My interest in My Friend Stephanie goes back a little over a year ago. Someone had recommended the band they were opening for, so I took off for the North Carolina coast for the weekend-and a chance to see a couple of bands I hadn't seen. The weather was horrible, but concert time came soon enough and I headed for Jacksonville. I had no idea who the opening band was going to be, but I got there plenty early to catch them. Good thing, too.
My Friend Stephanie really impressed me-especially the lead singer's vocals. The dude can sing. Their tight pop also impressed me. Well, the band that followed didn't impress me, and I walked out; but there, waiting at their merchandise table, were the members of MFS. I stopped to chat.
Turns out the dude singing like crazy on stage was none other than Drue Bachman, possibly the one guy in more Christian bands than anyone else-other than Terry Taylor. I originally remember seeing him about 10 or 11 years ago, with his brothers as the Bachman Brothers. (Heck, I have a 4-song 7" vinyl EP to prove it.) Several years later, I saw him in his brother's noted band Sunday Blue. Then, I was helping set up for a Dana Russell/Age of Faith show and who should Age of Faith's bass player be but Christian music's hardest-working (or at least most prolific) bass player-yep, Drue Bachman.
As we talked, I found out that My Friend Stephanie was his band in between the gigs mentioned above and playing bass for yet another band, the Throes. Anyway, I picked up-and enjoyed-their indie tape that night.
But, I'm supposed to be reviewing My Friend Stephanie's national debut, Make Over. So let's get to it.
In brief, My Friend Stephanie is kinda like what you get when you take Toad the Wet Sprocket, turn the intensity up just a tad and mix in a touch of Sixpence None The Richer. Make Over is an aural treat for anyone into modern rock/pop: jangly at times, and a wall of sound at others.
Bachman's vocals are often reminiscent of Toad's Glen Phillips-crisp, high, and clear-and the song styles are of that alternative-leaning pop that Toad does well. But it's not like they are a copy cat band at all. While they have that jangly feel, there is also an dreamy ethereal effect on several songs-that's kind of the Sixpence influence I hear. Theirs is highly melodic rock with many layers, a very culturally relevant sound for people who listen to pop radio.
Lyrically, the songs are of the poetic ilk. Those looking for "I Love Jesus" lyrics will not find them here. The songs address life from the Christian viewpoint. Some are obvious in their message; others need to be digested and provide food for thought through several listenings.
As I'm thinking about other releases this year, this is a definite contender for my choice as this year's best non-Fleming & John release.
