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Crusty Demons
Crusty Demons
Offered by Giant Entertainment
Price: £5.46

3 of 3 people found the following review helpful
3.0 out of 5 stars, 29 Mar 2004
This review is from: Crusty Demons (Audio CD)
For fans of Moto-X and motorbike stunt or dirt jumping Crusty Demons will be a household name. The series is THE most well known when it comes to documenting some of the most extreme and talented riders in the business. So now we are presented with the latest soundtrack featuring some amazing tracks and a few often amusing audio introductions from some of the riders themselves.
The predominant genres on this disc are definitely rap/rock and metal with blistering and extremely catchy tracks from the insanely funky 'Ill Figures' and renowned (Hed) Planet Earth - whose contribution isn't the best song they have recorded lately, yet certainly not a disappointment. A standout band, whom contribute two tracks are the now (sadly) defunct; 'Superheist' who mix powerful riffs and memorable rapid fire vocals to create a very progressive sound.
The Butthole Surfers offer up a slice of supercharged, country/blues influenced rock with plenty of distorted riffs and enjoyable lead guitar. This is a band that prefers creating an exciting musical sound to concentrating on the lyrics, which in this case works well. 'Push It' from Static-X is as generic as you would expect from the band. However when it comes to adrenaline fuelled industrial Metal, they are potentially the new Rob Zombie. That said - the man himself contributes the ballsy but slightly trying; 'Demon Speeding'. I bet you are thinking: "What is wrong with these Moto-X-ers? Don't they listen to any punk?" Well while this record is predominantly metal and rock the mighty and offensive skate punks; Guttermouth are in attendance with their sordid and hedonistic; 'Perfect World' with lines such as; 'Strung out hookers everywhere' & 'Nacho cheese and anarchy, boy that sure sounds good to me.' This kind of debauchery is only topped by the female fronted techno rock of; 'Young Boys' from the Lords of Acid.
There are, unfortunately some weaker tracks that keep this soundtrack from the dizzying heights of greatness it may have achieved. 'Get Away' from Earshot is shot in the foot by it's dull verses and the contribution from the Dead Kennedys is showing it's age when surrounded by more well produced songs. That said all in all this is one of the strongest soundtracks I have come across for a while and begs to be played, whilst obnoxiously refusing to be ignored. If you are looking for 100% pure adrenaline music then my friends; look no further.
Standout Tracks: 'Superheist: The Fightback', 'Ill Figures: Digital Soldiers' & 'Guttermouth: Perfect World'.

Offered by best_value_entertainment
Price: £5.92

2 of 10 people found the following review helpful
3.0 out of 5 stars, 26 Feb 2004
This review is from: Strays (Audio CD)
Strays sees Jane's Addiction back on the stage and back in the studio for the first time in a decade. So with only 3 fourths of the original line-up and a solid time gap between them and their former successes; could this once highly applauded and original outfit return with the panache they once possessed?
The answer is unfortunately, no. While the album opens fairly strongly with the aggressive and funky rock of; 'True Nature' with its accusatory lyrics and twanging bass line - that once lackluster appeal of Perry Farrell's voice is now merely lackluster. He is vocally all over the place and where once it seemed arty in hits such as; 'Been Caught Steeling' now just feels disconnected. The guitar solos (still blistering in places); courtesy of Dave Navarro are occasionally pleasing but even they feel like a separate entity.
The disjointed; 'Strays' touches on moments of simplicity that almost save it - however in the end it becomes highly forgettable. 'Just Because' is actually a rather glorious spectacle and works on a level that no other song does on this record. The music and vocals feel fairly creative and above all they exude a certain harmony and synchronicity. The pulsing percussion and powerhouse guitars provide a swirling tornado for Farrell's once again pleasing vocal. This truly is the rough diamond embedded in this dark, confusing labyrinth of mining tunnels. Lyrics such as; 'When you called her a C*** and all, so what makes a guy think, that it hurts a girl? It don't hurt a girl, she loves her dangerous play.' From 'Wrong Girl' - Touch on interesting topics and issues yet remain far too aloof to really explore much at all. It is a shame that such an intelligent singer can be so needlessly ambiguous.
Navarro strangely manages to open every song differently, yet after 30 seconds they sound almost the same as the previous. 'Superhero' is a good example of this, as is; 'Suffer Some'. Whereas the funky; 'Wrong Girl' and laid back acoustic sensibilities of; 'Everybody's Friend' actually stand out as memorable musically. Farrell's voice intertwines and melds far more richly with an acoustic sound bed than anything else. It is almost a shame that this entire record wasn't mainly acoustic based.
So while this album is obviously a lackluster and unmemorable come back; where many of the songs just don't touch upon the listener's heart, thoughts or rock instinct. There are a couple of instances where the band start to get things right. Unfortunately two or three songs, does not a good album make. Track down; 'Everybody's Friend' & 'Just Because' - see how strongly they grab you and go from there. However proceed with caution; this even applies to fans of the band.
Standout Tracks: 'Just Because' & 'Everybody's Friend'

