DISClosure
CD Reviews Of A National Scale
Running From Dharma/Hoping For The
Better
by Benjy Eisen
 Punk
rock is alive and well and still breathing in the mid-state, as this
“split disc” featuring two Central PA acts so clearly states. The idea of
a “split disc” is to tap into the fan bases of two separate bands,
exposing fans of one to the other. Or, as was my case, exposing the
listener to both.
Running From Dharma contributes the first three tracks on this particular
split. An adequate 14-minute introduction to the band, the tracks achieve
the most desirable result possible: that is to say, they leave the
listener wanting more. Running From Dharma proves to be an intelligent
punk band from every angle. Their lyrics are engaging, their song-craft is
smart and their songs are rewarding listens. It helps, of course, that the
tracks are mixed well and well produced. “Lost In The Translation” starts
off with stuccato guitar before morphing into an angry assault that, like
all good assaults, is as disciplined as it is aggressive. Although they’ll
probably hate me for saying so, these songs aren’t as far removed from
some of the new metal bands that freckle today’s popular music as Running
From Dharma’s punk ethic might have you believe.
All bad puns involving their name aside, Hoping For The Better’s three
tracks aren’t as enjoyable as the three from Dharma before them. With
their triple guitar attack and garage rock beats, Hoping For The Better
come off as a high school skatepunk band that would fare better in VFW’s
and firehalls. Depending on their goals, that’s not such a bad thing.
Their screamcore is unpolished and raw — a textbook example of the
hardcore revivalism that took place largely after bands like Green Day and
Blink-182 convinced the rest of the world that true punk was dead.
It’s good to know it’s not. (C.I. Records/Revelation)
Jimmy Eat World
Bleed American
by Lisa Hummel
 Since
parting ways with their record label, the Mesa, Arizona-based Jimmy Eat
World gathered resources, financed a tour, and recorded their third — and
perhaps finest — studio album, Bleed American. Call them punk, call
them emo, they are pure version of neither. Whatever the category, Jimmy
Eat World is turning heads, expanding upon the finer qualities of punk and
raising it a level or two. Bleed American’s 11 tracks are more
earnest than, say, the average Blink-182 song that resonates in the mind
of the current music listener when the word “punk” is tossed around. Not
that they aren’t fun (the album kicks off with the title track: “I’m not
alone because the TV’s on/I’m not crazy because I take the right pills
every day”) they’re just a tad more intense, wearing their inner turmoil
on their sleeves for all the world to see.
Less experimental than 1999’s Clarity, Bleed American is
more power-pop, though that’s not to say the band is packing their bags
for TRL superstardom. While they have gained quite a buzz with the album’s
first cut, the aforementioned title track — the release of which was
delayed due to the September 11 tragedy — it is just one of many fine
tracks on the album. And though the album resonates with the strains of
driving, up-tempo guitar familiar to straight-up punk music (“The Middle,”
“If You Don’t, Don’t”) it is matched with melodic rock and emotive lyrics
customary to emo, including the tender “Hear You Me” and “My Sundown” and
the sweet mover “Your House.”
Two of the album’s finest points are the new wave-like “Sweetness” (with
the almost sickeningly albeit super catchy “Whoa-oh-oh-oh-ohs” that
dominate) and “A Praise Chorus” the latter ending with lines from Tommy
James’ “Crimson and Clover,” Madness’ “Our House,” and Motley Crue’s
“Kickstart My Heart.” Guest vocalist Davey Von Bohlen was asked to “sing
me something that I know” — and those were his answers, in song reply.
Bleed American plays for just over 45 minutes. Not one of those
minutes is wasted. Take a listen for yourself. (Dreamworks)
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