It’s Kids In A Candy Store!
Candy Salad is an album with great spirit. In only two years, the Brooklyn band has emerged with a sharp, power pop sound that will make you feel like a child in a candy store. Although they stopped performing in face paint and costumes (that was a characteristic of their early day shows), their shouting and chanting in unison is still one of the distinctive feature of their music. Behind Suckers’ sound, there is producer Matt Boynton’s experience (and recording studio – Vacation Island, right in Williamsburg, NY).
What is most attractive of Candy Salad is the band’s eagerness. When you listen to the album, you cannot avoid supposing that Suckers is having the time of their life. It feels like nothing else matters to them, but their sound and music. It’s a fresh and committed take on this second work, and we like it. Quinn Walker, Austin Fisher, Pan, and Brian Aiken, all come from Brooklyn and are tied by their adolescence spent together. In 2009 they came out with a self-titled debut EP, produced by Yeasayer’s Anand Wilder. Brian, at the keyboards and drums, was the last to join the band, but gave an important final touch to Suckers’ music. In 2010, the group’s first album Wild Smile, was acclaimed with great reviews by their fans.
“Nowhere,” album’s first track, is an energetic, triumphant song. It’s loud and full of sounds, all the way through. It’s in the face just like Suckers’ passionate attitude. “Figure It Out” is just one of the catchy songs of the album; the drum kick carries on the melody with a pounding beat. “Bricks To The Bones” is a slower ballad as keyboards and psychedelic melodies play a hymn to carefree youth. The whole album is filtered by a sense of childlike innocence and enthusiasm. “Leave The Light On” could be played by a carillon; echoing voices and sounds create a dreamy atmosphere, where “George” remembers times from high school. Although the track is experimenting with new sounds, it becomes quite repetitive as the instrumental part could be more elaborative.
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