Speedealer Albums (5)
What The Critics Say
The title Bleed is probably referring to what will happen to your ears upon listening to this Speedealer album. This is, after all, a blistering mix of speed metal and post-grunge grit, like Nirvana or Soundgarden on some serious uppers. Throughout, the record is frenetic and schizophrenic -- like it doesn't know whether it's descended from Metallica, Flipper, or Judas Priest. But the group plays this insanity with such a sleazy and rambunctious confidence (it has the nerve to call a song "Rock and Roll"!) that you have to take its word on it. From the violent and raucous "Choked" (Black Flag meets Motörhead) to the monolithic and oddly funky "The Inventor of Evil," this is a big, nasty, coke-fueled doom fest. It would be in the same genre as self-proclaimed robo-rockers the Queens of the Stone Age, except that Speedealer remove anything remotely "robo" from their tweaker rants in exchange for a visceral and volatile mess. By the end of this record, Speedealer have no contemporaries. REO Speedealer was such a better name, though. ~ Charles Spano, All Music Guide
What The Critics Say
The third release from Speedealer finds them on familiar territory, making more of their patented brand of stoner metal. Their hardcore punk influences are present again, but the album has more of a united feel and incorporates more than just an accelerated tempo. Also improving their situation is producer Jason Newsted, who encourages a slower and heavier vibe from the band without sacrificing their distinct swagger. From the angst-ridden chug of "Leave Me Alone" to the Metallica-esque grandeur of the instrumental "Infinitesimal," this is one of Speedealer's best records. ~ Bradley Torreano, All Music Guide
What The Critics Say
A bit of explanation about Speedealer's Here Comes Death: The band was originally known as REO Speedealer until a lawsuit forced them to shorten their name, and the album was originally released in fall 1999 by Royalty, which promptly went bankrupt. Here Comes Death was, however, re-released in late 2000 by Speedealer's new label Palm. It's full of psycho Southern garage raunch: a little hardcore punk, a little grunge, a little psychobilly, and a firm grounding in heavy metal, specifically vintage Aerosmith sleaze. The results place them in territory somewhat similar to Nashville Pussy, albeit with bug-eyed punk aggression in place of the titillating female vocalists. There may not be a great deal in the way of songwriting, but Here Comes Death packs an invigorating wallop as it rushes past, and Speedealer has a crazed enough presence to pull the whole thing off. ~ Steve Huey, All Music Guide
