Bite Me! CD Reviews A - F
1208 – Feedback Is Payback (Epitaph)
Specializing in the same pop-punk brought to the mainstream by the likes of The Offspring, 1208 delivers memorable punk rock anthems on Feedback Is Payback. Enthusiasm and talent make this album stand out above many other punk rock bands that have come around the same time. Their delivery really makes the songs as the band throws enough of their own personality into their music to make it original. Overall, this is a great debut album for a band that has boatloads of potential but has not had the chance to prove itself in the rock community. -R-Lo
36 Crazyfists - Bitterness The Star
(RoadRunner)
Alaska has metal bands? Who knew? Apparently the members of 36 Crazyfists realized that A&R reps don’t swing out that far north, so they migrated south to Oregon and two years later they signed with RoadRunner Records. On their engaging debut, Bitterness The Star, 36 Crazyfists brings together the worlds of emo and metal by fusing Quicksand’s post-hardcore urgency with Glassjaw’s emotional assault and top it all off with a little of the Deftones bi-polarity for kicks. The band’s emphasis on vocal hooks and inventive guitar riffs gives each song a distinctive edge, and appearances by Skinlab’s Steev Esquivel and Nora’s Carl Severson add extra punch to the album’s fury. -NIN
3rd Strike – Lost Angel
(Hollywood Records)
Fletcher from Pennywise hooked 3rd Strike up with his management company and now they’re signed to Hollywood Records. Who would have thought God came in the form of a 6-foot something 200+ lb punk rocker? But don’t be misled – 3rd Strike are nü-metal to the core. The raw and potent tunes that make up Lost Angel are fueled by vicious hooks, chaotic riffs, thick grooves, and surging melodies. Jim Korthe’s rap influenced vocals address the violent and painful struggles of life in Urban L.A. To say the least, the lyrics are far from happy but there’s a high level of experience and conviction conveyed in each word as exhibited in “Redemption,” “Barrio Raid,” and “Lisa,” a moving tune that recalls the loss of a friend to suicide. Jim’s rhymes perfectly compliment the music’s turbulent soundscapes, and at times, the volatile frontman bears a strong resemblance to Ozzy Osbourne, especially on “Walked Away” and “Strung Out ” and even more so on the impressive cover of Black Sabbath’s “Paranoid”. The Ozz man would be proud of the group’s rendition, which encapsulates the soul of the original while mixing in 3rd Strike’s own signature style. Other noteworthy tracks: “Hang On” and “All Lies,” both of which showcase the band’s ability to combine fury with finesse. -NIN
Adam West – Right On
(The Telegraph Co.)
1/2
Taking their name from the actor who played Batman in the 1960’s television series, Adam West brings back fond memories of days past with their old school punk mannerisms on their latest release, Right On. These explosive punk ‘n’ roll tunes, completed by whiskey tinged vocals, thick fuzzy riffs, and monster beats, are delivered at breakneck speeds and call to mind the likes of Zeke. However, the tracks that comprise Right On are more cohesive than anything Zeke ever put out but are just as destructive. The CD booklet also displays the band’s affinity for all that is camp, as it resembles a ‘Bikes & Babes’ ad that looks as if it was taken straight out of the pages of “Easy Rider”. Rock on, Adam West. Rock on. -NIN
The Andersons - Family Secrets (Smile Records) 1/2
There’s nothing worse than old-lookin’ fruity guys trying to make some kinda pop punk rock music. This is actually like punk/surfer-trying-to-relive-our-youth type music. It’s so not going to fly in the world of Blink 182; even Blink looks tough next to these guys! Ha ha, this is just stupid, unless your 50 or older, don’t even think about buying this. Sorry I might just be in a cynical mood. –Skye
And You Will Know Us By The Trail Of The
Dead – Source Tags & Codes
(Interscope)
1/4
