THE SWORD - 'Warp Riders'
Having self-produced their first two albums Austin TX's The Sword have recruited a Mr. Matt Bayles (Mastodon, Isis, Pearl Jam) to twiddle the knobs on this first foray into 'concept' territory.  A science fiction maelstrom with relentless riffage and pounding rythmns, this is a more chrome-plated and chunkier effort than previous works; more streamlined in its approach to the 'Blues' making it as doom laden as Sabbath on valium.  A tale of strife and fantasy told through tthe duelling lead guitars of JD Cronise and Kyle Shutt, single 'Tres Brujas' and 'Arrows in the Dark' are typically heavy and fiendishly evil, both kicking off with riffs so venomous they probably have fangs.  As if it were needed 'Lawless Lands' with its iron-clad bounce and ode to Ozzy vocal is further proof, along with 'Astraea's Dream', The Sword can cut it with the best of them when it comes to tales of space and time.  There's even some revved up nastiness on the superbly catchy 'Night City', so it's safe to say this will make swift work of muscling every other CD outta the way for a permanent place on yor stereo.  (8)



LOVE AMONGST RUIN - 'S/T'
At present LAR are best known for their ex-Placebo drummer cum vocalist Steve Hewitt and in terms of exposure this can only be a good thing.  But it's hoped that, amidst all the furore surrounding his departure from Molko and co, no-one forgets that LAR are a damn fine band in there own right.  Straddling a line somewhere between A Perfect Circle, Ashes Divide, Depeche Mode and perhaps even Mechanical Animals era Marilyn Manson; this debut captures a bittersweet and twisted concoction of alternative rock quite perfectly, as the groups melodiousness is pitched against Hewitt's lyrical twists and turns.  Current single 'So Sad', 'Alone' and 'Running' are pristine , dirty rockers as the band touch the hems of their surrogate godfathers.  A punky undercurrent playfully skims beneath the surface but the structure is tight and wonderfully to the point.  There are many highlights to speak of, particularly the stand up bass contributions of ex-Lamb Jon Thorn; but it's the semi-whispered tone of 'Truth' where LAR really hit home.  With Steve Hove's lead guitar paving the way and Hewitt's barbed 'the truth's gunna find you' refrain; the bands insistent aura scars with a darker more sinister presence, willingly morphing magnificently into the pen-ultimate track 'Home'.  This may be far from what people will expect but rest assured, it's a damn fine record that demands your attention.  (8)



ARCADE FIRE - 'The Suburbs'
This could be the big one this year.  Arcade Fire are already multi-award winning but with an album this contemporary, this right, there should really be no stopping them now.  Their third LP is possessed of a cunning knack for making you believe the fifteen tracks on offer were knocked up in an easy afternoon of three chord jerkery.  But as expected there is craft here and an unerring ability to weave a constantly thrilling pattern which draws on a westernised culture for its top-lines and a fresh alternative outlook for its drive.  There's almost an arrogance to each track but it's so forgiveable when the songs are this 'under your skin' infectious and the sense of melodic understanding is so complete, the whole affair becomes irresistable.  Songs like the title track opener, 'Ready to Start' and 'Empty Room' are soaked to the skin in pop sensibility; almost taking on the role of nursery ryhmes you've known and loved all your life.  Where Funeral and Neon Bible tended to drift beyond the inspired and into Win's garblings, 'The Suburbs' grows in strength and confidence as it progresses.  But don't get us wrong it isn't perfect; there's a dark centre that could do with more light, but if you wrap your ears around 'Month of May', 'Deep Blue' and electric closer 'Sprawl II' you'll find yourself struggling to describe how stripped and speechless you feel once you hear it.  (9)


