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PRESS
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Reviews of the Dipsomaniacs'
2003 CD
- Freakin Eureka - are
posted below. |
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Jersey Beat - June/2004 #75
In the not too distant future
you'll (and so will I) use the Dipsomaniacs as a musical reference
point like, "You know, that band (insert cool alt rock band
name here) is very reminiscent of the Dipsomaniacs." The
Dipsos (lovingly called by their fans) have been creating energetic,
loose, straight-ahead pop/rock for a few years now. Get some
good PR behind these guys, and you've got a hit record. The
lyrics, the music, and overall vibe the Dipsomaniacs display is
reminiscent of bands like Wilco or the Replacements. In fact,
they contributed tracks to the Replacements tribute CD, Left of
the Dial. This is a band that, judging by their records,
their live show is going to be fun, exciting extension of their
studio work. - Phil Rainone
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Amplifier Issue #40 Feb 2004
The Dipsomaniacs Freakin Eureka
successfully mines the guitar-pop roots territory of groups like the
Figgs and Fountains of Wayne. Throw into the mix a
Replacements-like knack for validating the outsider, and you have a
disc of basic rock and roll defiance of the slings and arrows of
everyday life. Rather than wallowing in misery, songs like
“Calvin”, a catchy stomp with touches of Mammond B-3 organ focus
on a shared fate – this music is an escape in form and substance,
and what’s wrong with that? The jangle and muted effective
chorus harmonies on “Black Cloud” establish the sound and theme
form the beginning. Songs like “Low Level Search for God”
with its sharp unaffected guitar break pick it up with a dash of
loser humor. “Prince Harry” has roots rock drive in spades
and a chorus that begs for a replay. The”Mats comparison is
relevant too for “Worthless”, as song as wistful as
Westerberg’s best, capable of invoking sadness and identification.
Frustration, longing, and defiance ring out here with something like
uplift. Dante Garland
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Aquarian Weekly - Nov.
5/2003
Having acheived greatness
with a loose, sloppy/notsloppy Westerberg-inspired pop vision on
past efforts, this Trenton-ish quartet of convicted rock addicts
hit the mark yet again with the infectiously catchy, Strokes-dirty
"Black Cloud"; the '80s radio pop pound of "Sun
Shine Through"; a big, swirling, Velvet Crush-like "Low
Level Search For God" that invokes classic Cheap Trick and
Who hooks; a hilarious double-entendre tagged "Prince
Harry"; and angsty MTV hits waiting to happen
"Worthless," "Always Forgetting Something" and
"Beautiful Outside."
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Fufkin.Com 1/04
Dipsomaniacs -- Freakin Eureka
(Face Down/Jam): New Jersey band continues to crank out the power
pop jams, showing off a mixture of influences from the mod-era Who
to the latter day Replacements on this comfortable collection. Lead
singer and band songwriter Mick Chorba has one of those slackerish
verging-on-whiny voices that is friendly rather than irritating.
Chorba's voice turns out to be a great vehicle for his sardonic
lyrics. Indeed, he seems to be growing as a lyricist, as shown by
"Low Level Search for God". The song manages to convey a
characteristic wit while managing to seem sincere about the quest
for truth. The ballsy mid-tempo track is also a showcase for what a
terrific bunch of players these guys are, as the song has a lengthy
instrumental break where all involved get a bit of the spotlight,
without losing focus in heading to the rousing finish. On the
strictly humorous level, "Prince Harry" (as in
"drink, drugs..and Prince Harry") is a winner, and it has
a nifty roadhouse rock gloss. In the song, Chorba protests when he
writes a poem for his crush, but all she wants is sensationalism.
Tabloid sensibility = no romance. On a darkly humorous level, how
can you beat "when you're feeling worthless/just think about
me/when you've got no self-esteem" from "Worthless".
This is a fine acoustic lament that could probably be adapted well
by either Cheap Trick or an alt-country act. Speaking of country,
"Sleepy Joe" actually has a pedal steel, and has a country
flavor, just like a couple tracks have a bit of bluesiness a la The
Faces. Which is a good thing. Of course, if you just want some
straight ahead power pop or rock and roll, there are songs for you.
"Sun Shine Through" is premised on a foolproof riff,
making the song pretty much 100 percent hook. Meanwhile,
"Little One" shows that it is still O.K. to boogie, as
long as you have a melody to go along with it. This disc serves
notice that the Dipsomaniacs just keep getting better with each
release. facedown.net - Mike Bennet, Fufkin.com 1/04
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Cosmik CD Reviews 1/03
Reviewed by Erick Mertz
A review of the press materials packaged for the Dipsomaniacs
reveals that the release date of their album Freakin' Eureka is
today, October 28th. It's a rainy, blustery yet balmy day in
Portland Oregon, and I've just moved into a new house in the
Clinton Street neighborhood with my college friend Lars. Something
tells me this living situation is going to be a good one as I
already feel refreshed of the delinquent bill and freeloading
girlfriend stress of my former residence. Shared living is a
crapshoot, and for the modern 20-something urbanite, shared living
is a necessary evil.
Back to the Dipsomaniacs, did I mention I'm happy for them and the
release of this record? This is a darn good record and pulling it
out for review today is seemingly appropriate. I could refer to
their riffs as "gritty" or their ethics as "hard
working" but right now, in my newly realized good mood, that
would feel just a bit too patronizing. These guys are good, and
this, their newest, is a good record. Those should be adequate
adjectives to inspire its purchase. http://www.cosmik.com/aa-november03/reviews/review_dipsomaniacs.html
© 2003 - Erick Mertz
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Comes With a Smile, UK, 3/04
Three albums in, New Jersey’s
Dipsomaniacs seem to have arrived at something of a crossroads.
