Wednesday 30 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Rock · The Morning After Girls —...

The Morning After Girls — Alone

Reverb-heavy, song-lite rock

Stephen Carradini January 18th, 2011

Reverb’s been going through a revival lately. After the raw guitar tones of grunge killed the reverb pedal for the better part of 20 years, it’s been coming back everywhere.

Instead of using it for chillwave or dream-pop, The Morning After Girls go back to 1991 and stomp their pedals to make shoegaze. They do a good job of modernizing the sound; it’s not the genre that’s off-putting about “Alone.”   

The band cleans up several of the trademark moves of shoegaze for a modern audience: the guitars, while still loud and reverb-heavy, have a much more direct tone than often heard in shoegaze. It’s loud and hazy, but it’s not just one big sheet of distortion (à la Jesus and Mary Chain). They even introduce an acoustic guitar as an important player in their sound. The vocals, which traditionally were buried in the mix, cut through the sound with few effects. It’s a solid sound that doesn’t ring dated.

The problem is that the songs just don’t stick. No matter the genre, there’s got to be something to take away from the album. For whatever reason, I can’t get these tracks to imprint on my brain in any meaningful way. There’s nothing wrong with the tunes — they’re just average. They are nice while I’m hearing them, but I have no desire to hear them again after I’ve moved on.

This may be in part to the moods that the band tried to channel: It made it clear that the songs were written to evoke the emotions associated with being alone. The songs are far noisier and faster than what I usually associate with loneliness, but some of my discomfort may be from picking up on the forlorn, claustrophobic feel of being by yourself.

The Morning After Girls’ sound is a solid reworking of a lost genre, but the songs are a tad off-putting. If you’re a real big fan of the reverb revival, I’d pick this up; otherwise, I’d look into Exit Calm for your reverb rocking.  — Stephen Carradini

  • Currently 3.5/5 Stars.
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