The Format of pop music fresh and dynamic
Pop music is a good thing. Despite what you think of Britney Spears or the now defunct N’Sync, in the right hands pop is fun, relevant, catchy, and good. The Format are those right hands.
The Format is made up of Arizona natives Nate Ruess (vocals) and multi-instrumentalist Sam Means. They are a rock band in the best sense – driving rhythms, dynamic vocals, and an energetic live show – but their melodies are sheer pop genius. From their tongue-in-cheek titled opener “The First Single,” Ruess and Means mean business. Harmonies, hand claps, tight arrangements, and a dose of bombast fill their first album, “Interventions and Lullabies,” making it an immediately accessible record.
The band stays incredibly fresh and live on the record, which is a testament not only to Means’ talent as an instrumentalist but also to the skills of producer R. Walt Vincent. Responsible for a number of the instrument tracks on Pete Yorn’s debut, “musicforthemorningafter,” Vincent treads familiar territory in working with The Format. Layers upon layers define their sound, leaving a rich, multi-textured work that continues to reveal itself after numerous listens.
Other highlights of the album include the relaxed swagger of “Give it Up” and the fast rock shuffle of “Tie the Rope.” There are a few soft spots on “Interventions and Lullabies,” but they are soft not because they are bad but because they’re generic -at their worst moments, The Format could be the Counting Crows, Matthew Sweet, or any other number of mid-90s rock icons. But this is the sound of a band finding their footing, and the occasional misstep, especially if it’s something as trivial as this, is easily forgivable and still listenable.
Because when all is said and done, The Format still carries enough pop to keep you bobbing your head and singing along. And that kind of talent will always be in style.
Zach Pendleton’s column The Best You’ve Never Heard runs each week in Diversions. Comments can be sent to him at zachp@cc.usu.edu.