If a record is described as ’emotronic’ it’s probably worth hating, right? That one [faux] word lends itself to such a barrage of horrible connotations that subjecting your ears to it would pretty much be akin to running naked through thorn-bushes. Shudder! According to the press release, ‘Sweetchild’ is “pure, unadulterated emotronic”, but, wait for it, it’s not actually terrible. In fact, it’s rather a pleasurable listen. It’s emo in the old sense, and the ‘tronic’ part is not just sickly pop synths. It’s a far more developed and creative sound. That’s a good start.
As far as good starts go, opener the title track does the job. It’s an intriguing number, adding a punk tinge to some electro-rock, whilst raiding the lyrical library of the mega-bands (R.E.M, U2, Nirvana, Coldplay are all ‘borrowed’ from) in some kind of post-referential nod to bands inciting social change. It’s a mixture between one of those oddball ‘cool’ songs (think “United States of Whatever”, “Sunscreen”) and 30 Seconds To Mars. Oh, and singer, Mark Mathis, sounds a little bit like a young Lee Majors (The Fall Guy, for those of you old enough).
The rest of this five track E.P. is much of the same. “Forgot Love” starts out with some blooping jiggery-pokery whilst “17 Is Too Young” comes across like Weezer playing around with keyboards (the line “I got a pack of cigarettes and the best of Guns N’ Roses” sounds like it could have been lifted straight out of “In the Garage”). “Accident” has a relaxing electro ambience that’s only pierced with the danceability of the chorus, and “Outer Limits” comes across like a more intelligent/grown-up version of hellogoodbye. A much more grown-up version!
Lyrically, Public Radio wants you to know that the music industry is full of soulless entities ruining the whole damn thing (really?). MTV and Pop/American Idol take a slaying, albeit subversively so. People singing about love who don’t know it (I’m guessing we’re looking at teen popstars here) take a verbal tongue-lashing also. It’s decent enough stuff, if not absolutely groundbreaking. Without a doubt, though, every lyric benefits from Mathis’ vocal, which is particularly strong and tends to cover up most of those moments that are musically weaker or repetitive.
Make no qualms, this is not the album that’s going to bowl over the masses or appeal to the hardcore punk loving scene. It’s a niche record. Essentially, ‘Sweetchild’ is the sort of record that you expect to hate but end up quietly surprised by. It’s future lies in being one of those albums you dust off once in a while for the odd listen or two. Impressive enough, but not all that vital.
Alex