Hurling out of the indie underground comes And You Will Know Us By The Trail Of The Dead. The buzz on the Texas noise junkies has been strong for quite some time, especially among industry buffs and underground gurus. And now, with the release of Source Tags & Codes (the band’s third effort but first for a major) the rest of the world can experience the instrumental swapping quartet’s dissonant soundscapes, frazzled riffs, pealing distortion, and soaring vocals first hand. The group’s secular, experimental sound manipulations may not appeal to the masses, but their high-voltage art rock stylings do provide a fresh alternative to the stale staples that are currently saturating the airwaves. The band’s passion and creative ambition come through loud and clear on this structurally adventurous effort, which will undoubtedly challenge the average mainstream listener to think outside of the box. On Source Tags & Codes, And You Will Know Us By The Trail of The Dead take emo to the next level and fill the void left behind by At The Drive In. -NIN
Anti-Flag – Mobilize
(A-F Records)
1/2
There’s punk and then there’s punk and this, my friend, is smutty garage punk slathered in grit n’ grease. And while the band’s name may suggest a little pent up animosity, their poli-social tunes scream for peace, unity, and equality as exhibited in “911 For Peace,” which basically calls for an end to the “eye for an eye” mentality and includes excerpts from Martin Luther King’s “I Have A Dream”. Unfortunately the events of Sept. 11th caused a number of closed minded individuals to ban Anti-Flag’s albums because many felt the band’s moniker was “un-American” and other revenge hungry U.S. citizens disagreed with the messages conveyed in the group’s powerful lyrics. Luckily, that all blew over because most punk rock purists will agree that Mobilize is a raw and honest effort that is a far cry from the cookie-cutter punk that is currently being spoon-fed to America’s youth. And since A-F Records happens to be their own label, Anti-Flag added a 21-song sampler bonus disc, which features other A-F artists. Now that’s punk rawk. -NIN
Anyone
(Roadrunner Records)
Orange County, California’s, Anyone, take their influences from some heavy hitters like Jane’s Addiction and Led Zeppelin (who actually strongly influenced Jane’s) and respect the masters with their self-titled debut. With names such as Riz, Nipples, and Static and haircuts that look like an experiment conducted by Sean Penn’s character in I Am Sam, Anyone look and sound the part of demonic hard-rock daredevils. “Don’t Wake Me,” is a catchy hook filled turbo tune. Pulsating rah-rah beats rumble through “Whole World’s Insane”. Anyone fits in well on the Roadrunner label with its heavy rock riffing. I’m feeling the need to extend my index and pinky fingers as I pull muscles in my neck banging my head to “Hitches”. Rock On! Anyone? -Brendan McMahon
The Aphex Theory – Topsy Turvy
(Dreamworks)
1/4
What stands out most about The Aphex Theory is the member’s strong ties to their cultural roots, which is what gives the band’s sound its unique character. On Topsy Turvy, The Aphex Theory proves that they are rather adept at mixing and matching opposing sounds. The quartet’s distinct sonic identity is derived from the fusing of unusual time signatures with heavy Middle Easter/Mediterranean grooves and rugged hard rock structures. Tracks like “Come Forth,” That’s All!,” “Apossibly,” and “Shh…(Hope Diggy)” showcase the band’s penchant for utilizing slightly unorthodox arrangements (comprised of polyrhythms and odd metered power chords), which help add breadth to the album’s overall ambience. All in all, the ambitious nature of Topsy Turvy will make an immediate impact among the hard rock/nü-metal crowd. –NIN
Armchair Martian - Who Wants to Play Bass
(My Ruin Records)
1/2
Armchair Martian is a good Americanized hard rocking band with super sexy vocal styles courtesy of Jon Snodgrass. Who Wants To Play Bass is the group’s fourth full-length release and it's amazing. This album is similar in style to the likes of the Foo Fighters and Lagwagon, but it’s Jon's southern influenced vocals and affliction filled lyrics that give it a unique Bob Dylan-esque feel that individualizes Armchair Martian’s music. -R-Lo
Astral -
Filicetum Lunare (Mercenary Musik/WW3)
1/2
Welcome to the mysterious, troubling world of Astral. A mystical journey through the Dark Ages of Gothic Black Metal, Astral creates a somewhat spellbinding effect on the listener. Filicetum Lunare is well composed musical artistry full of Linda Blair-ish type hymns & chants. Bred in the Czech Republic and formed in 1996, Astral prefers the enclosed confines of their candle lit studio rather than the onstage spotlight where they can immerse themselves in ‘musical trips through other spheres’. This shit is too heavy for me. -Colin Bowel
Audiogasm - Rain
Machine (Dreamscape Music
Group)
