Wednesday, January 27, 2010

At the Perfect Plex

Hey all. It's been a couple weeks since I posted anything new. I do apologize for that, but a break was sorely needed, and I didn't want to burn myself out. After all, neither the artists nor you guys would benefit from boring and stale articles.
But I think it's safe to say that break time is over. I have for you today a fresh new band which mixes the stripped down chords of the Ramones with the folk-punk stylings of the Violent Femmes to produces a truly fantastic sound that you can sink your teeth into. Out of Cuba, New York, Perfect Plex is a rock trio consisting of Brady Doyle (vocals and guitar), Kip Doyle (bass and vocals), and Erik Freeman (drums). Though many groups have trouble making the power trio work (for lack of creative direction, or honestly for lack of pop sensibility), Perfect Plex proves here that three heads are definitely better than one, or more. Their 2009 demo consists of three tracks, and each one is a fresh smack in the face that redefines what garage rock can be next to punk and pop. 
Track one is "Salesman," a post-hardcore tune that blends Violent Femmes'-like pop tunes with Vines'-influenced guitar riffs and drumming techniques. It seems that the whole track is consumed by Freeman's drumming, as his Keith Moon style only brings the song to higher levels. It's intense, it's chaotic, and it's something that sets a brilliant stage for the Doyles' hardcorse-garage vocals. Brady Dolye's guitar riffs harken back to The Strokes and The White Stripes, and Kip Dolye's bass breathes with garage-rock intensity and punk grit. Both the Dolye's contribute hardcore, almost slurred vocals to the song, and it seems to move from garage-rock-punk to grunge-punk. This song is incredibly difficult to classify, but maybe that's the beauty in it. It's fresh, it's gritty, and it hits below the belt in a way only a few songs dare to do.
Next is "On a Horse." The beginning of this song reminds me so much of something Vampire Weekend might do. But don't worry, if you're really not into VW (and they are an acquired taste), then rest assured that Perfect Plex moves quickly away from any comparison, and into their own sphere of influence. Freeman's drums are start/stop, and among pounding bass lines from Kip Doyle, bring the song to new rhythmic highs. It's a song with a rhythm that could hold any listener, and what only drives it higher is Brady Doyle's guitar. With riffs that bleed indie influence and punk savy, Brady and Kip polish, or rather tarnish, off the track with indie-punk vocals. Almost unidentifiable through the melodic mayhem of the instrumentation, the Doyles' vocals contribute to the song something special, and it sounds like nothing else.
The last track on the demo is "At Midnight." I think this one is my favorite, and the more I listen to it, the more I think that with more certainty. Starting on a blistering bass line layed down by Kip Doyle, Freeman and Brady Doyle crash in together, and already the song is at 110 mph with no end in sight. Kip's bass keeps pounding my ear drums as Freeman graces me with cymbal crash and high-hat rhythms. Bringing it all to a head is Brady Doyle's guitar, churning out crushing chords that grind against my bones and skull. The vocals here, too, like on the two previous tracks, are hardcore-punk, and only serve to further the intensity of the song. A truly, truly fresh song on a brilliant demo, this is definitely one to listen to if you're looking for something new and gritty.

Sounds Like: Violent Femmes, The Vines, The Strokes, Pixies

Key Tracks from 2009 Demo: "At Midnight," ""Salesman," "On a Horse"

Check out Perfect Plex more at: and    

Friday, January 22, 2010

Recent Activities

It's been over a week since I found a new group for you guys, and I apologize for that. In that time, I've completed four college applications that were nearing their deadlines and took care of some other personal matters. I also spent much time writing a couple songs for my own band, so it's been a really busy time for me. 
Though I always want to keep you guys informed, I don't want to fall to the level of writing articles just to fluff up my blog, because that does no justice for the artists, and it doesn't fully aid you all in finding the best music that I think is out there. So have no fear, I will be getting back down to work, and I will have some new, amazing groups for you soon. I promise they will be worth the wait. (By the way, for all of you who read and liked the article on Disco Curtis, I am very pleased to announce they were just signed to Myspace/Interscope Records, and were just featured in their native Dallas news. Great job guys.)
Meanwhile, I have also taken some time to set up two new blogs: Words On Fire and Riot Boyyy. The first showcases my forays into the world of creative essay writing. Some are comical and meant for laughter and amusement. Others, though, are meant for something deeper, so to find that, you'll just have to look as hard as you can. 
Riot Boyyy is a blog I have created to exhibit my poems. This will be a very broad-based poetry blog. Some of the poems are short, and some very lengthy. Covering a wide variety of subjects from love to nature, and death to depression, Riot Boyyy will be a rare glimpse through a window to my deepest thoughts. Poetry is where I turn when things get crazy, so if intensity is something that turns you off, I would not suggest reading this one. However, if you are always on the lookout for heart-felt pieces of writing, check it out, you may find a piece you like. (Also, there is a very particular reason for there being three y's in the word boy: see if you can figure out the allusion.)
Once again, I apologize for my absence, and promise things will be back to normal soon. Peace all.

