5 comments about Musicforthemorningafter (with Bonus CD).

1. This cd will take you back to your free days in college and every relationship you had with the opposited sex. Each song grows on you with every listen. This cd just haunts me. Genius.



2. Simply put just a great debut. One that IMHO Pete Yorn hasn't topped yet. Yorn is a very versatile singer/songwriter. He gets compared to Springsteen alot, although aside from the fact he's from Jersey and a great songwriter like the Boss, I don't really see any similarity. His voice at times sounds a little like Eddie Vedder. He can do the upbeat stuff like "Life on A Chain" and "Closet". Great slower tunes like "Just Another", "Lose You". And he can do flat out rockers like "For Nancy", and "Black" (my personal favorite). Not often that one artist can cover so many styles and not sound cheesy or out of place. Great stuff!!!!



3. pete yorn has released three major albums, and it seems like everyone is agreeing his first one, musicforthemorningafter, is still the best. he has light tunes that are good for sunny days or reflecting on things. he doesn't come off as obnoxious or conceited, and he doesn't seem to care if he's on mtv or not. i love this album. "life on a chain", "strange condition", and "closet" are the favorites from this album.



4. Really enjoyed this CD, could listen to it over and over and not get bored.



5. I remember reading a review once which called Pete Yorn "the best thing to come out of New Jersey since Bruce Springsteen." In my mind, Kevin Smith was the best thing to come out of New Jersey since Bruce Springsteen, but Pete Yorn is definitely the best thing to come out of Jersey since Kevin Smith. Yorn became the critical darling of the music scene in 2001 when, at age 27, he released his debut album, "musicforthemorningafter." It's not hard to see why; at the start of the new millennium, pop music consisted of soulless alt-rock from bands like Limp Bizkit and Blink 182. With his debut record, Pete Yorn brought the soul back to popular music with his traditional, hearty American rock reminescent of Springsteen, albeit with a less gritty and more soft edge. "musicforthemorningafter" consists of 14 spirited songs, at least half of which are gems, and the other half makes for some great listening as well.
   
   The album gets off to a rollicking start with "Life on a Chain," which, with its thumping, soaring music and Yorn's everyman voice and lyrics, sounds the most like a Springsteen composition out of the songs on Yorn's debut album. Immediately it's followed by two equally wonderful tunes, "Strange Condition" (which was featured on the "Me, Myself & Irene" soundtrack), and the dreamily dazzling "Just Another," which has been featured in at least three WB teen dramas. Just as the album begins to sink into its own mellowness, Yorn showcases his impeccable ear for timing by placing the hit "For Nancy ('Cos It Already Is)" next. "For Nancy"'s fast-pace and high-powered guitar is just what the album needs to keep it going and going well. The rest of "musicforthemorningafter"'s highlights are more easygoing, though, like the charmingly sweet plea "June," the shiningly sincere "On Your Side," and the smooth, optimistic "Simonize," which closes the record on a high note. And even those songs that wouldn't be considered stellar are considerably better than just about all pop music, resulting in an overall highly satisfying listening.
   
   Maybe it was the down-to-earth, "everyday life" sound of Yorn's music, in comparison with the overblown angst of a Blink 182 composition, that made the young Jersey boy such a star. If ever there was an album designed for some riveting listening on the way to work in the morning, sipping a cappucino, it was Pete Yorn's "musicforthemorningafter." Living up to its title, "musicforthemorningafter" has the same sort of cheery optimism and dreaminess that one experiences waking up on a sunny morning. Yorn's debut was certainly a ray of sunlight in the increasingly gloomy land of pop music, and deserves every bit of praise it has garnered. Yorn himself is surprisingly astute for one so young, perfecting every melody and even playing most of the instruments himself. (He wrote all the music and lyrics as well.) "musicforthemorningafter" wound up as the first in Yorn's "day-in-the-life" trilogy, which he continued with 2003's underrated "Day I Forgot" and 2006's "Nightcrawler." "musicforthemorningafter" remains Pete Yorn's undisputed masterpiece, though, and if you're looking for some hearty, fresh rock, you can'd do much better.

5 comments about The Fine Art of Self Destruction.

1. he sounds more like Westerberg or Springsteen these days, which is a far cry from the Cheap Trick/Ramones D-Generation days - but the solid songwriting is still present and accounted for...
   
