(Anti)
The Promise Ring made a name for itself in the early '90s by pioneering the Midwest emo sound that has become so familiar and produced incalculable numbers of copycat bands. The P-Ring released many excellent albums from 30 degrees Everywhere to Very Emergency that all highlighted the foursome's uncanny three-chord, cracking voice and playful lyrical combinations. Two parts punk and one part emo was the formula for P-Ring success as they blew up the scene with a mix of catchy and teary songs you could both pump your fist and sway to.
But now the boys are getting older and there is much turmoil in the band including lead singer Davey von Bohlen's brain tumor, a change in labels from Jade Tree to the Epitaph owned Anti, and a few close break ups have led Promise Ring to a point of eminent evolution (or should we say digression?). Enter the P-Ring's newest release, Wood/Water, which was mixed by Mario Caldato Jr. of Beastie Boys fame. After being a band for so long, change is inevitable and to some extent necessary, however Wood/Water is too incoherent and largely disappointing. Those expecting the Promise Ring of old with an album full of pop-punk and emo-ballads, should not bother with Wood/ Water'they won't get either satisfaction. Those hungry for a refreshing and grown-up P-Ring should not bother with the new release either. Instead, go buy an album from von Bohlen's side project Vermont. Wood/Water has a similar flavor, but Vermont does a much better job. That said, let us look at why the album is such a let-down.
Most of the songs on the 12-song LP are slow and melodic and drag out far too long for only containing limited chords from an acoustic guitar. There is some interesting instrumentation as the band employs everything from organ to xylophone, but even this escape from convention can not save this album. The opening song, \Size of Your Life,"" is a Brit-rock spin-off, which is not surprising since the album was recorded in London. As if the world needs another British rock wannabe. And is that a fake British accent Davey? Come on. ""Get on the Floor"" and ""Suffer Never"" seem to borrow from The Flaming Lips with plenty of tambourine and keyboard.
The Promise Ring seem to have lost its touch. The band's decision to produce Wood/Water is ironic for two reasons. First, the P-Ring's old musical style has been carbon copied by several popular bands of today (think Vagrant records' Saves the Day and Get Up Kids). If Promise Ring would have stuck to their roots, they might have recorded an album that would blow all these bands and their fans away. But the foursome may be too disenchanted with the punk/emo scene to even want to try. Second, the P-Ring used to be the innovators of their time with everyone else following in their footsteps. Nowadays they seem to be following everyone else's sound.
Maybe this reviewer is just hooked on reminiscing about the Midwest scene of yesterday when the Promise Ring reined superior, and turned several bands on to their sound. Maybe this reviewer is bitter about the outcome of Wood/Water dashing all expectations, but one thing is for sure'a seasoned indie listener knows bad music when they hears it. Unfortunately, Wood/Water fits into that category.
(Dreamworks)
If every band followed this band's relative theory to reach the apex of the music biz, then we would have even more spoiled nu-metal acts than there already are. Cruising down the highway paved by fellow Los Angeles. art-metalers System of a Down, The Apex Theory had a pretty easy time getting their music to the masses by signing with Dreamworks a little over a year after forming.
However, the music speaks for itself. Topsy-Turvy is distinctive but catchy. The formula for the album seems to be brooding bass grooves over rabid snare-heavy jazz beats with subtle, yet playful minor-key scales interrupted by orchestrated bursts of wailing power chords and forceful drumming.
Although what would have been heralded as fresh high-octane art-metal a few years back, Topsy-Turvy unfortunately came a few years too late. Guitarist Art Karamian's mastery of frantic Mediterranean and Eastern plucking adds a unique flavor but cannot help but draw reference to his System contemporaries. The addition of heavy, driving riffs unlikely to disappoint any mosh pit doesn't help much either. To kill the reference once and for all, while System boasts erratic thrash, The Apex Theory personifies a worldly metal more refined and silky smooth.
The first radio single, ""Shhh... (Hope Diggy),"" has presented itself as a unique staple on many modern rock playlists. While remaining instrumentally true to the formula of the album, lead singer Andy Khachaturian adds an angst-ridden rant of being emotionally drained by a certain someone. It begins with a Jon Davis scat then switches to frenetic spoken word poetry and culminates in a chorus indicative of today's anger-fueled rock with ""I'm sure you're sick of me/Well, I'm sick of you too.""
Any fan of the single will enjoy the rest of the record, guaranteed. The album opens with the stop-and-go chaos of ""Add Mission,"" which then blends nicely into perhaps the most sweepingly furious song on the album, ""Mucus Shifters."" A pleasant break in the metal furor comes in the form of ""That's All!"" an amped up psychedelic jazz groove that's possibly the best song on the album. The very next song, ""Bravo,"" kicks it in the ass once again and is a testament to the band's popularity on last summer's Warped Tour.
Topsy-Turvy is the sound of modern rock. Hopefully the maturity this young band has shown will help them be able to continue to define the sound that made them.
