Neon Blonde is the collaborative effort of vocalist Johnny Whitney and drummer Mark Gajadhar of the Blood Brothers. Electronic noise replaces the punk rock of their former act. While I will usually play the music of the artist I am reviewing while writing a review, this is the first time I have found it impossible to think under the distraction of this particular band. I hope that this, more than anything, will suggest what you are in for, if you are considering this album.
The deciding variable here, in the... "Will I like this band?" formula, will surly be the vocals. The instrumentation of Neon Blonde is in no way "psychedelic." Either a keyboard or a guitar will run over alternating drum machine styles in repeating patterns. However, Whitney's largely modified voices leave the ground, oblivious to what the rest of the band is doing, creating a semi-psychedelic effect. He shows no restraint in his high but raw voice, as if he is trying to drown out everything but himself.
The chorus-verse transitions pass quickly, many times, without being noticed due to a heavy lack of dynamics. This is not necessarily a bad thing on tracks like Headlights where the keyboard finds a suitable niche between the ticking high-hat and dramatic shrieking. The melodies are buried in a thick jungle of abrasive sound. It may take you awhile but the chaotic dance quality of Neon blonde becomes increasingly likeable.
Kudos to Johnny Whitney and Mark Gajadhar, for an applaudable effort at producing an original sound. Perhaps it is the overwhelming minor key tonality or maybe the incessant droning of a man and his microphone, but there is something in their sound that does not sit well with the ears. It is in this collision of noise that the music becomes something accessible.
3/4
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