Bite Me! CD Reviews A - F
A Faith Called Chaos – Forgive Nothing
(Volcom/Earshot Media)
While these guys are good (and their guitarist is excellent) I don’t hear anything differentiating them from the myriad combo spandex/metal/screamo bands out there. Oh yeah, they’re out there. And I seem to have found all of them. And if one more band goes on the Warped Tour or brags about it, I’m gonna scream. Warped needs to be more selective!! End of rant. Oh yeah, these guys are supposed to be on some upcoming tour or something. So, back to the review – Faith Called Chaos – good, but not great (except for their guitarist). -J
Agents of the Sun
(DCide Records)
3/4
How to write a hit song 101: copy everything and everyone else – especially Lifehouse and Linkin Park. Have good production. Use lyrics that make Lenny Kravitz look like a friggin’ Rhodes Scholar. And BAM! You have the 206,541st best seller on Amazon. By all rights, this CD should be a huge seller with the big riffs, the same guitar sounds in almost every song catering to the LCD (or the ADD), and 3 lead singers chanting a la the aforementioned Linkin Park. I love America. -J
Alice Donut - Three Sisters
(Howler Records)
Getting a release from the newly reformed Alice Donut begged me to even ask the question, "When did they even go away?" They were such a staple name of a band very few ever even actually heard that I always assumed they were around despite never consciously hearing a lick of their music. Alice Donut is sort of a cult band for people who think other cult bands are too mainstream. After listening to the jambalaya that is Three Sisters, it's easy to understand why. It veers from interesting to grating, catchy to unlistenable. In other words, inconsistent. I imagine that they're a mix-disc sorta band where fans just pick the tunes they like from multiple releases, yet no one fan picks the same songs (see: Ween). I personally tend to want to buy a CD that is great from start to finish. Perhaps, all the music snobs who slather at the altar of iTunes would like this CD simply because they wouldn't have to buy all the tracks. -Repojay
Amen – Death Before Musick (eatURmusic / Columbia)
It is so nice to have Amen around to keep all the pussy bands in their place. Amen was named the #1 band in the world by U.K.’s Metal Hammer, and rightly so. The abrasive punk-metal act spews forth anger and aggression with every riff. Fortunately, System of a Down guitarist, Daron Malakian, knows a good thing when he sees/hears it, and he was smart enough to sign Amen to his eatURmusic imprint. Unfortunately, Virgin didn’t understand this insane little bunch, but for Malakian Amen’s violent musical outbursts is familiar territory. Malakian called Casey Chaos the Iggy Pop of this generation and he may be right. Chaos’ visual antics manifest in his musical rants. The outlandish vocalist is a musical visionary who puts 100% of his physical being into his performance and his music. And, since his former band mates jumped shipped when Vrigin pulled the plug, Chaos ended up writing all the material and playing all the instruments (except the drums) on Death Before Musick. With its nothing to lose attitude and furious outpouring of pummeling punk and hardcore angst, Death Before Musick delivers one solid punch after another. Highlights include: “Exterminate,” “Hello (One Chord Lovers),” “California’s Bleeding,” and “Please Kill Me”. -NIN
Anadivine (Side-Cho Records)
The eight-song Side-Cho debut is filled with teen angst so familiar to anyone who has had their radio tuned into FM radio since 2000 that one wonders how much longer the industry will remake the same batch of songs. Proficient and boring, Anadivine plug through enough songs to make me want to avoid their summer 2004 Militia Group full-length. -Brendan McMahon
Antifreeze – The Search for Something
More (Kung Fu Records)
The circle of life continues. First, Lagwagon passed the torch on to the Ataris by producing a CD of theirs. Now, the Ataris pass the torch to Antifreeze, a band apparently the Ataris discovered, produced, and is now managing as well in their spare time (!). So, what does Antifreeze sound like, you ask? They’re really good if you like your punk slight with huge big pop hooks and some straight up rock sensibility. And if you like the Ataris and Lagwagon, because it is fairly obvious that these are Antifreeze’s influences. Antifreeze is reminiscent of the latter years of Green Day – when the acoustic guitar was big and not a no-no anymore. Upon the first listen, I really, really like this. Now, it’s starting to wear on me a little bit. It’s not as varied as is the norm for this genre, the songs are all pretty much the same after a while. -J
