Bite Me! CD Reviews G - R

Full Scale (Columbia) 3/4

Straight from down under comes the hardcore unit known as Full Scale.  The quartet’s fiercely jagged take on alt-metal conjures up images of Rage Against The Machine mixed with System Of A Down.  This band doesn’t follow the rules – they make them as they go along and throw a curve ball at you with every time change in order to keep things interesting.  To say the least, their sound is volatile and unpredictable.  With teeth clenched vocalist Ox rants about politics and social darkness, while rabid electric guitar bursts seem to cry out in support.  Thanks to its towering choruses of distortion “The Sickness” is a giant powerhouse, and “Rapture” throws a little Mindless Self Indulgence into the mix.  “Manifesto” is a mighty eye opener, but “Party Political” is the track that steals the show.  You have to respect a band that is willing to take risks.  More power to you boys!  -NIN

Reeves Gabrels – Rockonica (Favored Nations) 1/2

Alright, I respect Reeves contribution to the music world, but come on…Rockonica?  Hello?  Sadly, there isn’t a redeeming piece that will make you overlook the lame title. Rockonica starts off with “Sign from God,” which sports a riff similar to the one found in Van Halen’s “Jamie’s Cryin’”.  “13^th Hour” is a warm instrumental that echoes with the buzz of Sunset Blvd. in the back ground.  The biggest beef with this disc is that the songs start out strong and then tend to fizzle out mid-way through.  A few minutes in and you’re ready to move on to the next.  Another fault is that the album is a bit dated.  Also, unlike past efforts, Reeves handles all the vocal duties himself.  His vocals are fair, but it’s not his main strength.  Reeves strength lies in his guitar playing, and the solos on Rockonica are commendable.  True to form, Reeves incorporates pedal and lap steel guitars, wah-wahs, and lots of feedback.  If nothing else, Rockonica is a guitar geek’s wet dream.   -NIN

Ginger Sling – Room EP (Pineapple Heart Records) 1/4

Many may know Ginger Sling as the bass player for Halo Friendlies and Lo Ball.  Well now this talented young gal is branching out on her own with a solo EP titled Room.  This 5 song effort is filled with sunny day pop tunes that showcase Ginger’s true talent.  “Faith” is a beautiful piece dedicated to Elliot Smith.  A&R reps should take note of “Kodachrome”.  This is the song that will open doors.  Ginger’s spunky personality is evident all throughout the album and gives the songs a nice kick.  These powerfully melodic pop infused rock ditties hint that greater things lie on the horizon.  For more visit www.gingersling.net  -NIN

Gosling (Control Group) 1/4

Gosling—a reincarnation of Seattle’s Loudermilk—is an unconventional band that strays off the beaten path.  The band’s distinct sound mixes in with a variety of influences, but its Davey Ingersoll’s idiosyncratic songwriting and surreal lyrics that turns each piece into a unique artist vision.  “Mr. Skeleton Wings” delivers a good strong chorus.  “I am the Avocado” is a great jam piece, and the heavily distorted guitars on “Here Is” steal the show.  Gosling’s self-titled effort is ripe with dark, eccentrically electronic music that intrigues the listener at every turn.  The band’s music revels in its loose limbed quality and the group adds color to the canvas with strokes of strings, glockenspiel, and handclaps.  It’s hard to resist the uniqueness of this disc.  I can’t wait for the full-length.   -NIN

The Graves Brothers Deluxe - Light  (Good Forks Records) 1/2

Everyone likes to lump bands into neat categories, and I'm no different.  However, I'd like to offer a new category that the Graves Brothers Deluxe have personally created....Munster Rock!  This band is straight out eerie, conjuring up dark images with titles such as "The White Devil's Death Song".  Add to that menacing vocals, screeching feedback, lurid avent garde jazz explorations, and a completely frantic version of the Supreme's classic "Keep Me Hangin' On" and you’ll understand my reasoning.  These songs would be the perfect accompaniment to a David Lynch score.  It is no surprise lead man Stoo Odom is a New Orleans native, and Bela Lugosi passed on his birthday.  The Monster Mash has been retooled and somewhere Herman Munster is shaking the foundation. There is no Light, only darkness.  -Brad LaVarnway

Great Lakes Myth Society (Stop, Pop, and Roll)

Great Lakes Myth Society is not your typical everyday band.  However, their unique sound will make you sit up and take notice.  Hailing from Ann Arbor, Michigan, Great Lakes Myth Society was borne of the ashes of the Original Brother and Sisters of Love. The band’s obsession with their hometown is reflected in their dense and mesmerizing tunes, which conjure up legends from the past and also focus on present day life in MI.  Songwriting duties are split between James Christopher and Timothy Monger - one weaves tales of fact - the other fiction.  Singer/songwriter Gregory Sean McIntosh also adds his clever wit and his songwriting is a mixture of the two.  The music is beautiful and it paints the perfect backdrop for the band’s tales of fact and fiction.  You’ll hear a slight Celtic influence as sighing vocal harmonies and lilting melodies glide fluidly across flourishes of violins or jazz horns.  With its blend of folk, rock, pop, and prog Great Lakes Myth Society is a fascinating album that sounds like no other.  Each song on this self-titled disc is a mystery waiting to be uncovered.  -NIN

