Catchiness is a terrible thing. It occurs when a band or organisation has developed a tune to immunitably likeable that you’re forced to walk around with the damn thing in your head for a day, or a week, or a month. But there is another side to catchiness, a far more pleasant side – which emerges when you actually like the song encaged within your mind.
Dynamite Boy, you see, have a bottle, nay, a VAT of catchiness. They make their record and then pour the whole lot in to the bubbling cauldron, stirring it with a spoon which has millions of hooks attached to it. I’m not sure whether they cackle manically whilst doing it, but you get the idea. Somewhat coincidentally, the first song (entitled ‘Catching On’) shows just how potent this mixture is.
‘Catching On’ begins with a riff so simple yet so uplifting that at first you merely think in Homer-ponder-style ‘Hmmm!’ – but, it’s too late, you’ve been ingrained with it, and now, there is no escape. Needless to say you’ll be hearing it a fair few more times, as even the laser in your CD player gets frustrated at having to play it over and over. It isn’t just the guitar though, the intelligent lyrics correlate perfectly, with largely singable chorus ‘and when the day is done and the cards have been dealt, all I can say is – i’m catching on!’. Two power fuelled choruses and a very listenable bridge do an amazing song make. Following close behind, ‘Kaleidoscope’ deals with confidence and a perspective of the world we could all do with adopting – it is relatively relaxed, not delivering the impact of ‘Catching On’, but still keeping your ear to the speakers, and your foot tapping – which, at the end of the day is what you’ll want.
‘No Way Out’ features guest vocals from Stella Maxwell, with her and Sean making a good job of the song in hand; a song with a complete lack of pretense – which is always a good thing, which is all the more easier to swallow thanks to a palm mute interlude and a complete feeling close to the song. ‘Av99’ begins with a washed out sound and a lone accoustic, but kicks almost in Screeching Weasel stylee, and is reliant on a lot of held notes. You’ll either enjoy, or be slightly bored – one thing’s for sure, it isn’t going anywhere fast, but doesn’t have to for the band to present a great little tune.
Like a superhero out of the blue though, ‘Last Chance‘ slaps you in the face with Scott’s pounding drumbeat and an insanely good chorus, with ascending backing vocals and a drum beat with surprising clout – another highlight of the album. ‘Little Bobby’ shouldn’t be catchy – but, damn them it is to the point of annoyance. It is perplexing to think that using a similar formula to other less accomplished bands has worked so well for this fourpiece; ‘Yearbook’ is passable, no good, but won’t hold your attention for that long; ‘Some assembly Required’ is slightly more adventurous, but not overly so, as seen when it reverts back to the chorus – ‘I can recall when we were only friends – sometimes I ask why we ever tried’. ‘Lullaby’ is another only average song compared to what else is on offer, ‘Strive’ seems at first glance to also fall into the aforementioned bracket, but some great vocal co-operation ensures the song grows as fast as mould on that bowl of cereal you had two days ago.
‘Paper Hearts’ is quite frankly excellent, an accoustic song you’d play round a campfire and everyone would join in. It isn’t ruined by electrical guitar intervention, remaining simply heartfelt and providing more hum-fodder. Relatively short ‘Trustworthy’ and ‘Hook, line and sinker’ continue to keep the trend is great form.
When I tried to give this a score, I was torn between 4 and 4.5 stars. Looking at the album, I don’t know how they could have tweaked it to be better – if only for the two weaker tracks. The score speaks for itself – calling this merely pop punk doesn’t do it justice. Dammit, i’ve got that tune in my head again…
nick