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.
Eve 6 7 p.m. Tuesday ACM@UCO Performance Lab 323 E. Sheridan acm-uco.com 974-4700 $16-$19
Credits: Lisa Johnson
Few bands’ horizons looked better than Eve 6’s did back in the late ’90s and early ’00s. The alt-rock outfit enjoyed a major-label record deal, a platinum album and smash singles in “Inside Out” and “Here’s to the Night.”
Then, ironically enough, things fell into a “beautiful oblivion.”
Sales of its third, heavier release, 2003’s It’s All in Your Head tanked, so Eve 6 was dropped from RCA. With front man Max Collins openly struggling to go sober, the band soon went on an indefinite hiatus.
“We all sort of needed that time to stretch out creatively and personally,” guitarist Jon Siebels said. “Being that we were so young, we ended up in the Eve 6 bubble right off the bat and just stayed there. It was nice to grow — musically and personally — into individuals and have our own identities.”
Several side projects later, Collins and drummer Tony Fagenson reformed Eve 6 in 2007 for occasional shows, and Siebels rejoined last year, prompting a full reunion tour and a new record, Speak in Code, due April 24.
The guys were somewhat surprised that the emergence of the Internet after their demise sustained a demand.
“There’s still this huge crop of fans,” Siebels said. “People showed they still cared, and there was this opportunity to be out there, still doing what we love.”
To record Speak in Code, Eve 6 found a better fit in Fearless Records and opted to work with producer Don Gilmore (Pearl Jam, Linkin Park), who helmed the act’s first two discs.
“We used our original formula.
I’m happy to have made, again, a real album, from top to bottom. It sounds like us,” Siebels said. “It’s an Eve 6 record that’s not just about one song.”
Although sonically, Code most closely relates to 2000’s Horrorscope, the band is quick to note it’s not a carbon copy, either.
“It’s a natural evolution,” Siebels said. “We have more programmed, synth-type elements, but at the core of it, it’s drums, bass and guitar, while branching out to find new sounds. It’s going to be familiar, but feel like progression as well. It was a nice happy medium. It won’t be like, ‘Whoa. What happened to Eve 6?’”