The High Speed Scene (Star Trak – Interscope)

The infectious “For the Kids” with its catchy line of “Fuck Tha Biz it’s for the Kids” gets this disc off to a pleasant start.  The L.A. based three piece known as High Speed Scene want you to know that they play music for the kids and not for the fame, chicks, and money - all that is just an added perk.  It’s easy for them to talk because these guys weren’t even looking for a deal.  It just so happens that Pharell & Chad (The Neptunes) dug their stuff and signed them on the spot.  It’s pretty easy to see why Pharell and Chad were so eager.  The High Speed Scene’s energetic songs are fueled by a big sound and lots of energy.  Some of the tracks call to mind the likes of Devo and the Ramones.  Kids will definitely feed off the infectious beats and crazy vibe of “In The Know”.  The band’s references to IROC-Zs and Oakley Sunglasses dates them a bit, but the peeps that watch I Love The 80s will have a clue.  The High Speed Scene’s sound is youthful, rebellious, and just plain fun.  This band has promise.   -NIN

H.I.M. – Razor Blade Romance (Universal / Jimmy Franks Rec. Co.) 

I know I’m a little late with this review, but I had to see what all the hype was about.  Personally, I think it is all fluff as H.I.M. has the potential to be so much cooler.  Razor Blade Romance is filled with sappy love songs and the music is reminiscent of 80’s metal with a slight edge.  Are cheesy 80’s riffs the next big thing?  Or is it corny lyrics?  Not sure, but H.I.M. has all bases covered.  What’s sad is that the best song on here is Chris Isaacs’ “Game”.  It appears that the band’s main goal is to attract a large female audience.  Okay, maybe they’re better live; however, on disc the Finish band sounds like a B grade version of Type O Negative.  Let’s hope the follow up album is better.  -NIN

Hirax - The New Age Of Terror (Mausoleum Records) 1/2

Increasingly, a US dark metal band needs to go overseas in order to get their record released.  So it’s no surprise that Californians Hirax needed to jump to Belgium in order for this disc to come out.  However, it's with good reason: it's not very good.  Everything—from the trying too hard vocals to the Musicians Institute styled guitars—just doesn't feel right.  An odd thing occurs though, and as the album progresses you actually get used to it and are somewhat soothed into liking later tracks like "Suffer" and "Unleash The Dogs Of War".  However, that's negated by the way-too-clichéd poses by each band member in the CD booklet.  -Repojay

Hanzel Und Gretyl – Scheissmessiah (Metropolis Records) 3/4

It’s so good to have another Hanzel Und Gretyl album.  This New York based unit, which is heavily influenced by German culture, pounds out the ferociously heavy anarchistic beats with a force.  On Scheissmessiah, the band’s fourth release, we find the group making the natural evolution from techno into more cyber industrial metal and the end result are songs that are more densely constructed but not claustrophobic.  Scheissmessiah was inspired by Dante Alighieri’s “Inferno” and Handel’s “Messiah”.  It’s an interesting pairing that plays out well within the context of the album, which explores the very essence of Heaven and Hell.  Vas’ Deutsche/English vocals are still as menacing as ever sending shivers down your spine on “Kaiser Von Shizer”.  A bit of the band’s old dance grooves emerge on “Blut! Sex! Fire!,” but it’s “Burning Bush” that really steals the show.  The album appropriately closes with “Hellalujah” (I’m surprised Ministry didn’t think of this first).  Hanzel Und Gretyl was well received during their tour with Ministry.  If you haven’t discovered them yet, pick up Scheissmessiah (or any of their past releases) and convert to the dark side. -NIN

