The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
Theatre Breaks Loose with Defining Times, Command The Clouds, Wings Of The Wave and Greater Estates 6 p.m. Saturday The Conservatory 8911 N. Western conservatoryokc.com 607-4805 $10 advance, $12 door
Growing up is always hard, but Oklahoma City pop act Theatre Breaks Loose is embracing the pain. The still-young band made its mark with glossy tracks about girls anchored with computer loops and Auto-Tune, but as it — and its crowds — have aged, the decision was made to ditch the backing tracks for something more authentic.
“Our new CD, we said, ‘Absolutely no.’ Our lyrics are vulnerable, upfront and open about who we are … the music needed to reflect that. The bells and whistles don’t have to be there,” guitarist/vocalist Matt Toney said. “I started to realize the downfall of following a strictly pop pattern. It became, ‘Let’s write what we want to write.’ Those crazy beats in the background were just taking away from the simplicity of what we were doing.”
Born from the ashes of two hardcore groups, the band reformulated last year when guitarist Clay Call and bassist Jared Fatkin (formerly of The Taking State) joined Toney, front man Brandon Lovelace and drummer Zach Dumbleton.
“Our first legitimate band fight was about time travel,” Toney said. “We came close to ending the band right then and there.”
Added Call, “It’s my belief that we could have gone back in time and fixed it, though.”
Call’s songwriting hand and the band’s general will to move onward and upward brought them closer to a Third Eye Blind sound, maturing without ditching what attracted fans in the first place.
“It is right where we need to be,” Lovelace said. “The path Clay and Jared took us on is where we needed to go to continue being successful and happy with what we were doing.”
Theatre Breaks Loose’s newest, “Stranger Places, Greater Things,” reflects that while mulling topics deeper than heartbreak.
“This album fell into our lap,” Lovelace said. “It came out with the theme of believing in yourself and doing what you were called to do and never giving up.”
A successful Kickstarter campaign later, the disc will be released nationwide Tuesday, but available for early purchase Saturday at The Conservatory. Touring is in the works, so hopefully, “Stranger Places, Greater Things” has the guys going there and doing that.
“It’s us being who we are, as opposed to being who we are told we need to be to make it … whatever ‘making it’ even means,” Toney said. “At first, making it was having a physical CD.”
Added Lovelace, “And we made it, and now we are doing it again.”