Bixler – Self-Titled

This is one of those CDs that is simultaneously the easiest and hardest to review. It’s one of those albums that can launch a reviewer into the spotlight because it can be summed up in a quirky one-line review that the band and label can then slap onto any press release and on the front of the CD. But at the same time, as a reviewer, if you want to take a step further than the quirky one-liner, it becomes a lot harder to do. While the quirky one-liner could be something like “Bixler channels the pop-punk style of Jupiter Sunrise with vocals that bare a slight resemblance to Bryce Avery to create a cohesive 4 song EP that pop-punk fans will adore.” Simple, direct, and accurate, the one-liner is easy to spit out and sums up the band’s self-titled EP fairly well; but for the most part, you’d normally would want a more complete and coherent review. This is my attempt at that.

The first thing to point out is that, yes, Bixler is a radio friendly pop-punk band. It’s well polished, follows the verse-chorus-verse pattern and Lee Cooke’s vocals are boyish and catchy, but ultimately forgettable without a true signature tone to them. However, as you listen to the EP, the thought that they will become forgettable rarely comes into mind because as it plays, you’re entertained and that’s what you want.

The EP kicks off with Falling To Pieces, a song that will surely become a live staple for the band as it is by far the most energetic track on the album. Somewhat akin to Amber Pacific the track is far from raw or rough, but it’s well produced, tight, and catchy enough to get your head bopping along after a few listens. On And On seems some Jupiter Sunrise influence squeaking in but with a touch of synthesizers in there for a little bit of ingenuity. After that they fall into the trap of every pop-punk release: the acoustic ballad. It’s always a song that can really make the album much more memorable or ruin the entire flow of it. Luckily for Bixler, October leans a bit more towards the first of the aforementioned and while the sparse track is no Good Riddance, the simple chorus and growing momentum of the song does help launch the EP into the closing track and album highlight, Losers Day Parade. Starting off with a sole guitar riff and gradually introduce new layers and instruments, Losers Day Parade is a very enjoyable pop-punk track. Vastly different from the energetic opener, Losers Day Parade helps round off the short EP nicely.

When it comes down to it though, at only four songs, it’s hard to really grab a feel for Bixler. You get the feeling that a full album may be more than you could handle, but at the same time, these four songs are more then enough to keep a pop-punk fan entertained for a short time period. There’s really nothing that outstanding off the album, and it can be slightly generic; nevertheless, radio friendly pop-punk fans will enjoy it.