Hot Hot Heat – Elevator (Sire/Wea) 3/4

Hot Hot Heat, the Canadians that it’s ok to like, missed the bus a couple of short years ago with the so underrated Make Up The Breakdown.  It was chocked full of spiky hooks and choruses that burned. (get it?)  Just after the modest fever of Bandages fizzled out Las Vegas spewed out The Killers and Glasgow threw up Franz Ferdinand, which in turn opened wide the floodgates for any number of chancers with a wobbly  high voice and a penchant for XTC to laugh all the way to the bank and BANG!  We were all pretending the 80's were actually great.  So, wanting to regain their rightful place in the order of things HHH holed up in a cabin somewhere in the middle of nowhere and began to create.  Early news of guitarist Dante’s immediate departure after recording didn’t bode well, but no worries my lovelies as the great news is that fans are gonna flip for this new album.  It’s not gonna scare anyone with any new direction nonsense and, likewise, it not a carbon copy of what came before it (see Room on Fire for details).   Kicking things off is “Running Out of Time,” an edgy new wave stomper that grabs you by the neck and has singer Steve Bayes pumped up and eager to please, “Hey how you been? We missed you.”  The current single, "Goodnite Goodnite" is a get the fuck out of my life exorcism and, at just 2 and a tiny bit minutes long, is unbelievably spiky.  Steve spits the lines “You’re embarrassing, you’re embarrassing you" before urging the guilty party to take their shit and go "along with all your records I can’t stand, you never even listen to any one of them, you’re never gonna drag me out again, with all the people that were never ever even your friends, so here it is your final lullaby," right before a hook you'll be singing throughout tomorrow.  Our guy is still pissed on the next track "Ladies and Gentlemen," which could be about an annoying klingon of a fan or maybe even George Bush depending on your take on things.  Judging from the lyrics, "We never wanted him in, but he showed up anyway," my take is the latter.  The track “You Owe Me an IOU” has a title like a song by The Hives, but the plinky plink piano pays to that notion, and is yet another mini masterpiece.  As the CD spins you start to realize that at least half the stuff here has the potential to get airplay.  Such is the case with the addictive quality of the pop on offer, none less so than standout track "Welcome to The Island of The Honest Man," which is damn near perfect in its execution.  Unfortunately, things get a bit flabby three quarters in and "Middle of Nowhere" goes exactly there and has little edge or bite, whilst "Soldier in a Box" is a too literal version of a Jellyfish/ Red Kross song wrapped in antiwar sentiment and Beatles’ harmony.  Then, just in time, the settings are pushed to odd again, no make that crazy, for the cabaret rock of "Shame on You" - a belter that WILL make you dance.  There is no track 13 (bad luck for elevators see), so that just leaves the very “In Cairo” (the closer on the last album) and the title track to finish off things here.  All in all, it’s a really good record, and after a few listens it’s well worth the wait.  Not everything grabs first time through because if it did that would make it disposable, and I’m pleased to see that there is a depth to search for here.  I only hope it’s not as long a wait to see where the heat takes us next.  -Glen

Billy Idol – Devil’s Playground (Sanctuary) 1/2

Thank you very much, Billy Idol, for coming back to kick some ass after 10 long years without you.  Unfortunately, it doesn’t happen the way I would like it to, but oh well.  In parts of the songs on Devil’s Playground you can see the spunk and fun of his early years.  And the voice with a sneer in it is still pretty good.  But most of the songs are uninspired – I know, Billy never had the best lyrics to begin with, but some of these are hysterically bad – as in “Super Overdrive” and “Yellin’ at the Xmas Tree” (where an all-grown-up Billy Idol sings about mommy and daddy – kinda weird).  Overall, I don’t think Devil’s Playground is his best CD or will do great numbers, but it’s nice to have Billy around again.  I’m hoping for the tour –he used to be amazing live and I hope he won’t disappoint.  -J

In Flames – Soundtrack to Your Escape (Nuclear Blast)

Why does it feel like 1994 all over again?  Death metal bands are yet again on the verge of breaking out of the underground.  Some would say that after the brief yet ongoing success of screamo, there’s never been a better time to be a death metal band.  In Flames is trying to take full advantage of it with their new release Soundtrack to Your Escape.  10 years after their founding, In Flames hammers you with the latest melodic yet heavy as hell release.  Kids looking for a new way to take their hormonal rage out will definitely find this a soundtrack to their escape.  -J

Isidore (Brash Music)

Damn!  Where’s R-Lo when you need her?  With their melancholy musings and moody metaphors, Isidore is right up her alley.  Isidore is the brain child of ex Church vocalist Steve Kilbey and ex Remy Zero guitarist Jeffrey Cain.  The most amazing thing about this album is that the two artists never once sat in the same room together.  Cain sent his music over to Kilbey, who recorded the vocals in Sydney, Australia, and returned the finished product to Cain.  This ethereal disc tells the tales of life’s longing, wistfulness, sadness, and triumphs.  Each story is accompanied by dark & poetic lyrics that shimmy over a wave of swirling guitars, ambient noise, and driving beats.   -NIN

It’s Revenge (Man Made Monster Music)

It’s Revenge puts the fun into punk with their bouncy upbeat tunes.   Each track on this disc offers a little something to delight the aural senses.  For example, “Kill Your Radio” has a warm, familiar sound; the infectious “New York Minute” is a delightful tidbit, as is the finger-snapping “Nothing to Lose”.  Aside from catchy tunes, this self-titled effort is filled with powerful vocals and tight harmonies that are backed by a powerful rhythm section.  I fully expect these boys to move on to bigger and better. -NIN

Kaddisfly – Buy Our Intention; We’ll Buy You a Unicorn (Hopeless Records)

