Bite Me! CD Reviews A - F

7 Seconds – Take It Back, Take It On, Take It Over (Side One Dummy) 3/4

The best thing about this disc is that the 17 featured tracks are quick as lightning.  On Take It Back, Take It On, Take It Over 7 Seconds hit hard like an earthquake and before you know it it’s over.  These high energy anthemic tunes are edgy and catchy.  This potent combination can be heard on “Still On It,” “Stand Here And Just Stare,” and “Big Hardcore Mystery”.  The only downside is that the songs are a bit repetitious, but it all goes by so quick you barely notice.  -NIN 

A Change Of Pace – An Offer You Can’t Refuse (Immortal)

News Flash!!  Pop Punk is in.  Oh wait, it’s been in, so we must be mid-tide.  Thankfully, A Change of Pace is one of the better pop punk bands out there.  Their songwriting is honest and their sound is ambitious, melodic, and heavy.   The Peoria, AZ. outfit add an unusual twist to their style.  On occasion they’ll venture into hardcore territory – adding raspy vocals and pummeling beats to the mix.  The strange thing is they manage to pull it off without a hitch.  All in all, it’s quite impressive.   -NIN

Ad Frank – Ad Frank Is The World’s Best Ex-Boyfriend (Stop, Pop, and Roll)

Wow, apparently Ad Frank thinks he’s the world’s best ex-boyfriend.  Well, we’ll just have to see about that.  Ad’s fourth solo album starts with “The Five Days We Were Friends”.  It’s a melancholy piece that spews bitter views towards relationships past.  The title track is a groovy little ditty reminiscent of ‘60s beach party fare.  “Car Fascist” is one of those ass shakin’ pieces, and “Lucky” is a fine little ballad.  The album’s breezy pop tunes are inspired by Adam’s various loves, and the tales unfold via witty, clever lyrics.  To say the least, Ad Frank Is The World’s Best Ex-Boyfriend is an interesting album that spans the gamut of glam, new wave, and alt-pop.  This disc shimmies through a plethora of styles with ease.  It’s punchy, moving, and on occasion it will make you dance.  -NIN

Android Lust – The Dividing (Project) 1/2

Android Lust’s The Dividing is enjoyable right from the get-go.  On this succulent little album Android Lust melds together elements of rock, neo-industrial, punk, goth, and classical to create a potent blend of music that is dark and fiercely emotional.  Shikhee’s a musical whiz who possesses the ability to alternate from a velvet whisper to a flesh ripping scream at the drop of a hat.  She also has an uncanny ability to bring an emotional component to the mix.  This gal’s a one women powerhouse – not only does she sing but she wrote and produced the alum as well.  The Dividing’s tracks conjure up an array of aggressive dark imagery, which swirls around moderately fast paced electronics.  There are also plenty of hypnotic melodies, infectious beats, and venomous rhythms to entice you as well.  Memories of NIN’s ‘Pretty Hate Machine’ days surface in “Kingdom of Love”.  The Wax Trax era is revisited in “Panic Wrought”.  “The Want” finds Shikhee’s lovely voice gliding over an array of staccato beats and atmospheric electronics.  The Middle Eastern textures of “Another Void” are just dreamy, and “Sex & Mutilation” is a lesson in experimental noise.  Bravo!  -NIN

And You Will Know Us By The Trail Of The Dead – Worlds Apart (Interscope) 1/2

Is this the Trail Of The Dead?  It took a few listens to sink in because on Worlds Apart it sounds as if the Dead have channeled the Beatles.  But, one has to remember that T.O.D. like to shake things up every now and then.  You never know exactly what is on their mind.  Bearing that in mind, it is safe to say that Worlds Apart is a beautiful album full of mystery and intrigue.  Each track is like a work of art, and the CD booklet is just lovely darlin’.  The album’s sound is massive and grandiose—like a live rock symphony executing a very dark masterpiece—which is apparent in the operatic “Ode to Isis”.  The dissonant riffs and melodic march of “Will You Smile Again” give way to a Beatles inspired mantra, while the soothing melodies of “The Rest Will Follow” envelope the listener like a comfy blanket.  “Let It Dive” is another relaxing piece that is downright unforgettable and the violins and exotic embellishments on “Russia My Homeland” are a beautiful touch.  We hear The Beatles influence once again on “All White,” but your mind is put at ease when the spirit of the band’s live show rages on in “Worlds Apart”.  Overall, World’s Apart contains some of the band’s best work to date.  It is an album to be experienced both visually and sonically.   -NIN

Armor For Sleep – What To Do When You Are Dead (Equal Vision Records)

