Reviews for the first album: The Big Takeover |NY Rock | Indieville | Buddyhead | Altar-Native | Music-Reviewer | God's of Music | hEARd | Demo Universe | Music Dish | Deep Fried Bonanza | 14 Sandwiches | Crud Music | Splendid | The Night Guide | Aural Fix | Foundry Music

Review from The Big Takeover issue #50 June 2002
Jagged and foreboding, this is not your father's power-pop. Sure, it's no-frills guitar-bass-drums, catchy tunes, big choruses, and all the rest of the hallmarks that us hook-ridden junkies know, coddle, and embrace. But it's also unpredictable, with dissonant melodies that rattle and clang, song titles such as "Polio", "Doped Up", and "O.C.D." and brutal lyrics, e.g., "A father stabs his son to death/Is overjoyed for silence in his mind." In short, Imaginary bill is the kind of band that writes real potent Beatles-Oasis-Radiohead styled guitar rock but then turns around and skewers it just enough to scare off the jangle pop wimps. Be nice to these boys and maybe they'll let you live. -Brad Harvey

Review from NY Rock May 2002
Well, well, a delightful little mix of songs, kind of a like Weezer, Nirvana, and XTC, with some Beatle influence somewhere in there. There is without a doubt a solid Brit influence, found in the layered verses or choruses that waft about, though it doesn't sound ripped off, pursuing instead a more modern tack. A song like "Bottom Feeder," which utilizes a slightly dissonant guitar riff, soon gives way to a '60s psychedelia, and you could swear there's a hookah pipe somewhere. Then you're hit with a tune like "O.C.D.," which has more of a straight-ahead roots-rock feel to it. The boys are equally adept at acoustic-flavored numbers, as on "My Rusty Trombone," about a sexual romp with an adventurous girl. All in all, it's a great disc, peppered with a variety of songs. Again, here's another case of a trio going the extra mile for your listening pleasure. -Bill Ribas

Review from Indieville March 2002
This cd, self-released by indie rockers Imaginary bill, is an enjoyable, catchy selection of cross-genre pop music. The band dips their feet into a number of styles, including indie pop, punk rock, and a bit of emo. "Wash," the third track on this album, is an accessable, appealing song that will have you humming its melody for weeks. It doesn't feature anything that hasn't been done before, but it is throughly enjoyable nonetheless. "Doped Up" is another one of the catchy, melodic pieces, this time sounding like a cross between The Dears and The The, except with a stronger indie pop influence. Meanwhile, "Clark Kent" is the result of a brief flirtation with pop-punk. It is a great piece; considering its insanely catchy melody and familiar vocal style, I can't see why this isn't a new hit song. All in all, this is a very successful debut album for Imaginary bill. It would appeal to pretty much anybody who's just looking for a healthy dose of quality indie rock. Congratulations are certainly in order.

Review from BuddyHead March 2002
Imaginary bill S/T Sportin' Company Inc.
This evokes some memories of Cast, the John Squire-led, Seahorses, or most of the forgotten class of 1997 Brit-pop. Good hooks, some interesting riffing, and a solid rhythm section topped off by some expressive vocals with good range, equals winner in my book. Good deal. -Tom Apostolopoulos

Review from Altar-Native January 2002
The name of a song need not be contained in its hook, as Imaginary bill so powerfully proves again and again throughout their self-titled debut album. It's undoubtedly refreshing to hear a guitar-based Rock band focus on something other than the chorus. But the double-edged sword reveals itself --- the chorus can barely be found at all beneath multiple layers of well-crafted verse melodies. But who's complaining? All in all, the album is a highly fascinating study of paradoxes in pairs. Take, for example, the sexy simplicity of "Troy Dorsey" with the naked repetition of the following track, "Bottom Feeder," and one finds typically annoying traits strangely appealing in these songs. Fortunately, there's plenty of variety, and each song keeps it short, making any punk rocker proud. Imaginary bill accomplishes another great feat in today's music world by allowing the instruments to provide an actual soundtrack for Steve Rouach's lyrics, and vice versa. "O.C.D." actually feels like its afflicted with obsessive-compulsive disorder. Despite any initial misgivings and urges to trash it at the bottom of the heap, another listen will keep this album in your permanent collection. As the opening track, "Clark Kent," asserts, "You turn me off when you turn me on." -Alicia Koledin

