Blank Agenda is a rock band out of Louisville, KY, debuting with See the People EP. Drawing on the tradition of southern rock as well as the indie garage revival, the group is fortunately able to capture the good qualities of both— the brutish playing styles and in-the-room production of the latter, along with the loose compositional feel and attitude of the former. Across four tracks, See the People has a wide spread of moods, but doesn’t much offer an obvious blueprint for the band’s songwriting or stylistic inclination. Still, the record demonstrates the group’s complementary inspirations through tightly performed tunes. “Twisted Mannequin” opens the record with a somewhat political bent, taking a few shots at the universally reviled POTUS in a dissonant classic-rook cooker. The fat guitar chords and crossover drum grooves have a propulsive quality that elevates the track, though there are points at which the band seems thin. The disaffected lead vocal, in particular, has a very dry production sound that struggles against the overdriven guitars, though the occasional echo is tastefully done. The overall effect is there, however, and the punchy vibe is no doubt why the group chose this track as the project’s opening statement. “The Ballad of Johnny Bryce Quinn” swings the group in a more country-like direction, telling a drifter’s tale with a slow beat. The layered vocals on here could once again use a touch more reverb, but they sit nicely on the dynamic country groove. As the longest song on See the People at nearly six minutes, the track variously moves from dreamy to murderous, but is most successful when looser—the chugging conclusion doesn’t suit the group as well as the jammier elements. That said, the inclination to shake things up helps keep a long one from getting stale, and the band has a knack for that in the songwriting. “Fly” introduces some shimmering guitar to the mix, and upends the stylistic template for something that almost sounds like revivalist emo. Though it’s an abrupt change, the sound works, and the more effected vocals and guitars give the production a better sense of space. The solo is a bit anticlimactic, but on a track like this it’s probably a better decision to keep things tasteful. “Fly” made me wonder exactly what the ‘target’ genre for Blank Agenda is, as it’s further afield than the other tracks. The direction was worth pursuing here. “Working Man” has a mordant sound, putting an anxious vocal atop a burly minor-key shuffle. It’s a good note to end on after quite a bit of slower material, and caps off the impression I get of the band—a bundle of good sensibilities looking for the right outlet. The group’s not quite gotten the whole picture painted with See the People, but Blank Agenda has a few promising paths to follow.
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