Revanche

Chronique

The melodic emo-pop that Fresno offer on Revanche is competent, but the boys lack the songwriting chops to really deliver, and tricks they could use to compensate are not milked enough. The record has everything it is supposed to -- straightforward punk-pop riffage with plenty of melody, an appropriately simple rhythm section, buildups to huge choruses, some background synths, a next-door-guy vocalist who alternates between an angsty whine and sensitive moaning. While uncomplicated, this setup is known to have produced some irresistible results in the right hands, but Revanche, for all its emotion and arena-sized melodies, is lacking -- it feels simply run-of-the-mill and easy to tune out of (in fact, losing attention becomes an irresistible imperative on the lesser tracks). What helps is the ferocity Fresno display on some of the louder tunes, which bear the stamp of old-school pop-metal (see "Relato de um Homem de Bom Coração" or "Se Você Voltar") -- sure, it's dated, but Fresno really rock out on those, mixing that vibe with their Fall Out Boy worship to come out somewhat like Biffy Clyro, also in their all-out moments. However, Fresno apparently treat this as just another ingredient in the pot, not their saving grace, and so the heavier moments are few and far between, lost in a sea of hookless guitar lines. The final result is strangely similar to Japanese visual-kei -- the same ambition, the same unthinking devotion to their influences, the same attempts to substitute melody and a larger-than-life approach for catchy music, even the same interest in '80s rock. Revanche is also passable, like most J-rock, but not exactly remarkable, confirming that those looking to rip off their idols should remember that it's songwriting, not playing in a given style, that makes great music great.

© Alexey Eremenko /TiVo