Review Summary: On Precious Art, Rozwell Kid settle on a definitive sound - but at what cost?
With first impressions,
Precious Art indicates that the West Virginian power pop group has finally found their comfort zone. There’s a stronger sense of unity across the entirety of the record, where tighter, consistent songwriting rules over the quick and flashy structuring of the band’s previously inherent pop rock sensibilities. It reflects a strong edge of maturity, while still being able to allow leeway for the band’s often silly spurs of self deprecation and the offhanded references to 80s and 90s pop culture. With second impressions, however, it becomes clear that this could be problematic. While
Precious Art is undoubtedly solid, with well crafted and fun songs worthy of repeated listens - there’s an unmistakable sense that Rozwell Kid may have sacrificed their charm in order to achieve this perfected grip on songwriting. What ultimately holds it back lies in how limited it feels as a whole. All the ingredients of a Rozwell Kid release are present: heavy, fuzz-laden and slick guitar leads, humorous lyricism, and that ever so faint limiter on Jordan Hudkins vocals that sounds so satisfying - but there is never a moment on the record that feels absolutely exciting. At best, it’s the occasional head nod and maybe a toe tap that encapsulates the
Precious Art listening experience.
When looking back to 2014’s
Too Shabby, for example, the difference between the two in terms of depth and entertainment becomes painstakingly apparent.
Too Shabby was fully loaded with its hooks, offering a strong variety of catchy pop choruses that stood out as unique and well written.
Precious Art, on the other hand, is stuck between offering mid-tempo jam fests or subdued, atmosphere-centric guitar ballads and nothing more beyond two pointless interludes. While
Too Shabby carried an interesting concept in exploring the mundanity and boredom of crippling depression,
Precious Art offers no discernable concept beyond being a 12 track collection of fun songs. That isn’t to say that the record is at fault for not being
Too Shabby 2.0, but it does show that there may not be a lot of interest for an album with “well composed power pop” being its only draw. If you came looking for simple, fun pop music then you won’t be any the bit disappointed with this offering. However, if you’re here for another interesting take at the genre, you’re better off sticking with the back catalogue.