Deliberately or not, having notionally divided their latest album,
‘Freakin’ Eureka’ into Sides One & Two – I say
notionally as the album is only available on CD – there’s a
discernible difference between the sides. On ‘Side One’
they’ve dispensed with the more ambitious arrangements and
production utilised on previous album ‘This Life You’re
Faking’ in favour of a more back to basics approach. You can’t
knock the band’s energy or commitment, but despite the adrenalin
the songs are found wanting in the tunes department. They’re
enjoyable enough at the time but just don’t make a lasting
impression.
Mick Chorba, the band’s songwriter
and front-man as well as proprietor of their label, Face Down
Records is also a huge Replacements fan – a few years back he
assembled and contributed to a very good tribute to the band –
‘Left Of The Dial: A Pop Tribute To The Replacements’ and I
don’t think he’d consider it unfair to suggest that the
Dipsomaniacs have been greatly inspired by them. Which brings us
to ‘Side Two’, a big leap forward for the band which finds
them dispensing with the loveable, sloppy, sometimes throwaway
rockers so beloved of their heroes early years, instead
integrating the influence of the Replacements later more mature
work and with some success. Sure, there’s still a casual and fun
undercurrent to be found, most obviously in songs like Prince
Harry but there’s a greater maturity at play too, made evident
by the pleasing and unexpected integration of some occasional
country rock influences (Sleepy Joe, Always Forgetting Something)
into their lively guitar pop template.
A solid though unremarkable first
half then finds the Dipsomaniacs pulling off an unexpected second
half resurgence after the interval with some impressive set
pieces. Away win!
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Dipsomaniacs - Freakin
Eureka (Jam/FRD)
This is the USA band, not the Norwegian Dipsomaniacs. This band
sound more power pop than psychedelic with that something special
sound that we all heard on Matthew Sweet's Girlfriend. Working class
rock made for northeastern people who dream of California sunshine.
I have a feeling though that this band is way better live then on
record, because this is the type sound that goes so well in a club.
The Bee’s Knees Web Zine Mike Turner http://www.hhbtm.com/beesknees/reviewstwenty.html
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Power of Pop Web Zine
Freakin Eureka possibly encapsulates the emotional high that pop
listeners will experience when confronted with this compact
40-minute collection.
Earlier albums (Undertow & The Life You’re faking) traced the
Dipsomaniac roots to Cheap Trick and the Replacements without
apology or reservation.
Freakin Eureka finds the band
stretching for a bit more range and sophistication and succeeding on
“Low Level Search For God,” “Black Cloud,” “Beautiful
Outside,”“Worthless” and “Loneliness” where the likes of
the Beatles, Roy Orbison, Big Star, the Who and the Raspberries are
evoked with ease.
Elsewhere, the rollicking “Prince
Harry,” jaunty “Calvin” and drowsy “Always Forgetting
Something” maintain Mick Chorba’s love affair with Paul
Westerberg.
Stronger with each listen, Freakin Eureka is tasty meat-and-potatoes
guitar rock which powerpop and garage fans will relish. B Power of
Pop Web Zine 4/16/03 http://powerofpop.tripod.com/dipsomaniacs_freakin_eureka.htm
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(American) DIPSOMANIACS – Freakin
Eureka (Face Down Records/Jam Records)
The Burlington, New Jersey band the Dipsomaniacs is made up of
Mick Chorba (vocals, guitars, keyboards and Theremin), Ron
Mitchell (guitars and backing vocals), Matt Maciolek (bass and
backing vocals) and Tom O’Grady (drums and backing vocals). They
are not to be confused with the Norwegian Dipsomaniacs, a great
psychedelic pop band long associated with Free City – not to
mention one of our very favorite groups. Both bands started using
the name around the same time in the early ‘90s and both built
reputations within their respective local scenes before going
global. If Art DeFuria from the Photon Band can work with both
Dipsomaniacs, there must be room in the world for two bands of
that name. Art did a track for Mick Chorba’s Who tribute and has
collaborated with Øyvind Holm of the Norwegian Dipsomaniacs on
several songs (see Praying Winter and Who’s Not Forgotten
reviews below). Now that we have that bit of confusion out of the
way, I can say that Freakin Eureka is a really enjoyable garage
rock album, both loose and precise in the proper measure, and full
of killer hooks.
The opening track "Black Cloud" captures the excitement
and hope of The Replacements circa Pleased To Meet Me. "Sun
Shine Through" continues the Paul Westerberg feeling and
"Calvin" touches on early Elvis Costello, while showing
that Mick Chorba is the kind of songwriter who can knock out three
perfect bar band singles in a row before settling into an album. A
bit more introspective and restrained, "Low Level Search For
God" sounds like Wilco crossed with later Hüsker Dü.
Impressively, this song also features the fourth memorable chorus
in a row plus a nice guitar solo from Ron Mitchell.
"Beautiful Outside" has a soulful garage ballad style
that reminds me of Art DeFuria’s band, though the clever verses
are not equaled by the obvious metaphor of the chorus.
"Always Forgetting Something" and "Worthless"
slow things down but are still belted out with the band’s
customary intensity. "Prince Harry" and "Little
One" blend traditional rock and indie moves like The
Replacements playing Chuck Berry. "Sleepy Joe" is a
countryish "King Of The Road" sort of number that works
well as a break from the more insistent rock. The ballad
"Loneliness" ends the album with lighters held high.
Freakin Eureka brings back some of the happy optimistic feelings
from the time around 1985-86 when the indie bands were on the cusp
of going big time. Since this music is new, it has the added
benefit of not being tainted by the implosion that followed that
brief period. The American Dipsomaniacs are good at taking the
passion of garage rock and making it more accessible…and Mick
Chorba seems to have melodies to spare. Go to www.facedown.net
or www.dipsomaniacs.net.
