The Legends are a nearly anonymous* nine-piece (!) collection of men and women whose songs are decidedly pop, but drenched in jagged guitars, punchy bass, and lots of noise (squealing feedback, handclaps, distorted guitars, etc.). Yes, Pyschocandy-era The Jesus & Mary Chain comes to mind but so does the super-fast pop of the UK’s over-before-it-began C-86 scene (as the accompanying press bio states truthfully), shoegaze sympathies, and classic 60s Motown pop-R&B. As if I could stop there (!!): One could argue that the band has nicked the so-called Neo-Garage sound of The Strokes et al - the similarity is only valid in that The Legends know how to ride a good rhythm guitar line and employ distorted lead vocals - that’s just surface critique. The Legends are smartly tapping into the Source, and let’s be honest; The Strokes are fashionably licking the late-70s New York art/post-punk scene (it’s too easy to pick on The Strokes, isn’t it?).

Discerning music listener, the mantra is: “It’s about the songs” – and yes, the Legends have the songs; each packed tightly with solid bass lines, littered with handclaps galore, multiple minimalist leads that accentuate the melody while the rhythm guitar stays the course, working together in near perfection … it’s nearly sensory overload. But the songs aren’t bloated; this cacophony of sounds makes the listening experience that much more compelling. And compelling is this record. The amount of hits packed into the barely 30 minute record length are just sick.

“Right On” revolves, turns and twists, crackling with tension, dirtied up with dual rhythm guitars that are like nasty, snarling pit bulls. “Everything You Say” opens with just the lead vocals, tiny guitar strums, and handclaps, all seem strained through a transistor AM radio, then a grimy riff blasts the right channel and the song takes off into delirious pop superstardom. “Trouble Loves Me” has great two-note piano pounding, and a chorus that knocks your legs out from under you. “Make It All Right” gives off a GBV-by-way-of-The-Flatmates vibe thanks to the melody with clipped vocals and hyperactive rhythm guitar fusing sweetness with grit. A super-fast acoustic guitar line drives “The Kids Just Wanna Have Fun” on the verse; the chorus is a proclamation, carefree, unbridled, and proud. At the two-minute mark the instruments take over and the lead singer delivers an absolutely gigantic hook that would make countless songwriters insanely jealous. This is irresponsible bliss (simply one of the best songs of the year).

While The Legends joie de vive is these exhilarating pop-rock gems, they also properly get mellow. “There And Back Again” is indie-pop nicking Motown rather than The Three Bs (Beatles, Beach Boys, Byrds). “When The Day Is Done” exudes sweet melancholy (the haunting female backing vocals are a nice touch), going downtempo ala Trembling Blue Stars. Thick hairy guitar riffs, minimalist drum beats, and a murky melody (ala Joy Division) marks “Your Song”. As the weary verse succumbs to the chorus, the track literally lurches forward and no sooner, pulls back.

Up Against The Legends is devoid of filler. A catlike guitar line and driving rhythm guitar propels the opener, “Call It Ours”; handclaps and hi-hat are in perfect concert, while lead singer delivers a wonderful melody. The noisy chorus (complete with squeals of feedback) soars to the stratosphere; it is an anthem of youthful self-confidence (“We could have whatever we need, we could call it ours”). “Nothing To Be Done” is a fantastic indie-pop tune. “Breaking Time, Breaking Lines” is pop to nth degree, but rocks hard thanks to that TJAMC influence (with hints of the Cure low-end bass). The record ends on a high note with “No Way Out”, a rip-roaring Mary Chain drenched track, giant guitars, a slinky lead guitar line, and a brilliant melody.

Despite stellar songwriting, sharp-edged hooks, and finely crafted melodies, it’s baffling why the lead vocals are sent through the distortion effect. Rarely is this an effective technique, it begs The Strokes comparison (and all the baggage that brings). Further, it becomes tiresome. The fact that The Legends tread so closely to early The Jesus & Mary Chain is also disconcerting; there are many places where the drums and guitar parts are right off of Pyschocandy (the squealing feedback, thick guitars, and drums on “Breaking Time, Breaking Lines”, the breakdown on “There And Back Again” and the drums on the verses “Your Song” are a few examples). It’s always dangerous walk so close to the precipice of derivative: Is it homage or mimicry? Still, the gripes are irresolute, because the songs are so strong, reaching even the most pedestrian listener.

* The press kit doesn’t list the names of the band members, the only name to be found on the meager packaging (this could be packaging only for the promo that may differ from the proper release, I don’t know) is in teeny tiny print in the copyright section: “All songs written and produced by J. Angergard”. I suppose I could assume that J. Angergard is most likely the singer, but one can’t know for sure. In the history of rock there have been plenty of hired gun vocalists with a guitarist writing the songs (for example).

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© 2004 Bandoppler Publishing