"Darker Blue Bayou" takes off with a great clap-beat, supported by an assured groove. Troy Nelson and Mackenzie Mercer play back and forth with vocal leads. The rhythm drives deep into the bayou down I-10, never looking back.
I remember hearing "Dead Animals" for the first time; the second track to side-a. Mackenzie plus a muted power-pop guitar begin the song. Truthfully, my first impression was, "Oh no, it was too good to be true. They over delivered on the first song, and now it's downhill from here." But to my great and welcomed surprise, just about sixteen seconds into the track, The Young Evils brought me back to my imaginary dance floor, head swinging back and forth (wishing I had hair), and singing along to the lyrics (yes, upon first listen). Turning the volume up louder and louder, rift by rift, I simply could not get enough of The Young Evils' persistence; and we were only two-tracks into this inaugural listening.
Take a breathe, walk over to the turntable, and flip this beautiful wax to continue an amazing indie pop discovery. "The Devil's Barricade" finds Troy, with his hushed Jesus & Mary Chain -like vocals, taking the first step with another boy/girl tag-team approach to the vocals; I think this what I am beginning to like more and more about The Young Evils (it's keeps things interesting, and moving along). There is a familiarity with their music, much like The Rosebuds, leading you to believe you already know what's coming, yet creating a yearning for more.
Just as I am beginning to adore The Young Evils grittier comparison to UK indie poppers, The School, "Touch Tone Lovers" takes a sharp right hand turn onto 'Bad Ass Lane.' Do yourself a favor and go turn up the volume even louder than you had it before for this one; the drums feel so good, especially when The Young Evils drop out the bass for that break, leaving the guitars dangling out the window. Mackenzie's voice slides into a more chill, shoegaze-like vocal style, while the music, traditional to Rock n' Roll in many senses, really stands out on its own; presenting you with the truest of sounds for The Young Evils (and I love it).
Fin Records does not cut back in any way for this four song release. True to their form, the clear vinyl is simply immaculate. Inner sleeve embossed with their logo, pristine polypropylene bag to protect the artifact, Fin Records shows respect in many ways other won't. The two-toned packaging lends a hint to the modern day doo-wop inside. I just wish I could have told you all about this sooner.