Review by Nick Benson
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your source for all that noise!
“Freakin’ Eureka”, The
Dipsomaniacs, Face Down Records/Jam Records, 2003
During the comedy boom times,
it used to be said that if you were in a big city and you swung a
dead cat around your head and then let it go, the chances were
that it would hit a comedian. Nowadays, you can substitute a
member of a pop/rock band for the comedian.
The Dipsomaniacs are one of those new breed. The Dipsos have
a good chance of breaking through with the basics: good songs,
excellent production, well constructed harmonies, and tight
playing.
There are a number of songs on “Freakin’ Eureka” that
could be used for singles. For example, “Sun Shine Through”
and “Calvin” are nice, bouncy, major-chord ear candy that
would work well on the radio.
You could even say the same for the solemnly titled
“Low Level Search for God,” which is a bit long for the radio
at 4:54, but moves with a nice beat and does not take itself too
seriously (these guys don’t do lyrics on the CD sleeve).
“Little One” is the most energetic of all, with a driving
rock-and-roll sound without the often-done rockabilly twang.
Songwriter, lead vocalist, and guitarist Mike Chorba strikes
a nice compromise on his lyrics, making them neither overly
serious, nor mindless. Chorba also plays keyboards. They are
not noticeable at first, but subtly build up the music in certain
spots. The other band members Ron Mitchell (guitars), Matt
Maciolek (bass), and Tom O’Grady (drums) contribute on
background vocals.
Their promo material describes the band as garage, but the
CD sounds too polished for that description. I suspect that these
guys have been around for a while, and it sounds as if they know
what they want from a studio. They are actually more workaholics
than dipsomaniacs. Maybe it is just that coming from Trenton, New
Jersey makes them drink.
What the studio gave them was a bright, peppy sound, the
opposite of the many proto-grunge and metal bands played on what
passes for “rock” radio. Even the “sad” songs don’t drag
you down. “Worthless” and “Loneliness” have an alt.country
vibe, but they are songs of regret instead of “crying in your
beer” pieces.
The picture of the band on the CD cover is blurry, so you
cannot see their faces. Are they hiding their ages? From the
photos on their web site, they appear to be in their thirties or
forties. I hope that this does not indicate a rule in the record
industry that you have to be under a certain age to be successful.
You may think that you have heard enough of the two guitar,
bass, and drum combination. But this CD could make you wonder,
“Freakin’ Eureka! Here’s something fresh.” The
Dipsomaniacs have a bit of a retro sound. But after all, who
doesn’t anymore? And their take on the bright guitar sound of
the sixties mixed with this century’s production is retro at its
best.
Band web site at: http://www.dipsomaniacs.net/
- Dave Howell
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Dipsomaniacs - Freakin' Eureka
Written by Joel Dunham CD REVIEWS . COM
Monday, 25 October 2004
What’s this?! Two bands that share the unlikely name
“The Dipsomaniacs”?! How are we to distinguish between
the two? Will CDreviews.com’s discovery of two sets of
Dipsomaniacs lead to a legal battle, causing the losing party to
assume the title “The Artists Formerly Known as the
Dipsomaniacs”? What is a Dipsomaniac? What were the
chances that two entirely different bands, one from California,
the other from Norway, would share the same maniacal name?
Will the legal battle end in peace, resulting in a double-tour
proclaiming: “The Dipsomaniacs, this time we’ve got all of
them!”? Does it seem like some sort of cosmic order is at
play as the prefix “Dipso” does make us think of two?
Well, legal battle or no, I promise to discuss each of these two
albums’ merits in the following, and I promise that the reviews
will actually have separate content, as that hasn’t been the
case so far.
The American Dipsomaniacs remind me
of an exuberant dog happily romping through a backyard. The
production allows the band to retain an edge of guitar distortion,
reminding us that these Dipsos are, after all, a garage band.
The cover art depicts the scene well: it’s the guys playing
their instruments into the box, ears a-headphoned. Freakin’
Eureka?! Nothing has been discovered. Yes yes, the pop
melodies are there, the finger-tapping eagerness is there, the
music is played right, but there is little here to differentiate
these Dipsos from the rest of the market.
I take that back. The
Dipsomaniacs have a knack for nailing a sort of vaguely cheerful
excitement that stands out in a room full of Bambi-eyed
singer-crybaby-ers and obviously forced bands who are supposed to
exude dementia, which we are told somehow mirrors a greater order
that we’ll never understand. (Because there is nothing to
understand.) I’d rather take an honest dose of Dipsomaniac
good cheer than be throttled with another band’s overblown lack
of self-awareness.
But what do we get? “Don’t
bring your black cloud into my house again/Don’t bring your
gloom into my room again,” is sung in “Black Cloud.”
We get the obviousness: let’s forget it and just be happy to
sing pop songs now and then. The band refuses to take
themselves out of a mode that might compromise the possibility of
being chosen for an alternative radio playlist, and so the bland
eagerness keeps floating on until the end of the record.
Despite the fact that the band’s pop-friendly inertia is more
than a little grating by the finish line, there are a few corners
that are brightened. In an age when drum solos are to be
hated, the B side of this album has one that is to be admired for
successfully fitting into its song without feeling like dross.
Also, “Little One” snapped me out of my listening doldrums
with a catchiness reminiscent of early Who. (By the way, the
Dipsomaniacs are featured on an excellent compilation put together
by their label FDR which puts more spirit into Who covers,
certainly, than the Who themselves could have done over the past
20 years, which would still be true now even if the Who wasn’t
two-fourths dead.)