Check out my blog Words On Fire here:

Check out my blog Riot Boyyy here:

Monday, January 11, 2010

Picture Me Broken

It's been a lazy couple of days, and I didn't get much done this weekend. I still have a bunch of college apps to finish for Friday, but finding these guys made it all better, and took all the stress away.
Out of Redwood City, California, I give you Picture Me Broken, a sick alternative/screamo-pop-punk group that mixes the brash and ferocious vocals of Flyleaf with the catchy pop-punk melodies of Paramore and The Sounds. Composed of Layla Brooklyn Allman (lead vocals, synths, and screams), Nick Loiacono (lead guitar), Austin Dunn (bass and screams), and Connor Lung (drums), Picture Me Broken is fast gaining an underground following, and are proving themselves ready to take on bigger obstacles. These guys were another one of the groups that were voted into Purevolume's Top 20 Unsigned Bands of 2009, and with the sound that comes from their speakers, it can only be a matter of time before their getting their own in records contracts and radio play. 
From the first seconds of the title track, "Dearest (I'm So Sorry)," I'm already hooked on their unique blend of screamo-pop with alternative-rock, and their execution of such complex melodies and vocal arrangements. This was the song that landed them on Purevolume's list, and after listening to it a few times, I have no doubt why. The song starts on Lung's cymbal count, and quickly takes of on a guitar progression from Loiacono that I can only describe as Metallica and Megadeth in influence. Soon, Dunn's Cliff Burton-like bass lines become apparent, and Allman's sultry vocals brush through the speakers, pulling me in. This track has a distinct metal flavor, but throws back to pop-punk influences in the chorus and alternative arrangements in the verses. The interlude, however, screams Pantera-influence to me, as Loiacono's guitar is hard and grooving. As if that wasn't enough, amid screams that tear her vocal chords out, Allman's synths and keys bring an Evanescence feel to the song. There are so many influences coming at me from so many directions, there's just no way I can't love this song. It's so original and well constructed, this is easily the lead-off single for the album. 
Track two is the synth-driven "Breaking the Fall." This one, too, rides heavily on Loiacono's sharp-edged riffs while below Dunn's bass note's are not lost to the ears among the crashing drum fills from Lung. Allman, meanwhile, graces us with dark, meditative vocals, and synths that give the song a certain techno taste, and the screams provided by Dunn and herself drive the track into a more metal-esque territory. This track isn't one for you if you're faint of heart, and is certainly the one on which they really cut loose. The intensity of the song's musical direction is only matched by the vocal ferocity of Allman and Dunn, and those two flaming dynamics combine to create a tapestry of brilliant rage.   
I especially love the next song, "If I Never Wake Again." Dark, brooding, and chilling in its sound effects, this track is clearly Evanescence-inspired. The piano is shadowed and creepy, and combined with Allman's strong vocals, creates a perfect ballad on an already insane album. I am similarly struck by the intensity and powerful nature of the lyrics. These are some of the best lyrics PMB has on their album, and they work with the melody to create a song that won't soon be forgotten. Lung's drumming is minimalist and scaled back, owing to the piano-driven sense of the song, and Dunn's bass lines are almost non-existent. Loiacono's guitar seems to have faded away, but all three musicians make heart-felt appearances towards the end, when the whole song seems to come crashing down. The way in which this is done, though, conveys all four elements working together, and not just Allman with a bunch of backup musicians. An over all five-star track, this is one that I could listen to until my ears fell off. Absolutely brilliant. 
Though I enjoy tracks four and five, "Devil on My Shoulder" and "Echoes of an Empire," as well, the last jewel on this album is the final track, "Live Forever." With a sick music video that can be viewed on their Myspace, PMB brings it all home on this one, finishing strongly amid crashing guitars and primal screams and growls. Starting with a slight guitar riff, Loiacono builds into a Three Days Grace-like guitar progression, and Allman's vocals take me away in a breeze of emotion and melody laced with primal screams and ferocious chords. Lung's drums are tightly locked with Dunn's pounding bass notes, and the rhythm section is a force to be reckoned with all its own. With a chorus that's anthemic and tear-your-heart-out, Picture Me Broken finish on a high note and a primal scream that tears your soul out.
It'll only be a very, very short time before these guys are playing in-store appearances in Hot Topic's around the country, and I wouldn't surprised if said appearances started happening in the next couple months. A solid new group from California, Picture Me Broken are here to stay.

