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Issue date: 4/3/08 Section: Out & About
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PRESIDENTS OF THE UNITED STATES OF AMERICA
These Are The Good Times PeoplePresidents of the United States of America are back in office after a confusing period of hiatus and creative rest. Clutter aside, PUSA is a collective that's known for coveting its own corner of post-grunge kitsch. However, in the time of the band's absence, which presents a challenge of staying relevant, now that bands such as They Might Be Giants joke around for a kiddie-directed crowd, Ween wails for stoners with a rock-solid sense of humor and Fountains of Wayne wax emotional with waves of classic pop rock. Where does this presumably leave Presidents now?
The answer is exactly where the band left us - bridging the gap between all of the above. Perhaps PUSA was postmodern before we even knew such a term was significant. Although it's hard to draw the line between serious and silly nowadays, its latest album is an amalgamation of all goofy geek-rock genre colleagues with the funny flair of lead singer/songwriter Chris Ballew's crazy brain. From the Green Day-generic pop-punk churns on opener "Mixed Up S.O.B." to the acoustic downplayed dreaminess of "Loose Balloon," these presidents are riding to town on a one-trick power-pop pony, albeit a pet that's reliable and enjoyable.
Verdict: Generic good times, people - but for the trio and fans, that's probably just fine.
- Sami Promisloff
COUNTING CROWS
Saturday Nights & Sunday MorningsThe folk-rock group's first offering since 2002, "Saturday Nights & Sunday Mornings," reveals the Counting Crows' inner Jekyll and Hyde: the first half is fast-paced and energetic, while the second is much slower and softer.
The new album shows a band at a comfortable stride - it's the music of a band aware that its peak has long past but isn't afraid to continue flexing creative muscles.
Each track is densely layered with acoustic and electric guitars, tasteful piano and organ, and even harmonica, mandolin and banjo.
The Counting Crows' instrumental prowess shines on powerful songs such as "Washington Square," "You Can't Count on Me" and "Le Ballet d'Or." Plus the lead guitar work that pervades the first half, showcased in "Hanging Tree," "1492" and "Cowboys" adds an invigorating texture to the band's dynamic seldom before seen in its repertoire.
The only real complaint is singer Adam Duritz's self-deprecating image. Fifteen years ago his heart-on-sleeve attitude recalled a younger Van Morrison. But now his verbose and overly emotional lyrics are just as often unconvincing ("1492" finds him bemoaning the fact that every girl wants to sleep with him - talk about a rough life) and hinder the accomplished music.
VERDICT: A focused display of two distinct, yet complementary sides to the Crows' music.
- John Barrett
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