   - cRAIG



2. The reviews here are more about Ryan Adams than Jesse Malin. If you hate Ryan Adams, go trash his CD's on Amazon. (Or did you already do that?) This CD is great. His voice is amazing in a lonesome, cry-over-spilled-beer sort of way. How can any of you flatliners not love Queen of the Underworld or Almost Grown??????



3. Malins solo effort definitly gets athumbs up, however hwat happend to Mr.Rocknroll?
   
   If you like D-gen or Malin check out 17 Crash
   (...)



4. Excellent debut CD that was produced and mixed by Ryan Adams who also adds guitar, keyboards and background vocals. Sounds a lot like a young Neil Young and nothing like D Generation except maybe in attitude. The single, "Queen of the Underworld" is the strongest and most memorable song on the album. Melissa Auf der Maur also adds some background vocals.



5. This record is as bad as anything Adams has ever done, so its fitting they work together. The talent and spirit of NYC is gone, so being held on a pedistale in NYC these days is by no means something to brag about. Stop milking your insignificant band that ended years ago.

5 comments about It's Hard to Find a Friend.

1. 
   David Bazan takes you through a lot of lessons of life: From learning about empathy from your father, to bad break ups, or finding faith, he goes through them all. In his band, Pedro the Lion, he collaborates with Jonathon Ford to create their 1998 album produced by Jade Tree, "It's Hard to Find a Friend." Seeing how only two people had to come up with so many musical components in the album it is expected to be a decrease in the quality; but Pedro the Lion blends so may musical styles to a perfect pitch that when I first listened to the album I had no clue that it was just two people jamming in a basement. And not only is the sound quality astounding, but the lyrics are thought provoking and strong, yet at the same time he maintains a tone of melancholic sincerity. David Bazan doesn't know all the answers, but he knows enough to know that he doesn't know all the answers and makes a statement about it.
   One of the ways he accomplishes the overlaying tone of the album is by creating miniature stores within most of his songs, which is also one of his main characteristics as an artist. In the first son, "Of Up and Coming Monarchs" Bazan tells a story about a man wishing to escape the draft and run away. Within the song he mixes in his views about war: "Swim with me/ And we'll escape all the troubles/ Of the present age/ Finally free/ The mermaids teach us/ How to breathe beneath/ The line that now divides action from apathy." The slow, catchy beats led by the switching of chords from the guitar make the song sound as though you are out on the ocean. The mixture of the sound and lyrics place you in a different world while still conveying Bazan's ideas towards war and makes the song delightful yet strong. Also, Bazan tells another tale in the song, "Big Trucks" by taking you into the world of a father teaching his son the lesson about empathy through a metaphor about the busy road. With an upbeat and captivating tempo Bazan sings, "There's real people in the big big trucks/ That you flip off when they get in your road/ You get so hacked but you pay no mind/ To the great big sign that says oversize load." With the fast tempo and child-like lyrics, Pedro the Lion creates a song that reminds you of the lessons that you learned as a child, and should always remember.
   Probably the only downfall to the album is in the song, "The Longer I Lay Here." It begins with a straightforward rhythm set by the drums and maintains the rhythm throughout the entire song; if only the rhythm was not so annoying and repetitive. Sadly enough, even Bazan lets us down with sub-par lyrics in the song such as, "It sounds so ridiculous/ But I just can't lick this/ I need a miracle/ Someone to help me/ myself."
   Although Bazan may have one low note, he makes up for it in the heart wrenching song, "Bad Diary Days." He tells of when he comes to knowledge of his girlfriend's cheating habits. In other musical artists about love affairs, there is always a great deal of resentment; but Bazan takes his own route and stays true with a genuine sincerity in all of his words. He comes across in a caring way in "Bad Diary Days" by crooning, "We barely ever fight/ She knows that I love her/ At first we made it every night/ But I don't want to bug her about it/ She just has a funny way/ Of loving me." The song is completely depressing because the poor guy is getting played but is still madly in love with the girl; it truly captivates the awkward shuffle between the suspicions to the realization of the messiness of an affair. "Bad Diary Days" sums up what Pedro the Lion is about, the lyrics are blatant and simplistic, yet heartfelt; Bazan leaves nothing out of his train of thought and that is what makes him such a great lyricist.
   As the album comes to a close, Bazan starts to bring his faith into his songs. The song, "The Well," discusses the parable about the woman and the well from the New Testament. But don't think Bazan's cynical views towards politics do not pertain to religion. In the "Secret of Easy Yoke" the song's melodies are greatly subdued and the lyrics stab the church: "I could hear the church bells ringing/ They pealed aloud your praise/ The member's faces were smiling...Their perfect fire annoyed me/ I could not find you anywhere." He calls out the hypocrisy of the church and even calls out on his own hypocrisy by saying, "I still have never seen you, and some days/ I don't love you at all." The song packs a punch yet without the vocals, the song just sounds somber and dreary and not at all spiteful. This observation illustrates how the juxtaposition of instrument and words can make an effective song. Bazan is sad about the insincerity of the church, this can be found in the sound of the song; Bazan is cynical about the insincerity of the church, this can be found in the lyrics of the song. Although his views are harsh, they are never up in your face; Bazan is just saying how he feels.
   Although Pedro the Lion keeps up a melancholic outlook on life throughout the album, the band finishes off on a high note in the song "Promise" by praising, "If I look up and the sky's not there/ Is there any reason that I should be scared/ When a promise is a promise I know." The rocking beat and almost cheery lyrics establish Pedro the Lion's purpose: To sing about real life. And in real life, there are times when things are depressing, but with an optimistic outlook life is bearable.
   Pedro the Lion wants you to listen as you think. David Bazan has ideas to share and he is sharing them with you through store that has a nice beat and a slow voice that soothes you; all the songs blend into a mix of short stories that pulses through your ears and leaves you contemplating the complexities of life.



