Review
Plain
Different Not Strange

One could say Lugano, Switzerland’s Plain is a risk-taking collection of artists simply for the sheer bravery (or stupidity) of giving themselves that moniker. For those that wouldn’t care for their brand of music, professional critics and aural consumers alike, the door is wide open for the same kind of juvenile puns that your typical Garbage naysayer would dish out. Hopefully, there won’t be any of that in any form in this review, as Different Not Strange is a standout debut LP that’s anything but plain. (You see that? You see what I did there instead?) Again, the group prefers to conjure cheap one-liner ammunition since Different Not Strange is a not too subtle way to describe this album in its entirety. Mixing parts of alternative, hints of progressive, small dashes of keyboard ambience and synth, and wrapping it all up in a classic rock package, Plain’s overall sound is fairly difficult to pigeonhole. Moreover, the unusual pacing of the vocals with the rest of the instruments creates a unique listening experience. The concoction seems a little awkward on the first few spins, but when given time each song eventually defines its own special identity. Considering how scatterbrained this record could have been, the sextet definitely made an excellent choice to work with mixer/producer Chris Sheldon. As much he brings out the best in the likes of Oceansize and Biffy Clyro, he also makes sure that what works best for Plain prevails over any mishaps. However, for those feeling that it’s an absolute necessity to give this band comparables, their sound is somewhat akin to the likes of Muse, Porcupine Tree, and King’s X. The straightforward rockers “Subtitles” and “96db rejection” utilize a grinding, multilayered guitar system that wouldn’t be out of place on any of Muse’s albums. Both tunes are nicely written, emphasizing a more raw sound that opts to push back the use of the cheesy keyboard grooves that are a mainstay of Plain’s Britpop counterpart. While it’s undoubtedly coincidence, frontman Nick Poretti’s quasi-soulful crooning is distantly reminiscent to the prime days of Doug Pinnick’s vocal range. It must be mentioned that a few songs, the single-worthy “Puzzle,” the equally striking “Can we Stop the World?” and the exceptional tampon ballad, “Clean,” appeared on the group’s previous self-titled EP with slightly different mixing. Normally, it’s frowned upon when artists do this, but Plain is able to carry the precarious maneuver to exception. After all, it’s hard to bust their balls about it when probably ten people outside of their home country have actually heard the EP. Also, and more crucial, the new work present isn’t at all overshadowed by these prior pieces. The presence of the closing rush “That Night,” a stylish and commanding proclamation, and the moody “Lonely God” demonstrate that these guys are capable of more than just than a handful of blow away pieces. But even with the presence of killer cuts, this is still the type of album that Plain will advance well beyond on efforts to come. Their gusto to push creative bounds with more success than falter will eventually land them on the top shelf with their more seasoned peers. That can wait though, Different Not Strange is worthy of recommendation as is.