| | Hot Snakes Audit In Progress CD Hot Snakes Discography of CDs
The third and final studio outing by San Diego's Hot Snakes, 2004's AUDIT IN PROGRESS, is the first to feature Mario Rubalcaba (formerly of Sea of Tombs) on drums. The change, if anything, intensifies the band's brute punk rock force, which hits harder than ever here, as on the throbbing opening triumvirate "Braintrust," "Hi-Lites," and "Retrofit." Guitarist John Reis--on what would prove permanent hiatus from main project Rocket from the Crypt--and singer Rick Froberg are in rare, breathless form throughout. If the Snakes' debut, AUTOMATIC MIDNIGHT, boasts more instant classics, AUDIT IN PROGRESS almost makes up the difference in sweat.
Recording information: Big Fish; Drag Racist.
Hot Snakes: Rick Froberg (vocals, guitar); John Reis (guitar); Gar Wood (bass guitar); Mario Rubalcaba (drums).
Audio Mixer: Ben Moore.
Spin (p.118) - "[They] combine gracefully muscled hooks and the tastefully clenched guitar roar of their former band, Drive Like Jehu." - Grade: A
Uncut (p.118) - 4 stars out of 5 - "[A]nother keeper from these snarky punk auteurs."
Alternative Press (p.158) - "With the band's quivering sense of urgency, topped by arresting, calamitous accents, this is one audit that'll throw even the IRS into a panic." - 4 out of 5
Mojo (Publisher) (p.110) - 4 stars out of 5 - "[T]his remains the fantasy offspring of Black Flag and Wire, playing pop songs....This Hot Snakes opus is the existential slam-dance soundtrack of the year." Hot Snakes Audit In Progress Songs Audit In Progress Review
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Purchase Audit In Progress CD To buy, Click on price to add to cart | Husker Du New Day Rising CD (1985)
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Rocket From the Crypt's '60s-influenced, horn-infused, and caffeine-fueled punk rock onslaught is captured in peak form on this CD reissue of two (previously) vinyl-only EPs. Hot Charity was recorded during a break from the recording of Scream, Dracula, Scream!, when Rocket From the Crypt was growing weary of the constraints of big-budget major-label production, and these ...
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FRANCES THE MUTE, the highly anticipated follow-up to the Mars Volta's stunning debut, DE-LOUSED IN THE COMATORIUM, finds the band's masterminds, Cedric Bixler Zavala and Omar Rodriguez-Lopez (both formerly of At the Drive-In), diving further into their bizarre, unique sonic aesthetic. Here various forms of Latin music merge with ambient passages, jazzy interludes, and fierce progressive rock. The Latin influence, in fact, is more evident than ever, with Bixler Zavala often alternating between Spanish and English lyrics, and full-on ...
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Track Listing of songs: DISC 1: Lord, I Lift Your Name on High; I Can Only Imagine; Just as I Am; Here I Am, Lord; Lord of All Hopefulness; Joshua Fought the Battle; Day by Day; Listen, God Is Calling; Shout to the Lord; By All Your Saints in Warfare; Halle, Halle, Hallelujah; My Lord, What a Mornin'; I Know That My Reddemer Liveth; We Are One in the Spirit; Air; Blessed Assurance; On Eagle's Wings; Do, Lord, Remember Me; His Eye Is on the Sparrow; We Are Marching in the Light of God; God Be with You; Awesome God; Jesus in the Morning; Sheep ...
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It would be nice if Westlife's management could understand the reasons why "Change Your Mind," an original song written by Euro powerhouse team Steve Mac and Wayne Hector, is the best song on Face to Face, and the first clue would be "original" song. It isn't another ballad trying to re-create the glory of "Flying Without Wings," it isn't a trendy pass and go, Backstreet Boys wannabe, of a Michael Jackson wannabe, song like "Hit You with the Real Thing," and it is not, thank heavens, a cover song to add to increasing evidence that they are a karaoke band. It is a surprisingly old-fashioned song, big and brassy, the kind the Four Tops would have sung. It is important to note that Face to Face is the first real opportunity for the group to move on as a quartet without Brian McFadden, unless you count their album of Frank Sinatra covers. They demonstrate here that they have longevity and can proceed gracefully, but why, oh why, must we be subjected to so many songs we have heard before, without any additional significance given them? Under the direction of Simon Cowell, American Idol winners sing covers of classic songs and become famous in the process. But when they go on to fame beyond American Idol, their higher fame is based on new and original songs. Westlife is a group that, under the production of Cowell, has worked in reverse. Because their fans are so faithful, and eat up anything that is served, Westlife stays in business and prospers, but their empire is being built on music that will not last. In 20 years, when "You Raise Me Up" is played on the radio, will any DJ who is not under the influence choose Westlife's version over Josh Groban's? Their version of "Desperado" is not as good as the Eagles version, but does it offer anything different that makes it required listening? They have done a few covers well in the past, particularly on their wonderful debut album, with "Seasons in the Sun," which gave the impression that this was truly an "Irish" group, and "More Than Words," which was better than the original and had a reworked, lovely bridge. The exception to this major gripe on Face to Face is that Diana Ross lends her classic "When You Tell Me That You Love Me," and lends her vocals, too. It is a near perfect ...
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