Sounds Like: Flyleaf, Evanescence, Paramore, The Sounds, Metallica

Key Tracks from Dearest (I'm So Sorry): "Dearest (I'm So Sorry)," "If I Never Wake Again," "Breaking the Fall," "Live Forever"

Saturday, January 9, 2010

Gaining the Freshman 15

So I know it's been a few weeks since this show, but I had to write about them. I saw these guys when they played with Disco Curtis and Seven Story Fall on the 18th of December, and I gotta say, I was so blown away by them that I had to write a blog about them, and I knew I had to wait a few weeks to decide how to write this, and do these guys justice. (By the way, in case you were all wondering, the show was AMAZING! Disco Curtis and Seven Story Fall were awesome, and put together with Freshman 15, one of the best shows I've seen in a while).
Anyway, on to what you came here to read. These guys are from right here in Atlanta, GA, and will soon be taking the pop-punk scene by storm, if they haven't already. Composed of Davey Fortner (vocals and guitar), Kyle Moshier (guitar and vocals), Davey Hoogerwerf (bass and vocals), and Jeremy Smith (drums), Freshman 15, I can most certainly say, deliver slick, polished recordings, and a killer, get-your-ass-up-and-jump show. These guys impressed me so much, I knew they'd be huge in the coming months, and I'd bet my left kidney I'm right.
But enough of my digressions. F15's debut album, Throw Up Your Hands for One Night Stands,was released this year, and with a debut like this, these guys have just totally kicked the doors open for their careers. The first song I listen to from the album is "What Are Friends For?," a killer, pop-punk track that just blasts me off from second one. Rising on the opening guitar riffs from Davey F. and Moshier, I'm carried to a crashing commencement as Davey H. and Smith pound in on the bass and drums, respectively. Davey F.'s vocals are brilliant, and with backing vocals by Moshier and Davey H., there's no way you can escape humming this song to the point where it'll drive you insane. But somehow I'm ok with that, and already, F15 have fleshed out their Blink-182 and Sum 41 influences, and we're all the happier for it. A fantastic first track, and one I would most certainly reccommend starting with.
The second track on my set-list is "Our California Song." Here, F15 continue their Blink influences, but expand the sound among great palm-mutes from Davey F. and Moshier, and clever lyrics amid crashing drums from DDD and thumping bass lines from Davey H. Moshier and the two Davey's blend their vocals to create a briliant tapestry of melody and tunefullness. I particularly love Smith's drum roll into palm-mutes from Davey F., and Davey H.'s bass takes on an almost Krist Novaselic-like style pumping along, giving was a reason to sway in the audience. Still, though, I can't get past the amazing blending of the members' vocals; these just breathe life directly into the song, and make it certainly one of the must-hear tracks from the album.
"Are You Ready for This?" continues the pop-punk sound, and again, delivering clever, tongue-in-cheek lyrics, is just one of the fun songs on the album. This is definitely a song I'd expect to hear in the next American Pie sequel. It's just fun-loving, head-banging, popping fun. Davey F. and Moshier lock their guitars tighly as Davey H. and Smith are perfectly synched on the rhythm section. Once again, I can't stress enough the vocals. Clearly one of F15's grreatest strengths, Davey F.'s, Davey H.'s, and BBB's vocals are sweet, something you can sink your teeth into. A five-star track if I ever heard one.
Though I'd love to go on and on about other fantastic songs from the album, like the melody-driven "Count on It," I feel that would just be overkill, since we've clearly already established that F15's sound is fantastic. All that's left to say now is that I can't wait to see these guys play live again, and I'm sure that they'll rock just as hard as they did on the 18th. A little fun fact: they're now selling F15 shirts in Hot Topic. Haha. Now what was that about bursting on to the pop-punk scene? Oh right, here they come, Freshman 15. So open your ears, and get ready for a pop-punk revolution as these boys make Atlanta proud as they take over the punk scene from the ground up. Fantastic.

