In order to stay relevant and remain afloat in rock 'n' roll's sea of changing trends and fickle audiences, bands who hope for any sort of legacy or longevity have few options other than to adapt, to experiment, to take risks. REM knows that. Just listen to their latest offering, Reveal; its dreamy soundscapes are a far cry from the angry guitar buzz of Monster or the rootsy jangle-pop of Out of Time. Radiohead knows about the importance of change, too; the surreal, free-flowing electronica of Kid A essentially made them the poster-band for musical adaptation.
Fortunately for The Juliana Theory, they, too, understand the need for experimenting with their signature sound. Too bad Love, their Epic debut, strips away the diversity of Emotion is Dead without replacing it with anything new or worthwhile. While their desire to deviate from the sound of their previous material is admirable, it's a shame to hear such an innovative act whittle away their wide array of musical influences and turn into a more routine, generic sounding rock band.
Though I miss the broad, effortless strokes of electronica, pop, punk, and rock that made the last Juliana outing such a colorful, versatile collection, the band's most endearing trait, their passion, remains fully intact. Some have accused lead singer Brett Detar of taking himself too seriously- and it's true that his emo sneer can be a bit grating- but it's clear that he cares about what he's singing about, and it's that zeal that makes an otherwise ho-hum rock album stand apart from the crowd. "I'm lost in myself and afraid of who I really am," he mourns in "Shell of a Man," and his pain is almost tangible. Likewise, his angry snarl on "Congratulations" turns what could have been a mediocre track into an album highlight.
Detar's vocals are tailor-made for The Juliana Theory's anguished emo/rock sound, but his band usually manages to keep up. Drummer Josh Walters proves himself capable not only of playing complex cadences but also of rocking out on "Congratulations," and the guitar double-team of Josh Kosker and Josh Fielder invigorates "Bring it Low," reminding the listener of just how much fun guitar rock can be.
On the album's first single, "Do You Believe Me," the group employs a few smart (albeit old-hat) moves to spice up their sound, such as a moody piano and "woa-oh" background vocals that would make Jimmy Eat World proud. Unfortunately, their bag of tricks is not quite full enough to spruce up all the songs on Love, which sometimes sound a bit homogenous or lackluster.
Fans of Emotion is Dead may be nervous to hear that the band redid "Into the Dark," one of the band's best-loved song, but the new track actually surpasses the quality of the original, thanks to an improved vocal and a vivified drum section. The heightened intensity of the song makes Detar's modern-day retelling of the prodigal son story all the more haunting.
The one modified parable aside, the majority of Detar's lyrics focus on the subject that the album is rather pretentiously named after. Once again, the band's searing emotion saves the day, making these fourteen angst-driven songs- all of which are, at heart, typical emo fare- sound like profound poetry. They're really not, but don't tell that to the legions of anguished, emo-loving teens out there; they'll be eating this stuff up.
"We're playing a game," wails Brett Detar on "Bring it Low," but it's obvious that this band considers their music to be far more than a game; on the contrary, they approach their work with the drive and the passion that made early U2 and Switchfoot sound so promising, so unforgettable. If The Juliana Theory is aspiring to join the ranks of those great bands, though, they're going to have to take some risks, to do something unique, to transfer their passion into genuine creativity. Still, Love is not at all a waste of time; it's solidly-built, emotive rock music, more accessible than the average emo record, peppered with signs of maturing musicianship and great promise.
Review Summary:
1. What does the album sound like?
It's predictable but passionate rock music. It's nothing new or particularly exciting, but the loud rock guitars and tasteful touches of piano will satisfy fans of emo or rock music who don't mind settling for something that's a little routine.
2. Is the album well made?
It isn't groundbreaking, but the musicianship is good. The songwriting is strong on the hooks and melodies side of things, but merely OK in terms of lyrics.
3. Will you enjoy the album?
You might, if you like rock music and you don't mind a lack of originality.
4. Final Score: 3 out of 5.
3/5
Other coverage for this album
HM Magazine #98Reviewed by Lonny HurleyLook out American Idol, seems like pop has some new kings. That would be The Juliana Theory. Don't take that the wrong way, though, as Love is another step in the right direction for Brett and the boys. In reviewing Love, my first determination was to find the faults in this album. Feel good songs with great melodies destroyed my early preconceptions, (and) singing along was impossible to avoid.…The Phantom Tollbooth August 2002Reviewed by Trae CadenheadThe new Juliana Theory disc is bound to be a surprise to long-time fans. The band was a favorite of many beginning with their emo/indie rock debut Understand This Is a Dream. With their second release, the band both lost and gained some fans. Mostly Emotion Is Dead was a well-accepted release, taking the band in a different direction, but it looked like it was all for the better. For their new…Similar sounding releases
2000FlickerstickWelcoming Home the Astronauts
2003HollandPhotographs & Tidalwaves
1999FuelSunburn
2006The Class of 98Touch This and Die!
2005A Static LullabyFaso Latido
2002LifehouseStanley ClimbfallMore from The Juliana Theory
2005Deadbeat Sweetheartbeat
2000Emotion Is Dead
1999Understand This Is a Dream
1999The Juliana Theory Was The Only Thing I Learned At Dawson High
2001Music From Another Room
2003Live 10.13.2001
