August 9th, 2011 
James Shotwell 
Artist: Talk Is Cheap
Album: The Finer Things
Genre: Pop-punk
Those who know me will be aware of my deep-rooted distaste for pop-punk. I understand its motives and appreciate its generally sunny demeanor, but as a general rule it’s all too similar and unimaginative for my liking. How charming then, to discover this rather fetching album by West Virginia duo Talk Is Cheap. It’s a pop-punk release, to be sure, but deftly manages to avoid the pratfalls that tend to besmirch music of this type.
“Livin’ the Dream” is a slow-burning and relatively contemplative start, setting a wry honest tone before picking up pace when the drums come in. It evolves into a brisk and determined track, the vocals interspersed with gentle hints at gang vocals for a subtle layering effect. It’s cheery and triumphant in style, the structure and rhythm suitably erratic, and it ends on a compelling note by mixing heavier vocals with a delicate strumming guitar. “Case of the Mondays” has a funkier approach, opening eagerly with a confidently strutting guitar. The latter remains idealistic throughout, offsetting the vocal interplay and spearheading a thumping second verse that keeps interest piqued. For a band apparently composed of two members, there’s a lot going on – vocal elements combine with guitar, bass, and percussion to create a somewhat chaotic but very inventive sound. It distances itself from the formula approach adopted by many bands, with a fun-loving and energetic style that one can’t but warm to.
“Calling In Favours” seems mundane at first, but enlivens itself with a soaring and boisterous chorus. The vocals inject plenty of vivacity and the guitar continues to trail a blaze all its own, the flourish an exhilarating addition to the music. Granted, there’s still a bit of over-reliance on solos but these elements are underplayed for the most part and actually suit quite well. The drums, which have a tendency to take on a wearying life of their own in this genre, aren’t overdone either as the band tread a fine line between brisk and exciting and slightly more melodic slower moments. “Myself In Disguise” fades straight in from the previous track, picking up exactly where it left off and sounding a little too derivative until the chorus enlightens proceedings. It’s filled with light harmonies and swiftly followed by a pensive guitar refrain. There’s a more obvious heart to this song than much of the others, the instrumentation simplified slightly with a lot of the excess elements cut out. It’s founded on a strong backing vocal with the lead accompanied by flourishing guitar harmonies, creating a slightly more delicate and endearing sound.
“Alright Then, Wildcat” has a poppy and anthemic start – it’s a short song and suitably feisty and strong-willed. Indeed, it even opts for a nice breakdown after the chorus, hinting at some heavier intent which is most compelling, though remains underdeveloped. “Problem Child” then claims to be seven minutes long but ends at the three minute mark; whether this is intentional I can’t quite tell but it does manage to make an impact despite this. It has a bitter resonance from the off, with a downcast interplay between vocals and instruments, and the swearing in the lyrics cranked up a notch. It aims big with lots of high-pitched and sweeping choruses, before descending into prolonged silence. This eventually becomes a “Hidden Track,” an acoustic endeavor with a gentle and pretty sound. The vocal line is set high and the overall style is delicate, earnest and sincere. It actually illustrates how lovely these songs can be even without all their embellishments, proceeding simply throughout with a stripped back but eloquent style. A piano replaces the guitar halfway through, creating a more emotive sound that better suits the sullen lyrics. It’s a touch sombre perhaps as an ending, but very charming and indicates much promise still to come.
So, in short, this album comes very highly recommended. It’s bold and dynamic, unfailingly upbeat and infectious in all its raucous invention. It takes the simplistic formula laid by pop-punk and dexterously remoulds it into something a little more fresh and promising than what we’re used to. In other words, it’s “the finer things” indeed, and ought to leave you happily reeling in its wake.
SCORE: 8/10
Review written by: Grace Duffy
- 2015’s Most Underrated Films - December 29, 2015
- Passing The Torch: The End Of An Era For UTG - December 1, 2015
- UTG PREMIERE: Before The Streetlights – “Private Browser” - November 26, 2015
Posted in 
Tags: 