2. pedro the lion has been one of my favorite bands for a long time. out of all the pedro albums i've heard, this one is my favorite. its perfect. its a perfect mix of slow folky songs to more dancable indierock.
   
   now sometimes i read reviews about pedro being 'emo'. i don't consider pedro the lion emo at all. emo is whine. when david bazan sings, its like listening to a sad man. not to say he is one, its just his writing style.
   
   back to the album. i can honestly say that the cd is one great highlight. songs like "big trucks" and "When they really.." are just amazing. great, upbeat writing. i love them. the slower songs are amazing, also. "bad diary days" and "the secret of.." are just amazing and "promise" is about the best ender to a cd ever.
   
   its a good cd. i've never written a review. i hope this helps.



3. If you want a smooth sound that takes ya away. And I know people talk about this being a christian CD ( Im agnostic ), but it's not imposing. It is good. listen to it and you'll know. Go to allofmp3.com to HEAR LONGER CLIPS than amazon gives you.



4. The first album by the only Christian band that I listen to. One thing that i love about this band that even though i usually dislike Christian music, i am not embarrassed to listen to. The way that David Bazan tells stories makes the listener feel like they are there with the character. But one must take into account that this music is very downbeat and slow at times, but is also surprisingly beautiful. This music is mostly simplistic with an emphasis on the acoustic guitar, but incredibly powerful. So buy this album, or really anything by this band, because you wont be dissapointed.



5. "The Secret of the Easy Yoke," moved me to tears and I am not a Christian. The honesty, the questioning, the doubt and the belief make this song one of this important band's most powerful statements. Musically simple, but like a great Beethoven melody, has the power to move mountains.

No comments about Artist's Choice: Elvis Costello.

5 comments about Prom.

1. As much as I love the Indigo Girls, Amy Ray's solo albums have blown me away. This is another amazing effort by her. Not as raw as her first ("Stag"), but still wonderful. It sort of takes you back to high school and she speaks so well to everything you hated about it!! Awesome.



2. Amy Ray is great as part of the Indigo Girls and but is equally great as a solo act. This is a fantastic CD. I didn't expect to like it as much as I like the Indigo's music, but I did. If you are a long time Indigo's fan, it is a little weird at first. It seems like something is missing (Emily), but then as it gets more familiar you realize she's fantastic solo. A little edgier, a little more hard rock. I bought this CD along with the new release from the Indigo's, Despite our Differences, and they've gotten equal airplay. Amy definitely knows how to rock solo or as a duo, you will not be disappointed with this one.



3. I love this cd so much! The lyrics hit right in the gut and the songs are set to beats that really reel you in. Put it out for good, cover for me and let it ring are my favorites but there's not a weak song on this album period. I love the stripped down sound, the high school choruses, everything. Amy, you're great!



4. amy ray is such a talented artist and i love all her music. i litsen to this cd all the time it never gets old to me...thats how great it is. i loved all her work with the indigo girls but shes good as a solo artist as well. all the songs are great from start to finish. so if you want to support some real music...then pick this cd. you wont be disappointed trust me.



