The Big Disappointments - The Big Disappointments / Hot Cave This review comes to you from the not-too-distant past where the Stars n' Stripes are still adorned on every lawn of every neighborhood in the great United States and "everyone" is celebrating Independence Day with fireworks, hamburgers and not a little alcohol to make things more interesting. Even more critical than that is the music. Beyond Francis Scott Key, what could be more American than Toby Keith, Phil Spector or, uh, jazz? Garage-rock. It almost seems silly to explain where the style originated given its name, but one of the earliest sub-genres in rock n' roll's history evolved in the early 60s with bands like The Wailers who were literally playing out of their suburban garages. DIY before DIY was DIY, these groups eventually made way for better production techniques in the late 60s and early 70s, but with everything old being new again all the time, garage-rock has had its resurgence. Crossbreed a little of that with the spirit of psychobilly and punk and you've discovered the secret to the all-American formula Boston's The Big Disappointments employ on their self-titled sophomore album and first official recording (Live at Studio Eight has preceded this). There's nothing more American than two guitarists, one a singer and lead and the other a rhythm player, a bassist, and a drummer. The perfect band formula, just don't tell ...Trail of Dead or I'm From Barcelona. These upstarts aren't actually upstarts at all; Eric Boomhower (possibly one of the most awesome names in rock) and Andy Abrahamson were members of The In Out and this whole Big Disappointments thing was supposed to be a joke back in 1999. Eight years on, they're serious: In a mere 39 minutes, the group rifles through 15 songs and leaves little doubt that they've joined this latest wave of new groups with a slightly destructive garage-rock style. It's interesting to note that the aforementioned styles that are all over songs like the blazing opener "Only Here Only Now" and the stomping "An Absolute Farmer," post-punk also intrudes on tracks like the rhythm-driven "Dance Track Budokan" and "Chemicals." Lisa Mullen's drumming is sturdy on this release and one of the main reasons it succeeds so well so often, the backbone of virtually every song reeling in the metallic-sounding guitars and subtle bass that rarely dominates. Rather, it quietly leads the guitars down corridors and through back alleyways as on "The Hunted Whale" or "The Ugly Man." You can hear a lot of Philly's Burning Brides in this release to cite a recent contemporary, but The Big Disappointments are more than just a comparison. They're more than just a thankfully ironic bandname. They are a reflection of America on its proudest day: Sloppy, reckless, guiltless and free with just a touch of gravitas saved for the fireworks. Pass those burgers this way. Yessir, I think I'll have another. - Patrick Masterson Former Music Director and DJ at WUSC-FM Columbia