Bite Me! CD Reviews G - R

Ghostigital – In Cod We Trust (Ipecac Records) 3/4

A collage of electronic beats, avant-noise, hip-hop, and free form jazz make up  Ghostigital’s In Cod We Trust.  The group features Einar Őrn of The Sugarcubes and Curver.  Einar is responsible for the vocals and Curver handles “the noise.”  Noise may not be the proper term because Curver’s creations are construed in such a way that they are enjoyable.  Much like Psychic TV, these shape shifting compositions are abstract and out there, but it’s not all experimental.  The title track gives the listener an opportunity to sing along.  -NIN  

Invisible (Unknown) 3/4

This self-titled effort from Invisible offers a range of styles for those who prefer their music on a more intellectual level.  Elaborate in nature these organic pieces are accentuated by bold cadences and dramatic landscapes.  The compositions tend to get a little long winded at times and the vocals are sparse, which doesn’t always work in the band’s favor.  If you’re the adventurous type you may want to take a ride on Invisible’s musical excursion.  -NIN

Juliana Theory – Deadbeat Sweetheart (Paper Fist/Abacus) 1/2

Deadbeat Sweetheart is a charismatic offering that kicks off with the explosive “This Is A Love Song …For The Loveless”.  This, my friends, is destined to be a classic.  But, that’s not the only winner.  Not only are the other 9 tracks singable and memorable.  They are expertly executed with unforgettable melodies.  Deadbeat Sweetheart is Juliana Theory’s 4^th release, and it is an album they should be proud off.  After leaving the majors, Juliana Theory decided to take the DIY route in order to embrace a bright future.  Sadly, the grass wasn’t greener on the other side.  Since the album’s release, in September of last year, the band officially called it quits on Feb 9, 2006.  It’s a long story, but their unlucky streak with labels was their ultimate demise.  It’s a shame really because Deadbeat Sweetheart is the band’s most cohesive and poignant record to date.  Maybe they unconsciously knew it would be their last.  For what it is worth, Deadbeat Sweetheart has a serious rock ‘n’ roll edge.  It’s and upbeat record filled with smart lyrics and stellar songwriting and it is by far Juliana Theory’s most raw and heartfelt offering to date.  The hard hitting “My Heart is a Solider” is balanced out by the swirling atmospherics of “I Love You to Death (Drive Safe)”.  The hip shaking grooves of “This Valentine Aint No Saint” are simply irresistible, and the angst ridden “French Kiss Off” brings this album to a smashing end.  Even though the Juliana Theory are no more, Deadbeat Sweetheart will carry on their memory proudly.  -NIN

Lost Prophets – Liberation Transmission (Columbia) 3/4

I’ll admit – I loved ‘Start Something’ and ‘Fake Sound of Progress’ showed a band with potential.  However, while many will argue that Liberation Transmission is Lost Prophets’ best effort to date, others will gripe that it’s too commercial and a bit over produced.  In fact, it’s polished in every way.  Thanks to Bob Rock, Liberation Transmission is a more radio-friendly effort with little screaming and even less filler.  It seems like too much focus was spent on making sure that each song was a hit.  However, I have to say that whatever the last song was that I heard, it was the one that stayed in my head all day, so I guess Rock accomplished his goal.  Guitarist Mike Lewis describes the album as the soundtrack for liberating your life, and upon close listen to the lyrics he’s right because the sugar-coated pop melodies are coated with dark and cynical lyrics.  Many will agree that the infectious “Rooftops” is the group’s follow up to “Last Train Home”.  “Everyday Combat” pairs a duo guitar assault with catchy melodies and clever lyrics.  “Everybody’s Screaming” follows the anthemic verse-chorus-verse rule.  “Town Called Hypocrisy” and “Can’t Catch Tomorrow” have a bit more grit, while “Broken Hearts, Torn Up Letters, And The Story Of A Lonely Girl” seeps into ballad territory, as does “Always All Ways”.  After a few listens Liberation Transmission started to grow on me.  I’ll probably love it soon enough, but look what happened with Korn.  They got so far from their roots that they lost me.  -NIN

Matchbook Romance – Voices (Epitaph/Ada)

