Apr 282010

The Shondes, My Dear One

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Artist: The Shondes
Album: My Dear One
Label: Fanatic Records
Release Date: Tueday, 2010.5.4
Score: 9.5/10

I’ve often harped on the importance of Sophomore albums. They’re easily important as first and last albums, and perhaps even more so if the band wants to have any sort of longevity. So it’s my pleasure to say that the second album from The Shondes is good. Really damned good.

Loyal readers (there have to be at least a few of you) will remember that The Shondes released one of my favorite albums of 2008. That debut (Red Sea) was one of the most original and important albums of the year. It was also awesomely fun and rocked pretty damned hard.

Well, The Shondes’ sophomore effort is about to hit the market and, thanks to the good folks at Fanatic Records, I’m happy to report that I’ve gotten my hot little hands on a copy. And it’s flat-out awesome. It’s every bit as excellent as their first album.

The instrumentation and pacing of the new album are much as they were in the last one. Energetic, mid-tempo rock songs with a lyrical focus and plenty of tasty instrumental hooks. (For the record, the violin/guitar/bass/drums instrumentation works far better than I would ever have imagined.)

The Shondes themselves claim that it’s a break up album. But I genuinely think it’s more than that. I think it speaks to a deeper, more visceral human experience. While most of the songs are framed in terms of the end of a relationship, I think that it’s really more of a heartbreak album. Heartbreak is a more universal human experience, and I think it’s one that My Dear One speaks to well extremely well. Songs like “Nothing Glows” powerfully evoke the sick, sad greying effect of heartbreak. The notion that one’s “bruises don’t turn black and blue” is a particularly effective image for the fact that it shows just how dulling heartbreak can be.

The lyrical focus of the Shondes’ sound lends itself particularly well to this album. Songs like “You Ought to Be Ashamed” profit from my lyrical breaks and a melody that’s carried (or at least matched) in the vocals. This is largely to the credit of Louisa Rachel Solomon, who provides most of the album’s vocals and whose dusky, dextrous voice is powerful and expressive throughout the entire album. (Though for a particularly good example, give a listen to “Miami”.) Also notable are the vocals that Elijah Olberman contributes to the album (“The Coming Night” and “All the Good Things”). Olberman’s smooth, expressive voice has a wonderfully androgynous quality.

As in the first album, Temim Fruchter’s drumming is rock solid. Fruchter reminds me of some of the best jazz drummers I’ve heard, adding energy and style to a song while never stealing the show. (Cf. “Fire Again” and Fruchter’s rambling, snare-heavy lines.) Solomon’s bass work is similarly solid and unobtrusive.

The only lineup change since the first album is the replacement of Ian Brannigan with an artist named Fureigh. Fureigh’s style is remarkably similar to Brannigan’s, and meshes well with the rest of the band.

My only major complaints about the album are with regards to the production quality. The whole album seems to have a flat, muted sound to it. This saps it of some of the energy it would otherwise have. This is particularly noticeable (unfortunately) on the lead title track. While this sound grew on me somewhat, I feel like the album could have profited from a brighter, cleaner sound and less post-production sophistry.

My Dear One is great rock album. It’s raw, emotional, and gutsy as hell. Songs like “Let’s Make It Beautiful” show how well the Shondes can take classic Rock forms and give them a unique sound and form to create something new and interesting. This album is well worth the price, both for fans of the first Shondes album and for people who love rock and want to hear something that’s genuinely new.

Jan 222008

Artist: The Shondes
Album: The Red Sea
Label: N/A (Self-Released)
Release Date: Tuesday, 2008.1.8
Score: 8.5/10

The Red Sea, the debut album from The Shondes was pretty obviously cooked up for the express purpose of making me dance around my room in my boxers at four in the morning. Between its driving, punk-influenced beats; its lilting, exotic violin melodies; and its crying, Dolores O’Riordan-esque lyrics, it’s basically a designer musical drug. And I’ve been doing big, fat lines of it for a week now, and loving every minute of it.

Admittedly, part of the reason I’m so addicted is because it hits a lot of my musical buttons. Punk influences? Check. Slick melodic hooks? Check. Complete disregard for genre boundaries? Check. Wrap all that and more up in a tight, well-presented package and it’s a fair guarantee that I’ll be mainlining it for quite awhile. Unfortunately for the Shondes, not everyone shares my same set of musical cravings, but even without sharing my musical aesthetic, there’s a lot in The Red Sea for any listener.

Songs like “Winter”, for example, with its brooding, jangly guitar lines, soaring vocal lines, and interesting lyrical images is not only a good listen, but warrants coming back for several listens. Similarly, the energetic “At The Water” is a song that begs to be put on repeat, not only for its rollicking energy, but also for the fact that it’s melodically and lyrically rich enough to reward repeat listening. This depth is not limited to a few tunes, but rather is endemic to the album, which features excellent songwriting, catchy melodies, and (with a few exceptions, such as the heavy-handed “What Love Is”) engaging lyrics.

Probably the most interest aspects of the album, however, are not strictly compositional, but rather stylistic. The Shondes have managed to take a diverse set of influences and weave them together into something truly new and unique. On “Don’t Whisper”, for example, exotic, folky violin lines support growling guitars and wailing lyrics to create a song which obviously borrows widely from the musical spectrum, including punk, classic rock, and folk to create something which is intriguing and new. The whole album draws musically from wide enough sources that many individual aspects feel familiar, while the whole is something altogether new and different.
This blending of so many different genres is used to great effect most of the time, though there are times when drawing together so many stylistic threads seems to have gotten in the way. The result is that, while The Red Sea really is a great album, it tends to get a bit confused and muddy at times. “Let’s Go” is a prime example of this. It tries too hard to be too many things at once and winds up sounding a bit like a bar brawl between the Ramones and the Cranberries as reinterpreted by a modern-day Rogers and Hammerstein. That is to say that it’s odd, and quirky, and if it ran with any one of its musical themes, it could be really cool. As it is, it’s random to the point of incoherence.

The Red Sea is a great album from a promising new band, with a unique sound and a hell of a lot of talent. And while it is undoubtedly rough or muddled at times, it’s an impressive first release from a group of great musicians. It’s well worth price ($10 from the band’s MySpace via MySpace’s SnoCap download service) and a sure sign that The Shondes are a band to listen for in the future.