This edition of the glam-punkers' 2003 album contains four bonus tracks, as well as the entire acclaimed LP. Features "Notice Of Eviction," "Gun Without Bullets," "Kill My Friends," and seven more.

Actually, they're from Los Angeles. But other than the geographical confusion, there are few missteps on the self-titled major-label debut from neo-hardcore band the Bronx. While their first album (also entitled THE BRONX, and produced by Guns N' Roses' Gilby Clarke) was punk in the vein of the MC5 and Stooges, this disc is more varied. The band was joined by uber-producer Michael Beinhorn, and recorded live in the studio to preserve a rougher, more authentic sound.

What holds THE BRONX together is singer Matt Caughthran's gravelly shouted vocals and a stellar rhythm section. The songs go from the pounding "Small Stone" to the more melodic "Oceans of Class" and "Dirty Leaves." "White Guilt," on which Gilby Clarke guests, is laid-back guitar rock that has a slight country tinge to it. But that track, while excellent, is an anomaly on an album of powerful, original rock.

Following up their fiery 2003 debut, the Bronx return with their second self-titled effort. Whereas that album was an unexpected punch to the gut with its hungry hardcore punk delivery, on this set the Los Angeles outfit seems to have softened just a touch. Veteran producer Michael Beinhorn (Red Hot Chili Peppers, Korn, Mew) joins the Bronx in concocting an almost alt-metal sound; such a huge change makes it hard to digest. Imagining a polished version of Queens of the Stone Age meets Social Distortion is where the Bronx stand here. The rage, the passion, and the disgust for cultural norms seem a bit forced this time, but the album starts out strong with ferocious songs such as "Small Stone" and "Shi**y Future." "Dirty Leaves" and "Around the Horn," however, are broken by anxious choruses and layered harmonies, making the Bronx's overall sound come off a bit directionless. [Island released the CD in 2006.] ~ MacKenzie Wilson

Following up their fiery 2003 debut, the Bronx return with their second self-titled effort. Whereas that album was an unexpected punch to the gut with its hungry hardcore punk delivery, on this set the Los Angeles outfit seems to have softened just a touch. Veteran producer Michael Beinhorn (Red Hot Chili Peppers, Korn, Mew) joins the Bronx in concocting an almost alt-metal sound; such a huge change makes it hard to digest. Imaging a polished version of Queens of the Stone Age meets Social Distortion is where the Bronx stand here. The rage, the passion, and the disgust for cultural norms seem a bit forced this time, but the album starts out strong with ferocious songs such as "Small Stone" and "Shi**y Future." When vocalist Matt Caughthran starts singing is where things kind of fall apart. "Dirty Leaves" and "Around the Horn" are broken by anxious choruses and layered harmonies, making the Bronx's overall sound comes off a bit directionless. "White Guilt" actually sounds happy with its Dropkick Murphys-like punk-pop sincerity. The Bronx? Happy? Since this is their major-label debut for Island, perhaps label's A&R department played a part in the recording process? Regardless, the spirit that made the first album a cult classic in the making doesn't show up here. ~ MacKenzie Wilson

The Bronx's self-titled debut is a beautifully violent exhibition of pure punk rock. No pogo-pouncing guitar licks or aggro-happy vocals fit the ambitious agenda of this SoCal four-piece, nor do they hold the pretense held by most post-grunge rock kids. The Bronx are dead serious with their craft; they're uncompromising without being disconcerting, allowing this powerhouse release to make an impression. Sure, criticizing the America's conservative value system may be more than overdone, but if you're able to say something new, it's relevant and that's exactly what makes The Bronx an interesting first album. Themes of direction and rejection carry this manic, red-hot cardinal set with producer Gilby Clarke at the helm. As soon as "Heart Attack American" kicks things off, the Bronx immediately blast you with a Stooges-meets-Fugazi jolt. Matt Caughthran's vocals are not only a frenzied mess, but they're scathingly convincing. Joby J. Ford (guitar), James Tweedy (bass), and Jorma Vik (drums) make for a sharp backup section, and songs like "White Tar" and "Notice of Eviction" thrive on the band's personal revolt against what's mediocre and typically popularized. In classic punk style, The Bronx rage against the machine just enough to irk you -- and it's never felt so good. ~ MacKenzie Wilson

Spin (p.76) - 4 stars out of 5 -- "Combining the ferocious energy of early West Coast hardcore punk with hair-metal swagger..."

Spin (p.56) - Ranked #36 in Spin's "The 40 Best Albums of 2006" -- "[With] jolting riffs, switchblade-sharp melodies, Josh Homme-inspired barroom blues, and choruses that linger..."

Spin (10/03, p.110) - "...A fine young maximum-punk outfit who, like Hot Snakes, get their ecstatic tempos from garage rock and their noisy edge from hardcore..." - Grade: B+

Q (p.106) - 3 stars out of 5 -- "Their second eponymous album is a sneering, sarcastic broadside aimed squarely at mainstream America....Revolutions have been started by less."

Q (4/04, p.107) - 4 stars out of 5 - "[T]he most articulate and exciting 30-odd minutes of punk rock so far this decade. Inspirational stuff."

Uncut (p.76) - 3 stars out of 5 -- "[T]here are fist-punching moments galore..."

Alternative Press (p.202) - 4 out of 5 -- "[L]ike a cut that doesn't heal, a stunning 33-minute blast of reality..."

CMJ (p.5) - "[T]heir growth is capture effectively through one-take-only recordings on an overall solid major label debut."

CMJ (8/11/03, p.7) - "...Such an intense post-punk hardcore experience, it may very well rip holes through your stereo speakers..."

Kerrang (Magazine) (p.49) - "The unhinged fury and fire that made them so exciting remains."

Kerrang (Magazine) (p.69) - Ranked #3 in Kerrang's "20 Greatest Albums of 2006" -- "[A]n urgent, irresistible statement about what constitutes real punk rock in the 21st century."

Mojo (Publisher) (3/04, p.107) - 4 stars out of 5 - "It's a dizzyingly potent distillation of punk that's punching easily above its weight."