5. Game on, this is good stuff! To be honest, I wanted to like Ray's first solo Stag a lot more than I did, which is why I walked, not ran to Prom, But then that was before I caught the Indigo Girls last summer, where Ray and her mandolin wowed the crowd with the anthem Let It Ring. It was the first time I'd heard it and it made the hair on the back of my neck stand up.
   
   The theme throughout is pretty obvious, it's called Prom, after all. But it's also pretty obvious that you didn't have to grow up queer in small town rural America to feel like a freak. The sentiments of adolescent angst and isolation are universal, after all. But beyond waxing poetic about adolescence, there are some great cuts offering stories of love's trainwrecks and dissatisfaction with the music industry, as well.
   
   This album is less gritty than Stag and the sound is a lot more refreshing and graceful than you might expect. This outing is to Ray as All That We Let In is to Indigo Girls.
   
   The album showcases the elements we've come to expect from Ray and the Indigo Girls: unflinchingly honest lyrics coupled with uncompromising musicianship. Those are rare commodities in today's music industry. Unleash your inner awkward teenage/freak/geek self and enjoy the Prom.

5 comments about The Golden Dove.

1. With her constant medieval imagery, sound and lyrics, it seems that Ms. Charming Melodee, the heart-shape faced, sad-eyed Mary Timony was just plain born in the wrong century. (Not many girls in this generation are called 'Mary' either, but I digress.)
   'The Golden Dove' sounds more polished, refined and generally more upbeat than her previous solo CD, the rough-edged, melancholy 'Mountains'. The tracks 'Look A Ghost In The Eye' 'and Magic Power' possess ridiculously catchy choruses this time out, definitely a good thing.
   Plus, her wispy, slightly lispy vocals are more pronounced than on the Helium albums and EPs, where they were all but buried underneath the Hammond organs and crunching guitars.
   If The Magic City was Helium's best, the The Golden Dove is Timony's best solo effort thus far.



2. Mary Timony is amazing.

   For those that don't know her, she has fronted a number of bands in the past ten years. Helium and Autoclave being the most notable. I had not heard of her, though, until a friend gave me her first solo album, Mountains. It was love at first listen. And obsession at second listen.

   I was expecting her new album, The Golden Dove, to be a disappointment. I saw no way that she could top the Mountains album and I didn't get my hopes up. But she did. Or rather, she didn't.

   She managed to make an equally wonderful album that shares similar themes and sounds with Mountains, yet she added new elements to keep from being one of those artists that tries to repeat themselves over and over.

   Her lyrics are still fairytales of witchcraft and sorrow, but now there are more satirical jabs at life and relationships thrown in. The metaphors are more clear. The vocals and rhythm are more pronounced. Mountains had an echo to it, which fit with the medieval tone to the album. The Golden Dove hits a more Helium-like vibe while still maintaining Mary's haunting, folkfaerie touch.

   Like Mountains, the new album does have certain redundant melodies. But they fit the melancholy, yet hopeful lyrics. Mountains was the witch who needed no one. The Golden Dove seems to realize she might want someone, perhaps she had and lost someone, but she still retains that self-reliance.

   Magic, isolation, and companionship are the themes most prominant, along with a somewhat cynical view of the world that is sprinkled throughout the album.

   All accompanied with a lot of hand clapping.




3. I am enchanted by Mary Timony. I find her intoxicatingly talented. And, unlike the litany of artists my freinds always recite that I'm "supposed" to be into (PJ Harvey, Tori Amos, Bjork) Mary doesn't seem at all daunting or distanced, like an unapproachable superstar. She has a wonderful big-sister quality, the kind of person you'd love when she was around and miss when she wasn't. Her casual approach may be her biggest asset. Certainly on her stunning second solo effort "The Golden Dove", this is in ample evidence. On insinuating tracks like "14 Horses" and "The Owl's Escape", she weaves a subtly devestating tapestry of minor-chord meloncholy that takes a few listens to fully register (but, isn't that the case with all good music?). Musical elements that have become her trademark since her Helium days are present here as well: "Musik and Charming Melody" layers strings and complex, inter-locking guitar parts for a beguiling celebration of the mythically uplifting power of music, and "Look A Ghost In The Eye" begins with an oddly heroic arpeggio, then hooks you with an indellable chorus. There's even some of the dirgy, Sonic Youth-ish guitar she used to great effect on "The Dirt Of Luck", Helium's stellar debut. Those of you who enjoy fantastical musical explorations, but are a bit put off by the over-the-top grandiosity of her superstar peers, will find a bracing breath of fresh air with Mary Timony and this great record.



