The Constantines

“Shine A Light” (Sub Pop)

Compare to: Fugazi, Spoon, TV on the Radio

After the first full listen-through, the four words on the album cover — “Constantines Shine A Light” — make sense.

Four short years after being founded, the members of this Canadian five-piece shine their spotlight not on themselves, but on a branch of rock ‘ n’ roll they’re giving new life.

The members of The Constantines make their brand of nitty-gritty rock into exactly what they want it to be, instead of merely mimicking music of yore, as countless “vintage rock” bands have done recently. Those formula followers might as well call themselves cover bands.

While listeners will soon tire of the multitude of white-striped-vines and hives that are popular in the music world right now, there’s always room for an innovative band who can take some of the old, stir it in with some of the more recent and conjure up a new mix that leaves the listener’s eager ears wanting even more.

But the differences between this album and don’t end with genres and labels. Opting for a production style somewhere between the hollowed-out garage sound of do-it-yourself musicians and the crystal clear sound quality of most mainstream, radio-ready rock acts, The Constantines make use of tambourines and even a small taste of synthesizer to build a fuller sound.

The title track on “Shines A Light” shines as one of the brightest on the album, but is nearly outdone by the meticulous riffs on “Nighttime/Anytime (It’s Alright).” Both tracks slowly build up to climactic guitar wailing and hooks that carry new meaning every time they’re sung.

“Insectivora” is marked by strong, funky basslines while “Goodbye Baby & Amen” boasts a horn section that adds to the rhythm.

“On to You” shows yet another dimension of The Constantines, with poppy vocals closely resembling Collective Soul’s trademark cooing.

Although The Constantines are certainly steeped in the do-it-yourself punk mentality, the band isn’t limited by the pattern set forth by their funk-punk ancestors’ simplism and similarities.

Instead, The Constantines break out into a rare offshoot of no-nonsense ground-level musicians, and ought to fit nicely in the league of post-hardcore alternative rockers such as The Hellacopters and Jets to Brazil.

The visceral, Springsteen-esque vocals of Bryan Webb come out as a precisely passionate response to the energetic music The Constantines create, rather than screaming to overcompensate for a lack of instrumental soul. Unenunciated declarations ring from Webb’s mouth like a weary man fighting for a cause.

With such a solid sound, Canada is shining bright with pride for these boys right now — and with good reason, eh?

— Andrew Mabe

The Revolution Smile

“Above the Noise” (Flawless)

Compare to: Queens of the Stone Age, Stone Temple Pilots, The Foo Fighters

If The Revolution Smile’s first album, “Above the Noise,” is any indication of the band’s future potential, lead singer Shaun Lopez was wise not to follow in the footsteps of Wes Borland.

Lopez, who was offered the job as Fred Durst’s head axeman in the newly reformed and reconstituted Limp Bizkit, chose instead to pursue his interests in The Revolution Smile, which he was already a part of before Durst’s offer.

Luckily for Lopez and The Revolution Smile, Durst instead decided to help the fledgling band out by signing them to his start-up label, Flawless. The result is a sound that can’t easily be understood by its individual parts, but proves to be a better whole than any of Durst’s latest endeavors.

Heavy guitar riffs mixed with intense drum beats only describe half of the album. Rock and pop beats combine with distorted guitars and deep-toned bass, giving the music a sped-up, pseudo-punk beat that is unique to The Revolution Smile.

“Above the Noise” starts out with “Bonethrower.” Right from the start, a heavy bass riff blasts forth from the speakers, conning the listener into thinking The Revolution Smile is something closer to Korn than it really is. Somehow, the song lightens up, with lead singer Shaun Lopez’s smooth vocals bringing the track down a notch.

One of the album’s catchiest songs, “Payday,” follows suit with the rest of the album, combining sounds of rock beats, metal riffs and a lyrical pop mentality.

Lyrics like “I’d do whatever just so I could be the rich/ I’m as plastic as they ever come/ But so are credit cards” demonstrate the band’s attempts to discuss deeper thoughts and feelings.

The last song on the album, “I Wish I,” is the perfect song for unfortunate heartbroken lovers. The acoustic sound of the track combines guitar with soft drum beats and various strings.

Unfortunately, the album sounds so familiar to other artists of the same genre, it’s hard to distinguish the songs from other bands heard on the radio.