To review Kaddisfly’s latest CD, you have to take into account the total package: live, artwork, and the songs.  Kaddisfly’s whole deal seems to be the art – the multimedia art.  Now, I haven’t seen them live and probably won’t soon because they are playing some very “different” venues on their tour, none of which I frequent.  So scratch that.  The title of the CD alone; Buy Our Intention; We’ll Buy You a Unicorn sounds as earnest as a 14 year old girl for her first real kiss.  The artwork on the CD is beautiful – at least the professional color items.  The inside of the booklet is way more like someone drew a character on looseleaf paper and made a CD booklet around it.  Ugh.  Too Junior High.  The song titles and lyrics are very intellectual (“A Message to the Flat Earth Society”, “Osmosis in C” are two examples).  So I’m immediately putting them under the “math-rock” banner.  And they are good musicians - quite good for their thing they do.  It’s like math-rock and jam music combined with Coheed and Cambria.  Very deep stuff - too deep and pretentious for my little mind which enjoys music for music’s sake.  But if you like that sort of thing…  -J

Kill Your Idols – From Companionship To Competition (Side One Dummy)

Kill Your Idols’ From Companionship To Competition rages with the spirit of classic 80’s hardcore complete with shouting vocals, pulverizing riffs, and strategically placed time changes.  Intricate yet punishing, this intriguing release is packed with raging tunes that are loud, hard, and furious with few frills and no bullshit.  From Companionship To Competition is the band’s first full-length in three years and it only shows that Kill Your Idols improve with age.  Pop this disc into your stereo and pump your fist proudly in the air.  -NIN

Audra Kubar - Since I Fell In Love With The Music (Time Beach Records) 1/2

Audra Kubar offers a compelling album that stretches beyond the normal boundaries of a singer/songwriter. The production is very professional, yet the music is far deeper and artistic than the usual. There are touching musical moments - fueled on darkness and melancholy. While lyrically cliché at times ("I'm lost to you because I've been lost to me”), for the most part the songs speak for themselves. The final track is a fantastic finish; however, the title song leaves a lonesome leftover. Give this CD more than one listening to sink in.  -Brad LaVarnway

Last Of The Famous - The Music Or The Misery (456 Entertainment)

This is about the oddest mix of a band in quite awhile.  Two members formerly of the NYC straight-edge group Shelter team up with two Swedish punkers whom they met on a tour for an entirely new band.  The resulting sound seems like a band influenced by recent punkers like New Found Glory, but when you realize that half the band originated that sound you realize it's actually a trend coming full circle.  What you get is far more authentic lyrically than most of the emo crap that is being spewed out lately and it's put together by tight players who have been performing for over a decade.  That alone is a welcome reprieve from the amateurs now clogging the majors.  This certainly makes Last Of The Famous a wiser choice to follow on the Warped scene.  -Repojay

The Local Division – Pure Electronic Light EP (Intravenous/Aeronaut) 1/4

The Local Division’s retro sound brings back fond memories of bands like Joy Division and The Cure.  Listen closely and you’ll also hear a bit of Interpol and Franz Ferdinand in the mix as well.  Pure Electronic Light is an enjoyable piece of work brought to you by an extremely tight band that is not afraid to go against the grain.  The boys channel early Bowie on “Stroke of Genius”.  “Sanctuary” is a whimsical little number, and the epic “Sister Medicate Me” is a great tune that is reminiscent of the Simple Minds.  -NIN

Local H – Whatever Happened to P.J. Soles? (Studio E Records/Earshot Media)

Local H is a band that I had heard a great deal about over the years, but I had never gotten into.  It’s strange, because Whatever Happened to P.J. Soles? is now in my regular rotation.  Local H on their latest release touches upon Nirvana, Redd Kross, the Posies, a little Faith No More, plus more -- and sounds great doing it.  I’m in love.  The songwriting is good – clever, but not too smartass.  I keep listening to it, and it hasn’t bored me yet.  -J

Lost City Angeles – Broken World (Stay Gold / Universal) 1/2

The Lost City Angels first made their splash with their self-titled release on Nitro records, and now they’re back to make even bigger waves with their major label debut Broken World.  On Broken World, the Lost City Angeles mix street punk swagger with Boston hardcore and melodic indie rock.  It’s a straight up shot of melodic punk with a bite.  Loud, hard, and fast, this powerful debut offers up the perfect mix of melody and aggression.  Just check out the hell raising antics of “Pretty War,” the ingeniously infectious beats of “Broken World,” or the high energy blast of “Clutching At Shadows” if you’re in doubt.  “Buried Dreams” takes the intensity level down a notch, but this song is by no means a ballad.  In fact, it’s a direct display of the group’s talent and diversity.  The album ends as all good albums should - with a solid track that leaves you wanting more and in this case that track is the chiming epic “Hardly Seems”.  All in all, Broken World is an album with few frills and even less b.s.    -NIN