In the midst of some experiments
with rock-a-billy and a garage band’s imitation of country
(complete with barroom piano), the only track that truly shines
with any actual depth to it is “Low Level Search for God.”
Here the band’s passive-aggressive, pop-friendly apathy towards
God, or any other higher meaning for that matter, is finally
breached. “If Jesus Christ was in the sunshine state/Then
I’d be in the motor city/Trying hard not to stay awake all night
watching B-movie/I’m on a low level search for God…What’s
wrong with that?” The search for meaning perhaps man’s
highest aspiration, often taking form in religion. Here the
Dipsomaniacs make it clear to us that they’re not on a low level
search for God or anything. Heck, they’re not on a search
at all…that’s the real point. And whether it was
conscious or not, the band matches their generation’s apathy and
carefree attitude perfectly with the slightest hint of guilt in
this song’s music. The track was an unexpected success, at
least for me. Blasphemous? Yes. Blasé?
Yes. Truthful? Finally.
The stronger bits, however, do not
make up for the boring uniformity that consists of Freakin’
Eureka. I could enjoy a couple songs of the Dipsomaniacs’
oblivious pop, but certainly not a whole record of it.
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Reviews of the Dipsomaniacs'
2001 CD
- The Life You're Faking - are
posted below. |
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Enjoy
these snippets; find full
text of all reviews below.
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"Raucous,
smart, and funny power pop. Fans of
everything from Cheap Trick to Green Day might
find this to their liking."
Kent
H. Benjamin in Pop Culture Press Issue #54
5/02
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"As
expected, the Dipsomaniacs, blew the doors of the
joint. Local boys from New Jersey, this
quartet makes the Who's Live at Leeds seem like a
quaint campfire sing-along." (live
review of 12/01 NYC show) Tom Semiole in Amplifier
Magazine, Issue #29, March 2002
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"Mick
Chorba, the band's singer/guitarist and main
songwriter, has come up with several instant
classics on the new album, particularly the surf
fantasy 'Everyday,' which may be one of the most
perfectly-crafted guitar rock songs ever
written." John Swenson
UPI United
Press International 1/16/02
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"The
best comes in the middle with 'This Heart Be True'
and 'Valerie, Valerie' and . But the
strength of this disc is
consistency..." Steve
Gardner in The
Big Takeover #49 12/01
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"The
boys understand." Pat
Pierson in Yeah Yeah Yeah 11/01
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"The playing is
lively and fast, but the songs are melodic and
have terrific six-string hooks. That's a difficult
assignment for any band, but the Dipsomaniacs pass
the test easily... Score: 8 of 10." Michael
Ryan in The Boston Herald 10/12
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"It’s
got great harmonies, tasty guitar riffs, and 12
very catchy songs." Chad
Bowar in Suite101.com
11/01
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"This disc deserves Top
Ten consideration!" - Eric
Sorenson in Fufkin.com
10/01
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"The sound of a great band hitting its creative
stride." Al
Muzer in The Aquarian 10/24 10/24
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"The Life You’re Faking is a damn fine
slice of rock ‘n roll heaven." David
Bash in Amplifier Magazine 11/01
-
"pop
songs just don't get much better than the luminous
'This Heart Be True'." John
F Butland in Exclaim
online zine
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"...it's
a more beautiful noise than ever coming from the
Dipsomaniacs, as evidenced on their latest
release, The Life You're Faking..."
Randy Alexander in the Trenton
Times 11/9
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"...We
live on a lonely planet. They're in a Jersey-side
bunker waiting for their tube amps to get really
hot and they end up capturing a small part of the
rock `n' roll landscape." Just
Like Honey Music Site 11/01
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"The
Dipsomaniacs are the musical 'missing link'..."
www.reviewunlimited.com
4/02
Full
text of all reviews listed below
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UPI
- UNITED PRESS INTERNATIONAL
"...One of the highlights of the
IPO was the New York debut of the Trenton, N.J.-based Dipsomaniacs, a
truly great rock band with its roots locked in the music of the Who,
Beach Boys, Beatles, Replacements and the Pogues (the band's latest
album, "The Life You're Faking," even has a song written to
that group's founder, "Shane MacGowan").
Mick Chorba, the band's
singer/guitarist and main songwriter, has come up with several instant
classics on the new album, particularly the surf fantasy
"Everyday," which may be one of the most perfectly-crafted
guitar rock songs ever written.
Copies of "The Life You're
Faking" as well as the Dipsomaniacs' great Who-inspired
"Undertow" (think "Punk Quadrophenia") are
available from Face Down Records, PO Box 1733, Burlington, New Jersey
08016, or at facedown.net in cyberspace."
By John Swenson
United
Press International
Published 1/16/2002 6:28 PM
Copyright © 2002 United Press International
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Dipsomaniacs -
The Life You're
Faking (Face Down Records): It's pretty
obvious that the Dipsomaniacs spent many, many hours listening
to
Replacements albums. In every way, the New Jersey quartet
emulates their obvious musical heroes on this new disc.
"The Life You're Faking" features a punchy blend of
power pop that has
enough edgy guitar to keep your attention, yet is never overwhelming
enough to force you to reach for the volume knob. The playing is
lively and fast, but the songs are melodic and have terrific
six-string hooks. That's a
difficult assignment for any band, but the Dipsomaniacs pass
the test
easily.
Unlike the Replacements, who aimed more for attitude, the Dipsomaniacs
are overwhelmingly polished. There is little groundbreaking
music here, but that's not really the point. "The Life
You're Faking" begins with the premise that rock 'n roll, when
played well, is catchy and fun. The band gleefully sticks with this
formula over the course of 12 songs.