England’s Audiogasm’s Dreamscape debut, Rain Machine, plows through previously traveled rock-pop terrain. In “RU The 1” lead vocalist Scott Wardell sings the technology forward thinking break-up line, “a few weeks later I got a text message, why can’t we just be friends?” I had no idea that break-up songs involved text messaging. Where have I been? Why have I been spending all this time breaking up with girls face to face? “Maybe I lost my woman, but at least I still got my job,” Wardell continues in this extremely trite song. I guess if I were a girl and I was dating one of the guys in Audiogasm and I had to tell people I was dating someone in this band, I too would utilize any technological advance to cut the cord. (AMEN brother! – NIN) There will be no orgasms created by listening to Audiogasm. -Brendan McMahon
The B-Sides – Yes Indeed, the B-Sides,
Quite! (Rock, Max Media)
3/4
This indie, young, talented band from Chapel Hill, NC has a lot going for it. Yes Indeed, the B-Sides, Quite! is an excellent introduction to their brand of geek-rock. Taking sounds incorporated from Weezer, Ben Folds, British pop, and their own heads, The B-Sides have made a very interesting, eclectic album sure to please the college and indie crowd. These guys are practically wearing their indie-chic on their sleeves, so don’t expect to hear cuts like “”I Wore it Til it Broke” and “Self-Deprecation” on your local Clear Channel owned radio station anytime soon. Not a bad thing. -J
Belphegor - The Last Supper /
Blutsabbath (Mercenary Musik/WW3)
Previously released in 1991 (The Last Supper) and 1992 (Bluntsabbath) only in their native Austria, Mercenary Musik has decided to release this chaos and carnage to the American Death Metal public 10 years after the fact. With a mixture of Satan this and inverted cross that, Belphegor pretty much provide all you sick death metal fucks with what you want, but to me it all sounds the same (blah, blah, blah). The band describes their infernal hell ride as “cruel blasphemic hyperblast aggression”. Yeah, whatever. -Colin Bowel
Black Tape For A Blue Girl – The
Scavenger Bride (Projekt
Records)
Black Tape For A Blue Girl’s The Scavenger Bride is an alchemy of songcraft and atmosphere. This exquisite offering is the darkwave band’s first concept album and a fine one at that. The poetic lyrics that grace these somber tunes convey the tales of a bride to be and her unfortunate suitors. It’s a bittersweet fairytale of love, loss, and personal awareness. The employment of lush melodies, haunting keyboards, and enchanting vocals add a dramatic sense of romanticism to these ornate compositions. Each track on this disc is beautifully crafted and the musicianship is flawless. Overall, The Scavenger Bride is an artistic jewel. -NIN
Bracket – Live In A Dive
(Fat Wreck Chords)
3/4
Bracket is the featured artist on Fat Wreck Chords second installment of the Live In A Dive series. State of the art equipment was brought in to record the band’s set at Bottom of the Hill in San Francisco (1999). It’s not the greatest live recording but, then again, punk was never about slick production and fancy effects. On Live In A Dive what matters most is the content and not the sound quality, and it’s the content that makes this disc worth listening to. Example: I was in a shitty mood when I put this CD on and by the end I felt a hell of a lot better. The lyrics to “Hearing Aid” expressed my sentiments at the time, “I wish the world would just shut up,” screams Marty. “Yeah, I do too,” I scream back. “Trailer Park” and “Talk Show” reminded me that things could be worse, and the amusing CD ‘comic booklet’, which features the members of Bracket as the world’s goofiest super heroes proved that a good laugh works wonders. (F.Y.I. the story was written by the members themselves.) If you’re a hardcore Bracket fan I suggest you find a way to get your hands on the full-size comic book. I’m sure it will be a collector’s item one day. If you need a little boost, Bracket’s Live In A Dive will do the trick. This enhanced CD also contains interviews with Angelo, Marty, Ray, & Zack in addition to a couple of their kewl videos. -NIN
Brand New Sin
(Now or Never Records)
