Review Summary: Hopefully not "The Grand Finale" just yet.....
Set It Off is an Orchestral Pop Rock band hailing from Tampa, Florida, that have had a busy few years since forming in 2008. The earliest trace of the band can be found in vocalist Cody Carson’s long string of video covers on YouTube, which allowed the band to market to a much larger fan base than most young groups can. Tossing out three eps in as many years, and signing to Equal Vision Records prepared the band for their long awaited debut, and it turned out to be quite a release. 2012’s Cinematics is one of the more original outings related to pop punk/rock and accessible alternative music in the last couple of years. Fusing All Time Low esque pop punk with Panic! At The Disco’s quirky oddness, a bit of My Chemical Romance flair, and orchestral arrangements to build a catchy, accessible, theatrical, and all around effective record that puts Set It Off firmly on the map.
The album kicks with “Thoughts That Breathe”, a short intro filled with nothing but orchestral effects to set the tone for the record. While very short, it does set the tone for the next song. “Nightmare” the first real song of the album, is a high octane rocker that showcases the whole band at their most energetic. Cody Carson, a classically trained singer, has an impressive range, a quirky sense of character, and a serious knack for making a damn good vocal hook. Rarely, even in pop rock, does one come across an album as filled to the brim with hooks that sink straight into the mind quite like Cinematics. “Swan Song”, the lead single of the album has a particularly impressive vocal performance in the back half, and “Plastic Promises” showcases more of the bands orchestral tendencies in full form. “I’ll Sleep When I’m Dead” is a darker affair, with touches of post hardcore to the mix that pushes the lyrics about insomnia to explosive heights. Where the opening tracks were high energy and fast, the next few begin to slow down. “Dream Catcher” in particular is a lovely near power ballad with a sense of unwavering passion and the best vocal performance of the record.
Before you think the album completely slows down, “Freak Show” jumps back in with a shot of adrenaline. The rest of the album flip flops a bit between softer tracks and faster ones without coming off as hastily pasted together. “Dad’s Song” is a deeply emotional and sad track that, while being very good, doesn’t match up to the aforementioned “Dream Catcher”. The final song of the album, aptly titled “The Grand Finale”, is easily the most theatrical. It completes the job of ending the record on a musically massive note.
The band as a whole is very competent in their respective instruments. Of course since this is a genre built on catchiness and accessibility, the instruments are utilized to build a platform for the vocals. They most certainly complete their mission without coming across as stale or repetitive. The guitars are classic chord bashers, with good guitar leads and clean sections to change up things. While the bass is a touch low in the mix, it adds a warm pleasant low end throughout the record. The drummer is simplistic, but very skilled. His beats exude energy, but it’s more an issue of the genre that there isn’t a lot he can do that works. The orchestral arrangements, easily one of the most standout aspects, are very well put together. Several members were classically trained and definitely know their stuff. The orchestrations add flair, a sense of originality, and a general theatricality throughout the album that almost gives the impression of being a concept record without actually being one. Carson’s vocal lines are the driving force of the album, and not once do they disappoint. Little oddities like Joker-like cackling at the end of “I’ll Sleep When I’m Dead” add character to his performance. His lyrics however might be one of the weaker aspects of their sound. The topics range from romance to anxiety to insomnia, none of which are a bad thing, but occasionally his lyrics come off as juvenile, noticeably in “I’d Rather Drown’s” chorus of “Burn the bitch down”. To be fair, for the most part he’s just fine with some nice memorable lines and most songs are well written. In the context of the album however, they feel like the weakest factor.
In conclusion, Set It Off should be poised to take over their respective scene with Cinematics, or even create one all their own. With slots on Warped tour rewarding such efforts, and an impending sophomore release coming soon, the band could be on the lips of today’s young generation. With a debut like this, it’s hard to argue with the notion.