4. Helium was a great indie-rock band, as distinctive in retrospect as they seemed in the '90s - often juxtaposing a driving beat with oddly lazy, string-bending chords and sleepy vocals by Mary Timony. As a solo artist, Mary has taken the quality of some of the most arresting Helium songs, the ones that were sparse in instrumentation and accompanied by wispy fragile vocals that would break beautifully over the lyrics, and she's expanded it to something far eerier. And far odder.

   The music is as tough to describe as it is polarizing to its listeners' opinions. The sound is somewhere between an estrogen-heavy Sonic Youth playing at a mideval shindig, and the musical realization of a teenaged girl's book of poetry on the exact cusp of her transformation from unicorn-loving pixie to death-obsessed goth maiden. This album could be the soundtrack to the world's first cool Dungeons and Dragons game, or the background music to all your pent-up high school pubescent angst.

   Will you like it? Who knows? I can only say two things for certain. First, this music is undeniably feminine - mysterious, lovely, spooky and unconvenional. And second, there is absolutely nothing out there that sounds anything like it. It is a language all its own - genre defying, influence defying, history defying. And that is undeniably good. Whether it speaks to you personally or not.




5. The first time I'd ever been exposed to Mary Timony was when I saw her open for Sonic Youth this past summer. Her live show was amazing, so I picked up the CD right away. The CD proved disappointing after seeing her live, but it's not bad. If you ever get the chance to see her live, however, go -- she's wonderful.

3 comments about All Maps Welcome.

1. Tom McRae's self-titled debut from 2000 earned the English singer-songwriter favourable comparisons to Nick Drake, Tim Buckley and Bob Dylan. Unfortunately, the album itself was relentlessly dreary - like a month of non-stop rain. For all his intensity and intelligence, McRae sounded like a man weighed down by his influences. By his own admission, McRae sweetened the songwriting pill for his next effort 2003's Just Like Blood, and though he mightn't have cheered up much, his new songs were decidedly more compelling. McRae was now embracing his influences without being trapped by them.
   
   2005's All Maps Welcome, rather wonderfully, is even better. It's the sound of an introspective, literate and impassioned songwriter at his most natural and unforced. What's also striking about his latest effort is the realization that the simpler McRae keeps things, the better. This is immediately evident on the beguiling opener `Song For The Restless' with it's beautifully understated arrangement and hushed, almost restrained vocals. McRae then niftily repeats this trick over and over again throughout All Maps Welcome, with each successive track containing a lovely, unfurling melody and a gripping sense of doomed-romanticism.
   
   Without doubt, Tom McRae has never sounded better than on All Maps Welcome. Whatever wonders might be left to come from him, this album could well remain his crowning achievement.
   
   Like This? Try>
   David Ford - I Sincerely Apologise For All The Trouble I've Caused



2. This was highly recommended in the papers with very good reviews. So i was very pleased to have went out to get it. The songs are mostly quite sad, with very nice soundscapes on the background. In other words, a very sophisticated piece of excellent work! McRae's voice is also haunting, cool and emotive all at the same time. Not an easy feat, i think. Grab it while you can! 'Just Like Blood' the older album is just as interesting too!



3. Tom McRae is an English singer-songwriter in the Damien Rice, David Gray, Nick Drake tradition. (He predates Rice, whom most resembles him, by a few years.) All Maps Welcome is his third release, and it continues a tradition of imaginative ruminations on lost love and the horrors of the modern world. He has an expressive, slightly high voice, used to great effect on ambient ballads (My Vampire Heart) and lowing midtempo numbers (How the West Was Won). His last CD, Just Like Blood, was a harrowing dead end -- impressive, yes, but limited in its depressive intensity. All Maps Welcome is more far-seeing, hopeful, with lovely new colors in the instrumentation.

5 comments about The Last Dog & Pony Show.

1. Jeezuz. this is a GREAT album. I should not have been suprised, he is such a rockn'roll treasure (but at my age, I have to headbang in private.)
   Bob Mould is a GREAT rocker, he does everything right, period. Don't make room for any wannabees, Bob, you keep on with your bad self..I want to hear you doing this when you are seventy! c



2. i love this album, but not as good as bob's latest, body of soul. i got it at emusic. only cost me about 2.50 for all 12 cuts.



