Monday, September 30, 2013

Review: The Wheelers - S/T

I once heard someone compare a band to a glass of wine. It may not be the best analogy, but I get it. A glass of wine is thought of as elegant, refined and I guess the band represented those same qualities. Well if The Wheelers were to be compared to a type of alcohol, I'd say the remind me of a Four Loko. Most of you are probably thinking 'Well, that's not good', but hear me out. Yes, a Four Loko isn't really the most acceptable of drinks to bring to the party, but it's ridiculous, brash and out of control. All qualities I'm sure The Wheelers embrace fully.

These guys play a form of garage-punk that seems to harken back to the early nineties. They namedrop The Pixies as influences, but I don't quite see it, which is in their favor since The Pixies are impossible to replicate well. It's sloppy and fuzzy as hell, but they don't always keep the same sound flowing throughout the whole album, which is fine since as I've mentioned before with countless other bands, it's not good to keep yourself grounded with only one sound, better to spice it up a bit.

"Tarantino" and "Passive Aggressive" really display these guys punk attitudes, delivering quick, bass-heavy tunes that earn them marks for good song structure. They're not going to make them seem like modern day Beethovens or anything, but for a band steeped in fun, it's nice to know they have an idea of how a song should be constructed instead of just going with the flow. "Costello" treads the same style path as these songs, but feels more mature than the others, making it stand out as the best track on the album.

They go a little bit Sonic Youth sometimes, as evident by the tracks "Pedestrian" and "Ride By Fire". It could be because these guys use the bass so prominently throughout the album, but these two tracks really felt a little more experimental than the others. They don't toss around spaz-like guitar riffs, but there's something different and unbalanced about these two in particular that makes them feel different as a whole. Not a lot different, but different enough.

"298" and "So Much Rain" reinforce my opinion on them being influenced more by Fugazi than anyone else, coming out strong with shades of artsy post-punk. What's really impressive with these guys is that, while they may not have mastered all the different styles and sounds they use, they at least manage to mesh them together well, blending together something all together unique, whilst still being recognizable. 

The Wheelers self-titled album is pretty decent, and while it aims for a gritty perfection, things seem to fall just short of that because of some of the songs similar sounds. There's an overemphasis on bass here, and while that may be a format they love, it's something they should tweak in the future because of how some songs blend together. Still, there's an abundance of cool that oozes from their work, and I can see them really hitting their stride very soon. - Shane

Tuesday, September 24, 2013

Review: Burning Palms - Church Of Ra

Music is an escape, or at least, that's what we're told. You see a lot of people live pretty hectic lives, and a lot of us can't appreciate what music does for us at any given moment. Not every artist has this ability, but those that are able to whisk us away from the mundane or terrible lives we lead are worth keeping around, because the ability to do such a thing is hard in its own right. Sometimes its because of the fun atmosphere a song can convey, and sometimes, its a magical, almost ethereal quality a band can produce that transports you away from our chaotic world and into one much more respectable. Burning Palms seem to harness this power with Church Of Ra

Hailing from Arizona, it seems Burning Palms have taken the magic the states desert landscape displays and harnessed it in their music. Fun, but spooky, Palms play a psychedelic form of surf-based-indie rock that many people try to harness nowadays, but almost none seem able to master. They are able to have their sound stand out because of these 'magical' qualities, and it's a refreshing reminder that maybe you can still beat that dead horse with a stick afterall, so long as that stick is a little different.

"Maze", with its simple yet catchy guitar riff and reverberated vocals, takes the cake on this album. It's one of the more energetic songs they play here, and though it doesn't have anything musically that really stands out above the others, what it does is manage to mold all their sounds together in one neat little package just right. It sounds a bit Best Coast-ish, but comparisons are going to happen, especially in this genre. "San Pedro" is equally impressive, but really feels more psychobilly than anything else.

"Drag" doesn't live up to its name and delivers a pretty strong, but methodical, tune. It's slower, but the chord progression is excellent, and the overlapping vocals really add another level to their already impressive sound. "Pyramids" and "Thorns" continue to almost seemingly non-stop assault of good music on this album, delivering short but memorable songs that live up to these guys expectations. It's nice they try to vary up speeds as well and don't try to stick with a quick, punk-as-fuck approach or a slow, drugged out of your mind approach. 

