Mineral Kings

Metropolis (Hillside Records, www.mineralkings.com, '02) Rating: B+
When guitarist Art Forte contacted me about reviewing this album I made no promises and had no expectations. Fortunately, like other such recent "bribery reviews" (Burning Brides, Nate Ruth), Metropolis pleasantly surprised me, and if you look at their Web site you'll notice that I'm not alone in my admiration. The band should be applauded for their aggressive marketing, but only because they have the tunes to back them up (for the most part, anyway, but more about that later). I'd classify them as a straightforward rock band, perhaps under the subgenre of roots rock, as they bring to mind other such accomplished (and underrated) artists such as The Connells, Toad The Wet Sprocket, and Crowded House. I don't know much about the band's background or their recording budget, but this is a very professional sounding recording that easily showcases the band's excellent musicianship and superior harmony singing. "North Beach Drifter" opens the proceedings with a strong, fairly straightforward rocker that accentuates Carv Tefft's powerful set of pipes (dig that falsetto), and when the guitar solo comes in it's not gratuitous but instead neatly complements the core part of the song. "Vanish" is of a similarly high quality, highlighted by an impressive guitar/drum duel, while "Scared To Death" features a bright melody and a nice buildup that demonstrates an innate knowledge of songwriting dynamics. The song also has a catchy, singable chorus, as does "A Lot Like You," a song whose tightly coiled intensity is well matched to its religious themes, helped along by another well executed guitar solo. The album's two best songs then commence. "Please Don't Take It So Bad" brings forth another bright melody along with the album's catchiest chorus, which would sound right at home on almost any worthwhile rock n' roll radio station. Even better is "Sweet," which starts in a mellower, more atmospheric manner before surging forward towards its exciting ending, led by yet another perfectly placed guitar solo. So far so good, right? Unfortunately, after rising from peak to peak, the quality of the rest of the album then drops dramatically, which is all the more disappointing considering the album's short-ish 35.28 running time. "Good Good Man" sounds like a rote Monster-era R.E.M. song, and "Jack O' Lantern" has some good guitar but an uninspired chorus. "Queen Of Apostles" gets the band back on track, but "The Prize" ends the album on another less than exemplary note, as (much like Crowded House) hard rock doesn't seem to be a genre that fits the band all that well. Still, the finally tally is seven stellar songs and three songs that I could easily live without, a worthwhile percentage for anyone looking to get acquainted with the Mineral Kings. Truth is, even the lesser songs here have their moments, and the majority of the album suggests that the band has the potential to produce major work. I wouldn't be surprised if the band's best work lies in their future, but for the most part it's well worth getting to know them in the present as well.

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