The standout track is the opener, "Everyday." It is
extremely radio friendly and could easily find its way onto the
soundtrack of a teen comedy. This is not an album without flaws,
however. "More than a Machine" never hits the right tempo
while "Dismembered" sounds like it was cobbled together ten
minutes before the band entered the studio.
However, "The Life You're Faking" gets major bonus
points for a pair of
song-title reasons. The second song is called "Shane MacGowan."
Any homage to the former lead singer and genius for the Pogues
indicates a high degree of felicitous reverence.
The seventh tune, titled "Valerie Valerie (NJT)," is
a humorous homage to love on the New Jersey Transit. That's a mode of
transportation I've used
many times since my collegiate days at Seton Hall. SCORE:
8." Michael Ryan in the Boston Herald
(MA) 10/12/01
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The
Dipsomaniacs (it means they're drunks, if you're wondering) are Jersey
boys, kinda like Bon Jovi, but mostly not. I mean, they're not quite
as photogenic, and they don't play pop metal, but they do write great
rock and roll songs that are sure to stretch your mug into a toothy
smile. The Dipsos' rootsy powerpop features bright and shiny odes to
girls they want and girls they've lost with at least one meaty,
memorable hook per song, ensuring many a drunken sing-along, and
comparisons to a lighter weight Cheap Trick or less debauched
Replacements would not be out of order. The impressive harmonies are
pretty paisley things, and the guitars have a tendency to jangle, so
don't expect them to burn the club down in a flurry of macho thunder,
but as far as pop with power goes, "The Life You're Faking"
is a winner. Sleazegrinder
web site 3/03
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SPACE CITY ROCK
www.spacecityrock.com
The Dipsomaniacs
The Life You're Faking
The Life You're Faking ends with an unedited version of the
song that kicks off the album, which is just the type of
all-things-to-all-people pandering that typically pisses me off. It
says that the Dipsomaniacs know that a shorter "Everyday"
has a better likelihood of being played on the radio but they're too
cheap to send out a separate promo disc and too pleased with the song
to ax one of the two versions. In this case, though, all it really
does is just save me the trouble of pressing "play" to hear
it again.
That was an instinct that dogged me in the opening stages of my love
affair with the New Pornographers' Mass Romantic, and indeed,
the Dipsomaniacs sound a bit like the Vancouver group but without Neko
Case and the cerebral-hemorrhage creativity. The Dipsomaniacs don't
break any new ground, but at least they crib from quality sources,
appropriating the cream of at least three decades of power pop.
"More Than A Machine" sounds like it was composed in a
"What You Do To Me" haze and "Valerie Valerie (NJT)"
could have been cut from the limestone of Being There-era Wilco,
but the Dipsomaniacs' sharp guitars, punchy drums and efficient
harmonies keep their own sound consistent and concrete from start to
finish.
That's the case even when their touchstones are made a bit more
explicit. "Everything" culminates in a fadeout chant of
"Someday I'm gonna ride it / Someday I'm gonna ride that wave to
you / A million miles away" that not only doesn't bother avoiding
the inevitable Plimsouls comparisons but meets them head on, while
"Rubber Soul" is backed by harmony vocals straight out of
"You Won't See Me." That's the song's only resemblance to
the Beatles album, though, and "Shane MacGowan" likewise
sounds nothing like the Pogues, relying instead on Cheap Tricky
guitars (I'm thinking "Downed" in particular), although I
swear I hear enough hints of "Mr. Milk" in there to think
that someone in the band is a You Am I fan. Derivative but enjoyable, The
Life You're Faking gives no reason to think that the Dipsomaniacs
are interested in anything higher-minded than screwing around and
having a good time. Careers are built around less noble pursuits every
day. (MH) http://www.spacecityrock.com/issue6/reviews/rev-D.html
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You just have to love a
band that name themselves after another word for alcoholics, have a
great song called "Shane MacGowan", and sound very much like
the pre-sobriety Replacements. Out of the New Jersey area, and
on a label called Face Down Records, at that. The thing is, this
third album is just great rollicking fun - not dissimilar to the
Faces, but with a jangly pop edge, though more than anything a loving
continuation of the "Mats fine legacy. There's not a bad
song on the album, and several, notably the aforementioned "Shane
MacGowan", "Valerie Valerie (NJT)",
"Dismembered", "Real Girl Now", and "Quiet
Quiet Quiet" are all just excellent - raucous, smart, and funny
power pop. Fans of everything from Cheap Trick to Green Day
might find this one just to their taste. Recommended. Kent
H. Benjamin in Pop Culture Press Issue #54 5/02
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Live review of Dipsomaniacs at the
Knitting Factory, NYC, December 2001:
"...As expected, the Dipsomaniacs,
blew the doors of the joint. Local boys from New Jersey, this
quartet makes the Who's Live at Leeds seem like a quaint campfire
sing-along. Matt Maciolek's teardrop bass thundered ala John
Entwhistle while fellow Dipsos Ron Mitchell and Mick Chorba
harmonized between gulps of cheap beer on songs from their new
release, The Life You're Faking..."
