Picture Postcard Reviews

You Blew It! - Grow Up, Dude (Released 24th April 2012)

Arguably one of the most hotly anticipated albums of the year thus far, Florida’s You Blew It! have been spending the previous two years building up to this moment. Already firmly established within the twinkly 90’s emo-throwback genre, this is their first release on the highly revered Topshelf Records label. In a scene often dominated by EPs, splits and demos, the treat of a full 12 tracks from one of my favourite artists was insatiable.

However, I’d prefer to get this next part out of the way sooner rather than later, as an honest critique is what this record deserves. I was immediately struck by the gritty under-produced demo-esque sound. I believe this was the band’s intent, and don’t get me wrong, I can love that style; perhaps a rawness reserved for bands who are less skilled at their instruments. Yeah, some bands sound better this way. YBI! doesn’t. Indeed it appears they’ve shot themselves in the feet by releasing a far more polished version of ‘Terry v. Tori’, complete with a great video, last year. Band member Tim has since commented that “so many knobs” were used on that recording, and as we all know too well, recording is expensive. Admittedly though the low-fi approach sometimes masks true brilliance by smushing clipped vocals and inseparable guitars together. HOWEVER, let’s not get too hung up on this!

Several listens in, you actually grow into the mould of this record. Previously YBI! were on the whole a more contained and often serene affair. Whereas with Grow Up, Dude there’s an infectious boisterousness about them, typically only translatable in some tightly cramped sweaty basement where everybody chants along. After the brief, but trademark twangle, of opener ‘Grow Up, Dude’, we’re thrown into what feels like the front row, and now I’m chanting along “I was home!” (‘Pinball House’). Immediately this record is driven by the full band, and I’m struggling to take the amount of talent in. Slightly less twinkle and more emphasis on carefully orchestrated chord progressions timed with ever intricate percussive work. Clearly a lot of thought has gone into making chaotic crowd pleasers, while still maintaining an impressively melodic sound.

Vocalist/guitarist TJ does a great job fronting this band, with his unique vocal style, often reminding me of hoarser meld of Jonathan Dimitri (State Lines) and Steven Gray (Wavelets/Dikembe). I enjoy the layered vocals found on a lot of tracks, with contributions from the other band members, and stylistic sing-a-longs. Someone’s definitely been giving Tanner a lot of excuses, as he spews out lyrical content, cryptically bitter. Highlights obviously include the opening line of ‘Terry V. Torri’, “I’m usually not one to pick fights / but you’ve really crossed the line this time”, and the resentful ‘Medal Of Honour’, “I’m not a fucking trophy / but to you I might as well have been”. Though, it’s not all heart-on-your-sleeve hopelessness. There’s a running theme of self assurance and realisation, heard on the dreamy ‘The One With Marc’, and the reflective ‘I’m Bill Paxton’. As the record’s title suggests, this is indeed a soundtrack to growing up, complete with the touch of afterthought in the final line “when will I see that superstitions won’t do anything?”, to counter the opener. A previously unheard softness is presented on the track ‘The Fifties’; definitely a grower, in fact bringing to mind Nick Stutsman and his band Park Jefferson. More characteristic of YBI!’s previous work is the compelling “The One With David” - ‘IT’S NOT ME, IT’S YOU!’. Perhaps the perfect balance of this soft vs brash approach can be found on “Good For Bond, Bad For You”, with moments of contrast redolent of countless early 00’s emo acts.

Almost every song written by YBI! before GUD is longer than the longest track on this record (clocking in at a mere 3:33). Gone are the extended build-ups and intermittent intros comprised of guitar duets a la American Football, and in is a much more direct approach. I think we have to be careful with the constant urge to draw comparisons to bands of the 90’s, despite this being the premise of the genre. No one needs to ‘sound’ like someone else, if they genuinely don’t. YBI! have really grown into their own unique sound, with the best bits of the old and all the good bits of the new.

