Media Review

Gatsbys American Dream

Gatsbys American Dream (CD)

Fearless
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Overall Rating:

9.0

Music Quality: 9.0

Production: 8.5

Originality: 9.0

To fully appreciate the new Gatsbys American Dream album, you must first look back 2 years. In 2004, Gatsbys American Dream released their EP, “In the Land of Lost Monsters.” Thematically speaking, the new album is much more an extension of this EP then anything of their other works. The obvious parallel of comparing “The Record Business/Industry” to dinosaurs and beasts is a constant through both the EP and the new LP. However, in true Gatsbys style it does not stop there. Gatsbys constructs music that references previous chord progressions/strum patterns/musical conventions. For instance, the song “A Conversation with the Devil,” from the EP is revisited many times. If you listen to the first 40 seconds of the afore mentioned song and the first 30 seconds of, “Shadow of the Colossus,” you will notice a similar descending vocal delivery by lead vocalist Nic Newsham. The next part of, “Conversation with the Devil,” is referenced in, “Margaritas and Cock.” These subtle allusions are typical of GAD and what keeps me constantly and intently listening.

To someone who has never heard the music, GAD would seem pretentious and fake. Concept albums, self-reference, hating the music industry, hailing from Seattle, these are all ideas associated with pretension and insincerity. However, Gatsbys American Dream feels authentic. There is no tangible quality or method to qualify this, but when you listen to the message of the album, the emotion with which it is conveyed, and the overall production/feel you cannot avoid this conclusion. The production of this album is a bit rawer then Volcano, but this was clearly the intent. It fits in with the message of being real and being human. The dehumanization of record labels and executives is a constant motif used to create contrast between music and business. This imagery is achieved in songs like, “Filthy Beasts,” where we are told that,

“Consuming every little thing we get our claws around/I do subscribe to the thought that we are the dinosaurs/With pebbled skin, sharp teeth, a wicker tail and stinking breath/we are to say the least a pack of filthy beasts/All we want is dinner.”

Even though anyone can write these words, the music and emotion that accompanies these words makes it impossible not to believe Gatsbys. You find yourself hating the music industry and empathizing with GAD. Creating this mood and these thoughts is not a simple task and is one of the most admirable aspects of the album

If nothing else this album should let the world know about Gatsbys bassist Kirk Huffman. Kirk’s bass work on the new album is dynamic, bouncy, and vibrant. The bass provides something to stomp your feet with and dance too. Kirk never falls into the trap of just playing the root notes of the accompanying guitar chords. Instead, we are drawn to the lively bass throughout the album. Kirks biggest achievement is creating bass lines that are forceful but not overbearing or tasteless. One other notable contribution by Kirk is his backing vocals, which are almost exclusively in his trademark falsetto. This is most notable on tracks like, “The White Mountains.”

One of the other notable changes to the Gatsby sound is the addition of keyboardist Kyle O’Quinn. The keyboard parts create another layer to an already deep sound. The keyboard does seem a bit forced in at times, but Kyle does a good job of not overshadowing the other instruments. The keyboard is a very welcome addition and keeps the Gatsbys sound new and fresh. There is also a clear emphasis placed on the incorporation of guitarist Bobby Darling’s backing vocals. They provide a good change of pace and contrast throughout the album. As always, Rudy Gajadhar provides some of the best drumming in indie music today.

Gatsbys American Dream’s self-titled album was one of my most anticipated albums of 2006, and it is now one of my favorite albums of 2006. GAD continues to refine their brand of deeply layered prog-pop-punk and this album is the next step in their evolution. Overall the new album is much more bouncy and erratic then previous GAD work. Every song could be analyzed and deconstructed, but at this point I think your best bet is to just listen to the music, instead of listening to me. The album takes an idea and expresses it over 11 original, progressive, and well-written songs. This album is Gatsbys most emotional and thoughtful to date. I highly recommend this record to anyone looking for great, authentic music.

reviewed by Phil Levitsky