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BUY THE CD
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I’m so tired of talking about bands that I can’t understand—especially ones that talk about the importance of lyrics. Yes, Dilly Dally, I understand that you idolize and mimic bands like The Pixies—and that the wailing/screeching sound you call singing is just as important to the music as the lyrics themselves. But if that’s the case, then don’t talk about how your lyrics are “so, so important” in your presser and then disclaim it at the end by telling the reader that you need a lyric sheet to get the full effect of the album (Whew! I actually feel better after that.)
With that said, though, Sore is good little debut...musically, at least (and yes, that includes the sounds of the lead vocalist.) “Desire” kicks things off with a nice mixture of soft melodies and hard chorus lines—which, when coupled with some thumping bass lines and drumming, comes out sounding like something reminiscent of Weezer (which, in this case, is a good thing).
“Ballin Chain” picks up the pace and adds some beachy chords and screechy guitar solos, which really just serves as a decent transition into “Snake Head,” a grungy yet playful number that will no doubt induce multiple playings.
“The Touch” brings back the beachy chords and doubles up the drumming to give a fresh break up to the sound. The fact that it gets lost in a jamfest toward the end gets balanced out well by the smooth, celestial nature and short running time of “Next Gold.”
“Purple Rage,” just in case the title doesn’t give it away, is the hardest of the album—a definitively rock-based thumper, in which Katie Monks’s scratchy yelling feels most at home. “Get To You” combines slow percussion with a trilling melody to create a type of slow burn that I can picture angst-ridden college students smoking cigarettes in their rooms to. “Witch Man” just comes and goes, but “Green” quickly gets things back on track with the return of a fast pace and an ignited passion in Monks’s hollering.
“Ice Cream” doesn’t do much to reinvent the wheel in terms of sound, but it stands out for its combinations of dynamics and flow. And “Burned By The Cold” wraps things up with a surprise addition of a piano, which works incredibly well and previews a little something to look forward to in the next album.
All in all, Dilly Dally makes quite a first impression—and the band already seems to be looking for ways to improve their sound. If I may recommend this album in a written tribute to a style that only Katie Monks can deliver, “BUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUYYYYYYYYYYYYYYYYYYYYYYYY IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIT!!!!”
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