There’s a reason why there seems to be a generation of kids “Born in the wrong generation.” Turn on any Rock station and if it’s not Dad Rock it’s the exact same band you’ve heard a million times. That Nickelback pseudo grunge sound. Where every guitar sounds like pristine sludge, and every vocal sounds like a guy taking a shit.
Rock music used to be the experimental genre. It was the genre that kept pushing boundaries, going to new strange places that you’d never imagine music would go. Yet here we are stuck between, “I couldn’t make it as a poor man” and “There goes my hero.” Ad nauseum until either we, or the radio industry dies.
Yet there’s still hope. Rock music, as Neil Young sang, “Can never die.” Even though it’s stagnating, there are still bands out there pushing boundaries, trying new things, and approaching music with modern sensibilities. And this, ladies and gentleman, is where I introduce The New Pollution.
So to begin with, let’s rewind to the best period of rock music, the 60’s. Every Rock band you look up to in the 70’s, 80’s, 90’s etc. All revere the 60’s and there’s a good reason why. It was a period of unprecedented experimentation. A period where the torch was passed from the experimental avant-garde composers of the 50’s to the up and coming rockers of the 60’s. Where tape loops, layered instruments, distorted vocals, genre bending, etc. were the norm.
Yet something happened, and that period of unprecedented growth soon stagnated. As each decade went on rock music became more and more confined. And who better to explain how this happened than Frank Zappa?
This extends to even the micro-level of music blogs, underground music, producers, etc. Where people are afraid to step outside their own little box, because they don’t want to upset the “taste makers” in who actuality know as much as you or I do about music.
So imagine my surprise listening to this band, a band who is completely unafraid to experiment. The first track Pushing Back is an incredible start to an amazing album. To begin with track opens up with this wild buzz saw of a guitar. The kind wild and crazy sound that you would imagine some band in some rough dive bar in the middle of Arizona playing. From just the tone and how treble-y it is, it immediately distinguishes itself from most of indie rock.
Yet what captivated me was what happened next. Usually with such an in your face aesthetic that the guitar tone provides, a band usually sticks within that narrow sound. If this was any other band, there would be this thick fat bass, distorted guitar, lo-fi vocals, and that’s it. And the rest of the album would all sound like that. Maybe there would be an acoustic guitar here and there. But I don’t have to describe it that much, since you already can hear what I’m talking about, because you’ve heard a thousand times.
So now let’s go to where the song deviates from the norm. You can hear this from the vocals. The vocals are drenched in reverb, and this doesn’t fit that kind of dive bar aesthetic I was describing earlier. Yet it does work extremely well with what follows. And what follows is these synth flourishes, you hear it now and then in the beginning. It adds a little quirkiness but doesn’t really change the song. But slowly and surely everything changes. The dive bar becomes this psychedelic journey as the synths take over, and then it’s at that point everything clicks. The reverbed out vocals fit perfectly and now you understand the song.
It reminds me of really great Jazz. Jazz can be a cacophonous nightmare, if the people don’t know what they’re doing. But when you see a really great Jazz Improv, it blows your mind. Because you will hear the most exotic, fresh, and innovate sounds that you’ve heard. This song like really great Jazz Improv has that since of exploration. The synths are so well musically structured, and are so well paced out. Like in a really great jam session when you just know to show off, or to let someone else show off. The sound just gels together and it wouldn’t surprise me at all if this was all recorded live. It just has that energy.
Next we get to Pushing Back-Chinese Hackers Remix. This track has a tongue and cheek feel to it. Since it’s titled as the last song, except it’s a Chinese Hackers remix, and it almost sounds nothing like Pushing Back. It’s one thing to experiment, yet it’s another to have fun with it. When people usually think of experimental art, they think of these super intelligent people who have these crazy ideas. Who work super hard to perfect that crazy idea into something that resembles art.
It’s another to listen to someone just have fun and experiment. Better yet imagine a band onstage playing Improv Jazz. The audience is super serious, the band is incredibly serious, pompousness swirls around in the air like cheap cigar smoke. It’s all very tedious. Then imagine, say Metallica, after they play one of their sets, and they’re getting their guitars tuned they decide to play the Pokemon theme song, because why not. Immediately there’s a tonal shift. I want to go listen to that Metallica song, and I don’t want to listen to that jazz improv group. Because one is incredibly fun, and the other is incredibly pompous.
So when I compare, don’t compare The New Pollution to Improv Jazz. What I mean is that they are able to have the musical complexity that you would find in really heady music. Yet the same time it’s with a tongue and cheek feel, and every track just feels so fun and energetic.
From the soulful trumpet that wails in the background, the groove bass and percussion that drive the track forward, the weird little synth and guitar flourishes, and distorted and mutated vocals. Everything about this track is just this fun musical journey. It’s the kind of song that just let’s you be free. When a song has this anything goes kind of experimentation, it carries with it an everything goes kind of attitude. Which I could imagine being absolute hit being played life. Because after all, who doesn’t want to get rid of false pretensions and just let loose?
Finally we get to Sad Pricks. Which has this Joy Division kind of guitar and bass relationship. Where the bass provides the main melody and the guitar has this more rhythmic kind role. Then the song opens up, with this psychedelic organ. Which is immediately reminiscent of 60’s music. This coupled with the double tracked vocals, provides this great throwback. And what a better throwback to experimentation than invoking the 60’s?
Then the chorus kicks in with this beautiful organ, and great guitar panned to the left. It all is just so fun. Then when the track ends it ends with this out of control guitar solo. That just has so much energy, that you can’t help but listen to this album with a smile on your face. Then of course there’s the added bonus that song is literally titled Sad Pricks. Which again is so tongue and cheek you can’t help but like this.
Yet this review isn’t over yet. Usually when reviewing a band I just plugin their music video at the end, and don’t provide much commentary to it. Yet these guys deserve a shoutout for their music video. If you don’t get the music from the album, the music video will definitely clear things up. It’s so fun, so inventive, and so unpretentious that you cannot but help but enjoy it. Like people always say, “I’ll vote for that guy because he’s someone I can sit down and have a beer with.” These guys just look like they’d be a blast to hangout with. It has that youthful exuberance that you can’t help but appreciate. So I implore you to checkout the music video as well. It’s just as great as the album itself.
So obviously with not only an album review, but a music video plugin. I am going to give these guys my full recc. The album is short and sweet, and it’s got charisma. And let’s be real, if you got charisma and you got great music, well you’re going to go far.