The Mars Volta - Frances The Mute (Universal)

If this record never existed it’s possible you could go to Amoeba and pick up some basic ingredients to make your own.  But, be warned, you will be there all day, and you will be bouncing around the huge record store like a rubber ball on crack.  On top of that you will need to spend one fat wad of green to replicate what we have here.  First, you will have to purchase pretty much everything Led Zeppelin released, as this will be your base. Next, top that off with some of Pink Floyd’s back catalogue and on your way out of classic rock grab a little Samba and Salsa.  Then, turn the corner and walk into the big jazz room - you may need a bigger basket here as you will need to add a ton of free form jamming.  Leave the strange little bearded guys and head to Latino and pick up some Santana (you need lots of percussion here).  Then go to alternative and grab any of John Frusciante’s solos albums.  Taste your concoction and you might find that you still need more Prog, so pick up a couple of albums by YES then grab ‘A Night At The Opera’ by Queen.  Check your wallet, look for Can…ok, it's getting there.  Finally, make sure that your piece of work totals 76 minutes (I thought CDs only lasted 72?).  Oh, and make sure you self produce it.  To say that the second Mars Volta album was an epic piece of work would perhaps be the biggest understatement of the decade so far.  On repeated listens its obvious pretension will mean less and less as you fall in love with its grandeur.  The story goes that a stranger’s diary was found in a cab and The Mars Volta's Omar long name and Cedric equally long name read it, felt it, smoked it, and then dreamed up this stunning second album.  Everything including the kitchen sink, dishwasher, and fridge freezer is thrown into the mix and, of course, the result is totally indulgent, but rarely does it alienate and that is a good thing.  The record is divided and sub divided into pieces that form movements.  It’s extremely artsy and will blow your mind just before it fucks it entirely.  The listener will go off into his/her own world while they absorb titles like "Cygnus Vismund Cygnus...Facillis Descensus Averni," which won’t mean shit to you on the page as they sound more like worlds to discover in a Dungeons and Dragons game which, by the way, I’m sure Omar and Cedric will both kick your ass at...geeks! But, when you hear it coming from the stereo you will at least make some sense of things.  The album’s rhythms swirl and tumble through and around you.  Psychedelic passages wrestle with screaming guitar solos and full on Robert Plant style wailing.  It’s a trip, and it’s just the first part of a long journey where, if you let it, you could discover new worlds.  After the frantic Cygnus...etc, “The Widow” offers some welcome relief.  It’s a gorgeous ballad that oozes sensuality, but after a fucked up sounding ending we are back into it with the mainly Spanish “L'Via L'Viaquez,” which stuns on every listen. The remainder are two epics - the trancy "Miranda, That Ghost Just Isn’t Holy Anymore" and the closing half an hour of "Cassandra Gemini," which comes complete with trumpets from Flea (Red Hot Chili Peppers), sax, and god only knows what else.  The song all but finishes you off entirely.  I just read that Mars Volta have sold out the massive Greek Theatre, which is nothing if not biblical proof (like we needed it) that L.A. is chock full of some big time crazy fuckers.  -Glen

Sid Maudlin (Device Party) 3/4

Super sexy and she can sing, Sid Maudlin is one hell of a dance party queen.  Her self-titled EP features three tantalizing club-a-licious techno dance tracks.  Sounding like a cross between Gwen Stefani and Madonna, Sid cuts and mixes things up to create one hell of a booty-shakin’-dance-a-thon.  This chick has got the grooves to make the dance floor slither, shake, and sweat.  You’ll love the pulsating beats of “The Good Stuff”.  This song will be stuck in your head for days.  “That’s a Lie” is an energetic foot stomping anthem, and “Lucky Bitch” is simply pop-tastic.  All three tunes are iPod worthy and dance floor mandatory.  I can’t wait to hear more.  Somebody give this girl a deal.   -NIN

My Chemical Romance - Three Cheers For Sweet Revenge (Warner Brothers)

I realize that I am late joining the party on this one, but with the release of their new single "Helena" I thought it was high time I wrote a few words about this album.  Three Cheers For Sweet Revenge is the second full length from the Jersey crew, but on this—their major label debut—they take things up to the next level and then some. Opening with "Helena," a song as anthemic as anything else you’ve heard this year, it soon becomes apparent that this album lives and breathes with passion and most importantly FURY.  The relentless flow is staggering, as each song almost crashes into the next, and it’s only when you get to the fourth track that you get a chance to catch a breath.  On "You Know What They Do to Guys Like Us in Prison" the band enlists Bert from The Used to trade vocal licks to great effect.  The story telling is great, witness for proof: "In the middle of a gunfight, in the centre of a restaurant, they say ‘come out with your arms raised high’".  Then imagine backing that with guitars straight from Queen before our hero tries to escape in a hail of bullets, and you crash headlong into a fight sequence where you have to hold on for dear life.  After a few listens you will be singing lines from this album, as though you've been infected by it. You already know the perfect pop of "I'm Not OK," and if you don’t then discover the lovely world beyond the rock you live in – don’t be scared, it’s nice out. 

