Post by thesoundmonitor on Apr 9, 2004 21:39:30 GMT -5
ROTARY 10
It Starts Again Single
(Independent) ROT10001
Misrepresentation bothers me. Let me explain. Perth four-piece Rotary 10 describe themselves as a bar-fight between Evanescence, The Superjesus, Something For Kate and Magic Dirt. The common denominator with these bands and Rotary 10 is the inclusion of one lone female band member – but there the likeness stops. Rotary 10 display no touches of polished goth-pop, introspective indie, or punk inspired rock and therefore such a comparison should be ignored. Lesson learnt? Just because you own a CD from a certain band does not mean they influence your sound.
That said, Rotary 10 do display touches of The Superjesus, and not just by having femvox. The song-oriented guitar rock does remind one of early ‘jesus as they were grappling to find their identity. Unfortunately, ‘It Starts Again’ is still below that par, though there is plenty of promise.
I think the biggest problem the band has is their inability to cull needless sections from a song. That, and the substandard production. Many riffs here just detract in their placement and could either be moved or cut completely for better effect. And whilst I appreciate independent acts must rely on cheap recording facilities, such a position might be suited to the production of demos as opposed to fully-fledged single releases.
‘A Song In Ordinary Time’ though recorded live is a better tune, although just as long-winded in places as the band struggle to create segue ways between riffs. This mellower tune has one of those familiar choruses that you feel like you’ve heard before but just can’t pin it down, while the inclusion of an ‘accoustic’ [sic] rendition of ‘Sleep Wide Awake’ allows for male vocals as does early parts of ‘Sounds Like Words’.
A revisit of ‘It Starts Again’ in the form of an ‘F.U. Mix’ leaves one wondering what the difference is apart from the subtle, almost inaudible inclusion of “fuck you” in the mix.
Don’t get me wrong; there are good songs here. Beneath the poor production and uncomfortable structures there is promise, and I’d be keen to see that realized.
By Warren Wheeler
www.rotary10.com
It Starts Again Single
(Independent) ROT10001
Misrepresentation bothers me. Let me explain. Perth four-piece Rotary 10 describe themselves as a bar-fight between Evanescence, The Superjesus, Something For Kate and Magic Dirt. The common denominator with these bands and Rotary 10 is the inclusion of one lone female band member – but there the likeness stops. Rotary 10 display no touches of polished goth-pop, introspective indie, or punk inspired rock and therefore such a comparison should be ignored. Lesson learnt? Just because you own a CD from a certain band does not mean they influence your sound.
That said, Rotary 10 do display touches of The Superjesus, and not just by having femvox. The song-oriented guitar rock does remind one of early ‘jesus as they were grappling to find their identity. Unfortunately, ‘It Starts Again’ is still below that par, though there is plenty of promise.
I think the biggest problem the band has is their inability to cull needless sections from a song. That, and the substandard production. Many riffs here just detract in their placement and could either be moved or cut completely for better effect. And whilst I appreciate independent acts must rely on cheap recording facilities, such a position might be suited to the production of demos as opposed to fully-fledged single releases.
‘A Song In Ordinary Time’ though recorded live is a better tune, although just as long-winded in places as the band struggle to create segue ways between riffs. This mellower tune has one of those familiar choruses that you feel like you’ve heard before but just can’t pin it down, while the inclusion of an ‘accoustic’ [sic] rendition of ‘Sleep Wide Awake’ allows for male vocals as does early parts of ‘Sounds Like Words’.
A revisit of ‘It Starts Again’ in the form of an ‘F.U. Mix’ leaves one wondering what the difference is apart from the subtle, almost inaudible inclusion of “fuck you” in the mix.
Don’t get me wrong; there are good songs here. Beneath the poor production and uncomfortable structures there is promise, and I’d be keen to see that realized.
By Warren Wheeler
www.rotary10.com