When does the real music kick in? That's the first thing I wonder upon hearing The American Analog Set's new CD, Set Free. To be honest, the first three songs sounded so similar I didn't know it was a different track until I looked at the digital reader. I listened to the album infuriated that Andrew Kenny seems to refuse to sing in anything higher than a whisper. For the most part, the album works as a great lullaby, but where's the kick that people come to expect after six studio albums? I mean, the final song on this album is called "Fuck This...I'm Leaving," yet it sounds like Kenny, in his monotone whisper voice should add "if that's okay with you." There is, however, the standout "She's Half", which takes you into the eye-opening world of marriage and what it means to be lonely even if you have someone. Otherwise, just push snooze on this release. (Appearing with Jimmy Eat World for the early show at Metro on Nov. 11) --text: Virgil Dickson

Building on the groundbreaking work of Neurosis and alongside simpatico contemporaries Pelican, Isis has established itself as one of the most impressive heavier bands out today. Combining hardcore walls of sound with an adept sense of special dynamics and composition, Isis broke through with its first full-length Celestial - a sonic tour de force that works just as effectively from song to song as it does in complete album form. Isis has a knack for making repetition exciting, and patiently allows its work to build into very compelling payoffs. Live, Isis borders on legendary, with the emotive nature of the albums exploding onstage. With a string of excellent albums following Celestial, Isis has a wide array of work to choose from, and fresh off the release of the Oceanic: Remixes/Reinterpretations and Live: Volume 2 3/19/03, the group seems poised to re-examine their output to date by opening up the songbook and cranking to 11. (Appearing with Tortoise for the late show at Metro on Nov. 12) --text: Jacob S. Knabb

If spazzing out commanded a high value in the world of music, Mae Shi would be billionaires. Unfortunately for the Los Angeles rock quartet, their spaz and noise subtitles don't get much consideration from the greater music listening population. Mae Shi is a rare critical survivor of noise rock; their style manages to be intriguing despite also being associated with ideas of hysterics (wild shrieks, frantic drums, and errant guitar hooks). One reason that the group comes off well is because of the members' formulated, competent musical natures. Wild playing techniques (hammer-ons and pull-offs galore, cymbal mute hits, non-metric drum tangents) creatively divert from selective song patterns while electronic samples and vocal harmonies meet up along the road of one to two-minute long songs. Even though the band's first two independent label releases - Terrorbird and Heartbeeps - aren't platinum sellers, they bring an unrivaled polarizing energy to the table. You'll either love 'em or hate 'em. (Appearing at Beat Kitchen on Nov. 12) --text: Josh Zanger

Make Believe (manned by Tim Kinsella, Nate Kinsella, Sam Zurick, and Bobby Burg) pick up their sound where The Owls left off - adding a spoonful of Beefheart and a pinch of Maple, perhaps even a dash of Shellac (or maybe it's just the great drum sound on the record). Some listeners have consistently whined that Tim Kinsella's Joan Of Arc was pretentious and a little too smarty pants. Make Believe is not JOA. Yes, the new record - Shock of Being (Flameshovel), laid down at Electrical Audio - is full of Tim Kinsella's book-sessive, clever lyrics, but he's been doing this awhile now and he's starting to sound like he'd kick your ass and steal your girlfriend. Make Believe rocks out, heart not on sleeve, with strong, staccato vocals riding unusual, twisting song progressions resting atop droning, weaving guitars and choppy drums. And the smarty pants doesn't overshadow it all, for those of you opposed to book learnin'. (Appearing with Promise Ring and Tristeza for the early show at Metro on Nov. 12) --text: Michelle Liffick

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