It’s becoming apparent that Emo rock is the new cash crop for indie labels. The newest installment into the genre is former Rosenbergs lead vocalist David Fagin with his full length For Promotional Use Only.

This is an odd departure for Fagin, who used to sing melodious ‘happy’ songs in the vein of "Hellogoodbye" and other cheery pop bands that dribble over with excitement over the endless possibilities of life. However, David is all grown up now; having done battle with major labels and other musicians over the issue of free downloads of music (he’s for it). Several Congressional hearings and television appearance later, Fagin is making up for lost time with For Promotional Use Only, having paid the price of losing his band for his ‘power to the freeloading fans’ attitude.

The album itself isn’t bad, if you want to hear more music that sounds exactly like Coldplay, Copeland, Lovedrug, Jimmy Eat World, and Death Cab for Cutie. Fagin has compiled all the mechanical parts to fit his new found genre, including dizzying, multi-tracked guitars, heavy synthesizer support, along with a laconic rhythm section to match his dour lyrics. However, the lack of originality here makes For Promotional Use Only somewhat dry. Emo, like so many other forms of rock, allows room for massive creativity, as Fagin’s more seasoned predecessors have demonstrated. The wry wit of Ben Gibbard of DCFC sets the band apart, as does the incredibly wrenching vocals of Aaron Marsh from Copeland.

Fagin only hints at greatness with For Promotional Use Only, preferring to follow in the footsteps of the Emo greats rather than blaze his own trail. It’s a shame, because Fagin’s vocal and lyrical prowess was proven long ago with the early work of The Rosenbergs, in which Fagin gently played with words and chords that gave the band a quirky sensibility not often found with hyper-happy tweenie music. Had Fagin applied his creative instincts to For Promotional Use Only, the album would be much better than it is.

There’s no doubt in my mind that transitioning from one musical form to another is extremely difficult and Fagin deserves credit for working a new territory on For Promotional Use Only. However, Fagin needs more time to rediscover his groove and apply it to the musical form he obviously admires. Without that rediscovery, Fagin’s challenge to the anti-fan practices of the music trade may be his last claim to fame.