Two Left's Dont Make a Right
Two Left's Dont Make a Right
Offered by EliteDigital UK
Price: £9.98

4 of 4 people found the following review helpful
4.0 out of 5 stars, 23 Feb 2004
Relient K are in my mind the saviors of that muddy, yet beautifully sparkling, frost laden no mans land between bands such as Weezer & Thursday. They will storm over the top with their guitars and catchy little complexities in hand – wielding youthful wisdom with a dangerous intent. The delightfully insightful and intelligently witty; ‘Mood Rings’ takes the age old colour changing mood ring product and seamlessly relates it to the actions and reactions of girls. This is beautifully structured with a charmingly melodic acoustic bridge. There is a little more power to be found in; ‘Chap Stick…’ – however this is a much more intense display of intelligence and overall song writing.
‘Falling Out’ is a little too unimaginative and simplistic when lined up against the deeper songs such as the hyper, bouncy and catchy recklessness of; ‘Forward Motion’ with lines such as; ‘We all struggle with forward motion, cos forward motion is harder than it sounds, every time I get some ground I’ve got to turn myself around again. Relient K are also fine story tellers – a great example of this talent is; ‘In Love With The 80’s’. Their music is actually surprisingly strong considering the potential short fallings of melodic or emotional music - such as; Loss of power or weak guitar and bass. Neither of which this record suffers from. ‘College Kids’ is everything that Blink 182 had in their hay day without requiring such obnoxious humour. Despite depicting situations from a cheating g/f at another university to paying $80,000 to learn that all you have to do is show up for exams they will manage to bring a smile to your lips. This is certainly their most accessible song and its catchy sharp defiance says a lot for this band. If you are interested in this band; start with this song and go from there – it will be a gentle and pleasurable journey.
‘Hoopes I Did It Again’ manifests as a clever little social commentary; set in their town. It allows the listener to get to know the band better via an actual song and this is a rare treat. You always get the feeling on this record – that the band members really are being themselves. ‘Over Thinking’ is still well written, however it lacks any real hooks or identity and therefore fails to deliver or impress. Whereas the acoustic led; ‘Getting Into You’ makes up for a couple of weak tracks that prelude it. It has an intimate feel, yet also develops an aloof atmosphere. The introduction of the drums helps to rein the song back in and it all starts to come together in a much more satisfying manner by the 2 minute mark. Track 12 presents an interesting little recording of a meeting between the vocalist and some girls he seemingly hasn’t seen in a while. They then go on to discuss just how different he looked in the 5th grade. The strange ‘Gibberish’ sounds like a cross between the attitude of Sum 41 and the melodies of New Found Glory.
The record takes a more haunting twist towards the end with half successful; ‘From End To End’. However – the final song; ‘Jefferson Aero Plane’ is an interesting track with 80’s tendencies and some intriguingly open relationship based lyrics that never seem to bore, even on repeated listens. Relient K certainly live up to my introductory hypothesis and you really should check them out – it’s not always easy or simple but in the end you will feel an attractive insight from their music.
Standout Tracks: ‘Mood Rings’, ‘Forward Motion’, ‘College Kids’.