Sounds Like: Blink-182, Sum 41, Lit, Hit the Lights

Key Tracks from Throw Up Your Hands for One Night Stands: "What Are Friends For?," "Our California Song," "Are You Ready for This?," "Count on It"

Friday, January 8, 2010

Tonight We're Alive

Good morrow all. Firstly, I have to freak out at our conditions here... it actually SNOWED in Atlanta!!! Haha, ice everywhere, and a snowday for all. Now that's probably because we don't own any snowplows in this entire city, but we'll take any excuse we can get lol. Now on to more important things. During this glorious snowday, I have been combing through the Top 20 Unsigned Bands of 2009 on Purevolume, and like WeatherStar yesterday, I've found some amazing groups that you guys have to hear about. It'd be a little tacky to unveil them all in one day though, so stay glued to your computer screen this week and your ears will thank you eventually.
Today's story comes from down under, from the cultural metropolis of Sydney, Australia. Composed of 17 year old frontwoman Jenna Mcdougal (lead vocals), Jake (guitar), Whakaio (guitar), Cameron (bass), and Matt (drums), Tonight Alive is a new pop-punk phenomenon that's taking Australia by storm. Aside from playing support slots for national acts 3OH!3 and Mest in the States, Tonight Alive are making a name for themselves on their native continent, playing their first Headlining Sydney gig to a sold-out 1,000 fans. Perhaps it's their incredible pop-punk melodies, or their ball-crushing approach to live shows that gives them the fire they need to take off into the stratosphere. I don't know, but whatever it is, it's working and doesn't look like it'll bust anytime soon. 
Now normally I don't do this: I usually wait for an album or EP to be released before reviewing a band, but after hearing the couple of songs these guys (and girl) have up on their Purevolume, I'm seriously considering changing my methods. The two succeeding tracks are from their upcoming release, their All Shapes and Disguises EP which is set for release in late January 2010, about two weeks from now. After listening to those two songs though, I knew if I waited that long to write an article on these guys everyone's reaction would just be "...duh..." It'll only take a few weeks time for Tonight Alive to hit the alternative-rock mainstream, and they show no sign of slowing down as it is. Formed in early '09, these guys have taken the reins up faster than most, and are resting in their spoils for it.
The first of the two tracks I listen to is the one that put these guys on the Best Unsigned Bands of '09 list, their song "Wasting Away." There is nothing to say about this track other than that once I heard it, I set aside my money to pre-order their EP and a shirt. It is, in all senses, a perfect song. Certainly the one they'll take over America with, "Wasting Away" is the song that Tonight Alive uses to shake the rust from our eardrums and the sleep form our eyelids. Carried along on twin guitar riffs from Jake and Whakaio, Jenna's vocals blast through all defenses propelled by a tight pounding rhythm section set up by Cameron and Matt. Apart from a sick, anthemic chorus that just gets you up and moving, "Wasting Away" brings with it a pop-punk flair that is like heroin to an addict. Matt's drumming and fills are tight and controlled, and Cameron's bass notes are pounding away, but not in a way that over-flows the other guitars. Meanwhile Jake and Whakaio are on top of everything with strong palm-mutes and driving progressions that provide Jenna with the springboard she needs to blast her melodic vocals into space ad beyond. A perfect length that leaves me dying for more, "Wasting Away" shows influences by bands like Paramore and Hey Monday without conforming to one sound and becoming a copy-cat band. If one song is any sign of what's to come, this one definitely shows a fantastic career and multiple Warped Tour performances, and that's on a bad year. 
Track two is "To Die For..." This one's a little less poppy than "Wasting Away," but still retains its radio appeal. Opting for, what is in my opinion, a more Letters to Cleo-influence over a Hey Monday one, "To Die For..." sports clever lyrics and catchy stop-start guitar riffs by Jake and Whakaio. Matt's drums pound in a slow, melodic head-banging rhythm, and Cameron's bass is clearly heard, his notes pulling the song to new heights during the stopped parts of Jake and Whakaio's guitars. A whole instrument of its own, Jenna's voice is brilliant. Flairing to a shining beacon to all those out there who want to know what it's like to be a singer that's able to belt out full, lush, melodic tones, Jenna's chords are exactly what this song, and this band, need. Together these five pop-punks know what they're doing, and with just these two songs to listen to, I have become a hardcore fan already. 
It's no wonder how these guys made the Purevolume list, and I have no doubt that they'll take their sound even more to the limit when they release All Shapes and Disguises. I can't wait to play that whole EP, because it's gonna be a breath of fresh air in a sea of cookie-cutter bands. These guys are on their way up, and I give it a month tops before their shirts and EP are making their way to Hot Topic shelves and "Merch" pages around the world. There's no way to stop them: tonight we're alive.