A Perfect Circle – Thirteenth Step
(Virgin)
3/4
This super group of veteran musicians now sports James Iha (ex-Smashing Pumpkins) and Jeordie White (ex-Marilyn Manson). Thirteenth Step was three years in the making and one can see why. The album is nearly flawless as it encompasses carefully crafted melodies and progressive time changes. However, it’s a little darker and moodier than ‘Mer de Noms’. It’s really hard to go wrong when you have this many talented individuals working together as one unit. Each dynamically powerful and deeply engaging track matches Maynard’s intensity with precise instrumentation. Sit back and enjoy the mystically soothing grooves of “Gravity”. “Weak and Powerless” packs a lot of punch, which is matched by the sheer urgency of “The Outsider”. “The Nurse Who Loved Me” is an interesting piece, but nothing grabs your attention more than the potent “PET”. It’s the delicate balance of beauty and brawn that make this disc so powerful. You have to appreciate musicianship as good as this. -NIN
ArmsBendBack – The Waiting Room
(Trustkill Records)
1/2
The singer of ArmsBendBack I swear to God sounds like a clone of Simon LeBon from Duran Duran! And they’re all ROCK! (note terminal sarcasm), comparing themselves to Finch, Glassjaw, and Juliana Theory (!) Bwahahahahaha. This is total wussy crap. Definitely nothing even remotely resembling THRICE, whose name they jack for the sticker on the CD cover. The Waiting Room is more like – oh forget about it. I’ve wasted too much time on this already. -J
Autopilot Off – Make A Sound (Island)
3/4
It is so nice to be pleasantly surprised by a band’s debut release. This searing disc starts off strong with the title track, “Make A Sound,” which is an announcement that screams, “Here we are!” The solid and punchy “Clockwork” follows up this potent tune. On Make A Sound, Autopilot Off successfully mix anthemic, classic, and alternative styles with punk’s uncompromising energy. The group’s catchy choruses are rounded out by ingenious lyrics. “Blind Trust,” co-written with Tim Armstrong, features a plethora of catchy staccato riffs. “The 12th Day” is a high-energy tune, and “Blessed by a Nightmare” is downright irresistible. Autopilot off is a band with lots of potential, and Make A Sound is enjoyable, energetic, and fun. -NIN
Bad Acid Trip – Lynch The Weirdo (Serjical Strike)
Bad Acid Trip has something going for them that most bands don’t. They are unique. In fact, the quote that appears on the album’s cover, “Energetic bursts of psychopathic fury,” pretty much sums it all up in a nutshell. However, eccentric and bizarre should also be part of the definition. The introduction track, “Cigarette Pack” is a strange marriage between Oingo Boingo, System of a Down, and any speed metal band. Vocalist Dirk Rogers screams like a demon from hell and on “Jump Rope – Spray Water” before he breaks into a psychotic tripped out rant. Bad Acid Trip’s songs are similar in structure to System of a Down’s. Therefore, the band’s blistering assault of thrash, punk-metal, and radical arrangements should go over nicely with System’s crowd. In fact, Bad Acid Trip is signed to Serj Tankian’s (System’s vox) label and System’s Daron Malakian also produced Lynch The Weirdo. Bad Acid Trip’s lightening fast tunes are sustained by complicated arrangements and offbeat time signatures. If you like intense and off the wall music, pick up Bad Acid Trip’s Lynch The Weirdo and be sure to check out their live show. I’m sure you’ve never seen anything like it. In fact, you’ve probably never heard anything like it. With song titles like, “Fascist F*** Wad,” “Beware of the Little People with Terrible Visions,” and “Beef Moo,” you know this isn’t your average band. Not everyone will get these guys. But, that is okay because they don’t want you to. Bad Acid Trip plays music for the fans not for the masses. -NIN