Review from Music-Reviewer November 2001
Imaginary bill is an inspired example of original imitation. Even though they harness the signature sounds and embellishments of previous class acts, their addition of an infectious surreal energy makes this album respectful rather than insolent. It seems that Imaginary bill knew just what to add to the album to emphasize their talent and versatility. There are so many strong points to the album that it just can’t be passed off as distorted fluff. The guitar work shows the most influence. The album is brimming with polished and catchy riffs similar to ones used by popular bands such as The Beatles, The Who, The Doors, Weezer, Blur, Greenday, and Sloan. The song stylings reflect the influence of the old on the new and the two are done in equal command. Steve Rouach’s vocals and lyrics are the elements that make this band a "diamond in the rough". Rouach is a subtle mimic. His vocals shift with each style. The Beatlesque song "Polio" courses along with a slightly nasal rendition of John Lennon, while "Tell The Ice Cream Man To Wait" sounds like a song straight from Greenday’s repertoire. The lyrics are clever and creative. They’re surreal in the fact that they show an ironic sense of tragicomedy. Titles such as "Tell the Ice Cream Man to Wait", "Tom Brokaw", and "Donnie and Marie O.C.D." make you raise your eyebrows, at least. The titles are introductions to social comments found within the songs. "Polio" reports on how many people are crippled by depression and self-contempt (pre-smoked cigarettes and emptiness is freedom of the mind) while "O.C.D." and "Doped Up" talk about reliance on pills to attain normality and balance when sometimes, they serve as means of destruction. "My Rusty Trombone" is becoming one of my favorite songs. It’s a slow, acoustic ballad about sex. His rusty trombone is a girlfriend who likes to arouse him by playing with his backside; it’s a pretty song. Yes, Imaginary bill does sit on the fence between original and imitation but the sheer talent and application is apparent throughout the album. In my opinion, they have very good influences and the lyrics are thoughtful. They definitely need more radio air play. Imaginary bill may not be popular but they are appreciated. -Jessica Harley

Review of "Bottom Feeder" from God's of Music November 2001
Apart from the production, "Bottom Feeder" is a really awesome psychedelic pop ‘tart’, popping its way into my heart like so few other pop bands can. It’s not the greatest song, but it doesn’t need to be, although it’s a thoroughly adequate, pretty unique, little number. It’s the band’s charisma that makes it so much more. I expect interesting things to come from Imaginary bill, and I get them. If I had to make a comparison, I’d say they sound like Oasis meets somebody with a clue, or (slightly more obscurely) Idlewild meets Leisure-era Blur. But it’s definitely something a little Brit, a little druggy, and a lot hook-having. The tracks starts out very jerky, and post-punky, with a throbbing background synth that adds to the intense confusion of the opening. Where am I? Who gave liquor to these G_dd@mned animals? Then we hit the pop-hook, and everything makes sense again. Lennon and McCartney meet in a café on the lower east side for a few mochaccinos. And the super sublime psychedelic bridge brings us into a whole new world of mind-expanding music. All in all, a pretty pleasurable trip. Not extremely memorable, but it will grow on you. The thing which stands out the most is the vocal melody, and the complimentary harmonies. While not astounding, the musicianship is tasteful (like a mochaccino) and builds upon itself to a fluid conclusion. If only the production fit the style of music; it’s very dry and in your face. One might think something slightly more spacey (or perhaps even lo-fi, Kevin?) might suit the number more suitingly. But all in all, a pretty pleasurable trip. It’s on several trips at once: weird and conventional, art and pop. It’s done okay: between good and poor. It has elements of several well known bands from the British Isles: Beatles, Oasis, Idlewild, Blur. You cannot, however, substitute it for the application of deodorant and just hope no one knows the difference. So, get off the ocean floor, quit living in your dark ecosystem, and download "Bottom Feeder". -GARY ARTHUR BROWN

