Rock What You Got
- reviewed by Andree Farias Copyright Christianity Today International
- 2008 1 Jun
- Rock What You Got
- Alive Prelude
- Hey Hey
- So Beautiful
- Cross the Line
- One More
- Crawl (Carry Me Through)
- Stand in the Rain (Symphonic Mix)
- Dave Ghazarian: Guitar Hero
So what ever happened to the much-touted Columbia Records debut by Superchick? More than two years ago, the label sent out a major press release heralding the sextet's switch to the majors, even noting that legendary producer Steve Lillywhite (U2) was a longtime fan. For some reason the move never materialized.
Undeterred, Superchick pressed forward with the release of Beauty from Pain 1.1, their would-be Columbia splash, only a much smaller scale via their faithful benefactors at Inpop Records. That album was a slightly tweaked version of 2005's Beauty from Pain, and fans had no strong reason to repurchase it—the lone new song "Stand in the Rain" is available through iTunes and similar download sites.
Despite the setbacks, Superchick has remained a sensation, selling more than 700,000 units in their lifetime and scoring several No. 1 singles at Christian radio—a measure of success that has only heightened the need for all-new material. Their fourth album,
The biggest culprit here is brevity. When boiled down to its essentials,
Thankfully, Superchick offsets the skimpiness with energy, as
Part of it has to do with a brand of pop/rock the band calls "rock-a-tronic," a fusion of rock and electronic music that is not entirely novel, and is generally a good fit for the group. The best example of the style is the title track, a bass-heavy romp sprinkled with computerized bleeps and muscular guitar riffs running throughout. It's nothing the band hasn't really done before, but it's done very well, augmented by Ghazarian's potent six-string jabs.
Outside of that, the "rock-a-tronic" thing doesn't deliver on its promise. Rather than being one and the same, the rock and electronic components work as accessories to each other—the synths in particular just aren't as prevalent as the chugging guitars and the overall punkish feel of the rhythm section. But there are exceptions, like the glammed-up "Hey Hey," reminiscent of Marilyn Manson or Garbage. But most every other rocker—"Hold," "Cross the Line," "One More"—comes across as odds and ends mimicking Flyleaf and Paramore.
One area where Superchick hasn't changed its tune is their reinforcement of self-empowerment and their decidedly
A good message, but it only compounds the fact that Superchick hasn't quite come up with a breakthrough album or a bold new direction. Make no mistake: