As someone who spends an unhealthy amount of time sifting through countless derivative emo and pop-punk bands, it has become increasingly apparent that I have developed some sort of bias. There was a period in my life dominated by the likes of Brand New, Taking Back Sunday, Jimmy Eat World and others. Bands of their ilk had an uncanny ability to conciliate us despite our self-perceived hellish teenage experiences. They utilized catchy, uplifting melodies that felt inviting and supportive, while often spouting discouraged lyrics that were easy to latch onto, however frail our grip. My experience of relying so heavily on these bands has resulted in a sort of musical comfort zone. Despite an urge to expand musical horizons and whatnot, it's comforting to know there are always bands that will console us regardless of how long we've strayed. As such, it's often difficult to critique upcoming bands of this style. Drawing comparisons with emo bands of the past is inevitable, and whether or not their derivative nature is a bad thing depends on a number of factors.
Indeed, at first glance Grey Gordon bears a striking resemblance to just about every emo-pop-punk-whatever band you almost forgot you loved. His lyrics display a biting wit, and are never saccharine to the point of being cringeworthy - unlike the majority of the disposable emo bands you've heard, admit it - and Gordon sounds very determined. While pop-punk lyrics can often sound lazy in their naivety, Gordon truly delivers with a sense of purpose. As such, the overall sound resembles the result of centralized emotions rather than sudden cathartic outbursts. This delivery can be very polarizing, and fans of a more overtly passionate sound will no doubt be skeptical of Grey Gordon's soft-spoken acidity. However contrived the vocals may seem,
Forget I Brought It Up rarely plods along lifelessly. Rather, the album is consistently energetic. Hooks? Yes, rest assured this album has them in abundance. The verse on album opener "Barstools and Haircuts" would feel comfortable on any GOB record and is surprisingly infectious, starting the album on an optimistic note. "Count Me Out" has a catchy, tumbling drum beat and vocals resembling a toned down Belvedere, circa
Fast Forward Eats The Tape. Occasionally Gordon is so painstaking in his soft delivery he even resembles Ben Gibbard, particularly on "Hardened Regards".
Upon completion,
FIBIU does little more than remind us of bands that essentially did the exact same thing, albeit less consistently. Grey Gordon has managed to pluck all of the ripest apples off the nostalgia tree. From beginning to end,
FIBIU is crammed with hook after hook, jaded lyric after jaded lyric, and unnecessary instrumental fill after... well, hopefully you get the picture. While there is nothing strikingly bad about this album, it simply does't take enough risks to tempt any sort of emotional investment. The instrumentals, while serving their purpose dutifully, are collectively too stale to compliment Gordon's earnest lyricism, and this makes the album seem conceptually artificial. It's as though Gordon jotted down his lyrics at a time when his heart was invested, but felt obligated to pound out a full-rostered record. His delivery is simply too reserved to keep up with the instruments, and they have to be tethered so Gordon doesn't feel threatened. It's a disappointing offset.
Despite these criticisms, I am still reminded of that cursed aforementioned comfort zone, yet I would have relished the thought of Grey Gordon pushing beyond it. While consistently catchy, and lyrically sound,
Forget I Brought It Up is indeed forgettable. Granted, you will likely have the occasional hook stuck in your head, possibly for months to come, but Grey Gordon fails to make an impact that doesn't feel limp-wristed.
