by Stephen Thomas ErlewineNew York scuzz-rock by way of the Sunset Strip, Billy Boy on Poison feel as if they were concocted in a laboratory, assembled from elements of every rock trend since 1994. Take a bit of the Strokes' tight, efficient new wave art-punk and downtown hipster sensibility; add a bit of hooks borrowed from Oasis, a little disco-rock from Franz Ferdinand, enough ironic hair metal thievery to get them on the radio à la Hinder, and a bit of Jet's three-chord bounce; and season with Jack White guitar solos and stairstep classic rock riffs reworked from Hendrix and the Beatles -- and you'll have Drama Junkie Queen, a trash-rock exercise that would be a guilty pleasure if Billy Boy on Poison didn't take themselves so bleeding seriously, thinking that their description of the world as a sh**box skybox sexbox is deep and believing that boasting that they can get a girl wet is sexy, not creepy. No amount of junk-food hooks can make this pretty-boy stance palatable, particularly when such affected disaffection is pushed toward the front in ways that get increasingly distasteful and boring by the time they're singing Oh sh**\u002FF*** you\u002FWe'll do what we want to do\u002FWe rule\u002FYou suck\u002FWe don't really give a f*** to a playground singsong hook...and at that point, there are still three tracks of the dreck to go. Yes, rebellion is part and parcel of rock & roll, but this isn't rebellion, it's paint-by-numbers that never bleeds outside the lines.