Wow, where to begin on this one? I must say that Deadsy virtually sounds like nothing else on the market. However, the individual characteristics of each song could be attached to one influence or another; some current, some dating back fifteen years ago. I'm still not sure how I feel about the drastic blending of similar, yet conflicting styles.
The first thing I noticed were the synthesizers used throughout the album. They sound like they were picked up at a yard sale along with an Atari and a Big Wheel. Remember Gary Numan's "Cars?" Same synth-sound. Add to this a healthy portion of big-thick Korn-like fuzz bass. Two cups of early 80s goth (a la Bauhaus and Sisters of Mercy). A dash of Marilyn Manson and Crash Test Dummies vocals. And perhaps, occasionally, a smidge of Bush-esque lead guitar.
For one thing, the synths stick out like sore thumbs. But they're terribly nostalgic and almost refreshing in comparison to the daily sludge we often receive from mainstream radio. The drums and percussion are fairly lethargic at times, but perfectly apt for the surrounding layers of music. The droning baritone vocals of Elijah Blue are surprisingly animate considering their eerie and methodical delivery.
"The Elements" is the first single off of Deadsy. Knowing that it is being geared for College and Alternative radio, I wonder if it has enough mainstream potential for success. The hooks (if they are even hooks) aren't very memorable. It isn't something I could see myself humming in the shower. This is not to say that it isn't a good song; only that in a crowded rotation of hook-oriented alterna-pop, "The Elements" may get lost.
The one major gripe I have about the album is that, as a whole, the album has no dynamics. Every song is mixed approximately the same. The vocals are produced the same. The fuzz bass is always ready for more. The Gary Numan synths seemingly never stop wailing over the course of the nine track album. If I had a penny for every song that sounded somewhat the same well, Id have eight cents.
The song that stands head and shoulders above all others is "Future Years." It's an epic, ballad-y, depressing song which slowly builds strength over a simple yet absolutely beautifully orchestrated chord progression. "Future Years" has such a basic structure; the simple progression allows the natural aesthetics of the actually song to shine through the gloom. This song alone makes the album more than worthwhile.