About the only blotch on the album is "Church Of Ra", the title track. It holds true to some of the same style points that define these guys, but there's something really missing here for me. I would not go as far as to say it's a horrible track, but it didn't seem to garner the same powerful imagery the others were producing, and when a band like Burning Palms work so well at creating moods, it's a bit of a let down.

Church Of Ra really impressed with its ability to transport you away from everything, but considering the songs were great on top of that, it really made it stand out. It's a dog eat dog world out there, and when you're slinging a similar sound a million other bands are trying to, you'd better be damn sure you find the niche that carves you a piece of the fame cake. Burning Palms have found there niche, now its just a matter of time before they get their cake. - Shane

-This release is able to be heard on bandcamp, but it is actually a cassette release, which you can buy from Lolipop Records. Here's the bandcamp link:

Sunday, September 22, 2013

Review: The Latenight Callers - Songs For Stolen Moments

Somewhere, along route 66, in some hole in wall bar only the hardiest of swindlers go to you'll probably find The Latenight Callers playing. They're probably not swindlers themselves, but the style of music they play yearns for the most damaged, but adventurous of lost souls (I also doubt they've played some dive bar along route 66, although if they have, that's pretty cool). They aim for mysteriousness, seducing you with a strangeness only known to David Lynch movies. Or, at least, that's the general theme I got with Songs For Stolen Moments.

Sounding like a mixture of blues, gypsy-rock and rock-n-roll, The Latenight Callers feel like a band entrenched in the world of 'alternative lifestyles'. I'm not saying they try too hard to be different, but there's an unavoidable detection of malice towards normality. Sure, you might be a jackass and say 'Oh yeah? Well what's normal?', but you and I both know there are some things most people aren't too keen on, and these guys feel like the type of act that thrives off that. The whole time listening to this album I felt like I was watching an Ed Wood movie, or watching some basement burlesque show. Again, things a lot of people frown upon, but plenty enjoy. 

"Tourniquets" stood out for me on the album because, while it stays true to the rest of the albums style points, it felt a bit different. It sounds like a long lost Portishead song, thumping along at a methodical trip-hop pace while still adding in gypsy flair. There are a few other tracks on the album that try this approach ("Odessa" and "The Big Sleep"), but they don't blend it together as well as "Tourniquets" does. "The Big Sleep" comes close, and is a decent song in its own right, but doesn't come close to the same majesty.

When not dabbling in electronic themed music, they concentrate on what must be their staple: Gypsy rock. "Sleepless" and "Gypsy Moll" don't really stray off the fun but foreboding path gypsy themed music has come to show us, giving us something very easy to dance to but still feel entranced by. While they might come across as a tad too similar, it's not like they're mirror images of each other, and provide enough personal touches to work.

"Red Bricks, White Ghosts" feels jumbled. At first I thought they were sampling a song by Lady Soul used in the Sister Act soundtrack (I'm so happy I got to add in a Sister Act reference into this review), but it was pretty obvious early on it was just a similar sounding beat. Anyways, what I'm trying to say here is the beat feels way too loud, never really working with what the rest of the song is playing to. It's jarring, and when the majority of their album is kind of quiet in an odd way, it really frightens and bewilders you. "The Tease" also feels lethargic and uninspired, and maybe should have been axed off the album before they decided to print it off.

Songs For Stolen Moments was a surprise for me, mostly because it took me out of my so called 'comfort zone' and managed to cradle me so well to make me feel mostly comfortable and enjoy the ride. Sure, there are the occasional hiccups on the album, but most albums have these as well, and it's nice to be surprised now and again by something you didn't know what to make of in the first place. And that's something I think they strive to do on a daily basis. - Shane

Thursday, September 19, 2013

Blitz Review: HSY - S/T

You may not notice this too much, but there seems to be a desire to make pretty music nowadays. Yeah, there's plenty of punk rock and metal to go around, but the styles and production values leave a very clean taste in your mouth after you listen to them. Since the ye olde grunge days, we haven't really been given many bands that aim to sound as if they're music is being dragged through a huge pile of mud. HSY has aimed to changed that on their self titled EP.