I really tried to like this record. I really did. The description on the CD sleeve compares the band to some all-time legends of rock ‘n roll: Guns ‘n Roses, Iron Maiden, and Black Sabbath. It goes on to say that the album sounds “like Motorhead after a fistfight with Down and Corrosion of Conformity.” Fuckin’ rad! Sounds like these guys eat their Wheaties with Jack Daniels instead of milk, huh? Yeah...you would think. The fact is that the vocalist sounds like that guy from Creed trying to sound like Glenn Danzig. Throw in a couple completely predictable arena rock riffs and cheesy artificial harmonies and you have Brand New Sin. Seriously, if Lemmy finds out you guys even mentioned Motorhead in your liner notes, there’s gonna be some heads-a-bustin’. Watch your backs dudes. -TMP
The Brought Low
(Tee Pee Records)
¾
The Brought Low are a southern fried rock band from…Brooklyn? Guess mamma gave ‘em grits for breakfast. They’re very, very Led Zep meets ZZ Top, with a lot of Black Crowes. Seems like I’ve been saying that combo a lot lately, hmmmm. There are some great guitar hooks, and the lead singer has that nasal swagger sound in his voice. Not bad for a beginning, but I’d like to hear a little more originality in it. -J
Josh
Clayton-Felt - Spirit Touches Ground
(Dreamworks
Records)
I was deeply saddened to hear Josh Clayton-Felt passed away at age 32. About five seconds into “Building Atlantis,” the lead track of Josh Clayton-Felt’s posthumous Dreamworks album, Spirit Touches Ground, I remembered how much I enjoyed his music. Ten years ago I caught Josh leading School of Fish in front of a sold out Boston show. He was a genuine artist. Lots of soul and no showbiz bullshit. Unfortunately, due to show business bullshit, Josh was not able to be around to sing the Spirit Touches Ground songs to his thousands of fans worldwide. (Spirit Touches Ground was actually recorded in 1996 as an album to be called Center of Six. A & M records, his label at the time, was not satisfied enough to release the record.) Catchy, hook-filled, honest melodies fill Spirit Touches Ground. Poppy, funky, swampy rhythms pervade this beautiful disc. On “Love Sweet Love” Josh’s soaring voice glides across the prophetic lyric, “Won’t you take me to my destination.” Adult alternative radio programmers and cool music aficionados everywhere searching out soulfully inspired music will love the radio ready hits “Night of A Thousand Girls,” “Building Atlantis,” “Spirit Touches Ground,” and “Diamond In Your Heart”. Pick up the album today and read more at www.joshclayton.com. -Brendan McMahon
Coal Chamber - Dark Days
(Road Runner)
1/4
I’ve never understood Coal Chamber’s appeal, and I understand it even less after listening to Dark Days. Coal Chamber has always come across as a cheap KoRn knock off and on Dark Days they prove it. In their defense, I have to point out that the L.A. based outfit did get a little adventurous on this album and added a pinch of Rob Zombie’s Sci-Fi stylings to their KoRn-esque low-end rumblings as seen in “Glow” and even more so in “Fiend,” which calls to mind Zombie’s “Living Dead Girl.” The intro to “Something Told Me” is a blatant rip-off of KoRn’s “Make Me Bad.” The verse even kicks in at the exact same measure. Somebody get The Firm on the phone quick! At this point I was ready to rip the disc out of my player, but I bit the bullet and continued on. Mistake! As the album’s title track was another “we wish we were KoRn” tune. “Rowboat” is the only song on here that is even remotely original, but not worth buying this CD for. Honestly, just put out the KoRn tribute and get it over with. -NIN
Codeseven – The Rescue
(The Music Cartel)
1/2
At times, Codeseven’s singer sounded a little like a young Mike Patton…you know, the Mike Patton that used to sing all emo-ish in a 1980’s Tears For Fears kinda way. That would normally be a good thing, but this album just ends up making me sleepy. Verdict: it’s not amazing, but it’s downloadable. -TMP
The Color Red – Clear
(Dirty Martini / RCA)
3/4
Music is obviously deeply embedded in the genes of the Zamora family. Jon (vocals) and Marc (bass) have found their calling with The Color Red, while their younger brother Tye hooked up with the Alien Ant Farm crew. On Clear, The Color Red delivers a heaping dose of clean-cut rock ‘n’ roll that bristles with all the warmth of the California sunshine. Edgy vocals are complimented by swirling melodies and rich guitar tones as exhibited in “Cleansing” and “Your New Self.” “The Other One,” is a strong representation of the band, which showcases their overall depth, strength, and heartfelt emotion. Johnny K’s hand at the production helm gives the songs the right amount of heaviness needed to make them appealing to fans of Staind, pete., and Nickelback. There are a few flaws on here but nothing that won’t be ironed out in time. -NIN