Modern Artillery
Modern Artillery
Price: £41.23

5 of 6 people found the following review helpful
4.0 out of 5 stars, 22 Feb 2004
This review is from: Modern Artillery (Audio CD)
The Living End truly are a band represent what is still great about Australian punk music. They incorporate a double bass (standing up – large bass instrument) player and influences from 50’s rockabilly to modern pop punk not to mention lounge and jazz. The cheeky opener; ‘What Would You Do’ is a catchy little punk song with hooks, pace and even some surf rock lead. All condensed into just over a minute. This is surely the ‘Mini-me’ of punk rock songs.
As fun as this band are, their beliefs and sensibilities are still firmly rooted in the activism and social commentary of the old UK punk scene. Songs like; ‘Tabloid Magazine’ with lines such as; ‘Picture hungry journalists, searching for some action’ & ‘If you want to read a little useless information, if you’ve had enough with all the troubles in our nation’. Strip away at the Tabloid and gossip systems of journalism – baring them in their true light.
‘Who’s Gonna Save Us’ is a little lacking in hooks to really latch onto your memory, despite repeated listens. This is the band at their slightly less catchy and even a little unimaginative. This is certainly not the case with the dark and intriguing; ‘End Of The World’ a mix of Billy Talent-esque riffs and lounge-core vocals. The bass is very prominent in this piece and demonstrates the warmth a double bass can offer today’s modern music. If you could imagine The Living End bounding down a star studded and twinkling staircase on some cheaply made film set. Perhaps even wearing tuxedos and twirling batons then ‘Jimmy’ would be the number they would be performing. While it is rooted in rock it certainly gives off an air of Hollywood glamour and slightly clichéd lounge-core performance music - Especially in the vocal style of the chorus. It’s different but very memorable.
‘One Said To The Other’ is a charming and delightfully bouncy song that encourages the young men of the world to avoid a girl who is; ‘not in touch with the government plan and much to busy looking for a one night stand’. ‘In The End’ is about as far removed from the similarly titled Linkin Park number as possible with it’s chilled out sense of ska urgency that presents the listener with such a fitting mid-album track. However, the verses far outweigh the chorus in listen-ability and catchiness. The band demonstrate a fabulously catchy and inventive side on the bitingly humorous; ‘Short Notice’ with it’s effect laden introduction and clapping studded verses. With lines such as; ‘I said I wanna, I wanna see you, I really meant I wanna, I wanna leave you’ – it will bore it’s way into your head with more flagrant disregard than a sleep deprived brain surgeon. The relaxed acoustic country ballad that is; ‘So What’ segues fairly well into the slightly disappointing; ‘Rising From The Ashes’ almost compromising the strength of the end of the record.
The Living End are yet to make their perfect album, however they are getting so close you can almost feel the tension and the disappointment when songs such as; ‘Who’s Gonna Save Us’ & ‘Rising From The Ashes’ are found wanting when placed alongside the talent filled; ‘Tabloid Magazine or the final and reassuringly epic track ‘The Room’. This is a fantastic album and while in it reside a couple of low moments the high points are still a threat to low and high flying aircraft everywhere. One of the most essential and often original punk records I have heard for some time.
Standout Tracks: ‘Tabloid Magazine’, ‘Jimmy’, ‘Short Notice’ & ‘The Room’.

Hell Yeah
Hell Yeah

0 of 2 people found the following review helpful
3.0 out of 5 stars, 19 Feb 2004
This review is from: Hell Yeah (Audio CD)
The Horrorpops mix a plethora of different styles to create a sophisticated yet timelessly lo-fi sound that will impress at every turn. The rough yet sweet female vocal works well with the rockabilly, strong bouncy bass lines, 50’s rock & surf rock. The catchy bounding rock of Julia with its cheeky little riff; reminiscent of Sugarcult’s – ‘Bouncing Off The Walls’ and memorable chorus create a very strong opening song. This is a track that defines the album’s sound without pre-defining its style.
The rough garage rock of; ‘Ghouls’ is quite reminiscent of Germany’s She-Male Trouble whilst the laid back ska of; ‘Girl In A Cage’ presents a instrumental sound very similar to early Less Than Jake song; ‘Johnny Quest Thinks We’re Sellouts’. The Horrorpops are so timeless because they are already out of fashion and have been for some time. So as they shy away from today’s trends they actually run straight into the lamp post of creative timing – causing a bloody nose bleed of potential success. The double bass completely powers this record. It has not been put to such good in punk rock since the Living End brought it back into fashion with a vengeance; in their successful single ‘Roll On’.
‘Where They Wander’ finds the band sounding surprisingly like The Distillers. With an edgy vocal and a rather rough, yet clean guitar sound. This may well be the Horrorpops’ only problem – They sound like so many bands; sometimes frighteningly so. So while you may find friendly familiarity in abundance. There may not always be enough originality in each track to offer a completely new experience for you. I never thought that would be an issue with this diverse record, and in some songs it isn’t at all. However it certainly does apply in quite a few cases.
The ridiculous and fun rock ‘n roll of; ‘Cool Flat Top’ with its enjoyable little chorus of; ‘Cool, cool, cool flat top, yeah, be mine with the cool flat top!’ Another fine example of their 50’s rock influence is the hit and miss; ‘Dotted With Hearts’. In contrast - the surf rock of; ‘What’s Under My Bed’ presents a collection of edgy and laid back structures with a catchy breakdown mid song and b-movie horror lyrics.
While this record isn’t perfect, it often sounds extremely fresh. Especially on; the Hawaiian tinged ‘Horror Beach’. You may well recognize a lot of styles throughout but the Horrorpops manage to make 90% of them their own. This is an album both you and your parents will love; as it is so filled with 50’s nostalgia and lo-fi tendencies. So try something new by trying something old. You may be pleasantly surprised. The Horrorpops would make John Wayne quick draw in his grave and Elvis drop his burger and grab a surf board.
Standout Tracks: ‘Julia’, ‘Girl In A Cage’ & ‘Horrorbeach’.
Comment Comment (1) | Permalink | Most recent comment: Jun 10, 2009 4:28 PM BST