Between the Buried and Me - The Silent
Circus (Victory)
1/4
Walking in the shadows of such metalcore bands as Zao and harkening back to Pantera at times, Between the Buried and Me bring a somewhat unique sound to metalcore, while also somehow managing to sound the same much of the time. When BTBAM goes melodic, it’s some sick stuff. Makes me think of Tiamat back in the day (when they were good). There is no doubt of the musicianship of the band and the precision of the rhythm section (which has since left), and the lyrics are insightful. When BTBAM is heavy, they are f-ing heavy, but sometimes I still think of a bar band – they are almost showing off with flourishes at the end. Can’t explain, it’s a little cheesy at times, but then the heaviness grabs on. BTBAM is an acquired taste – if you like Opeth, Zao, Poison the Well and the like, you’ll probably dig these guys. –J
Big Collapse – Prototype
(The Militia Group/Earshot Media)
1/4
The lead singer for Big Collapse makes the band sound like a more glittery version of the Black Crowes. Big Collapse has a hard-hitting sound – good drum and guitar sound with fairly decent songwriting. Once upon a time, I would imagine them doing the Rock Stadium God routine. But with rock practically receiving life support, I don’t know how well Big Collapse’s “whoa whoa, yeah yeah’s” will go over. -J
Blink-182 (Geffen)
Smart aleck’s Blink-182 smarten up on this self-titled Geffen release. Perhaps taking a lesson from recent current co-headliner and former punk patriots Green Day, Blink-182 has recognized that a heartfelt radio single without the hint of a fart joke will lengthen their career longevity. Without such an aim toward intelligent rock there would be no way they could convince Cure frontman Robert Smith to join them on the touching “All Of This” in which he pleads, “Another night with her, but I’m always wanting you.” There’s even a hint of the clever Cure classic “Lovecats” in the opening shuffle to “I Miss You”. There’s almost a Brian Wilson/Phil Spector/Wall of Sound feel in the modern-rock production of “Feeling This,” “Obvious,” and “Down”. Blink still plays hard on “Violence,” ”Stockholm Syndrome,” and “Feeling This,” but a soft side has been exposed or developed. The verdict: Another great album from San Diego’s own punk rock stars. -Brendan McMahon
The Blood Drained Cows – 13 (Triple X Records)
The 2nd record by the newish outfit fronted by Angry Samoan Gregg Turner is exactly what the Strokes, White Stripes, et al aren't. That is…these guys are the true garage rock. What I mean is, that it's sloppy and we like it that way. It's not tight, but the looseness gives you a better sense of camraderie than anyone else in this revival movement. It's not pretty, but why do most of these bands think it's about fashion anyway? It should be about the music, you asswipes. I may not be singing every song, but I'd rather see The Blood Drained Cows then phlegm like The Strokes or any of those other fashionista rich boy hacks who claim to be garage rock. Let's put it this way: you'd find the Blood Drained Cows on a Nuggets compilation, while The Strokes would be the filler track on any K-tel compilation. 'Nuff said. -Repojay
Brides of Destruction –
Here Comes the Brides
(Sanctuary)
1/4
The Brides of Destruction is what one would expect Motley Crue to sound like today if they never had a line-up change or strayed down the evil path of cheesy glam. Here Comes the Brides is a bit dated, but it screams Hollywood gutter rock through and through. It’s 90’s garage rock influenced by Brit-punk and L.A. street rock. There’s lots of energy and sneering vocals to be found, especially on “Shut The Fuck Up.” Detroit grind is slathers all over “I Don’t Care” and the hook-laden “Brace Yourself”. “Natural Born Killers” emanates a catchy and funky little groove. The album closes with the obligatory 80’s power ballad, “Only Get So Far”. “Oh yeah, break out the lighters baby!” Okay, so it is not exactly my cup ‘o’ tea, but more power to them. Rock ‘n’ roll could use more balls and less pussy. Here Comes the Brides personifies the sound of L.A. metal. -NIN
Burden Brothers - Buried
In Your Black Heart
(Trauma
Records)
