My personal belief is that no good pop-punk bands have formed since 1999 (the last being Starting Line and Brand New). What has counted today as pop punk is mostly bands that have no punk influences, but are playing power-pop except a little faster and with more drive. And of all things un-punk, not having roots is the most un-punkest. You can call me a purist, but compared to the guy that says the last good pop punk album was Milo Goes to College, I'm still using a watered down definition.
Nowadays it's too much to ask of a straight pop-punk album. Even cult classics like The Lawrence Arms, MxPx, and Alkaline Trio have pulled many outside influences and changed their sound a bit.
After saying all that, you might expect me to say, "Crash Romeo is the real punk deal," or something, but yeah, I ain't saying it. The band is primarily a pop-punk act with a much more melodic range of sound, including a synthesizer that doesn't sound too cheesy, a vocalist that could have a soprano-off with Claudio Sanchez, and a good chance at rivaling Fall Out Boy and Yellowcard in catchiness.
Minutes to Miles is Trustkill's brightest record; everything is written in major, giving off a chipper, bouncy energy. Naturally this wouldn�t be too popular with fans of Trustkill's hardcore bands like Most Precious Blood or Walls of Jericho. However, it may rock for fans of Bedlight for Blue Eyes and Roses are Red. It is a straightforward, power chord jam session complemented by synthesizer lines that sound like a better version of Hellogoodbye. A waaaay better version.
One of the album's best traits is the sporadic cleverness. Just before you get bored of the standard four-chord progression, they'll spin it around. One of the lyrics reads: "I will draw a map, straight to your ass, so you can finally get your head back," which may not be the deepest thing ever but at least I grinned.
Another great part of Crash Romeo's style is the constant energy. They take a few breathers, just a little soft part for several seconds in the song, and jump right back into the ring. We are spared the lackluster ballads that pop-"punk" acts like Something Corporate or Matchbook Romance might deliver. Even the last track keeps an upbeat tempo and feel despite its acoustic flavoring.
Pop-punk, as a locomotive force of energy, may resurface in the hands of Crash Romeo to combat the more "emo," super-pop acts that have gone by the same genre name. Anyone who likes their music fast, bright, and interesting should give this album a listen.
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C.L. '06 |
