Do college kids still want indie rock? If so, Bully is bound to be blasting out of every dorm room. This is the Texas quintet’s second album, but major-label debut, and it’s as sweet and explosive as the band’s name. Sugarbomb are still a young enough group (they formed in March 1998) to wear its influences on its sleeves. Smashing Pumpkins, White Album-era Beatles, and Queen are just some of its most obvious influences. At times the band seems caught in a decade-old time warp where Brit-pop meets dream pop, but it’s savvy enough to throw in more modern elements salvaging Bully from a retro tag. The rap that appears unexpectedly on the ’60s-drenched “Motor Mouth,” the electronics tossed into the carnival pop-punk of “Clover,” the harder rock chords and gothesque little break embedded in “Over,” and the homage to Queen, “After All,” which is so ominous that Marilyn Manson could cover it, are the kinds of twists that make Sugarbomb something truly special. The band has a rich sound that is laced with dreamy atmospheres, but is equally adept at harder pop-punk. All the songs boast a surprising depth and complexity, with supple key and tempo changes, all enriched by the harmonies and lush keyboards. Lyrically, the group has an equal depth and edge. An album of many moods from bright and breezy — “What a Day” cries out pop hit — to deep and dark. Sugarbomb is less a candy treat than a hefty meal to sink your teeth into. – Jo-Ann Greene