They provide an easy segue into the more traditionally structured, car-friendly hooks of “Back of Your Head” and “Tiny Raindrop” and as Things progresses, B&C have subtly involved into a band that learned enough from their heroes to troubleshoot some of their mistakes. They’re inversions of Sunny Day Real Estate’s “Circles”, forgoing grunge dynamics entirely by lunging out of your speakers and using the chorus as respite before another tidal push. There’s a strange quirk where it sounds like the band is trying out new guises in two-song chunks: during the opening duo of “Parachutes” and “Lost Your Name”, B&C are a plutonium-powered emo band relying more on force than finesse, on slowly cresting melodies and sustained vocal howls rather than sharp hooks. It’s a powerful formula and one B&C wisely try to replicate throughout The Things We Think We’re Missing. And yet “Reflection” reminds you of how those qualities can feel like survival skills at an age when every social setting feels like a warzone. As far as the lyrics go, they’re filled with self-loathing, envy, judgment, anger, fear, pretty much everything that registers as a character defect to an adult. Meanwhile, Jon Simmons’ despondent vocals are softened with slightly flat harmonies- he can’t decide whether to be feared or to be loved or whether he’s just in fear of being loved. A drum roll leads to what sounds like what should be a chorus of epic emotional venting, yet the band effectively renders the straightjacket of one’s self by thrashing in place. A gorgeous lead riff from Andrew Slaymaker (real name, no gimmicks) introduces “Reflection” and is bodyslammed into altered shapes by two pounding chords. There’s no conflict here, just pubescent confusion of encountering growth and emotions you don’t have the ability to process. Upon hearing it, a colleague of mine with more refined tastes said, “I’ve never felt that way in my entire life.” It’s a testament to “Reflection” when that way can be identified so quickly. But as a genre piece, it’s damn near perfect. On lead single “Reflection”, the answer is tacitly an emphatic fuck yeah, though I don’t sense that emphatic positivity is something it would cop to. It’s even better if you don’t care about that shit at all, so the only question is, are Balance & Composure good at what they do? In other words, it’s “alternative rock” in exact terms and nothing about this will make you feel cool or more connected to the zeitgeist. As such, this record looks to fill a void for people seeking popular rock music more stylish and emotive than, say, Avenged Sevenfold, but aren’t really in a position to opt out into counterculture. The Doylestown, Penn., quintet have made an unapologetically old-school alt-rock album of jet-engine guitars, impotent rat-in-a-cage rage, and searing, soaring vocals- it isn’t about teen angst, it just sounds like it. Since most of you stuck around, let’s consider Balance & Composure’s second LP The Things We Think We’re Missing. If you’ve resolved every resentment you’ve carried from high school, are in a conflict-free relationship with your significant other, and have not taken a minute in the past few months trying to figure out in literal terms what the fuck is wrong with you people*?*, then by all means, carry on.
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