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24 August 2005

The Static Age, Neon Nights Electric Lives (Tarantulas/Bardic) Rating: 7
The shadow of The Cure looms large over The Static Age's latest release, Neon Nights Electric Lives. It would seem that The Static Age enjoyed the hollow bass and punchy keyboards of golden-age The Cure enough to appropriate them for their own measures, not to mention vocals that occasionally croak in that distinctly Robert Smithian manner. Where The Cure use their doom and gloom to build to glorious release, however, The Static Age is content to hide in the shadows. "So put on Sunday shoes / And dance the breakdown," sings Andrew Paley in the chorus of "It Never Seems to Last" with more than a little bit of Bowie's croon, and it's easy to have visions of sunglasses and oblivion, an upbeat welcoming of the end of the world. Drummer Bobby Hackney betrays his punk chops with some rollicking beats on tracks like "Amphibian" and "Ghosts", but it's the minor epics like "Vertigo" and "Canopy" that make lasting impressions. Add a couple of remixes to pad out the playing time and we're left with a surprisingly satisfying slice of pseudo-goth heaven. [Amazon]
      — Mike Schiller

The Rocket Summer, Hello, Good Friend (The Militia Group) Rating: 5
I am beginning to believe that it has become federal law that all singers of mall-friendly pop-punk must sound like first-year secondary school students. It's the only rational way to explain why so many of the genre's flag-bearers sound like pre-pubescent little brats, despite being (ostensibly) grown men. While some people might not mind the affected vocals -- hell, they might even find it charming -- I personally can't stand it. And it's a damn shame, because it gets in the way of fully enjoying and appreciating a project like the Rocket Summer, the brainchild of the talented Bryce Avary. Avary's a bit of a wunderkind -- all the songs on Hello, Good Friend are written, performed, and arranged by him -- and he has a good ear for writing a big, catchy melody and hook. However, it should be noted that this is a very particular type of pop music; the style would feel more apropos on a Broadway stage or as the theme song for the latest NBC sitcom. It's commercial in almost every sense of the word, and there is nothing on the disc that could be considered even remotely abrasive, experimental, or even innovative; the album itself lacks any real impact, that indefinable visceral quality that's inherent to the best music -- pop or otherwise. In fact, I would hazard to say that the only really impressive element to Hello, Good Friend is Avary's versatility and potential songwriting chops; everything else about it is predictable, a bit milquetoast, and a little bland. I can see a bright future for Avary as a jingle-writer, but unless he learns how to throw a decent punch, prospects for the Rocket Summer seem bleak indeed. [Amazon]
      — Joon Kim

Various Artists, Dead Bands Party - A Tribute to Oingo Boingo (Indianola) Rating: 3
You know you're in creative trouble when two of the bands contributing covers for a tribute album are named after Beatles songs -- The Rocky Raccoons (seriously!) and Hello Goodbye. And it's that lack of originality found throughout the disc that ultimately does in Dead Bands Party - A Tribute to Oingo Boingo. Indianola Records brings together 14 artists to cover some of the most notable songs from the Oingo Boingo catalog. Unfortunately, there is a fine line between tribute and cover, and there is not much to distinguish this from any other mediocre covers collection. With the exception of Reel Big Fish's ska-inflected "We Close Our Eyes" (the stand-out track) and Jessica Burgan's acoustic rendition of "Stay" (unfortunately, the unique arrangement can't save the vocal performance), it plays more like a remix album than a tribute. Nearly every singer does their best Danny Elfman imitation over a pop-punk update, with some horns thrown in to keep things Boingo-like. If you're into karaoke, this might be a good primer on how it's done, otherwise it's best to steer clear. [Amazon]
      — Adam Besenyodi

Stephen Kellogg and the Sixers, One Night in Brooklyn (Universal) Rating: 3
It's a cute idea: cut an EP in 24 hours' time on two-inch tape with former members of Whiskeytown as your backing band. An exercise in spontaneity... or is it gimmickry? Stephen Kellogg's One Night in Brooklyn, a limited edition release to accompany his band's self-titled LP, is about as noteworthy as it is long. It sports six roots rockers that are alternately revved up, breezy, and numbingly pensive; there are guitar strings, strumming like strummed strings do, and choruses that swell like a heart in a throat. Though the performances are spotless and assured, they're also inoffensive and anonymous. It's fitting that Kellogg would enlist the help of Whiskeytown's Mike Daly and Caitlin Cary, for his songs evoke the easily evocable templates of Ryan Adams. If slick, uncomplicated songs about feelin' bad and sad and confused are your cup of tea, One Night in Brooklyn is like Lipton: it's not your first choice, but it'll do in the absence of others.
      — Zeth Lundy

Sugarhit, Takin' for a Ride EP (www.sugarhit.com) Rating: 4
This Sydney, Australia power trio certainly have an ear for good guitar pop, citing The Cars, Teenage Fanclub, and Matthew Sweet in their bio. But on this debut EP they never reach the euphoric heights scaled by their influences, in part due to sloppy playing. "Brand New Baby" suggests Cheap Trick (good) as covered by Veruca Salt (bad), while "Save My Love" is yet another "Brown Sugar" ripoff. But summery, slightly jazzy tunes like "Wherever We Want" and "Dream of You" offer hope for the future.
      — John Bergstrom

.: posted by Editor 8:15 AM