Even though songs like “I Wish I” seem to have been done before, The Revolution Smile pulls them off with the help of Lopez’s impressive vocal talents and lead-man posturing.

The whole album must be listened to in order to understand the whole intended effect of The Revolution Smile’s style. This is an album that needs attention to each track in succession in order to hear the mutations of different sounds utilized by the band.

This album is the total package for listening pleasure — but it only works as a whole product, and not as individual tracks. In fact, many listeners might not even be able to comprehend The Revolution Smile’s musical purpose without investigating the album thoroughly.

The mixture of fast, near-punk songs with acoustic, mellow tracks make it a diverse work that won’t soon leave the listener’s CD player.

—Billie Moorehead

Kings of Leon

“Young and Young Manhood” (RCA)

Compare to: The Black Crowes,

Creedence Clearwater Revival, Neil Young

After years of living out of the back of a car and traveling from city to city with their evangelist father, you would think the Followill brothers would be ready for a break from the road.

However, Caleb, Nathan, Jared and their first cousin Matthew are still on the road, this time with a recording contract and a full-length album to their name.

Based on the band members’ religious background, Kings of Leon could be writing and recording gospel or soul music, not a straight-laced blues and rock ‘ n’ roll mix. Their father encouraged his boys in the ways of rock from a young age by letting their wee ears feast on legends like The Rolling Stones and Tom Petty.

Kings of Leon has concocted a decent album with daft, yet clever vocals, driving guitar solos and heaps of Southern twang.

Nearly every song on the album is upbeat and listeners might find themselves line dancing to some of the album’s more zesty tracks.

The music, however, speaks for itself. The simple but catchy power chords are an outstanding fit with the punchy drums and musically sound bass patterns.

“Red Morning Light,” “Wasted Time” and “Molly’s Chambers” are stand-outs among a pack of solid offerings. They remind the listener of southern rock classic bands, like the Yardbirds.

There is a lone stinker in the pack, however.

“Trani” is a horribly bland ballad that will make an experienced Kings of Leon fan cringe at the very utterance of its name. The song is all fluff with no flavor and fits poorly with its zealous counterparts.

The other downside to the album is the vocals. Caleb Followill’s bellowing utterances are often jumbled and difficult to fathom and the vocals seem rushed at times.

This album is definitely not a must have, but it should be a definite maybe for strong-minded southern rock enthusiasts, non-conforming cowboys and unruly teenagers.

— Dan Hopper

Accidental Superhero

“Full Circle” (Self-released)

Compare to: Stroke 9, Third Eye Blind, The Calling

Since their beginnings in 1995, the members of Accidental Superhero have achieved success on their own terms, never signing to a label.

The band, which consists of Jonathan Kuiper, Chris Willard, Sean Mulholland and Jeff Woods, sprung from a basement in Colorado Springs, Colo. Through their unique yet familiar sound, A.S. gives the intelligent, visual lyrics that are missing from much of today’s whiny pop rock, and are one of few acts that can incorporate hip-hop beats, intelligent lyrics, punk rock guitar riffs and actually make it work.

The bouncy, guitar-focused energy flows steadily from start to finish with hip-hop grooves and unforgettable beats. The most defining song on the album is “Miss You Like Crazy.” Its incredibly addicting chorus will replay in your head repeatedly as you walk across campus.

Don’t be dissuaded back by the band being labeled “pop rock.” “Full Circle” provides a sense of sour along with the sweet. There’s grittiness to the verses, especially in “So Easy,” which gives you a wallowing-through-self-pity-while-rolling-your-eyes attitude.

Lead singer Kuiper’s lyrical tales of loneliness, sacrifice, yearning and regret are disguised in a tightly wrapped package, but they’re still there.

The only fault found on this album is the break from flow. Each song transitions without thought into the next, and after the 12-track set, A.S. gives you a few unnecessary extras.

There’s a bonus track in which Kuiper makes a phone call about an idea for a song. It’s irritating to listen to him mumble through a few lyrics and imitate what the drums should sound like. After that, there are two remixed songs and one live song. Although they do provide a little insight, the added material interrupts the pulse of the album too much.

Accidental Superhero has a lot of things working for it. Unfortunately, the band’s decision to self-produce may have been the one factor that will keep them from stardom. Or maybe that’s the whole point.

—Emily Cooper