Yeah, yeah, yeah. Every Kindercore release is essentially
the same band playing the same song. Ok, how can I argue with
truth? Kindercore isn't diverse. But more power to them for
being the best at what they do and not apologizing one damn
bit for it. So, it would also be fair to say that if you've
heard Dressy Bessy, then you already know, for the
most part, what this album sounds like from the first distorted
moan of the guitar to the last jangley chorus. It's garage
pop and it's fun and un-compelling. I want to trash this album
based on all of these factors and I can't, because it's got
too many hooks to deny its appeal.
"I Saw Cinnamon" starts off Dressy Bessy's sophomore
effort. This is easily one of the weaker tracks off of the
album and made me feel averse to listening to the rest of
the album. The formula is there, but something about the track
feels claustrophobic and forced. The melody is jarring and
despite a pretty good chorus, it couldn't save the song. It's
surprising that this was the lead track on an otherwise great
album. "I Saw Cinnamon" still sounds like bubble-gum
pop, but it sounds like it's being played by a band who doesn't
really want to have a "bubble-gum" sound. This may,
in fact, be the case with DB. The better tracks on Sound
Go Round, such as "All These Colors", "Flower
Jargon" and "Carry-On" play out with more emotional
depth and straightforward song writing than what you would
expect from the happy-go-lucky vibe the genre is known for.
That's not to say that Dressy Bessy can't play bubble-gum
pop well. They do it better than almost anyone. Look no further
for proof of this than the third track "There's A Girl".
This shameless foot tapper of a song is definitive of the
appeal of Dressy Bessy. The music is warm enough and solid
enough to take you with it wherever it goes, but its presence
isn't so overpowering as to dominate the atmosphere.
Ultimately, Dressy Bessy has more in common with J-pop
(Japanese pop for the uninitiated) than with the zany bubble-gum
pop of many of their label mates. Yes, happy and bouncing
tunes are the foremost element of DB's sound, but there's
a definite (dare I say it) indie rock vein that runs through
the heart of the music. While the energy isn't as rambunctious
as that of most J-pop acts, it still borrows characteristics
from 70's punk, sock hop tunes from the 50's and the lonely,
sulking sounds of their college rock contemporaries.
With a couple of exceptions, like the inexplicable filler
of "Fare Thee Well", the album flows well, is entertaining
and an easy listen. It's got a good beat and I can dance to
it. I can also smoke to it, drink to it and be ever so slightly
compelled by it. A good half of the songs will happily remain
in your head after the first listen. This album has more hooks
than a pirate convention.
1. I Saw Cinnamon
3. There's A Girl
4. Just Being Me
5. That's Why
6. Oh Mi Amour
8. Maybe Laughter
9. Big To Do
10. All These Colors
11. Flower Jargon
12. Fare Thee Well
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