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"The Blam - Caveat Emptor record review"

New York City. It’s huge, sprawling, epic, dirty, big, strangely familiar but totally foreign. These are the same qualities that you could use to describe The Blam and their second amazing album. Drawing equally from the New York sound of the Calla, The Strokes, Interpol et al, The Blam never forgets the British sounds that created that sound in the first place, like Eno and Bowie. Alternating between noisy, fuzzed out stomps, like the klaxon call of the opener “Death or Glory” to the shimmering softness of “Calm Down”, The Blam cover many of the best sounds of many of the best bands on both sides of the Atlantic Ocean.

It isn’t until the title track comes blaring, propelled by Itamar Ziegler’s unstoppable bassline, that you see the full majesty of The Blam’s work. But then, like a thief in the night, they are off on another tangent with the almost Flaming Lips-like “How Did the Flies Get In”, with its whimsical guitar line and Beach Boy harmonies over the droning end. This is hands down one of the most promising and well written albums of 2004… it’s early, mind you, but we are off to a damn good start…

What I really enjoy about this record is songwriter and vocalist Jerry Adler’s rejection of irony and stance. This record is beautiful and lacks all pretension. It is a pure work of love and appreciation and hard work, instead of a simple nod to someone else’s ideas and work. Like I have been told, it is so easy to criticize and copy, but creation of something new is another story. - indieworkshop.com

"The Blam - Caveat Emptor record review"

Skratch Magazine

These days, super hip New York bands seem to be sprouting out of the boroughs like stalks in a cornfield. That's why it should come as a surprise to precisely no one that The Blam, being both super hip and from the Big Apple, appear to be riding the straight-away (Parliament Lights first) into all sorts of great things. Their 2003 self-titled debut inspired kind words from ALTERNATIVE PRESS and NME and enjoyed a mini-stint as the fourth most-added college radio record in the U.S. of A. The 10 songs on CAVEAT EMPTOR blend the minimalist garage-fuzz of The Strokes with the sass of Stellastarr* and an abundant breath of fresh air. "Caveat Emptor" flaunts ringing guitars and warm distortion, and the blissful pulse of "It's Not Personal" is charming in all the right ways. It probably couldn't hurt to snag this independently-released disc before it gets swallowed up by Sony Music and becomes a collector's item.
- Skratch Magazine

"The Blam - The Blam record review"

Whatever "revival" the hype machine might lump this NYC band into, let it be set down now that they are legit. The Beatles, Here Come the Warm Jets-era Eno, vintage Bowie, and even The Velvets are clear reference points, but The Blam never only reproduce the classics. On the contrary, they are a joyfully original psychedelic rock group producing glammy work on par with the best of The Shins, Supergrass, and the little known Oregon outfit The Brother Egg. "Catchy" doesn't quite do justice to the propulsive brilliance of pop masterpieces like "I Don't Care About Nobody Else" and "Various Disgraces". "Little Pricks" is like that long lost follow-up to Hunky Dory that we've been waiting years for. Subtle. Bombastic. Glitter. Vibed. Whatever---just mark 'em down as contenders in the "best new" category. Spin doctors, don't ruin my band. - Resonance Magazine

"The Blam - The Blam record review"

Another NYC group, another great album...

As if we didn’t already know New York was the coolest place on the planet right now, along comes another Brooklyn outfit, ready to shoot its NYC emblazoned goo onto the disgraced face of the British music industry.

With sixties frat-rock, spruced up for the noughties by means of Pavement-esque guitars and a filthy bed-time vibe, the Blam shame all formulaic Brit-rockers whose idea of progress is imitation or monotony.

“Before you put that food into your mouth, remember who you are” chirps frontman Jerry Adler on Various Disgraces, a satirical look at the thin distinction between love and hate, that’s swollen with sexual showmanship. And with the candid approach of a hugely capable pornstar, the Blam parade 11 further bursts of timeless rock n tumble to leave other musicians thinking, ‘I wish I could do it like that’.

Crying, creaming or just cleaning up, this debut will undoubtedly leave our indie-rock ‘superstars’ reaching for the Kleenex.

- The Fly (UK)


The Blam - The Blam
The Blam - Caveat Emptor
Both records charted in the Top 50 on the CMJ Top 200 and have been played on over 300 stations.



This summer, I spent 60 days driving through Europe with my girlfriend and my guitar. I saw and thought many things and wrote many new songs. They wanted to be played alone, so I've decided to play them that way. And so begins the sometimes dreaded yet always inevitable solo project.