Boy Hits Car offers a fresh breath of air to a tiring genre.
Written: Jun 30 '03
Product Rating:
Pros: Blends light and heavy, very experimental, lots of personality, love the vocals
Cons: Not easy to absorb at first, too expansive in some songs
The Bottom Line: This album is for anyone who's grown tired of the same old Korn/Faith No More/Deftones-influenced nu-metal bands on the radio, and wants something a little bit stranger.
toolhead's Full Review: Boy Hits Car [PA] by Boy Hits Car
Boy Hits Car is a band that is not easily describeb by either entailing what sort of musical elements and influences they incorporate into their songs, nor other acts that have a sound similar to their own; there are simply too many of both. Although the band (and their wonderfully eclectic self-titled debut LP) are a truly original outfit that are adept at combining familiar tastes in order to create a refreshing, spastic, but all-out beautiful take on many musical styles that are fading at the moment. Unfortunately for the band and their would-be fanbase, critics are sure to be quick to label Boy Hits Car as a nu-metal/post hardcore/alt.metal flash in the pan, and many potential fans who might have otherwise enjoyed them would overlook them as just another Korn, Black Flag, or Soundgarden remake. In all actuality, nothing could be farther from the truth. Hopefully, this review will help you, but one member of the aforementioned 'potential fanbase' decide for yourself whether Boy Hits Car are actually the bandwagon riding group some might have you think, or if instead, they are a group that seems to be dead set on doing whatever they can to give a much-needed shock into the world of heavy music. The choice is clearly for each fan to make for themselves, but this reviewer knows just where he stands. Let's start.
I bought the Boy Hits Car album for the irresistible price of $9.99 at my local Sam Goody store the same day I purchased my now heavily-played copy of The Beastie Boys' legendary Paul's Boutique album, for the same unbelievable price. Now that both records have had some time to break themselves into my cd changer, I've found myself playing both of them virtually non-stop, and I am certain that both albums were a steal at less than $10 a piece (for very different reasons), and I would recommend this album to any fan of hardcore, classic rock, progressive music, heavy metal who also isn't afraid to explore a more experimental, risky territory in their musical adventures. Ultimately, though it may take a few spins to realize just how creative and expansive this album is, I think that most listeners will find that their time (and money) will not have been ill-spent, as deciding to invest in this band and album are both somewhat of a crapshoot, but one that is certain to pay off in the best way possible. Initially, I had heard some talk of Boy Hits Car, and was under the impression that they were strongly ingrained in the burgeoning 'emotional hardcore' genre that is slowly gaining a lot of attention in America's underground scene right now, and would be similar to other nu-hardcore acts like Glassjaw and 36 Crazyfists (not altogether a false presumption, but trust me, they are so much more than that). On the other hand, as I unwrapped the album's cellophane covering and slid it into my home stereo for the first time, a shiver of fear overcame me, a brief (and ultimately false) qualm that the band may just be another boring nu-metal act in the same vein as such musical atrocities as Linkin Park and Papa Roach. Luckily, I was surprised to find that the music of Boy Hits Car resides not merely somewhere in between (the best parts of) both genres, but also wasn't afraid to tie in influences from such older groups as Santana and King Crimson, but also incorporated, with surprising tact and success, world instruments including sitars and tribal percussion. Halfway through the first listen, I came to the conclusion that Boy Hits Car is a band that would much rather be grouped with the likes of such legendary acts Led Zeppelin and Jane's Addiction (without the pretension that comes with such association) than the passing fads of Jimmy Eat World or Limp Bizkit. Boy Hits Car is a band that very well might end up making a very strong, respectable name for themselves in the music business, but unfortunately, may never receive the sales (let alone the respect and recognition) they deserve. Let me tell you about the album, and just why I enjoy it so damn much.
