Naomi Punk's Television Man possesses the same "demo" feel as their previous releases. While the choice of chords and murky vocals bring grunge to mind (progressions in "Eleven Inches" are reminiscent of Nirvana, "Linoleum Tryst #19" of the Smashing Pumpkins), overall it's a more deconstructed, almost no-wave interpretation of punk.
The elements the sound shares with other genres are less important than those it doesn't, the foremost of which is dissonance. Relying heavily on sustain, the songs include no fast-paced, 4/4 power chords. The irregular throws of guitar, vocals and drums are emphasized by the intervals at which they come. The accomplishment is that the sound is unique and understated.
The unpredictable becomes predictable quickly, though. After listening to the opening tracks "Firehouse Face" and "Song Factory," this anticlimactic album starts to feel like one big song (that may been better suited to an EP). While certainly interesting, it's not enough to keep listeners running back for more, despite the positive initial impression it makes.
The melodious single "Television Man" provides the most obvious pop sensibility. The minimalist synths on interludes "Plastic World No. 6" and the hazier slacker jam "California Truth" offer a point of departure, providing a sense of how the band might try expanding their somewhat limited sound.
(Captured Tracks)The elements the sound shares with other genres are less important than those it doesn't, the foremost of which is dissonance. Relying heavily on sustain, the songs include no fast-paced, 4/4 power chords. The irregular throws of guitar, vocals and drums are emphasized by the intervals at which they come. The accomplishment is that the sound is unique and understated.
The unpredictable becomes predictable quickly, though. After listening to the opening tracks "Firehouse Face" and "Song Factory," this anticlimactic album starts to feel like one big song (that may been better suited to an EP). While certainly interesting, it's not enough to keep listeners running back for more, despite the positive initial impression it makes.
The melodious single "Television Man" provides the most obvious pop sensibility. The minimalist synths on interludes "Plastic World No. 6" and the hazier slacker jam "California Truth" offer a point of departure, providing a sense of how the band might try expanding their somewhat limited sound.
