Remember when "pop-punk" wasn't a dirty word or condescending insult to a band's integrity? Remember when it meant simple, memorable songs combining infectious hooks with raw energy? Remember when it referred to bands like the Ramones, the Buzzcocks, the Descendents, and Husker Du? Remember when it had nothing to do with MTV, Hot Topic, or the mall? Well, even if you don't, Sugar Eater certainly does.
Their sound is probably best described as Descendents meets early AFI (minus the general suckitude of early AFI, of course). Vocalist Nick Social's urgent, snotty, young Davey Havok-evoking delivery is charismatic and sincere, while the rhythm section of Matt Clute and Fellatio Jones is very taut and precise. The American Idle EP is a terrific slab of the good/real kind of pop-punk from one of those bands that really oughta be huge, but unjustly isn't. "American Idle," the EP's first song and true centerpiece makes "American Idiot" look like it was written by a bunch of toddlers with shit in their pants and an Anti-Flag record. The quotables in the song's lyrics are numerous and memorable:
"I'm just a nose-job away from true happiness/ I've got recurring nightmares of dying average and anonymous"
"Even infamy is ecstasy when celebrity is everything"
"Sycophants march like ants to the pulsating rhythm of the latest fad"
"Anna Nicole, a nation turns its lonely eyes to you"
Add to that an anthemic, shout-along chorus and you've got a recipe for a great, intelligent punk single, which is direly needed in these days of offensively bad, recycled pop-"punk" clones.
Not surprisingly, the EP is mainly built around "American Idle," but the other three songs have their enjoyable facets as well. "Operation," the EP's Circle Jerks cover, doesn't quite outdo the original, but is still a fresh take on an undeniable classic. "Born on Third Base" would sound absolutely natural on Minor Threat's Complete Discography, while "Tiffany Jordan Likes Dave Matthews" is the obligatory chick song that manages to avoid any cliched pitfalls. Social sounds genuinely pissed, making it perfectly clear that the guy is no bleeding heart when it comes to the girl who "tried to overlook the fact that [she] had a boyfriend" and "lied right to [his] face."
American Idle is an almost ridiculously short listen (four songs in six minutes), making the lack of material a bit of a let-down. I'm very much looking forward to a full-length from this band, which I am sure won't disappoint. In a year where Bad Religion and the Descendents both released fantastic albums (The Empire Strikes First and Cool To Be You, respectively), maybe true pop-punk is making some sort of comeback. Or maybe not.
