Bite Me! CD Reviews S - Z

The Sharking (202 Lions)

Boston's The Sharking, hyped as solid pop rock band in the vein of the Kinks, have released a quasi-catchy EP.  Being a fan of pop rock and a Boston native, I was very intrigued to hear the CD.  Not as poppy as they may indicate, personally, I find that for the better. The music ranges from Adult Contemporary—Rembrant-like—to a jingle jangly sound like Elvis Costello (with some country rock sprinklings). Early alternative fans will find the CD passable. In the words of singer Marc Flynn, “people never say what they want to”, so I will...Not enough edge, or enough pop-rock sensibility.  The arrangements are tired, and the music strikes me simply as bland.  I wish I could give more backing for the hometown boys.  I promise though, if I see the band out in Boston or Quincy, I'll buy you all a beer! -Blava

Eddie Spaghetti - Old No. 2 (Mid-Fi Recordings)

Lead Supersucker Eddie Spaghetti has thrown together an album of mostly covers that has a very loose cow-punk alt-country spirit to it.  The brevity of the record makes it mildly interesting.  The obscurity of the covers make AC/DC, Tom Waits, and The Coasters seem very fresh.  However, possibly because I can't resist, like the title, much of the record just feels like old shit that were ideas he just needed to get out.  As records like that go this isn't half bad, but shit is still shit no matter which way you slice it.  In that regard, this is certainly no substitution for a solid original Supersuckers record.  -Repojay

Staple - Of Truth & Reconciliation (Flicker Records) 

Alright, something hard & heavy post 1995 to get excited about!  It feels like such a long time, but I feel thoroughly charged by Staple’s Of Truth & Reconciliation.  Not only does this CD combine hard driving beats, angst ridden vocals, and powerful execution, but it also displays top notch song writing abilities.  Not since Alice In Chains' Dirt have I heard such a mixture of dark & heavy with light…a quick turn and there is a fantastic hook that can satisfy your average listener while still keep the hardest edged rocker pumping fists.  At the risk of flogging the band and the review with typical comparisons I do hear a number of influences, both musically & production wise, such as Sevendust, System of the Down (particularly on track 3), and Faith No More's Mike Patton but, without a doubt, it works.  Staple follows many of today's metal formulas, especially vocally, but they take it further and do it better.  It all comes down to the songs and Staple deliver a CD you can throw on and do your business.  'Bout time.  -Blava

Supermercado - Scary Baby (Dark Star Records)

Supermercado?  SuperMIERDA is more like it.  What else can you say about a lame Linkin Park/Korn hybrid that's come about 5 years too late?  Is there more that singer Matt Mercado can do after 2 bands (Mindbomb and Pivot Man) failed to hit the public consciousness?  If you really need to bleach out your band members' photos with Photoshop, is that a good sign?  Is there a need to listen to this again?  As the title suggests, this record is scary, baby.  -Repojay

Train - For Me It’s You (Columbia) 

I told a friend of mine that the new Train album had popped through my mailbox to review.  "I saw them on The View the other day," she says. "Really, how was it?" says I.  "Dude, as soon as I realized who it was I flipped that shit right over!" she laughed. I share this as a way to emphasize the stigma that this band have outside of cookie cutter safe middle America.  Now I'm sorry to say that I feel I need herpes as much as I need to listen and re-listen to a new Train record, but as a professional with a job to do I have to cast my aspersions aside and as George Michael said “listen without prejudice”.   Train is led by one of the most unlikely looking rock and rollers in recent history.  Pat Monohan may look as though he works in a bakery but in his hands he possesses a surprisingly sweet and soulful voice.  At times he reminds me of Maroon 5's Adam Levine (the good times), but in other places I’m haunted by Sting (the bad times) most obviously on "Am I Reaching You Now".  On the closing title track "For Me It's You" I recall Chris Robinson, albeit without the copious amounts of weed.  Speaking of The Black Crowes, bass duties here are taken by ex Crowe Johnny Colt and here he does pretty much what he always has and lays a solid if slightly funky groove to the (Train) tracks.  Sorry couldn’t help myself.  The sound is full and lush and one listen to the swelling strings that adorn the end of opener "All I Ever Wanted" is testament to that.  Top shelf production from famous knob twiddler Brendan O’ Brien elevates these songs to another level, and he has clearly influenced the shape of the record as a whole.  I understand that Brendan also suggested that the band cover the Sugar song "If I Can't Change Your Mind," but what I don't understand is why they chose to include it here.  It's pretty awful, as the band slows the song down and removes any and all of the bite and snarl of Bob Mould's original.  In the end it ends up sounding suspiciously like E Street era Springsteen.  If it was an attempt to connect to a different audience I’m sorry to say that it so didn’t work.  There are no lyrics included in the booklet but that’s not necessary too see how banal they often are - "Sometimes I feel like I’m the only cab on the road" from the track "Cab"…I mean come on, “You're kidding me right? Right?”  Look, I'm not saying I hated it.  In fact, on repeated listens I liked a few songs, but it’s all so saccharin and nice and there is very little depth and well...for want of a better word, balls!  So you see that's my biggest issue with the album.  If these are mainly break up songs, as indeed the lyrics would suggest, then why is everything so agreeable?  Where's the anger or tinges of malice? I’m not saying they should sound like Slayer here, but the truth is break up's fucking hurt and listening to this record I'm left with the feeling that I’m not being told the whole truth.  The songs don’t punch me in the gut but instead sound like they were written by someone who rolled over and gave in. -Glenurse 