Like Fox news I try to be fair and balanced when I write reviews, but I have to come straight out and say, “I friggin love this record!”  The visuals it produces are so cinematic - come on "Shot through a flock of doves," how John Woo is that?  There are hints of Radiohead, Queen, AFI, tales of fucked up love and obsession, Romeo and Juliet, classic Maiden, Anne Rice, Muse, Black Mariahs, and blood all wrapped in sing-a-long choruses searching for their arena homes, nonetheless, on "Thanks for the Venom," which I defy you not to join in with.  Things slow for "The Ghost of You," which is as close to a ballad as things get here but even then the guitars have to be chained down as they are chomping at the bit to fly off and attack anyone in the room.  I know the image is very important and thousand of kids will pick up on that.  Believe me, I was suspicious when I saw pictures - another red tie band and all, but I’m so happy to say that this album delivers. Play it over and over then leave it for a day or two (if you can) and then go back to it.  It’s seriously great.  I enjoy its anger, its enthusiasm, its frenetic style, and just the way it damn well makes you smile.  Three cheers for sweet revenge - try three hundred.  –Glen

Necro – The Pre-Fix For Death (Psycho-Logical) 1/2

The Pre-Fix For Death was so promising.  Come on…there are appearances by #0 of Slipknot, Jamey & Sean of Hatebreed, members of Voivod, Nuclear Assault, and many others.  So what da hell happened??  Unfortunately, the core wasn’t that good to begin with, and if the broth sucks so will the soup.  On this mediocre rap metal effort the Brooklyn-based hardcore rapper/producer Necro delivers a disappointing 80’s metal album mixed with straight up rhymes.  To say the least, The Pre-Fix For Death is anything but inspiring.  In fact, it’s all fluff. -NIN

Nine Inch Nails - With Teeth (Interscope Records)

Trent Reznor owes me 200 bucks.  Why?  I’ll explain later.  Ask anyone who cares how much they been looking forward to this record, and you will likely learn the true meaning of the word expectation.  Fuck all that shit everyone is talking about right now, for those people who really feel it, this could be as intense as anticipation gets.  It’s been at least 5 years since Trent unleashed his last opus, The Fragile, a great record for sure, but its musical indulgences occasionally made it difficult to live with.  Maybe Trent realized this and much has been written about how he has cleaned up his act musically, as well as chemically, and by dumping his baggage he has created an album that feels focused and true.  The music is at times as open and stripped down as 1989’s (fuck now I feel old!) Pretty Hate Machine or even the gorgeous beyond words Still. (Buy it!)  The sparse artwork (no lyric book) holds a few clues to this new no nonsense approach.  No longer are there any meandering instrumentals to be heard.  No siree.  This is a stripped down rock record through and through.  The recruiting of the throbbing bass of Geordie White (ex-Manson, A Perfect Circle) adds a much more organic feel to things.  Indeed it’s Twiggy’s, sorry, Geordie’s bass that drives most of the tracks, but make no mistake it’s far from being a one trick pony, and there is still plenty of layers to get your (ahem) ‘teeth’ in to.  Things begin with “All the Love in the World” which starts with some Massive Attack trip hop and adds bit of Chris Martin style falsetto before a crashing piano chord properly heralds you back to NIN world.  Welcome.  Stick Around.  Then, it’s sledgehammer drum frenzy time.  Enlisting Dave Grohl to perform on half of the songs was, I think, a masterstroke, and the fact that Trent pushed his drums way, way high in the mix and didn’t mess with them means you get to feel every hit and every kick.  If you’re pissed at someone or something I urge you to play the second song and scream along with Trent as he spits the albums first made for t-shirt slogan “Don’t you fucking know what you are?”  I’ll bet you money that by the time it’s done you will feel better.  More monstrous drums follow with “The Collector,” which has some great fucked up sounding piano just in time for the best four minutes I think I’m gonna hear all year.  “The Hand That Feeds” is just a superb song.  It’s the one I drive to work to, sing to myself all day, and then drive home to with the windows wide open, speakers blaring, all the while trying not to drive too fast.  Within the context of the song keyboards take over guitars and the synth solo is a doozy.  The track’s length makes it a  perfect pop song but its lyrics, “What if this whole crusade’s a charade, and behind it all there’s a price to be paid, for the blood on which we dine, justified in the name of the holy and the divine,” are anything but shallow and scream anti war.  The tiny little dot from Pretty Hate Machine haunts Trent again on “Only,” but this time it’s wrapped up tight inside some funky drum and bass.  I was surprised by the song “Getting Smaller,” which thrashes out like vintage G’n’R mixed with The Pixies’ “Planet of sound” and has Trent singing with a guttural roar.  It’s like something Velvet Revolver could maybe achieve in about, oh lets say, ten years shall we.  The song “With Teeth” makes an odd choice as a title track.  Its weird repetition gets in the way of its sex, but things are saved by the whisper quiet breakdown.  It’s definitely a grower.  Speaking of sexy, check out the non stop erotic cabaret of  “Sunspots” - a definite highlight with a Prince (I shit you not!) chorus and a spooky windblown keyboard that flows through the track until it’s tour de force solo takes it over completely.  It makes me really wish I’d been in the country for this year’s Coachella Fest.  The closing songs revisit the sound of The Fragile, especially the droning “Beside You in Time” and the piano led “Right Where it Belongs,” which starts off fairly fuzzy (literally) but slowly builds and grows until everything eventually clears and closes things off perfectly.  Oh yeah, about that 200 dollars? Well, after a week of playing the album constantly I wanted to hear the quietest bit on the record clearly (the aforementioned title track’s mellow part), but I didn’t turn my stereo down in time before the song crashes back.  So, take my advice, unless of course you want to waste an hour waiting to be served in Circuit City to buy new speakers, and turn track 7 down at 4:18.  Overall, With Teeth is an awesome return to form.  -Glen