Sounds Like: Paramore, Hey Monday, Letters to Cleo, The Sounds

Key Tracks from the forthcoming All Shapes and Disguises EP: "Wasting Away," "To Die For..."

Check out Tonight Alive more at: and             

Thursday, January 7, 2010

And We'll Weather These Stars

It's been a few days since I updated you guys on some new music, and in that time, aside from taking a well-deserved break, I found you a new artist with some sick tunes that you absolutely have to hear. This is precisely why I take breaks: so I can find you the best of the best to listen to when I get back, and in that respect I've certainly succeeded this time, if I do say so myself.
Out of New York City, New York, comes WeatherStar, a rock trio comprising members Cameron Walker (lead vocals and guitar), Brandon Delp (bass, guitar, and keyboards), and Billy Toti (drums). Much like Owl City did just a few months ago, WeatherStar is building a large following very quickly. This could be due to Walker's smooth melodic vocals, or the clever, sing-along lyrics he pens for WeatherStar's catchy songs. Whatever it is, he better keep doing it, because only an idiot would say it wasn't working. 
WeatherStar's debut self-titled EP is available for full listen on Purevolume and Myspace, and even a few of the tracks are free for download. The only thing better than rocking out to a sweet song on the net is being able to take it with you when you leave. The first song I  listen to is one of these free downloads. "Wish You Would Stay" is a blasting track that starts with a bombastic drum crash amid pounding guitar riffs that tear me apart from second one. There's something about it though; it's so melodic and tuneful that I have no way of stopping myself from humming along. Things slow down a little during the verses, as WeatherStar depends on the Pixies' loud-quiet-loud dynamic, and as the chorus approaches, we take off in a blizzard of notes and melodic vocals. Everything about this song is perfect: there isn't one thing I would change. If you like anything pop-punk, emo-pop, powerpop, or just something that rocks hard and has a great melody, "Wish You Would Stay" is definitely the song to start with. Clearly the destined lead-single for WeatherStar's EP, it's a song that will take WeatherStar right to the top of the Billboard 200. I'd stake everything I know on it. Certainly the best first song I could listen to to get me hooked in and yearning for more.  
Though I enjoyed the two tracks preceding it, "Sick of Tonight" and "Weather or Not," I love the track "Planes, Oceans and Symphonies" in a different way. This song is slowed down, more low-key than "Wish You Would Stay," and for that it's all the more brilliant. WeatherStar proves it can be soft and emotional as much as hard-rockin' and riff-oriented. Walker's voice on this one is so smooth and polished, I'm jealous myself as a singer. I'd give my left thumb to be able to sing like that. A great song all around, and one I could definitely listen to all day, "Planes, Oceans and Symphonies" is easily a five-star track on the EP.
The last track I listen to from the EP however, is my second favorite, only behind "Wish You Would Stay." "Postcards" begins with a brilliant acoustic segment with piano accompaniment, and reminds me in so many ways of a Busted song. As a huge Busted fan, this is only to WeatherStar's benefit. Then the chorus blasts in, and with anthemic, heart-felt lyrics, "Postcards" is definitely the power-ballad on the EP, and it'll be no time before this is all over the pop stations all around the country. This song is easily as incredible as anything Matchbox  Twenty of Third Eye Blind. There is no way to make this song any better than it already is. Walker's vocals, polished and emotional, are only matched by his fantastic guitar riffs and acoustic strums. 
WeatherStar was one of Purevolume's best unsigned artists of 2009, and now hearing this EP, it's no wonder at all why. You'd have to be a braindead moron to think that this music couldn't go anywhere. Walker better pack his bag and prep himself, because once word really gets out about him, he'll be opening venues all over the country amid screaming fans that will fill the void with their vocals when he wants them to sing along. Walker and WeatherStar are on their way up, and nothing short of a full-stage apocalypse is going to stop them. And maybe not even that would be enough to do it.