8/10

RIYL - Wavelets, State Lines, Snowing, Stay Ahead Of The Weather
Bandcamp - http://youblewit.bandcamp.com/ 

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Send Away Stranger - Cool Wild Whatever EP (Released December 15th 2011)

Underrated say what. Featuring members of Wavelets, I really am mildly perplexed as to why this Floridian quartet seem to have slipped under the radar. Playing with a soft sense of gruffness braided with a tender bleak honesty, I found myself drawn to the rather desolate - “I’m spitting sentiments to make sense of this” (‘Not Called Ghost Boat’) - and resentful - “stepping into the unknown without you / it’s there I’m staying / it’s there that I belong” (‘Am I Serious?’) - lyrics, set against a composed backdrop. We are treated to familiar guest vocals from Steven Gray (of Wavelets/Dikembe fame) on ‘Beats Me, Dog’, as well as Mitch Soule on ‘We’re Out Of The Band’. These additions are greatly welcome; Gray’s vulnerable yelp (“and this is the first time I’ve felt this helpless and horrified / this whole trip has got me on edge / but let’s be honest I always tend to make decisions that I regret”) and the gravelly caw of Mitch Soule (“don’t leave without the curtains drawn / don’t leave the tall-boys on the lawn / give back the queen and take the pawn”) assuredly clock the listener for a moment’s reflection, along the lines of “man, that sounded cool”. As one may notice, yes indeed the EP is vocally and lyrically strong, but that by no means is its only strength. A genuine element of math rock is present on CWW; intricate percussion melded with impressive weaving guitar work, that’s that extra notch higher than the sporadic twing-twang often thrown in by bands to vindicate the twinkle tag. Gentle at times, emphatic at others. Solid tone, solid production, solid band. A real gem I’m glad I came across.

9/10

RIYL - Wavelets, Dikembe, You Blew It!, Colossal

Bandcamp - http://sendawaystranger.bandcamp.com/

State Lines - Hoffman Manor  (Released June 12th 2011)

Some things you can never brace yourself for. With Hoffman Manor east coasters’ State Lines have orchestrated the soundtrack to that emotion of setback and mishap. Gritty understated punk rock laced with unsullied melody. I can only describe the waves of symbols, guitars and bellowed vocals as torrents of crashing consolation. HM is a steady paced record, with genuine weight to it. The ‘emo’ tag alone really wouldn’t give the depth of sentiment poured into these songs justice. Aside from the obvious failed relationship acrimony, “don’t show your fucking face again” in ‘House’, some much deeper issues are tackled in other tracks such as ‘Garvey’ and ‘Cancer’. The latter, truly moving, with Jonathan Dimitri’s croaky rasp shouting to beyond the grave (‘and I hear those angels knocking at your door sweetie, don’t let them in / no, dont you dare open’). For a debut release I was astounded not only by the honed sound, but by the caliber of song writing found on HM. From the honest despair of ‘Cheers, Belmonte’ to the defeat of ‘Hoffman Manor’, perhaps the only encouraging hope is rather aptly found in the lyric “I always seem to find some obscure beauty in my life on days that I feel less alive” (‘Probably In A Notebook’). After accidentally stumbling across these dudes on a friend’s lastfm, I can only jubilantly look forward to their next release (slated for some time this month). Let’s hope it has more Alkaline Trio references.

5/5

RIYL - Joie De Vivre, Seahaven, Tigers Jaw, Dikembe
Bandcamp - http://statelines.bandcamp.com/

Park Jefferson - Weekdays EP (Released 24th October 2011)

Almost a year after their formation from the ashes of Midwest Pen Pals, Merchant Ships and My Head In Clouds, Park Jefferson have released their first EP. Not to say that this is the first music we’ve heard over the past 11 months; several different demos are available on the interweb - none found on Weekdays. Often with this genre, the rougher work sounds best. Perhaps in anticipation of this record I’d yearned for their trademark basement whine, with crass vocals and out of tune trebly guitars. However, Weekdays is an incredibly polished affair despite, yes, being recorded in a basement. It works though. The guitars sound remarkably chunky, the drums clear and well placed within the mix, and the vocals commendable. Guitarist and vocalist Nick Stutsman is definitely the driving force behind this band, and is still only 18 (a recently learned fact that surprised myself - how old was he in all those other bands?!). Bearing that in mind, lyrically the record is what one would expect, though the only cringe-worthy line I winced at was “FOREVER ALONE / poor me / poor me” in ‘Monuments’. If anything though, mostly due to its production, this is a more accessible sounding ‘midwest emo’ record. Don’t get me wrong, Park Jefferson have by no means lost their trademark twangle, notable on ‘Monuments’ and ‘Astronauts’, but have veered into new realms, experimenting with keys and finger tapping. My favourite track on the release has to by ‘Cowboys’, with such a driven opening; eerily echoey and catchy like I don’t know what. Nick’s vocals are probably strongest on this track too. Leading into the ever engaging ‘Couches’, which personally I believe should be the closer, Park Jefferson display a softer side. The verse-by-verse exchange with female vocalist Robin Purlee, reminiscent of early Paramore, is a fantastic contribution, setting this record aside from the increasingly common stereotypical emo records being put out nowadays, where the differentiation between tracks is indistinguishable. However, we are still treated to singalong anthemic lines, such as “night’s alone / these are the last ones / love” in ‘Astronauts’. The attentive fan may notice Park Jefferson have recycled past material (‘Classy Milani’ say what?) in the forms of various riffs, structures, themes and similar sounding lyrics. Though personally this is what draws me to their music, it’s like Nick Stutsman’s life and musical career is an ever evolving jigsaw, gaining fresh pieces along the way. I do miss the adolescent mewl and brash racket with little regard for clipping tracks of previous efforts, though I can by no means fault their formidable effort on Weekdays, cementing their place in an overly formulaic sounding genre.

