I remember a conversation with a friend about how many "The" bands are out there. Think of any noun you can and you’re bound to encounter a band that has already named themselves such. If you think about it, how else do you name a band? There’s the “The (noun)” method, the “(name) and the (plural noun)” method, or just a noun without a “The.” Therefore, I suppose it’s understandable that bands like the Buttless Chaps and the Screaming Headless Torsos exist since if you’re going to go “The,” you might as well go all out.
Bands named something dull like the Doors just don’t excite … oh, never mind. The Adored decided to be slightly narcissistic about their band name, which is another kind of bold, eye-catching approach to seeking out fans. Another way to pick up someone’s attention is to make a jumbled mess of the band members upon a duo of metal horses on the cover of one’s album. I suppose not everything needs to be explained, so let’s get on with the music.
If you’ve had a chance to listen to '70s and '80s pop rock, then you will notice that you might be a happier person than others, for you have found some of the best music ever written. Bands during that time, like the Jam, the Pointed Sticks, and the Nerves, wrote a lot of great pick-me-up tunes that were simple, had a bit of an edge, and were quick treats of musical enjoyment. Guitars, drums, perhaps a keyboard — that’s all that was needed to fill up two to three minutes of pop and hook to convey a heartbroken experience or a girl that should be one’s own.
The Adored continue the tradition by putting together 14 tracks that average about three minutes of length but don’t get cutesy with the typical indie pop bravado that is evident in much of the music today. Songs like “Savage Youth” and “The Window” have the immediacy and quick chorus arrival that can get anyone energized, and though “Weak Spots” has a slightly lighter tone to it, it’s still an endearing tune about difficulty in a relationship. The band doesn’t alter their style much from song to song, so a touch of swing in “Less I Know” and a stronger dose of sing-along in “The Queen’s Head” add a little bit of diversity, but everything eventually culminates in an appealing chorus. I suppose one could complain that all the songs may sound as if they’re blended together, but sometimes that is what makes an album great in that it builds on its main strength without disengaging the listener with creative missteps.