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 V.15 No.27 | July 6 - 12, 2006 

Sonic Reducer

The Coma Recovery Drown That Holy End In Wine (Failed Experiment Records)

Albuquerque all-stars The Coma Recovery have our hometown hardcore market cornered. Unflinching adulation by their primarily teenage fan base and adequately warm national reviews have helped secure their place as the next, next big thing to come out of Albuquerque. The Coma Recovery’s first full-length album, Drown That Holy End In Wine, produced by Chris Common of These Arms Are Snakes, is an unflinching, cohesive and surprisingly unpretentious progressive/experimental post-hardcore debut, taking influence from Burque old-schoolers Last Day Parade and even tipping their mesh trucker hats to fretboard musclemen Randy Rhodes and Tony Iommi. Cheer up, emo kid. Your scene just got a lot less lame.

CSS Cansei De Ser Sexy (Sub Pop)

Brazil’s main export is sex. Gisele. The Brazilian wax. And now CSS, Sub Pop’s latest international conquest, can count themselves as the hottest thing from Brazil since the half-back bikini. Likely scholars under “the teaches of Peaches,” CSS is an art school dreamboat: five hot girls and one token hot boy fumbling past an inability to play their guitars to become Sao Paulo small-time megastars. CSS’s Cansei De Ser Sexy is a delightfully hot, wet compound of glammy, coke-blowing sex rock and slow, throbbing electro lubed up with twitchy guitars and pulsating vocals. Peaches only wishes she was so fucking hot.

Human Television Look At Who You're Talking To (Gigantic Music)

There is no better example that the indie rock scene has been fostering a decade of the same loveable but heartbreakingly unoriginal college-rock than Human Television. Unlike groups like Pavement, however, Human Television has no undeniable guitar hero, no icy-cool lyrical smirk and, sadly, no “Magical Mystery” obscurity that makes indie rock so much fun. Look At Who You’re Talking To, the band’s first full-length LP, is a collection of sweet, harmless, easily brandable indie rock summer hymns, complete with fade-ins, droning, processed vocals, delay guitar effects and (cringe) Phil Collins-esque synth drum beats.

 
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