Independent Clauses | n. —unusual words about underappreciated music

The Shoreline produces a stellar pop-punk cover … and some other songs

July 23, 2010

I used to hate covers, because I thought they showed a lack of originality on the part of a band. Now I see that in addition to paying homage to a respected band, a good cover can be just as creative (and just as satisfying, if not more so) than a good original.

That’s why The Shoreline‘s cover of “I Gotta Feelin'” is my favorite track on their EP Fake It Till You Make It. Their cover re-envisions the party anthem as a pop-rock anthem. They remain faithful to the lyrics, mood and song structure; they just infuse the tune with a lot of guitar strumming and a pop-punk high-pitched voice. And while some covers become cloying in their pandering (someone played me a copy of a “Tik Tok” pop-punk cover that I could barely make it through), The Shoreline’s version of the Black Eyed Peas tune doesn’t get repetitive, annoying or gratuitous. It makes the point, slams it home and gets on to the next thing. It’s great. I like this song just as much as I like the original version, for completely different reasons. That’s the mark of a great cover.

The rest of the EP doesn’t have anything that possesses that sort of clarity and focus. As a result, the tunes are difficult to remember and just don’t make a big impact. If you like current pop-punk (e.g. Boys Like Girls, Angels and Airwaves, We the Kings, Fall Out Boy – especially in “Let’s Make a Mess”), you’ll like The Shoreline. But they won’t be your favorite band off the strength of this EP. Perhaps they have more in the tank, and they’re just getting started from here.

For now, I highly recommend “I Gotta Feelin'” to anyone and Fake It ‘Til You Make It to fans of the genre.

Pull a Star Trip experiment effectively, yet never lose their core pop sound

March 18, 2010

Pull a Star Trip’s E-vasion Inn is one of the more ambitious acoustic projects I’ve heard in a while. Instead of being content to be an acoustic guitar-fronted band singing pretty songs, they set out to fill their songs with memorable touches: background screaming, songs in other languages, electronic beats and more. For the most part, it works.

The base sound isn’t anything that hasn’t been done before. The members of Pull a Star Trip strum their acoustic guitar a lot, stick drums/bass behind it and augment with strings. They sing loudly and passionately, occasionally sacrificing tunefulness for impassioned cries (a la Places You Have Come to Fear the Most-era Dashboard Confessional, which is a compliment). The songs are all worthy of singing along, and some are even worthy of headbanging.

On top of this tried and true base, they layer their personality. The screaming is the most recognizable bit. They do have the sense to always keep it at the same monitor level as background vocals; it’s never in your face. That’s good, because it’s straight-up hardcore/metal raspy screaming. It’s used to good effect in the dramatic “My Last Wish Shall Be a Time Machine,” but in the Jason Mraz-esque “Co-driver,” it just feels really off. By the end of the album, I’d heard it so much that it pretty much registered as static and not as a meaningful element any more.

“Senal” is their offering in another language, and it’s a lush, gorgeous tune. The strings, piano, and electronic elements implemented work together excellently, and the hushed vocals only intensify the mood. The fact that it’s in a cryptic (and therefore, intriguing) language makes it even more fascinating. They do break back into English for the chorus, and that chorus is the best one of the album, as it makes great use of melody and rhythm. “Senal” is definitely one of the most memorable tracks, even though it’s incredibly challenging to sing along with (as you might imagine).”Los Rojiblancos” is in yet another language, and its rattling, consistent Spanish groove and excellent trumpet work creates another winner.

The majority of the album passes in a propulsive yet still breezy mood. If any number of pop/rock bands busted out their acoustic chops more (Boys Like Girls, We the Kings, Yellowcard, etc) but did it with legitimacy and not as a cheap ploy, it would sound similar. As it stands, the sound is similar enough to stuff that’s on the radio to be immediately accessible but different enough to be immediately embraced and enjoyed with out guilt. The large emphasis on strings should make fans of Yellowcard sit up and take notice, while the emphasis on fast, breezy but still intense songs should make fans of Something Corporate and Jack’s Mannequin sign on.

This album is highly recommended for fans of modern pop/rock. It will fit nicely in your collection while filling a space that’s been abandoned since Dashboard Confessional abdicated their spot as kings of acoustic rocking (and, no matter what they say, the Honorary Title is not taking the crown).

The Bright Light Motion plays competent pop/rock that doesn't break the mold

March 10, 2010

I love pop music. I proudly claim the All-American Rejects as fellow Oklahomans, I get down to We the Kings and Boys Like Girls, Snow Patrol are my boys, Gavin Degraw is the man, etc. etc. But it’s really, really hard to do well. That’s why bands appear for one good song, then disappear (Red Jumpsuit Apparatus? Anyone? Eh?). You have to be a genius songwriter or have an outside angle to hook people if you’re going to be in the pop/rock genre.

The Bright Light Motion is a band of good musicians. They write competent tunes that would fit in well on radio. But they don’t have an outside hook (Snow Patrol’s accent, peculiar instruments a la Cake or Yellowcard, theatrical songwriting twists a la Panic! at the Disco, dance beats a la everyone on the radio right now) to set them apart. Their four-song EP For All the Right Reasons passes pleasantly but not impactfully. The best moment comes in the end of “Wither,” where they drop out the guitars and bring in the choir of chanting hipsters, which segues into a neat whoa-o section with a cool synthesizer. They’re tried and true pop tricks, and BLM uses them to good effect. If it ain’t broke…

“Oceans Away” is a mid-tempo headbobber that shows off the vocals but doesn’t push any boundaries. “Love Wakes the Dead” starts off with a nice little riff and a vaguely danceable drum beat, but it crashes back into chord-mashing mode for the chorus and kills whatever momentum the band had built up creatively.  The song serves as a sign that The Bright Light Motion has some songwriting chops waiting to be released; they just didn’t get into this EP.

There is not a thing wrong with The Bright Light Motion. The vocals are good, the recording is tight, the songs have melodies to hum, and there’s more than enough charm to go around. But it just doesn’t add up to anything out of the ordinary. And that’s the hardest curse to break.

The Holiday Electric's pop/rock is slick, melodic, and well-done

February 23, 2010

The pop/rock that The Holiday Electric plays is slick, tight, and melodic. The only problem is that is has no element to call its own. There are many other bands playing pop/rock just like this: We the Kings, Boys like Girls, Augustana, The Red Jumpsuit Apparatus, etc. This doesn’t mean that the band will not be successful.  It just means that if you like this type of music, you’ll be on board with The Holiday Electric. If you’re not, then The Holiday Electric isn’t going to convince you.

Each of the four tunes on their self-titled debut EP culminate in towering choruses with pounding drums, skyscraping guitarwork, and thrumming bass notes. Knowing that doesn’t dismiss the joy that comes from hearing the songs; The Holiday Electric creates songs that tantalize you with the chorus. They build the tension to the point where it’s almost palpable (see “Heart Attack,” where they actually pause the song), then let you have what you want. It’s great.

The distinguishing factors between songs are neat: “Heart Attack” has a heavier guitar riff at the beginning of the song and a piano bridge before returning to power-anthem mode. “Til the River Runs Dry” features no electric guitar in the verses. “Perfect World” has a piano base and the best vocal performance on the EP. And that’s saying something, as Chris Woods’ voice is clear, bright, not helium-high, and not the least bit annoying (hallelujah! hallelujah!).

This is pop/rock, pure and simple. It doesn’t aspire to be anything else, and it succeeds admirably at its mission.  The songs are good. If you’re the type to get into pop/rock, you should get their EP (which they’re giving away as a pay-what-you-want download) right now. You will be hearing more about The Holiday Electric.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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