colin Bowel

Farrah - Moustache (Ark 21 Records) 1/2

Farrah's Moustache is an unabashed power-pop resurgence from the UK.  Think skinny ties, three-minute pop gems, and tinny Telecasters.  While you can hear hints of the band's influences, Farrah really isn’t doing anything groundbreaking enough that they should be expected to stand apart from the crowd.  BUT, what they are doing they're doing well.  "Terry" clocks in at 2:57 minutes, as if to set the record straight from the get-go: Farrah can deliver the three-minute anthem.  "I Wanna Be Your Boyfriend" is as much early Weezer as it is Bay City Rollers.  Farrah drives home the fact that great pop is great pop...and you don't need to be changing the world to play it.  -R-Lo

Filter - The Amalgamut  (Reprise) 3/4

I finally forced myself to take Title Of Record out of my CD player this past May.  It had only been residing there since…oh about a month before it was released.  When I put The Amalgamut in a few months later I was a little disappointed because it failed to excite me like its predecessor.  I had to listen to the album about ten times before I was able to appreciate it, but I’m still not in love with it…something’s missing…I’m not sure what.  The musical integrity of The Amalgamut is impeccable.  The songwriting is strong and the hooks are abundant.  As the first collaborative effort from the band, The Amalgamut proves that Richard Patrick doesn’t have to do it all.  This multi-faceted effort mixes the raw aggression of Short Bus with some of the gentler, melodic moments from Title of Record. This style is especially evident in the propulsive opener “You Walk Away”.  Radio friendly tunes that cater to the soft verse/loud chorus school of thought make up the bulk of this disc.  A good example being “The Only Way (Is The Wrong Way),”“God Damn Me,” and “Where Do We Go From Here,” which picks up where “Take A Picture” left off.  A few heavy hitters can also be found, like “Columind,” “American Cliché,” and the crushing “So I Quit”.  Sadly, the disc kind of fizzles out towards the end.  Just write the last couple of tracks off as filler and you’ll be less disappointed.  Overall, The Amalgamut resonates with an impressive depth and dimension.  Filter fans might not love it in its entirety, but they’ll each find their own songs to embrace.  -NIN

Flipp - Volume (Popularity/Artemis) 1/4

Flipp holds the honors of being the first act signed to Everclear frontman Art Alexakis’ Popularity label.  If you like flashy, in-your-face no-brainer rock fueled by loud guitars and a sassy attitude then I’m sure you’ll be cranking Flipp’s Volume all the way past eleven baby!  This beer chugging party rockin’ disc is quirky, colorful, and most definitely a guilty pleasure.  The band has a penchant for the outlandish and you’ll hear it in such tracks as “Rock N’ Roll Star,”“Psycho Babble,” and “Hairdo”.  The single ready ”Freak” will take you back to the days when KISS reigned supreme.  These catchy tunes come complete with cheesy lyrics like, “If you want to get to the top of the pops you better put the cock in your rock.”  I know I should be embarrassed to be caught listening to Volume, but I can’t resist because Flipp’s enthusiasm is contagious.  The band members sport names such as Schizo Boy, Chia Karaoke, Flipp Cereal, and Freaky Useless and they look more outrageous than they sound.  I could only imagine what their live show is like.  If it’s anything like this disc, then it’s a must see event.      -NIN

The Flipsides – Clever One (Pink & Black) ¾

While I enjoy pop punk as much as the next person, I cannot recommend this latest disc from The Flipsides.  Sabrina’s vocals are great and fit the genre nicely – but they’re buried in the mix.  Way buried amongst the atonal guitar and drums (Note: I tried it on 2 different CD players, thinking it was me!).  Frankly, it became really annoying after 4 songs.  If you have a need to hear another stereotypical teen retro-“punk” band that sounds like they played the songs in the movie Josie and the Pussycats, or the band playing on top of the roof in Empire Records, or any number of John Hughes movies, The Flipsides are it.  -J

Future Sound of London - The Isness (Hypnotic Records) 3/4

For a while things were looking bleak for Future Sound of London fans.  But, after a seven-year hiatus the groundbreaking duo has resurfaced.  Peter Murphy gave nods to Future Sound of London in a recent interview and rightly so.  The compelling twosome behind the moniker have always been one step ahead of the game and on their latest offering, The Isness, the innovation keeps on flowin’.  With its exotic instrumentation and organic mysticism this disc encapsulates the unit’s varied and disparate influences.  Swirling ambient textures, dreamy psycedilia, Eastern elements, bits of techno and indie rock all permeate the album’s core and give a fullness and depth to this invigorating collection uplifting tunes.  Tripped out vocals coast over a series of funeral chords in “The Mello Hippo Disco Show”.  “Osho,” a jazzy instrumental, is bursting with dance floor goodness.   The earthy tones of  “The Galaxial Pharmaceutical” will elevate your soul to a higher a plane.  The compelling beats of “Go Tell It To The Trees Egghead” and the majestic melodies of “Divinity” are utterly fabulous.  The more you listen to The Isness, the more you will appreciate the exquisiteness of this disc.  -NIN