Shy’s garage cut Astoria lacks boldness, originality
storia. Led by front man Kyle Krone, The Shys’ album clearly pays homage to more established and popular bands. Perhaps “pays homage” is a bit generous. The proper phrase might be “rips off.”
Krone doesn’t sound exactly like Strokes front man Julian Casablancas, and guitarist/bassist Chris Wulff’s riffs definitely didn’t come from The White Stripes’ Jack White’s fingers, but Astoria feels like a quilt of little pieces taken directly from other, more original artists and stiched together into a passable album.
The first single off the album is titled “Call in the Cavalry.” The song opens with a standard pulsing bass beat that is quickly eclipsed by an attempt at a catchy guitar line.
The track explodes into the anthem-like chorus and disappears just as quickly into another round of breakdown and verse. As a single it sounds tired. It is not surprising that “Call in the Cavalry” has not made it onto the radio.
Their “Having it Large” is a little less lethargic, but it still sounds too familiar. Krone’s vocal styling is eerily similar to that of the Hives’ Pelle Almqvist, and the distorted vocals only add to the resemblance.
Astoria is not without bright spots. The Shys’ style does not only borrow from modern garage rock, but there are also nods to The Rolling Stones and New York Dolls. The work of keyboard man Alex Kweskin is consistent and solid, especially on “The Resistance.” After an extended opening, Kweskin paints each verse with a descending syth line, truly making the song.
“Never Gonna Die,” the first track off Astoria, is also enjoyable. Like “Call in the Cavalry,” it is a high-powered pop-rock arrangement with a peppy chorus. With better drumming the song might even be danceable.
In fact, the drums could use some major improvement throughout the album. Drummer Michael Walker certainly is a driving force behind the group’s sonic energy, but his ideas lack originality. Sharpening the drum sound during the mixing process might have allowed Walker to emerge as a musician rather than simply a muffled timekeeper.
Personally, I expect a good final track from every good album. Unfortunately, the Shys close Astoria with the anemic “Open Up The Sky.”
The song sounds just like any of the other tracks off of the album, only slowed down and dragged out. The band also chose to throw in a barely intelligible spoken word section that does nothing for the track.
Those who really like garage rock should not be scared away from the album or from the Shys’ upcoming Houston show. After all, Astoria is not a bad CD — simply an unmemorable one.
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