Eternal Summers
Silver
Release Date: Sep 27, 2010
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock, Indie Rock, Lo-Fi, Indie Pop, Sadcore
Record label: Kanine Records
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Album Review: Silver by Eternal Summers
Very Good, Based on 4 Critics
Based on rating 8/10
The duo behind Eternal Summers, singer/guitarist Nicole Yun and drummer Daniel Cundiff, have a knack for writing really simple, really catchy songs that are influenced by 1980’s indie pop, 90’s noise pop and anything else that has the kind of hooks that dig deep into your head. Their debut album Silver is filled with them from top to bottom and it plays like a singles collection instead of a debut. Whether gently crooning soft ballads like "Safe at Home," rollicking out on songs like "I’ll Die Young for Rock and Roll," or raising a ruckus on rockers like "Pogo," the duo are an indie pop jukebox with no filler.
Based on rating 6.6/10
The duo Eternal Summers hail from Roanoke, Virginia-- decidedly off indie rock's beaten path. The group's members, Nicole Yun and Daniel Cundiff, are both integral players in an artistic collective known as the Magic Twig Community. The last word in that appellation is key, as it speaks to the close-knit, self-sustaining quality of a small unit of people who probably draw more inspiration from each other than they do from outside trends and fads.
Based on rating 6/10
Sometimes, appearances aren’t deceiving. While indie rock duos like the White Stripes and No Age have garnered attention for transcending their seeming limitations in personnel and equipment, Eternal Summers are nothing more than they seem to be: A girl and a boy with a guitar and a drum kit, with mostly her singing. So although guitarist Nicole Yun and drummer Daniel Cundiff don’t blaze any new trails or reimagine what’s possible from the two-man game on their debut, Silver, there’s something to be said for the way they find a comfort zone by not trying to be something they aren’t.
Opinion: Very Good
The early 21st century post-punk revival, spearheaded by the sinewy jams of bands like The Strokes and The Libertines, is showing more age than its 10 years would suggest. For a movement that was so focused on rock’s most primal and threadbare essentials, it’s sort of confounding to hear so many 2010 acts employing not only the basic guitar/bass/drum configuration, but also string, wind, and mallet percussion sections. Yet whenever excessive ambition and lavish instrumentation become the norm, there’s always someone there, ready to subvert the momentum.
'Silver'
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