Review from hEARd September 2001
IMAGINARY BILL - (SELF TITLED)
A great 3 piece coming from New York in the US, Imaginary bill reminds me of a slightly wound back Weezer, with great jangly guitar pop, wonderful vocals & an all around cool feel that you'll get into from the opening moments of the first track. If you like guitar driven pop, then you'll enjoy this album immensely & it's a wonder that the band haven't made more impact outside their own country given that this album is from 2000. The aforementioned opener is "Clark Kent", which, like second in "Polio", starts with a slightly askew bit of guitar work before the vocals & other instrumentals kick in. Pick track for me was "Wash", though both "About Her Toupee" & the acoustic closing number "My Rusty Trombone" are both standouts, pretty much along with the rest of the album. I look forward to more in the near future. -Terry Allen

Review from Demo Universe August 2001
Woo-hoo! This is a great record, and you know I don't say that often. A heavy Beatles influence is evident (if singer/guitarist Steve Rouach ain't a Brit, he wishes he was), but Rouach's arresting, surreal lyrics ("Carnival horses...wishing for sugar/they can't eat with plastic heads"); the band's fresh, often surprising arrangements; and a palpable swagger in the performances and recording, rescues Imaginary bill from the ranks of mere retro posers. This is the real deal, kids! Hard for me to pick a fave from a dozen winners, but that's what they don't pay me for, so I'll toss out "Clark Kent," "Wash," "Bottom Feeder," the aforequoted "Pantomime Horses" and "About Her Toupee" - how's that, boys? The only thing more surprising than the quality of this record is the number of gigs this ostensibly Brooklyn-based band play on Long Island; makes me wonder if I should give the suburban wasteland a second chance...nahh. Fans of Robyn Hitchcock, XTC, Elvis Costello, Blur, the Wannadies, etc. should take special note of a special band. -Jim Santo

Review from Music Dish July 2001
Scoring raves for their current self-titled Imaginary bill, Ib has some hyper energy probing the hype. It's an example of a lot of explosives packed in a little bag. The cd might only be 35 minutes long or so, but songs like 'Donnie and Marie O.C.D.' really kick with the beat and distorted guitar rhythm. 'Obsessed with my compulsion, I'm forever counting 1 2 3 4, turn the lights on till I break the switch.' Blatantly catchy 2.5 minute song that needs to have college radio stations lit up with requests. Just one word of warning. This is one of those bands that sometimes names the songs the part that isn't the most often repeated. So - stay alert! Great thing about this group - besides the loud and continuous motion, hot playing and Steve's remarkable voice - is their sense of humor. 'About Her Toupee' could come from the 60s because of the wild arrangement and thick sound and novelty subject. 'She thrust upon me when I flew somewhere, she swarm around me like a bird of prey, she said the strangest things be strong, be seen, bee's for the may queen, be sure, be brave, be sore about her toupee.' Yeah, titles like 'Tom Brokaw,' 'My Rusty Trombone,' and 'Tell the Ice Cream Man to Wait' show you the ride you're in for. Isn't it great to hear alt-playing like this without the posing and mock-heroism of rock? It all begins with 'Clark Kent,' vaguely reminding me of 'All the Young Dudes' from Bowie's stable. But the words - oh, no. 'Peel back your grape, it's okay, freed from your pod, grim facade, you turn me off when you turn me on, what it is worth to save the day.' Would be worth a gas tank to get to NYC and check 'em out live. Meantime, check cdbaby for the cd, after you've downloaded some samples from www.mp3.com/imaginarybill. -Ben Ohmart (Assistant Editor)

