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Time Doesn't Notice
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Time Doesn't Notice
Current price: $14.99
Barnes and Noble
Time Doesn't Notice
Current price: $14.99
Size: OS
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Time Doesn't Notice
is the
Atlantic
debut of Tallahassee's
No Address
. The sound here is midrange modern
rock
. Vocalist
Ben Lauren
has perfected a gritty
Kurt Cobain
whine, and he curses enough to let listeners know he means business. Lead single
"When I'm Gone (Sadie)"
could be
Stone Temple Pilots
, but it could also be
Crossfade
,
Future Leaders of the World
, or even
Puddle of Mudd
-- bands applying the tenor of the
grunge
era to vague lyrical hedonism and repetition of obvious hooks.
"When I'm Gone,"
for example, revolves around
Lauren
taunting "La dee da dee da dee da dee," which makes the track a weird
cousin to
Eiffel 65
's
Euro-dance
novelty
"Blue (Da Ba Dee)."
detours a little into softer territory, too -- while
"Perfect"
and
"How Could I?"
have the ragged guitar and pounding drums,
"Too Proud"
is rangy midtempo
akin to
Matchbox Twenty
.
"Lasting Words"
offers plaintive chords, too, and the band pulls out the acoustic guitars and mandolins for
"Mother Sunday."
They also approximate a
post-grunge
Tom Petty
on
"Never Coming Back."
Tallahassee boys throwing support to a Gainesville guy. So
shows
' margins to be wider than those of their peers. However, the album doesn't ultimately make much of an impression. The next one might, but
can't figure out what it really wants to be. ~ Johnny Loftus
is the
Atlantic
debut of Tallahassee's
No Address
. The sound here is midrange modern
rock
. Vocalist
Ben Lauren
has perfected a gritty
Kurt Cobain
whine, and he curses enough to let listeners know he means business. Lead single
"When I'm Gone (Sadie)"
could be
Stone Temple Pilots
, but it could also be
Crossfade
,
Future Leaders of the World
, or even
Puddle of Mudd
-- bands applying the tenor of the
grunge
era to vague lyrical hedonism and repetition of obvious hooks.
"When I'm Gone,"
for example, revolves around
Lauren
taunting "La dee da dee da dee da dee," which makes the track a weird
cousin to
Eiffel 65
's
Euro-dance
novelty
"Blue (Da Ba Dee)."
detours a little into softer territory, too -- while
"Perfect"
and
"How Could I?"
have the ragged guitar and pounding drums,
"Too Proud"
is rangy midtempo
akin to
Matchbox Twenty
.
"Lasting Words"
offers plaintive chords, too, and the band pulls out the acoustic guitars and mandolins for
"Mother Sunday."
They also approximate a
post-grunge
Tom Petty
on
"Never Coming Back."
Tallahassee boys throwing support to a Gainesville guy. So
shows
' margins to be wider than those of their peers. However, the album doesn't ultimately make much of an impression. The next one might, but
can't figure out what it really wants to be. ~ Johnny Loftus