I LOVE UFO - 'Dirty Animals'
Now this lot are from France which can speak volumes and when it comes to rock, the French just shouldn't bother trying.  So this sophomore effort will probably go where all the others have gone, straight under the radar and into obscurity; largely ignored by the press.  But I Love UFO are as much to do with the spirit of garage-rock as any of the better known acts.  The frontman can't seem to garner the enthusiasm to sing in anything other than a wearied drawl, but so what?  'Dirty Animals' captures the spirit of Joy Division, Robert Smith even a bit of Eighties Matchbox at times, with minimum fuss and maximum efficiency.  It punishes the guitar rock format with an attack that borders on the manic, yet throttles the living daylights out of any melody that's within reaching distance; it sounds as though its been walloped through all the Marshalls in France.  For sheer buzz-sawin' guitar filth there's no small amount of intent collected in these songs.  Listen to 'Ashtray', 'Clear Darkness' or 'Lost Deep Boy' and we guarantee you'll be begging for them to call off the dogs.  There's so much talk of bands who can marry muscle to melody that it's amazing something this laconic could ever be a contender.  I Love UFO may be an acquired taste but they're well worth the effort.  (7)


DANGER MOUSE & SPARKLEHORSE - 'Dark Night of the Soul'
The suicide of Mark Linkous was unexpected and tragic; casting a shadow over a personal legacy cut short by a belief that there was only one way out.  It's not for us to discuss, comment or understand; better we listen to and continue to enjoy a short lifes work that was unique and quite masterful in parts.  Suffice to say this is a collection of bleak landscapes that unfurl themselves gently, loudly and individually.  Underpinned by the DM's subtleties, the guest list is strong and effective; for the most part and on first listen it could be any eclectic rock bands ramblings, but when you listen again you uncover softness, light and some truly dark moments.  None more so than the closing Lynchian nightmare that bookends this piece.  All wails and whispers, it's strange and bewildering; a curious composition created in the shadows.  Stand outs include the James Mercer fronted 'Revenge', the Beatles-esque 'Little Girl' and Iggy Pop's furious 'Pain'; bumping between black waves and graceful rushes, warped rythmns and edgy vocals.  The albums mid section drifts and drones a little too often to praise, but all in all this is a worthwhile venture that provides a solid representation and distinguished homage to a truly troubled artist.  (7)



FAR - 'At Night We Live'
As wholesome and straight ahead as these Sacramento scene leaders were when they first appeared back in the early nineties, there was something strangely eccentric about them.  Over the years they mastered the art of prizing a hook from the leathery flesh of emo-rock and now post-hardcore.  Where their '96 release 'Tin Cans with Strings to You' layered the discordance with a little too much fervour, its '98 follow up 'Water & Solutions' received critical acclaim and a cult following.  So expectation for the long awaited reunion and follow up has been insatiable and rightly so.  'At Night We Live' opens with probably the best hard rock track you're likely to hear this year.  'Deafening' roars out of the blocks on the back of a ferocious riff, Jonah Matranga's vocal more wracked and desperate than ever before; it sounds fantastic.  They've clearly honed their command of the rock underbelly and while 'Give Me A Reason' doesn't quite match the tracks around it, 'If You Cared Enough', 'Dear Enemy' and an excellent title track all wriggle free of the straight jacket the quickest.  There's a clear consideration towards the fierce and the fragile throughout and whilst in the context of the modern day scene, it won't break boundaries, 'At Night...' could be their most unique calling card to date.  (8)


ANATHEMA - 'We're Here Because We're Here'
All hail Anathema, whose 8th album is an even further departure from their doom metal roots; with a flamboyant keyboard flourish here, a Porcupine Tree-style riff there, all propelled into the stratosphere by Vince Cavanagh's soaring vocals...and that's just the opener.  Inevitably the songs are based around Les Smith's (ex-Cradle of Filth) deft touches  but there's plenty of widdling and all round musicality - almost AOR like on the evocative Brave-era Marillion-esque 'Dreaming Light'.  Although there is a tendency to drift into over exuberant lightweight vocal harmonies, this is a classy and compulsive post-progressive treat that is more than the equal of 'The Incident' and should be enjoyed and acknowledged as such.  (8)


