Review Summary: Growing up and moving on
Shoe were an oddity of a group, every step of their career was an attempt to outdo themselves in being as counterproductive as a band could be. Despite having been together for an entire decade under two separate band names, the group only managed to squeeze out three releases in that span of time. Beyond that, their vocalist would consistently release music under a solo project then promptly nuke it from the internet, they’d release their music for free at random, when they finally broke up in 2011 they did so through a low-quality Windows Movie Maker slideshow, and then they would keep activity consistent online before ceasing all social media activity in 2014 and wiping out their entire music library. This more or less makes many of Shoe’s releases lost media, with the entirety of Shoe’s vocalist's side project being gone forever.
As odd as a band as they were, belting out nonsensical, quirky indie rock with their debut EP,
Egg; There was a shocking, dramatic matureside to the group. It was a shift in tone and attitude displayed only less than a year after their debut with
SDAASLOI which saw the band going from “Heaps of Bacon” and “Science Dog” to a record biting with an edge of apathy indulging in themes of sarcasm, bitterness, appalling sexual desire, and plain and simple patheticness. It was an image so different one could mistake both releases as records from two completely different bands. Even odder was that the record was released in an unfinished state, with track titling and album art being released years after the initial release of the album.
What happened between the release of their EP and the recording of their final record that drove them to not only see a dramatic change in attitude, but to release it in an unfinished state? The air of mystery surrounding this record is just one of the many things that make
SDAASLOI a record to remember. The urgency to get serious and grow up, while continually fighting against that notion stings strongly on this record. Sharing many cues with various big name pop rock acts of the 2000s, this record is a riff and groove heavy rock record with the loud-sing along angst-filled lyrics and poppy choruses to give you earworms for days.
However, the angst of this record begins to take an uncertain backseat just a few tracks in while lyrically it begins to explore a more introspective outlook on the members’ lives and the people around them. Thanks to the simplistic nature of the instrumentals focusing on quality over quantity, the absolutely infectious nature of the backing lends strength to making the lyricism a stick out that slowly, but surely embeds itself onto your brain as you find yourself singing along and coming to an understanding over what it is Shoe are trying to say. A dirty trick, perhaps, tricking the listener into subliminally digesting the meat of the record. But it works amazingly for the group.
From the chugging bass and jumpy riffs of the first track, “Pottymouth”, the listener is already invested with Shoe’s performance before their vocalist’s first belt of absolutely captivating melody. His gruff vocals and clean, melodic lead harmonies both work together majestically with a stabbing tinge of nonchalance and contradictory emotional turmoil that gives the album that “sing-along” quality of which it begs you to follow. “Girls and Their Bits” features an absolute killer spanish guitar lead that moves fast with elegance and dances quickly around the feet of the narrative of lusting over a girl during a dance. “Happy Again” is a slow riffing track with a catchy chorus and a groove-out jam session for a bridge that repeats the notion that “we’ll all be happy again” even if the verses discussing a girl who can’t keep composure when facing even the littlest of things suggest otherwise. The track even plays out with a quiet, solemn rendition of the main melody, mirroring the contrasting nature of the record.
These are but a few examples of the craftsmanship of this record working with the basics of a genre’s formality and using it to the absolute highest degree Gripping with a slap of reality in the songwriting while desperately trying to rekindle the dying flames of youth with fast, energetic, and fun instrumental work. When the album does conclude, between the two closing tracks “Orange Peel” and “Spurhouse” both represent the band finally letting go of their youth, looking at one final reflection before ending it with the continuous yells of “Let’s Dance!” for one final celebration on the latter track.
SDAASLOI is a record that, for all intents and purposes, is here to just vent. A platform to express disgust over relationships, regrets, and depression before sucking it all in and moving on with life. It does it through a retro sound of an entire decade it’s leaving and finds a unique spin to make it a memorable and powerful record that sticks with you for a long time.
While Shoe are long gone, wiped off the face of the earth, the album they leave behind stands as an intriguing and curious slice of maturity out in the open for the few who take the time to listen to and jam with. At the end of the day, enjoy your last dance, pack it up, and head on home. It’s time to grow up.
