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T-Minus Band : Technostalgia Reviewed
by Leicester Bangs from Leicester Bangs, a British fanzine T-Minus Band is in fact one person, Troy T, a DIY recording artist with a wide and eclectic taste in popular music. This is reflected on Technostalgia, a sprawling 50 minute album which happily veers from spacey rock to trip hop, via pop, country, rap and glam without the slightest hint of knowing self-congratulation. In lesser hands it could have been a right mess, an ego expanding gesture on the grand scale, but Mr. T (sorry...) keeps his feet on the ground and never forgets to pack a tune. My favourites are "Take the Ride", just about the best piece of chug-a-long '70's inspired guitar rock I've heard in a long time, the pop majesty of "2084" and "Cold Winters Day", first rate electro pop. If you're in the mood for something a little different Technostalgia is to be recommended.— Rob Forbes from erasingclouds.com This open, anything-goes new millennium cries out for anything-goes, jack-of-all-trade rock bands like T-Minus Band. All over the place yet in touch with rock history, T Minus Band (really mostly one person, Troy T) takes an otherworldly approach to classic, pump-your-fist rock grooves. The first proper track, "Take the Ride," has the guitars and rock-anthem melody of genuine 70s rock radio but also a certain haziness hinting at the stylistic changes to come later in the album. T Minus Band plays straight-on rock on one level, but tempers it with beats, vocal effects and other weird but fascinating touches. The band name sounds like it indicates a countdown of some sort, but is it a countdown to destruction? No, it feels more like the start of some kind of reverse apocalypse, a rebirth of rock history, but this around everything's been warped somehow, made weirder. All sorts of points in rock's life span are touched on here. There's a glam-rock feel here, dirty-punk touches there, plus 1960s-ish harmonies and some doses of psychedelia and blues-rock. But it all has a spacey atmosphere to it, an unreality that makes it feel like the work of an explorer and experimenter more than a revisionist. "I look for you almost every day/you are elusive in every way," Troy T sings over atmospheric synth on the lovely trip "Elusive." Technostalgia is equally elusive, but that's what's so delightful about it. Everything seems familiar but also new. As a listener you feel both anchored and floating, and it's a wonderful feeling. — Dave Heaton from inmusicwetrust.com T-Minus Band creates a daunting mixture of pseudo guitar-rock, beautiful lush pop, and an experimental side that gives the album a unique sheen. When they're treading in melodic pop territory, they've got it down cold. However, when they try to rock out, they lose it, falling down and skinning their knees. They recover, though, with a mouthful of sweet pop. As for their experimental side, it adds to the pop, helping distinguish it and giving the songs a bit of a bite. I'll give this album a B. — Alex Steininger from splendidezine.com Technostalgia's opening/title track features a drum loop, a moaning wind keyboard and vocal samples; they're setting the stage for an album's worth of electronic head trips, right? Wrong. Instead, Alabama's Troy T., the sole member of the "band", launches into "Take the Ride", a righteous dose of ‘70s rock reminiscent of Foghat's "Free Ride". Call me a sucker, but this song is fantastic, from its chugging verse to its falsetto vocals to its cornball guitar solo. "Take the Ride" alone would make Technostalgia worthwhile, but the rest reads like a primer on classic psychedelic rock and roll. "2084" feels like an updated Wings track, with sweet McCartney-style lead vocals giving way to noisy guitars that wind themselves into a frenzied crescendo. "Mountaintop" also recalls McCartney's work; here, multi-tracked vocals and droning guitars evoke the trance of "Within You Without You" from the unforgettable Sgt. Pepper's Lonely Hearts Club Band. Elsewhere, the heart-wrenching, sighing harmonies of "Longing for October" evoke the acid-washed pleasures of Magical Mystery Tour. However, these are not rip-offs; much like Oasis, the T-minus Band tips its hat to undeniable influences while imprinting these songs with their own sound. What is equally impressive is that these very organic songs are the work of one person behind a keyboard. I find it fascinating that someone can use a batch of wires and chips to create tunes like the blustery "D.O.I.", which -- if I didn't know better -- I would swear was taped from a classic station. Electronic mimicry is nothing new to music, but Troy T. makes it all sound impressively authentic. In the end, I cannot deny that many of the pleasures I take from Technostalgia well from the history Mr. T. draws upon. To deny the songs their influences, however, works against both their intent and the evolution of music. Thus, just for an hour, I