Supermodel Twins‘Raincloud Free’
(Gohan Records)
IF EVER there was a more appropriate album title, we haven’t heard better than the much anticipated debut from local power-popsters, Supermodel Twins.
‘Raincloud Free’, unlike other obscure monikers we have heard in the past, does exactly what it says on the tin; delivering a blistering, 11-track, 35-minute collection of upbeat pop-rock songs in the mould of Weezer, Nada Surf et al, with a Beach Boys-meets Green Day dash thrown into the mix.
The album will certainly brighten up your day and take your attention away from the deluge currently falling outside your window.
This is undoubtedly the album’s strength and sees the Limerick five-piece wear their hearts on their sleeves, unashamedly allowing the above influences to ring clear on the album, avoiding any kind of pretension at trying anything other than blasting out good solid pop songs.
Produced under the expert gaze of The Cranberries’ axe-man Noel Hogan, the glossy sheen on this album add greatly to the wholesome sound - a testament to Hogan’s growing production skills.
However, and we offer this by way of constructive criticism, where the album falls down is its reluctance to vary from its obvious formula, sticking rigidly to a heavily Weezer-influenced sound, all American-twang vocals and loud guitars.
Simply put, Raincloud Free is inhibited by its style and lack of originality, but, it is fun, and there are some really decent pop songs on offer here.
The first couple of tracks set the scene and surprisingly, offer some deliciously off-kilter and quite subversive lyrics buried within the seemingly saccharine melodies; on opener While You Were Out, the singer details snooping around said girl’s apartment; on the superb One Step Behind, reminiscent of early Foo Fighters material, a song which boasts taut melodies and coruscating guitars, we hear elements of the same theme, “everywhere you go, I’ll be there / always one step behind”.
The toned down and more reflective My Girl presents engaging melodies a la Fountains of Wayne and shows more depth, as does the excellent Bruises, popping with handclaps and effervescent melodies.
However things start to unravel on the ill-advised and poppy ‘Hilary’, which includes the following lyric: “ever since I saw you in that movie / where you tried to hide your boobies”, and so on.
The zingy melody of Footprints In The Snow and soft-core rock of Modern Day Robin Hood are better, but overall this album’s lack of scope and depth proves its undoing.
Pity, cause there is some serious potential here.
RATING 3/5
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