Index Case “The Weak and the Wounded” (True Player)

Compare to: Deftones, Primer 55, Disturbed

Rating: 8

Listening to “The Weak and the Wounded,” the third effort and True Player Records debut from Index Case, is like listening to the soundtrack of a superb thriller/horror movie. Not a slash ’em up gorefest, mind you — that would be more along the lines of central-Iowa companions Slipknot. Index Case’s new record would be more fitting for something like “The Shining,” a story that plays with your mind and manages to scare the hell out of you.

Guitarist Josh Parker’s guitar work is the backbone of the band, and he excels in constructing the haunting melodies that define the group. Each ringing line echoes through your brain, bouncing off the walls of the darkest corridors of your mind.

But it’s the other members of the group who complete this nightmare. Drummer Jordan Spence brutally attacks his drums and should’ve received more chances to show off throughout the record. Korey Birkenholtz, a largely overlooked part of the band previously, has stepped up to the plate this time around and made himself the driving force behind tracks like “Listen.”

It’s vocalist Joe Ansley’s mind that is truly frightening, however. At first, you might dismiss his abstract lyrics as gibberish. But on “Fetish,” when he says, “How they’re beautiful without their eyes/ I wonder if they’re crying because they are never going to see again/ Or because they can’t see what I’m about to do to them,” you start to wonder what the hell this guy does in his free time.

Ansley still shows off his bloodthirsty screaming and ability to incorporate a twisted mixture of spoken word and chanting on this record. But it’s his newly found voice that could make Index Case the next metal superstars from Iowa. His voice isn’t quite ready and sounds too forced for songs like “Thisism.” But for the most part, Ansley has finally shown he can take the next step and not solely rely on screaming, a tool quickly becoming clich‚ in the world of metal.

Index Case has created a sound that is dark, chilling, moody and yet aggressive as hell. Most of all, though, it has created a sound that can’t easily be attributed to one or two obvious influences. In a genre growing staler with each new nu-metal act, Index Case has created something fresh.

— Trevor Fisher

Parallex “Now That You’re Here” (Parallex)

Compare to: Collective Soul, Tonic, Better Than Ezra

Rating: 6

With their debut album, “Now That You’re Here,” the members of Ames pop-rock quintet Parallex offer up ten melodic, catchy songs.

The album kicks off with the crunchy rocker “Void.” Lead singer Josh Lizer pushes his voice to the limit, resembling Corey Glover of Living Colour (of “Cult of Personality” fame).

Before the listener can catch his or her breath, the band launches into the two-guitar assault of “Anthem.” Parallex shows its strong Collective Soul influence both musically and vocally on one of the strongest tracks of the album. One of Parallex’s strengths is the chemistry between guitarists Mike Collins and John Rundall, and on “Anthem,” the pair plays distinctly different riffs that complement each other nicely.

But don’t be misled by the first two tracks — these guys have a sensitive side in their music, and aren’t afraid to show it.

“731 (To All We Thought We Were)” is a heartfelt ballad that seems destined to be played at a high school prom. This song has everything a power-ballad should — piano sprinkled over gentle acoustic-guitar picking — and the guitar solo serves its purpose perfectly. With the right amount of luck, this could be a tune that future lovebirds refer to as “our song.”

“Now That You’re Here” is another ballad that proves the members of Parallex aren’t afraid to say how they feel, no matter how sappy the result. Lyrics like “Now that you’re here/ You’re burnin’ in my heart tonight/ You cast all the shadows away/ And bring in the light” express a truly genuine sentiment, but one can’t help but wonder if it hasn’t been said better before. Although the album is lyrically mature overall, occasionally a clich‚ lyric slips through the cracks.

Drummer Dave Restko kicks off the fifth track, “Not the Only One,” with an avalanche of toms. Lizer delivers the verses in a melodic speak-sing reminiscent of early Incubus, while a backdrop of echoey, aquatic guitar is kept grounded by bassist Corwin Colebrooke’s solid groove. Despite the song’s recycled alt-rock chorus, this song proves that Parallex has the ability to experiment.