Number One Fan – Compromises (Pat’s Record Company/Earshot Media) 1/2

Meet Number One Fan.  They sound like Copeland and the more mellow Jimmy Eat World songs mixed with the extended instrumental passages the Atari’s like to stick into their songs.  Number One Fan’s debut CD Compromises is full of emo sounds and emo sentiment, for girls 9 – 29 to love and write about in their diaries.  I mostly enjoyed this CD, although the extended instrumental parts of their songs started to bug me after a while, and the angsty emo world of the lyrics got to me a little bit.  Great lead singer vocals, very tight, RLo would love these guys from Appleton, Wisconsin.  –J

The Occasion (Say Hey Records)

The Occasion’s self titled release displays a picture of an arid desert wasteland, which is very fitting for a band whose music effortlessly elicits emotion from the listener.  Brooding yet peaceful, this melancholy disc evokes a powerful sense of loneliness while the Doors influenced melodies and organic elements expand your mind to realms unknown.  From just one listen it is obvious that The Occasion is utterly unique in both their sound and approach.  Their psychedelic retro musings are accentuated by the talents of three vocalists, who switch off between lead and backing vocals.  How’s that for a little variety.  -NIN 

Over It – Silver Strand (Lobster Records)

This power punk four piece delivers a solid punch on Silver Strand.  The Orange County transplants are known for churning out high-energy guitar pop, and much like their past label brethren Yellowcard, Over It have the potential to break, especially if they continue to land support slots on good tours.  With its solid song structures and strong musicianship this CD resonates with relentless cheerfulness and positive energy.  The new generation of punk kids will be into this.  Highlights: The mosh pit inducing “Ignore the Noise,” the progressive edge of “Shine,” and the all mighty “Partner in Crime”.  -NIN

Pillar – Where Do We Go From Here (Flicker Records)

Pillar is a little band with lots of spunk.  The alt-metal tinged Christian rockers have been honing their sound since 1998.  Where Do We Go From Here, Pillar’s follow-up to their critically acclaimed ‘Fireproof’, is warm and inviting from beginning to end.  Clearly, this is a band with an agenda, and their no frills style is quite easy to relate to.  Songs like “Hypnotized” and “Let It Out” showcase Pillar’s strengths, but the real standouts on this solid effort are the strikingly dynamic “Bring Me Down” and the hard-hitting rhythms of “Underneath It All.”  -NIN

Queens of the Stone Age – Lullabies To Paralyze (Interscope) 1/4

Lullabies To Paralyze finds frontman Josh Homme reinventing the Queens (new drummer, new bassist) without sacrificing the band’s signature sound.  New line-up aside, the Queens are still a bit off their rockers.  QOTSA is not your ordinary band; thus, typical rules do not apply.  The loss of Nick Oliveri has not affected the group one bit.  Sure, there are a few subtle differences, but nothing too earth shattering.   The story of how Lullabies To Paralyze came to be begins with a fairy tale about how an ass, a quack, a cock, and a pig found each other and formed a union of sorts - a band to be precise.  Masters of the mood, their skill unfolds in these cinematic tales of fuzzy, neo-psychedelic hard rock with minor-key melodies.  Lullabies is not a concept album per se, but it does have that same feel.  The songs on this largely unpretentious album are less volatile and have more of a sleeper tone – somewhat akin to a stoner buzz.  The album is ripe with the band’s ingeniously heavy sound and strange humor, which rears its head on “Skin on Skin”.  The 60s inspired pop tune “In My Head” is also a doozie.  “Little Sister” is the perfect single and goes without say.   ZZ Top’s Billy Gibbons throws down some cool ass swampy blues guitar riffs on “Burn The Witch,” and bad girls Shirley Manson & Brody Dalle deliver some sultry back up vocals on “You’ve Got a Killer Scene There Man”.  The disc ends on a melancholy note with “Long Slow Goodbye”.   Lullabies To Paralyze is perhaps the bands strangest foray yet.  In fact, Josh once stated in an interview that sometimes he is the shepherd of the weird.  Uh, you hit the nail on the head there buddy.  -NIN

