An energetic and engaging listen
California-based indie band Facing New York have just released their first album in a decade, Dogtown. While it won’t shatter your expectations or redefine the indie-rock genre, it’s a fun, enjoyable record with plenty of replay value. Carried by fuzzy Rage Against The Machine-style guitar riffs, catchy rhythms and solid vocals, Dogtown is quality from front to back.
The album opens with the title track, and its ambient intro leaves the listener intrigued as to where exactly things are going after Facing New York’s decade long hiatus from releasing albums. But soon the drums kick in, backed by a heavy riff, and things are off to a quick start. The band displays good use of dynamics by dialing back the intensity after the first chorus, then building back up again. The title track is a lively introduction to the rest of Dogtown.
“Big Rev” offers the listener an electric, fast-paced intro that bleeds into a catchy, droning Tom Morello-esque riff that immediately grabs the listener’s attention. The use of fuzz as a guitar effect is prominent throughout Dogtown, and guitarist Eric Frederick’s ability to dial in a comfortable middle ground that is gritty without being overindulgent or muddy contributes greatly to the consistently high quality of the guitar work on Dogtown. “Big Rev” has a Black Keys-esque modern rock swing to it, and it has radio hit potential.
The next track, “Gods of the Good Shit” is one of Dogtown’s best. It’s carried by a light, upbeat indie-rock progression and sweet, sincere lyricism. “I prayed to the Gods of the Good Shit / And they led me to you,” sings Frederic during the chorus. This song is perfect for a summer drive with the windows down.
“Hail Mary” marks a return to the heavy, fuzzy sound of “Big Rev.” The band’s hip-hop influences peak through in this song, as the verse is rapped. The chorus works as a nice feel change, with the vocals returning to singing and heavy electric guitar riffs are replaced by a subtle acoustic guitar chord progression. Frederic’s guitar solo around 2:40 is heavy and dirty, blowing the cover off this track.
Dogtown loses some steam after four excellent tracks, but others like the upbeat “Trouble” and rockers “Shame” and “Heaven Is High Hell Is Low” highlight a solid second half.
Dogtown doesn’t reinvent the wheel, nor does it push the creative boundaries of the genre. But not every album has to do so to be memorable, and the value of Dogtown lies in its consistent ability to present the listener with quality songs derived from the band’s core strengths. Frederic’s heavy riffs and solid vocal performance are the engine that make Dogtown go, but a tight, complementary rhythm section contributes to the band’s quality. Indie-rock fans–and rock guitar aficionados in particular–will surely find plenty of enjoyment in Dogtown.
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