Customer Reviews

Permalight

5 star:		(6)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

"Will you be the bed for me when they set the world on fire / just to see it burn?" frontman Zach Schwartz asks on "Solitary Gun," the opening song off Rogue Wave's deliciously bouncy new record Permalight. For a band that has been through some of the hells Rogue Wave have suffered over the past few years, including the death of a former bandmate and one member's struggle with kidney failure, "Solitary Gun" is an unexpected shot in the arm, a booster of unbridled joy and money hooks that belie the song's apocalyptic images. Indeed, "Solitary Gun" is a most unlikely anthem, one that sets the tone for the rest of Permalight as a bright, buoyant beacon of hope.

Viewed through the context of the band's three-year hiatus and the tragedies the members' themselves have suffered, one would be forgiven for thinking that Permalight would be a dirge of a record, one mired in weepy indie pop and bent on exorcising the ghosts of its past. But while it does exorcise those ghosts, it does it in the most defiant way possible, through bubbling synths and lyrics about love machines like on the obscenely catchy "Good Morning (The Future)," or via quietly surging lullabies like the beautifully glacial "Sleepwalker." Gone are the dreamy guitar-pop of their past and the constant Shins references - Rogue Wave have embraced electro to buff up their strikingly powerful guitar hooks, and rather than lose themselves in a fad they assimilate it flawlessly, as one listen to single "Good Morning (The Future)" quickly proves.

That's not to say that the folksy heart of Schwartz's songwriting has been subverted by mindless hooks; rather, the electronic additions to songs like the gently swelling "Fear Itself" and the jittery hooks of "Stars and Stripes" inject a whole new kind of life into the proceedings. But at the heart of it all is Schwartz's relentlessly heartening songwriting, which floats from effortless pop-rock to whispery ballads with the same ease and, more importantly, the same strength, both lyrically and musically. It's the way the gutsy bass line and ragged guitar slowly build to a hammering chorus on "Right With You," the way "I'll Never Leave You" somehow turns one of the more clichéd sentiments in rock `n roll into a heartrending promise with just a shaker, handclaps, and some beautiful harmonies, the way that every song here just seems overwhelmed with joy. It's hard to describe the perfect hook with words, but suffice it to say that nearly every song here has that sublime ability to punch one right in the aural stomach, the place directly attached to your foot-tapping and singing-in-the-shower nerves.

This isn't a perfect record, as made evident by the annoyingly repetitive title track or the way things sort of tail off by the last two songs, but it's leagues ahead of your average indie pop album, and it's certainly Rogue Wave's best effort yet. Their ability to turn what would have wrecked many bands into an unfettered success is Permalight's biggest triumph, and the listening experience is just as enticing a treat for the listener. More than anything else, though, Permalight stands out as a life-affirming testament to the human spirit, a collection of songs that come off as just so incredibly happy, so godda** upbeat, that it's impossible not to fall in love with it, with everything.

The Shins really went the same route with Wincing the Night Away; more of an electronic gumball pop album that seems to be about 75% mainstream pop/rock and 25% Shins. Same with Permalight. Starts OK and really fizzles out as you go through. I can barely bring myself to finish listening to the entire album. Some of these tracks are just mystifying - and not in a good way, but rather in the way that you wonder "why bother?". Now for the compulsory "I liked these guys before they were cool"; I did, my wife and I watched them opening for Shins in Norfolk about 6 years ago and bought their album afterwards (which they signed). Great, great stuff. I'm not a naysayer for Rogue Wave. Just liked the quirky instrumentals and vocals and totally absorbing rhythms earlier on a little better. You can take this with a grain of salt; the true Rogue Wave fan is nevertheless compelled to buy this album, for completeness if for no other reason! :)

Permalight seemed too monochromatic when I first listened. Sure, "Solitary Gun" is a chugging kind of catchy, but really none of these songs stay with you. There's a thin line between filler and real content--and that's what makes Permalight so tricky: these are all good songs, no clunker. But They all straddle the line of merely good filler.

Aside from that, Rogue Wave seems to have indulged a little more of their anglophilia (you'll catch a whiff of a faux-Brit accent throughout). "Good Morning," like a lot of the album, sees RW drifting toward electro-funk with a weird 80s freak-robot-spook bridge, but the classic hooks are there. It's new for them (in a drum machine kind of way) but it works. Think of Asleep At Heaven's Gate's "Phonytown," extending its interests.

"Stars and Stripes" is Wave elvolving, but in a suitible and natural way, as in it doesn't sound contrived or forced. But the title cut is more electro-stomp 80s, which is all fine and good, but when you realize that that's the indie vogue right now, and that Rogue Wave have kind of abandoned their established (sometimes haunting) indie sound to chase it, it lets you down.

The album starts strong (I like all the first six, regardless of artistic integrity), but drifts a little from there. "Fear Itself" is unconvincing, but still musically interesting, and very catchy. The next few songs, though, reach for pop success but don't feel as rewarding as some of their previous work.

