Dom - Sun Bronzed Greek Gods
Album Reviews
Released: 14th February 2011
Reviewer: Willis Arnold
A lo-fi pop album of dangerously high caliber.
Released: 14th February 2011
Reviewer: Willis Arnold
Lead track 'Living In America' is undeniably synth-y, riding an intro fit to make Passion Pit jealous, which twinkles before the bass synth kicks in and turns the song into a hazy banger. The heavy use of electronics carries through 'Burn Bridges', a great take-care-of-yourself song. This may be a stretch (note: it's absolutely a stretch) but it plays like the hipster teenage answer to Beyonce’s 'Single Ladies'. Driven by a do-what-you-want chorus, the song reads as equal parts sanctioned-asshole behavior, and anthem for those who have never previously stuck up for themselves. Yet, clocking in at just under the three-minute mark, it loses the potential to be anything truly epic.
Around the middle of 'Bronzed Gods', DOM steps away from the synthesizer and shows his guitar chops. 'Bochicha' (written about DOM’s cat) and 'Rude As Jude' (another party-starter) both bring in garage rock elements even the Ramone’s would be jealous of. Seriously, if you’re going out for the night, blast 'Rude As Jude' while pre-gaming, you may just decide to stay home and have a dance party with or without anyone else.
That said, if you didn’t like being a teenager, or being a teenager-not-liking-being-a-teenager, these songs are probably not for you. It’s true that DOM’s music runs the risk of aging quickly and becoming the oldest kid at the party a la Wooderson in Richard Linklater’s movie, 'Dazed And Confused', but the brevity of the songs and the musicians’ undeniable command of pop will probably prove their saving grace. With a running time of just eighteen minutes the album seems is damn near impossible to get sick of after just one listen.
The penultimate song, the instantly classic 'Hunny', is the most slept on of the whole affair, yet melds his use of synths and guitar perfectly. It seems reminiscent of both big eighties pop and the earliest jangle pop of sixties rock 'n' roll, and manages because of, or in spite of, this to sound like a classic. Perhaps, in fact, that’s the case for the entire album.
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