This New Jersey buzz band come on strong with their sophomore release titled What To Do When You Are Dead.  On this whimsical little album, Armor For Sleep deliver punk infused power pop tunes that are ripe with evocative vocals and infectious melodies.  The lyrics are deep and command attention as do the stories they tell.  What To Do When You Are Dead is a concept album about death and the afterlife, but it’s a concept album in which each song stands on its own.  The urgent delivery and attention grabbing riffs of “Remember to Feel Real” set the stage for the pain expressed in Ben’s vocals on “The End of a Fraud”.  Aside from being a strong closer, this song is the most powerful track on the album.  Not to be overlooked is the accompanying CD booklet titled “What To Do When You Are Dead: A Comprehensive Guide To Your Afterlife.”  It’s brilliant. -NIN 

Backfire Revelation – Gold And Guns On 51 (Southern Reconstruction Records) 1/2

Backfire Revelation is a two man unit from New Orleans that features guitarist/singer/bassist John Fields and drummer Ryan Haney.  However, these good ole boys didn’t make Gold And Guns On 51 entirely on their own – former White Zombie bassist Sean Yseult lent her talents on the group’s rendition of the Blue Cheer classic “Second Time Around”.  This sludge core jam band reeks of Southern swamp charm and this album will take you back to a time when analog and distortion ruled!  All in all, they aren’t bad for a two piece.  I’m sure Backfire Revelation is a great bar band.  They’d be perfect for the dark seedy hole in the wall type of place.  -NIN

Sariah Bishop – Mute Malevolence (Sin Icon)

I always hate to use the word “stereotypical” to describe what someone is about, one’s art, but Sariah Bishop’s release needs a lot less stereotype and more originality.  Her music sounds like a dated combination of Nine Inch Nails, KMFDM, and other industrial icons.  She cites Anne Rice, Bram Stoker, and Trent Reznor as big influences (making me ask: is she trying hard to be “deep” or is she sincere about trotting out the typical?).  She sings in either whispering or screaming vocals of hatred, sinning, demons, dark nights, and of wanting to be saved or helped.  The only difference here is she is a very pretty blonde girl who is an ex-model.  Not quite as stereotypical on the outside as the inside, I suppose.  -J

Brain Failure – American Dream (Thorp Records) 1/2

Hailing from Beijing China, Brain Failure delivers upbeat punk tunes in the vein of Mighty Mighty Bosstones (minus the horns).  American Dreams dishes up a variety of fun, enjoyable tunes in which catchy choruses mesh with bracing punk riffs. The band’s songs sport lyrics both in English and Mandarin, which adds a nice variety to the mix.  These boys have a promising future ahead of them, and their rip-roaring street punk anthems pretty much guarantee that Brain Failure won’t have trouble finding acceptance in the Punk Rock community.  Highlights – lots.  You’ll have to discover them for yourself.  -NIN

The Bravery (Island Records)

From the minute you hear the electronic throbbing beats of “An Honest Mistake” you are hooked.  The Bravery’s self-titled effort will transport you back to the 80s with its slick twist of new wave and post-millennium modern rock.  Each tune offers something that will remind you of every band you adored during that era.  The Bravery’s luscious synth-driven pop sound is darkly danceable and extremely catchy.  The New York rockers deliver a vaguely retro sound with their synthesizer laced rock that pairs gritty grooves with warm retro tones.  At times frontman Sam Endicott sounds like Robert Smith, especially on “Tyrant,” which is a plus.  The songs are packed with hooky grooves and each one is better than the one before it.  Better watch out cuz these new millennium new wave revivalists are poised to take over the airwaves and the dance floors.  As Nicole Richie would say…Loves it!  -NIN

Break the Silence – Near Life Experience (Hopeless Records) 1/2

Break the Silence’s debut CD Near Life Experience is a blend of melodic hardcore, screamo, and punk, much like many other bands out there right now.  So what differentiates Break the Silence from the others?  Well, they have a good melodic feel, when the lead singer isn’t screaming in a raspy as hell monotonous voice (the screamo portion just doesn’t click.  The screaming sounds like it hurts instead of expressing anger, frustration or emphasis on lyrics).  Technically, they need to be much tighter, and the songs are all two to three chords with the same repetitious drumming.  I found them to be pretty boring, which is like the kiss of death for this kind of band.  -J

Bright Eyes (Saddlecreek Records) Digital Ash in a Digital Urn I’m Wide Awake Its Morning

Conor Oberst, skinny assed indie folk hero of the big eyes and perfectly disheveled hair, label impresario and heartbreaker of lil’ flop haired girls and boys everywhere.  Here he gets to show off his schizophrenic talents with a yin yang two album set released on the same day - often a feat that can comes across as self indulgent (Use Your Illusions anyone?), but here it is mainly a winner from start to finish.  One album is alt. country (or whatever that label is this week), the other an electro pop feast full of blips and blurps in which ole’ Bright Eyes is aided and abetted by the Yeah Yeah Yeah's ubercool, equally small Nick Zinn.  Both CDs are totally different from one another in terms of sonics and vibe, but the actual songwriting isn’t, which is why it is hard not to get both.  It would be like eating strawberries without cream.  It’s difficult to say which of the two is better as it depends on your headspace at the time.  I would say Digital is the night time driver of the two, whilst Wide Awake is the sunny start to the day.