Still, Permalight closes on a strong note. "I'll Never Leave You" is softer, a throwback to old school Rogue Wave, and "You Have Boarded" is heavily vocally distorted (in a good way) British Invasion with a nice guitar lick. And then the micro-cut "All That Remains" rushes in with acoustic guitars and a born-again chorus; a fitting and quirky closer.

Overall, if you follow Rogue Wave in from Out of the Shadow, Publish My Love, and Asleep at Heaven's Gate, you may be let down. These are all solid tunes but nothing catches you quite like "Endgame," "Perfect," "Manna," or the rediculously catchy hit "Lake Michigan." It seems that RW was frustrated at never striking crosssover indie gold and Permalight could be readymade to that end. If you like the current indie retro New Wave environment, give it a try. And if you're a long time fan you should still pick it up. Just know Permalight is not transcendant.

Rogue Wave is one of the few bands around today that you really can't compare to anyone else. I know people toss around names like The Shins or Death Cab, but really Rogue Wave just sounds like Rogue Wave - and to me that's a very good thing. It's a tribute to the band's ability to create songs that are sonically varied and adventurous, and to their desire to grow and evolve from record to record. I've always been a firm believer in allowing bands the space and freedom to stretch and experiment. I don't understand why so many people seem to want their favorite bands to make the same record over and over again. "Permalight" is definitely a departure from "Vultures" and "Asleep at Heaven's Gate," but you can still find bits and pieces of the band's past scattered across the songs. Granted, tunes like "Goodnight" and the title cut are not going to be to everyone's taste, but after several close listens I found plenty to like about them - and for those who want their old beloved Rogue Wave there are great songs like "The Fear Itself," which would be right at home on any of the band's previous records. I give Zach credit for coming through difficult personal times with a bright outlook and a willingness to push himself and his band forward. It's called personal and professional growth, people, and it's the only thing that keeps an artist both relevant and interesting. Rock on, Rogue Wave!

The latest work by Rogue and company is full of nice surprises. This CD is a bit more pop than the last few, but it still contains the quirkiness of their other CDs. My current favs are "Fear Itself," "Right With You," "Solitary Gun," "We Will Make a Song Destroy," and "I'll Never Leave You."

As a whole, this is a more emotional album. It's not as "pretty" a sound as Asleep at Heavens Gate. It isn't worse, it's just different.

The percussion is not at the forefront, the electronic sound heavier, giving a much more haunting tone to this album. People have said it's more "pop" but they are wrong. The more repetitive and powerful chords aren't there for a pop sound, but to drive home the point. They need to listen more closely. This album has more pain and less hope. Zach's voice is more painful on their sophomore work. You can't understand him quite as well and it skyrockets up to the limits of his range. This is not a "pop" album, it's a painful album that should make you feel rather than rock out.

Some of the lyrics are far more moving than on Asleep. However, the lyrical entirety is more repetitive and not as intricate. Again, I think this is because it's a more emotional body of work. Asleep told a story, this one showcases raw emotion.

I love this album, I mean, really love it. Bon Iver had my 2009 album of the year selection, and this one could of been my 2010 selection, if it did one thing..... They should of never put the poppy "Good Morning" song on the album. Its like they stole it from some 16 year old disney sponsered singer or band. The rest of the album is pure money though. If you blended The Ocean Blue, Hoodoo Gurus, Death Cab, and a bit of R.E.M together, this album is what you get. Its to bad about that darn song though...

My favorite Rogue Wave album is their first, the organic, acoustic guitar driven, and somehow psychedelic "Out of the Shadow." "Permalight" is the furthest thing from that, but a logical progression through their discography. It is very "Poppy" with much more blissful melodies and electronic infusions. In fact, 3 or 4 songs on this album use a drum machine in the band's effort to make nearly danceable rock music.

I must admit that I prefer the organic sound of their first album, but "Permalight" is probably their best album since for many of the same reasons. It still presses all of the same emotional buttons for me, and the studio ear candy abounds. So many little pieces seamlessly come together to make each track, that the album is fresh and even improves with a half dozen listens.

One of my friends, a true indie rocker, can't get over the electronic and poppy sound. I can appreciate that, but this album has all the chops and quality of Rogue Wave at their best. If you're a fan or an interested newcomer who can deal with a shiny-sweet tune, give this one a listen.

Hoping that some older Rogue Wave ends up in the 100 albums for $5 soon. Can't stop listening to it.

I'm new to Rogue Wave, so I don't have the perspective of the long time fans. All I can say is, it's the best pop music of 2010 I've heard so far. It reminds me of the pleasantly catchy pop you heard on alternative radio in the mid-late '90s: Think Foo Fighters' "Big Me" ("It's you...I fell into") and Oasis' "Wonderwall". I hear a lot of Elliott Smith here too. Now I loved XO and Either/Or just as much as Roman Candle and Elliott Smith, so maybe you can compare that to new vs. old Rogue Wave as well.

Also, I commend Rogue Wave for putting the two best tracks at the beginning of the album. I prefer to get hooked in first, which keeps me happy while the rest of the album grows on me.

This is not groundbreaking music. If "retro" can apply to the sound of 1995-1999 music now, that's what this is. I for one love it.