Shiny Toy Guns Albums (4)
What The Critics Say
Shiny Toy Guns' sophomore effort sheds some of the retro appeal that fueled the band's first record, We Are Pilots, in favor of a dark electronica/rock hybrid that recalls Evanescence and the melodic side of Linkin Park. Female singer Sisely Treasure makes her debut with the group, having replaced the departing Carah Faye Charnow several months before the album's release, and her vocals brim with the energy of an aggressive cheerleader. Such rhythmic scream/singing provides a nice contrast to Chad Petree, who handles the bulk of the album's melodic vocals. With Charnow out of the picture, this is undoubtedly Petree's band, and Treasure adds a fiery, sensual spark without hijacking the spotlight. Personnel changes notwithstanding, the biggest difference here is the band's decreased debt to the dancefloor, as they now rely more heavily on guitars and distortion pedals rather than synthesizers. "Ghost Town" flaunts a stomping, club-ready drumbeat before dissolving into a mainstream rock chorus, but tracks like "Money for That" and "When Did This Storm Begin" are more suited to headbanging than dance moves. When the bandmates decide to revisit the '80s-inspired sounds of their debut, as they do on "I Owe You a Love Song," the results are decidedly mixed. The song bubbles with keyboard undercurrents, but the chorus relies too heavily on Petree's long, sustained high notes, which lose their luster after two key changes and nearly four minutes of repetitive hooks. Season of Poison is bound to please fans of goth metal and electro-laced rock, and the gorgeous "Frozen Oceans" appealingly finishes the album with lush balladry. Even so, this seems like a slight stumble after We Are Pilots' strong start, although Shiny Toy Guns have yet to lose their momentum. ~ Andrew Leahey, All Music Guide
What The Critics Say
With the rise of groups like the Killers and Franz Ferdinand came a new appreciation for finely tuned electro-tinged rock or pop. Shiny Toy Guns make no bones about sounding retro, but they do it so well it's quite shocking. The leadoff number, "You Are the One," shines thanks to some crisp arrangements that sounds like a blending of the Killers and Talk Talk. The dual vocals of Jeremy Dawson and Carah Faye certainly don't hurt, either. From there, the band opts for a leaner, disco-era electro-pop feel on the aptly titled "Le Disko" that sounds like an improvement on a Peaches effort. The band is quite adept at delivering these songs with a freshness and verve, as is the case with the Nine Inch Nails-meets-Depeche Mode groove oozing out of the slow-building "Starts with One." When the group slows things down as they do during the tender and sweet "When They Came for Us," it's definitely anything but fluff or padding. The first highlight is "Don't Cry Out," which is fantastic, a perfect blend of New Order while Carah Faye sounds eerily similar to Neko Case fronting the New Pornographers. It's this ebb and flow which characterizes much of the album, with the equally fine "Chemistry of a Car Crash" taking on theatrical lengths along the lines of My Chemical Romance or Angels and Airwaves. The album rarely falters, with pretty sonic pictures like "Rainy Monday" sugary sweet and worthy of cranking on a summer drive. The lone dance-ish track is "Jackie Will Save Me" that doesn't quite live up to expectations. The title track closes things out with a slow but steady tempo. Overall, We Are Pilots is a very refreshing album that takes makes "retro" sound like a good thing. ~ Jason MacNeil, All Music Guide
'We Are Pilots V. 2.0'
Release Date 11/17/2005
Tracks 12
Label Stormwest International
See Album Tracklist and Review
'Le Disko 7 Inch Vinyl'
Release Date 8/30/2005
Tracks 2
Label Positivenergy Music/Stormwest In
See Album Tracklist and Review
