The four-band set at the Metro played out like a math equation.
Take opener Owen's mellow storytelling rock, add it to the near-50’s pop sensibilities and new garage sound of Acute, factor in some noise-wave rock from The Appleseed Cast and you'd equal the headlining sound of Copeland.
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Copeland with Acute, the Appleseed Cast and Owen
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 Entertainment
Art
Metro
Chicago, Ill.
November 12, 2006
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It was a diverse mix of sounds from the indie scene, and while they may not have all been for everybody, it's unlikely someone wouldn't have enjoyed at least one of the sets.
Acute, for better or for worse, was the poppiest of the bands; the band's structures echoed those that could be found in the 50s and 60s, funneled through the filter of modern rock era. The Los Angeles trio slipped back and forth between stripped-down garage to synth-based new wave. The choruses were splendidly catchy; nary a head failed to bop on "Follow You Home."
Opener Owen was the definition of stripped-down; it was him, guitar and stage. It made for fun crowd interaction between the solid electric-acoustic numbers about love and growing up, but his set might be better off in a smaller venue. The Appleseed Cast deliver complex roaring walls of noise, and while they occasionally managed to unearth a song, most of it sounded muddled.
Headliners Copeland delivered a strong set of earnest indie- rock, but while the music was strong, it didn't seem to have direction. The band members played with passion and delivered sweeping songs that wanted to be epics, but they need a little more time with the music to figure it out.
The songs sounded like fast songs that were being reigned in, or slow songs that were being pushed and didn't want to go any faster. The rocker "Pin Your Wings" was a perfect example. It started with a gritty riff and beat, like it was going to build to something exhilarating. But the chorus never broke free; the song opened its parachute before it jumped.
Singer Aaron Marsh's voice sometimes echoed that of Something Corporate/Jack's Mannequin vocalist Andrew McMahon's a little too closely, but Copeland's more complex numbers set them apart. His singing stood out on the piano-driven "Sleep," which slowly builds off a soft piano and snare intro to a rolling plea with tender lyrics, punctuated by the simple question "Will I wake to find you waiting by my side?" It seemed to be a song here the band must have felt it; the song felt more confident, more directed.
There, it was clear Atlanta foursome was doing something right. Copeland's not far off; it will be fun to follow them along as they add things up.
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Written by Guest on 2007-03-05 13:36:47
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