Dedspace does a lot of the same things that Constants does, but with a much softer edge. Absent are the screaming accompaniment and aggressive distortion, and in their stead are dark, passionate wails and squealing guitars
Noisy rock that’s dissonant and sporadic, treading the grey areas between indie, hardcore, and art-rock. But this is by no means a bad thing, and there’s no question that the lads are very good at what they do.
Tyondai Braxton has obviously escaped from the same refugee camp (as Parts & Labor), as evidenced by “Stand There,” the best song Parts & Labor never wrote and probably the highlight of the whole disc.
They don’t play their instruments, they beat on them. The vocals are just different degrees of screaming. There are no solos, just a three-piece drum set and distorted, open chords.
As part of the early-’90s jazz/death movement, Pestilence left behind four albums of pure progressive mindfuck that easily shames anything “technical” today.
There is something inherently stirring about that Billie Joe (of Green Day) virile slacker-collegiate sound certain singer boys seem to have, and Pensive has it.
A Brooklyn three-piece. Most other reviewers have compared them to other art-rock bands, but those sorts of comparisons imply that they’re some sort of rip-off, which is patently false.
Rob knows how to write good pop with a touch of rockin’ country twang. He does it with energy and a smile, and throws in some gentle slow jazz sounds and even a little funk for good measure.