Review Summary: Whatever it takes to get your foot in the door these days, I guess...
How much does new coming band Pure Soundart
have to prove? Well, within the first thirty seconds of the opening number for their debut album, Bye Bye Beauty
, they’ve sure got a lot of explaining to do. Lead singer Dominique Marcel edges into the track with his own take on Jesse Lacey’s “Hey, hey hey’s”. Still I must say it would be wayyy to easy to pick apart the band for the moments they choose to reflect (ehem, steal) that of their influences, instead of just enjoying the atmosphere the band creates so well. Like still water before a cannon ball the first 1:29 of the album are dull and lifeless. From then on though, it’s an explosion of noise as the band try proving they are certainly louder than their Brand New comparisons and dare I say catchier?
Yes, the band serve some extremely catchy moments, even when they are dealing out lines like, “Life is a test and everybody gets marks” (sound familiar?). Life Is A Crime
lets loose some inherent cries of “Would you be yourself!” that, while seemingly simplistic in its delivery, are able to convey a strong emotional touch when all the pieces come together for its climax. Thankfully the band only take their pop appeal so far; with the break out track A Day of Fire
swooning around its depressing intro before erupting into a Post-Hardcore extravaganza. It’s here the band come into their own sound right around the “Yeah you were right about me” mark that cascades into an impressive outro both instrumentally and vocally.
Still, front man Dominique Marcel is far from original, imitating Jesse Lacey as said earlier at any given moment. While he does provide a sound job behind the mic, it’s disheartening to recognize how much original emotion there is displayed. His performance on the track 71199
would be almost groundbreaking for the genre had Cedric Bixler not done it ten years prior. Lyrically it’s about as interesting as NASCAR where there appears to be lots of flare, but with little knowledge of what’s being said or done, who really cares?
Instrumentally is surely where things are more interesting. The Ghost
, though pleading to be including along with TDAGARIM, introduces the listener to a haunting atmosphere. Cabaret Voltaire
is a five minute prog. endeavor rallying a loud/soft dynamic that’s nothing revolutionary, but simply portrays the promise of the band. Lastly, the most experimental of the bunch Hello Goodbye
includes a beautiful bass drive coupled with its open air feeling provided by the guitars. The drums are just there… Nothing more nothing less really.
With more emphasis on atmosphere the band avoid direct plagiarisms, though they come dangerously close several times (check out the “Honey I love you so much” hook ending The Ghost
). The comparisons will obviously be unavoidable, but they don’t feel like so much of a turn off, but rather a jumping off point for both the band and listener. In hopes the scaffold is dropped in later outings this certainly is a band to pay attention to in the coming decade as they may very well deliver the next Luca
But let me stop there because that type of thinking is probably what got us here in the first place…