Offered by best_value_entertainment
Price: £2.99

0 of 1 people found the following review helpful
2.0 out of 5 stars, 19 Feb 2004
This review is from: EVOLVER (Audio CD)
This is certainly going to be a tricky review. This 311 record contains power and their distinct rhythms and vocalisations. Unfortunately there is also an undercurrent of boredom throughout. Here is an early warning for you all: This is really dissimilar to their previous albums. You can tell this even from the artwork. They are indeed evolving as the title suggests but away from the fun surf rap/rock of their earlier career and more towards a heavier, less funky 'Sugar Ray'.
'Creatures...' has its share of funky bass moments but much of its structure is reduced to sludge and tiresome vocals. 'Reconsider Everything' fairs significantly better with it's guitar lead intro and energetic fusion of chilled out lead, palm muted and catchy verses that give way to a signature and enjoyable 311 chorus. This is a band that has always stood out against the nu metal rap/rock outfits fitting in more with the punk crowd than anyone. This has proved to be rewarding as they have never yet been type cast.
This album, at least their first single from it seems to be achieving them notable success in the USA, which is good news because 311 have always been very underrated. It is a shame however that when they finally discover the limelight it is with a weaker record. Tracks like; 'Crack The Code' do everything just right but are instantly forgotten. On 'Beyond The Grey' they really slow down the pace with some chilled out ska style music. This is something that they never excelled at before. The tables however seem to have turned. These songs appear the most acceptable on such a slow album; whereas the rock songs seem boring and sludgy.
'It Seems Uncertain' is very similar to the sound 'Custom' created on 2000's 'Fast'. With it's acoustic leanings and cheeky melodies. 'In times of trouble, everyone joins a team, no one waves a flag, for all human beings'. This is quite a mournful yet strangely positive track. It is possibly one of the most memorable on show here. 'Give Me A Call' is their most accomplished fusion of hard and soft as they explore many styles with the subject of lost love firmly on the mind.
This record is a failure at a time when they needed something so much stronger. While 'Don't Dwell' is quite up beat something drags it to the bottom for another death roll. Plus with such a pensive ending track to the album 311 really have gone in a direction that is going to disappoint a lot of people. There are snippets of genius throughout but they are rare and quick. If you are already fan then you may well enjoy this musical evolution. That said, I feel those of you who are unfamiliar with the band may well appreciate this more. You just won't notice what is missing.
Standout Tracks: 'Beyond The Gray Sky' & 'Don't Dwell'.

Smoothing Away the Horrors of Indigestion
Smoothing Away the Horrors of Indigestion
Offered by SourceMediaUK
Price: £6.99