Sounds Like: Busted, Owl City, All Time Low, Mayday Parade

Key Tracks from WeatherStar: "Wish You Would Stay," "Postcards," "Planes, Oceans and Symphonies," "Sick of Tonight"

Monday, January 4, 2010

At 35,000 Feet with Aviators

It's been one crazy weekend, and I desperately needed a group that could dull a headache while at the same time rocking hard. I found such a group in the Aviators, an alternative-rock group out of Fenton, Michigan, USA. With their progressive sound and clear hard-rock influences, Aviators will take you off on a psychedelic journey high above the clouds before dropping you into a sea of melody and rhythm.
Composed of Dylan (vocals), Ethan (guitar), Matt (keyboards), Josh (bass), and Danny (drums), Aviators' versatile sound approaches levels of space-rock, while at the same time keeping us on the ground with good, old-fashioned hard-rock and alternative. Though I absolutely loved their two tracks "White Symphony" and "Ignition" from their album We're Not Lost, what I have to ramble on about tonight is their EP, the Desert Flower Demo. With influences that span the spectrum from The Doors to Zeppelin, and Cream, to Hendrix, the Desert Flower Demo is a refreshing take on what alternative rock can be that I've been craving for quite a while. 
The title track of the album is incredible to say the least. Right off the bat I hear Doors and Pink Floyd influences mixed with Zeppelin riffs and even Radiohead-style vocals. The way Dylan composes his vocals and lets them fall over Ethan's Hendrix-like guitar riff can only remind me of Jim Morrison. As Danny builds in on the drums, favoring the cymbals in an eerily Pixies fashion, Matt's keys scream Ray Manzarek, and Josh's bass lines are tight and strong. But Aviators don't fall into a jam-band style in this one. Instead, they keep it on a Pink Floyd level, making sure every riff, every keystroke, is precisely where it should be, weaving them all together to create a tapestry of sound that hasn't been heard since the likes of "The End" and "Stairway to Heaven." Yet this song never tires, and like a Metallica masterpiece, I don't want to speed it up or rewind; everything works, and as a whole, the song is tight and powerful. I love it. 
The second track I listen to is absolutely one of my favorites. "Z Chord" is a complete departure from the Doors-esque sound of "Desert Flower." Instead, on this one Aviators opt for a more alternative approach, creating a song that makes me think more of The White Stripes and Smashing Pumpkins than Pink Floyd and Led Zeppelin. Yet other aspects are out of place here. Matt's keyboards are clearly Iron Butterfly-inspired, and I love it. The keys give the track an "In-A-Gadda-Da-Vida" feel, while Josh's bass lines could easily be confused with those of Krist Novaselic from Nirvana. Then Ethan shreds in on guitar, and my face is so melted I can't see out my eye sockets. Fantastic. Above it all, Dylan's vocals remind me of Jack White's, and Danny's drumming has Keith Moon aspect to it. All around, this track is totally different from the first track, and is all the better for it. Aviators have clearly cemented the fact that they can be part of any genre, and that they're not going to be pigeon-holed. 
The last song I listen to from the Desert Flower Demo is "Hawkshaw," a track that continues Aviators' alternative stylings while at the same time crossing over into new progressive-rock territory. Here, Matt has unplugged his keyboards and graces us with a beautiful piano piece as Dylan's vocals are deeper, more stable, and clearly heart felt. Then Danny crashes in, and among pounding bass notes from Josh just above Danny's base drum, Ethan's guitar riff cries Cream influence, and coupled with Matt's piano prowess, combines to make this a must-hear track. Already a five-out-of-five track, "Hawkshaw" continues with a building rhythm, and vocals that exhibit Dylan's influences from blues-rock and alternative-rock. Amid a sick guitar solo from Ethan, the song begins to trail out, and this is easily a hit single for college radio. Before long these guys will be a household name the same as other alternative groups like Dinosaur Jr. and The Posies. Brilliant. 