Boy Hits Car (the album) opens with the calm, moody Middle-Eastern opening of "The Rebirth", but once the ravaging guitar riff and soaring, emotional vocals of lead singer CRegg kick in, you suddenly realize that these guys are truly not kidding around, and that already, a mere fifteen seconds into it, you're in for quite a ride throughout this entire album. Luckily, this is not a failed speculation, as the 43-minute long trip this album provides is one that explores the boundaries of what heavy music can do, never wavering from immensely enjoyable songs and strong musicianship. An eclectic combination of hardcore energy and passion with heavy metal riffs and passionate, uplifting lyrics sung with undying emotion, "The Rebirth" in itself is a good description of not only the entire album to follow, but even of the writers themselves. However, as much as "The Rebirth" bursts open with (and trust me, it does), the album still hasn't even begun to show its full potential yet. Track two, the metallic "Lovecore (Welcome To)" (I presume the title itself is a tongue-in-cheek spoof at all the '-core' genres that have sprung up in the past few years) is one of the hardest, edgiest songs on the album, with chorus riffs that would not sound misplaced on any early Tool or Soundgarden album, but like these two influences, Boy Hits Car also offers a priceless trait that any metal band can be made better with: vocal melody. Yes, eccentric frontman CRegg's voice may not be for everyone, as he jumps in and out of high tenor warbling, low register whispering, and balls-to-the-wall screaming, and this is one of the traits that will truly determine whether each fan (by individual preference) will find Boy Hits Car worth the price of admission. This does not mean CRegg can't sing, because actually, quite the opposite true. The man can write soaring melodies, and his vocal versatility is relatively unmatched in most bands they've played with (including the over-hyped Papa Roach and a stint with System of a Down on the annual Sno-Core tour), but nevertheless, some fans may not be so appreciative of his vividly original (some might say 'insane') vocal stylings. CRegg sounds like some twisted combination of Robert Plant, Mike Patton, and Perry Ferrell (three notoriezed vocalists in their own rite), bears similarities to Glassjaw's Daryl Palumbo, but is still able to create a fiercely unique singing/screaming style all his own. With him, it is not a matter of ‘Can he sing or can’t he?’, but instead, of personal taste and preference. Some people (yours truly included here) will find his spastic, emotive voice very inviting, but some listeners are sure to be turned off by this trait.
On the third song of the album, "As I Watch The Sun .... The Ocean", seems to turn things down a notch during the sultry, 12-string acoustic intro, but then unwinds itself into one of the most ballsy, metallic guitar riffs on the album, all of which is simply laying the groundwork on which to showcase one of CRegg's most enjoyable vocal and lyrical offerings. One of my personal favorite songs on the album, "...The Ocean" combines some of the band's most precious elements; heart-stopping vocals, passionate and emotional lyrics, compact but brilliant songwriting, and a solid dose of heavy metal know-how; to create a song that is both experimental and solid in its dynamics (this is another one of the many tracks on the album that show a gorgeous Middle-Eastern/Asian influence in the band's songs). There is one of those damned 'parental advisory' stickers on the cover of Boy Hits Car, and with good reason...although the album is not strewn with obscenities, they do make a healthy use of profanity, but it never seems uselessly used up or intentionally obscene. Arguably, "As I Watch The Sun..." (as well as other tracks on the album) provide some of the most beautiful uses of the f-word that the listener will ever be privied to. CRegg is no heavy metal Walt Whitman, but at times, you can't help but feel that his undeniably strong vocals are only matched by his penchant to write intensely personal, passionate, and (at times) even romantic lyrics for the songs on the album. Rare is it that I find the dreaded f-bomb in anything I’d consider poetry, but Boy Hits Car is one of those exceptions.
Following the majesty of "...The Ocean" is the slightly more subtle, moody song "I'm a Cloud" provides an interesting combination of punchy bass, tweaked guitar riffs and relentless screaming with a more laid-back, atmospheric tone (largely compliments of trippy, effect pedal-laden guitars), but unfortunately, this formula is not wholly successful. I am a serious fan of the arty, sometimes borderline progressive approach that Boy Hits Car has to songwriting, but sometimes, the songwriting does not appear to have carved its own identity in some songs, and some songs become a little too 'out there' for their own good. The impassioned, manic-depressive chorus of "I'm A Cloud", "I am so full of love/I am so full of hate/I am so full of these feelings that pull me every which way" demonstrates just how hectic their songs can sometimes be, but unfortunately, this is not an affliction that infiltrates more than a handful of songs on the album, and does not greatly affect the overall enjoyment of the record itself. Up next is the half-sullen, half-sadistic vibe of "Man Without Skin", though the song itself doesn't sound nearly as painful as the title. This song demonstrates the band's ability to lay introspective, intensely personal lyrics over a strong background of instrumentals that are equally sensitive and confident. The title of "A Letter From Prison", unfortunately, becomes more memorable than the song itself, as the band's well-honed formula of combining light and heavy sounds begins to wear down a little, and only halfway through the album, the listener may begin to question just how 'original' these guys are, after all. Fear not, however, as the second half of the album successfully manages