4.0 out of 5 stars, 19 Feb 2004
Ye Wiles are a rather unusual outfit; they are the proud owners of a very old English sound, similar to ‘Zen Baseball Bat’. This is thespian Ska with hints of strings and traded vocals that leave you amused and overwhelmed as they spin tales of horror, woe and adventure. Such a wide range of vocal sounds and variations leave this record sounding fresh no matter how often you listen to it.
There is a very old styled flavor, not only in the sound but also the lyrics; ‘Won’t you think before you pencil in the bridesmaids, with their make-up and their dates, they’d make expensive ugly wives’. To say this record was eclectic would be an understatement, as it really does have a unique flavour almost verging on becoming a Jewish wedding band at times. Most evident as the strings flurry and deepen the sound in songs like; ‘The Face In The Cloud Smiles’. At times it can give off a rather harsh vibe that you may find yourself physically recoiling from but this is not too common and generally they keep the levels and time changes in check to maintain a smooth flow.
This reminds me of 1930’s London, most likely in the Jewish quarter, where all the jewelers’ shops reside. Of course, I was there merely in spirit, never the less the memory is fresh. It is a fast paced record in places and extremely danceable. You can imagine good old Leonardo jigging away to this on the Titanic, as it breaks into a very Celtic rhythm in tracks like ‘In Appreciation Of Zoltan Kodaly’. There is a definite sense of the urgent riffs and buildups of ‘At The Drive In’ throughout.
Ye Wiles are a band that have chosen to go their own way, perhaps losing any real chance at commercial success, at least to a degree. This is commendable and makes them out to be a very sincere, yet crazed outfit. They are really trying something different and pulling it off rather well without sounding halfhearted, parodied or forced. That is always the key to success when trying to sound different or unusual.
This won’t be for everyone. That is for certain, but if you like: ‘King Prawn’ + Guy Ritchie’s ‘Snatch’ – Any real normality + Expressive and very English vocals. This record is certainly your new friend. Otherwise steer clear, but be aware that you are missing out on something genuinely different, and where music is concerned that can be very exciting!
Standout Tracks: ‘Standard voyeur’, ‘Cry wolf’ & ‘In appreciation of Zoltan Kodaly’

Offered by westworld-
Price: £19.98

3 of 4 people found the following review helpful
5.0 out of 5 stars, 19 Feb 2004
This review is from: Transmission (Audio CD)
Well here it is. We have all been waiting a year since their video for 'Secret Smile' aired on P-Rock. There has been plenty of speculation surrounding this release. After such an exciting and creative bunch of singles, who could blame us all? Well here is the answer you have been yearning for: Violent Delight are phenomenal and so is their debut album. They are a wake up call to the alternative music scene. They are young, passionate and funny. Above all, they are true; writing songs that are exquisitely simple without ever lacking in anything. There is no band doing what Violent Delight are right now. (They are the new masters of the mid song breakdown.) This is the very reason they were snapped up by Warner Music. Someone in A&R was doing their job, and doing it very well. For that I am glad because otherwise they may have been written off and gone unnoticed. Thankfully that was not the case.
Their sound is that of pulsing Nu-metal riffs and palm muting interspersed with the exceptionally potent rhythm section headed by Ben's warm and deep bass lines and Ken's drumming that keeps the beats catchy and the record flowing onwards. The vocal sound harkens back to the glory days of Johnny Rotten (Sex Pistols) and with Steve Jones working with them on the production I don't doubt that he was wise to Rodney's potential. While there are slightly weaker tracks, perhaps most obviously 'Same Old Story', there is not much of a noticeable decline in quality at all. Some of these songs are from when they first started out at 16/17. This may explain the slight sound difference between songs like 'Same Old Story' and the more sonically defined songs.
The album opens with the explosive, yet mid-paced 'Shattered' with its huge verse riff and forward moving chorus. There is a good mix of styles throughout, with the surprisingly heartfelt and carefully arranged 'Alone' going head to head with the punk ferocity of tracks such as; 'Secret Smile'. There is sensitivity, aggression and humour in equal measure throughout this tongue in cheek record. 'All you ever do is cheat on me, but I'm far too scared to see, I just don't want you to ever leave me' From 'All You Ever Do' is one of the most human and honest lines I have ever heard. This record is so easy to relate to whether it's because of the bitingly honest lines that deal with love and relationships. Or the imaginative male discussion infected, not to mention highly successful single 'I Wish I Was A Girl'. People will be able to connect with this music on all levels without developing a migraine in the process.
What you will find here is a beautifully simple fusion of punk and metal & extremely competent, funny lyricism. This is topped off with the wonderfully inventive old school rap on the track 'Jump'. This song showcases Tom's ability, not only as an excellent and consistent rhythm guitarist but also his talent as a lead guitarist. This is evident as he wrenches a beautifully retro solo from the bleeding and broken frame of his guitar after the incendiary and life threateningly captivating main riff. The members have grown together enormously over the last year backing up their material with one of the best live shows on the road this year.
Parental guidance is a great example of an intermission track offering goofy, beach party style drumming and acoustic guitar. All working together to give it a real sing along feel as Rodney uncovers the implications of discovering his parents still have a sex life and that it's just fine by him. Lyrics such as; 'When I was watching telly I looked up at Dad's shelf and saw some KY - jelly, well the thoughts, they weren't much fun, when you get the funny feeling mummy takes it up the bum'. This will be a favourite amongst university halls all over the world.
Many people have written off Violent Delight unfairly. This unfounded elitism must stop. This is one of the most interesting, unique and down to earth records of the year. Too long have we suffered at the hands of this smothering wave of Emo, lighten up people! Accept something for what it is and celebrate the fact that this is funny, catchy and simple. That is what makes it such an astronomically talented piece of work. If you still like the sound of an honest CD then this album really is for you. Remember, the music industry is still filed under entertainment.
Standout Tracks: 'All You Ever Do', 'Alone', 'I Wish I Was A Girl', 'Secret Smile' & 'Jump'.

