![]() He and his band have some endgoal in mind, but for the life of me, I can’t put my finger on what. In songs like “Notice Me,” Simmons doesn’t seem to desire being noticed one bit. He contributes to the music’s dim soundscape while never quite navigating it- he’s either an unreliable captain or an overreaching crewman, and this ambiguity is clear enough in his nonchalant delivery. Case in point, it’s exceedingly rare for singer Jon Simmons to carry a melody that’ll really stick. This release is also counterintuitive in that it depends on atmospherics over melody. This album is mid-tempo alternative rock, encased in hazy atmospherics and swirling reverb, and it’s the style of music that struggles to properly pace itself when being propped up by nothing else. But homogeneous records must go out of their way to be emotionally palatable, and by this album’s conclusion, it feels as if the same song and dance has been recreated a few too many times. The Things We Think We’re Missing is a single musical statement, and sure, its uniformity is admirable to a point. rock hybrids into a satisfying blend, and the key is emphasizing their dynamics. The Things We Think We’re Missing wears the influences of its past on its sleeve, but for someone like me who has always been fonder of the future’s promises, this album feels a bit too expired. Even when I did come to an age where they made more sense- grunge being the pissy step-child of alternative rock, for instance- I never found myself too invested in those particular scenes. But the difference is that those styles never particularly appealed to me. Maybe I’m an anomaly for having a homogeneous blur of a childhood- most of my peers probably have fond musical memories as kids, of blasting Nirvana in the car and hearing Smashing Pumpkins on the radio. One of the most interesting talking points about Balance and Composure’s latest album is that it brings the listener to a memorable point of their lives.
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