Several weeks ago I noticed that Matchbook Romance had been announced as the headliners of this year's Take Action Tour - a roving musical circus in support of youth empowerment charities.  I have to admit my initial thought was that every band will eventually get their day because at that time the band were, to me, a total write off with few songs and very little appeal.  Then a few weeks ago I was handed this CD and now I can't stop telling the world about them.  If there ever was a case of a band taking their game to the next level then this record would be it.  In Voices the band has created an album almost as intricate and complete in depth and scope as Green Day's American Idiot.  From the moment the opening "You Can Run, But We'll Find You" builds, you know things are different this time.  This is not another guy reading nasally from his favorite diary entries.  What you will hear is a track that evokes the creativity of latter day Radiohead and that is just the very tip of this iceberg.  The whole tone is of a group who has taken time to learn their skills.  The musicality on offer is an astonishing leap from previous efforts.  Everyone involved has clearly put their heart and soul into the album. On the slower songs especially, I get a feeling Brand New's Deja Etandu was enjoyed by the band (who are another example of a band that grew so exponentially between releases).  If you enjoy the sonic tapestries of Muse you will find a lot to get excited about here, especially on the track "Surrender" which has the epic qualities of that band all over it.  The production on the record is just so good - full, rich, with a beautiful attention to detail.  It allows the songwriting to shine through and at times there is so much going on it implores you to re-spin it over and over again.  Look out for the gentle sway of strings on "Goody, Like Two Shoes," which may sound like a title by Fall Out Boy but turns out to be a seven minute masterpiece.  I guess the most obvious single would be the track "Monsters".  It has a sense of spooky fun to get fans of My Chemical Romance in a fervor, and how cool do those percussive handclaps sound?  Worth noting is the way the album is so well paced.  At this point I feel like I have my tongue right down the bands ass, but the point is that this album is astonishing.  To say the album defines its genre would really be doing it a terrible disservice.  The fact is Voices explodes it.  I really hope the band receives all the accolades I feel they richly deserve. There has been so much talk recently of Hawthorne Heights’ new record being the great white hope for the future of rock in a reality show based world of plastic and pretense and, although, I admit I have not heard it yet I just cannot possibly think it can be as good as this.  I know it is still early to judge, and I need some more time with the final songs but so far this could well be my record of the year.  -Glenurse

Meat Beat Manifesto – Off-Centre (Thirsty Ear) 3/4

Jack Dangers’ musical endeavor Meat Beat Manifesto has certainly evolved over the years.  Off-Centre is a space-agey jazz fusion of dreamy tones and mundane textures reminiscent of the Big Band Era.  In Off-Centre Dangers incorporates bass flutes and clarinets all-the-while melding the free form tendencies of jazz with the strict structure of electronic music.  The EP features a few remixes off of ‘At The Center,’ in addition to three new tracks, and it ends with a live version of “Prime Audio Soup,” which is a true confession of Dangers talents.  Overall, Off-Centre highlights the jazzified MBM of today as opposed to the dancefloor oriented MBM of the past.  It’s a natural progression for Mr. Dangers but, I personally, wouldn’t mind a little bit more of the old mixed with the new. -NIN

The Morning After Girls – Prelude: ep’s 1 & 2 (Rainbow Quartz) 1/2

I have to hand it to Plus One PR, they always manage to find bands that go against the grain and are downright enjoyable.  This EP combo is a nostalgalistic flashback to 60’s rock and 70’s punk in which psych pop musings and anguished vocals collide with melancholy melodies.  Melbourne Australia’s The Morning After Girls’ sound is stylistically all over the map.  You get some folk, you get some funk, and you even get a little dance to shake your junk to.  The Brit rock retro tune “Run For Our Lives” emanates a raw energy that explodes through your speakers.  If you love reverb you’ll get your fill on “Always Mine”.  “Lazy Greys” delivers a relaxed vibe via soft harmonica embellishments and the dreamy melodies of “Hidden Spaces” calls to mind the boy bands of the 60’s.  As enjoyable as it is, this album falters because there is not a continuous flow going on.  As long as you keep in mind that it is a collection of the group’s first 2 eps you’ll be okay.  -NIN

No Trigger – Canyoneer (Nitro Records) 1/4

Canyoneer is a hard hitting and energetic album that has a good vibe from beginning to end.  No Trigger’s aggressive yet melodic sound serves as a backdrop for their socially conscious lyrics, which are rooted in social, ecological, and personal themes.  Delivered at lightning fast speed these infectious tunes crawl under your skin and dig deep enough to infect your blood stream.  The band’s dynamic arrangements pack more punch than a 4 pack of Red Bull. The kids have a new voice and it is No Trigger.  -NIN

The Playwrights - English Self Storage (Sink & Stove records) ½

There is a glut of new talent arriving right now that takes their moniker from a person's profession, see Editors, Engineers, or (We Are) Scientists (ok that last one was a stretch but you get my drift).  Here is another group to add to that list of working names, The Playwrights.  After hearing that these guys were from Bristol, a city in the UK that to be fair is pretty grim, I was surprised to hear that this band is anything but that.  In fact, there is a sound that's positively chipper.  Specializing in the angular off kilter dance rhythms originated by Gang of Four and Joy Division and more recently rejuvenated by Franz Ferdinand, this band could well be a kick up the arse to the current crop of British bands who are currently shouting about shagging birds and tracky bottoms.  Originally a five piece, they recently lost a member to education and now would appear to be a trio, but more on that later.  This short, sharp love affair is a mere 8 songs long, but also contains a few well placed cello laden instrumental moments that make everything hang together cohesively as an album.  One of the reasons The Playwrights are refreshing is, while they too are unashamedly English, it is unashamedly "proper" English.  Here you won't find any of that over emphasizing the accent crap that bands like The Libertines or their recent copyists Arctic Monkeys favor.  The writing is also intelligent and real life - often political although occasionally a bit too art school for my comfort zone.  It’s also a record that stands up well to repeated listens as many songs contain snatches of brass and subtle strings that hint toward Arcade Fire, as well as a smattering of Radiohead styled spoken monologues.  So what's the deal with The Playwrights right now?  Well, sadly, it seems to be hiatus time in Bristol as their drummer recently left to pursue his PhD in something more important that hitting things for a living.  The remaining three appear to be in no rush to replace him.  A shame I reckon because with the current resurgence of not so obvious rock ‘n’ roll, I really think that if they wanted it they could be a band to watch out for.  Check out www.myspace.com/theplaywrights for a taste. -Glenurse 

