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April 30, 2012 | by  | in Arts Music |
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Review – The Eversons: Summer Feeling

There’s something perverse about a indie band slapping a name like Summer Feeling on their first LP. It’s the kind of uninspiring, noncommittal, utterly beige title that would have been derided as such in the late 1950s. The album cover, as hilariously awkward as it is, doesn’t do much better—all it suggests is a whitebread johnny-come-lately to the surf rock revival of 2009-2010, albeit one with a little bit more self-awareness than most.

Make no mistake, surf rock revival is an influence on The Eversons, with hints of Best Coast and Surfer Blood milling around in the mix. But nothing on Summer Feeling ever feels like the goofy, socially-awkward little brother of Crazy for You, which is a damn relief. Rather, the album owes its greatest debts to Pavement and that New Zealand institution, ‘The Dunedin Sound’. Like national indie icons The Clean, The Verlaines and The Chills, The Eversons peddle a sound driven by jangly guitars and backing harmonies

that play off both the lead vocals and the instruments themselves, echoing guitar lines and choruses to create a lighter, more layered sound. And like the seminal Pavement, the lyrics are often smart, witty and delivered in an unproduced, honest style by lead vocalist Mark Turner.

The half-hour LP isn’t without its missteps, in particular the Phoenix Foundation-meets-‘Most Beautiful Girl in the Room’ blob of nothing that is ‘Sell It To Me’, a song where Turner’s normally- reliable delivery injects a horribly cringe- worthy pun into the lines “A cure for cancer, for AIDS, for the common cold/I need security before I get old.” However, Summer Feeling regularly transcends its tragic title with a spirited, appealing riff on the Dunedin Sound and a solid helping of self-deprecating humour; indeed, the album is at its best when it focuses on that latter element. Tracks such as ‘So Down’, ‘Creepy’, and ‘You’re Just a Friend’ play on the interaction between Turner’s earnest, conversational delivery and the backing vocalists, their blunt reality bombs infusing the tracks with a mocking self-awareness; the technique comes to a head in ‘Marriage’, which casts Turner against type as an asshole who dreams about getting married, but is shot down by backing harmonies declaring him a “fucking jerk” and “unattractive man,” only for him to run with these labels and start singing about knocking up his girlfriend so he can trap her in a marriage. It’s the best track on a great album, one that continues The Eversons’ surprisingly speedy rise to the top of the Wellington indie scene.

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Comments (4)

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  1. Luigi says:

    Maybe they should look at consulting an outsider before recording such terrible songs. The lyrics are so fickle and not in an ironic kind of a way.

  2. stiff says:

    Love this album thanks for the heads up

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