OFF WITH THEIR HEADS - 'In Desolation'
Punk as hell, 12 tracks short and you could strip paint with it.  Minneapolis miscreants Off With Their Heads have made an album that makes everything that little bit more bleak and uninviting.  The carpet burn vocals edge deep beneath your skin as 'All I Can Do' and 'Drive' pound the sh*t out of everything in sight.  The whole thing reeks of urban decay although the band wagon is by passed by something from the true heart of punk; as the pace slows to just less than unurring on 'My Episodes'.  There's something to recommend about each track on offer here and where driving riffs are complimented by fist in the air choruses, overall we've a moody, heavy and extremely healthy piece of fire and brimstone who's purchase should be compulsory.  (9)



AGAINST ME - 'White Crosses'
Just before their 4th LP 'New Wave' was released back in 2007 these Floridian upstarts were accused of selling out in shifting from independent label Fat Wreck to major Sire and granted, their sound changed but the ethos remained.  Where debut 'Reinventing Axl Rose' and follow up 'As the Eternal Cowboy' were raw and grimey punk affairs, 'New Wave' was evidentally polished but no less punchy; place the needle down anywhere and your ears were pinned back by blistering guitars and fist in the air anthems.  You call that selling out?  We call it progress.  Whatever the politics, 'White Crosses' is a perfect continuation that's full of twists and turns on the standard hard rockin' formula.  It sounds as though its played from within a tornado and when the quartet emerges, the songs they fling at your feet are still pulsating with an energy that splutters sparks and gives an electric thrill.  Opportunist? Maybe.  Worthwhile? Definately.  (8)


THE GASLIGHT ANTHEM - 'American Slang'
What is it about bands that get a faint whiff of success in their nostrils and all of a sudden they lose their edge; their raison d'etre.  Every inch of this New Jersey quartets debut 'Sink or Swim' screamed collossal talent, with its cool and gritty punk rock-ability that sounded great and made complete sense.  They knew how to wrench and sear, they knew how to rip, burn and scar but where much revered follow up 'The '59 Sound' sounded far too close to The Killers saccharine power pop for comfort, 'American Slang' pushes things even closer.  In parts this has enough touchstones to keep the listener engaged but overall its a profile of genuinely impoverished pop-punk that used to be alright, but has been played far too safe by its protagonists, too mainstream; and ultimately it's altogether indifferent.  Fairly lightweight stuff with some good ideas but no excitement; disappointingly, almost too polite to rock.  (6)


UNKLE - 'Where Did The Night Fall'
One of the most innovative British electronic acts return with their fifth studio album of dark, introspective collaborations that cross genres and twist minds.  Messrs Lavelle and Clements have very much contiued where they left off; more dense beats and psychedelic widescreen rock laced with fluid house that is, perhaps not as muscular as 'War Stories' but can probably be described as a more convincing, consistent and accessible 'End Titles...'  They haven't exactly broken new ground here but what we have is another collection of finely tuned, expertly honed and very cool tracks that sound better and better with repeat spins.  Its no surprise but credit where credits due, there are few artists around today that present such a unique front and consumate delivery on tracks such as 'Natural Selection', 'The Answer' and 'Falling Stars'; all epicly proportioned and surprisingly uplifting tales that require no introduction.  With a toolbox of such rich tricks their appeal can only continue to grow as they expand their empire and with 'Where did The Night Fall', they've delivered a glossy feast that more than lives up to expectation.  (8)