Review from Deep Fry Bonanza July 2001
Imaginary bill / Self-Titled (CD)
Listening to Imaginary bill's self-titled album is like a strange, fuzzy deja vu. From the punky quality of the opening track "Clark Kent," through acoustic numbers like "Rusty Trombone" and 60's rockers such as "Donnie and Marie O.C.D.," I feel incredibly nostalgic, but I couldn't tell you precisely what I'm nostalgic for. Not to say that Imaginary bill is a throwback, though, because their fusion of different styles is very interesting and pleasing. "Troy Dorsey" sounds like something buried on an old Who album... a song that they might have played right in the middle of the set, while the mods' eyes would sort of glazed over and they'd stop fighting for a bit and enjoy the subtle, aching to be danced-to rhythm. "Bottom Feeder," on the other hand, has something on it that may be a lead guitar when it grows up (think 4 or 5-note Screeching Weasel leads), vocals that sound exactly like someone on the radio in the early 90's whose name I can't put my finger on, yet maintains the totally weird, infectious rhythm. Like the sound of a jackhammer in the distance out your window, it's monotonous yet somehow fascinating. Where Imaginary bill get the most interesting, though, are the songs where they speed up their rhythms and adapt them to songs that have the flavour of very different styles of music. The aforementioned "Donnie and Marie O.C.D.," was also played at that Who concert I mentioned above, but this is the one during which the riot broke out. Similarly, "Pantomime Horses" gets a loud, post-punk adrenaline injection of guitars, and "Tom Brokaw" jerks around like some of Mudhoney's most memorable songs. Sure, the disc is a bit all over the place, but the emphasis on propulsive, engaging rhythms will have you sitting in the middle of your room with surround sound, trying to figure out exactly what is drawing you so far into this album. Get this mother from Imaginarybill.com!

Review from 14Sandwiches June 2001
Imaginary bill - Sportin' Company
The most surprising thing about Imaginary bill is how this New York trio sound nothing like you might expect them to. They have more in common with the British tradition of tuneful guitar pop than the more eccentric tastes of the current set of New York bands, such as Moldy Peaches, currently doing the rounds.
A harsher critic than this one may have described Imaginary bill as a power-pop trio in the vein of The Stereophonics. While its true that they do follow a similar path, they are interesting enough to separate themselves from the post-Bluetones guitar-pop mire. Occasionally during the album detached voices appear from nowhere, making announcements, having conversations or just gargling nonsensically. Meanwhile, the lyrics are full of surreal images of carnival horses coming alive and trombones that toss salad.
At times it seems like they could be on the verge of leaving their pop moorings and going somewhere a little more unhinged. The frantic bassline on 'About Her Toupee' shows the band have some rockier leanings hidden away, while the almost Happy Mondays-esque guitar of 'Tom Brokaw' hints at some unconventional influences. So, it seems that guitar-pop may have a future beyond turgid slow-burners from whining Welshmen, and if Imaginary bill bring out their weirder sides it'll be all the more exciting. -Martin Bryant

Review of "Bottom Feeder" from Crud Music May 2001
RATING: *****
REVIEWER: Giles Beaumont
Tickle my tits and blow me over - this is just spanky. On the evidence of Bottom Feeder, New York City's Imaginary bill could just be the sort of jangly melodic garage blunder we've been looking to steal over here to the UK. A brave and heady fusion of Syd Barrett psychedelia, flange bass and soaring Byrds harmonies give it a pretty damned unique New York meets West Coast resonance. Hard on attitude - big on tunes. Beatles in Hamburg? You better believe it. I've never once said the word excellent in response YET to an unsigned band. I have now. If you're into The Strokes and the New York scene: buy it.

