Los Angeles – As co-founding member Justin Gilman explained, Diamond Youth, his newest project alongside longtime friend Sam Trapkin was borne out of a simple desire to “write some rock music” that paid tribute to the music of their youth. With their first full-length album, Nothing Matters being released this week on Topshelf Records, the Baltimore, MD band blends their influences into a pleasantly palatable amalgam of anthemic pop-punk choruses, slinky surf-inspired verses, and blissful moments of pure aggro rock riffing.
The two founding members of Diamond Youth met while attending Maryland Institute College of Art, releasing three EPs in anticipation of their first proper full length. After Trapkin spent some time in the widely-recognized Baltimore area hardcore punk band Trapped Under Ice, the two classmates corresponded over the internet to piece together the songs that would fill up their first three extended-play releases.
Nothing Matters shows a band that is not straining to break new sonic territory; instead on these 11 songs Gilman and Trapkin focus on re-inventing guitar pop styles that were common in the late 90’s and early 00’s but have largely disappeared from the mainstream as well as the underground scene. The two songwriters are clearly aficionados of reverb and chorus on their guitars, giving the album a beach-y vibe – fitting, considering the album was recorded at Hurley Studios in sun-soaked Costa Mesa, CA.
Some of the most effective moments of this surf rock motif are heard throughout the single, “In The Clouds”. This power pop gem rolls right out of the gates with drummer Ian Hurdle’s tumbling toms fills, pounding bass lines from Grayson Wallace and ringing, clean guitar chords that are given the heavy tremolo treatment. Even the chorus, with its traditional pop-punk vibe, has vocal melodies that recall vintage surf rock songs.
Though “In the Clouds” may be the most powerful of these beach-indebted tracks, some other solid examples are heard right at the beginning of the album. “Nothing Matters” and “Thought I Had It Right” both open with reverb-drenched guitars and a pounding drum beat, giving the impression to the listener that the entire album will be chock full of modern surf revival. However, the album does a fair amount of genre hopping within its alternative rock framework, leading to what is a quite diverse set of songs.
The mid-album centerpiece “No Control” features a ringing, descending guitar riff accompanied by Gilman’s mumble-y but still-expressive vocals which recall vintage Dave Grohl – in fact, at this point Diamond Youth bear more of a resemblance to the Foo’s early 90’s landmark albums than the aging arena rockers that wrote them. The punchy rhythm and grooving falsetto vocals of “Deep Love” recall the dark, stoner-metal inflections of Queens of the Stone Age – a band that Diamond Youth are often compared to by critics.
The band is also unafraid of slowing down the tempos, such as on closer “The Difference”, “Spinning” and the early-album standout, “Riptide”. These change of pace tunes are the perfect complement to the righteous riffing and infectious energy heard elsewhere on the album.
With Nothing Matters, Diamond Youth have shown they have the ability to translate the potential heard on their shorter releases into a full-length album. The band perfectly straddles the line between mainstream and underground, and should continue to gain a steady following of fans who crave some legitimate 90’s alternative revival.
Diamond Youth hits the road this summer to promote Nothing Matters alongside Superheaven and Rozwell Kid. Check the band’s Facebook page for details on shows.
Matt Matasci
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