Combining grunge with a Joy Division-esque sense of punk, HSY don't seem to care what finished product they give you, so long as it's fuzzy yet aggressive. The opening track, "Milk Chug", is a grainy bass-ridden tune that thumps along well with a simple, yet exceptional drum beat. It's a great opener, and I wish they'd left it for a full length album, but the fact it exists is nice in the first place. "Ladies Night" essentially takes the same approach as "Milk Chug", but is slower and more methodical in its rock delivery. Both songs have an echo of Sonic Youth to them, but they don't dive too much into the experimental to truly warrant a legitimate comparison.

"Waffles", the punkest song out of all of them, is quick and loud, but bares a slight resemblance to "Milk Chug", making it still a good song on it own, but with less of a lasting effect because of it. The other two tracks, "Slimeball" and "Tartar Mouth", are solid additions, with "Tartar Mouth" being the better of the two for its trudging bass riff and hardly recognizable vocal stylings.

HSY is a quick, but solid, EP. These guys have a pretty unique sound, and it'll be nice to see how they transition their growing experience into making a full length album. They may be content with making EPs forever, but I for one would like to hear a ten track album of their stuff. It may not be the prettiest music around, but I'll be damned if it's not some of the best. - Shane

Sunday, September 15, 2013

Review: Storm Watkins - Mercury

Do we ever have to give credit where credit is due? I mean, people say that all the time, but do they mean it or are they just covering up their own disappointment by trying to look cool? Don't get me wrong, I've said it myself, but I've felt grimy afterwards, some form of guilt making me regret uttering that dumb quote. It has an almost passive tone to it, nearly lazy in the placated notions it tries to instill. But on rare occasions, it's really meant as a form of applause, signifying that whatever it is you've witnessed may not be fully known to you, but is good enough to warrant an appreciation. That is how I felt with Storm Watkins album, Mercury.

Watkins comes from the instrumental hip-hop crowd, populated by better known acts like Star Slinger. It's sample based, with simple beats thrown over them for good measure. Most songs in this genre are fragmented so as not to cry copyright infringement, but some of the songs on this album feel a bit too whole to warrant calling them truly 'fragmented'. They don't suffer much from this correlation, but I often wondered if he couldn't have tried a less simple approach (I also hate seeing musicians sued by other musicians. Not that he is being sued, but musicians cry foul way too often when samples of their songs are used). 

"My Everything" and "Quit Shuttin' Me Out" really signifies what Watkins can do with other people tunes. They're catchy and poppy, like the tunes he's sampling are, but are altered and structured in a better way than most artists like him try to be. Sampling R&B songs seems to be a staple in the hip-hop world, and it's a good thing Watkins stays within this trope because he shows what he can do when working alongside it. Sometimes the 'tried and true' method isn't a bad thing.

Others like "17" and "Sad Lexi" add to the strong showings on this album, working alongside previously made songs to create real numbers you can dance to. They all kind of have the same tone and feel to them, but if bands like Green Day have been given free passes in this department, Watkins should too. "By You" and "Love Reborn" feel sluggish and uninspired, and that's kind of hysterical seeing as, like I've mentioned a thousands times already, they're sample based. Sure, the blame is on him for choosing those songs to work with, but a small percentage of blame also has to go to the original artists for making what sounds like bad music in the first place.

Mercury is a pretty solid album, if not a little bit redundant. There are a bit too many dub-step horn samples sprinkled into the songs, and while some of the songs sound the same, they're varied enough and good enough to cut the album some slack. Watkins should stick to doing what he's doing here, because it's obvious he has talent, and will only get better with experience (Not that he isn't good right now, but, you know what I'm saying). And that's the credit I believe he's due. - Shane

Thursday, September 12, 2013

Blitz Review: Hellbear - Hellbear E.P.

Hellbear is like the gumbo of the metal world. To say they're thrash would be a lie, and to say they're black metal would be a lie to. They're a bit of both, but with equal doses of speed metal and power metal thrown in for good measure. In other words, you toss all your metal in a pot with some veggies and potatoes and, baby, you got a brutal stew going. At least that's the impression I get on this EP.

It only has 5 tracks, but doesn't need more than that to leave a lasting impression. "Shadowlands", with its relentless drum beat and trudging guitar riffs, comes across as slightly more hardcore than metal, but, again, these guys are a grab bag of metal genres, so things are going to sound different every song. "No Race, No Rome" retains a black metal undercurrent throughout the song, but still stays quick enough to not succumb to the morbid feelings you get from listening to that genre (Not that I don't mind a morbid feeling or two, but I like a metal song that doesn't make me feel like I'm in some gothic cathedral somewhere). This feels a bit hardcore as well, but I feel it may be because of the singing style more so than the music.