Review from Splendid April 2001
Imaginary bill / Self-Titled (CD)
Finally, here's some great melodic pop from three New York state gents, who've combined a bit of the Beatles, Costello and Radiohead into a modern day mix. Rouach and Slattery definitely have a knack for singing some heavenly harmonies, as tunes like "Polio" and "Doped Up" satiate your need for something fresh-yet-familiar in the melody department. This trio sounds as comfortable plodding forward at an even pace as it does letting the distortion hurl an occasional riff at ya. There's no doubting that this may be one of the better self-released CDs you've heard in quite some time, as everything from the songwriting to the packaging is top notch. Now if we could just get these guys to change their band name to something a bit wittier, we'll have an outfit that's solid on all fronts. -- am

Review by Liz Smith from The Night Guide April 2001
It's not your imagination, Imaginary bill is creating a buzz in the Long Island music scene and rightfully so. This trio of best friends collaborate to create some wonderful power pop music with a strangely familiar sound. They don't sound exactly like anyone in particular, but there is a certain something that keeps you wanting to hear more. The vocals and harmonies are just beautiful. If you love the Beatles White Album, Oasis, Squeeze and even Nirvana, then you will definitely enjoy Imaginary bill.
The distinctive music on this 12 song CD was written by the band, Steve Rouach (guitar, lead vocals), Robert "Jed" Slattery (Bass, vocals) and Mike Smith (drums). The striking imagery in the lyrics are written by lead singer Steve Rouach. Once you have listened to this CD then you will see what I mean by distinctive music. A week after I first listened to the CD, one of their songs was playing in a local club and I immediately knew who it was. I can't say that about all the bands I hear.
Clark Kent the first song is one of my favorites and could easily be a single. It's radio friendly but a bit quirky with it's dissonant chords. It reminds me of Squeeze. I also enjoyed track 4, Troy Dorsey because it starts out light and gets harder and then gets soft again. Track 5, Bottom Feeder features Imaginary bills trademark melodic and somewhat discordant hooks. There aren't any bad songs on this CD. There is something for everyone here.
This is most definitely a band to watch out for. I have played it many times and enjoy it more each time I listen. Check out their website to find out where they are playing next.

Show review by Michael Ferrari from Aural Fix Magazine May 2001 issue
A tough to label indie rock trio that blends 50's pop riffs, 60's psychedelia overtones with modern rock bite. Picture Elvis Presley meets Elvis Costello and you're getting warm. Featuring solid vocals by frontman Steve Rouach who delivers somewhat cryptic lyrics, that just adds to the fun. Rob Slattery on bass and Mike Smith on drums, who help out on the harmonies round out this original threesome, (no, there's no Bill in the band!).

Show review by Michael Gallucci from the L.I. Original Music Assoc. taken from Aural Fix Magazine May 2001
Listen and learn from your soundman of the ONLY FULLY Original Music venue on the whole freaking island (sad)... IMAGINARY BILL. When you hear these fellows, these three gentlemen, these rather real BILLIANS, you will say to no one in particular after the first song, "my, that was fresh, and substantial, and well crafted, with quality lyrics, musicianship, and vocals." What is more astonishing is you will say that after the second song, and then the third, and the fourth, and the fifth, sixth, seventh, eighth, ninth, ten, till it just gets completely absurd, then the high quality becomes an utter bore because of it's predictability. On second thought, don't come see this band because they are a fucking bore. You cannot handle this type of consistent quality in this day and age, where our minds have been prepared over decades of dumbdown and desensitizing to become an industrial commode.

