Tuesday, March 3rd, 2020

White Reaper – Might Be Right

“Might” doing a lot of heavy lifting here…



[Video]
[6.25]
Jacob Sujin Kuppermann: I just want to say I suggested this be covered on this here Jukebox back in June of 2019. It was a modern rock banger then, it’s a modern rock banger now. It doesn’t lean quite as hard into the carnival-ass intro as I wished it did, but the sheer Thin Lizzy of it all is as comfortably cool as a guitar rock song can be.
[7]

Josh Langhoff: The name “White Reaper” is completely unearned — you go in expecting White Wizzard–meets–Grim Reaper and instead get the Adenoidal Strokes. On the other hand, if their entire shtick is pillaging the triple-A dadrock catalog (in this case John Mayer’s “New Light”) just so they can add bitchin’ twin-guitar leads to everything, I am extremely here for it.
[9]

Ian Mathers: I am mezmerized at how bad a band name that is, both (a) generally (b) for the generic kind of vaguely grungy indie whatever it is that they make. It sounds like the name of a demon-possessed National Front-loving metal band from an old issue of Hellblazer or something.
[3]

Alfred Soto: An impressive bass line and the strength of the solos assuaged my worries about their name — do you really wanna haunt the stage of the festival circuit with “White Reaper” on your bass drum or whatever? Perhaps “Might Be Right” distills the essence of contemporary AAA tracks; I don’t listen much to those stations. For now, though, its anonymous crunch offers minor pleasure.
[7]

Juana Giaimo: This is a fun song, with a catchy melody and lively beat, but I feel it lacks some personality — it could be by any pop-punk band of the beginnings of the ’00s.
[6]

Brad Shoup: Finally, America makes something worthy of CBC Radio 3. This is itchy, haunted pop/rock — I think it’s about enabling a drug habit — where the twin guitars signify a faraway decade just as ably as the reference to “your sister.”
[8]

Michael Hong: “Might Be Right” feels entirely subdued. The guitar and bassline are too controlled, the drums are too stagnant, and the vocals often sound choked back. It’s only when the vocalist amps up the intensity that it sounds like the track is really going anywhere. Instead, coupled with a bridge that’s just a bit of meaningless lyrical repetition, “Might Be Right” sounds like a group phoning it in.
[4]

Oliver Maier: Ghostly organs and warping synths portend a more atmospheric track that never manifests. What arrives instead is some serviceable power pop midway between Elvis Costello and Bowling for Soup. You could do worse.
[6]

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