Bite Me! CD Reviews G - R

Geldof – Sex, Age & Death (Eagle Records) 3/4

Sounding at times like his old friends Pink Floyd, and at others harkening back to Boomtown Rats, Bob Geldof has delivered a dark, somber piece of work.  Harshly reflective of where he is today, and what it is to be human, Sex Age & Death makes for a very hard listen all at once, especially when you realize that he is talking about his life, his friends (Jeanne), his enemies (Paula), and the mistakes that all have made and the emotional and physical impact of it all.  Generally, how fucked up his life is, with glimmers of hope at the darkest moments.  It is completely self-indulgent, but if you haven’t been turned off by now, it’s an underappreciated emo work of art, and should be purchased by those who will appreciate it.  –J

Godsmack – Faceless (Republic/Universal)

Yeah, I know.  I’m a little late with this review but, hey, I haven’t had a raise in two years either so what’s your point?  Anyway, Faceless made its debut at #1 and has already hit the platinum mark, so it’s safe to say that die-hard Godsmack fans already own this disc.  For those of you that are still undecided, I’m here to assure you that Faceless is a keeper.  Sully’s voice is stronger and sexier than ever.  Tony’s riffs are smokin’ hot and the interplay between the rhythm section, which features Robbie and newbie Shannon Larkin (drums), is tight and appropriately aggressive. Taut melodies and sharply drawn hooks are the driving force behind powerful tracks like “Straight Out of Line,” “Changes,” “I Stand Alone,” and “Releasing The Demons”.  The album comes full circle with its most moving piece of all, “Serenity”.  Accompanied by an intro of tribal drums and chanting (“The Awakening”) it’s a fitting sequel to the magically charged “Voodoo”.  Proving that good old fashion metal is alive and kickin’, Faceless is a groovin’ album from beginning to end.  -NIN

Grade 8 (Lava)  1/4

If you remember Scott Carneghi from the band Greta you’ll be happy to know that he’s know pounding skins for the L.A. based Grade 8.  I’m one of the lucky few that can say, “I knew Scott way back when”…before he joined Greta and long before Grade 8 was even conceived.  Formed by brothers Ryan (vocals) & Dustin Tooker (guitar), the aggro rock outfit, which also includes bassist Guy Couturier, Grade 8 proudly mixes East Coast hardcore with West Coast Metal.  The band’s punishing self-titled is guaranteed to scorch your speakers on impact.  You may experience a little loss of hearing as Grade 8 attacks head on with mounds of snarling vocals, thundering drums, pounding bass, and chainsaw guitars.  Relief comes on occasion and is very brief - - just enough to for you to breathe, but not long enough for you to lose the adrenaline rush.  This blistering debut will undoubtedly appeal to punk and hardcore fanatics alike.  Move over Mudvayne, there’s a new kid on the block. -NIN

Jamie Green – Truce (Red Haired Creeper Records) 3/4

Let me start by saying that I’m very proud of Jamie Green.  I really enjoyed her debut, My Crime.  However, I am very impressed with her latest, Truce, which reflects Jamie’s growth as a songwriter, producer, and an artist.  In 2000, Jamie received a nomination for outstanding female singer-songwriter at the L.A. music awards.  The nomination was well deserved and Truce may very well make her a winner in 2003.  The well-crafted tunes that make up this meaningful release are warm and vibrant.  Each song reflects the lovely chanteuse’s charming brand of contemporary pop that is all together folky, funky, melancholy, and soulful.  Jamie is a woman who is not afraid to bare her soul, and she draws strength from every secret revealed in her confessional lyrics, which don’t just empower the artist but also empower the listener as well.  All in all, Jamie Green’s Truce is a truly rewarding musical treat.  -NIN

