Paloalto: Paloalto

"Paloalto has made the record Radiohead should have made. The first brilliant American record of the millennium. Reminiscent of when FM radio was about album rock top to bottom...Really an important record. A semblance of brilliance in a sea of shit." Though I wouldn't typically look to Sugar Ray lead singer Mark McGrath for musical criticism, in this case he's correct.

When listening to Paloalto, one can't help but compare the band to early Radiohead. Singer James Grundler's vocal techniques are similar to those of Thom Yorke, and its particular style of orchestral rock and crunchy guitar riffs is especially reminiscent of Radiohead's old days. Comparisons to Jeff Buckley are also in order, and Paloalto certainly has the potential and sound to replace that lost legend.

Critics are eager to compare the sound of Paloalto to U2, Radio-head, Buckley, Echo & the Bunnymen, and other such bands of the "tortured-intelligent" and "massive-melodic-guitar-rock" genre, and Paloalto itself loves to be associated with these groups. In interviews, they frequently mention their appreciation for bands like Swervedriver and the Catherine Wheel. Grundler recently told Spin that "America should have embraced British music 10 years ago. But we fucked ourselves with rap-metal." Paloalto's self-stated mission is to save America from its fascination with Limp Kid Korn Rock and teen pop through the British guitar pop model of Travis, the Muse, Gomez, and Badly Drawn Boy.

In the process, Paloalto has created its own unique, Americanized version of this model and avoided the title of "sound-alike." Despite all prior comparisons, Paloalto has its own sound, its own messages, and its own musical approach. On its self-titled debut, Paloalto creates mini-epic after mini-epic filled with elegant melodies, powerful hooks, and solid guitar rock. The album starts off with "Depression Age," a perfect example of the band's sound—the raw, crunchy but tuneful, rock under Grundler's soulful voice.

Following this heavy opener comes the album's first single, "Sonny." This more upbeat and radio-friendly song makes excellent use of rapid dynamic and segment shifts, well-placed pauses, and all-out orchestral rock. The album moves on to create similar climaxes but adds variety with several stylistic changes. For instance, on "Some Things Must Go This Way," they add a Spanish flavor and a lounge quality to the song. The album winds down with "Swim," demonstrating the band's use of dynamic and time shifts, rich melodic landscapes, and huge power chords. Overall, the album is a display of complex and emotional melodies, accented by layers of soaring guitar lines and unusual harmonic structures.

The only complaint I have is the formulaic nature of the songs. Nearly every track follows a structure of climaxes broken up by quiet, thoughtful interludes. This formula can be exciting and entertaining, but it becomes boring after a whole album.

Can a market for Paloalto exist when the band's sound is based on the same model which created the already successful Travis and Coldplay? Well, even the rap-metal stars that Paloalto want to rid America of seem to appreciate their sound. According to Fred Durst of Limp Bizkit, "Paloalto is a real band with a real sound and real songs...Make no mistake that this band has credibility and a definite career." If its strong debut album is any indication, Durst should be proven right soon enough. (American) —Alexander Oveis

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