Moneen Is:
Kenny Bridges - Lead Vocals, Guitar, Piano
Chris "Hippy" Hughes - Backing Vocals, Guitar
Erik Hughes - Backing Vocals, Bass
Peter Krpan - Drums
The CD
When most people think of “pop punk”, their first though will be three-chord-style progressions, whiny and obnoxious vocals, and songs about breaking up and faux-rebellion. It’s interesting how the definition of “emo music” has now taking over our understanding of the pop-punk genre, and how any band that is in any way poppy is now considered total crap.
Upon first inspection, Moneen may seem like no more than a standard pop punk/emo band: obnoxiously long song titles, whiny vocals, and songs about depression and other emotions. However, as soon as you pop in
The Red Tree, it’s hard not to realize that Moneen are not your typical pop punk band. Moneen accomplish a rare feat; conforming to a fairly bland genre, but at the same revolutionizing it.
The Band
The musicianship on The Red Tree is solid throughout, and each member plays their own important role in the dynamics of their sound. Guitar players Kenny Bridges and Chris “Hippy” Hughes may not be technical demons, but they have a brilliant sense of melody, and go beyond the simple three-chord style of pop-punk. The two get together and write amazing riffs and melodies, which push the band past any pre-conceived notions you may have of pop-punk.
Bleed And Blister is one of the finest examples of the band’s musicianship, and combines unique chord progressions with several incredible riffs that transform one of the album’s heavier songs into a unique and enjoyable experience. Guitar-wise, there isn’t a weak moment or song on the album (though they don’t actually appear on the closing suite,
The Song I Swore Never To Sing.)
Erik Hughes does a surprisingly well job on bass guitar, and manages to distinguish himself from other pop-punk bassists, who simply follow the main guitar riffs. He offers plenty of solid bass fills on almost all songs on the album, including standout performances on
Don’t Ever Tell Locke What He Can’t Do and
The Politics Of Living And Shame In Dying. Drummer Peter Krpan is also strong throughout the album, and while he doesn’t stand out as much as the other members, he provides strong and varied beats for all the songs on the Red Tree.
Vocalist Kenny Bridges may be a point of argument for dislikers of Moneen. He has a particularily unique voice, but it’s not always used perfectly. In softer songs such as
This Is All Bigger Than Me, he steals the show, and is the highlight of the song. Yet in songs such as
The East Has Stolen What The West May Want, his voice makes the song feel overcrowded, and uncomfortable to listen to. However, the good almost always outweighs the bad, and overall he is another one of the reasons the band is so unique.
The Tracks
The album has two major song styles: catchy pop-punk anthems, and softer ballads (along with a few tracks that deviate from either group).The album’s first song,
Don’t Tell Locke What He Can’t Do, falls under the former banner. It starts with fast-tempo drums and a guitar riff that builds up the energy to the emergence of Kenny’s vocals. While the vocals start off slightly weak, they improve immensely as the song progresses. The chorus is the highlight of the song, with the uplifting cry of “Yes I Can!” setting the standard for the rest of the album. In the hands of a lesser band, the song would be a nearly laughable experience. As it is, it’s a powerful anthem.
The album’s first single,
If Tragedy’s Appealing, Then Disaster’s An Addiction falls under the same banner as the last song. While fairly simple in style and sound, the song stays faithful to the roots Moneen planted with their previous releases. It’s incredibly catchy and fun, yet still remains musically proficient and sharp, much like the rest of the album. A good song choice to get some new Moneen fans, yet keep the old and faithful sated.
Bleed And Blister (version 3) is probably the musical highlight of the album. While the original versions were slightly more poppy and simple, the new version is far heavier and technically proficient. Musically, every member of the band shines on the song. The guitar riffs are fantastic, the bass fills provide excellent backing, and the drum lines may be the most innovative on the album. Kenny also does a good job on the vocals, though possibly not as good on the chorus. As a variant to the standard pop-punk of the album, it serves not only as a nice refresher, but as one of the most solid examples of Moneen’s musicianship.
