Post by CrettinsPuddle on Mar 31, 2005 7:31:09 GMT -5
dont know if you guys have ever seen this or read it but i found it on some site called Aversion i think. I honestly couldn't believe the dribble that the reviewer wrote and then submitted....read for yourselves...
As a byproduct of the emo boom, there’s a renewed respect for pop in the youngest generation of rockers. While that doesn’t necessarily mean that the latest junior class is going to run out and start digging through the Parasol and Kindercore back catalogs, it does mean there’s going to be a few subtle differences in the latest crop of underground rockers.
Take Inspection 12, for instance. Two years ago this band of young nippers would have been straight-up sloppy pop punk, sporting an attitude you wouldn’t believe and generally walking in Blink’s footsteps. Now, the band’s just one of the many hyperactive power-pop units out there. Is this an improvement? The jury’s still out.
Although the self-effaced sloppiness and Jersey-kid lipping off have been left behind with the ’90s, Inspection 12 is still hell-bent on taking its guitars to 10 and its rhythms into overdrive, with a sound that about as close to punk rock as it can get without adopting any of its attitude. From the bursting guitars that take their cues from the likes of Lagwagon or The Ataris even though they’re coated with as much pop polish as they can be ("Sweet Sixteen") to la-la-la sing-along vocal tracks ("Great Scott"), Inspection 12 puts its aims on power-pop theory. Unfortunately, it’s need for speed, the more annoying carryovers from the pop-punk renaissance (whiny vocals and toneless guitars) as well as its obvious love for really, really bad hair metal – there’s more really, really god-awful guitar solos on this record than we’ve seen in years, some even introduced with Vince Neil’s shout of "guitar!" – make In Recovery a bit too far removed sonically from pop, even though that’s where the band’s heart lies.
Given its punk leanings, the band’s pop content never gets a chance to blossom. Luckily, there’s a few benefits to that, especially considering the Wal-Mart token emo references it makes in its lyrics. From the banal inclusion of a long-distance love song ("Photograph") or smoking the title of "Red Letter Day" from The Get Up Kids – for Christ’s sake, the Kids have an EP named for the song – there’s a little bit too much grab-and-snatch from emo without ever getting anything worthwhile out of the style.
Pop-punk punters may be becoming a thing of the past as the genre buckles down and thins out its weaker acts, but that doesn’t mean we’re through with crummy bands – Inspection 12 gaurantees that.
- Matt Schild
As a byproduct of the emo boom, there’s a renewed respect for pop in the youngest generation of rockers. While that doesn’t necessarily mean that the latest junior class is going to run out and start digging through the Parasol and Kindercore back catalogs, it does mean there’s going to be a few subtle differences in the latest crop of underground rockers.
Take Inspection 12, for instance. Two years ago this band of young nippers would have been straight-up sloppy pop punk, sporting an attitude you wouldn’t believe and generally walking in Blink’s footsteps. Now, the band’s just one of the many hyperactive power-pop units out there. Is this an improvement? The jury’s still out.
Although the self-effaced sloppiness and Jersey-kid lipping off have been left behind with the ’90s, Inspection 12 is still hell-bent on taking its guitars to 10 and its rhythms into overdrive, with a sound that about as close to punk rock as it can get without adopting any of its attitude. From the bursting guitars that take their cues from the likes of Lagwagon or The Ataris even though they’re coated with as much pop polish as they can be ("Sweet Sixteen") to la-la-la sing-along vocal tracks ("Great Scott"), Inspection 12 puts its aims on power-pop theory. Unfortunately, it’s need for speed, the more annoying carryovers from the pop-punk renaissance (whiny vocals and toneless guitars) as well as its obvious love for really, really bad hair metal – there’s more really, really god-awful guitar solos on this record than we’ve seen in years, some even introduced with Vince Neil’s shout of "guitar!" – make In Recovery a bit too far removed sonically from pop, even though that’s where the band’s heart lies.
Given its punk leanings, the band’s pop content never gets a chance to blossom. Luckily, there’s a few benefits to that, especially considering the Wal-Mart token emo references it makes in its lyrics. From the banal inclusion of a long-distance love song ("Photograph") or smoking the title of "Red Letter Day" from The Get Up Kids – for Christ’s sake, the Kids have an EP named for the song – there’s a little bit too much grab-and-snatch from emo without ever getting anything worthwhile out of the style.
Pop-punk punters may be becoming a thing of the past as the genre buckles down and thins out its weaker acts, but that doesn’t mean we’re through with crummy bands – Inspection 12 gaurantees that.
- Matt Schild
But that his opinion (I for one disagree)