curious what you think. haven't given it a proper full listen yet, but i'm wary that this might be the first of his in a while that i will not be purchasing. it almost doesn't sound like him, which is a first, for better or worse.

Fort Wayne, Indiana roots rock duo Left Lane Cruiser are preparing to unleash yet another countrified and blues-filled album on Alive Naturalsound Records. That’s right, singer and vocalist Fredrick J. Evans IV and drummer and junk percussionist Brenn “Sausage Paw” Beck are still at it, tellin’ ya’ll to bring yo’ assess to the table, where they’re serving up heaping mounds of all you can eat music. And their music, as expected, remains true to the formula that has worked so well for them since their inception in 2004 — a mighty signature sound of dirty, aggressive blues and foot-stompin’ alt-country.

“Junkyard Speed Ball” makes for the two-piece powerhouse’s fourth full-length album, featuring twelve searing new songs, all of which make it pretty darn clear that these two good ol’ boys ain’t quitting anytime soon. Left Lane Cruiser is in its prime, if anything. “Lost My Mind,” the new album’s opener, is definitely one of the more standout tracks, with echoing harmonica, a killer riff, a driving drumbeat, and a flow of gritty vocals. “Circus” stands out as well, with some wicked slide guitar, insane drumming, and howling vocal delivery. After that I’d have to say the fourth track “Shine” is one of the more notable songs, with its catchy note progressions and punctuating snare hits, and of course Fredrick’s vocals, which sound as if they’re being sung through a big rig’s staticy CB radio. “At the Denny’s,” the album’s closer, is another one, to be sure, with plenty of distorted electric guitar bits and a steady beat, like a late night run in a rusted-out ’72 Chevy Nova, with clear plastic taped over the windows, large crack in the windshield, busted headlight, and smoking engine.

On “Junkyard Speed Ball” the boys tried their hand at slowing it down a bit with some mellow rockin’ numbers, like “Giving Tree,” “Cracker Barrel,” and “Road Again.” Of course, those songs are no less important for their lack of energy and raucousness. In fact, they reveal a side of Left Lane Cruiser that needs to be heard as well. Not to mention, they also give the duo a little more room to show off the subtleties of their musical skill.

During their live shows, Fredrick J. Evans IV handles his guitar one moment like something precious he may never get to touch again, and the next he attacks the strings in a fury of fingers and slide, alternately picking and strumming, frantically but with all the precision and dexterity in the world. Brenn “Sausage Paw” Beck goes to town on his drums, pounding at times like a crazed individual, while at other times playing with a good deal of restraint. There are even times when Brenn sits back from the kit altogether and uses a washboard or junk percussion.

I have said many times in my writing that the two-piece band effort isn’t something that many artists get right. In today’s independent and underground music world there are a handful of worthwhile two-piece outfits, such as Black Diamond Heavies, Restavrant, The Black Keys, Uncle Scratch’s Gospel Revival, Two Gallants, and Hillstomp. But Left Lane Cruiser have it down.

“Junkyard Speed Ball” follows on the heels of Hillgrass Bluebilly Records’ re-release of Left Lane Cruiser’s debut album “Gettin’ Down On It.” Other than the re-release, all of Left Lane Cruiser’s albums have been released on Alive Naturalsound Records, like 2008′s “Bring Yo’ Ass to the Table” and 2009′s “All You Can Eat!” Personally, I can’t wait to hear what comes next.

So, if you like your music like your food, and prefer backyard barbeques with pork n’ beans and plenty of cheap beer and mason jar moonshine over stuffy indoor events with expensive wines and palate cleanser nibblers, Left Lane Cruiser is undoubtedly the dish for you.

Hailing from San Juan, Puerto Rico, Davila 666 plays fierce Spanish-language garage-pop with gang vocals, tambourines, pop hooks, guitar licks and even a touch of psych here and there. Elements of early Stones, Jesus and the Mary Chain, Dead Boys and ’60s girl groups are all evident in Davila’s sound. Since their 2008 self-titled debut album, they’ve released a slew of singles and EPs on labels like HoZac, Rob’s House and Douchemaster. The album even received a coveted cassette release on Burger, a garage rock signal that “they’ve arrived” if ever there was one. Davila 666 toured the US on a mammoth three-month trek that would’ve made Black Flag weary, as well as completed a massive slog across Europe. As soon as they began recording tracks for their much anticipated follow-up, Tan Bajo, which means “so low,” the band realized the sounds they were making were darker and more psychedelic than their previous output. Though it retains the pop and rock ’n’ roll one would expect, Tan Bajo is Davila 666’s most cohesive release to date. With a team that includes In The Red, Creature Booking, Force Field PR and Vice management backing them, these Puerto Ricans are poised to turn the indie rock world on its ear. “... one of the best bands at SXSW. Period.” —The Fader “This six-man combo generates a monolithic wall of sound, and if this isn’t as frantic as some of their contemporaries in the United States, Davila 666’s better-than-average chops, potent swagger, and thorough knowledge of the cooler chapter of rock ’n’ roll history more than compensate.” —Allmusic.com “Since picking up Davila’s debut disc, I’ve refused to put it back down. On their US debut, these triple-sixers filter three decades of scuffed-up leather jackets through the Spanish-language translator. Disparate patches of Radio Birdman, The Dead Boys and rudimentary jangle pop are all threaded onto the album, the charms of which are multiplied by the fact that Davila 666 sounds like it was recorded live at a basement birthday party.” —SF Weekly