If Bleed And Blister was the musical highlight of the album,
The Day No One Needed To Know may well be the emotional highlight. The six minute epic of a pop punk ballad may be the best overall track on the album. Kenny’s vocals are flawless throughout the song, and he is really given the opportunity to show his great range. The first three and a half minutes themselves could make a great song. But what really makes the song incredible is the softly sung interlude. The acoustic guitars and ambience mix perfectly with Kenny’s softer tone. The backing vocals also lend themselves beautifully to the song. The sudden explosion back to the final chorus works as a stunning transition between the two sections of the song. The final chorus itself is a perfect emotional climax, and the song almost climaxes the album four songs in. Definitely one of the, if not the, best track on the album.
After the previous song, you might be led to believe that the rest of the album could never live up to the song. And while no other song beats The Day… the rest of the album is no less solid.
This Is All Bigger Than Me is a beautiful acoustic ballad, and sets a nice, light pace for itself. Once again, Kenny steals the show, and his vocals here might be the best on the album. The rest of the song is also consistently solid.
The Frightening Reality That We Will All Have To Grow Up And Settle Down One Day picks up the pace a great deal; starting with some great distorted riffing, and continuing throughout the song. Kenny’s vocals, however, aren’t as good as in previous songs. It makes the song sound a bit too rough. And while he does show some great moments during the song, it’s definitely not the band’s best song. It’s not a bad song, just not particularly interesting.
The Politics of Living And Shame Of Dying is a difficult song to review. The guitar work on the song is fairly average overall. However, that directs all attention to the superior bass fills. Erik gives the song a laid back, almost western feel to it. Besides that, the song is fairly average.
The East Has Stolen What The West May Want also starts with an underlying western sound to it. However, this is soon abandoned for heavier power chords and a chant-able chorus. Despite the changes the song goes through, it’s actually probably the closest the album comes to filler material. The guitar is slightly bland, and the song just doesn’t stand out when compared to the other song on the album.
Seasons Fade… Fevers Rage… It’s A Slow Decay is the one song where Hippy is the main vocalist. His voice and tone is even more unique than Kenny’s, and all though he’s clearly not as strong overall as Kenny, he certainly brings a new element to the song. Every I listen to this song, it gets better and better. The simple Hippy’s vocals both clash and compliment the song works perfectly. Though it’s certainly not the best example of the band’s overall sound, it’s definitely a satisfying listen.
The album now begins to wrap up, going for a softer and more melodious feel.
There Are A Million Reason For Why This May Not Work… And Just One Good One For Why It Will is probably the most emotional song since The Day… The song starts with some quiet synth guitars, and soft singing from Kenny. While the lyrics may seem overtly cliché, you can’t blame Moneen for their honesty. Unlike most pop punk bands who sing about getting dumped, you can tell that Moneen’s lyrics come from the heart, and are not just a cheap marketing gimmick. The song itself is beautiful, taking full advantage of synth loops and strings, to create another standout track on the album.
Finally, we are left with the album closer,
The Song I Swore To Never Sing. This is not a typical song. There is no guitar, no bass, and no drums. It’s just Kenny, providing vocals, piano, strings, and plenty of interesting, tinkling sound effects. And it’s possibly the most beautiful song on the whole album. There are no words to describe this song’s beauty. This is a near flawless ballad. My only regret is that it doesn’t last longer, because it’s an emotional rollercoaster, and a good one at that. I can’t think of a better way to end the CD.
Final Summation
The Red Tree is a surprisingly mature pop punk masterpiece from a group of Canada’s most talented pop artists. In the hands of a worse pop-punk band, The Red Tree would be a one-dimensional emo nightmare. As it stands, The Red Tree may be the definitive pop-punk album of 2006. I would recommend this album to anyone, even if pop-punk isn’t their thing. Yep, it’s that good.
Pros:
- Great instrumentation throughout
- Personal and heartfelt lyrics
- Each band member demonstrates incredible musicianship
Cons:
- Kenny’s voice may annoy some
- Epic song titles may be considered needless emo pretension
Recommended Tracks (In Order Of Preference):
- The Day No One Needed To Know
- Bleed And Blister
- The Song I Swore Never To Sing
- Don’t Ever Tell Locke What He Can’t Do
- There Are A Million Reasons...
Overall Album Rating: 4.5/5
