Bite Me! CD Reviews A - F

The 88 - Over And Over (Mootron / EMK records) 

Over recent years many songwriters have tried, succeeded (or indeed failed) to come up with the perfect pop formula.  Some guys and gals fell onto it accidentally on a dark drug fuelled night, whilst others worked meticulously at discovering it.  Uber geek Rivers Cuomo of Weezer even famously developed a mathematical equation for it.  The 88 have also acquired the magic potion called pop, and as this record proves they aren’t afraid to use it.  If you went to Silverlake's renowned noise hole Spaceland last year, then the chances were good that you would have bumped into The 88.  Incessant touring has honed them into a tight knit unit full of strong and catchy melodies.  Over And Over is the bands sophomore release on which they demonstrate comfortably a natural progression from their debut disc.  Most of the songs are breezy and shimmer with a stardust shine.  Imagine if you will the piano-led style of all that Elton John vinyl your mum had at home mixed liberally with some of the early Bowie stuff and wrapped up in a distinctive vocal warble of Marc Bolan and you will be well on your way to boarding this particular rock ‘n’ roll express.  The standout track for these ears is, oddly enough, the most unique compared to the rest of the album - the sleaze built into "Jesus Is Good" becomes a refreshing darker spot amongst all the gloss on offer.  The cover art of a mini skirted model type in a perfectly retro setting more than hints at what is in store.  Most songs are piano led (the band’s name is taken from the number of piano keys) and bump along in a Paul McCartney’s best solo bits kind of way whilst Keith Slettedahl's English invasion vocals occasionally reach Freddie Mercury proportions.  It’s either a brave sound amongst the new found Gang of Four land we now inhabit or a short sighted one depending on your personal take.  As for me…well, I like some songs but it's nothing I haven’t heard before (see Scissor Sisters), and as the album closes it makes me want to reach for Yellow Brick Road or The Slider. -Glenurse 

Altamont - The Monkees' Uncle (AntAcidAudio)  

How stoned can you be for stoner rock to sound like stale bong water?  Altamont certainly gives it the old college try and basically just come off sounding mediocre.  For such a genre, this disc is rather short at 41 minutes and many of the songs just begin to sound like standard issue sludge.  A couple of tracks get into somewhat novelty Rob Zombie-like song structures, with names like "El Stupido", and these inevitably turn out to be the surprising saving grace for this disc.  Without that little left turn to punctuate a lack of seriousness this would have been a total mess.  Instead, we just have at best a roach clip with maybe one good hit left in it.  -Repojay

The Amino Acids - Destroy The Warming Sun! (Bowlophonic Records)   

I recently said to myself, "Y'know, I really haven't heard anything by Man? Or Astroman recently, and I'd love to get a new album by those sci-fi instrumental surf nuts."  OK, I said nothing of the sort, but the rip off group The Amino Acids showed up on my doorstep anyway.  It's essentially that group with the amps turned up a little louder and the members coming from the Church Of The Subgenius.  That's...um...about it.  Oh, they wear white masks and occasionally do goofy titles like "Bowling In Roswell".  Nothing against them, but I already have half a dozen Astroman records and I don't necessarily need another.  –Repojay

Benlavain – Come On People (That 70’s Boy Publishing) 3/4

Founded by hip-hop producer Oren Barzilay, Benlavain is a three-piece straight out of NYC.  In Hebrew the moniker means “in between,” and in between phases just may be where Oren is in his life.  Having already enjoyed a successful career as a recording artist in Israel, the talented artist is now trying his hand in the US market.  Taking 10 hours to complete from inception to completion, Come On People was produced and written by Oren.  This illustrious album conveys the story of an immigrant’s life in the Big Apple.   Benlavain also features the talents of bassist Keren Bar and drummer Avital Uri.  As a whole, their alt-rock indie sound incorporates plenty of driving rock riffs, psychedelic pop melodies, and enough contemporary elements to keep it fresh. -NIN

Cabaret – Homophobia (Unknown)

If you’re looking for an enjoyable romp through trip-hop electronic landscapes Cabaret’s Homophobia is your ticket. Hailing from Poland the duo of Jaroslaw Pawlik & Michal Bieniek has been making music since 1997.  Their songs explore the realms of human experience and alienation.  With its raw and earthy tones Homophobia has a smooth, relaxed flow from beginning to end and there are lots of delicate tones and beautiful textures woven through the fields of dance friendly beats.  Choice cuts include “Devil Is Dancing,” “Homophobia NR 9,” and “Check Point Charlie”. -NIN

Cavalier King – The Sun Revolutions (Rubric Records) 3/4

Cavalier King is the alter-ego of artist/musician Chris Taylor.  Taylor is a man of many talents.  He even crafted this unique sonic offering in his apartment.  And, while the space may have been small the final product is huge.  This soul bearing releases spans the alt-pop spectrum ranging from hard-hitting rockers to mood-altering ballads.  The conviction in Taylor’s voice calls to mind the likes of Jeff Buckley, Jim Morrison, and The Smiths.  It’s almost as if he is channeling their souls at the appropriate moment.  -NIN

