Dirty Faces: Superamerican
The Dirty Faces thrive on contradiction as well as adversity. A series of personnel changes has seemingly onlymade them a stronger, more creative and more dedicated band. They are fiercely loyal to Pittsburgh, yet theirguitar player lives in Brooklyn. Their live shows are noisy, messy affairs, but their albums contain surprisingmoments of quiet lucidity.While they are equally influenced by both American and British art punk (The Fall,Pere Ubu) and 1970's classic rock (Led Zeppelin, ZZ Top), along with (of course) a healthy admiration for theprimal rock of Iggy & the Stooges, AC/DC and everything hip hop, they manage to boil these influences downinto something at once recognizable yet wholly their own.Originally founded in 1997 by singer T Glitter as a way to set his lyrics to his idea of what punk rock meant backthen, the band soon became known for their energetic, often confrontational live shows. Band lineups shifted,but core members Tricky Powers and Glitter have remained constants. Their first album, Covered in Lime(Rickety Records, 1998), was described by Index magazine as ?classic Rust Belt punk, a frenzied take on drug useand crumbling relationships in a city where everybody knows everybody.? The album made the Pittsburgh Post-Gazette?s year-end Top Albums list. In 2002 the band released their second album?the less conventional, moreexperimental More Lies (Rickety Records, 2002)?to favorable reviews, while the live shows maintained theirscary nature. ?A reconfigured Dirty Faces swooped into New York recently and blazed through a set of new songswith twin metal guitarists riffing practically the entire time. The unsuspecting audience left with jaws on theground.??Pat Sullivan, Index magazineAfter solidifying their lineup a week before entering the studio in fall 2003, Superamerican was recorded betweenOctober 2003 and April 2005 by three different engineers in three US cities. Its 13 songs manage to span the widerange of stylistic and emotional reference points of the Dirty Faces, from the spastic no wave of ?Headlights? tothe quiet, Beat Happening-esque introspection of ?High Holy Days? to the lighters-held-high stadium anthem?Amplify (like a prayer).?