Ever wondered what happed to Puddle of Mudd? Yeah, me either. But there is no denying that when their tunes came on, you probably cranked that up. The angst filled post-grunge rock was infectious. If you deny that, then you’re just the person who cranked it up only when you were alone. It’s ok; we’ll start a Puddle of Mudd Support Group for you to anonymously plead your denial.
In the wake of the sound crafted by the aforementioned Kansas guitar lamenting music, we were given a handful of melodically depressed bands that faded just as quickly as they appeared. The most recent to be tossed into the musically piranha infested bucket of long-haired, distorted torn jeans “don’t care” attitude rock is The Everyday Losers. Now the most obvious difference between this unsigned Washington, Indiana trio and everything mainstream swallowed in the late 90s/early 2000s is that these guys know how to swim.
The Everyday Losers debut album Social Paradise stutters and scrapes the runway in its attempt to take off, but by the time we’re airborne, the smooth ride eliminates any memory of that arm-rest destroying fear that we were about to get into something hazardous to your health. Comprised of Danny Norton and the brothers Seidel, TEL crafts six tracks of a post-grunge, alt-rock sound that shines potential yet breathes a heavy breathe of a debut.
Social Paradise is a title that speaks volumes all on its own. It encapsulates a sound, style and attitude which, for those who can free their minds and allow themselves to just “jam-out”, shines. Really, let yourself remember the feelings of the late 90s, perhaps with a vision on the future. Norton holds his own on bass. Rather, he does more than that, he tears it up. Tyler Seidel and Dylan Seidel bring it all together on guitar and vocals. Though from time to time the vocals falter and feel stressed (“Hate You” and “Pins”). Among the Rossdale meets LIT style (“Farrah 22” and “Let Me Die”) there is one massively shining beacon of rock. It comes in the form of the second track “Queen of the World”. The song is addicting deeply rooted rock in top form. It single-handedly holds the album up. And it should be said, though I called them a trio, ex-drummer Julian Fleck knows how to pound the skins.
With post-grunge existing under the radar, only to peak its head on occasion, it is hard to not assume any new similar sound is simply an ode or an attempt to remake the faded glory. In all fairness Puddle of Mudd is alive and well. Don’t fret your little head. But with the packed potential of The Everyday Losers, even though I don’t believe we saw it fully released in Social Paradise, it is safe to assume the puddle is all dried up. We have a new group of talented musicans to keep an eye on. Take that to your Mudd meeting.