The album opens with the track “See You Dance,” containing their distinguishable sound with an added touch of piano. In comparison to their prior work, it’s easy to tell—right from the beginning—that they have not only tightened their sound, but that some beneficial changes are being made as well. The third track, although it does not fit within the Kentucky Nightmare sound realm, easily is one of the best on the record. Somewhat harder and with a bit more technical guitar work, “Ways of the Gods” ties the album’s sound together.

As the CD progresses, the band throws the listener some older favorites such as “Caroline & I”; an instant love for anyone who’s been to their live shows. The next entitled “Moving Pictures” is just that—a beautiful picture being painted in your mind with a minute long introduction and wonderfully plucked guitar. Its repetitive vocals lead into a catchy vamp and chorus which could very well become another fan favorite.

Two cuts later, Kentucky Nightmare throws the listener a bit of a curve ball with “Money (A Lot).” Consisting mainly of loud, distorted guitars and inaudible vocals, this song seems to split the album in half. It is a psychedelic island within a body of folk rock that doesn’t quite fit with the rest of the record.

Overall, Kentucky Nightmare has created an unbelievable first full-length album—something for Bloomington to embrace.

For more information about Kentucky Nightmare visit http://www.myspace.com/kentuckynightmare, or http://www.kentuckynightmare.net/.

There are certain things that really pop from in between Lindsey’s vocals, including the backing piano work and the numerous horn solos. Apparently drawing from influences such as early jazz and possibly the more recent Dap Kings, Snake Doctor provides a great sounding canvas on which Lindsey can lay her strong vocals.

Now, although this album has a great overall sound, it does have some instances which do not seem to fit with this sound. When Lindsey does not use her vocals to their fullest extent and gives more of a poppy feel to some songs, there is a definite break in the style. However, the rest of the album is an unexpected treat with more surprises, such as when the harmonica branches off to short bursts of organ. This is a camouflaged gem. For more information on Carlyn Lindsey and Snake Doctor visit: http://www.snakedoc.com/.

After two prior releases, Whales are the Biggest Fishes and a split EP with fellow label-mates The Sass Dragons, they have come out with the epitome of who they are and what Prizzy is in the form of a nine track self-titled release (Lets Pretend Records).

After a slight line-up change they went back into the studio and not only re-recorded and re-worked the old favorites “Thundergust of Woodpeckers” and “Captain Bob,” but added the instant classics “Too Many T-Shirts,” “Thought Command” and “Campfire Girls’ Weekend Party.” Prizzy still has the same playful, recognizably unique sound that everyone loves, but after some time to tighten their work, this album displays the amount of talent and dedication that the band has.

Scott McNiece, Prizzy’s drummer and newest member of the band, has added a completely different sound to the band as a whole. Their live set seems not only to be louder, as does their studio work, but it is also more active. The main change that occurred after Scott came into the band is the overall pace of their songs—it’s the main noticeable difference with the two re-worked tracks on the album. Although their sound and the speed of their work has been changed since “Whales,” their talent and love of their work has grown and this is can be easily hear in their latest release. For more information on Prizzy Prizzy Please visit: http://www.myspace.com/prizzyprizzy/—please.

Originally released back in January 2005, Black Mountain’s self-titled debut touches on a lot of noticeable influences, even going as far as to use the lyrical hook from the Rolling Stones’ “Satisfaction” in their own “No Satisfaction” — probably the most light hearted track on the record, taking on an entirely different feel with the full band vocals throughout. Black Mountain also touches on their other, harder influences throughout the album, thus showcasing their talents.

After its recent re-release, the album now packs a different punch. The band takes the same stoner rock mentality and uses it through the eyes of director Heather Trawick in the video for their single “Druganaut.” At 3:48 the song itself can be a wild ride while hitchhiking down a drug-induced highway; however, if you add repetitive images and colors into the mix, you have full-blown chaos.

The album opens with what is easily the best track, “Modern Music.” However, the only problem one could have with it as the leading track is that it does not set the listener up well for the remainder of the album. Following this poppy introduction is a downward climb into the long and repetitive second track “Don’t Run Our Hearts Around.” The track has the ability to build following their sharp and loud guitar work, but it never actually takes off until the final minute of the song, following one of the longest bridges in musical history.

Because this is Black Mountain’s only release, it is hard to predict where their musical direction is going to lead them in the future, but if they were to keep anything in mind while recording their sophomore album it should be this: coherence.