(hed) p.e. – Blackout (Jive) 1/2

While in the midst of marathon CD reviews, I thought I was listening to another band but in actuality it was (hed) p.e.’s Blackout that happened to be spinning.  “Not bad,” I thought, “Kind of sounds like (hed) p.e.”  With that said, I’m happy to report that after Broke’s successful run (hed) p.e.’s distinct sound is still in tact.  Blackout expands upon the melodic elements previously presented in its predecessor.  The album finds Jahred and crew (which now features ex-Amen axe slinger Sonny Mayo) firing on all cylinders as (hed) p.e. imbues their aggressive mix of hard-hitting rock and hip-hop with some serious hooks (check out “Suck It Up,” “Bury Me,” and “Flesh and Bone” in case you have any doubts).  On their third release the group takes a more unconventional approach.  They’re still a wild and rambunctious unit, but their sound is more streamlined.  We probably wouldn’t have heard the spiritual ballad “Other Side” in the early days but it fits comfortably on this disc as does the dub reggae beats of “Get Away” and “Carnivale”.  The album’s title track and first single offers up an infectious chorus, and even though Jahred’s lyrics reflect personal pain and hardship the overall vibe is purely one of good times.  Eccentric blend of hard rock, hip-hop, and funk delivers truckloads of crushing guitar and punishing rhythms.  Each track is spiked with a plethora of ultra phat grooves and pervasive melody lines, which is why Blackout is so accessible.  These boys work as hard as they play and the fusion of both worlds can be heard all through out this adventurous offering.  -NIN

Hotwire – The Routine (RCA) 1/2

Hotwire is a talented bunch who prides themselves on pushing the musical boundaries at every twist and turn.  On The Routine, this rambunctious unit tweaks and morphs elements of punk, metal, and urban influences into an intense mass of purely lethal hardcore.  For example, the first few seconds of the first track (“Not Today”) will fool you into thinking that maybe you got suckered into another sappy emo album and then BAM! Hotwire smacks you in the face with a wall of pulverizing riffs and groove heavy beats.  This explosive offering mixes pure riff-heavy metal with post hardcore dynamics.  Each track is spiked with a punk edge and just the right amount of melody to soothe the sting.  You’ll share Rus Martin’s pain on “Rugburn” each time he lets loose his trademark gravel throated scream.  “Say What You Want” is THE single that will stick like gum on a sidewalk on a hot summer day.  With its garage meets thrash taken to the extreme, “Magazine” is guaranteed to be an instant smash with pit crazy fans as will the in-your-face ”Invisible”.  “Tweaked” is a dangerously potent track that will leave you gasping for air.  And just when you think you can’t take any more abuse Hotwire eases things up a little with “Color Blind” before they resume the brutal beating with “How It Goes”.  If you plan on going to Ozzfest this year be sure to catch these boys in action.  -NIN      

Eric Idle - Presents The Rutland Isles (Imusic) 0

An unspoken rule in comedy...ok, a rule of comedy I just made up...is that after a comedian is 50 years old or so, they are no longer funny.  They are allowed to ride the coattails of previously written funny, but they can't write new material.  It's as if the comedy gene just disappears.  Think about it: George Carlin hasn't really written a good new joke in nearly 20 years.  Former Python member Eric Idle is no exception.  His fake travelogue of a fictitious island chain drags on interminably with bad jokes that try and retread Python glory and never even come close.  What makes the album completely unbearable is the fact that Idle does nearly all the voices.  His impressions were never that strong so when he has a conversation on "Analology" (see what I mean about the jokes?) it sounds like he's just talking to himself, so you have no idea which character is which. - Repojay

Junction 18 – Heroes From the Future  (Fearless) 1/4

Ahh, another band whose latest I was looking forward to.  Junction 18’s debut album was a four star release – incredible and still finds its way into my CD player from time to time.  While their new ep Heroes From the Future is still quite good, it isn’t resonating with me as much as This Vicious Cycle did.  Still rocking with insightful lyrics, I guess I need to let it grow on me a few more times before I love it.  And I probably will.  Junction 18’s sound can best be described as, well, rock n roll meets punk with a pinch of pop – they do what they want and it’s good.  Don’t think Blink, Junction is more indie with some alternative and great stark harmonies but big guitar sound.  “The Weight” is an amazing song.  Gotta listen to this more.  –J

Kerbloki (Bifocal Media)

