It’s Perfectly Clear That Every Channel is Owned – The Visuals and Their Media Crush

The members of Manchester based band, The Everyday Visuals, have spent the better part of 2004 self-producing and self-recording their second album, Media Crush, for its released on November 19. In the endless string of independent recordings and local bands kicking and biting at each other for recognition, Indy music fans often find themselves exposed to many bands that are indiscernible from one another in their sound and presentation. Surprisingly, Media Crush does not sound like it was recorded in a house in New Hampshire. The mixing, done by lead guitarist Kyle Frederickson, is clean, organized, interesting, and highly professional. Thematically, the record plays much like a contemporary American novel reads. It can be taken at face value, a nice listen with smooth transitions between songs, strong melodies, and layers of key, strings, and harmonies. It can also be observed with an analytical ear for the musicianship and lyrical prowess. It’s laced with satire; even its title takes a jab at the music industry and the fickle nature of unsigned bands chasing labels and the way that labels dangle the contractual carrot before the artists. The recurring theme of clichés and engineered love songs is perhaps more than tongue in cheek. Ironically, these social commentaries within the lyrical set up are coated with songs that can be taken as lover’s laments and the struggle for artistic expression. Overall the lyrical balance works and the inherent contradictions support the musicians’ message. Structurally, the record is organized in a way that would go nicely on vinyl. The first cluster of songs moves quickly and alternates freely between fun and serious melodies and lyrics. This section, subtitled “side one” is full of seemingly radio friendly, songs.If you aren’t hooked on the record right away, stick with it. By the end of the fourth track, the suspense of music that has the power to hold secrets will begin to set in. By track eight, you’ll be fully committed to seeing how the story ends. As the song list progresses, a craftsmanship comparable to that which goes into a well planned performance is evident. Is it pretentious for an underground band of emerging artists to strike out against industry giants such as Clear Channel (“It’s perfectly clear that every channel is owned”)? A little. But perhaps that is just what the Indy music scene, strike that, the entire music industry needs: some honest, unapologetic work, from artists who crave art, craft, and creation. The 13-track album finishes with a song titled “radio edit sing along.” With an engineered beat, the song mocks the listeners, taunting them to sing along. The song manages to point out why we all love popular music, and makes us feel a little guilty about it at the same time.Reviewers have compared the Everyday Visuals to such bands as Wilco, The Flaming Lips, Sonic Youth, Sigur Ros, and even the Beatles, for their versatility and sneaking likeability.