Which of you motherfuckers has forgotten what good, real rock with fiery passion sounds like? You probably have begun to thanks to the homogenized shit you consume where mediocrity like the Yeah Yeah Yeahs passes itself off as quality. Well, worry no more because the Burden Brothers are here, and they didn't come from nowhere. The lead singer fronted The Toadies, the most underrated one-hit wonder from the nineties. The band itself has members of Gwar and the Reverend Horton Heat. And the sound is undeniably passion with a fire only heard once in the double naughts, when Audioslave descended upon this land. The comparison is no mistake as the sound they create is only bested by Chris Cornell either in Audioslave or Soundgarden. But if you thought nobody could potentially stand up to that challenge, then you haven't heard this record, my friend, and you owe it to yourself to find it. -Repojay
Collide – Vortex (NoisePlus)
kaRIN has one of the most beautiful, sensual voices in music, and Statik is probably one of the most underrated musical geniuses of our era. The duo chose the name Collide as a representation of the collision of musical styles that influence them. As a team, Statik & kaRIN are one of the most complimentary forces in music. Collide’s latest release, Vortex, is a vibrant collection of remixes of the group’s previous works. The songs may be remixed, but they sound entirely new and fresh in their new forms. So much so, that aside from the song titles, one would think these were entirely new pieces. This double disc set features eccentric versions of Collide classics from ‘Some Kind of Strange’ and ‘Chasing the Ghost,’ all of which were remixed by DJ’s, friends, and bands (all fans of course) from all over the world. About 130 fans responded to Collide’s request, which shows the power of the Internet and the underground. Each artist’s love and appreciation for Collide’s music is conveyed in the personal touch they add to each tune. These amazing remixes are varied, unique, and take the songs to whole new levels. Each and every one is worthy of repeated spins on your home stereo or the dance floor. The disc also features three covers, one of which is a commendable version of “The Lunatics are Taking Over the Asylum” (The Fun Boy 3). Vortex is a dynamic and invigorating disc that delivers hours of enjoyment. I’ve long been finished with this review, but I can’t bear to take Vortex out of my stereo. This amazing piece of work can be purchased at www.collide.net -NIN
The Crystal Method – Legion of Boom
(V2 Records)
3/4
Sadly, this disc got mixed-reviews mainly because it didn’t follow the style du jour. But that’s not what counts when it comes to a good club disc. It’s the beats that are important. Are they inventive and not repetitive and do they make you want to get out and shake your moneymaker? If the answer is yes, then the disc is a good buy and The Crystal Method’s Legion of Boom is a yes all the way around. “Born Too Slow” seduces you via a dirty guitar riff, courtesy of Wes Borland, which is enhanced by John Garcia’s (Kyuss) yowl. Lisa Kekaula (The BellRays) wails on “”Realizer” and “High and Low”. Equally enjoyable are the sleek grooves of “Bound Too Long” and the snap happy beats of “True Grit”. “Weapons of Mass Destruction” is another winner that proves Ken Jordan and Scott Kirkland have not lost their touch. -NIN
Daryl - Uneven Surfaces
(Idol Records)
1/2
This seven-song EP (with “Jenny” remixed twice) tastefully intermingles hints of new-wave synth into this power pop effort. Angie Comley’s light blend of keyboards works underneath the dual guitars of lead singer Dylan Silver and Justin Wood to subtly craft tight pop songs with a feel for 1983. Produced by Stuart Sikes (White Stripes, Promise Ring, Modest Mouse & Jets To Brazil) this is a mighty tease to the forthcoming full-length release Ohio (slated to be released in mid-2004). Stand-out tracks include: “Natalie W.” and the beautiful acoustic “Rooms 31 & 30” with romantic despair intertwined between Silver’s and Comley’s dual vocal takes. -Brendan McMahon
Daughters – Canada Songs (Robotic Empire)
There are only 2 things to say about this record:
1) Since it's crazed, fucked speed punk these 10 songs are done in 11 minutes.
2) The only thing entertaining about this disc are song titles like "Pants, Meet Shit" and "I Slept With The Daughters And All I Got Was This Lousy Song Written About Me".
