On my desk today is this album from Boston and New York based band, ‘Dearest Pinky’. Initially, I did think this was an odd name for an Alternative Rock/Pop/Prog band – pink being a slightly unorthodox colour to associate with the mix of genres. But upon doing my research all became clear. You see, more specifically ‘Dearest Pinky’ is the stage name of the bands female lead singer, Lindsay Gardner. She is the focal point of this musical product; not just in terms of image (she dons the pink in the majority of photos I could find of her) but also in terms of being the main driving force behind the song writing.
It’s plain to see that the energies behind the themes, song styles, and words originate from her. This notion was then confirmed to me upon visiting the band’s website www.dearestpinky.com to take a look at their line-up (a mix of original members and enlisted session players) some of whom originally joined to be part of the bands live act and later contributed to the recording of this album, or vice versa. An example would be, Rae Amitay, who was a last minute replacement drummer on a live performance but later joined the band to record backing screams on the track ‘Slip Your Lie’.
So let’s talk about some tracks. There are 16 of them in total, which, in my opinion represents a commendable songwriting effort and a nice incentive to provide fans with more beat for their buck. The opening song is entitled ‘Blood Over Time’. Being very short, it clearly serves as an atmospheric track – setting the mood of things to come – as opposed to being an accessible Pop song. It is a lovely piece, with the guitar sound resembling that of a sitar, and Lindsay’s soothing vocals hovering in the mid-ground.
‘Slip Your Lie’, which I mentioned before, follows immediately after ‘Blood Over Time’ and the transition works nicely. This song is an accurate portrayal of what the band is about and begins with a haze of guitar feedback, later kicking in with a distorted, quadruplet-driven traditional Rock riff. As Lindsay’s vocals enter, I get instant vibes of ‘Evanescence’ (along with a much better idea of ‘DP’s’ possible target audience). The instrumentation and tonality are exactly what you would expect to hear from any band of this genre, and if traditional female-fronted Pop-Rock is your bag you won’t be disappointed with these guys’ effort.
A refreshing and slightly different take can be heard in ‘Last Stop’, which moves back from rockin’ distortion and into the realm of acoustic strings, soft-settling vocals, and a crunch-type tone from the electric guitars. The mix results in a welcomed contrast and a song that is pleasantly uplifting and bouncy for the most part. It’s hard to talk about Lindsay’s vocals without repeating myself, simply because they always sound so nice and don’t actually alter much in style.
Moving forward a couple of tracks, I get to ‘Count Me Out’. I’m immediately struck by the quality of the production on this song. The electric guitar dominates the intro with a lovely sounding flange-type effect, complimented by the bands choice of tone for the snare drum. It may sound like a strange point to make, but they do work really well together phonically. I like this number; it takes a Folk template and decorates it with threads of Rock – reminding me of that well known Irish Rock band, ‘The Cranberries’. I’m not the biggest Folk listener myself but I certainly appreciate it; I give my respect to ‘Dearest Pinky’ for managing to craft such a brave stylistic-mix on an album that otherwise leans toward the roots of traditional Pop-Rock.
As I am only able to cover a handful of tunes, I’m now going to zoom right on down to the album’s end. I could’ve chosen the final track – an alternative-acoustic version of ‘Bleed Like Mine’. As an acoustic song it is definitely one to check out, showcasing some skilled and highly creative musicianship (especially if you want a more relaxed and mellow version of a great song). However, because ‘Blood And Scar Wars’ obviously boasts some sort of concept in relation to their earlier, album-titled tune, ‘Blood And Scars’, I went this way instead. Interestingly the link between the two is not just in the name.
Upon listening, ‘Blood and Scar Wars’ acts as an extension to its sister track. It’s as if ‘DP’ wanted to bring back the atmosphere found in ‘Blood And Scars’ one last time before the album ended, and cleverly they have managed to do that. Overall, I think that ‘Dearest Pinky’ have made a solid album with ‘Blood And Scars’. It remains true to the bands genre whilst also managing to throw in a few attractive and stylistic variations in the process. Their product is well suited to their apparent target audience, though the sound is distinctly 90’s.