Rating:
Genre:
Rock
Release Date: 06/21/2005
Transplants' 2002 debut shouldn't have worked. There was the supergroup tag, for one, with
Tim Armstrong and
Travis Barker at the center of a trio that also included vocalist/rapper
Ron Aston. And besides, their charge of modified
punk revivalism, streetscape grit, and
hip-hop bravado seemed (on paper anyway) like music for the villains in a
DMX action vehicle, or at the very least a sound tailored for game systems. Nevertheless it was oddly effective, and managed some real atmosphere. In 2005
the Transplants return. They've skipped from
Armstrong's
Hellcat imprint to
Barker's
Atlantic-distributed
La Salle, but it's close to the same sound on
Haunted Cities. Opener
"Not Today" suggests the first record's
"Tall Cans in the Air"; it sounds like a futuristic retelling of 1977
punk, and
Sen Dog stops by for a guest verse.
"Apocalypse Now" isn't as effective -- its lyrical rage is empty, and the converted
drum'n'bass backing track doesn't go anywhere. But the single
"Gangsters and Thugs" is as oddly effective as the debut with its turntables and hedonism, organ drop-ins, and skittering percussion racket. "Gangsters and thugs/Criminals and hoods/Some of my friends sell records/Some of my friends sell drugs." And speaking of
Sen Dog,
B Real appears on the dubby swagger
"Killafornia." "What I Can't Describe" appropriates vintage
soul and Cali
G-funk; it even features some raps from
Boo-Yaa T.R.I.B.E. The swaggering
"Madness" sounds like a
Rancid track recut to fit
the Transplants' shadowy street-fighting sound -- while the hammering guitar and
Armstrong's vocal part are pulled right from
punk, the theremin-and-keyboard breakdowns are strange flashbulbs from an alternate Golden State reality where it's always night and thugs drive around in jet-powered Packards.
Haunted Cities suffers lyrically. Blood, guts, and I'll punch you (or worse) if you look my way -- that's about the size of it, particularly when
Aston's on the mike. But the weird
Clash-isms of
"American Guns" and
"I Want It All"'s chopped-up rhythms and scratches work even though they shouldn't. It's all so blatantly postmodern. But the whole package ends up having this strangely alluring glimmer. It's like discovering California Babylon after being lost in suburbia.
~Johnny Loftus, All Music Guide
;)
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