Panic in Detroit
Panic in Detroit EP
Silverthree Recordings
2003
B-

panic in Detroit is one of the more misleading band names of recent memory. Not only are they actually from Houston, TX, but their sound is miles away from the dominant aural evocations of the motor city - garage rock and white-boy rap antics. Instead, the genuine geographic triangulation is primarily tipped off by the record label (Mike Harbin’s Silverthree Recordings) and the producer (the ubiquitous J. Robbins) – former Burning Airlines members and proprietors of Panic in Detroit’s DC-inscribed guitar studies.


No Dischord-lovin’ band from the capital would dare approach entering the Superdrag territory of unironic guitar pop, but this is the genesis of Panic in Detroit’s defining feature; the ability to resuscitate the emotional capacity of the now zombie-like corpse of Weezer. Whereas Burning Airlines’ cerebral pop sensibilities were informed by XTC, Panic in Detroit captures the arc of 90s guitar pop, showing those same touches of 70s and 80s arena rock for better or worse. It’s a bit strange to already have a revival and a reassessment of this material, luckily Panic in Detroit does it justice.


The best material on this relatively quick 17 minute EP straddles the line between these two camps, taking the intensity of the capitol’s rock and brandishing some undeniable pop confections. These tend to shift slightly to either side, as “We Own Everything” and “This is Why We Can’t Have Nice Things” come closer to DC, with propulsive, angular guitar dominating the mix, while “Young Attraction” could have been a long-lost Weezer b-side. The only real misstep is “Whatever, Whatever,” which shows a none too subtle affinity for reviving the guitar solo and illustrates singer Ryan Chavez’s penchant for pulling out some ill-advised vocal tricks while never truly setting out for a particular destination.


DC could use a bit less insularity, since there really aren’t too many bands coming directly out of the city at this point, and having new labels import talent from previously questionable locales like Texas is a good start. A full-length and some more touring experience will go a long way toward solidifying their position, but this eponymous beginning is a fine start on that trek.


Reviewed by: Sebastian Stirling
Reviewed on: 2003-09-01
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