Carl Cox – Global
(ffrr)
3/4
Fans and major mix magazines around the globe tout Carl Cox as one of the world’s greatest DJ’s, and the proof lies in Global. With over 20 years experience under his belt Carl is hardly a novice. The vibrant mix of hard techno and funky house presented on Global exhibits the extraordinary nature of Carl’s three-deck wizardry. Twisted melodies, funky bass lines, and driving backbeats explode in sonic waves in this impeccable mix CD that highlights the cutting edge of the crème of the underground beginning with the funk-da-fied techno stylings of Oxia’s “Nation” and moving on to the tasty tribal beats of Lovesky’s “Drums 4 Better Daze (16c+ Mix)”. It’s The Machines’ “The Latin Theme” (featuring Nina Cherry on vocals) is delightful, and Carl’s collaboration with DJ Christian Smith, “Dirty Bass,” is purely mind blowing. The semi-organic dancefloor friendly grooves of Global are guaranteed to appeal to hardcore as well as mainstream audiences. This smooth continuous mix may not capture the complete magnetism of the DJ’s live set, but it will give you a damn good idea of what to expect. -NIN
DeadMan – Paramour
(Lakeshore) 1/2
There's a dreamlike quality to Deadman's Paramour and a sense of hushed open space that makes them seem like an unlikely mating between Chris Isaac and Mazzy Star. Singer/songwriter Stephen Collins writes with a sense of depth and history, which he demonstrates in the atmospherics of "The Ballad of Padre Miguel" and the darker themed lead single, "Three Murders." On Paramour the band sets out to develop the traditional country genre into popular music fashion by choosing a decidedly atmospheric approach to Americana. The result is a textured album reminiscent of old country with a modern twist. This album transports the listener into the dusty heartache of modern Americana with every listen and points towards a new direction in American roots music. -R-Lo
Dick Dale -
Spacial Disorientation (Dick
Dale/Music Force)
1/2
Excuse me as I sleep thru this record. No, I didn't sleep thru the Dick Dale revival of the "Pulp Fiction" years. His surfin' guitar sounds were something I always felt was cool - not something Quentin needed to remind me of. But that music was from several decades ago. Not today. I'm not suggesting Dick needs to have his license to play new music revoked, but I certainly don't recommend getting this CD either. Get the older stuff first. The first half of this disc is devoted to songs that are, essentially, rehashes of "Miserlou" with, oddly enough, the guitar more in the background than the foreground of the mix. Then, I'm assuming the disorientation of the title comes from the second half of the CD being filled with bland ACOUSTIC blues and Latin tunes. I give Spacial Disorientation extra bonus points for the stylish detour, but it really needs to sound entertaining to recommend purchasing, right? To prove the album's schizophrenia, Dale covers both "Smoke On The Water" and the X-mas tune "Silent Night". 'Nuff said. -Repojay
Dream Theater - Six Degrees Of Inner
Turbulence (Elektra
Records)
While listening to prog-rockers Dream Theater's sixth album, I'm forced to ask myself, "Am I really living in 2002"? While you can certainly find arguments that the 21st Century class of prog-rockers (Radiohead, Super Furry Animals) can get overindulgent, I don't recall any of them going as far as doing the whole album as one song with several "movements". Alas, Dream Theater (I keep wanting to spell it Theatre) hearken back to that leaden era of Lamb Lies Down on Concept Album times and create a 42 minute title track replete with overture and finale. It's all too much for me to take. At least the first disc, while having its moments of dated musical wankering (no song is under 6 minutes), has five songs that are well crafted and showcases some excellent guitar work by John Petrucci. Since I didn't buy this, I don't know if this double disc costs extra, but I hope it doesn't as even the most hardened prog-rock fan will be hard pressed to ever listen to Disc 2. -Repojay
Drop Logic - Fear & Sunlight
(Abcess / American Music)
3/4
