Music Review: Scuba - Page 2

The big trick with playing noisy pop-inflected rock is to have it not all sound the same. I've heard literally dozens of boring bands who play boring music that sounds great for three point five minutes until they start their next song and you realize that one song is really all they have. Luckily, Scuba duck the "samey" tag with aplomb by using studio and songwriting tricks to good effect, sometimes washing the sound-field with enormous distortion, other times pulling back to a tunneling bassline and a few chimed guitar notes, sometimes compressing everything into angular chords and a great melody.

Scuba manage to duck the other great pitfall of modern power-pop as well, which is the "softLOUDsoft" formula that The Pixies invented and Nirvana made famous. Instead, in the great tradition of their shoegazer forebears, Scuba manage the flow of each song beautifully, creating new textures and moods through smart production and layering of sounds, rather than the crass expedient of stomping the distortion pedal and blasting out the windows every time the chorus comes around.

Highlights include the album opener "You Break My Heart in 1000 Different Ways," the echoey suspended overdrive of "Freight," the gorgeous Joy-Division wail of "Maybe It's Different With Johnny" and the gigantic suspended-chord riff of "Into The Water, Down To The Bottom." In a just world, or a different time, any one of these songs should be, or should have been, a monster underground hit, part of the lingua franca of cool youth to be passed down by word of mouth.

Simply put, Scuba have made a well-written and beautifully produced debut record that references a decidedly unfashionable genre, one that makes aging hipsters like me feel like rock has a future that isn't limited to Franz Ferdinand, Pink, and tenth-generation SoCal punk. Granted, for the time being the band are leaning hard on their influences, but they're a long way past merely paying tribute to them, which is a whole lot more than million-sellers like Queens of the Stone Age, Sum 182, or, heaven forfend, Nickelback can claim with a straight face.

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Article Author: John Owen

John Owen is a music writer, multi-instrumentalist and music industry veteran based in coastal Massachusetts.

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