Algernon Cadwallader gives “emo” a new meaning

Nowadays, “emo” is a popular term which everyone and their grandmother toss around. Generally, people, music, and other such nouns can be described as “emo” if the color black and a depressing feeling are involved – think new-millennium “Goth.” Most people who pay attention to popular music have a list of bands that they think make up the “emo” genre, and they also have a general image of what someone who listens to these bands looks like, and this defines the “emo” style.

I would like you to erase all of these notions from your memory and listen to Algernon Cadwallader.

By Jessie Farine

Staff Writer

Nowadays, “emo” is a popular term which everyone and their grandmother toss around. Generally, people, music, and other such nouns can be described as “emo” if the color black and a depressing feeling are involved – think new-millennium “Goth.” Most people who pay attention to popular music have a list of bands that they think make up the “emo” genre, and they also have a general image of what someone who listens to these bands looks like, and this defines the “emo” style.

I would like you to erase all of these notions from your memory and listen to Algernon Cadwallader.
Algernon Cadwallader is not a classic emo band by any means; they’ve only been around a couple of years, but that should count for something in a genre barely old enough to drink. However, the West Philadelphia born-and-raised triplet has been on the tips of people’s tongues after self-releasing an impressive demo cassette, touring the country, and being spread around by word-of-mouth. Now, I bring them to you, because I’m such a good friend.

These boys released a new album entitled Some Kind of Cadwallader in April 2008. On this album, Algernon Cadwallader shows that they have matured since releasing their demo, and they have expanded their sound in an even more unique, fun, and talent-showcasing direction.

The album begins with two drumstick clicks and goes into “Casual Discussion in a Dome Between Two” with a twinkling, adventurous guitar line and an equally adventurous drum beat, and then a party full of fun begins. Peter sings with a croon that may not always be right on pitch but has Grade A 100 percent pure heart. Sometimes he has so much heart that he has to scream to let it out, and his voice cracks like a pre-pubescent boy cheering on his favorite football team. It’s kind of adorable.

The rest of the album progresses with the same sort of frivolous feeling and light-hearted, silly lyrics. The guitars in the songs are clean with complex, explorative melody lines and almost jazz-like chordal accompaniment. Group vocals help encourage listeners to sing along, whether in their room, their car, or right in front of the band whenever they come to town. The drum beats are mostly straightforward, save for a few tricky deviations, and keep an excited, bouncing pulse throughout the whole party. The album climaxes with songs like the rocking “Katie’s Conscience” and the explosive “Serial Killer Status,” and the album winds down with a ten minute frolic entitled, “In Response to Irresponsibility.”

I don’t know exactly what it is, but some quality of this music makes me want to submerge my face into a basket full of kittens and puppies, or call my grandma and ask her how her day was and actually listen. This is the cure for the common frownie-face. Preview them on MySpace, buy the CD (or LP), and smile as you listen to genuine, heartfelt, feel-good emo music.