Orange county-based Drop Logic is another tadpole in the rap-metal wading pool. On Fear & Sunlight, Drop Logic thread together a heavy brew of explosive hard rock, deep funky grooves, and hip-hop mannerisms. It’s the warm funk infusions that give Fear & Sunlight its character. This energetic four-piece have hardly reinvented the wheel, but their delivery is tight and well executed and when Mario Guadan raps he does it tastefully. There’s also a lot of diversity to be found within the context of each tune, such as the rich textures of the ballad-esque “Stronger” and the jazzy guitar grooves of “421”. Another stand out is the lyrically bold “Human Error”. Drop Logic’s major flaw is their need to insert a melodic chorus into every song. For example, “One Way” has enough substance to stand on its own – no sing along chorus needed here. Perhaps the producer is to blame. Who knows? But, I’m willing to bet that Drop Logic are a lot heavier and more straightforward in a live setting. -NIN
Earshot – Letting Go
(Warner Bros)
Earshot’s tense mixture of various alternative metal stylings are displayed all throughout Letting Go. On their visceral angst-ridden debut, Earshot take Tool’s depth and mix it with A Perfect Circle’s progressive edge to produce their solid and heavy tunes. The dark, menacing guitar riffs of “Headstrong” and “Get Away” bear a strong resemblance to those employed by Tool, so much so that the band could pass for a close brethren. At times, Martin’s emotion laden vocals even sound a bit like Maynard’s. Other tracks are more radio friendly, such as “Ordinary Girl” and “Not Afraid”. Earshot is very experimental in their approach, and they veer beyond contemporary songcraft in these audacious tunes. Each note is executed with a precision that suggests the band’s members may all be graduates of MIT (Musicians Institute of Technology). -NIN
Edenbridge – Arcana
(Sensory)
½
When you hear the wild guitar noodlings of someone named Lanvall (no surname, natch) as the base for the prog-rock histrionics (critics just LOVE that word) of Edenbridge, you expect that the vocalist will wail in as some guy with 1980's long hair and attempted vocal ranges so high that even Mariah Carey would be goin’, "Damn, bitch, how'd ya hit that note?" So imagine me falling off my chair and my headphones popping off my skull when the singer turns out to be a woman named Sabine Edelsbacher, a Goth chick who doesn't even attempt to go nearly as high vocally as her male counterparts do. She certainly stands out in her red velvet against her four black wearin' male bandmates, but for what? So they could retread ground walked on by so many half-assed musicians in the last 20 years? What's the point? Oh, the extra half a star is because they do a song called "Suspiria". Now, while the song has nothing to do with the movie, I love the movie so damn much I had to give it props. If you want a better CD, buy the new 3 DVD set of Suspiria that comes with that film's soundtrack and listen to some way out there prog-rock stylings that are still, 25 years later, like nothing you've ever heard before...and oh yeah, the film kicks ass! -Repojay
Edify
(LMC / MCA Records)
The riffs are dark and menacing...the beats resonate with a doom heavy buzz...the vocalist sounds like he has a mouth full of marbles, which is downright annoying. Honestly, the rock world doesn’t need another Aaron Lewis or Bob Dylan for that matter. In a nutshell, Edify’s self-titled effort sounds like Creed meets Sevendust with a Lewis-Dylan mutant on vocals. -NIN
Eels – Souljacker
(Dreamworks)
On Eels last CD Daisies of the Galaxy, lead Eels guy E just let his emotions take over and made what was, to me, the ultimate boring/semi-pedophiliac album of the year. Fast forward to two years later, and E sounds like he is positively on Prozac -- while looking like the Unibomber -- with the revelation of Souljacker. These two albums are like night and day, with Souljacker being the day. As usual, every song tells a story (if I were to tell you the story line for, say, “Jungle Telegraph” you’d shit yourself.) Eels have brought in some amazing ideas, from old Esquivel-type musical effects to the rocking experimental fuzz guitar sounds of Sonic Youth. Hardcore Eels fans, don’t worry, there are some slash-your-wrists moments with “World of S#!t” leading the pack. Souljacker isn’t something you’d listen to on a daily basis, because it is a very emotionally draining CD. But it’s definitely worth having in your collection. Also, you get a bonus ep called Rotten World Blues which has one very worthwhile song “I Write The B-Sides”. –J