Various Artists - Ny2Lon (Reincarnate Music) ½

The premise of this compilation is to expose new and emerging artists to these shores.  Some you will have heard already, some you soon will, and others may (the law of averages dictates) sink without trace.  It’s sort of like an aural version of the NME without the pretty pictures.  Kicking off the whole shebang is the dirty scuzz of "High skies" by Australian noise merchants The Morning After Girls, who do a fine job of proving grunge never died it just moved to Sydney.  Doing their best impression of the Jam are The Ordinary Boys whose "Little Bubble" is harmless enough and is only saved by a warped guitar solo near the end.  Every Move a Picture's contribution "Chemical Burns" is way livelier, but the standout award goes to “RockNRoll Queen” from London’s own The Subways.  The song is a simple as fuck anthem to the MySpace generation and will make everyone who hears it want to form a band. Awesome!  Favorite name award goes to Amusement Parks on Fire whose track “Venus in Cancer” burns (see what I did there) nicely.  Other highlights include the Conor Oberst/Dylan styled warble of Two Gallants, and the falsely happy twang of Eugene as they give up on "California".  Another Aussie group The Cribs teach us all a lesson on the shouty "Hey Scenesters," whilst Group Sounds channel Paul Weller's salad days with “Things fall Apart,” which just leaves the dreamy lilt of “Blunt Picket Fence” from Giant Drag to close things off perfectly.  So, all in all, this is a tasty sampler of what is next in indieland.  Let’s clap for that! –Glennurse

Voodoo Blue – Smile ‘N’ Nod (D’Cide Records) 1/2

What do you get when you mix a little bit of punk with a little bit of pop, a little bit of hardcore, a little bit of ska, and a whole lot of enthusiasm?  The answer is Voodoo Blue.  This debut effort from the Baltimore unit is appropriately titled because with each listen you can’t help but ‘Smile ‘N’ Nod’.  These blistering tunes offer plenty of straight forward melodies and memorable hooks.  It’s hard to resist the urge to sing-a-long even when the band is packing in a solid punch.  On occasion these lovable youngsters even throw in a few surprises just to shake things.  On the surface it’s fun, but their lyrics do address serious issues in a fearless manner that commands respect.  “What Happened to Spencer Shipley?” is a good example.  “Good 4 No 1” is irresistible, the distorted guitars of “Cherry Hill” give the song a nice retro edge, and the anthemic “The Great Escape” is destined to be a classic.  Rooted in an authentic punk aesthetic, ‘Smile ‘N’ Nod’ is a gimmick free rock record is solid from beginning to end and shows a band that will become more cohesive and coherent as the years go by... -NIN

We Are Scientists - With Love And Squalor (Virgin) 

I love rock music.  It’s my faith and it’s my religion and so I regularly pray to the goddess of rock.  In my dreams she wears a red Gibson, and she lifts me up when I desperately need it.  That is why there are few things more thrilling to me than discovering a brand new band.  No hype to live up to and no expectations to reach, just a shiver down the spine when you realize you have found yet another great record. That is how I feel about this album.  Its exuberance is addictive, and when was the last time I caught myself singing along to something the very first time I heard it?  This East coast trio, on the surface, look as though they are (fashionably) late to the (Killers) party with their debut long player, but it’s worth noting that they have been busy paying their noisy dues since the year 2000.  Their album consists of twelve short and jagged nuggets of perfect pop, all of which pack a clean well directed punch with just enough Brooklyn brattishness to keep the blogging hipsters happy.  The band’s sound can most immediately be compared to the last Phantom Planet album not least because the voice of Keith Murray possesses more than just a passing resemblance to the pipes of PP's Alex.  At other times Keith gets all Robert Smith on us (I know, I know, who doesn’t?), and on "Inaction" the band channels those wacky Swedes The International Noise Conspiracy.  Especially refreshing is the bands apparent lack of pretension.  I’m sure a couple of records in they will "experiment" with the formula, but for now the sound is guitar heavy, solid, and simple and its all the more great because of it.  In an ideal world the track "It’s a hit" would be just that, but I fear the cynical will say "I’ve heard it all before".  Sure it looks like the post punk/pop dance thing is fast becoming the new emo (backlash due any day now).  In fact, maybe they themselves realize this?  Check "The Scene is dead" and decide.  To the skeptical among you, I say don’t be hating and give it a chance.  I reckon that pretty soon you'll be dancing along too.  There are a couple of reasons why they don’t get the full five stars.  The main reason is that (and I never thought id be saying this) some more slower songs would flesh the boom bang boom out a bit.  "Can’t Lose" demonstrates that when they use restraint they use it well.  The other reason is if I gave them five now where would they be able to go next?  I read that the NME are gonna throw them onto their college campus tour in the UK and I have no doubt they’ll go down a storm only to return as the next Hot Hot Heat rather than the next Moving Units.  In the mean time I’m gonna have to wait to catch there El Rey gig in March to be sure.  Until then it’s going to be hard to do other reviews this month because even if I do manage to get the CD out of my player the songs here have grown thick roots into my skull and into my soul.  Overall, With Love and Squalor is an energetic and most excellent debut.  –Glenurse