Digital is, on initial hearing, more "artsy".  It occupies space between vintage Cure, latter day Radiohead, and The Postal Service.  It’s a big bag of synths and twisted drum beats accentuated by distorted loops and backward riffs.  And, to these ears, there seems to be a darker thread running through its grooves.  At times those grooves veer off into "lets see what noise this button makes" self indulgence (oops sorry, I meant experimentation), but often the songs are on point.  Look out for the great "Take it Easy (Love Nothing),” or the equally cool "Devil in The Details" (where Conor channels Bowie for a bit) for proof.

All Bright Eyes’ albums open with a strange tale or poem and Wide Awake continues that tradition as we hear a story of an impending air crash before the noisy strumming wakes up, and Jim James from the Jacket adds some lush tones.  Wide Awake also treads similar ground to Lifted or any number of Conor’s earlier stuff, but here things are given even more of an Americana flavor as Emmylou Harris is featured subtly on some tracks, and initially it looks as though Conor is gagging to resurrect Gram Parsons.  The song “Road to Joy” is my pinnacle for this record.  It starts with the gorgeous line, "The sun came up with no conclusions, the flowers sleeping in their beds, the city cemeteries humming, I’m wide awake it’s morning", set to a very traditional folk sound which slowly builds with "I could have been a famous singer if I had someone else’s voice, but failures always sounded better," before it crashes apart with Conor screaming "Lets fuck it up boys MAKE SOME NOISE".  The cacophony is sex itself.  The marketing for this stuff is genius, as both records should appeal to a different audience, but you can’t have one without the other.  They both feel like a moment in time.  Listening to either whilst driving in the sun makes you truly thankful that you have the ability to hear.  -Glen

Candiria – What Doesn’t Kill You (Type A Records) ½

There are a lot of old-school Candiria fans who do not like this CD.  If you are one of them, please do not dismiss What Doesn’t Kill You.  Sure, it’s a bit more mainstream and has shade of Alice in Chains along with Fugazi.  Sure it’s more melodic and has song structure with their signature jazz roots.  But Candiria has really re-focused itself into a band to be reckoned with on a much larger scale that the underground ever allowed them to before.  It’s nice to see Candiria back after their infamous touring van accident.  It is 2 years later, they’re on a new label, and they have some really amazing new songs.  If you haven’t heard “Remove Yourself” yet, track it down.  Other outstanding songs include “The Nameless King” and “Down”.  -J

The Chemical Brothers – Push The Button (Astralwerks)

Word up!  The Chemical Brothers are back in fine form with their fifth studio release.  Always at the forefront of their game, the British duo of Tom Rowlands and Ed Simons flaunt their growing versatility on Push The Button.  The end result is a remarkably high-energy set of electronic dance anthems that push the envelope in terms of sonic excellence and musical innovation.  Bigger, bolder, and more adventurous than days past, this exhilarating disc kicks off with the brash and bold “Galvanize”.  A kaleidoscope of sonic textures greats you in the cutting edge, hook-laden “The Boxer,” and the party really starts shakin’ when the punishing club beats of “Believe” kick in.  However, it is the intoxicating rush of synthesizers and electronics in “The Big Jump” that really get the adrenaline flowing.  The album shifts gears as the duo ease you into the dreamy textures of “Close Your Eyes,” but the mood picks up again when the Latin-tinged dance pop of “Shake Break Bounce” enters the room.  The psychedelic boogie beats of “Marvo Ging,” and the eclectic musings of “Surface To Air” are further proof that The Brothers have not lost their touch.  Overall, Push The Button might very well be the duo’s most accessible album to date.  However, it is by no means conventional, as this relentlessly propulsive disc pushes boundaries like no other.  It’s an excellent piece of work. -NIN

Communiqué – Poison Arrows (Lookout Records) 3/4

This Oakland, CA band is marked by a bright poppy sound that borrows elements from Blondie, Roxy Music, Dead or Alive and Duran Duran.  It’s like a mixture of 80’s new wave with a pinch of ‘70s glam and a dash of Brit pop.  Poison Arrows offers a number of crowd pleasing tunes that dish out a hefty dose of pop-fueled melodies and jangly hooks.  If your day is blue you may want to give Poison Arrows a spin.  Pop this puppy in and sit back and enjoy the fuzzy synths of “The Best Lies”.  Memories of Hot Hot Heat come alive in “Evaporate,” while “Danger Vision” rocks with a Clash type vibe.  With bands like The Killers, The Bravey, and Hot Hot Heat getting some buzz Communiqué may soon have their day.   -NIN

