“Chocolate Starfish and the Hot Dog Flavored Water”

Limp Bizkit

Compare to: Kid Rock, (hed) p.e.

3/5 Stars

Fred Durst is trying to be the voice of generation X – the only problem is, generation X isn’t a bunch of whiners.

When Limp Bizkit released their second album, 1999’s “Significant Other,” they tagged the release date as “Limpdependence Day.” Tuesday, the day “Chocolate Starfish and the Hot Dog Flavored Water” was released, should have been called “Whinedependence Day.”

When Limp released two singles, “My Generation” and “Rollin’,” on the same day a few weeks ago, fear struck millions of Limp Bizkit fans everywhere – Fred Durst’s rap voice isn’t cool, and it sounds like he’s crying.

“Chocolate Starfish” is definitely soured by Durst’s vocals and lyrics; luckily for the band, about five good songs are just strong enough to carry this album.

“Hot Dog,” the first track on the record, is actually pretty cool. With typical Limp guitar riffs, hammering beats and lyrics basically pertaining to the word “fuck,” it is a fun, head-bobbing song.

Then comes “My Generation,” where Durst claims no one cares about “our generation.” But Durst is in his late 20s, and the majority of his fans on MTV are 14-year-old boys and girls. So is it his generation or their generation that isn’t getting any love?

“Full Nelson” starts with Durst asking, “Why is everybody always picking on me?/ does anybody really know a thing about me?” This sets the tone for most of the lyrics on the album. Durst has gotten over the relationship problem that inspired 1997’s “Three Dollar Bill Y’All” and “Significant Other,” and now he is writing about his critics instead.

But it’s just as annoying.

Coincidentally, two whine-free tracks on “Chocolate Starfish” actually have lyrics that are driven by something besides complaining. “The One” is about finding that perfect person, something many people can relate to. One of the best tracks, “It’ll be O.K.,” finds Durst tackling the subject of suicide and how life can get better.

The rest of the awesome songs on the album are the hip-hop influenced tunes. “Getcha Groove On” features Xzibit and has a catchy hook similar to something produced by Dr Dre. “Rollin’ (Urban Assault Vehicle)” is just as sweet and features DMX, Method Man, Redman and is produced by Swizz Beatz.

With the exception of a few slow tracks, including one that is painfully similar to “Rearranged,” this album rocks musically. The slowest song by far, “Hold On,” features Scott Weiland and shows an impressive artistic side of both him and Durst.

Also included on “Chocolate Starfish” is Limp’s awesome track, “Take a Look Around,” from the “Mission: Impossible 2” soundtrack.

One thing Limp Bizkit didn’t do was re-invent themselves, nor did they live up to the rumors of making this record sound more like “Three Dollar Bill Y’All.”

But once a band goes pop like Limp did, follow-up albums such as this tend to be hated by the true rock fan and loved by the mainstream fan.

Ultimately, this album asks one question.

What kind of fan are you?

– Kyle Moss

“New Found Glory”

New Found Glory

Compare to: The Ataris, Lifetime, Weezer

4/5 Stars

It’s been about a year since indie label Drive-Thru Records worked a distribution deal with MCA Records giving the label the opportunity to record independent music with major label quality production.

MCA also has the option of promoting the bands it feels could be commercially successful. It has spared no expense on New Found Glory’s latest offering.

The latest self-titled release by these Coral Springs, Fla. twenty-somethings doesn’t dive into completely new subject matter (girls). But it’s not really the lyrics that make NFG unique.

The non-standard drumming and frontman Jordan Pundik’s strained vocals set this band apart from the usual pop-punk bands, if you could even call them that.

Songs such as “Eyesore,” which strives on harmonies, feedback, and piano as opposed to power chords, and “Ballad for the Lost Romantics” make the band hard to categorize.

However, the self-titled release does have its share of sing-alongs as well. “Hit Or Miss,” re-recorded from the first album, and “All About Her” provide the album with its poppiness and MCA’s hope for another Blink-182.

Although there is nothing revolutionary about the lyrics Pundik sings in “Sucker” – “Music low/We’re all alone/Being wrong never felt so right” – what grabs a listener is the emotion he puts into his words. Almost anyone can sympathize with his lyrics, as he’s almost shouting them but singing them in a way so as to pull the listener in.

“I’ve grown sick/ I’ve gotten older/ I finally have an audience to ignore me,” Pundik sings on “Ballad.” But at this rate, Pundik and company will have plenty of people paying very close attention.