"In Sand We Sit" initially had me singing "The Ace Of Spades", but it's just because of the initial guitar riff and not because these guys are big Motorhead fans (Maybe they are, who knows, I try not to judge). It's thrashy and a bit death metaly, and comes across as the most complete track on the EP despite its maybe-unintentional association with speed metal legends. "Iron Made In China" is loud and slightly chaotic, but suffers from a head scratching beat that sometimes takes a bizarre turn for the worse. It's not a bad song by any means, but it doesn't feel like the rest of the song on the EP, substituting the fast-paced fun for instrumental masturbation.

The one hiccup aside, Hellbear really delivers on their EP here. Even the album art delivers, which is what made me listen to them in the first place. I hope they continue to blend the styles together as seamlessly as they do here, because if they do, they're one hell of band to keep an eye on. - Shane

Wednesday, September 11, 2013

Blitz Review: Del Paxton - Worst. Summer. Ever.

This summer was a buzzkill. It was either so hot that your head would explode worse than an attack from those psychics in Scanners (Just type in "Scanners Head Explosion" on youtube) or the crowds were so unbearably huge anywhere you went that eventually you threw your hands up in the air in disgust. So maybe Del Paxtons EP title, Worst. Summer. Ever, added to it's enjoyment because I too thought the summer was the worst ever (Maybe they're being ironic and these guys were having amazing soirees every night). But really the only reason I enjoyed this EP was because these guys sound great.

They instantly come across as pop-punk, but with a late 90's alternative flair. "October" defines their sound better than the other songs because, if it wasn't for the vocals, you'd swear you were listening to something from 1998. It has hints of pop punk in it, and the vocals are reminiscent of that genre, but the music never opts to leave the sweet confines of it's safe alternative home. "Two Planes Away", while being slightly more subdued, still touts these same tropes. The vocals have harmonies to them, and the guitar parts cross into the punk realm occasionally, but nothing tries to blow people away suddenly with a fast drum beat. You can tell they kind of want to, but manage to keep their desires at bay.

"Surfs Up" and "Motion Sick" are pop-punk through and through, but they still don't try to be too aggressive for their own good. They're well crafted songs that show how much love these guys put into their music. Even if this type of music isn't your cup of tea, you can't help but marvel at the work they've done here, because 90% of the bands you probably like out there are incompetent fools who do nothing more than make beats on a computer and and call themselves a 'band' (It looks like it'll be a continuing trend for me to insult every electronic-based band on the planet in every review). 

Worst. Summer. Ever. is a great little EP that doesn't ask much from you, if anything. Musically, it may not be for everyone, but I dare you to find one fault with it. It's not everyday you come across something so simple yet gratifying. Maybe if this had actually come out earlier in the summer, if wouldn't have sucked so much for me - Shane

Tuesday, September 10, 2013

Review: The Broonies - In Love Again

I feel like Indiana Jones when I look for music. No, no large boulders are going to chase me out of some temple, and I doubt a guys going to try and rip my heart out, but there's an unmistakable sense of adventure as you seek the dungeons and catacombs of the internet for new bands to listen to. Sometimes you find something so secretive and entrenched in its own microcosm that you feel like you've won the god damn musical lottery. In Love Again, by The Broonies, is one such album.

Hailing from San Francisco, The Broonies are the text book definition of low-fi garage punk. Bad levels and barely recognizable vocals are very present throughout, and yet it works for what they probably are: A hometown band who plays basement and living room shows for other local bands and friends. When exploring the bands story, I found almost nothing aside from some random youtube videos, which lead me to this very conclusion. Not every band needs to tour the country and make a ton of merch to be appreciated. All you need is find them online.

"Kidnapper Van" and "I Ain't Mad At Ya, Honey" are the quintessential songs that define who these guys are, in a nut-shell. Quick, with tinny guitar riffs that are probably only played with 2 chords, they ooze a sense of fun that reinforces the idea they're not doing this for anyone but themselves. They probably enjoy playing in front of fans and friends, but when the production value is so minimalist, it scatters any idea that they want to become famous. At least not nationally.