Crash Kelly – Penny Pills (Liquor And Poker Records) 3/4

Crash Kelly delivers swaggering hook filled rock ‘n’ roll ripe with sing-a-long choruses and slamming glam rock beats.  Think T-Rex, early Kiss, New York Dolls, and maybe a little bit of Sweet.  The Velveeta coated lyrics are amusing.  In fact, they remind me a bit of…Hey!  Wait a minute.  Is that Eric Hermann formerly of The Streetwalkin’ Cheetahs on drums?  Sure is, and let me tell you…this is the perfect band for him.  “Movie” sounded too much like Poison, so I had to skip that one.  “Wanna Be Like You” delivered another 80’s metal moment.  “You Don’t Know” has more meat than most of the saccharine laced tracks and the band’s covers of Cheap Trick’s “Since You’ve Been Gone” and ELO’s “Kiddies” weren’t half bad.  Crash Kelly’s real potential can he heard in “Something Hollywood,” which leads me to believe that Crash Kelly is a great bar band.  To say the least, Penny Pills definitely fills a niche.  If you’re yearning for a taste of the past with a modern twist, Crash Kelly is rock ‘n’ roll therapy for you baby.  -NIN

Dead 60s (Epic)

It’s true – everything comes full circle.  The Dead 60s’ are a retro throw back to the early days of punk and garage rock.  Thanks to the super tight security this disc wouldn’t work on my stereo, so I had to play it on my PC instead.  Maybe it was a good thing because my cheap ass speakers provided a nice hollow twang on the guitar, which added to the vintage tone.  Hailing from Liverpool, The Dead 60s won the U.S. over with their infectiously hip “Riot Radio,” but that was just the beginning.  Their self-titled effort offers plenty of more reasons to love this band, as the disc mixes together elements of dub-punk-ska-funk.  It’s kind of like a cross between Joy Division and The Specials.  The razor-sharp four-piece’s experimental nature will appeal to punk, reggae, and rock enthusiasts.     -NIN

Die Warzau – Convenience (Pulseback) 3/4

 Who sent me this?  Damn, how did they know?  Overall, Die Warzu’s Convenience is great!  At times the vocals are a bit cheesy, but the massively infectious beats make it easy to overlook.  Van Christie and Jim Marcus have made amends and have ended their ten year hiatus with the release of a stellar album.  Convenience finds the duo branching out and incorporating a number of genres, which they experimented with over the course of their career, in one CD.  Teaming up with Abel Garibaldi and Dan Evans, Christie and Marcus have added more dance grooves and club friendly beats to the mix.  Die Warzau’s detailed attention to sonic density fuels this industrial pop machine, which resonates with a sheer variety of styles.  For example, there’s the Duran Duran inspired “Shine” and the funky slap bass and fast-paced electronics of “Radiation Babies”.  A bit of Aphex Twin creeps into “King of Rock and Roll,” and the band pays homage to Skinny Puppy in “Terrorform”.  Things get a little scary when they venture into boy band territory on “Kleen”.  Thankfully, on occasion, the group forays back to the industrial style that their die-hard fans know and love.  Convenience may be 70 minutes long but it’s not monotonous.  Die Warzau manages to mix things up and keep it interesting, all the while staying true to true to their roots.  -NIN

Drop – Suckerpunch (Dark Star Records / Direct Impact)

If you’re looking for heavy then Drop is the band for you.  This band is all attitude and no flash.  Hailing from Chicago, Drop delivers the crunch ala Disturbed, Drowning Pool, and Godsmack.  The tracks that make up Suckerpunch are raw, real, and to the point.  As hardcore albums go Suckerpunch is damn close to traditional.   It’s nice to know that there are still some good, heavy rock bands out there.  I’m surprised RoadRunner is not knocking on their door.  If you’re curious go to www.drop-music.com -NIN 

Evan Emge - Along Came A Guitar (Orange Peel Records) 0

Imagine a Saturday Night Live sketch at a coffeehouse.  The singer, instead of singing earnest love songs, sings songs about sex, boobs, vaginas, and everything juvenile.  Now imagine it with dirty language as if it were on cable.  Then take away the laugh track and any production value.  Then make it unfunny.  Got that image in your head?  Evan Emge is 10 times worse than that and 100 times more juvenile.  Oh, and this CD comes with a comic book, presumably for lining bird cages.  -Repojay

Emok – Shove Your Head Into The Ground And Feed It To The Earth (Wrong Records)

Warning!  Beware of albums with long titles.  Typically, they tend to suck, but in the case of Emok long album title translates to quirky.  Emok is a strange little band – somewhat akin to a Middle Eastern influenced Primus on crack.  Their mild-to-manic song structures will fare well with System Of A Down fans, but the similarity stops there.  To say the least, Emok is a unique breed.   -NIN