Tag Archives: pop
Out of southern California, NEO GEO’s new full-length album, their second, is titled Digital DNA. And that name is very accurate. The product of the current pop obsession with cold digital sounds and electronic perfection, the band goes very far down the rabbit hole of icy production and doesn’t exactly come out the other side sounding fresh.
Matthew and Santoro host. Topics discussed include pop-punk bands, Area 51 and US history, bad ass Presidents, beer and games played. Live calls are taken. A live prank call is performed.
Florida’s We Still Dream! merge new-school pop punk in the vein of The Wonder Years and Man Overboard with the punk-inspired pop and alternative rock that found its way onto airwaves in the ’90s.
There are several moments throughout “Something to Smile About” that are strongly reminiscent of bands like Lit, particularly on “Back to Then,” a song about simpler times spent skateboarding with friends that even employs some of those spoken-word-through-a-megaphone asides (“Oh shit, the cops!”) you rarely hear anymore.
Some of it works pretty well.
Album opener “Happily Never After” is a head-bobbing, Movielife-esque rocker with spot-on harmonies and some impressive drum work.
“So Much Worse” brings to mind “From Under the Cork Tree”-era Fall Out Boy, allowing vocalist Dustin Monk to show off his impressive range.
Meanwhile, closing track “Dissipate” has a darker quality that makes it sound like a lost track from Jimmy Eat World’s “Futures.”
Unfortunately, the band’s lyrics don’t live up to the standards of any of the aforementioned bands.
It’s not that they’re bad necessarily, just bland. Whereas The Wonder Years can take what would otherwise be a standard pop punk song and infuse it with a harrowing, ultra-detailed and extremely personal narrative, We Still Dream are content to deal in much more generalized and, as a consequence, more generic lyrics.
While the band’s overall aesthetic occasionally brings back memories of some of the great emo from the early ’00s (Taking Back Sunday, mid-period Saves the Day), the broad, at times cliched lyrics keep the album from rising above the level of audio wallpaper and make a clearly talented sound cookie-cutter.
That’s unfortunate, because the crisp production, hooky melodies and songs that alternate between galloping punk and mid-tempo power-pop could have made for a memorable summer record.
Instead, what we’re left with is an album that’s pleasant enough, but ultimately too light to leave a mark.
Here’s hoping the band is able to reach down a little deeper for the next record and come up with some more unique lyrics because there’s clearly potential here for something more interesting than simply inoffensive background music.
Passionate with a rocking edge, Filligar’s newest release, the huge-sounding Hexagon, is a collection of piano and guitar-based indie rock bursting with heart and soul. Sounding like the bastard children of Ben Folds Five, Wilco, and Coldplay, the quartet is rapidly climbing the rungs to the world’s notice, and if Hexagon is any indication, they’ll be getting their sooner than later.
Tweens are a trash pop trio hailing from Cincinnati Ohio, comprised of Bridget Battle (Vox/Gtr), Peyton Copes (Bass), and Jerri Queen (Drums/BG Vox). Since their formation in May 2012, they have gone from pumping out old doo wop songs and demos in their basement to touring with The Breeders and making a name for themselves in just a years time. Blown out with an exploding intensity and full of sugary sweet hooks, Tweens will be in the studio this summer to record their first album on Frenchkiss Records
What do you get when you combine a major pop-punk songwriter, one of the most prolific and pop -rock oriented musicians around since the 90s, and a foreign language? You get Scott & Rivers, the debut album from the combo of Scott Murphy of Allister and Rivers Cuomo of weezer, sung almost entirely in Japanese. Each a potent force on their own, how do they hold up as a duo?
Pop-rock at its utmost, This Century’s newest full-length, Biography of Heartbreak, shimmies and shakes its way through 13 tracks of thumping hooks and catchy choruses. Like something you’d hear on the radio station, any radio station, every song is a ready-made Top 40 hit.