DEFTONES - 'Diamond Eyes'
It's good to have them back.  Safe to say they've been through a bit since Saturday Night Wrist, following the tragic car accident that left bassist Chi Cheng in a coma.  The group had nearly completed album number six, titled 'Eros', before taking a decision shortly after Chengs accident to return to the studio and create something that was more representative of the group as people and musicians.  'Eros' may well see the light of day at some point but they can now rest assured that such a difficult decision paid off; and with some style.  'Diamond Eyes' is probably their most accessible album since White Pony; mixing heartbreak and the darkest emotions with signature riffs and stark melodies, instantly grabbing your attention with the opening salvo of a perfect title track and the slow paced 'Beauty School'.  Both compelling reminders of how Chino Moreno's soaring vocal can lead the line.  Where 'SNW' had a smattering of filler this does not; the unrelenting pace is distinct and dominant through prime cuts 'Royal' and 'CMND/CTRL', which blend Stephen Carpenter's guitar and Sergio Vega's marauding basslines to stunning effect.  There's little around to beat the Deftones at their best and this is a sparkling return from the Sacramento metal masters.  (9)


BROKEN BELLS - 'S/T'
This latest incarnation from the prolific producer Danger Mouse, combines his finely honed soulful beats and grooves with James Mercer's summer drenched Shins vocal.  The result is a not too displeasing collection of colourful 'hip-indie-pop' that will set the pace and tone of any lazy Sunday morning.  And although its soft centre does drift a little, opener 'The High Road', 'Vaporize', and the Barkley-esque 'Ghost Inside' succeed in keeping the listener hooked long enough to afford a couple of 'non-events' before the pace picks up again on 'October', then the superb saunter of 'Mongrel Heart ' and closer 'The Mall & Misery' bring proceedings to a captivating conclusion.  (7)


A PLACE TO BURY STRANGERS - 'Exploding Head'
This was actually one of the best indie releases of 2009; and yet it's only just made its way to Headwarmer.  Better late than never as they say and boy are we glad 'Exploding Head' landed on our welcome mat.  Taking their influences from the '80s psychedelia of Joy Division, Depeche Mode, The Jesus and Mary Chain and more modern day acts like BRMC this almost perfect slice of heady distortion and sleazy mayhem is so confidently put together, so unashamedly 'retro' and emotionally gratifying, it could easily join both 'Closer' and 'Honey's Dead' as a salatious and cacophonous classic.  (9)


JAPANDROIDS - 'Post-Nothing'
A real hidden gem from 2009, this vinyl only release takes the bombastic rawk of The Stooges and blends a modern day garage rock sharpness to produce an album that will no doubt bring direct comparisons to The White Stripes' earlier works.  But where pop-rocks favourite siblings tend to be a bit contrived, this Canadian duo keep it real; knocking out uncomplicated and insanely sharp riffs over a shotgun percussion, which if coupled with a greater sense of variety would mean we'd have an album that's graciously self contained yet bursting with hidden opportunities.  (7)


THEM CROOKED VULTURES - 'S/T'
The two coolest guys in rock, back together, knocking out kick ass grooves and blues soaked mayhem; what more could we want?  Oh and they've gone and enlisted a legend, just to help their cause.  Messrs Grohl, Homme and John Paul Jones no less - oh yes - have cooked up something pretty nasty here.  It's a beast of a record that plays to its strengths and although not particularly original output from its protagonists - it could easily be another Queens album -  there aren't too many artists who can collaborate to this scale and effect; let alone pull it off with such ease and force in equal measure.  Pretty damn fine, if a little predictable.  (8)



HE IS LEGEND - 'It Hates You'
This crew from North Carolina certainly know how to pen hard rock of epic proportions.  On this their 4th LP they continue to combine straight edged bombast with skyscraper hooks sharp enough to keep you hangin' around for weeks.  The ambivalent immediacy of 'Dicephalous' and 'The Primarily Blues' are held perfectly in check by Schuylar Croom's consumate vocal and while 'Cult of She' lowers the tone a little, 'Stranger Danger' and 'Don't Touch that Dial' mix complex shades with effortless and involved harmonies; it's clear they wear their obsessions on their sleeves.  'Decisions, Decisions, Decisions' yields some genuinely diverting twists before the morose 'China White III' and That's Nasty' make this opus shimmer with real depth.  Not your straight forward rock lunge this, theirs is a sound that grows.  (8)