Reviews

On paper, O Pioneers!!! seems like it would sound a bit like Death From Above 1979-lite. A guitar and drums punk rock combination with a sense of humor and seemingly limitless energy; breeds a style which was already perfected by Death From Above 1979. Although it may seem as such from merely reading their bio, a good listen through their new album, Black Mambas, tells a different story.
 
Eric Solomon, the member in charge of “…screams, abusing his guitar and forgetting words,” reminds me of Chuck Ragan (Hot Water Music) with attention deficit hyperactive disorder…and then with some speed…and maybe some liquor, a few packs of cigarettes, and a killer caffeine buzz. Jeff Johnson, who “…plays the drums and breaks lots of sticks,” seems to draw influence from stripped down punk/old school hardcore on drums, as the two present something intriguing in its simplicity and genuineness.
 
The album kicks off with the playful and upbeat track, “I Hear the New Ashlee Simpson Album is Pretty Killer.” Despite the song’s energy and sense of humor, it was a little unconvincing; could they maintain the original pace they set for the rest of the album? Could the offbeat combination of guitar strums, punk-rock drums, and wailing vocals fuel an energetic album?
 
The question became inherently tougher to answer as “Enemies on Speed Dial” features oldies, love song style guitar complemented by hand claps and a drum beat that would be enough to make even most skeptical critic clap along in their car. Who the hell were these guys? It seemed as though they performed in a genre of music that didn’t exist yet, one that was folksy, rhythmic, and punk rock in nature.
 
I needed more convincing to believe this was the real deal, and “The Weather Underground” was just the bit of convincing needed to assure me that the album wasn’t slowing down anytime soon. The alluring sounds of “We Have Friends (I Promise)” lulls the listener into a false sense of security in a potential ballad before it breaks back into the old strums and two and four beat snare parts that sprang off of the previous tracks. The raspy vocals over clean guitars play a huge role in staying clear of garbage-punk and pushing the music off to a road less traveled.
 
The pace never seems to slow up until “Motley Crue, Probably Saved My Life” sets a bit of an emo-punk pace, which can be a little tough to get used to, what with Eric Solomon’s antitypical emo voice. At over five minutes, this was the longest song on the album by leaps and bounds. Enjoying this song depends on someone’s open-mindedness to the music they’re listening to. I can see how a lot of people wouldn’t be able to connect with this release because, after a while, it does seem a bit repetitive.
 
While the band makes its strongest point in its lack of all the fancy bells and whistles, the record does offer little variety. With punk rock, there’s only so much potential in a guitar and drum combo before treading on risky, nu-punk territory, since many alternative musicians lead with bass.
 
This could lead to a dispute as to the potential of a two piece band, as I’m sure many would argue it’s possible to arrange the ensemble in a way which could stretch their musical potential to dozens of albums; these people probably also like the sound of white noise and guitar feedback with light strumming for twenty minutes between songs, but I, sir, do not!
 
After a good listen, I was sure I needed to put the CD down for a while before I could enjoy it again. With an album like this, one that contains several catchy, fun songs and a band with a great sense of humor, it can be difficult to decide whether the lack of variety dooms the record. I proclaim: no!
 
A folksy punk band with oldies influence, harsh vocals, and catchy songs gives a bit of a vague image for an album. If someone thinks they can give a better description of Black Mambas, be my guest. This is a good album, a good time, and a good kick in the ass to the “scene;” three stars.