Covert Action
Covert Action

1 of 2 people found the following review helpful
3.0 out of 5 stars, 19 Feb 2004
This review is from: Covert Action (Audio CD)
The Bombs have been blazing a trail of fresh punk rock with old stylings since their debut release in 1996. This latest release is no exception. They have always been a slightly above average, reliable band. There have been few low points in their career.
This is reassuring because even though they will never make it, in the break through sense, they will always be there for their fan base supplying them with professionally crafted punk rock with feeling.
This well meaning and slightly rough approach to punk is a welcome treat in these days of commercial leanings in this genre. Therefore this records, along with the recent ‘Turbo A.C.’s release should be heralded as brave and enlightening attempts at doing something a little bit more fun and a little less by the numbers.
On the track called ‘The Gow’ there is a real hint of UK punks ‘King Prawn’, making it a rather accomplished and vastly interesting listen compared to some of the more customary tracks; that can’t really be faulted but also can’t be congratulated upon.
It would be extremely neglectful of me to not mention the obvious ‘Rancid’ influences; then again, nearly every band of this nature would be in the same boat, intentionally or otherwise. The vocals have that style leaning certainly; the music is slightly less complex but offers up that lead driven progression that you would expect. This is an adrenaline filled record that offers up enough pretty moments to make it appealing to those of a more hormone starved disposition.
Frankly I would recommend that anyone who likes the following: ‘Rancid’, ‘The Supersuckers’ and ‘Operation Ivy’ to go out and get this, and the ‘Turbo AC’s’ newest release as they make an interesting and complimentary musical partnership.
Standout Tracks: ‘Shot Down’, ‘The Gow’, ‘Art Kills’ & ‘In & Out’.

Price: £9.48

4.0 out of 5 stars, 18 Feb 2004
This review is from: Transplants (Audio CD)
This is indeed an interesting one! Well lets see, where to begin.. Well the Transplants seem to have fused a few styles and genres together quite successfully, there may be some controversy surrounding this release, especially in the ‘Punk’ community. That said, from what I can see this is a favourable mix and one which really works well to create a rather unique record. The mix of traditional punk rock, (just look at the band line up) plus a blend of samples, loops and rap metal make this an interesting and catchy listen.
Now I am aware of the fact that each of these styles has been flooded by copy cat artists until nothing original remains, but the thing is the ‘Transplants’ have created something that defies logic and really does seem inspirational and invigorating. You will hear echoes of ‘Rancid’, ‘Boxcar Racer’, ‘Sum 41’, ‘Operation Ivy’, ‘Kid Rock’, ‘Lost Prophets’ and many others. Add to this some well thought out samples, loops and guest artists and instruments that you simply would not expect to find on the record you thought this was going to be.
Let’s admit it; we all thought that this was going to be a purely punk collaboration, (especially after seeing the name) no harder than ‘Boxcar Racer’ and no more ‘up to date’ than ‘Rancid’. Well, we were all very wrong! This is deep, yet cheeky, up to date, yet not unfamiliar. It manages to contain lyrics that would keep the ‘Fun Lovin’ Criminals’ happy without making an easy listening record.
For no matter how you look at it, this is in not easy listening. It’s beautiful and clumsy and heavy and it is exciting. To quote the ‘Bouncing Souls’ “Some hardcore songs, to make us feel tough’, this record certainly does that; it makes you feel sleazy and powerful and untouchable. With it’s gorgeously executed ‘Travis Barker’ drumming and its insatiable grooves it will steal your heart and will be your new driving record, with its slow calculated intensity and kinetic manner.
I think many different fans of all kinds of genres are going to like this record, with special emphasis on fans of bands like ’28 Days’ and ‘Rancid’. So there you go people, it is a whole lot more than you would expect and a whole lot better too. So if you are looking for some music refreshment then look no further.

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