Moods for Moderns: Loud and Clear

BY SAMANTHA CULP

Unfortunately, the guys of Moods for Moderns spent way too much time dreaming about that perpetually-1977 parallel universe and not enough time writing songs good enough to take us there. Sure, the drums are kicking, the riffs are fat and juicy, and the sweet, sweet harmonies could give Queen (or *NSYNC) a run for its money, but aside from a few gems, including the sublime Beatles-esque popstomp of "Candy Apples," the rest of the album feels forced and empty.

The Moods have done its homework—perhaps too much homework. It apparently doesn't listen to music recorded after 1979 and only uses equipment made in that same era, hence the admittedly awesome, warm analog tone; a laudably purist ethic, but mostly unsuccessful. Songs like "Whatever She's Doin'" come out like Cheap Trick's leftovers reheated in a self-consciously retro microwave, whereas "Popstar" and "So Long Canada" are paint-by-numbers power-chords filled in with emo-indie lyrics ("Trembling hands from a boy with a nervous mind").

Instead of using the '70s aesthetic as a filter for exciting, innovative rock as its rivals in dirty-denim-fashionability, the French Kicks, do, the Moods are trying to perfect the same old Raspberries song over and over, without enough tight pants or groupies to quite get there. As the Moods sing in its lovely-yet-freeze-dried three-part harmony: "The radio can help you/At least if you want it to"—yeah, but in the case of this album, you're going to have to really want it to. (Doghouse) 

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