Residing somewhere between the Beastie Boys and Jamie Kennedy from “Malibu’s Most Wanted” is Kerbloki.  The beats on their eponymous CD aren’t that bad (even though you can practically see the Macintosh or Casio supplying the loops), but the rhymes are ill (not in a good way).  I’m still not quite sure what “Please Don’t Die in the Ice” is about – something about four wheel drives, wrenches, dancing, camouflage, get ready for the tickling (or is it chitlin’)?  Not that you can tell, the lyric sheet is so small and me without a microscope, and the track listing on the jewel case is totally out of sync with the CD.  Let’s not even discuss the cover “art”.  With a decent producer, they wouldn’t be half bad, unless they want to be.  –J

Lamont - Thunder Boogie (Traktor7)

I ended up with a hang over the next day after listening to Lamont’s freshman  release.  I don’t remember what the hell happened.  It was like getting bitch-slapped with a gin jug.  It clocks in at just a little more than a pubic hair over a half hour’s worth of drinkin’, stinkin’, hardly thinkin’ rebel rock.  Sort of  reminds me of the high school days I can’t remember.  The enchanting sounds of  Lamont are brought  to you by Traktor7, a recently formed label bled out of  Pino Bros. Tattoo & Piercing Emporium located in beautiful downtown Cambridge, Mass.  A must if your into headbustin’, homicidal debauchery. -Colin Bowel

The Last Drop… - Where Were You Living a Year From Now? (The Music Cartel)1/4

Firmly ensconced in the vast stoner rock category, The Last Drop mixes in a touch of Nirvana and Alice in Chains into their downtuned QOTSA rock.  Odds are you’ve never heard to The Last Drop, this is their first CD under a new name – formerly they were named Shallow which they apparently ditched to try and get away from being pigeonholed as a stoner rock band.  They are to an extent, with alternative and talent thrown in.  Enjoyable testosterone fueled tuneage.  –J

Linkin Park – Meteora (Warner Bros.)  

So this is it -- the hype, the wait, and the “how are they gonna sound now” questions are over.  This is the Park’s second album, and you know what?  It’s pretty darn good.  You know the formula, and so do they, but, damn man, if it ain’t broke why mess with it?  So what we get is an album instantly recognizable as the band at almost every part of the disc.  Not that this is a bad thing.  I remember first hearing Hybrid Theory and being nothing but impressed by the depth of the songs, the layers, the lushness of it all, along with the power of the two very distinct vocal styles.  But never in a million years did I anticipate the level of success that came after its release, which was nothing short of phenomenal.  So does this disc do justice to the Linkin Park brand?  Well things start off just as they should with  “Don’t Stay” - all 3 minutes of it, in fact all the tracks on this CD clock in around that length, so no epics here, no widdly diddly wankfests , no journeys to find themselves, just concentrated  ‘nü-metal’ (yikes said it ,whoops). So much so that the whole thing clocks in at just under 37 minutes!  The single “Somewhere I Belong” comes crashing in next along with a chorus that buries itself into your brain.  My personal fave by far, though, comes around halfway through the disc -- ”Faint,” which is just superb.  It starts with an Eastern feel, and it’s the one I keep hitting the repeat button for.  (If this one isn’t a single then I’ll eat my shorts, hell I’ll even eat yours too!)  When Chester screams “You’re gonna listen to me like it or not,” shivers go down the spine, and that’s what rock music is all about.  The songwriting on the whole is really top notch, the hooks just stick to you…I know.  The way they create is essentially cut and paste, with more technology than should be necessary, but the group does sound like a band of musicians not just geeks playing with their pro tools, and I guess that’s because the writing is so strong.  “Breaking the Habit” almost has an eighties vibe to it, albeit with samples, turntables, and vocal blips – like what you’d expect from Orgy.  Towards the end of the album we hear the band get Trent Reznor on our ass as the short instrumental ‘session’ could well have come off of The Fragile, in fact I’m sure the piano did! (Somebody get Trent on the phone! – NIN)  I think this should’ve been the final track, but instead we get “Numb,” which is a fine song overall but just feels a little surplus to requirements here, especially the sudden way it ends – like in the old days when you’ve crammed to much onto a mix tape and the last song doesn’t quite fit.  With that aside, this is a very good album with some special standouts and one that you’ll undoubtedly be hearing all over the place as this seemingly unstoppable force continues to bury itself into our youth culture.  –Glenn