to take the previously mentioned songwriting elements and forge them with more variety and (more successful) experimentation in each song. The five-minute long "Unheard", track seven, is a perfect example of this. Opening with a moody, ethnic riff sprawled over the solid, Latin-inspired beats of the band's drummer, Michael, "Unheard" sounds like a more intelligent, emotional version of the fiercely Brazilian rock sounds of latter day Sepultura. On all fronts, particularly the strong, grungy guitar riffs in the bridge, "Unheard" is one of the best songs on the album, proving once and for all that this band is capable of combining a smorgasbord of musical elements in order to create one wonderful dosage of songwriting. "Going To India" leaves little to imagination (the title really describes itself), but is undoubtedly one of the best, hardest rocking songs on the record. Lyrically, the song appears to be equally written about a young woman caught up in confusion and heartbreak, and conventional Indian references (sitars, elephants, and snake-charmers are all mentioned). This song also provides a nod to some very, very diverse musical influences the band carries with them, from beautiful Indian-themed female vocals to singing and guitars akin to Incubus, sitars and gently-strummed 12-string guitars, and an opening riff that is just begging to be borrowed from Led Zeppelin's "Dancing Days". By this point, the album has already regained its momentum and respectability, setting the stage for the beautifully personal track nine, the aptly-titled "Turning Inward". At first listen, this one might sound like the most straight-forward rock song on the whole record, but au contraire, as it melds moody, thoughtful guitars and bass with impossibly smooth, emotive vocals, topped off by the most passionate lyrics of the entire album, as introspective and fragile as they are romantic. With "Turning Inward", CRegg proves, in a truly awe-inspiring manner, that he is not afraid to portray his 'effeminite side' in his lyrics (and vocals), and it results in one of the most personal, beautiful songs the band has to offer. The chorus: "So don't forget me/if we make it/'Cause I'm so scared/standing naked," "Just one last caress/of a Pacific/We can be one tonight/through the pain and this fright." “Turning Inward” is truly a not a song to be missed.
The album concludes itself with two more energetic and sincere tracks, "Benkei" (a Japanese name) and "Before We Die", both of which are vaugely similar in theme and sound, but are nevertheless an excellent final point to exit such a great album from. The pounding, tribal beats of "Benkei" are only outmatched by the visceral, haunting lyrics ("I didn't get to bury you, didn't get to bury you, look at you"), creating an exciting shooting-off point for the more calm, laid-back sounds of "Before We Die", the final song of the album (featuring a wonderful breakdown showcasing Michael's rolling drums and an Oriental flute!). At this point, if your experience with the album is anything like my own, you will still be trying to take in all the territory this record encompasses, still trying to catch your breath from the diverse musical journey that has just concluded. Once finishing it for the first time, most listeners would likely be compelled to give the album another spin, if nothing else, to go back and try and make more sense of what they've just heard. Admittedly, the album does require repeat listens before the songs form their own identity and character, but after five or six spins in your stereo, you are sure to find yourself singing, nodding, and possibly even head-banging along with each song as each one of them begins to release their own savory flavor. This album, like all great albums, is an investment that may not pay itself off immediately...but is almost certain to provide mass enjoyment (and frequent subsequent listens) once a little time and effort has been made to find the intricacies that it entails.
I would recommend this album to fans of the following bands: Tool, Led Zeppelin, The Apex Theory, Dredg, 36 Crazyfists, Glassjaw, At the Drive-In, The Smashing Pumpkins, Rage Against the Machine, Alien Ant Farm, Taproot, and Kansas. I would also recommend these bands to fans of Boy Hits Car.
Overall, while Boy Hits Car are neither the most accessible album or band this side of the Indian ocean (get it?), but they do offer up a sound that is both eclectic and concentrated, and one that is not likely to burn out quickly. It is almost guaranteed to require a few extra listens before it truly begins to sink in, and unfortunately, some of the songs are a bit too experimental and confusing for their own good, but the vast majority of this record is a dense, layered piece of music that will lodge itself deep into most listeners ears, and will not be easy to forget or overlook anytime soon. Once the band gains a little more focus and experience in their songwriting, I am sure that they will be able to produce even more invigorating, enjoyable music than they have on this album, which is worth purchasing in order to see just how much potential these guys already have for themselves and their music. Boy Hits Car offer a refreshing blast of music that is both uplifting and cathartic, and makes a mark uniquely their own in order to set themselves apart from the innumerable heavy metal acts that are currently inundating record stores. As I stated at the beginning of the review, it seems unfortunate that a band as creative and eccentric as Boy Hits Car might be grouped in with the mass of boring, tasteless nu-metal bands out there, but this little gem is one spending the time and money it requires to find it, dust it off, and let it shine for a long time to come. A whole-hearted recommendation.
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![Boy Hits Car [PA] by Boy Hits Car](http://di1.shopping.com/images1/pi/33/70/ab/2005396832-177x150-0-0.jpg)
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