So what can you expect from someone who’s mastered the craft? Surely more mastering of the craft, or a stamp of approval and a toss into the history books. Like Kenny Vasoli, the singer behind the start-up pop-punk wonder boys, The Starting Line. At this point in his career, it’s not that he has done it all, it’s just that, when it comes to pop-punk, there isn’t much more he has to learn.
Which is why when word came out that Mr. Vasoli had a little ‘ol side project, it made sense. Here’s someone who’s been dribbling sweet hooks for the greater part of his young adult years, spinning, caressing and nourishing them like a pro. A more experimental and indie side project was inevitable. A boy’s gotta explore his boundaries, right? Vasoli grabbed some friends (Brian Medlin, Charles Schnieder, Nathaniel Vaeth, and Ryan Zimmaro, to be exact) and demos started to peek out of his Myspace page. People got pumped.
Now that Initial is out, the results are shaping up. On “Wooden Soldiers”, the first song off the eight song debut, Vasoli strikes a tender melody. Guitar tones immediately set an atmospheric tone – they are gentle, cosmic and clever. “Holy Hell”, the second track, thrashes with dirty, distorted riffs. Electronics flop around like sloppy kisses. Already in the first two tracks, Vasoli and new team are throwing new elements to the wind and making them work. Nothing on Initial is hard to digest, even in the moments when the band samples in the post escapades. Thanks to his background in pop, Vasoli’s vocals are always smooth, even when they growl. It’s certainly a proof of expertise and experience, but it’s also a note of versatility.
On “Canyon Lands”, the percussion and bass pitter jazzily next to another cosmic soundscape. Vasoli draws out his croons to match and complement the free-flowing watershed of electronics and guitars. For all of the tracks on Initial, there are tons of layers and textures, which should quickly quell any pop-punk comparisons. On “Born In The Rainy Days of May”, Vasoli shouts and sings over a tribal beat, fuzzy guitars are scattered and, suddenly, it’s almost impossible to remember the hook on “Best of Me”.
It’s not enough to call Vasoli a one trick pony, because he’s obviously not. The point is that he’s got two tricks now, one that he’s had down for years and another that sounds as though it coming quite easy. And that’s the most impressive part of Initial. Nothing is forced, no lyric is washed up and each song has it’s own merits – the snap-clap of “We’re Gonna Run Out of Road”, the repeated riff on “Sunshine”, or the absolute catch of “Storms”. For a debut, it’s turns out a remarkable output, a product that most bands toil at for years. As pleased as I am, I’m not surprised. I expected nothing less from V and his new crew.