They go a little surf-rock occasionally, with tracks like "10 Speed" and "Workin' Hard". They're a nice deviation from the rest of the garage rock songs on the album, but only "Workin' Hard", for lack of a better phrase, really works here. It's clear these guys are more into their up tempo punk-like stuff, but at least they try to vary their sound. It's something they can work on in the future, if these are even still together in the first place. 

"Deli Girl" and "Villain" round out the album with a little more aggression to them, shifting themselves into the punk direction permanently. None of the tracks on the album opt for any fancy notions about what they are, staying rooted in a sense of humility. A lot of people feel the need to overdo what they do because they feel they're simple in the first place, but whether it derives from laziness, or a genuine understanding of music, The Broonies show a great capability of making entertaining music here.

In Love Again retains a fun vibe throughout most the album, and while there are some bumps along the way, nothing shakes the enjoyable foundation built early on in the album. It'd be nice if these guys did more shows, or ventured out of their comfortable California confines (Maybe they have, maybe this is a re-release and they're touring the countryside right now.....but I doubt it), but there's a merit to staying hometown heroes. It makes an album like this stronger and forces you to see, if you're in their area, if they're playing a show. It might take you some time to discover them, but it's worth the adventure. - Shane

Saturday, September 7, 2013

Review: Sea Stars - The Unknown

Our generation is loud, crass and often out of control. I'm into those qualities sometimes, but it will usually become too much to handle. We live in a time where everything has to install instant gratification, and nothing can take its time to get to you. Be here now, buy this now, hell, even the music people make today feels like they have no time to really put care into it. It's sad, because there is plenty of stuff out there that is the polar opposite of this truth we've come to accept everyday. Not everything has to have dub-step beats and a million pieces of electronics to make us happy. This is something, I believe, Sea Stars knows very well.

Atmospheric, and rooted in a basic, but not simplistic version of indie-rock, Sea Stars are the kind of band you grab a cup of tea and chill out to. It never goes out of its way to impress, but doesn't have to because the power is in the mood it creates, not the beat its creating. It has a folk vibe to it, however it doesn't succumb to the generic tropes one needs to be considered so. 

"Bittersweet" and "The Devil & The Man" have a country vibe to them, but they both stay rooted enough not to wander into Garth Brooks territory (I know nothing of modern country, can't you tell?). They're fine deviations, if not altogether remarkable additions to the rest of the album because they almost don't blend in with the feel of the remainder of the album. But "Colors Of The Sun", which has a slight psycobilly touch to it along with the country notes, sticks out because of its structure and toe-tapping catchy-ness. Not trying to say they're not capable of some stellar, catchy riffs once in a while, but when a band opts for atmosphere instead of focusing on the genre, the music can often feel a little bland.

It also has to be mentioned that these guys must be influenced by The Swell Season, because if not, "Sweet Mourning" and "Long After" could pass off as knock offs to most people who wouldn't know better. That's a compliment, trust me, because even if they don't listen to The Swell Season, the mere fact they sound like them is a testament to their songwriting skills. They're both indie, but folk-oriented, and with a pop tweak to them that makes it pretty accessible to just about anyone. It's good because everyone kind of needs something to chill them out in this hostile world, and songs like these two deliver that vibe in spades.

Sea Stars have done a pretty nice job here on their debut album. They feel more mature and polished than a band making their first record, and, while not perfect, its strenghts far outweigh the few weaknesses it has. It's nice to have bands like this still being formed in our time, because if we didn't, we all might be a little bit too stressed out for out own good. - Shane

Wednesday, September 4, 2013

Review: Shark Valley Sisters - Prince And The Punk

Some people will tell you if you love what you do, you'll never work a day in your life. Well, no, actually you do have to work, and very hard too, at what you love or else what's the fucking point in trying in the first place? The whole idea behind loving something is your dedication to it, knowing you'll do just about anything to ensure it's continued growth with you. Rob Elba and Fausto Figueredo, who make up Shark Valley Sisters, must feel this exact passion and dedication behind making music, and it's quite evident on Prince And The Punk.

These guys, though not together till now, have been playing music since the late 1990's. That doesn't make them spring chickens, but what it gives them is the experience to know how to tweak a sound just right, and have the experience to craft a great sound. Mixing alternative riffs with garage rock beats and the occasional punk rock melody, Shark Valley Sisters are clearly products of their generation, but that really adds another level to their music. It doesn't angle for a nostalgic value, but gets it anyways, and that's a credit to their desire to hold onto a simpler form of music making instead of succumbing to the wave of nonsense we've got going on today.