Living Things – Turn In Your Friends & Neighbors (Dreamworks) 1/4

The Berlin brothers—Eve, Lillian, & Bosh—have been rockin’ out ever since they were wee tikes.  Collectively they are The Living Things and these boys are the closest thing to the Ramones you will find these days.  Turn In Your Friends & Neighbors is a four song EP that oozes with the creamy goodness of warm analog tones.  The shredding molten lava guitars and Lillian’s Iggy Pop inspired snarl add just the right amount of character to these anti-war themed tunes.  Best track, “Bloody Nose”.  -NIN

Louden Swain – Overachiever (3 CarWreckords)

It’s nice to see a band move forward over the years.  Louden Swain’s latest, Overachiever, reflects the L.A. based band’s growth as musicians and songwriters.  Each track on this disc mixes the rawness of indie rock with the carefree attitude of 80’s bubble-gum metal.  Think Foo Fighters, Weezer, and The Vines combined with catchy riffs and witty lyrics ala The Vandals.  It’s easy to get caught up in the animated spirit of this high energy E.P.  “Codependent” and “Only Lyin’” are the big standouts.  Judging by Louden Swain’s performance on Overachiever, I’m willing to bet their live show is wildly entertaining.  -NIN

Jesse Malin - The Fine Art of Self-Destruction (Artemis Records)

Jesse Malin’s voice is a broken heart.  Brooklynite Malin sounds more like a veteran of Nashville’s Bluebird Cafe than lower Manhattan’s CBGB’s.  During his tenure as the lead singer of New York City punk/glam band D Generation Malin’s work was often compared to the original New York rock superstars Kiss.  In listening to his Artemis Records debut one would think he was influenced by Johnny Cash, Bob Dylan and Nebraska era Springsteen.  But his inner city energy smiles through “Wendy”, “TKO” and “Riding on the Subway”.  At first listen, “Fine Art of Self Destruction” sounds like Malin worked closely with Jay Farrar but it was alt-country uber-kid Ryan Adams (the Jay Farrar of 2002) that produced this disc.  On the sad side in the title track Malin sings,” Put the barrel in your mouth, like a sad man when he’s deadpan”.  In “Almost Grown”, against an ironically happy dance beat his heart bleeds of parents divorcing at a young age, a mother dying too soon and a father that never comes back.  The song reeks of pain with the lyrics “When you’re young and violent, sick and silent...When you’re all alone and you’re heart is stone.”  The emotional low point hits bottom on “Solitaire” when he sings “For the price you pay I don’t need anyone, I’ll just walk away I don’t need anyone.” This album is a road map to broken dreams.  On the highway that is Malin’s soul he plays tour guide in his songs that take the listener to New York City, San Diego, Mexico, Tangiers, Bombay, Brooklyn, Queens, DC, Harlem and Miami Beach.  It’s one of those road trips that is long, tiring but leaves you hopeful.  On the lead track and first single, “Queen of the Underworld” the tour guide of misery sings with a smirk on his face, “Out on the highway of perfection, we only wanted to be free”.  Somewhere tramps like these are smiling.  -Brendan McMahon

Marilyn Manson – The Golden Age of Grotesque (Nothing/Interscope)

Hello, Marilyn…where the fuck have you been?  I’ll start by saying that The Golden Age of Grotesque is the best goddamn Marilyn Manson album by far.  Fueled by the creative inspirations that only absinthe can deliver, The Golden Age of Grotesque is annihilatingly loud, ultra catchy, and superbly decadent.  The album was designed to be a modern update of German Art, vaudeville, and decadent Hollywood glamour of the ’30s and the burlesque inspired “Doll-Dagga Buzz-Buzz Ziggty-Zag” sums up this concept in a little over 4 minutes. (I have to dance every time I hear this song.)  This high-power disc kicks off with Manson’s proudly declaring “This Is The New Shit”.  What follows is a plethora of fist-pumping, booty shakin’ tracks. A prefect example is the razor sharp aggression of “mOBSCENE”.  Not to be overlooked is the BIG fuck-you anthem “(S)aint“.  With it’s lines of “You said I tasted famous so I drew you a heart…I got an F and a C and I got a K too and the only thing that is missing is a bitch like you. You wanted prefect, you got your perfect, now I’m too prefect for someone like you.”  One has to wonder if this is a dedication to Rose McGowen.  Hey whatever.  It’s a great album and that’s all that matters.  Be proud of yourself Mr. Manson -- you’ve done good.  -NIN

