High energy alternative rock with the urgency of U2 and the cheeky energy of Franz Ferdinand

11 MP3 Songs
ROCK: Adult Alternative Pop/Rock, ROCK: Emo

Show all album songs: Scream Daisy Songs


Details:
Scream Daisyâs Rise in the local music scene has accompanied the parallel growth of the many teens in their early fan base into young adulthood. Their seminal âRoom 7â, originally recorded in 1999, slowly garnered local popularity over a span of many months, feeding off the very meat and potatoes of genuine rock music â emphatic airplay and an awesome string of memorable live performances. This great initial success was followed up by the release of 'In Case of Emergency' â a milestone local release. Flash forward five years, and we have the follow-up, long awaited, and self-titled. Prior to this release, the bandâs indie leanings could be gleaned from their choice of cover material in live performances â I clearly recall a particularly resonating performance of Jimmy Eat Worldâs âSweetnessâ, for instance.

However, Scream Daisy was considered more of a pop-rock outing. No longer! Their self-titled album immediately blows open any pigeon-hole they might have been confined to. Shades of the Strokes and the Queens of the Stone Age pervade, but thankfully, itâs still a Scream Daisy sound â a sure mark of a long road of maturation towards identity.

The album opens with âSeeing is Believingâ, clearly ushering in the new regime of style. While the record is clearly more alternative, it never lets you settle into it. There is a very frequent shift in pace, between and within individual songs. The grinding, grounded and antagonistic tempo of âLearn to Fightâ completely flies in the face of the old rock-lyric cliché of âlearning to flyâ â contrasting it with its âbiological imperativeâ alter-ego.

âPrettyâ will probably end up being the most popular song on the album, and the one that it is mostly remembered for. It really crystallizes the shift in style, but itâs still immediately identified with and as Scream Daisy. âBeesâ still has me scratching my head⦠itâs probably the biggest enigma on the record. The contrast with the following âSurrogate Cityâ couldnât be starker. This mellow, intimate, near-lullaby is far and away my personal favorite â and itâll be interesting to see how it translates into a live set.

Not ones to let us get complacent, the style immediately shifts back to up-tempo with âHeadlights in My Rearview Mirrorâ, featuring just a sprinkle of road-rage paranoia. The eccentric accent is kept up in âAstronautâ, another delightful enigma. âGo Awayâ is the closest song in the album to old-time Scream Daisy releases. It doesnât jar with the rest of the album, which is incredibly varied anyway⦠it does indicate how much work the band has put into finding its voice, though. The last three songs of the album, â10 Daysâ, âThe Other Side of the Wallâ and âAirliftsâ ease us out of an album that completely redefines a band that had already achieved great success.

The result is another milestone in local music, and a courageous departure from previous efforts. Itâs time to open your mind, and let Scream Daisy in.

Vanni Borg - "Juice Magazine"