When
I was a kid, I would save every coin and bill that came my way, whether through
luck or hard work, to purchase a record. Often I would forego spending for
weeks just to buy an album that would turn out as an absolute waste of my
money. However, the risk of new music and its potential reward always appealed
to me, and when I came upon an offer in my local Hot Topic—$2 for five sampler
CD’s—I simply couldn’t say no. $2 was hardly a risk, and the potential payout
was too much for me to resist. Although only possibly twenty of the ninety
songs I collected that day were worthwhile, one in particular became embedded
in my eardrums until I had purchased its parent record, thus birthing my
love/hate relationship with Action Toolbelt’s eponymous debut.
As
this band’s first foray into the world of music, I’m willing to give a lot to Action Toolbelt. The energy and
enthusiasm in the band’s playing is forefront and consistent, with this trio
pounding its way through ten anthems of teenage love and angst. The vocals
explode off the record, and each song is loaded with at least one melodic hook
that, according to the AllMusic
review, gives this record “a subtle charm.”[1]
Most of the composition is straightforward power-chord punk with lots of
thrashing on all instruments, and for the style of music, it certainly works.
However, Action Toolbelt does stray a bit outside the lines of convention: both
“At My Expense” and “The Radio Moves Way Too Slow” employ electronic drum beats
and keyboards, not heard elsewhere on the record, and also forego repetition by
closing both songs with unique outros. These factors make the music of Action
Toolbelt endearing, but, unfortunately for them, also draw attention to the
weaknesses of the record.
While
this band is attempting interesting things, repeated listening makes it clear
that the necessary follow-through isn’t quite there. The keys and electronic
drums might be interesting, but they have no business wrapping up a record that
hardly features them—95% of Action
Toolbelt features solid rhythms and a punk approach, and to close an album
with singing organs and an awkward synth-beat lets down the energy the band
spent the entire time building. Yet, even the punk sound to which the band lays
claim is overall an undeveloped and unexplored one. The energy is high, but it
feels as if Action Toolbelt only scratches the surface of their compositions.
Don’t get me wrong, I truly love their pop-punk melodies and attitudes, but I
find myself wishing this band had taken the time to really flesh out their good
ideas. Even the mix seems haphazard, as the guitar leads and melodies are
completely covered by everything else, especially the rhythm guitar.
Although
the musical approach is a bit skewed on this record, on a few tunes Action
Toolbelt completely gets it right, and no more so than on the song
“Alphabetically.” With a dynamic melody, crashing drums, and a worthwhile mix,
Action Toolbelt proves that it can pull together to create something more than just
acceptable. The song features multiple time signatures, beginning in 5/4 before
twisting into a prechorus of 11/4, but all the while pushing a heady and catchy
melody that never lets go. The guitar parts in the chorus perfectly balance
chaotic distortions and trebly-counterpoints, while the raspy truth in Owen
Bigg’s vocals seems to burst forth from his lyrics. The dynamic nature of the
song, ranging from almost-whispers to screeching feedback, creates and releases
tension in such a way that few since Nirvana have been able to truly
accomplish. A distinctly fun song, “Alphabetically” mixes musical chops and
catchy charm that set it apart as one of the tightest jams on Action Toolbelt while providing a damn
good example of what this band’s pop-sensibility is capable of producing.
Although
unpolished, this record can be said to have some pretty cool things going on
musically. Unfortunately, the lyrical writing on this record is not nearly as
endearing or catchy as the music is, and the incriminating statement “All songs
and lyrics written by Owen Biggs,” plastered at the top of the liner notes,
leaves the blame to fall on only one person. While some ideas and images Biggs
creates are a little remarkable, the majority of his verse is flat and
uninteresting, and a few are almost insulting; take the line in “Sick and
Tired” that begins the bridge: “I swear I’ll make sure things won’t ever
change/And I know things will never be the same.” He also clings to cliché
phrases such as “see this through” and “nothing left to find.” However, it’s
not entirely hopeless drivel; Biggs occasionally creates a tight image and
follows through with it in the subsequent lines, really solidifying it in the
listener’s head. In other instances he provides us with killer phrases that assert
originality, like “dead end kiss” and “backing up to change the view.”
Furthermore, though the lyrics may hold very little meaning, Biggs’ passionate and
proud vocals take the simple lines and make them into anthems, really giving
his songs the oomph that they lack on
the lyrics sheet.
No
song on this record packs nearly as much of that oomph as the title track, “Action Toolbelt.” Although naming a
record after a song that’s named after the band is both silly and audacious, it
seems that Action Toolbelt did this for a reason, for there is no better
example of how this record or this band sounds than the one named after both of
them. Right off the bat, the band rockets into an interesting and catchy chord
progression that’s as major-key as every pop song ever to touch the radio. The
very first line, “A crowded schoolyard in a deliberate town,” is perhaps the
most inventive of the record, and with Bigg’s laid-back melody and John
Orestano’s pounding drums, this song demands participation from the listener. Both
the lyrics and the music are youthful and vibrant, inviting the image of a
swirling crowd of high-schoolers standing before the stage. “Action Toolbelt,”
my own introduction to this band, is a tune that simply kicks ass all the way
through, while pulling me back to my own high school days and the hijinks that
filled them.
Though
for the most part this record is weak for words, the song “Action Toolbelt”
brings up an important an interestingly portrayed lyrical theme evident
throughout this album: growing up. Many songs reference the movement of time
and how quickly change can happen, such as “I Quit” with the line: “Been
working here a year and nothing’s changed,” which is soon remanded in the next
verse with the introduction of a girl: “She’s been working here three months
now and I can’t seem to leave.” Other songs like “Away Home” pick up the image
of the changing year: “Now it’s the last call of the night/On the last night of
the year/What am I doing here?” Lyrics like this make it apparent that this
band is on its journey out of youth and into a new world of adulthood, and it
appears their feelings are a mix of excitement, dread, and complete confusion.
With songs like “Action Toolbelt,” the speaker reflects on the experience of
youth and its many ups-and-downs, remembering without remorse that his past is
what has created his future. Such an idea, while a little cliché, is one every
listener can relate to, as they too change and grow and leave youth behind for
the responsibilities of adulthood.
Though Action Toolbelt might have its shortcomings, its undeniable energy and
coursing catchiness make it an an album worth picking up. Even the slow songs
are loaded with pep, and the plethora of catchy hooks make it a fun listen,
even if each tune doesn't go as deep as you know it can. If you’re looking for
music that makes you think, consider passing this one by, but if your search is
for music that makes you feel, Action Toolbelt’s debut record is great fun and
certainly merits your attention.
Tunes to Check Out:
1) Action Toolbelt
2) Alphabetically
3) By the Way
Tunes to Check Out:
1) Action Toolbelt
2) Alphabetically
3) By the Way
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