Psychaesthetic – Infinity’s End (Nonexistant Recordings) 1/4

Psychaesthetic’s debut, Infinity’s End, is a pleasant surprise for hard electronic rock enthusiasts, especially for lovers of Skinny Puppy, Project Pitchfork, and KMFDM.  This three piece unit from Pennsylvania embodies the same dark elements of the aforementioned forefathers.  With its complex synthesis and entrancing melodies Infinity’s End churns out plenty of pulsating beats that are vicious enough to get your aggression out on the dancefloor.  The riveting “Rising” offers enough stimuli to get your blood flowing as does the KMFDM inspired “Sensory Tide”.  “The Binary Age” is the perfect ending to this electro-industrial offering.  Have to give this one a big thumbs up.  -NIN

Queens of The Stone Age- Over The Years and Through The Woods (Interscope Records) 

One of the first rock albums I ever owned was a live one. ‘Live After Death’ by Iron Maiden was to me, as a spotty denim clad teenager, THE Shit!  When I listened to it I was transported to a world I didn’t yet understand.  It gave me shivers down my spine every time I put it on my walkman.  It turned the pictures I had seen of the band in concert to life and every time Bruce Dickinson would yell "Scream for me Long Beach" I'd close my eyes and dream I was in some mystical far away arena experiencing the band at their very best.  Since then I have listened to a million live albums and I think I could probably count on one hand the amount I would put on over their studio recorded counterparts.  That is why I enjoyed getting to know this record so much.  I felt as if was actually THERE.  When Josh Homme calls a guy out for throwing shit at him onstage after “Feel Good Hit of the Summer”.  When he yells "Cock smoking Fuckhole" I start to boo the hapless twat too as he is "encouraged" to get the hell out of the pit.  This whole package is a QOTSA fan's dream come true because it is accompanied by a live DVD that is jam packed full of extras from every stage of the bands life so far.  Every album they have made is well represented here, and the main live gig from London shows a band at the top of their game throwing down to an audience of hardcore fans. 

Things get trippy early on (the second song actually) with “Regular John” and the machine is running on premium fuel from then on in.  When I listened to this live show it became apparent to me how well the stuff from the last album works with their earlier songs.  In fact, it makes a nice story to listen to all the way through.  Josh's between song banter may not amount to much but his thanks sound genuine, and besides it’s all about the music.  Half way through the CD the band swings through rare track “I Wanna Make it Wit Chu” (from the fabled Desert Sessions), which to be fair sounds a bit misplaced here.  By the time “Burn the Witch” turns up the band are firing on all cylinders once again, and they are flying into the home straight to victory.  “Song for the Dead” belies its title by being full of life, and the stop start jam at the end rocks you to the core with its powerhouse drumming from Joey Castillo.  The encore is saved for a tripped out, slowed down to almost nothing “No One Knows,” which re-explodes in a fury of wah wah guitars.  Things close appropriately with “The Long Slow Goodbye,” which begins with a swampy blues guitar and belts into the songs main riff. 

Best of all is the accompanying DVD, which contains two London shows (Brixton Academy in stunning clarity, and the way smaller Koko in strictly amateur style) and a bunch of archive footage all tied together by some backstage shenanigans. To be honest, I didn’t find the DVD part as enjoyable, or as insightful, as Green Day's recent ‘Bullet In A Bible’ film, but it’s certainly not far off. At the end of the day this is a great value package for the fans, as it offers hours of solid entertainment from THE best stoner rock band out there. -Glenurse 

The Ribeye Brothers - Bar Ballads...And Cautionary Tales (Times Beach Records)

If you thought they rarely make garage rock quite like this anymore you're probably right.  The Ribeye Brothers take these songs and punctuate them with a drive and an intensity that is rare even for this genre.  It doesn't try to be pretentious, trendy, or different.  It just tries to be raucous and enjoyable.  Traces of stoner rock accent the detail given to the production that makes this far more authentic then you'd expect.  One too many brief instrumental interludes at the record's end does not take that much of the enjoyment away.  It's still a riotous good time when your tattooed biker buddies come over to get blitzed.  -Repojay