Johnny Marr & The Healers – Boomslang (iMusic)  

As the creative force behind The Smiths, Johnny Marr proves he’s worth his weight in gold with Boomslang.  This is the album that fans of the legendary guitarist have been waiting for.  It’s an album that will remind you what good, straightforward rock ‘n’ roll is all about.  Marr’s unique vision of song structure is ever present in Boomslang, which is a rock solid collection of dreamy, droning melodic pop ditties that pay tribute to classic rock grooves.  An underlying sexiness oozes from every pore, as this super tight trio—comprised of drummer Zak Starky (Ringo Starr’s son) and bassist Alonza Bevan (Kula Shaker)—knows when to loosen up and when to put the groove on.  The twangy Brit pop sounds of “The Last Ride” sets the mood gets this disc rolling.  The dancey acoustic intro of “Down on The Corner” gives way to a killer tune that pretty much sums up what The Healers are all about.  Hints of T-Rex and The The creep into the mix on “Need It” and “You Are The Magic“ offers up a little slice of soulful heaven.  There’s plenty to discover on this sultry offering, as each warm and passionate track features Marr’s signature soundscapes and strident vocals, which are a natural fit.  Let’s just say that these boys are more than welcome to heal me any time.  Bartender!  Crank it up and give me another.  Boomslang will rock your socks off.  -NIN

Matchbox Romance - West for Wishing (Epitaph) 1/2

Poughkeepsie’s Matchbook Romance, formerly The Getaway, sound a lot like The Get Up Kids on their Epitaph debut EP, West for Wishing.  Epitaph honcho Brett Gurewitz signed and produced the six-song EP after discovering them on punknews.org.  West for Wishing is more poppy power rock than power pop.  Matchbook Romance rock through all six tracks with the reckless abandon of a newly signed band with something to prove.  Lead vocalist Andrew Jordan rips passionately across this exciting debut.  Jordan is supported by excellent musicianship of drummer Aaron Stern on drums, Ryan DePaolo on guitar and bassist Ryan Kienle.  Queens of the Stone Age producer Joe Berresi will man the dials when Matchbox Romance enter the studio in October to record their full-length debut.  Read more at Epitaph.com.  -Brendan McMahon

Memento – Beginnings (Columbia) 1/4

This Sevendust offshoot, formed by ex-Vast members Justin Cotta & Steve Clark, are an emo/metal hybrid that fuses together the sonic hallmarks of classic heavy rock with twisted modern textures.  The tracks that make-up Beginnings delve deep into a variety of sensitive topics that are driven home by Cotta’s enraged lyrical sentiments and soul bearing vocals, which are delicate and vulnerable one minute, pummeling the next.  Guitars are used to incorporate shades of light and dark tones as displayed in   “Nothing Sacred,” the album’s lead track reflects Memento’s perfected technique of balancing fragile beauty with monolithic power.  Layers of ethereal effects and multi-textured tones and rounded out by majestic choruses and hooky background vocals.  A stunning juxtaposition of styles is displayed all throughout this adventurous disc, which becomes more musically diverse with each passing track.  The album closes with a 12-minute plus opus titled “Figure 8” – a powerful little piece that brings each member’s individual talent into the spotlight.  -NIN

Murder 1 - On High (The Music Cartel) 1/2

The Black Sabbath influence runs way too deep. Even lead singer Will Naga sounds more like Ozzy than the ageing new found TV star himself.  But with their own style of songwriting and the poetic justice that goes into it, Murder 1 are just  what that 70’s doctor prescribed.  A straightforward blast of groove and psychedelia.  This is some gooooood stuff cover-to-cover and well worthy of your ice cream money.  No more fuckin’ around, they sell their sperm for rock n roll!  -Colin Bowel

Over Kill - Killbox 13 (Spitfire Records)