All in all, an absolute waste. -Repojay
Days Like These - Charity. Burns. Green (Lobster Records)
Take a minute to tune into your local radio rock station. Or, perhaps
change the channel to MTV and wait for the next "rock" video
to be shown. Or, if you're into them, throw a Foo Fighters album into
your cd player. This is exactly what to expect with the debut full-length
from Days Like These. The band says, "Let the music speak for itself."
Unfortunately, their music really doesn't say anything that the majority
of us haven't heard before. The instrumentation is decent, but not really
outstanding. The songs are all written with the same formula, so by the
sixth track the album starts to drag. The lyrics are okay, but there really
doesn't seem to be much depth to them. Basically, this is just another
band with an album that succeeds only in beating the corpse of a horse
that died long ago. With that said, Charity, Burn, Green is not a bad
listen; it just doesn't have much substance and lacks a special ingredient
that will separate it from the other similar acts out there. Until they
find that ingredient this band will either be doomed to drown in a sea
of carbon copy radio rock bands or, worse, end up with their pictures
in teenybopper fanzines and a video on MTV. -R-Lo
Dead
Kennedys - Live At The Deaf Club (Manifesto Records)
If you were around San Francisco and at this show 25 years ago, then you've seriously been around the block. You're also likely a liar, but that's ok. This oft bootlegged show is now fully on CD for the first time officially and it's never sounded better. The last live gig with guitarist 6025 just crackled with tons of energy. Remember, this is when this stuff was still fresh and just before Reagan caused things to turn even more political. But as newer songs at the time, "California Uber Alles" and "Holiday In Cambodia" rarely sounded more biting than they do here. The re-mastering is also nothing short of extraordinary. The inclusion of a booklet with a postcard to the Dept. of Homeland Security not only continues fresh DK traditions, it also causes you to realize that their politics still mean as much today as they did in 1979, and musically, this document means as much as well. -Repojay
Dead Kennedys - Mutiny On The Bay (Manifesto)
Any new DK stuff is gonna be bunk in my book. No Jello? Screw that! Despite all the behind the scenes bickering, they were the shit in their heyday. This live compilation is actually 4 live shows in and around San Francisco with most of the tracks coming from 3 shows in 1986. These are pretty good, but the most potent energy is the 4 tracks from 1982, including the anthem "Holiday In Cambodia". What makes this eminently listenable is that it's remarkably consistent for a live compilation and Jello's venom on cops, California, and MTV hasn't lost much of its sting in nearly 20 years. A worthy artifact whether you were there or not. -Repojay
Deadstring Brothers (Times Beach Records)
Detroit’s own Deadstring Brothers sound nothing like the MC5, Bob Seger, or Kid Rock. They are all Nashville by way of New York City. Clearly nodding to Exile on Main Street era Stones, the Deadstring Brothers deliver beautiful Americana music to break your heart. Just three years old, this quintet—originated by vocalist Kurt Marschke and pedal steel guitarist Pete Ballard—sound like they’ve been drinking St. Louis beer and playing darts in the same dive since 1973. Rounded out by pianist Aric Karpinski, bassist Phillip Skarich, and drummer William King the Deadstring Brothers are a shoe in to be future Farm Aid headliners. By god, Willie Nelson will be proud to buy them a drink. Stand out tracks include: “27 Hours” and “Entitled”. This is a beautiful record! -Brendan McMahon
Diemonsterdie - Honor Thy Dead
(Doctor Cyclops Records)
Wanting to be somewhere in the mix of Misfits, Slipknot, and Marilyn Manson, Diemonsterdie doesn't even come close to shining their shoes. The band itself is adequate. Vocally, it leaves so much to be desired that it becomes clear that their Satan gimmick is fake. For if it was real, they would have gotten decent vocals in the process of selling their souls to the devil. What makes this disc passable is the fact that the songs are enjoyable - hammy horror metal numbers that are good for a chuckle in a GWAR-type way. How many other people can come up with the rhyme "Charles Manson, He's So Handsome" and also write a tribute song to a Peter Jackson cult classic "Dead Alive?" Not that many. So get good and drunk, ignore the bad singing, and laugh your ass off to the jokiest Satan metal of the year. -Repojay