The Reason – Ravenna (Small Man Records/Earshot Media) 3/4

The Reason mixes numetal with punk, hardcore and screamo (Mix Korn, the Ataris and Story of the Year, put in blender on high, and The Reason is the result.).  Their new CD Ravenna also has a lot of similarity with Linkin Park’s type of “call and response” vocals.  Overall, they’re pretty good if a little similar to a lot of what’s coming out and don’t really distinguish themselves or stand out.  One thumb up – come up with some great hooks and you may have something here.  -J

Reel Big Fish – We’re Not Happy ‘Til You’re Not Happy (Mojo/Jive) 1/4

We’re Not Happy ‘Til You’re Not Happy is Reel Big Fish’s first album in three years and it’s very reflective of the band’s career in terms of where they’ve been and where they are now.  When the happy-go-lucky melodies of “The Fire” kick in you can’t help but crack a smile.  Horns loom majestically in the all mighty “Drinkin’,” and you can’t help but notice that the song sports an all too familiar line, “I think I’ll go out drinking all night long.”  That always seems to be the universal solution to any problem – doesn’t it?  In “Don’t Start a Band” Aaron Barrett lectures, “Don’t start a band, you will be so disappointed that it was nothing like you planned.  Don’t start a band cuz you won’t get paid and you won’t get laid.”  He’s right, you know.  Everyone knows that Rap is where the money is at.  The band takes a stab at 80s metal in “A.W.E.S.O.M.E.” and delivers another bouncy hook in “Turn the Radio Off”.  Social Distortion fans will be happy to know that RBF didn’t butcher “Story of My Life”.  In fact, the band put a nice spin on it.  They also added a ska-punk twist to Morrissey’s “We Hate It When Our Friends Become Successful” and Tracy Chapman’s “Talkin’ Bout a Revolution”.  However, don’t you think three cover tunes is a bit much?  “One Hit Wonderful” has you guessing if RBF will forever be remembered for “Sell Out,” or is there something bigger on the horizon.  “Your Guts (I Hate Em)” is the perfect tune to crank when you’re pissed at your neighbor, girlfriend, roommate, brother, etc....  In “Last Show” Barret sings, “I’ve learned my lesson/I’ll never follow my dreams again.”  The lyrics are a bit discouraging; however, the song itself is downright catchy.  I’m not quite sure what message the band is trying to get across here.  Is this their farewell or just a bitter moment in the band’s history?   Oh well, at least they curb the sting by coating their cynicism with buoyant melodies.  We’re Not Happy ‘Til You’re Not Happy may not be Reel Big Fish’s best, but it is definitely amusing nonetheless.  -NIN

Relient K – MMHMM (Capitol Records / Gotee)

This radiant disc is brought to you by the spiritual pop punk trio from Canton, OH., known as Relient K.  MMHMM is the band’s fourth record to date, and their previous release even earned them a Grammy nomination.  Not bad considering they were on an inide label at the time.  On MMHMM, Relient K’s trademark power chords and buzz saw guitars mesh with smart-ass lyrics and catchy melodies.  How’s that for entertainment?  For even more kicks check out the fascinating piano intro of “Who I am Hates Who I’ve Been,” the dreamy vocals of “Be My Essence,” and the happy-go-lucky “High of 75”.  “My Girlfriend’s Ex Boyfriend” is another fun tune.  Seriously, how often do you hear a guy thank the ex instead of bashing him?  But it’s true; another man’s loss in another man’s gain (and it’s the same for you too ladies.)  -NIN

Run, Run, Run – Endless Winter EP (Song & Dance Records)

Run, Run, Run is an L.A. based band whose guitar heavy tunes are passionate and majestic in nature.  Endless Winter is a straight up guitar driven rock record ripe with the musings of old and visions of new.  The droning riffs, aggressive rhythms, and cutting lyrics give the tunes character.  On occasion, the group will combine lush atmospherics with solid melodies to create a sound that can only be described as shoegazer with a kick.  Nods to My Bloody Valentine can be heard throughout and the band’s cover of Mazzy Star’s “Fade into You” deserves applause.  “Endless Winter” is a great opener and “2 a.m.” and “Drizzle,” are other noteworthy tracks.  Judging from the strength of this EP I’m willing to bet that this band’s live show is something to see.  -NIN