by Tom Semiole in Amplifier Magazine,
Issue #29, March 2002
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The Dipsomaniacs are a
pretty tasty power pop outfit out of Baltimore. On this CD, they
manage to string together 12 solid songs, all of which are fine
examples of jangly, guitar-driven, harmony-laden pop. The best
comes in the middle with 'THis Heart Be True' and 'Valerie,
Valerie'. But the strength in this disc is consistency - there's
not an abvious signature song like you usually get on, say, a DM3 CD,
but on the other hand, there are no tracks that don't sound just fine
while playing, either. Neat work. Steve
Gardner in The Big Takeover
#49 12/01
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"New Jersey garage
rockers Dipsomaniacs return with a much more polished sound on their
third CD. It’s got great harmonies, tasty guitar riffs, and 12 very
catchy songs. The group’s sound has been compared to the
Replacements, Plimsouls, and Cheap Trick. They’ve managed to combine
that 80s alt-rock garage sound and attitude with today’s production
values to create their own unique musical niche. They even pay homage
to the Pogues lead singer in the song “Shane McGowan”. The Life
You’re Faking is a power-pop gem." Chad
Bowar in Suite101.com
11/01
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"The Dipsos are a
rare breed of US power pop band because they sound so vibrant and new
like many of those bands a lot of us discovered on the Yellow Pills
samplers. Edgy and melodic like The Plimsouls at their most
jangly, they honor the formula and tradition which runs through most
great power pop such as Cheap Trick, Bill Lloyd, and The Beat.
Fans of aforementioned acts should not hasten to pick this up.
the boys understand." Pat Pierson in
Yeah Yeah Yeah 11/01
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AMG - All Music
Guide
"With no thanks to some
celebrities noted in the sleeve, this group takes their music with a
pinch of comedic salt and some rather well trodden lightweight power
pop clichés. A quirky start to this album isn't an omen of things to
come, but "Everyday" appears to run out of steam or gas
approximately two-thirds into the song. During some parts of each
song, the tightness of the chorus is wasted by a jangle guitar riff or
off-timed hi-hat, which seems to remove the proverbial guts of the
tune, particularly on "Tina's Good at Everything."
It seems to be the exception though
when lead singer Mick
Chorba slows the tempo down on "Dismembered" and
"Real Girl Now," revealing a side in the vein of Marah,
as well as the Gin
Blossoms. When the band goes for a looser, barroom feel, it
certainly pays off, with the handclaps and saxophone on "Valerie
Valerie (NJT)." The second half of the record is far superior to
the first, with a deeper, richer sound pervading a majority of the
quality material. "Whoever" is saved for last, probably
because it's the highlight. A good and solid album, but not flawless."
— Jason MacNeil www.allmusic.com
2/02
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It's becoming a familiar
refrain, but 2001 is emerging as the best year for
power pop since Jean Chretien made an honest living. And New Jersey's
Dipsomaniacs are way out in front of the already estimable
pack; they have that rare ability to rock it without losing one iota
of hookiness or melody.
When most bands try that
they end up verging on metal or punk, but when the Dipsos lean into it
they simply end up playing harder, not heavier. There have been
precious few bands with that ability - the Replacements had it
and so did the Plimsouls. You can hear plenty of both those
outfits here and can add other sonic echoes like the Flamin'
Groovies, Hoodoo Gurus, Cheap Trick and Sloan. There's a little
jangle here, a big honking power chord there, sweet but not treacly
harmonies everywhere (contrasting nicely with lead singer and writer
Mick Chorba's raspy, soulful vocals), and more hooks than a tackle
box.
"Everyday"
both opens and closes the LP (in two different versions) and echoes
what is possibly the best power pop song ever written, the Plimsouls'
"A Million Miles Away." "Rubber Soul" may
have a Beatles nod in the title but musically it's a shimmering mix of
the Grass Roots and the La's. And pop songs just don't get much better
than the luminous "This Heart Be True." These guys aren't
faking anything; they're the real deal. John
F. Butland in Exclaim
online zine 11/17
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REVIEWS
UNLIMITED
The Dipsomaniacs are the musical
"missing link" between today's pop and rock bands.
You'll hear influences of the Beatles and the Animals, along with the
Raspberries and some of today's top 40 bands (Matchbox 20, Lenny
Kravitz, etc.). "Everyday", "More Than A
Machine", etc are as reminiscent as they are original. The
band writes about love, hope and disappointment. Simple,
emotional and fun to listen to! 4 & 1/2 Stars (Out of 5) www.reviewunlimited.com
4/02
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"...I'm going to mention a cool
CD and upcoming show. The Dipsomaniacs
sent me their latest CD, the life you're faking, and
what a great CD it is. Their last CD, Undertow, had such
memorable songs as "Krackow" and "Graduation"
(among several other songs heard on blowupradio.com),
and their new CD has even more memorable garage pop songs with catchy
choruses and harmonies as solid as any classic Beach Boys
track. You can already hear "More Than a Machine" and
"Tina's Good at Everything" on blowupradio.com,
but I suggest you go see the Dipsomaniacs
live this Friday at Trenton's newest club, Conduit."
Lazlo from BlowupRadio.com (NJ) 11/04
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"This New Jersey band made their
reputation very swiftly with the rough hewn, melodic Replacements
influenced sound of their debut disc. The Life You’re Faking delivers
more in the same vein, but both the songwriting dynamics and the
warmth have been turned up at least a few notches, and lead
singer/songwriter Mick Chorba proves that he can incorporate several
styles into the band’s rugged, roots foundation. While tracks like
"Everyday" and "Quiet Quiet Quiet" are perfect for
dyed in the wool Replacements fans, others like "Tina’s Good At
Everything" add a go go dimension with its handclaps,
"Rubber Soul" sounds nothing like the Beatles but does have
a rather soulful chorus, "This Heart Be True" and
"Crash n Burn" inject some infectuous power pop, and
"Valerie Valerie (NJT)" takes bubblegum into the New
Millennium. The proper album ends with "Whoever," which is
an extremely powerful statement…but wait, there’s more: an
alternate, longer version of "Everyday" ends the disc. The
Life You’re Faking is a damn fine slice of rock ‘n roll
heaven." David Bash in Amplifier
Magazine (RI) 11/01
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DIPSO'S
DO 'THE LIFE YOU'RE FAKING'
"We'll be
announcing dates for shows in Philadelphia and Trenton soon,"
explained West-'Jersey pop-rockers, the Dipsomaniacs, in a recent
e-update promoting their October 26 CD Release show at the Side Bar in
Baltimore.
