Customer Reviews

Whiteout

5 star:		(5)
4 star:		(3)
3 star:		(1)
2 star:		(3)
1 star:		(0)

 

 

When I preordered this CD, I really didn't know what to expect. With the schizophrenia of Boss Hog's last outing, I expected another mix of moaning strings and jagged guitars, purring vocals and middle-finger solos. Well, "Whiteout" isn't as mixed up as Boss Hog's self-titled amalgam . . . BUT I LOVE IT! "Whiteout" is a collection of ten really solid pop-tinged recordings and I recommend this one highly to anyone who likes a little bubblegum with their metal.

I am a big Boss Hog fan and had been anticipating the release of this album for a while. Unfortunately, I was a little dissapointed when I finally bought it. The songs aren't neccesarily bad (except for "Get It While You Wait" which sounds like Garbage for christ's sake!) they're just not as good as previous albums. However, there are a few songs that are really good. "Nursery Rhyme", "Fear For You", and especially "Monkey" are great old school Boss Hog songs. If you're a big Boss Hog fan this is probably worth getting, but if you're new to Boss Hog I would recommend starting with thier self-titled album on Geffen or the Girl+ EP (if you can still find it).

I've read many reviews stating that this is a no good album. It's nothing compared to their previous effort, 1995's self-titled album. To be honest, the 1995 album is good, of course, but there are so many throwaway songs on that album. Whiteout, though, is a nice collection of pop songs that still have that independent edge. On the whole, a great album. Admittedly, I didn't like it whatsoever when I first got it in the mail, but have since grown to enjoy it immensely.

Okay, some of those negative reviews ignore the fact that this LP does, in fact, rock. Some of the NY scum has been scraped away, but Xna and Co can still kick it. Yeah, maybe it's a little more "acceptable", but they're not 18 anymore, and maybe don't feel they have to prove their punk rock credentials (which are there in spades: JSBX, Goats, Honeymoon Killers, Gibson Bros., Pussy Galore, etc). And frankly I think InTheRed missed the boat 'cos this shoulda been bigger than Garbage and their ilk. It sure is more fun to listen to.

Regardless of what many people below me say, I find this Boss Hog album to be their best. Yes, they have turned more towards the electronic side of things, but that is not necessarily a bad thing. "Nursery Rhyme" uses the drum machine in the perfect way and the song ends up being probably the best song on the entire album. My only complaint is that the album is VERY short. Many of the songs are short in length and the album ends after about 33 minutes. Nevertheless, Boss Hog's new sound is very rewarding and "Whiteout" would make a great addition to anybody's CD collection.

Grade: A-

Smashing, trashy, sleazy and classy. this sounds and feels a million miles away from the faceless minions of contemporary american alt.rock. just one more thing, why can't Jon Spencer tame down the "BLOOZE EXPLOSION" exhultations and do something half as good as this during his day job?

Plenty of people are dissapointed that Boss Hog didn't go in and make "Boss Hog Part 2" or something like that. Yes there are keyboards, yes there are vocal effects, yes there is obviously an attempt at mainstream acceptance. These things are elements of the first Boss Hog record (to a lesser degree), but most people choose to not notice. The production is more polished and sparkly, and there are moments where the mix really becomes part of the song. This is a good album, no matter who made it. "Stereolight" and "Get It While You Wait" are good pop songs that just happen to be awash in synthesizers and drum loops. If you want pure old-style Boss Hog, "Chocolate", "Jaguar", and "Monkey" offer delicous servings. Buy this record because you like good music, not because you like the first Boss Hog record. I was disappointed when I listened to it expecting to hear more of the first record, but after a couple of listens I realized that Christina and friends are interested in making good music, even if it means they lose underground "credibility".

Boss Hog give us the companion piece to Gang of Four's _Mall_, which as those who've heard Go4's _Mall_, well, it ain't much...a glossy sheen put over the some recognizable Hogisms which aren't catchy enough to be mainstream pablum and these cuts don't rock enough to interest any of their previous fanbase...although the last cut sorta almost delivers a little bit of the rock...still nothing compared to "Ruby" or "Gerard". I don't know, maybe the Ma & Pa Spence are too busy trying not to wake the baby...can't say as though I recommend this at all..even to the diehard apologist, this is just a complete whiteout...

A new Boss Hog recording! I was so thrilled. Their self-titled debut came at a time when the punk-alt-rock world sorely needed something fresh. The Pixies had been split up for awhile. Cobain had recently departed, and the radio stations and record labels were desperately signing and recycling any idiot with a vaguely grunge sound. Female singers were trying to rock out and be heard, but somehow the result was predominantly that stupid "introspective songwriter with pseudo-hiphop drums sound" like Sarah McLachlan and Alanis Morrissette. Times were bad.

Boss Hog showed up like angels with hangovers under an Edward Gorey umbrella. Dynamics! Creativity! Experimenting with noise! They sounded like they were actually having fun, and playing what they felt like playing. It was such a relief. Of course it wasn't calculated enough to actually go anywhere, and still most people haven't heard of them. I figured they had given up, like the Throwing Muses, because the industry just isn't interested in giving the public good music. But no, a new record was coming out!

My excitement slowly faded as the first few songs filled the car. I didn't hear any sweet guitar lines like "Punkture" or "I dig you." And the keyboard sounds were grating. "Stereolight" almost made me cry. It's got all the soul of a Madonna song, for crying out loud! What was going on? Who produced this thing? What have they done to Boss Hog? I wished I hadn't already bought tickets to the show, but decided to go anyway, since I'd missed them the first time around.

They began with a new song and I felt the old thrill come back. It was live, and immediate, and raw, and it was good. The songs are fine, they just need to be played live. Cristina prowled the stage in vinyl pants, alternately spacing out and grinning broadly. John Spencer jerked around like a marionette, coaxing loud riffs. The bassist stood so calmly it was amazing how incredible he rocked. The drummer was flawless, and sang great backup to boot. I tried to ignore the keyboardist as much as possible. All the songs would have been better with some sonic space...he was superfluous. "Why didn't they just release a live recording?" I kept saying to my companion, who nodded. They played almost all their new songs, and then blessed us with a few (not enough) from their debut.

Now I listen to the CD and I can tolerate it. I try to conjure up the live show. The lame production really makes it a challenge, but I can at least give it 2 stars now, instead of one. I know, reviewers are saying their sound "matured." That, as they say, is just Hogwash. Heaping vocal effects and synthesizers on an energetic, talented band is not maturation. It's just trying to fit them into the mainstream. Thank God their live shows still rock.

But they never did play "Punkture."

ok...i have to agree that i HATE it when bands get knocked down for changing their sound..its so important in the evolution of a band! well- i think 'whiteout' is a great album- their sound has matured beyond simply hardcore to something that embraces technology and keeps a lusty edge... this album was GREAT performed live... run to get this!