Last updated on May 14, 2019
I’ve never been a huge Say Anything fan, but from the songs I’ve heard, an indelible print has been made of Max Bemis’ voice. His way of melding singing, yelling, screaming, and talking into an idiosyncratic vocal style has stuck in my mind. The Truth Hz and Driftwood Miracle both incorporate elements of Bemis’ style into their music, so I thought I’d bring them to your attention in the same post.
The Truth Hz is a pop-punk band that musically hails back to the early 2000s, when chunky, low-end-heavy guitars were the ideal type. None of those airtight, treble-heavy six-strings that are so common in current pop-rock are included on Get Over It. This one is loud and proud. Layered on top of this beefy backdrop is Ryan Stoll’s voice, which incorporates the muscly singing-to-screaming section of Max Bemis’ voice.
Stoll puts a lot of emphasis on the tone and delivery of his words, which is another element that points toward Bemis’ work. Note how in the end of “The Truth Is…” Stoll modifies the tone and volume of voice to get the desired effect out of the words; it’s a strong tactic, and one that made this stand out to me. Stoll is a storyteller on top of being a songwriter, which is something that a lot of pop-punk bands miss. Even if the “plot” is loose, Stoll guides the listener through the song with the contortions and distortions of his voice. It’s just a ton of fun to listen to. And in pop-punk, where any minor tweak on the sound can be the difference between catching my ear and sound like everything else, having a confident, mature vocalist fronting the outfit helps a lot. Fans of summer music, you should be checking this out.
North Carolina’s Drift Wood Miracle does not play pop-punk; they play piano-led indie-rock. The band just released “Mountain,” the single off their upcoming album The 21st. Lead singer/pianist Bryan Diver leads the tune from near-silence to loud to near-silence again, before exploding into a roaring coda that sees him hurling his voice around in a very Max Bemis-ian, angsty sort of way. The lyrics are a cryptic but relatable story of personal struggle and failure, couched in metaphors reminiscent of Brand New’s work. I’m a huge fan of Jesse Lacey and co.’s early work, so I’m totally on board with a little bit of obscurantism in the lyrics. The tune is a fascinating one, and I look forward to hearing what the rest of the album turns out to be.