3. Supposedly this is the last rocking electric buzzsaw guitar styling Mould release...which is sad, "If it ain't broken...why fix it". So far he hasn't made a traditional Mould album since this album(well a live album from this tour). So, this may be the last true Mould album. It's admirable that the guy is as good as his word. But in a way it's sad there will never be a decent Bob Mould album for us rockers to enjoy. Don't get me wrong, I like his acoustic stuff but the dance stuff on "Modulate"(which I haven't heard yet) isn't my cup of tea.
   
   Well this record turned out pretty awesome...about as good as the last "hebcap" album, except less depressing and more uprising. A good thing about this is the absence of a drum machine and the attendence of a real drummer. Standout cuts are"New#1" "Moving Truck", "Classifieds", "Skintrade", and "Reflecting Pool". The track "Megamanic" is good for laughs.



4. Bob Mould is a songwriting genius. This album has a certain vibe to it. It really starts to grow on you.



5. From his work in alternative rock innovators Husker Du, through the more radio-friendly Sugar, and four solo albums, Bob Mould has touched on the best of punk, folk, power-pop and modern rock, influencing countless artists in the process. Dave Grohl is one of his most famous fans, and its hard to imagine the Foos without Husker Du having existed. This 1998 album was his last fully-electric one before a long hiatus, recently ended with soem electronic dabblings.

   Its a respectable but unspectacular signoff. It starts quite well with New #1, a strangely addictive acoustic number which lacks a chorus in the traditional sense, but packs some punch as it builds. Taking Everything is the highpoint, an obvious single with a catchy refrain.

   Skintrade also stands out, as does Classifieds, with its cynical analysis of looking for a partner in classified columns. Like all Bob's songs about relationships, the lyrics aren't gender-specific, due undoubtedly to Bob being perhaps punk's first openly gay star. There is a more sensitive string-laden Along the Way to close, but less impressive are by-the-numbers tracks like Moving Trucks and Vaporub.

   Although not bad, and worth ahivng in the collection, it can't be recommended as a starting point. Try Sugar's Copper Blue for a poopier sound, or Bob's self titled solo album, but for the real Husker Du deal, it has to be New Day Rising.

No comments about Lost In Space - 180gm - Sealed.

5 comments about No Good for No One Now.

1. Among the other Mike Kinsella records I've listened to - American Football, Owen, I Do Perceive - this one is, to me, the clear standout (and I rate American Football 5 stars as well). On this album, and no other (not even AF), do I get the sense of hearing a moment that is captured only once and can never be reproduced again. I don't mean to say that after this performance Owen's music can only decline, but that something is communicated on NGfNON without comparison.
   
   Anyone who gets into an Owen/AF record knows that the subject matter is more or less failed relationships. But whereas AF suffered from sounding nervy and confused (the feeling I got, anyway, after the songs had ended), Owen too cloudy and IDP too detached, NGfNON is a sober confrontation with whatever needed to be dealt with. Even when Mike curses and makes some awkward admissions (i.e. "it's my right to be a f'-n baby sometimes"), I feel he recognizes the consequences of what he's saying.
   
   That investment makes all the difference. Combined with the comfortable sound of the album, it gives me the awesome feeling of someone who is not simply emoting, but who has actually mastered his emotions.



2. 3 1/2
   
   Slightly more melodically intricate, this worthy companion (and perhaps slightly more developed) to Owen's debut is sure to please fans of the mellow progressions that lie in these soft but effective odes to lost love.



3. Mike Kensilla is amazing. All of his projects have been different, yet golden in their own right. I would compare it to Further Seems Forever and Dashboard, both good but a different sound. Owen is soft indie with beautiful lyrics that remind me of The Weakerthan's lyrics. Check out Nobodys Nothing, and The Ghost of What Should have been. Two really great songs in my opinion. So if you liked Kensilla's other projects ie American Football or Owls; or Death Cab then this should be a great CD for you.



4. If you like the emo mixed with the folk mixed with the electronics mixed with a twist of Kinsella, this is the disc. The lyrics are strong and the songs kept me quessing. I even teared up a few times. I love this album.



5. Mike Kensilla has created a beautiful peace of art work with his third solo album 'No Good For no One Now'. The album was released in November of 2002 off of polyviny records. Although it contains only seven songs, they are well constructed. Sure the album leaves you wanting more...
   Kensilla's voice is completely refreshing. All of the songs on the album are slow and inspiring. If you like coldplay or travis, Owen isn't far behind. Kensilla writes and performs all of his music on the album.