have no problem dropping my critical pretensions and reveling in Technostalgia. — Ron Davies from linklog.com In the tradition of DIY musician craftsmanship of Prince, World Party and John Vanderslice; Troy T has released his first LP length CD under the name T-Minus Band. The Technostalgia CD blends Beach Boys vocal styling and album rock guitar with a flurry of synth sounds to create eclectically different sounding songs. Self written, produced and mixed Technostlgia is as close to one person’s audible vision as I have heard. This album starts out like a movie. T-Minus Band is in fact one man by the name of Troy T, with the help of a few friends. It is accompanied by quite a bit of material indicating a significant difference in song texture through out [sic] the 16 total tracks. Because the cover art looks like some sort of Dick Tracy picture and this "band" is from Alabama, I'm uncertain what to expect. As said, it begins much like a movie, not with music but talking, and it feels like driving through the city lights at night. It usually depends on the genre whether a person will enjoy a particular sound or not. Provided I am a fan of quite a few of them, I still know which to avoid. There are several to mention in general: of course you've got 70's disco feel, the 80's glam rock such as Winger, the more serious 80's sound much like the early 90's rock like The Cure. Jazz, blues and then we had emo, punk, hardcore, alternative, country rap, and metal. All indications are broad of course. Troy T is a thorough musician who has taken on experimentation of all of these genres. In a not so obvious way. Each of these songs stand on its own as one piece yet a piece of the puzzle all the same. There is a feeling of gliding or driving with thick synth or keyboard throughout. There are no doubt songs I do not enjoy on releases like this for the fact that one song is good enough to make you dislike those differing from its style even more with comparisons of capability. Mixing and production sound great, and you wouldn't guess that there is one and only one man behind the scenes. There is a lot going on here. As mentioned, thick synthesizer, drum machine or bass and procession [sic], piano, and keyboard twinkles. It starts out with a 70's riddled ZZ Top cruising right along song. It even tends to follow the rhythm somewhat of Madonna's "Vogue" with high-pitch male vocals and guitar driven thick. Shortly to follow is more synths, beats, and a low voice with what sounds like a duck saying "quack quack" in the back. It's pretty monotone but obviously intentionally so. I very much like "Mountaintop" and its style in following songs. Sort of an 80's feel with ahhing back-ups. I'm not going to say this is a bad album by any means. It has a lot of character and a lot going on. It would most likely appeal to quite a few generations and provides several catchy sing-alongs. Also as mentioned, it is very thorough and represents a very talented man. It does seem a little bit out of its time but in much more of a good way than most. It is definitely listenable and privileged listening, but nothing really grabs out and tugs at you more than familiarization and mood. — Jessika Pure, precious pop: Alabama's T-minus Band, consisting solely of songwriter/multi-instrumentalist Troy T., offers a delightful slice of all the music you've ever liked: psychedelic, electro, glam, rap, goth, arena rock, trip-hop, country, mod pop...and the list goes on. If there's a cohesive message here, it's that Troy T. eludes definition --and unbelievably, brilliantly defies expectation with unforgettable melodies. Favorite tracks: "Longing for October," "2084," "Ominous," "Legacy". T-Minus Band's Technostalgia marks a fantastic debut from Alabaman multi-instrumentalist Troy T. A little shy, a little introspective, but overall a very fresh, honest and biting collection of hook-laden cuts. Calling it a collection is appropriate here in that the tracks are all individual pieces that might not seem, at first, to belong together. Rocking seventies FM style tunez reminiscent of Steve Miller's "Jungle Love" are placed next to islands of ambient and experimental works with happy little voice-pitched ditties that you'd expect from the likes of Ween strewn here and there. While this album doesn't go the schizophrenic genre-surfing route of the aforementioned band, it does swing around to enough different flavors of musics to keep it exciting and unique. A fair comparison for those looking to categorize could possibly match T-Minus Band up with Beta Band-if the latter were to add a bit more focus. Every song on the disc is memorable and catchy, but indie enough to avoid becoming "top 40" material (or whatever they're calling that genre today.) The stronger tracks, such as "2084" and "Longing for October" will stick in your head and put you into situations where you wished that those people around you knew just what in the hell you were humming. The lyrics