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Album Reviews

Someone once said that punk was the white kid's blues.  I imagine this might include the poppier variety, not just the raw or art school gutter kind of punk.  Duvall founder Josh Caterer's last band the Smoking Popes "always points the way out for the worst case of the blues," critic Jim DeRogatis once wrote about them, blessing his fellow Chicagoan with accurate praise.

Pop punk often tries to force unintentional chipperness to mean something, but on Duvall's Asian Man debut Caterer continues to embrace the listener with genuinely good humored affection, and it's in that tender bear hug that Duvall has real meaning.  A cover of Spandau Ballet's "True" near the end of this full-length acknowledges that it will be perceived as kitsch, but the well-known lyrics about this being "the sound of my soul" are no less intended.

Sounds of the soul are Caterer's main preoccupations these days, as "Jesus Never Leaves Me," "Gimme Some Light," or  "All In Your Hands" on Volume & Density display. Of course, it should be mentioned that Caterer has never said he thought of his previous band as "punk," and the earnest optimism and open spirituality of Volume & Density would probably seem too warm for the topical complaints of that now-genre.  It's just that punk music has often been the best form to mix the universal with the personal, and the energetic with the vulnerable.  It is in this way that Duvall sound "punk" -- meek, sincere, and very intelligent.  Even those previously mentioned songs have more complicated stories about life and love than is implied by their titles.

Caterer has mentioned enjoying the otherworldy realm of classic movies and 40s swing jazz, and such inspirational romanticism continues as he explores themes based in his new religion.  It's the world Jonathan Richman described with the Modern Lovers in "Old & Dignified," where the pre-fabricated has no paid-for virtue, where character is tried and true, and real friendship deep and holy.  The best example of Caterer's recently developed theological worldview for me is the harder-edged "Between the Lines," which begins with a loud amplified guitar grind before Caterer's expected soft and laidback vocals swoon, "You speak as though you're rich / You look as though you're tired / What happens when your contract has expired?"

Most times, Volume & Density sounds like a fresh burst of enthusiastic baby Christian power pop songs, and that's just what they are.  Add assured and unique higher-ranged vocals and an experienced passion for constructing catchy anthems, and even unbelievers can enjoy repeated listenings.  The bio that came with the disc says that the band is trying to "break into the Christian market" (very bad idea, Josh), and the irony of that is this is the kind of songwriting that could make people outside the Christian church want to know more of the light and joy Caterer sings about.

~ Chris Estey

Duvall is making faith-influenced rock that... well, rocks. The band has a stellar sound, a driving energy, and that signature emo voice. What they don't have is slick Christian marketing, trite lyrics, or a weak sound.

It began with the rising success of The Smoking Popes, who emerged onto the growing emo scene and toured with Weezer and Morrissey. But lead singer Josh Caterer converted to Christianity in 1998 and left the band. In 2001 he returned to rock 'n' roll and formed Duvall.

Backed by former Smoking Pope Eli Caterer (guitar, bass, backing vocals) and drummer Rob Kellenberger (of the bands Tuesday and Colossal), Volume & Density is the group's first full-length release. The album rocks with experience and energy, and the lyrics drip with the intensity of a passionate, open faith.

Duvall rocks like Jimmy Eat World or Dashboard Confessional minus the screaming girls, but they have a deeper, more open spirituality.

~ Kevin H.

Duvall are on Asian Man Records? Man, was I fooled! Duvall are not the type of band I would expect to find on that label. So Duvall give us the expectations of volume and density and gives us neither.

How clever I am. Yes, the album is indeed called Volume and Density, and I had to listen to it about eight times before I could handle it. Of course I like it now. I had to use the Theorem of Top 40 Music to do it, but now, yes, I like it.

Some people are not so lucky. I played it in New Zealand while my girlfriend was driving. For unknown reasons, the CD player started playing "Racine" over and over again. After about four times, I noticed. That right there is a red flag. If you have to hear a song four times to notice it is repeating, that's a surefire sign that the whole album sounds the same.

So I pointed out that the song had repeated and I went to the next track. My girlfriend mentions something about how she thought the whole album had already played, and I said it hadn't. About 10 seconds into the next track, "True," she says, "That was a hint!" Ouch. No more Duvall for us.

The lyrics are whiny, too. The lead singer sings about the most insecure things. He should instead be singing about how he is a rock singer and can get any chick he wants. The irony must be wasted on me.

The best way to enjoy this album is to not pay attention to it. And there is no better song to do this with than "Standing at the Door." This song is great. It is the only one I liked the first time I listened to the album.

I am no longer qualified to opine. I've heard the album too much so it sounds great to me. I remember the days when it was simply annoying to trudge through this album. That's where you're at right now. Say no to drugs, kids.

~ Jughead