It seems that in the music industry transcending genres is a difficult thing to do. My Chemical Romance submitted a transformation that softened its sound from hardcore punk to resemble earlier icon bands such as Queen. Others like Shania Twain and Sheryl Crow have managed to be found on both pop and country charts. The collision of two species of music certainly yields a new breed of sound with high expectations.
As an alternative rock band from San Diego, Switchfoot has multitasked its way to the top, crossing from Indie to Christian and breaking into the mainstream in 2002 with multiple songs on the "A Walk to Remember" soundtrack. Perhaps Switchfoot is so talented at genre-jumping because the subjects of their songs are so diverse, which is apparent as the band effortlessly projects itself with a musical language that addresses, both the secular and the sacred. Switchfoot's latest album, "Oh! Gravity," seems to fall short of their previous success with the album, "The Beautiful Letdown," and represents an identity crisis in which the band has lost sight of its sound.
You don't have to search hard to find a familiar song, as the album's single, "Oh! Gravity," is generically placed as track number one. With its cheery beat and catchy chorus, the track embodies the quintessence of a one-hit-wonder: easily remembered and often overplayed.
The album seeks to achieve a unique sound that at times is a reminder of music from the 1960s and 1970s with subtle nuances of Dylan and The Beatles. Overshadowed by mediocrity, the experimental background music of "Dirty Second Hands" drowns out the handful of appealing songs and seems to clash with the familiar and distinctive voice of lead singer Jon Foreman as an unlikely combination.
"Amateur Lovers" attempts to juxtapose a deep and contemplative meaning with a feel good tune, which gives the impression of an over-enthusiastic sing-along. After a few upbeat alternative ballads, the tempo slows to create a more dynamic and appropriate chemistry between the vocals and the instrumentation to convey a genuine tone of loss and love in the song "Yesterdays." In "Faust, Midas, and Myself" the attentive listener is warned against taking things for granted by the haunting echo "you've one life left to live."
The shining star of the album, "Let Your Love Be Strong," hammers away Switchfoot's new-found hard rock identity to reveal music and lyrics that sincerely complement one another. It remains obvious that the album seeks to explore the connection between man and man, as well as that of man and maker. Call it experimental or new age, Switchfoot's new sound takes a backseat to its older albums. Luckily, this message is not lost in the conversion.