Downset – Universal (Hawino Records)
1/2
Back in the early to mid nineties Downset were at the forefront of a musical revolution. Unfortunately, the band got lost in the shuffle and never really broke out of the L.A. underground. After a few line-up changes and label changes, the group is back with the release of Universal. Blending rap, funk, hardcore punk, metal, and socially aware lyrics, Universal picks up where ‘Check Your People’ left off. Downset’s mantras are both angry and thought provoking, yet the band doesn’t offer anything new to separate them from the bunch. I was really hoping for a lot more but, sadly, eight years later and not much has changed. -NIN
Dropbox (Realign/Universal)
Dropbox, featuring ex-Godsmack axe-slinger Lee Richards, is signed to Sully’s (Godsmack) Realign imprint. And, much like Godsmack, Dropbox is a guitar driven band that likes to lay the riffs on real thick. Sounding like a cross between Alice In Chains and, you guessed it, Godsmack, Dropbox deliver straight-up, good ole fashion rock ‘n’ roll. The band’s sound is a throwback to the bluesy rock of the 70s. There’s no frills and no thrills…just guitar, drums, bass, and vocalist that wails. However, John Kosco’s lack of vocal variety is a bit of a handicap. And, as a result, the songs become a little droning after awhile. Mental note: a little variety is always good. -NIN
Fantômas – Delirium Cordia
(Ipecac Recordings)
1/2
What if Mike Patton (Faith no More, Mr. Bungle), Trevor Dunn (Mr. Bungle), Dave Lombardo (Grip Inc., Slayer), and Buzz Osborne (Melvins) put together some super group or something and named it Fantômas? You’d think it would kick some serious ASS, wouldn’t you? Well, I’m here to say that it doesn’t. It sounds like indulgent twattage. This is an hour CD of a soundtrack to an operation – near death, all that fun stuff -- one song, several different themes, and exceptional boredom to me. I know it’s experimental – most of Patton’s stuff is. I used headphones, no headphones, volume, lower volume -- I kept trying to get through more of it out of love for Patton and Lombardo who to me are almost genius. Instead, it’s more Melvins meets soundtrack – slow, sloggy, and with an occasional amazing guitar emanation that makes you scream HELL YEAH, until it’s gone 3 seconds later. I made it to a little over 30 minutes before I couldn’t take any more. This is my first Fantômas experience, and if I bought this, I’d feel robbed. -J
Fear Cult – Visionary Complex (Cleopatra)
Fear Cult is the brainchild of L.A. goth scenester Matt Riser, who has been writing music under this moniker since the early nineties. Surprisingly, Fear Cult’s full-length debut, Visionary Complex, is not too shabby. On Visionary Complex Matt ditches the doom and gloom formula followed by so many neo-gothic acts in favor of bright melodies and snappy beats. It’s a little too poppy for my taste, but the beats are good and will fare well on the dance floor. Fear Cult delivers the right amounts of pulsating electronics and throbbing bass lines in order to get the adrenaline flowing and the female back up vocals are very reminiscent of Thrill Kill Kult. Unfortunately, points had to be deducted for their cover of “Safety Dance,” (Men Without Hats). That song was never cool, nor will it ever be. However, Fear Cult’s version of Blur’s “Girls & Boys” (which is also featured on Keoki’s Kill The DJ) earned those points back. -NIN
Folly – Insanity Later
(Triple Crown Records/Earshot Media)
Folly is one of the more interesting bands to cross my desk lately. I’m still not sure if I like them, but judging from their CD Insanity Later, I’d say they are turning a couple of genres on their ear. Folly mixes almost death metal hardcore with screamo and (gasp!) ska, (double gasp) jazz, (triple gasp) insightful lyrics (and here is where the reviewer keels over) and a real grasp of music theory and competence! All of this is particularly evident on track 4 “I’ve Been Running for Miles, Davis!” Yeah. This, I dig mostly for it’s sheer chutzpah at grasping successfully for new sounds to meld together. -J