Jeremy Aaron
06/24/08, 10:28 AM
Mansions - Mansions
Record Label: Doghouse Records
Release Date: June 17, 2008
"Fuck you and your Goddamn scene."
So begins the debut EP from Christopher Browder, A.K.A. Mansions. It's a line that's gotten him a lot of attention so far with much more likely to come. It's an eyebrow-raiser coming from a newcomer on his first release, especially when, without a scene, this guy would not have a market for his music. It's the first in a series of missteps on a debut that, nevertheless, exhibits a great deal of potential.
The four-track EP is a teaser for Mansions' first full-length, due out in the fall. The first two tracks, "The Worst Part" and "Take It Back," are slated for inclusion on the fall release, while "Tangerine" and "The Biggest Lie" are exclusive to the EP. Browder clearly has a knack for writing pleasant pop-rock melodies, but the bitter tone that permeates his lyrics is a bit over-the-top. Hopefully, the long player will show more versatility in the songwriting department.
On "Take It Back," the opening of which sounds eerily similar to that of Jimmy Eat World's "Lucky Denver Mint," Browder says "I resent the fact that I still sit and take it / Let you cut me down as if I really give a shit." Later, he sounds as if he does really give a shit, when he sings "While we're on the topic, you're an asshole and you know it." Yet he tells the recipient of his rant to "get over it," something he himself can't seem to do.
The air of pretentiousness continues on "Tangerine," with the line "Everyone is scared of showing people who they are." Browder seems adept at pointing fingers, but apparently considers himself above the scrutiny. If he's showing who he is with these songs, the words "bitter" and "pompous" come to mind. It's not a good combination. Songwriters like Max Bemis have made a career out of snarkiness, but his kiss-offs are either tongue-in-cheek or self-deprecating, so you almost can't help but root for him. After hearing these songs, you almost feel that Browder's superiority complex has earned him any negativity that's come his way.
The closer, "The Biggest Lie," is perhaps the most frustrating of all, though not lyrically. Browder's whispered vocal for the first three-and-a-half minutes, with minimal background music, are annoying. While some bands use soft whispers to great effect (Brand New on "Millstone"), on this song, they don't build up to anything; there's no payoff for your patience.
All that being said, Mansions' songs (except for "The Biggest Lie") sound pretty good. They fit in quite nicely with the many other current emo-flavored pop-rock bands. While it's nothing new stylistically, the performance and production on this record should acquire Mansions a lot of fans. All Browder needs to do now is write some relatable songs, sound less like a head case and he'll be on his way.
The Spill Canvas, Socratic, The Honorary Title
myspace.com/mansions (http://www.myspace.com/mansions)
Record Label: Doghouse Records
Release Date: June 17, 2008
"Fuck you and your Goddamn scene."
So begins the debut EP from Christopher Browder, A.K.A. Mansions. It's a line that's gotten him a lot of attention so far with much more likely to come. It's an eyebrow-raiser coming from a newcomer on his first release, especially when, without a scene, this guy would not have a market for his music. It's the first in a series of missteps on a debut that, nevertheless, exhibits a great deal of potential.
The four-track EP is a teaser for Mansions' first full-length, due out in the fall. The first two tracks, "The Worst Part" and "Take It Back," are slated for inclusion on the fall release, while "Tangerine" and "The Biggest Lie" are exclusive to the EP. Browder clearly has a knack for writing pleasant pop-rock melodies, but the bitter tone that permeates his lyrics is a bit over-the-top. Hopefully, the long player will show more versatility in the songwriting department.
On "Take It Back," the opening of which sounds eerily similar to that of Jimmy Eat World's "Lucky Denver Mint," Browder says "I resent the fact that I still sit and take it / Let you cut me down as if I really give a shit." Later, he sounds as if he does really give a shit, when he sings "While we're on the topic, you're an asshole and you know it." Yet he tells the recipient of his rant to "get over it," something he himself can't seem to do.
The air of pretentiousness continues on "Tangerine," with the line "Everyone is scared of showing people who they are." Browder seems adept at pointing fingers, but apparently considers himself above the scrutiny. If he's showing who he is with these songs, the words "bitter" and "pompous" come to mind. It's not a good combination. Songwriters like Max Bemis have made a career out of snarkiness, but his kiss-offs are either tongue-in-cheek or self-deprecating, so you almost can't help but root for him. After hearing these songs, you almost feel that Browder's superiority complex has earned him any negativity that's come his way.
The closer, "The Biggest Lie," is perhaps the most frustrating of all, though not lyrically. Browder's whispered vocal for the first three-and-a-half minutes, with minimal background music, are annoying. While some bands use soft whispers to great effect (Brand New on "Millstone"), on this song, they don't build up to anything; there's no payoff for your patience.
All that being said, Mansions' songs (except for "The Biggest Lie") sound pretty good. They fit in quite nicely with the many other current emo-flavored pop-rock bands. While it's nothing new stylistically, the performance and production on this record should acquire Mansions a lot of fans. All Browder needs to do now is write some relatable songs, sound less like a head case and he'll be on his way.
The Spill Canvas, Socratic, The Honorary Title
myspace.com/mansions (http://www.myspace.com/mansions)