CD Reviews

The Mighty Mighty Bosstones

Let's Face It

(Mercury)

I just love it when an album title applies so neatly for a review. A little over seven years ago, the Bosstones released their first album "Devil's Night Out," unleashing their refreshing "ska-core" sound on the world. They followed with a number of EPs and two more incredible albums, full of hardcore energy and bop-along, horn-drenched ska, drawing on the traditions of bands like The Clash and The Specials. Then came the disappointing release of their last album "Question the Answers," which seemed to indicate that the Bosstones had become less Mighty. This also came around the same time as the band's appearance in the movie "Clueless." Either way, there was still hope that the guys were just in a slump.

And now, "Let's Face It." Yes, it does seem to be time to accept that the glory days of the boys from Boston are most likely over. While this latest album isn't a total disappointment, it doesn't even begin to approach the band's earlier work or to capture the fun, frenetic feel that they once brought about so effortlessly. There are a few songs that are reminiscent of the Bosstones' true might, such as the first single "The Impression That I Get" and the lively "Numbered Days," but it just seems like they're trying too hard now, when before they didn't have to try at all. They may be enjoying more commercial success now than ever before, but oh, how the Mighty have fallen...

-Doug Levy

Snapcase

Progression Through

Unlearning

(Victory Records)

Back with a vengeance and ready to unlearn everything that society has force-fed them, Buffalo's own Snapcase have returned with their most thought-provoking album to date, "Progression Through Unlearning." When talking about the title of the album drummer Tim Redmond said, "We unlearn everything that society has taught us about race, gender, dietary habits, economic pursuits and personal behavior and begin to think and develop opinions for ourselves."

The members of Snapcase have now established themselves as leaders in the hardcore movement. "Progression Through Unlearning" demonstrates their exciting blend of metal with a groove attack that would make even the most die-hard metalhead question why he actually listens to that shit. This album is that good.

Singer Daryl Taberski's lyrics grab the listener because they are honest and speak of bettering one's self. His lyrics make the listener think, and not many vocalists have this ability. In an age where bands sing about subjects only to fill the latest trend in music, such as getting a girlfriend, Taberski stands out because he is grounded in reality.

Music-wise, Snapcase has tightened up its sound since their last release, and the combination of new guitarist Frank Vicario along with original guitarist Joe Salemi creates a groove-fest throughout the album's 10 songs which makes Snapcase stand out from the many hardcore bands out there. With their last two albums Snapcase established themselves as a great hardcore band. "Progression" shows that they have enhanced their sound and will remain on top of the hardcore scene for many years to come.

-Andrew Berenson

Moloko

Do You Like My Tight Sweater?

(Warner Bros.)

OK videophiles, extra points to start with if you already know where Moloko got their name.

Now for the rest of you, remember that crazy drink from the "milk" bar in "A Clockwork Orange?" Well, it's called Moloko. And now it's a cutting-edge dance act as well.

Moloko (the people, not the drink) have captured a sound on their debut LP that is at once cheerfully retrospective and forcefully futuristic, using seventies disco and eighties synth-effects just as deftly as they mix-in trippy techno and jungle beats. Vocalist Roisin Murphy can sing as sweetly as a bluejay when she wants to, but she appears to have a more devious side, slipping into a seductive falsetto and trying her hand at everything from the delightful pseudo-scat of "Fun For Me" to the vocally warped post-industrial "Killa Bunnies." And music-maestro Mark Brydon's talent comes through quite clearly as well, especially in the drum and bass whirlpool of "Butterfly 747." Sure, Moloko is being grouped in with the trip-hop contingent, but that's only because of that nasty need to classify. In reality, their sound is very much their own, and what they've given us is a full album of songs that are both different from the other stuff out there and fun to dance to. Plus, there's even a few strange little tidbits thrown in between songs, such as the bizarre cultish chant of "Dirty Monkey," which just makes it a more interesting listen. So, gather up your droogies and head on out for some great refreshment. And if you can't find a milk bar, just get your Moloko from the record store instead.

-Doug Levy

Nowhere

Original Soundtrack

(Mercury)

If "Doom Generation" is anything to go by, it's pretty clear that Greg Araki makes much better soundtracks than he does films. While I'm open for "Nowhere" to prove me wrong on the movie front, its soundtrack just reinforces my faith in Araki's musical sensibilities.

Reappearing artists from the "Doom Generation" disc include Lush, with an almost painfully beautiful cover of the Magnetic Fields "I Have The Moon," and one of my all-time favorite bands, Curve, with a brand-new song, the dark, almost sinister title track for the film. Elastica joins in with "In The City," a punky hint of what's to come on their new album, and remixes of the Chemical Brothers (by Daft Punk), Massive Attack, and Ruby all seem just as good, if not better than the originals. Radiohead turns in the sublime "How Can You Be Sure?" adding to the British contingent among the artists, which also includes James and their instrumental "Thursday Treatments."

Unfortunately, as with most compilations, there's bad with the good, and the bad here is quite bad indeed. The ubiquitous Marilyn Manson shows up yet again on this disc with another atrociously painful number, as does the always unwelcome Hole, with their lovingly titled "Dicknail." Catherine Wheel don't fall quite so low with their song "Intravenous," but they're still boring, and The London Suede are so grating on the ear (thanks to singer Brett Anderson) that I actually consider them offensive. But since those few tracks are easily skipped by the wary, Araki's soundtrack can still be held up as another success. And who knows, maybe this time the movie can even do the same.

-Doug Levy