are witty and deep yet oddly defensive. But if you listen closely you'll find that the artist offers you a warm invitation to walk and bask in the wondrous world of Technostalgia, so long as you promise to play nice. You can feel the album actively working on many levels. Once you notice there's something else going on underneath the cheerful exterior, you can sense the complexities of someone taking you to a very special and guarded place; guiding you through all the private and hidden mysteries, while uncomfortably standing alert to protect them should the need arise. "Mountaintop" takes on the people in the world who find it necessary to elevate themselves through the downtrodding of others, by proclaiming the disbelief in, and pointlessness of the elevation in the first place. "The Outsider" takes a swipe at professional schmoozers and conformity in general. Other tracks, such as "Elusive", "Thinking", "Cold Winter's Day" and "Wrong Kind of People" create more gentle environments for reminiscence and reflection, while "Mr. Big Boy" stands by to protect this utopia with preemptive criticism of the critics. But this album is not so much about pointing out the evils in others as it is about recognizing the potential evils that are in everyone… particularly the writer himself. You get the feeling that he is painting a picture of all that is ugly and wrong in the world as a warning to himself to never become those things. "Road Less Traveled" is a brutally honest and succinct portrayal of the balance of stubbornness and compromise inherent in relationships: "We could do it my way, but you insist..." which nails the simple-observer style of David Byrne, minus the quirk. Ultimately, this album will get under your skin; but you can choose how far to let it in. There's plenty of depth should you decide to dive in, and it stands up pleasantly well to repeated listenings without growing tiresome. There's more than enough ear candy and sweet, delicate hooks to make it worthwhile even as background music. If you can find a copy, grab it and you won't be disappointed. — Paul Painter This is a good record. A really good record. For a first record written, played, and recorded by one guy, it's an absolutely great record. T-Minus Band's first release "Technostalgia" plays more like a second or third release by an established band. If this is any indication of what lies ahead, mastermind Troy T should have a pretty decent career laying in front of him. The first full song on the record, "Take the Ride" comes at you in all its 70's am radio glory, a pumped up, fuzzed out Big Star hit that never was. What follows is a very loose collection of songs that ease into your memory, asking to be listened to again and again, each different in its structure and sound, yet all strung together like golden hits on a really killer radio station that exists only in your mind. There's the straight forward alternative pop/rock of "Longing for October" with backing vocals reminiscent of the finest ELO. "Elusive" echoes the absolute fluffy best of eighties synthpop, "2084" is simply beautiful with its headlong but gorgeous tumble into oblivion, and "D.O.I." rocks it Velvets style, lo-fi and dirty. The big standout here, for seekers of great singles, is the song "The Outsider." It's an almost perfect single, actually, with a guitar riff that sticks in your head and bounces along forcing you to move your shoulders with the roadhouse saloon rhythm pumping along. It's short and sweet, and demands you listen to it again, and again, and again, and again, just like any other brilliant pop/rock single does. If T-Minus Band has a musical kinship, it would be found in the genes of Beck Hansen, like the multi-genre genius, T-Minus Band plays with all sorts of different sounds, rythms, and beats culled from only the best of pop/rock memories. Unlike Beck, however, T-Minus Band has a certain sincerity and innocence to it that lends a bit more to the songs. There doesn't seem to be the almost bratty tongue in cheek "cooler than thou" delivery that we all know and love Beck for. Perhaps Troy T of T-Minus is the happier, more well adjusted little brother of the family. As I stated before, this is a great record, which given the hand of a very skilled producer not intent on reshaping the songs, but perhaps a little editing here, a little more emphasis there, would stand against anything on the indie/alterno market, and would certainly hold its own. As a matter of fact, the only real negative criticism I have for this record is that the intro and outtro tune "Nostalgia" doesn't quite fit. It readies the listener more for yet another industrial metal techno experiment than the sweet nuggets and gems that are just around the corner, but it's a minor complaint and one that shouldn't keep anyone from delving further into this super tasty treat of D.I.Y. goodness. — C.D. Motley |
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©2007 T-minus Band |