Review of "Troy Dorsey" from FoundryMusic.com December 2000
SONG REVIEWED: "Troy Dorsey" I MUST ADMIT, WHEN I FIRST GOT THIS DISC, I REALLY WANTED TO HATE THESE GUYS. I SAW THE NAME, IMAGINARY BILL , AND IMMEDIATELY I STARTED THINKING OF COFFEE HOUSES, AND A BUNCH OF STUCK-UP DICKS WHO WERE "TOO COOL FOR THE ROOM"... I TRACKED THROUGH THE FIRST FEW SONGS ON THE DISC, SAYING TO MYSELF "NEXT...NEXT...NEXT..."... THEN TRACK 4 ROLLED AROUND, AND ... WELL, I DIDN'T HATE IT. I ACTUALLY STARTED TAPPING MY FOOT, WHICH PISSED ME OFF, BECAUSE I REALLY WANTED TO THINK OF REASONS TO IMAGINE THESE GUYS BEING TORN APART IN A THRESHER.... BUT I COULDN'T... I LIKE THE SONG. I DON'T KNOW HOW OLD THE GUYS IN IMAGINARY BILL ARE, BUT I'M GUESSING THEY'RE IN THEIR TWENTIES. AFTER HEARING "TROY DORSEY" THOUGH, IT'S HARD TO THINK THEY'RE NOT A LOT OLDER. THERE'S SOME GREAT WRITING HERE. THERE'S A VERY SIMPLE CLEAN GUITAR RIFF THAT HOLDS THROUGH MOST OF THIS VERY MELODIC SONG... "SIMPLE" IS THEY KEY PART OF THAT SENTENCE. MOST BUDDING SONGWRITERS DON'T GRASP A VERY BASIC CONCEPT... AND THAT IS TO SIMPLIFY AS MUCH AS POSSIBLE. DON'T MAKE PEOPLE WORK TO HEAR YOUR MUSIC (WHY DO YOU THINK THE BACKSTREET-FRIGGIN'-BOYS SELL SO MANY DISCS? ... WE'RE NOT TALKING COMPLEXITY HERE...OK, WELL IN THEIR CASE IT'S MORE LIKE DOPEY SIMPLE SONGS AND FIVE GUYS WHO MAKE 12 YEAR-OLD GIRLS CREAM THEMSELVES...BUT I DIGRESS) THE CHORUS KICKS IN, AND YOU'RE HOOKED... A HOOK THAT SOUNDS QUITE BEATLES-INFLUENCED, BUT NOT SO MUCH THAT YOU'D CALL THEM "WANNABE'S"... THE INFLUENCE IS THERE THOUGH. YOU COULD ALSO COMPARE THEM TO TOAD THE WET SPROCKET (WITH FEWER GUITARS) LYRICALLY, THE SONG IS PRETTY FAR OUT THERE. I MEAN, YOU DON'T EXPECT A SONG THIS MELODIC, AND BALLAD-ESQUE TO BE ABOUT A BOXER... BUT THAT'S WHO TROY DORSEY IS, AND LINES LIKE "...AND IF YOUR TEETH FALL OUT, I'LL SEE YOUR LITTLE SMILE LAYING ON THE GROUND..." MAKE YOU WONDER HOW DRUNK THESE GUYS WERE WHEN CRAFTING THIS SONG. HOWEVER CONTRARY THE LYRICAL THEME AND MELODY MAY BE, IT'S STILL A WELL-CRAFTED TUNE. IT'S ALSO QUICK. THAT'S RIGHT; THE SECOND RULE OF HIT SONGWRITING: MAKE IT QUICK. THREE TO FOUR MINUTES IS WHAT MOST RADIO-READY SINGLES CLOCK IN AT. OF COURSE, THERE ARE EXCEPTIONS, BUT THAT'S THE AVERAGE. IN FACT, IF ANYTHING, THEY MIGHT WANT TO ADD A VERSE TO THE SONG, BUT IT'S NOT CRUCIAL... NOT ONE OF THE SONGS ON IMAGINARY BILL'S DISC IS OVER FOUR MINUTES LONG. IF YOU STILL NEED INSENTIVE TO GO OUT AND PICK THIS DISC UP OR SEE THEM LIVE, JUST TAKE INTO CONSIDERATION THAT TRACK 12 IS TITLED "MY RUSTY TROMBONE" AN HOMAGE TO THE ONE AND ONLY OPIE & ANTHONY RADIO SHOW. ...AND THAT, AS THEY SAY, IS THAT.