"Maggots" and "Song 9", though short, deliver very catchy alternative riffs that, as mentioned, have a bit of a punk rock vibe to them, but don't succumb to it's overall attitude. Being a 2 piece, these guys also make the songs simple, which is also a breath of fresh air in an age where a one man band will have 400 pieces of electronic equipment on stage at any given time. I feel like Avril Lavigne had a point when she asked us: 'Why'd you have to go and make things so complicated?'. Why did we indeed. The digital age has made us a very lazy generation, but it's nice to see bands like S.V.S kicking it old school and reminding us it can still be done right.

Avril Lavigne references aside (I actually referenced her in my blog....upsetting), these guys stay relatively true to themselves and their audience, occasionally sounding a little bit like a grunge band, but not circa 1991 Seattle. "Hum" and "The Evil And The Stupid" don't sound like Mudhoney or anything, but they've got a chord progression to them that was unmistakable. It adds to the overall 'flavor' of them album, because these guys must have some amazing and varied inspirations, because its very clear they just love music. Keeping with one sound is hard enough, but managing to blend all those retro (Wait.....are the 90's now officially retro? Shit, I'm getting old) sounds together and have them come out whenever they see fit is amazing.

Prince And The Punk is a terrific listen, and the knowledge these guys have of alternative-styled music has really payed off for them. There isn't anything to warn you about, because musically, they know what they're doing. Some people might not be into the vocals (I call it 'David Byrne Style' vocals, where it sounds more like talking than singing), but I personally love it, and feel it adds to the overall product of the album. Maybe we should all work as hard as these guys do, because, if we did, maybe we'd love what we did as much as they do. - Shane

Monday, September 2, 2013

Review: The Alcove - Never Looking Back

Whenever you visit a friend at his home, about the only thing you ask of him is to make you feel comfortable, at ease. Not so hard, right? Unless he's insane and treats his guests like Leatherface would, you're probably safe to assume such things. Same goes for music. You're not literally in someones home when you listen to an album, but it's similar in that you have the right to want to feel at peace while listening to it. Never Looking Back, a new album by The Alcove, tried hard to deliver this.

Genre wise, they're relatively generic, mixing a basic indie-rock vibe with an old school pop mentality. If you use the word 'pop' today, most people think of those abominations One Direction, but it's really meant to describe a jangly vibe. This might also be one of the first bands I've reviewed that also seem like they're genuinely happy people, which, don't worry, doesn't totally count against them. It's unmistakable how upbeat they are, and it shows in the music. Maybe they're all grumpy people who would rather see my head on a spike, but I'll give them the benefit of the doubt. 

"Travelling On" and "Are You Cold?" stand out as their most complete pieces, emphasizing a desire to turn those frowns upside down (Did I really just write that? Shit.). Again, they come off as chipper, but at least they didn't like it block their song-writing abilities, which they have in spades. "Travelling On" sounds like a ska-band hijacked by Belle And Sebastian, with an uptick to the guitar that feels more at home played by a dude with a checkered belt. It's not all the prevalent in the song, but it still had me questioning it's usage, more so because it felt like they were winging it instead of playing a part they'd prepared. But with "Are You Cold?", the uptick works better, and feels more attached to the song it's accompanying. This is really a minor detail, as both these songs are solid, it's just worth mentioning the momentary displaced feeling I had.

While they do have a 'sound', they tweak it just enough throughout the EP to not make it grating. "Summer Haze" feels like the illegitimate child between reggae and dream-pop, a little bit Marley, a little bit Soundlab. An interesting mash up of genres to be sure, but it didn't quite work for me on this one (It's the first time I've heard the mash up too, so, not a good start). While "Lisbon" closes out the EP with a solid track, theother 2 tracks on the EP, "Cheers" and "Growing Pains" never amount to much, succumbing to their weak song structures and style choices.

Maybe the title of their EP was telling me something as I listened to it. I actually can't be too harsh on it, since I liked half the songs on it, which is a lot more than some albums I still claim to 'like' have. But there is an undeniable spirit to the music that is missing here, an awkward feeling I couldn't seem to shake. Once they stick with a voice to their music and pursue it better, they've got the chance to be a very decent pop group, but for now, I feel like I've intruded into a house I was invited to in the first place. - Shane