You know that extended high-speed drum-loop ending to the classic Jimmy Eat World tune "Lucky Denver Mint"? Well Balboa incorporates the same kind of a thing into the ending for "Carousel", the last track on this their first, self-titled effort. It's a good ending to an only somewhat interesting full-length if you can call a collection that clocks in at 26 minutes and 34 seconds "full-length".
A press release comes with most of the albums we receive; something from the band's PR guy or label. Balboa's press sheet tries several times to drive home the point that the band "defies genre classification." Good thing I screen these things or you might believe that was true. Or, wait a minute, you'd figure that out thirty seconds into the first song. Because, while Balboa's musicianship bespeaks a talent ripe for a harvest of creativity, they are currently employing said talent to make music that sounds exactly like you'd expect it to. They're not reinventing the wheel; this is definitely stereotypical hardcore albeit of the more emo-ish variety. They're in a slightly more specialized sub-genre, fine. But nothing new. Lots of "pretty" picking interludes, anguished as opposed to brutal screams for vocals, semi-interesting time signatures.
Don't get me wrong. Balboa is not a bad band in the true sense of the word. Their music is pretty interesting for what it is. And there are plenty of awesome bands out there doing their own variations on the types of music we've all heard our whole lives; it's traditional and great, Weezer's straight-up catchy rock, or Jurassic 5's simple neck-snapping rap providing easily recognizable examples.
Unfortunately, hardcore is fighting a bit more of an uphill battle seeing as how it often has far less melody than other music, coupled with what are usually completely unintelligible lyrics.
The aforementioned "Carousel" is the album's highpoint along with the second track. The closer as a whole is a strong piece with a swinging drum beat that drives the song after the jazzy driving style perfected by Zao's Jesse Smith. Speaking of Zao, the wide swath of harmonized octaves underlying this final song's "chorus" engender that special tingling sensation you get when listening to "The Ghost Psalm". Hardcore has less melody, but when it shows up juxtaposed with dissonance or just hard chords, it can be that much more pleasing.
The album works well as a package, with simple cover art and a bonus for hardcore fans, the actual lyrics, included. You'll also find a personal note from vocalist Peter Bloom regarding the lyrics which is nice.
Overall, a somewhat satisfactory try which can still be improved upon exponentially.
2/4
