Rating:   13 Ratings     12345  

The Sun Blame It on the Youth Warner Brothers

      Blame It On The Youth (WB Records, 2005) is all about garage rock and the twists and turns it takes. The album combines rich-and-raw guitarwork only heard from behind that lone garage door as it creeps through the crevices and mixes it with the energetic, experienced sounds of skill.

      During the production of the album, Ben Hillier (Blur, Doves, Elbow) and John Goodmanson (Sleater-Kinney, Blood Brothers, Hot Hot Heat) took over on specific sessions in order to give The Sun a fearless rock background and upbringing.

      The band is based off of Chris Burney’s voice and words, while accompanied by Sam Brown (drums), Brad Forsblom (bass, backing vocals), Bryan Ardnet (guitars) and Brad Caulkins (keyboards, guitars, backing vocals).

      And there’s a lot going on in these fourteen tracks, but most impressive are welcome track, ‘Must Be You’ with its shakey-vocals-turned-screaming-and- strained like an angry Elliott Smith and Karl Barat prototype, ‘Waitin’ On High’ with an artistic Modest Mouse/Franz Ferdinand mix, ‘Pavement Jive’ with an Ash/Joy Division collaboration appeal, and ‘Taking The Lord’s Name In Vein’, the grittiest, non-filtered track on the album.

      Quite honestly, this record is a kaleidoscope of influences that doesn’t end with the aforementioned ones. 13-era Blur, Sublime, Bowie, Placebo and a dash of U2 make their presence known as well. This is what makes it all the better, too. Blame has something for everyone.

      Even the ultimate break-up song made the cut. ‘Say Goodbye’ begins as a wholesome track, with a little flute, an organ and a vibrato touch, but then the tempo races on until Burney ends by repeating ‘Fuck you’ over and over again, until he feels he’s said his piece. Play THAT the next time someone stands you up.

      In the beginning the record loses its flow, switching from fast-paced tracks to slow songs, and the teeter-totter effect just doesn’t work. But about a fourth of the way through, the songs start coming together, and the direction is known: single after single after single... They outdo themselves in some of their own tracks!

      ‘Romantic Death’ becomes the innovative, futuristic track, ‘We Tried’ poses as the anthemetic one. ‘These Heights’ is the pleasantry tune, and ‘Lose Your Money’ is the one unique track most likely to be heard while the Godfather enjoys a night out on the town, complete with mandolins.

      Just like Joy Division, despite Ian Curtis’ melancholy tones, The Sun has those placid vocals that top their own limitations as well as the striking ability to snap into overdrive at any given time.

-Arie Musil 06/01/05