If I wanted to, I could review this in four words:  Bad as fuckin’ hell!  An incredible comeback from the 80’s ‘never say die’ metal band.  Although founding fathers Bobby and DD are starting to look like some of my dad’s football watching friends, they still have the ability to belt out the jam.  After the two formed Over Kill way back yonder in 1982, the boys have managed to spew out 12 releases during the reign of metal music and were some of the last survivors of a dying breed.  With metal music starting to show its face again to a demanding crowd, Over Kill has crawled out of a misty night in Jersey to give some lessons on how it should be done.  The number 13 is the lucky number here.  - Colin Bowel

Party of Helicopters - Please Believe It (Velocette records)

If you’re a fan of this Kent, Ohio band then you should probably stop reading 'cuz I’m afraid this isn’t going to be pretty.  This disc is hard to listen to.  I tried several times to give it a fair chance, but I just can’t enjoy it.  The first song sounds out of sync.  It’s like everyone in the band is playing a different song, but not in a cool kind of interesting way like Radiohead – more like an annoying way.  If you take the vocals (which are weak, by the way) out of the third song it sounds like an Iron Maiden song from the ‘80’s.  I’m not saying this is heavy metal or anything like that.  It’s just the melody that brings up the Maiden reference.  Ok, so now I just feel mean, so I’m gonna listen to the album again and come back to the ibook here.  Feel free to talk amongst yourselves…I’m back.  Well, the singer’s voice is just not working for me.  Sorry dude.  I’m sure some people will like your understated Pavement-esque groove to falsetto thing.  I’m just not one of them.  When he lets out the high pitched yelps, it’s just grating—at times it even resembles that annoying sound Lenny Kravitz sometimes makes.  Maybe it’s the songs that are the problem.  They all just blurt by - - harmless on their own, but having to sit through all of them in for forty minutes…I feel tortured.  The best thing about Please Believe It is the fact that now that I’ve written this I don’t have to listen to it again. Sorry guys, but I wish you well.  Phew!  (So much for them being the next “It” band.  Sorry Glen.  Don’t hold this one against me. J – NIN)  -Glen

Powerman 5000 – Transform (Dreamworks)

I wasn’t one of the select few that got to preview PM5000’s scrapped release Anyone For Doomsday?, but I’m guessing that ditching the album was a good call because Transform is a fuckin’ smokin’ hot record.  Sure it’s commercial as hell, but when every song is so damn contagious you can’t help becoming addicted.  Transform finds Powerman 5000 moving away from their trademark techno soundscapes in favor of a more traditional rock ‘n’ roll approach and guess what folks? It works!  Massive hooks, giant melodies, and head bopping riffs fuel every track.  “Action” is the ultimate good-time rock ‘n’ roll tune.  “A is For Apathy” is right on up there, and the funk-a-licious “That’s Entertainment” is my overall favorite.  I’ve never been a big Powerman fan, but after listening to Transform I’m converted!  -NIN

Rivera Bomma  - Invisible Force (World Music, Inc.) 1/2

The dreadful, gut-wrenching sound made just by looking at the cover and the awful name of this Christian rock duo makes you wonder, “How bad were they when they were kids?”  In any case, nobody bothered to call either Johnny Bomma (vocals) or Rod Rivera (everything else) to let them know that 70s/80s prog rock and metal were over.  Worse still, someone should've warned them that these bad guitar licks don't sound all that hot while you're praising Jesus.  A few good licks peppered throughout does not make this a worthwhile offering.  However, if halfway through your album you long to have a five part instrumental suite, this album just might be yours for the taking. - Repojay

Rondellus - Sabbatum (A Medieval Tribute To Black Sabbath) (The Music Cartel)

Can a cover album go so far off the beaten path that it sounds barely anything like the original?  Rondellus say yes!  This one, just by sheer concept, likely required so much weed that shortages must have driven up prices while they recorded this disc.  Rondellus decided to record 12 Black Sabbath songs in the style of the 14th century.  Think your worst Renaissance faire nightmare.  Then, for added credibility, they translated all the songs into Latin.  You can kind of make out "War Pigs" at the beginning of the record, but from there you could play this disc at a new-age charka store and no one would be the wiser.  It is this that takes this conceit full circle and makes it absolutely brilliant.  This album is certainly much more geared for those of you still playing Dungeons & Dragons, but at least this group did it right, tight, and respectfully. - Repojay