This record suggests that Parallex has the ability to write a hit single, even if it isn’t on this album. With “Now That You’re Here,” Parallex shows that they can rock, as well as craft a sweet ballad. Although it does little to stand out from radio-rock staples such as Three Doors Down and Nickelback, with a little luck these guys could someday hear themselves on the radio right alongside their heroes.

Although a groundbreaking album it isn’t, “Now That You’re Here” is a heartfelt statement from five guys who wear their emotions on their sleeve, and that alone separates them from many in the rock genre.

— Casey Jones

…And You Will Know Us by the Trail of Dead “The Secret of Elena’s Tomb” (Interscope)

Compare to: Black Rebel Motorcycle Club, Interpol, Dismemberment Plan

Rating: 7

Few bands would ever admit to their music being a means to an end, but for … And You Will Know Us by the Trail of Dead, the end might be more noble than the music through which it is carried out.

This Austin, Texas, quartet has continued what it calls its “experimental” mission of researching and promulgating anthropological theories of unity through the outlet of its music.

Following up to their most recent release, “Source Tags and Codes,” an album that earned a great deal of respect among indie circles, Trail of Dead released “The Secret of Elena’s Tomb” earlier this month. Along with the carefully composed songs on this project, the disc also contains access to several music videos, a streaming version of their entire previous album and a gallery of sketches from various eras compiled by the band.

Although this five-track enhanced EP is clearly labeled as being another trail of songs laid out by Trail of Dead, it could have easily been produced by the infamous “Various Artists.”

In contrast to the band’s previous albums, which were characterized by musical unity and played out like a single movie, “The Secret of Elena’s Tomb” almost seems like it was recorded by at least three bands at three different periods in history.

While this might seem incongruous for some listeners when they first hear it, the versatility and overall intent is very consistent with Trail of Dead’s underlying ulterior motives.

The band wishes to make evident different cultural patterns and faintly repeating themes that can be seen again and again throughout time.

The funny thing is, even though Trail of Dead might have just started off as a fun experiment in fusing their artform with their academic obsessions, the songs they produce give the impression that these boys were born for the sole purpose of making beautiful music.

Even if you were to remove the realm of academia from its ever-so-deep cavern of talent, Trail of Dead would remain one of the most venerable acts in today’s rock scene, and “The Secret of Elena’s Tomb” is a fine showing of the band’s capabilities.

— Andrew Mabe

Green Rode Shotgun “Bang” (8 Ohm)

Compare to: Old 97’s, Pixies, New Pornographers

Rating: 6 1/2

On Green Rode Shotgun’s debut album, “Bang,” the band proves that rock ‘n’ roll doesn’t always have to be vicious and angst-driven. Instead, the music conveys feelings of energy, optimism and an overwhelming sense of hope.

“All The Same,” the album’s first track, opens with a short but extravagant crescendo along with a subtle, soothing dual guitar riff. The guitars and bass are nicely backed by drummer Don Sergio’s outstanding backbeats.

The song’s opening verse, “Someone’s talking about a better time/ Pieces come together in my mind/ But today I think the sun should shine/ And I don’t live for nothing/ But I rhyme,” conveys feelings of peace and happiness.

Throughout the album, fascinating drum parts, stunning guitar riffs and poetic lyrics run wild. There is even a hint of old-school punk rock influences. “Numbers On the Wall” and “Let It Snow,” the album’s spry sixth and eighth tracks, are laced with Clash-influenced punk.

The half-yelling, half-singing vocals are backed by a fistful of attitude and simple three chord guitar riffs. These two tracks stand out just enough to give Green Rode Shotgun some hope for mainstream appeal.

While these two songs are raging with attitude, the overall message is extremely positive — something not often found in punk rock songs.

This is definitely a drummer’s album. Sergio’s drumming is a perfect example of what it means to play “in-the-pocket.” The drum tracks are diverse and Sergio has no trouble adapting to the ever-changing rhythms and time signatures of each song.

The musical styles represented on the album range from Britpop to punk and everything in between. There are even subtle hints of progressive rock influence in a few of the songs.

The main problem with this album is a severe shortage of catchy songs. It seems as if the element of catchiness was sacrificed for complexity, which puts a major dent in the album’s overall appeal.

— Dan Hopper