Sounds Like: The Doors, Pink Floyd, Cream, Pixies, Dinosaur Jr. Radiohead

Key Tracks from Desert Flower Demo: "Desert Flower," "Z Chord," "Hawkshaw," "Ballad of a Summer Day"

Saturday, January 2, 2010

Electrically Dolled Up

So my NYU application is finally done and turned in, and to celebrate I went out and found you all a sick new group. There's no other way to refer to them, and once you hear the songs, your heart will stop and start along with every chord.
An electro-pop sensation out of London, England, the Electric Dolls are an incredible four-piece with a vengeance. The complete antithesis of a solely pop group like the Pussycat Dolls, the Electric Dolls create a furious storm of melody and funk with the traditional four-piece sound, and it's a sound I've already become addicted to. Composed of Miss Lynsey, aka Red Doll (lead vocals), Layla Doll (guitar), Alice Doll (bass), and Lyndsay Doll (drums), the Electric Dolls are making a name for themselves on the streets of Britain, and I hope they hop the pond soon because I'd love to see these girls in concert. A fantastic electro-pop act that could give the Spice Girls a run for their money, once the Electric Dolls get going, there's no stopping them. 
The first song I listen to from their playlist is "Love Me Long Time." Starting out with a traditional Japanese theme tune, soon the hair is already burned off the back of my neck as Layla Doll shreds in on what can only be described as a metal riff. Then Alice Doll and Lyndsay Doll lock tightly in a bass-drum combo that's killing my guts and I'm loving it. As Layla Doll continues to stake my heart with riffs that Dio and Sabbath would be proud of, Red Doll's sultry vocals flow through my ears, and in an instant I'm an Electric Dolls addict. As we reach the bridge, and Red Doll's vocal are forced through a voice synthesizer in the way Gary Numan's would be, it's clear that this is an addiction that I won't be able to kick. Alice Doll's bass lines have my head banging in the traditional metal fashion, and Lyndsay Doll's drumming is nothing short of hard-rock.
The second song I listen to is "Supercute," and while I love the song for it's rhythmic beats, what really stand out are Red Doll's vocals and Lyndsay Doll's drumming. Apart from clever lyrics that border on the line of sexy, "Supercute" delivers an interesting string section with Layla Doll's talents. Red Doll's vocals are more pop here than hard-rock, and it just works so well for the song. Meanwhile, Alice Doll's bass is the backbone of the whole song, coupled with Lyndsay Doll's slick drumming. A short song, "Supercute" is a great pop song that will definitely have you pole-dancing along.
Though I enjoyed "Supercute," the next track, "Love," is a track that knocks me back on my heals. A song with a strong melody section, Red Doll's sexy vocals float on top of Layla Doll's guitar chords and notes, blending sexy sultry breaths with sensual guitar riffs. Under, the stages of the song on which Red and Layla reside, Lyndsay Doll's drums are pounding away in the best way they could be, as Alice Doll's bass lines blow my ear drums out with rhythmic melody. Aside from a dynamite, sing-along chorus, and a Big Band feel towards the beginning of the song, the track takes a left hand turn at nowhere halfway through when it completely switches beat and melody to a rap-inspired song. A brilliant concept, well executed and unexpected, "Love" is all the much better for it. 
The last song I listen to is "Plastic Girl," starts on a pop-rap note, and continues to an R&B style sound. Showcasing their versatility, the Electric Dolls make sure you know they can be rap and R&B as well as electro-pop and hard-rock. A great song for the dance floor, this one is great for those of you out there who love a great stripping song. Filled with suggestive, brilliant vocals and lyrics, "Plastic Girl" is a high point for both Alice Doll and Lyndsay Doll as they lock tightly in their rhythm section. Meanwhile, just a step away Layla Doll has pulled R&B and pop sounds from her guitar, as Red Doll's vocals stream me away to pop heaven. A great song all around, "Plastic Girl" was the best last song I could listen to. It's blunt, it's sexy, and it's something that will have you jumping in no time. 
The bottom line for these girls is that they can handle any kind of music. From hard-rock to electro-pop and rap-R&B, the Electric Dolls blow my mind in ways that Lady GaGa has failed to. Do I think they deserve a No. 1 album? Fuck yes. Do I think they'll get there? No doubt. With Red Doll's rap-electro-pop vocals and Layla Doll's sick riffing rocking on top of Alice Doll's pumping bass and Lyndsay Doll's hard-rock drumming, these girls make sure you show them the respect they deserve. They make it clear they are not pop singers; they are pure, unadulterated hard-rockers, and that's the way I like it.

Sounds Like: Lady GaGa, Pink, Madonna, Avril Lavigne, Robots in Disguise, Shiny Toy Guns

Key Tracks: "Love Me Long Time," "Supercute," "Love," "Plastic Girl"

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