California groovin’
August 6, 2004 | 12:00am
Although sometimes thought of – and quite cruelly at that – as a rock group that is content to live in the shadows of the much-hyped Incubus, this post-grunge foursome from Los Angeles just shrugs it off in style. For even if this perception may have a certain amount of truth into it, Hoobastank has proven once again that by shutting up, the band is actually able to speak louder. And since its eponymous debut album in 2001, the group has always followed up with a more developed and mature sound style.
In their latest effort, Douglas Robb, Dan Estrin, Markku Lappalainen and Chris Hesse continue to break ground in the suburban California groove genre. Subsequently (if not inadvertently), this reached worldwide appeal.
"The Reason," with its 12 obviously handpicked ditties, is quite enjoyable, with tight harmonies and a harder-edged drive. The latest single of the same name, however, is a bit overrated – a sappy rock ballad that belongs in the trenches of (ugh!) Linkin Park. This certainly boils down to personal preference, but I think many would agree that it might already be one of the most overplayed hits of the year.
The record opens with Same Direction, an upbeat piece with some creative drumming, and is quickly followed by the likewise energetic Out of Control. Just One then shuffles in and begins with a nice, catchy riff before escalating into an agreeable chorus. Another interesting gem is Lucky, which showcases the Ovation guitar as a rare main ingredient. But how they are able to fuse the track with their own heavy approach is what makes it all the more impressive.
Perhaps the only sour note on the album is From The Heart, which, although brightened with sufficient lyrics and another mix of the unmistakable Hoobastank brew, still sounds hacked alongside a generic lead guitar. Fortunately, the band quickly makes up for it with Let It Out – an honest number bound in a straightforward manner and creative flow.
The second half of the album slows down a bit, as it further explores (and quite deliciously) more of the band’s versatility as individual musicians. Unaffected is good, and Never There notably makes use of a flurry of intermediate chord changes. And although a little too complicated technically, the song somehow pulls it off with a simple melody, and some cool, unexpected breaks between verses. Disappear, which is definitely a lot better than The Reason, could arguably be the album’s best track. Some may find it rather soft, but it’s still a great melodic piece with precious vocals. Disappear is a fitting end to a record, which, more than anything else, displays the vast improvement of the Robb’s lead singing.
All in all, the album is composed of two parts: the first of which features hard rock chords dubbed over the intense vocals. It anchors the entire record and prompts an almost crushing level of modern American pop, making it seem like the group was easily competing with the comparatively loud and fast beats of The Exies and Bush. Contrasting the sheer intensity of it, the second half’s decidedly slower ballads show the band’s calmer side.
Roughly synchronized, passionate, and expressive, "The Reason" is definitely worth a listen. It’s still not a classic, but it makes you wonder if this could be the band’s prelude to their masterpiece.
(Author’s note: Hoobastank will be performing here in Manila on August 17 at the Folk Arts Center.)
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