– Dewayne Hankins

“Tried + True”

Tinfed

Compare to: Radiohead, Nine Inch Nails, Space Monkeys

3 1/2 Stars

Usually the guys of Tinfed are busy flexing their individual muscles for other bands, acting as producers or studio musicians for groups including Skinny Puppy and Far.

Now, however, this California-based group has come together and mixed their talents, resulting in their highly contagious debut, “Tried + True.”

Focusing energy on structure, the band brings electronic and rock music to a crossroad, offering up a less affected rock sound that nods at synth-pop.

Tinfed first gained attention with the bombastic, hook-laden “Immune,” which was chosen for the “Mission: Impossible 2” soundtrack.

However, this isn’t the only keenly penned tune. “Drop” begins with a very simple yet catchy intro, followed by lead singer Rey Osburn’s vocals that have a very breathy, boy-band sound.

Don’t worry about seeing another ‘N Sync on the market. Tinfed isn’t a bunch of spineless pretty boys; they actually put some intellect into their style and even write their own music.

Consider the cool aquatic synth pulse that permeates through “Never Was Sure,” or the punchy breakbeats on “Idol.” These songs show off Tinfed’s musical ability while “Mouth As Sharp” highlights Osburn’s darkened pen as he sings, “And then the words just fell out of your mouth/as sharp as the ice that formed out from my own veins and eyes.”

Just as many debut albums do, “Tried + True” also shows that Tinfed has room to mature, especially when factoring in Osburn’s singing.

On “Arrange,” Osburn spurts out contorted vocals, often drawing out his words over long musical phrases in the same annoying fashion of Alanis Morissette.

Later, on “It’s Late,” Osburn gets a little too whiny. This isn’t the respectable sensitive Billy Corgan-style whine. It comes out a little tougher sounding, but brattier than Aaron from Staind.

Thankfully, Tinfed can redeem itself with the heavy stomp of “Halo,” and the haunting melodies from “Dangergirl.” These songs showcase Tinfed’s knowledge of the power and importance of a good melody without relying on sheer aggressive force.

– Kevin Hosbond

“Check Your People”

Downset

Compare to: Rage Against the Machine, Papa Roach, P.O.D.

4/5 Stars

After going through what frontman Rey Oropeza dubbed `personal problems’ and one of the worst corporate glitches in history, Los Angeles based Downset is back, and boy are they pissed.

The quintet has joined forces a third time to put out an aggressive and catchy conglomeration of hardcore sounds, phat raps and strong messages.

So many people talk about the pioneers of rap/rock and hardcore music, with bands such as Korn and the Deftones often mentioned as some of the fathers of this genre. But as long as this list of bands is becoming, it wouldn’t be complete without Downset.

The band’s 1994 self-titled debut album was complete with tracks such as “Anger” and “Take `em Out” and was one of the initial records that sparked what is now known as the L.A. hardcore scene.

Its follow-up two years later, “Do We Speak a Dead Language,” once again pushed Downset ahead in its genre, blending Rage Against the Machine-style vocals with fast-paced guitar and pounding beats.

After toughing things out through what could be considered common-band turmoil, Downset has proven once again it has a strong place in hardcore.

“Check Your People” demonstrates the strong lyrical content heard on “Do We Speak a Dead Language” and has more pounding sounds than the first two records combined.

The album kicks off with “Fallen Off” and “Coming Back,” two rocking tracks that fully set the tone for what’s to come.

Oropeza’s vocals are half of what makes Downset so good, with raps that flow like Zack de la Rocha and a raspy voice similar to Papa Roach’s Coby Dick.

Guitarists Rogelio Lozano (who also pulls double duty playing with Cypress Hill’s live show) and Ares create a driving sound that, along with drummer Chris Lee and bassist James Morris, build the perfect platform for Oropeza to shout out his emotions.

On the song “2000,” Oropeza shouts “2000/ This is not ours anymore,” with deep-felt, intense sincerity and anger that will send shivers through the listener – something that is rarely felt when just listening to music.

The record’s 13 tracks flow together nicely, with just enough slow parts between all the ass-kickings.

Downset isn’t rapping about rollin’ or nookie. It’s a band that deeply cares about what is going in the world and is fed up with the way things are being run. After listening to “Check Your People,” you’ll be just as pissed as they are.

– Kyle Moss