Dazy, the bedroom power-pop alter-ego of James Goodson, released a compilation of his early EPs and singles last year called MAXIMUMBLASTSUPERLOUD, a perfect title that succinctly told you almost all you need to know about the project. Goodson exclusively writes unpretentious, playfully brash pop songs defined by in-the-red guitar distortion, simple drum-machine beats and bright, instantly hummable melodies. Imagine Billie Joe Armstrong fronting The Jesus and Mary Chain and you wouldn't be too far off from Dazy's output.
On his latest release and first full-length LP, OUTOFBODY, Goodson tames the wild, 24 song sprawl of last year's compilation and delivers a focused 26 minute burst of fuzz pop goodness that subtly iterates on what the project does best — noisy songs trading in bemused malaise that rarely break the two minute mark, likely to be stuck in your head after one listen. On OUTOFBODY, Goodson seems almost pathologically averse to bloat, distilling every song down to its essentials: one or maybe two anticipation-building verses, with massive, earsplitting guitar riffs and repeated lyrics, leading to a masterfully constructed, hook-filled chorus. Indeed, there's hardly a bridge or middle-8 to be found on the record, barring the extended outro of album-closing mini-epic "Gone," which ends on a gorgeously layered vocal harmony that blooms from the chorus' final lyric.
Despite the airtight formula, the songwriting on OUTOFBODY never feels rote or formulaic because Goodson is so adept at deploying small songwriting flourishes to keep things flowing and interesting. "On My Way's" buzzsaw guitar riff rides forward on an ebullient drum-machine loop that recalls '90s big beat dance music by way of the "Tubthumping" instrumental, and then breaks into a chorus that sounds like vintage Sloan. Acoustic guitars and bass are foregrounded on "Motionless Parade," allowing for a quieter melancholy vibe that lands somewhere between Big Star's Third and Elliott Smith without sacrificing any immediacy. Guitar solos abound and are always inventive, though Goodson mostly opts for shoegazey feedback-laden texture rather than technical pyrotechnics — see the bobcat in a wind tunnel guitar howls that punctuate "Choose Yr Ramone."
Dazy songs are largely about struggles with mental health and interpersonal relationships, but Goodson mostly keeps things unspecific. His lyrics traffic in simple metaphors — rollercoaster rides, climbing ladders — that prioritize clarity and universality. And while you'd be hard-pressed to glean any concrete details about what ails Goodson from his songs, the arc and shape of whatever conflict he's writing about is always immediately understandable. It's efficient writing that, while short on literary aspirations, only serves to tighten the songwriting.
A certain unambitious streak may be OUTOFBODY's only real shortcoming. Dazy does one thing so incredibly well that Goodson seems almost unwilling to push against the margins and see what's beyond them, perhaps for fear of diluting the potency of the project. Moving away from the confines of a bedroom recording set up, or bringing in occasional outside collaborators could help broaden Dazy's horizons going forward. One need only look at the band's excellent one-off collaboration with post-hardcore band Militarie Gun, "Pressure Cooker" — an easy song of the year contender — to see the kind of magic Goodson could create if he let a few more cooks in the kitchen. But as it stands, OUTOFBODY is an excellent debut — a truly rad blast of maximalist, hyper melodic rock music that serves as the perfect serotonin injection for the winter months ahead.
(Lame-O Records)On his latest release and first full-length LP, OUTOFBODY, Goodson tames the wild, 24 song sprawl of last year's compilation and delivers a focused 26 minute burst of fuzz pop goodness that subtly iterates on what the project does best — noisy songs trading in bemused malaise that rarely break the two minute mark, likely to be stuck in your head after one listen. On OUTOFBODY, Goodson seems almost pathologically averse to bloat, distilling every song down to its essentials: one or maybe two anticipation-building verses, with massive, earsplitting guitar riffs and repeated lyrics, leading to a masterfully constructed, hook-filled chorus. Indeed, there's hardly a bridge or middle-8 to be found on the record, barring the extended outro of album-closing mini-epic "Gone," which ends on a gorgeously layered vocal harmony that blooms from the chorus' final lyric.
Despite the airtight formula, the songwriting on OUTOFBODY never feels rote or formulaic because Goodson is so adept at deploying small songwriting flourishes to keep things flowing and interesting. "On My Way's" buzzsaw guitar riff rides forward on an ebullient drum-machine loop that recalls '90s big beat dance music by way of the "Tubthumping" instrumental, and then breaks into a chorus that sounds like vintage Sloan. Acoustic guitars and bass are foregrounded on "Motionless Parade," allowing for a quieter melancholy vibe that lands somewhere between Big Star's Third and Elliott Smith without sacrificing any immediacy. Guitar solos abound and are always inventive, though Goodson mostly opts for shoegazey feedback-laden texture rather than technical pyrotechnics — see the bobcat in a wind tunnel guitar howls that punctuate "Choose Yr Ramone."
Dazy songs are largely about struggles with mental health and interpersonal relationships, but Goodson mostly keeps things unspecific. His lyrics traffic in simple metaphors — rollercoaster rides, climbing ladders — that prioritize clarity and universality. And while you'd be hard-pressed to glean any concrete details about what ails Goodson from his songs, the arc and shape of whatever conflict he's writing about is always immediately understandable. It's efficient writing that, while short on literary aspirations, only serves to tighten the songwriting.
A certain unambitious streak may be OUTOFBODY's only real shortcoming. Dazy does one thing so incredibly well that Goodson seems almost unwilling to push against the margins and see what's beyond them, perhaps for fear of diluting the potency of the project. Moving away from the confines of a bedroom recording set up, or bringing in occasional outside collaborators could help broaden Dazy's horizons going forward. One need only look at the band's excellent one-off collaboration with post-hardcore band Militarie Gun, "Pressure Cooker" — an easy song of the year contender — to see the kind of magic Goodson could create if he let a few more cooks in the kitchen. But as it stands, OUTOFBODY is an excellent debut — a truly rad blast of maximalist, hyper melodic rock music that serves as the perfect serotonin injection for the winter months ahead.