Daryl / Black Tie Dynasty – Bloody Basin (Idol Records) 3/4

This split CD from Idol records features the talents of Daryl & Black Tie Dynasty.  Black Tie Dynasty’s sound is along the lines of ‘80’s new romantic synth pop, while Daryl’s style is more in the emo pop vein.  “Bloody Basin” kicks off this split EP and it was co-written and performed by both bands.  The boys did a good job of fusing their styles together quite nicely.  The four tunes that follow are split equally between Daryl & BTD and the closing track, “Gloria,” is an acoustic piece that features both vocalists.  This is how a split record should be.  It shouldn’t be a feature of two bands.  It should be a project that brings the two together.  -NIN

The Dials - Flex Time (Latest Flame Records)

Wearing every influence on their sleeve, The Dials punish listeners with a release that is neither as catchy as The Go Go's, edgy as the B-52's, sexy as Blondie, nor as garage rockin' as any of their predecessors.  Right down to their retro 1980’s look—striped shirts & Chuck Taylor sneakers—this band leaps onto the 80's revivalist bandwagon.  The Dials’ press release warns to forget trends.  We’ll try and do that, but why didn't the band?  In essence, Flex Time is up tempo, quick, and punchy.  For anyone under 17 that isn't aware of The Dials’ musical references this may serve as an introduction.  I suggest buying the B-52's and skipping this one all together.  On the other hand, the band’s music seems more geared towards a live audience.  I hope they deliver in this setting.  -Blava

Downtown Singapore – Don’t Let Down Your Guard (D’Cide Records) 3/4

Indie rock artist Downtown Singapore delivers poppy emo rock with an old school feel and a crisp clean edge.  Don’t Let Your Guard Down finds the boys progressing in their songcraft and maturing as musicians.  The album begins with the epic “The Charm Beneath Tradition” and what follows is a diverse collection of tunes that explore and build upon their past.  The group’s triple guitar attack fuels the monster power chords of the title track.  The driving rhythm section accentuates the progressive time changes of “Gator Sweat,” while Jerry Scott’s distinct vocals shine on the heartfelt “Teresa Rizal”.   The album may be a bit over polished for hard core indie fans, but there is plenty of rawness to be found underneath the shine.   -NIN

East West Blast Test – Popular Music For Unpopular People (Ipecac Records)

Is it bad when your CD is listed on overstock.com?  They do have a limited quantity in inventory, so maybe it isn’t so bad after all.  East West Blast Test’s Popular Music For Unpopular People is a far cry from music as we know it.  The album is a collection of odd musical sound bits interwoven with short musical compositions.  Alone, each piece sounds like background material for a cartoon.  It’s not a cohesive album by any means, especially since it covers 23 tracks in 33 minutes.  EWBT features No Use For A Name’s Chris Dodge and Phantom Smasher’s Dave Witte.  Their music is quite quirky and truly experimental.  It’s mind altering hyper-trash ranging from frenetic hardcore thrash to extreme experimentation.  Translation: Primus on crack.    -NIN

Eleventyseven - And the Land of Fake Believe (Flicker Records) 

Oh dear, I dunno about this one.  If you really want to listen to a band that sounds 6 years too late for the music it makes then smoke up Johnny cuz these guys are all yours. Imagine taking the first couple of Blink 182 records, then taking the good bits out, then taking the talk of teenage sex and throwing up at your friends house out and then mix in a limp wristed version of Simple Plan and make everything sound like watered down MXPX and then....oh fuck it I give up!  I given them 1 star cuz I'm not a complete prick. -Glenurse 

Ever We Fall - We Are But Human (Hopeless Records)

One listen to the first few songs on this Portland group’s album and you could be forgiven for thinking "Oh no, yet another Fuse bound emo pop punk band.”  Then you take a closer listen and the unusual guitar harmonics play in your head.  Sure, the lyrics are pure emo - I mean "School Yard Crush" is as obvious as the title suggests.  It is also way catchier then it rightfully should be.  Later on, out of nowhere, you’ll hear some break beats that somehow don’t belong and yet fit perfectly at the same time.  This group is impossibly young and has a clean sound with sweet vocals by Adam Brazie that smacks of Saves The Day or Jimmy Eat World's squeakier moments.  The musical interweaves point to a depth and skill way beyond their teenage years and the freshness and excitement of embracing their youth is clearly apparent.  Mixing elements of Coheed and Cambria, but without the Rush obsessive streak, and Circa Survive they even manage to flesh one track out to 9 minutes.  Said track, "No Words to Describe," is a slow burning masterpiece that churns, twists, and swells with intimate Dredg style atmospherics, a superb vocal range, and an incredible drum sound. It may be almost ten minutes long, but it’s the one I keep hitting repeat for.  The end result is a surprisingly great record that deserves and then rewards you for the time you invested in it. –Glenurse