Available on their own Face Down Records as a co-release with
Michigan-based Jam Records, the group's just-unveiled, 13-song The
Life You're Faking not only, according to their bio,
"captures the Dipsomaniacs' frenetic garage rawness," it
also packs "a shimmering sonic punch."
"We're very proud of this one," offered vocalist/ guitarist/
songwriter/ band founder/keyboardist/saxophonist/harmonicat Mick Chorba, "it does
not suck."
Around and about practically forever (at least since 1994's Superheros
&
Fairytales) and last heard from at (full) length on 98's
excellent Undertow - a new millennium finds Chorba,
drummer Tom O'Grady, bassist Matt Maciolek and guitarist Ron Mitchell
sounding more committed to the "cause" than ever before.
Highlighted by the snarky jangle of "Shane MacGowan";
the sonic snarl and AM radio pulse of "Tina's Good At
Everything"; the Beach Boys' hook and Buddah Records bounce
behind "Rubber Soul"; the Meatloaf-meets-Material
Issue yearning of "Crash 'n' Burn"; the Cheap
Trick-huge "Quiet Quiet Quiet"; and two shots at the
tremendous "Everyday" -- The Life You're Faking
is the sound of a great band hitting its creative stride on an album
that captures the feel and flow of a live performance." Al
Muzer in the Aquarian (NJ) 10/24/01
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JUST
LIKE HONEY MUSIC REVIEW
Everything
has already been said about this Trenton, New Jersey band who hang out
at a bar called The Conduit. You've already heard that they
sound like a dentist's wet dream and that they could also be described
as at fait donc la part belle aux harmonies et aux melodies. So
I sat here but couldn't come up with anything original. I know they
play gigs with bands like The Commons, Alice Project and The Marlowes
if that tells you anything. They're sympathetic because The Life was
co-released with Michigan-based Jam Records. Meanwhile, people who
said the Dipsomanics jangle with chime and authority with gruffy snug
pop sort of like equal parts Foo Fighters, Wilco and The Replacements
are probably right. I'm not the one to pick through the alley garbage
but I can tell you this band is perfect for the late night jams: on
the song 'Valerie Valerie (NJT)' they sit inspired of the view of New
York City looking out over the Hudson. We live on a lonely planet.
They're in a Jersey-side bunker waiting for their tube amps to get
really hot and they end up capturing a small part of the rock `n' roll
landscape. Just
Like Honey 11/01
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"Hot
off the presses is the latest release from the Dipsomaniacs -
The Life You’re Faking. “More Than A Machine” and
“Dismembered” are particularly appealing to jangleholics like me,
but this album is a showcase for one of the finest pop/rock bands on
the east coast - come to think of it, one of the finest pop/rock bands
in America. Long may you run, Mick Chorba and bandmates! This disc
deserves Top Ten consideration." -
Eric Sorenson in
www.fufkin.com
(DC) 10/01
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Here are some reviews of
the Dipsomaniacs 1999 release - Undertow
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"…unruly
guitar-driven pop with am emphasis on the songs… the hooky songs
and great harmonies keep 'Undertow' more on the pop side than the
punk side, although the band does
blister the paint when they need to… the album's high spots echo
other bands' best work (Material Issue, Replacements, Flamin'
Groovies). If you're going to wear your influences
on your sleeve, you'd better wear them well, and the dipsos
definitely do." AMPLIFIER MAGAZINE 1999
"This is the latest release
from the long standing NJ pop band that continues to evolve as the
years pass with their gruffily sung pop. ‘Undertow’ is the
dipsomaniacs most consistent and best effort yet as it concentrates
on writing tuneful melodies. An excellent step forward, and the
last tune, ‘Almost Over’ will linger for days on you!" NOT
LAME RECORDS (CO) 1999
"‘Undertow’ is a return to
the classic garage pop sound the dipsomaniacs embrace and is ignited
by the band’s adoration of The Who and their admitted infatuation
with the rock opera ‘Tommy’." BACKBEAT/TRENTON
TIMES (NJ)1998
When "Krackow" sets off
the immediate and honest reminiscence of the Artful Dodger, you'd
figure that maybe you've just stumbled onto another one of those
Power Pop cultists who derive everything they do from a narrow
catalog of pop cult classics. But that's not the case with the
queerly fine songbuilding on this record Undertow. Singer Mick
Chorba bitches at you to "get off my bike" and your ears
perk up wondering what exactly the fuck it is that he means. And
when you realize he just wants you to get off of his goddamn bike,
well, then you know you're hearing the sounds of a band that likes a
warped funhouse mirror view life.
In our youth - not so long ago - I'da probably been sitting around
in the basement with Mick sucking down PBR's and tossing darts at a
picture of his brother who keeps getting tossed into our faces as
some measure of success (the dumbass always played by the rules...er,
their rules). Singin' bout these sort of downers make the best sense
when you can present them half pissed, half disgusted, three
quarters drunk, and nine-tenths laughing at the world.
Undertow does some justice to the entire idea of rock bleeding
itself over into a pop stream that usually runs too pure. And
usually, it's a hell of a lot more fun to listen to a bunch of guys
who'd rather play a juke-joint for some free beer than a bunch of
nitwits who sit around a studio trying to cop "that Rubber Soul
sound". I know I don't care what kind of mic Lennon sang into,
but I do care about a few guys who aren't too far from who I am
taking their
equipment outta the van and seeking the unholy grail from song to
song, night to night.
