Артист:	Sugarbomb
Альбом:	BULLY , 2001
Жанр:	Punk-Pop, Post-Grunge, Alternative Pop/Rock
Формат файла:	EAC_APE
Ссылка:	CD
Примечание:	If you never heard of these guys I suggest you get this Lossless release, this is a very good CD...

The Fort Worth, TX, alt-pop quintet Sugarbomb is comprised of members Les Farrington (keyboards, lead vocals), Daniel Harville (guitar, lead vocals), Michael Harville (drums, vocals), Greg Bagby (guitar, vocals), and Kelly Riley (bass). Although officially formed in March of 1998, most of Sugarbomb's bandmembers had been friends for years beforehand. They settled on their name because, according to Harville, "The sweetness of sugar and the chaos of a bomb fits our music and personalities." Beginning in October of that same year, Sugarbomb played around the Texas area on a regular basis, signing with indie label Rainmaker Records in early 1999, and issuing their debut recording, Tastes Like Sugar, in the summer. The album successfully caught the attention of RCA Records, who signed the group shortly thereafter and released their sophomore effort, Bully, in September of 2001. Produced by Mark Endert (Fiona Apple, Vertical Horizon, Semisonic, Madonna), the album is a showcase of Sugarbomb's power pop influences (shades of Jellyfish and Todd Rundgren/Utopia's stellar late-'70s/early-'80s output immediately come to mind), and shows that they're in step with such modern day alt-popsters as Ben Folds and Jason Falkner.

Do college kids still want indie rock? If so, Bully is bound to be blasting out of every dorm room. This is the Texas quintet's second album, but major-label debut, and it's as sweet and explosive as the band's name. Sugarbomb are still a young enough group (they formed in March 1998) to wear its influences on its sleeves. Smashing Pumpkins, White Album-era Beatles, and Queen are just some of its most obvious influences. At times the band seems caught in a decade-old time warp where Brit-pop meets dream pop, but it's savvy enough to throw in more modern elements salvaging Bully from a retro tag. The rap that appears unexpectedly on the '60s-drenched "Motor Mouth," the electronics tossed into the carnival pop-punk of "Clover," the harder rock chords and gothesque little break embedded in "Over," and the homage to Queen, "After All," which is so ominous that Marilyn Manson could cover it, are the kinds of twists that make Sugarbomb something truly special. The band has a rich sound that is laced with dreamy atmospheres, but is equally adept at harder pop-punk. All the songs boast a surprising depth and complexity, with supple key and tempo changes, all enriched by the harmonies and lush keyboards. Lyrically, the group has an equal depth and edge. An album of many moods from bright and breezy — "What a Day" cries out pop hit — to deep and dark. Sugarbomb is less a candy treat than a hefty meal to sink your teeth into.