Name: The Rewinds
Album: s/t
Year: 2006
Style: Indie, Power Pop, Jangle Pop
Similar Bands: Redwalls, REM, Strokes, Fountains of Wayne, Toad the Wet Sprocket, Connells,
"One-Word" Review: Mediocre Pushover Pop
Based Out Of: Birmingham, AL
Label: Livewire Recordings,
The Rewinds - Cover & Back Booklet Image
The Rewinds - Lyrics
The Rewinds - Center Photo & CD
The Rewinds - Lyrics, Tray
The Rewinds - Liner Notes, Back
The Rewinds (2006)
- New Shade of Red 3:35
- Everytime 3:15
- Something Else 2:45
- Ghostriders 3:26
- Killing Me 3:11
- Fascination 3:39
- Sentimental Flaw 3:05
- Voice in My Head 3:37
- Melody 2:20
- Turns Out That Way 2:15
- It's Not the End 3:06
- Alone in the Dark 3:23
- See You In the Underground 3:59
- Calling Your Name 10:24
Album Rating (1-10):5.0
Members & Other Bands:
Michael Shackelford - Vox Guitar (Taylor Hollingsworth, Maria Taylor, Through the Sparks, Dead Fingers)
Glenn Drennen - Lead Guitar (All Tomorrow's Parties, Fireflight)
Chris Markham - Bass (All Tomorrow's Parties)
Brooks Marks - Drums (All Tomorrow's Parties, Grenadines)
Colin Cobb - Producer, Mixing, Recording, A&R, Marketing
Emily Lazar - Mastering
Mark Pollock - A&R, Art Direction
Becca Fishman - Promotions
Kelly Kennedy - Bookings
Marlise Paxman - Product Manager, Album Notes
Pamela Paxman - Photography
Lisa Monti - Marketing Assistant
Paki Newell - Publicity
Unknown-ness: I've never heard of this band, yet, the name is simple enough, that perhaps I have and forgot them. Based on the font, I'm guessing they sound like the Redwalls: a throwback to late 60's guitar sounds in garage bands, updated to the mid 00's. Their pictures look sweaty, so maybe they have the same energy as a Mooney Suzuki, but I'm guessing this will be less in-your-face.
Album Review: This band started
out as a 3 piece All Tomorrow’s Parties, but after acquiring Schakelford, who
became lead singer, they changes to this incarnation, but only had this one
album.
“New Shade of Red”
starts with a jangly multiple guitar attack. The melody is very repetitive,
relying on the chorus. The melody kind of meanders around.
“Everytime” begins
with a more stripped down drum beat and rhythm guitar, with a Strokes melody
minus the swagger. The chorus is louder and fuller, but does not feature any of
the angular guitars. Instead it is more of an alt-pop style.
“Something Else”
has a little Fountains of Wayne power pop style, but is a little more jangly. It
has some start/stopping like the strokes, but it does not grab for any
attention.
“Ghostriders”
starts off with no real pizazz, just sounding like an uninspired Toad the Wet
Sprocket band. It feels phoned in, and nothing is really punchy, which feels
like it was a deliberate production choice. Toward the end it tries to build an
urgent, party like atmosphere, but it comes too little too late.
“Killing Me”
slows it down more for meandering melody and some sorrowful vocals. At the
instrumental, it balances out the sadness with some focused rectifying guitars,
but overall, this is a sad, “just missed an opportunity” sentimental song.
“Fascination” has
angular yet jangly guitars at the start that play as a call and response with
the verse. They join up for the chorus, but overall, I think the guitar wins:
the vocals are just too mellow.
“Sentimental Flaw” kicks in with a steady drum beat and power pop chords played
on alarm-like repeat. The vocals are mellow and lofty, which does not
complement the music for my taste; although it reminds me a little of the Connells
whom I did enjoy.
“Voice in My Head”
is so non-threatening that I feel like it could have been a mainstream hit on
any radio station playing to parents who wanted music stripped of any feeling.
On the second run through of the chorus, it is a little catchier, but just does
not beckon for attention, like background music at a K-Mart.
“Melody” slowly
and quietly begins with a chugging guitar. A couple of jangly notes filter in,
and the sedated vocals feel added in as a second thought.
“Turns Out That
Way” starts out with jangly guitars and medicated vocals floating away, trying
to maintain a too cool for school nonchalance.
“It's Not the End”
is more of the same with a looping jangly hook and broken lead guitar notes,
but the vocals smooth over all of the character with a deadpan delivery. The
song changes direction with a focused, catchy oldies-pop like hook toward the
end, but it is not enough to save the song from mediocrity.
“Alone in the
Dark” retreads the same ground: slightly energetic instruments which end up
with a meandering melody, and bland AOR vocals that add nothing to the energy.
This one has a little alt-country feel to it. The abrupt vocal change into the
faster chorus is a little of a wake up, but it is short lived and glossed over
very quickly. That is the hook they should have focused on, rather than the
rest of the song.
“See You In the
Underground” has a bold marching drum and guitar introduction, which quits to
give way to the vocals. The electric guitar builds up behind the progressively
building bridge that leads to a flat plateau.
“Calling Your
Name” starts as an acoustic, swaying ballad that never builds up. Now this renaissance-folky,
slightly psychedelic style is suited for his vocals. And it is nice that they
just maintained one style in their wheel house without adding to it. The song
lasts for about two and a half minutes, and is followed by the antiquated
hidden track dead air. And right at about the ten minute mark, a couple of
seconds of backwards played outtakes create a confusing psychedelic effect, but
it is hardly worth the scrolling, let alone the wait.
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