Young Statues - Young Statues
Release Date: November 8, 2011
Record Label: Run for Cover
Entering the belly of the pop-rock beast as a new artist can be an overwhelming task. In a genre so saturated, where it seems like everything has been done – then repeated, then ripped off and done again to an infinite degree – how does a new group separate itself from the pack? Among a record label with a roster as talented as Run For Cover’s, how does a new songwriter match up?
If anyone is looking for the answers to these questions, Carmen Cirignano might not be a bad guy to ask. Then again, he might not even know – Cirignano, the songwriter and vocalist behind Young Statues, originally wrote the songs on his band’s debut LP without an intention of ever presenting them to the public. With a soundscape that combines influences of Dashboard Confessional, Death Cab for Cutie, Relient K and so many things in between, it’s a good thing Young Statues was released.
“Spacism” takes an airy, swelling guitar line and Cirignano’s youthful, steady vocals to make an irresistible opener. Matters turn more intimate and introspective when Cirignano gets into things: “I won’t be another person’s shoulder / You need somebody? / Call on a friend.” The chorus is a catchy one that burdens listeners with the need to hear more – just how an opener should operate.
“Spacism” is actually a pretty solid sign of what comes on the other 10 songs on Young Statues – ranging from calm, indie-rock verses to smart, catchy pop-rock choruses, Young Statues actually succeeds in crafting a niche for its sound. Slower tracks like “Half Light” are accompanied by musicianship that is nothing short of stellar, while faster paced songs, like “Young Statues,” are where Cirignano’s voice shines most.
“Pretty Girls Make Raves” is a certain album standout, as a jaunty rhythm lends itself nicely to the guitar work and the tight musicianship between Tom Ryan, Steve Poponi, Daniel Bogan and Matt Weber. Perhaps the most surprising part of Young Statues is its depth – something that comes through marvelously on the last two songs. Specifically, the musicianship is surprisingly matured for a group of friends that never really intended this project to go anywhere.
If this is just the first sign of life we’re seeing from Cirignano and Co., we’re going to have to pay close attention to them in the near future. This is the type of band – and Cirignano is the type of frontman – that could really come into their own in a short time. There’s no reason Young Statues can’t pen introspective, sing-to-yourself-with-headphones-on-when-no-one’s-home lyrics for many years to come, and there’s no reason Cirignano can’t develop into a very Chris Carabba-esque frontman.