Entombed - Morning Star
(Koch/Threeman Recordings)1/2
Absolutely nothing disappointing here. This long awaited offering from Satan’s prodigal sons is classic Entombed to the max. Anyone who knows anything about Death Metal 101 understands and acknowledges Entombed to be one of the most prolific bands of all time, spanning more than a decade of full force brutality. Morning Star is the 7th release from Sweden’s kings of Rot ‘n’ Roll, and is the first venture on the widely diverse Koch Entertainment label after a parting of ways last year with Earache Records. From the intense opening track “Chief Rebel Angel” all the way to the bitter end, Entombed has once again proven their commitment to producing a quality piece of work. -Colin Bowel
Finch – What It Is To Burn
(Drive-Thru Records)
For many bands, their first record is always considered comfort food amongst loyal fans and such will be the case with Finch’s What It Is To Burn. Sure, Finch is perfectly capable of releasing something greater; however, this disc will set the standard for all other releases that follow. This potent debut suggests that Finch is a band with staying power, one that possesses the potential to break out of the indie underground. The soaring collection of tunes that makes up What It Is To Burn rides the wave between aggressive hardcore and poppy emo-esque punk. Nate Barcalow’s vocal delivery, which oozes with passion one moment then drips with angst the next, gives him the ability to connect emotionally with the listener. Finch also makes it known that they are not afraid to explore different aspects of their abilities. This dexterity allows them to construct songs that vary from one to another. The irate screams and piercing guitar squeals of “Project Mayhem” will delight the Ozzfest crowd. The hardcore bliss of “New Beginnings” pays homage to old school punk. “Without You Here” finds the band venturing off into emo territory, and the catchy melodies of “New Beginnings” makes this track a contender for mainstream rock radio. Punk, rock, hardcore, and emo fans will all find something to identify with on Finch’s What It Is To Burn. -NIN
Five Pointe O – Untitled
(RoadRunner)
For the record, I usually like RoadRunner artists, but Five Point O failed to thrill me. Untitled is all over the map, running the gauntlet from aggro to death, to metal, to thrash, to goth. And while all this may sound interesting, the songs that make up Untitled offer little in the way of substance. Daniel Struble’s erratic vocals become a little trite after awhile; however, they fit perfectly amongst the band’s pile-driving beats and dense ruffs. Five Pointe O will fare well with those who like American Headcharge and System of a Down. If those acts aren’t you bag, then I strongly suggest moving on. -NIN
Flogging Molly – Drunken Lullabies
(SideOne Dummy)
3/4
I remember when Flogging Molly vocalist Dave King was sporting long curly locks and belting out “Easy Livin’” for the 80’s metal band Fastway [You’re f-ing kidding me. Where’s Metal Sludge when you need them -ed]. Those days are long gone and King has gracefully moved on. His latest project, Flogging Molly, is an Irish bar band at heart and the group’s latest release, Drunken Lullabies, is a boisterous collection of whiskey drinkin’, beer touting tunes that will keep you rockin into the wee hours of the night. King’s insightful limericks perfectly compliment these Celtic influenced, high-spirited punk pub anthems. Flogging Molly’s sound is definitely an acquired taste, but if you happen to wander into a bar while the band is on stage you’ll find it hard to resist the urge to sing a couple of verses and raise a toast along with all the other folks. -NIN
Fu Manchu –
California
Crossing (Mammoth Records)
1/2
Fu Manchu’s California Crossing marks a pretty big departure for the big-hooked, fuzz-guitar garage stoner band. Most of the elements are still there that you love, but the huge fuzzy depth of the guitars and the garage feel are nowhere to be found on their latest offering. In their place is much improved production, which makes Fu Manchu sound almost sparse and clean. Clean? Fu Manchu? It just doesn’t work on so many levels. It’s always nice to see a band do their best to improve their sound, but in Fu Manchu’s case – give us the dirty! There are a few standout songs, like “California Crossing”, but overall, I’d rather listen to King of the Road. -J