More than a few bands translate better in a live environment than they do in a studio, and Seatlle, Washington's Desillusion happen to be one of them. But that's not to say their debut EP Blasphaesthetic (which apparently means "Beautiful blasphemy", according to the band, but could have tenfold meanings depending on who's interpreting) isn't effective; quite the contrary. The 5 tracks are energenic, frantic pieces of industrial/electronic rock, borderlining on metal at times. Fast-paced, off-the-wall entertainment that's rather short-lived in just over 16 minutes of fun.

Frontman Westin Halvorson is the driving force of the band, who's vocals take on a Wes Borland feel and who's guitar and programming in effect sound lifted from works by Tim Skold, Trent Reznor, perhaps even Marilyn Manson at times. The title track's punk core and electronic punctuation is very much similar to the latter named artist's early works. The music is simply made for the stage, for monster-moshes and light shows galore (which the band utilizes to the max and gives their fans their money's worth night after night). "Discontinued" depends more on the industrial side of things to drive the song, with digital effects pushing the song forward. Reminds me a bit of Wumpscut. "Desperate" is much more dark, grim and discordant; Westin's vocals are very much in tune with someone like Reznor's more depraved efforts. "SMS" is my personal highlight, a more atmospheric, breezy, wordly track that depends on what, to my ears, is an egyptian-esque groove. Middle-eastern, perhaps, would be closer to the truth. It's definitely the most creative song of the bunch. 

A fantastic debut for Desillusion, and one that should see them gathering bigger crowds to their much-hyped live shows. They've shared the stage with many of this style's biggest names, from KMFDM, Combichrist, Frontline Assembly, etc. There's good reason for it and that reason is at least translated substantially on Blasphaesthetic. No doubt, however, that it translates tenfold in a live atmosphere. 

Revisiting the re-visitations of their last release Hair may have been hard for most artists, but these Washington (state) guys. It seems The Lonely H is a sincere renaissance for classic rock in the 21^st century. Its easy to track back over a sound that has already prospered, but not when you're playing it like its 1974 again.

Refreshing and powerful, almost every track is well produced, and varies from one form of 70's rock to another. Tracks like "Singer" have an uncanny fairing to The Eagles, while most songs on the album feed into each other in a classy Pink Floyd fashion. For instance, from "Other Side Of The Water" to full sounding melodies like "Girl from Jersey" are just impossible to ignore. "Digging A Hole" has a fantastic hook, and a professionalism that leaves you wondering how in the hell a bunch of kids barely out of High School managed to record an album so signature.

While "Cold Blues" almost falls into the Garage Rock sound of the 21^st century, its far too impressive to make that association. A bouncy rhythm that follows the heart beat of a bass and drums. My favorite here, most likely due to my love of Tesla, is "Phoenix". Lead vocalist Fredson has an awesome amount of moxy that can not be cloned. The lonesomely distorted guitar work is aptly matching. "The River" is a fantastic reminder of how important and melodic The Doobie Brothers were for music.

The variety of classic rock is not even the most impressive factor here. Every lick of music was done in analog! Not only do they have the sound down from the Classic Rock era, but it takes real chops to improve on such a beat down genre, especially two albums in a row. Top 10 of 2009 again for The Lonely H.

In a twist to the usual tribute compilation. "Born To The Breed" celebrates the obscure original tunes of an artist who made her bones through covers. Judy Collins has had a career spanning such personas as 60s muse, 70s limp pop chanteuse, to, well, not much after that, discounting live shows. But she did amass a solid collection of her own songs while interpreting those of others, and that makes this set an almost uniformly fine listen, as well as surprising.

Shawn Colvin's take on "Secret Gardens" is spare and passionate, as is the "Easy Times" version by Jim Lauderdale, the latter marred by high school poetry masquerading as lyrics. Dolly Parton injects whimsy and pathos into "Fisherman's Song," while "Albatross" is virtually undone by Rufus Wainwright's continuing obsession with Rufus Wainwright.

The project was inspired by a meeting between Collins and Chrissie Hynde, who had mentioned that one of her favorite songs was Collins' "My Father." Appropriately, Hynde's take on that song is moving and effortless, and sung as if she has lived with it for years. Other highlights include contributions from Jimmy Webb and Dar Williams. The finale of the set is a typically jaded and sanguine spoken word "Since You Asked" (sung earlier on the record by Joan Baez, but the less said about that the better) by Leonard Cohen. As Cohen's genius is the real deal, it seems odd to be reminded just at the end of a tribute record that the guest of honor, while admirable, is not necessarily in league with the masters.

Still, "Born To The Breed: A Tribute To Judy Collins" is a cool, breezy look into the writing of Judy Collins. What we find in her lyrics are the optimism and boldness rampant during her youth, as well as the lapse into sentimentality and bathos that comes when boldness is no longer on the table as an option.

It is hard to believe that there are only five tracks here. The immense space created by synths and guitar loops by Canadian Ryan Ferguson is stunning. The songs that make up "Measures" stand alone and join well as an extended piece; either avenue you take to explore the record, however, will be rewarding.

And this is one ambient release that doesn't just keep guitars circling the pulse or entering it with a riff ever so often. The guitars crank and make an impact, especially on the mighty psych drone of "Farad" and "Candela."  Two remixes of older tracks, "Ghost in the Gaps" and "To Make Him Live Again," expand but don't add much to the originals. Still, they don't detract either, and give you a broader sense of the songs' constructions.

On this fifth release, Electroluminescent continue an exploration of sound similar to many ambient/krautrock/solo-psych endeavors. However, Ryan Ferguson is clearly one of the few with a vision that goes beyond endless looping and hopes for the best. This is some visionary, biting work that shows clear and artistic intention. "Measures" is truly a measure of what can be done with the drone genre.