4/5 

RIYL - Midwest Pen Pals, Footnotes, Coping
Bandcamp - http://parkjefferson.bandcamp.com/

Reno Dakota - Popularity (May 2011)

Reno Dakota are a relatively new band to this scene, which is less than apparent on their astounding debut Popularity. Hailing from Cambridge, UK, something really struck a chord with me upon my first listen of this mathy quartet. Sharing the stage earlier this year with the likes of stateside twinkle daddies Algernon Cadwallader and 1994!, their popularity certainly isn’t in question. Mature beyond their years, reminiscent of Pennines, much thought has been put into this EP. Perhaps the impressive production helps fill out a sound that often with this genre leaves more to be desired. Cleverly Reno chose the strongest and most listener friendly tune to open the record with, ‘The Fine Art Of Small Talk’. Surprisingly accessible vocals; smooth and yet understated. It’s hard to not smile at lines resonant of today’s desperately introverted youth, “One more drink/and my last cigarette/I’m anyone’s/if anyone will take me home/you’re not as dark as you think you are”. There are real driving moments throughout, laced with some intricate mathy guitar work, rich and warm with tone. Dancey number ‘Build Networking Skills’ shows off their drummer’s talent; pleasingly punchy at times. Ending on yet another solid track, with a fantastic bridge, ‘And Leave A Positive Impression’, most certainly does leave the listener with a positive impression indeed. My biggest criticism of this EP is the length; five tracks squeezed into just over 11 minutes, you blink and it’s over. Undoubtedly though Reno Dakota have a lot more than 11 minutes of talent up their sleeves.

4.5/5

RIYL - Pennines, This Town Needs Guns, Dartz!
Facebook - http://www.facebook.com/pages/Reno-Dakota/206730296004729

Papayér - s/t E.P. (Released 26/7/11)

Quintessentially British sounding Derby lads gallivant onto the twinkle daddie scene with their debut self-titled, or possibly untitled, EP. Preposterous sounding genre? Avant-garde band name? It’s not the first time and surely not the last. Hailing similarities to Algernon Cadwallader and Snowing, Papayér noodle out a brand of upbeat twinkle groove. Vocals often screeching into a croaky, occasionally discordant, yelp. Pleasing none-the-less. Packed out by intermittent sonorous gang vocals, stumbled screams, and the odd moment of clarity. Warm guitars crossfire with fast jolts. There is an underlying melody at play here, some kind of distinguishable depth. ‘Duan De Waal’ is the palpable highlight of the EP. Shinning in all its indie glory, it would challenge you to continue sipping your pint without meandering into a cavort if this came on in a club, with an infectiously dancey baseline and trebley chords to accompany. Perhaps demonstrating their prowess the formidable track that follows, ‘Dominous’, opens with a glorious two minutes of instrumental dialogue. In homage to a scene they inevitably grew from, Pennines-esque closer ‘Dolton’ concludes the record nicely. Some may find the far from comprehensible mash of vocals and indie math a repetitive formula, nevertheless this band have ample potential yet to be presented. 

3.5/5

RIYL - Algernon Cadwallader, Pennines, Snowing
Bandcamp - http://papayer.bandcamp.com/