Review by Allan on August 3, 2002.

From what I can gather about this more obscure progressive rock band known as The Jelly Jam, it came together under the three remaining members of Platypus – guitarist/singer Ty Tabor, bassist John Myung, and drummer Rod Morgenstein - after keyboardist Derek Sherinian left the band. Fans of Platypus can more or less rejoice, but keep in mind that The Jelly Jam are different than Platypus, in the sense that their self-titled debut is more of a straightforward rock ‘n’ roll album than anything. Disappointed by those happening or not, get ready because these remaining members are ready to let their ‘70’s influences inside them come alive and thrive throughout their modern take on classic, progressive rock.

“The Jelly Jam” is an adventurous progressive rock album, but all while staying in the same field of mind throughout the album. What this does for the band results in a thoroughly thought out, consistent album. The songs flow together unbelievably well, the atmosphere is unbroken, and the performance is top notch. What less could you expect from such musicians, a group of people whose chemistry together is so fitting for this type of music? They don’t rely on instrumental theatrics to entice the listener. The Jelly Jam put their support under strong song-writing composition, well thought out guitar riffing, tight drum backing, and convincingly emotional vocals. They don’t need to shred on guitar or play as fast as possible on drums to convince the listener of their expertise. The Jelly Jam has their act together and they’re perfectly on track.

The sound of The Jelly Jam’s progressive rock is very spacey and open, with a mixture of harder hitting passages to toss up the moods of the songs. The spacey sound comes from the light guitar work with an underlying bass groove. The gentle chord progressions or the simpler individual note work is very hymnal, and the bass’ more riff-oriented take on the supporting rhythm plays a large part in this album. John Myung speaks loudly with his performance on this record, due not only to him being audible, but because his material is excellent. The heavier moments are achieved by memorable, rocking riffs and the occasional wild solo that seemingly arrives at just the right time. To help with all moods that The Jelly Jam transcend is vocalist Ty Tabor, whose Beatlesque vocals are very soothing over the music. Not one member of the band is lacking in any of the major factors of the music, and their chemistry as I said is very fitting and you can tell by the music.

Bottom Line: For anybody interested in a modern take on classic ‘70’s rock, The Jelly Jam is one of your best chances at not being disappointed.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 7
Production: 7
Originality: 6
Overall: 7

Rating: 7.2 out of 10

Review by Jack on June 10, 2003.

Doesn't really strike you as terribly funny any more does it? One used to wonder just exactly how Children of Bodom were so apt at appealing to every metal fan and his iron canine, however after four solid records, the novelty and hype surrounding the Bodom lads has died down somewhat and at last these five brash young men can go about what they do best.

Record number four, "Hate Crew Deathroll," sees Children of Bodom continuing on with their addictive mixture of power metal laced with Alexi's banshee screams. Essentially "Hate Crew Deathroll" will find it hard to win over new people if they weren't hooked by what was going down on the past three records. Don't get me wrong though, all the killer hooks and gnarly choruses of past records are again making a name for themselves on "Hate Crew Deathroll" (after lying dormant on "Follow the Reaper"). In fact, I could go out on a limb and suggest that "Hate Crew Deathroll" may just contain some of the catchiest Children of Bodom tracks ever, such as 'Needled 24/7' and 'Chokehold (Cocked 'n' Loaded).' Thankfully these guys aren't showing any real signs of slowing down.

One aspect of "Hate Crew Deathroll" that really needs to be mentioned are the awful song titles. I expect this kind of thing from full on power metal bands, but I at least thought Children of Bodom had some sort of integrity. Can you think of worse titles than 'Bodom Beach Terror' and 'Lil' Bloodred Ridin' Hood'? I racked my brains for god knows how long in an effort to match the cheesiness of "Hate Crew Deathroll" but was left severely wanting. 'Triple Corpse Hammerblow' is the sort of track one would expect Children of Bodom to have sliced out of Cannibal Corpse's thesaurus on album titles (yes, pun intended). Clearly the album concepts needs some work, but aside from that minor quibble, "Hate Crew Deathroll" is a pretty enjoyable listen.

Bottom Line: Certainly not an audacious record, anything but, however Children of Bodom has successfully matched "Follow the Reaper" in almost every facet, not to mention upping the production values. This one is tighter than a virgin's asshole. In my opinion this is their second best effort (I don't see anything topping "Hatebreeder"), and worth checking out. The apprehensive need not fear!

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 6
Production: 9
Originality: 7
Overall: 8

Rating:7.6 out of 10