The sound can best be described as Americana in the tradition of The Band. The songs are melodic and convey stories of the land and the people who inhabit it. It all adds up to American roots music that has a timeless nature to it.

There is a lot to like here. “Medicine Man” has a blues feel with ominous vocals and lyrics. “Should Have Known” has a nice acoustic guitar foundation, as it moves in a country direction. “The Other Broadway” has a gospel revival meeting feel, complete with a pumping piano. “Hurricane” and “Gris Gris Satchel” have a New Orleans feel to them.

The band is active in the studio and on the road, having played close to 200 shows during 2010. Their music has a wonderful vibe and spirit that makes listening both pleasurable and interesting.

Top Hat Crown & The Clapmaster’s Son is a breath of fresh air. It will hopefully be a deserved commercial breakthrough for the band.

It's a reasonable assumption that an irresistible pop record should be packed with memorable choruses and sublime melodic hooks. The surprising thing about No Problem, the debut album by Paris-based duo Jamaica, is that it manages to be an irresistible pop record despite containing just three songs with these crucial ingredients (Short and Entertaining, Jericho and Gentleman), and an awful lot more that replicate the worst excesses of 1980s soft-rock-pop. Its appeal lies partly in the enthusiasm of guitarist-vocalist Antoine Hilaire; mostly, though, it's in a fascinating production job by Justice's Xavier de Rosnay and Daft Punk's sound engineer, Peter Franco. The sound is intimidatingly pristine; if the evil mercury machine from Terminator 2 mutated into instruments, the music they produced would be as sleek as this. Each snap on the drums is crisp, the guitars strut and spiral into curlicues and bombastic solos, and every note gleams. And between these are so many skronky effects that every listen throws up something new.

The Insomniacs are proud to serve up their latest collection of garage-flavored pop treats, JUST ENJOY IT! The long-awaited follow-up to 'Switched On' ups the ante on the band’s signature poppy hooks and buzzy energy. New boy Joel adds a whollop to the backbeat to give these new classics a kick in the arse and commands you to shake your shit! From the pounding frat stomp of “Yeah Yeah Yeah (Come On)” to the pure power pop perfection of “Just Enjoy It” and “Get Up and Go”, JUST ENJOY IT! careens down a musical autobahn loaded on Ole Whiskey River. There ain’t no stoppin’! Garage snot! Mersey ballads! White album psyche! Clinking tea cups! Fuzz! 12 string jingle jangle! Keefy chuggin’! Ya want glammy cowbell?! It’s in there! The Insomniacs have poured out their sweat for you, dear listener. Now JUST ENJOY IT!, baby!

The Insomniacs released their first 45, “My Favorite Story”, in 1991 on the Umbrella label. Over the course of the last 20 years (!), they’ve released a slew of acclaimed power garage pop records, mostly on the legendary Estrus Records label. During that time, the band has done several tours of the USA, festivals and tours in Germany, Holland, Spain, Norway and Sweden. Highlights include shows with The Swingin’ Neckbreakers, Fleshtones, Woggles, Troggs, Makers, Nomads, Lord High Fixers, Lyres, Mighty Caesars, Headcoats, Stems, and Remains. The band is a regular fixture on Little Steven’s Underground Garage radio program and had a featured “Coolest Song In The World” several times over the years.

On JUST ENJOY IT!, the INSOMNIACS deliver 14 brandnew examples of stellar garage-beat and pure pop extravaganza served with style and a smile. If you dig bands like the CREATION, the PLIMSOULS, the STEMS, PAUL COLLINS BEAT and the BYRDS, you'll be addicted to this incredibly delicious hookified power pop pie!

Awesome Pete. I'm a big fan of those guys.

mediafire.com/?2bz77uknzswmw21

Can I get a re-up D?

Ditto, just placed a pre-order through Amazon for the Import, but don't want to wait 2 weeks, lol

here's a new link

mi ami dolphins