RAMALLAH

Considering Thorp Records' reputation for releasing high quality, boot-to-face hardcore, RAMALLAH's "Kill a Celebrity" surprised the hell out of me, but not in a negative way. I was puzzled initially by Rob Lind's (BLOOD FOR BLOOD, SINNERS AND SAINTS) militantly damning look at a deceitful U.S. government and an apathetic American populace (and other world issues) set to a soundtrack of BIOHAZARD-esque hardcore, pop flourishes, light and dark keyboard dances, and a rock-rooted core. Certain parts reminded me of SHOOTYZ GROOVE as well (if anyone remembers them). However, the forehead wrinkles were soon replaced by head nods of satisfaction. A tiny bit of pop awkwardness aside, "Kill a Celebrity" is a creative, adrenaline-pumping album. As for how the album compares to 2002's "But a Whimper" EP, I haven't got a clue.

Lind wrote (with a quasi-exception — see below) all music and lyrics, as well as played guitar, bass, and (along with Jim Siegel) keyboards. Neil Dike handled the drums. Zack from KINGS OF NUTHIN played piano on "The Other Side" and "The Other Side (Reprise)". After the mellow vocal/piano intro of the 30-second "The Other Side", Lind is heard shouting out (presumably figurative) wishes for terrorist attacks on MTV and the Video Music Awards: "…put some sarin gas in the central AC of the VMAs and watch those beautiful faces turn ashen gray". The tune then turns into a groovin' speed romp, Lind spitting vitriol with a rappy hardcore cadence. From thereon, it's the thrashy hardcore of the title track and the keyboard-laced chorus and politically charged lyrics of "Days of Revenge" ("Holy Mother of Columbine, say a prayer for me and the USA / Blessed martyrs of Palestine, come and strike us down"). The mosh-meets-melody of "Drink the Kool-Aid" is another highlight and a diatribe against blind American patriotism ("That sticker of a flag on your car means nothing and when the sky falls again your prayers will mean nothing").

Confused looks on the faces of the hardcore-dedicated will be most noticeable during tracks like the melodic flow of "Oscar Cotton", the piano-led "nah, nah, nah, nahs" on the chorus of "The Horror and the Gag", and nu-ish bent of "Act of Faith" (to name just a few). But those are the types of things that make the album stand out from the crowd. Just wait until you hear "A Day in the Life", a semi-cover of THE BEATLES' classic that uses Lind's lyrics (e.g. "I saw a film today oh boy, the U.S. Army had just dropped some peace on the Middle East"). "Bye-Bye" is pure pop goodness with a driving rock beat.

"Kill a Celebrity" gets better every time I spin it. The album is sure to get mixed reactions from the purists, but that's to be expected any time that an artist pushes the limits. And of course some of Lind's lyrics will create controversy! That's the point. Two-word review: cool album.