Sometimes I forget how much I forgot about how good rock and roll
can simply feel. - KV, www.bangsheet.com
October 2000
"The Dipsos play a ballsier
than average brand of power pop, with obvious influences like the
dB's, Posies, Replacements, and Flamin' Groovies. They're not
pushing any envelopes, but with hooks this tight and a punchy,
energetic sound, who gives a shit? "Krackow" is
irresistibly jangly and "Undertowverture" pays homage to
The Who in title, sound, and spirit. Perfect for cranking it,
rolling down the windows, and cruising." - John
F. Butland Toast Magazine
8/2000
"... I really, really enjoyed
Undertow. Spirited, loud, fun and sometimes even Silly, you know,
which is High Praise Indeed in my book! This truly was a really
Clever album: well written, arranged, played, sung... even
sequenced!" - Gary "Pig" Gold
(NJ) 2000
"Sounding like across between
Too Much Joy (vocally) and the early Who (musically) New Jersey's
Dipsomaniacs mine a chunky vein on Undertow. Guitarists Mick Chorba
and Ron
Mitchell obviously spent many hours listening to the Replacements
and spearhead the same irreverent energy here, albeit not quite as
sloppily. "Student Driver" would fit on a surf compass
well as it would on the 'Mats' Sorry Ma Forgot to Take Out the
Trash... Props date back to The Stones too - "Pushin Red"
and "Little Nothin" (two of my favorites) are built upon
the same bones that Keef still pulls out on occassion... Undertow is
energetic and garagey enough to require frequent spins in your world
too... - Bill Holmes in BUCKETFULL OF BRAINS
(UK) 1999
"Power-pop so sweet it's like
a dentist's wet dream." JERSEY BEAT (NJ)
1999
Dipsomaniacs är den typen av band
som man skulle kunna hitta på svensk-sammanställda samlingar som t
ex "Fireworks" och "Pop Under The Surface". Nu gör
man inte det men jag hade inte blivit särskilt förvånad om de
hade funnits representerade på någon av volymerna. Det rör sig
alltså om väldigt amerikansk powerpop/rock. Vissa går i taket av
sådan här musik, andra tycker att den är på tok för slätstruken.
Själv befinner jag mig någonstans mittemellan.
Även om den här kvartetten får räknas till de lite tuffare
powerpop-banden, tycker jag ändå att "Undertow" är
aningen för tillrättalagd för att vara intressant. Samtidigt går
det inte att komma ifrån att det handlar om tidlös, Replacements-inspirerad
pop vilket aldrig kan bli helt ointressant. Så precis som jag förhåller
mig till genren i stort förhåller jag mig till Dipsomaniacs, jag hör
uppenbara kvaliteter men inget som tilltalar mig direkt. Chansen är
dock ganska stor att det här bandet går hem hos dig om du tycker
att band som t ex Mop Tops är lagom, d v s varken för stökiga
eller för polerade. Därmed inte sagt att Dipsomaniacs låter
precis som pings pophopp. Av: Martin Lundkvist - POPOGA
(SWEDEN) Vecka 4, 1999
"Youthful and fun as could be,
'Undertow' bears all the markings of an exceptional album, shaking
and quaking to and fro with boundless energy and heapings of
hardfisted hooks. As long as bands such as Dipsomaniacs are around,
the spirit of rock & roll will never wither away
and die!" Beverly Paterson for ROCK BEAT
INTERNATIONAL (MD) 1999
"Le nouvel album de
dipsomaniacs fait donc la part belle aux harmonies et aux melodies,
comme tout groupe de power pop sait en trousser, avec aisance et
assurance, mais n'en oublie pas pour autant certaines racines garage
ou rock cheres aux americans Ce qui nous donne un cocktail plein de
saveur, de suavita et d'arome." 442 EME
RUE (FRANCE) 1999
"(regarding 'Undertow') Ballsy
pop from these New Jerseyites who clearly love the Replacements.
Songs like 'Get Off My Bike' really kick ass, and 'Like Yer Brother'
and 'Graduation' will please fans of Mitch Easter. One listen to
this album… well, to paraphrase a famous potato chip company,
there's no way you can listen just once." David
Bash www.purepop.com 1999
"The dipsomaniacs finally hit
the nail squarely on the commercially viable head with
‘Undertow’ as they jangle and chime with authority on ‘Krackow’;
rock with a venomous
melodicism on ‘Get Off My Bike’; blend Paul Westerberg - via -
Too Much Joy on ‘Wake Up’; and revisit the good old days of
college radio for ‘Like Yer Brother,’ Pushin’ Red,’ and
‘Graduation’." Al Muzer AQUARIAN/ARTS
WEEKLY (NJ) 1998
"(regarding 'Undertow') Well
produced guitar based power pop with all the live fervor caught on
tape nicely" Pat Pierson YEAH, YEAH, YEAH
(NJ) 1999
"(regarding 'Undertow')Melodic
guitar-jangly pop rock-n-roll a la Gin Blossoms, Wallflowers,et al,
but more upbeat, energetic, and exuberant, echoing at times,
brilliant 1960s
era pop (esp. Beach Boys) with fine writing from Dips' Mick Chorba
thru-out." RAGING SMOLDER MUSIC REVIEW
(MD) 1999
"(regarding 'Undertow') If the
more inconsequential lyrics allow you to notice how thin the band
is, the hooks and vocals not only make every song fun, but make
every song sound smarter and deeper than it reads." Davis
Schweitzer OCULUS MAGAZINE (NJ) 1999 |
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