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The Chemistry tend to fall into the glut of power pop or emo-punk bands in the vein of Jimmy Eat World or Taking Back Sunday. With the opening "From Within," the gloss and polish of a radio-friendly tune is ever present, but there are enough twists and turns to keep you interested. The middle portion, though, veers briefly into the "screamo" domain, something Alexisonfire is more experienced with. The musicianship is quite solid, especially on the darker groove running through "About You," although its chorus is far too sappy. Unfortunately, they seem rather bland and prepackaged on the limp "Deja Vous," which is very déjà vu. "The Same" has a bit more urgency yet doesn't pass the bar, although the high harmonies and melody do have some strength. The group nails "Hopeless," although some might consider it a throwaway filler track. Slower and a tad softer, the band's full talents are on display, relying on the songwriting more than the hook to drive the neo-power ballad home. "At a Glance" tends to disappoint, resembling Simple Plan if they were doing a Spin Doctors cover. The Chemistry then opt for a string-laden winding ditty entitled "Jones," which is adequate but far from spectacular. "Still Alive," however, veers into rock territory that groups like Incubus previously mined, with added crowd vocals on the chorus during this quasi-political rant. The theme of this album seems to be good but rather safe at the same time, especially on "Fear of Falling," which is perfect Vans Warped Tour material. The tender, Extreme-ish ballad "Last Impression" is a surprisingly good tune. Overall, this is a good album, but one where nothing smacks of greatness. ~ Jason MacNeil
Audio Mixer: Gabriel Heredia.
Recording information: The Plant Recording Studios, Sausalito, CA.
Photographers: Trisha Leeper; Jeff Gros.
The Chemistry: Danny Mitchell (vocals, guitar); Jared Valencia (bass instrument); Tommy Hamilton, Thomas Scriven, Justin Shultz.
Personnel: Danny Mitchell (vocals, guitar); Jared Valencia (vocals); Tommy Hamilton, Thomas Scriven (guitar); Justin Shultz (drums).
Chemistry Review
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From AllMusic by Stewart Mason (with additions/corrections)A protege of Todd Rundgren, Doug Powell is a more straightforward musician than his muse, more along the lines of XTC's Andy Partridge. Like Rundgren, Powell had a run of bad luck with record companies early in his career, but it's easier to carve out a place for oneself away from the major labels than it was in the late '60s and early '70s, so Powell has been able to find a ready audience in the American power pop underground.Raised in Oklahoma, the son of a physicist and a professional flutist, Powell grew up as a fan of XTC, Rundgren, and Jules Shear, whom he approached at a solo gig in Chicago with a home-recorded tape of 22 songs. Taken with his young fan's work, Shear shopped the tape around to various labels and produced a more professional demo that landed the young singer/songwriter a development deal with Elektra Records. The A&R executive at Elektra who liked Powell's songs then ended up at RCA, for whom Powell recorded his first album, Ballad of the Tin Men. Unfortunately, by the time the album was ready, the A&R executive had jumped ship to Mercury Records, which finally released the finished album in 1996 just as Powell's mentor was fired by an incoming label president, immediately stopping the album in its tracks. By this time, Powell had met and toured with Todd Rundgren, who agreed to produce his second album. After Mercury rejected the demos for the album and dropped Powell, the singer/songwriter (who had settled in Nashville by this time) placed one of the rejected songs, "Torn," on Nashpop: A Nashville Pop Compilation, a local scene compilation released by the Colorado-based label Not Lame Records, which then released the entire set of rejected demos as 1998's Curiouser and commissioned an album of all-new material, More, in 2000. Also around this time, Powell hooked up with Sixpence None the Richer's Jerry Dale McFadden, a friend from college, and other indie pop luminaries (including Wilco's Ken Coomer and the Mavericks' Robert Reynolds) to form Swag, an occasional side project which finally released its sole album, Catchall, in early 2001. Though Powell wrote much of the album and took most of the lead vocals, public perception of the band focused on the day jobs of the other members and the group split up. Powell followed the Swag release with the stopgap EP Venus DeMilo's Arms in 2001, which marked time until the singer/songwriter could complete 2002's ambitious The Lost Chord, his most complex solo project to date. Day For Night, also on Parasol, followed in 2004 in much the same experimental vein as The Lost Chord. Powell then released a batch of leftovers and oddities on the Paisely Pop Label entitled Four Seasons. The first six songs consisted of demos for the New Cars, for which Powell was originally asked to be ...
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