Friday, June 1st, 2012

Edens Edge – Too Good to Be True

And now, bands whose names sound like teen drama series…


Jonathan Bogart: I love that pedal-steel solo, and Hannah Blaylock has an appealing growl when she wants to. I don’t know why the last three seconds turned into a Queen song.

Edward Okulicz: A mixed bag, but mostly a good one, because the chorus is big, poppy and wise, and the first verse drips with wit and says more in a few lines than many songs manage in four minutes. The second verse lowers the ante, mind you, but I’m liking the sparely-deployed harmonies plenty. And the “that boy’s rubbish” trope is one I’m never going to get tired off, especially when it’s served with as much syrup as this.

Jonathan Bradley: Possessed with that Carrie Underwood spunk: too bad it’s more “Last Name” than “Before He Cheats.” OK, that’s a touch unfair, but after the go-get-’em opening crunch and the cocksure verses, the chorus comes off as rather rote. “Lied like a politician” is a bit pat as well.

Brad Shoup: The song’s too caught up proffering clever similes when the banjo ping and Hannah Blaylock’s effortless cadences ought’ve been the focus. “La la la/like a politician” is the nadir, but they deploy enough tricks at the close (the rest-of-band countermelody, the stuck dismount) to get me excited.

Anthony Easton: I like this revival of country feminism and they are good-to-great on their instruments and they can sing, but there is a distinct lack of oomph.

Alfred Soto: So proficient and amiable that you’d play them at an early afternoon Mother’s Day party. Despite the mandolin solo and harmonies, though, there’s no question they’d persuade anyone to switch to Santana.

Katherine St Asaph: Pretty plucking and plucky lyrics give way too quickly to a rushed chorus, samey dynamics and thematic redundance. Call them the Pistol Annettes. 

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