Proudentall - "What's Happening Here" (Sun Sea SKy)

Album review by Mark Cuthbertson

After four years of gaining experience and a respectable fan base in the KC/Lawrence area, Proudentall finally has released a full-length CD for mass consumption on the SunSeaSky label. What’s Happening Here has only left the portable CD player in my car en route to my home stereo, computer, or a friend’s CD player during the weeks I’ve had it in my possession. Proudentall’s first effort is that catchy.

The sound and intensity of the record is greater than the sum of its parts. While most of the album is energetic and angst-ridden rock, several moods, tempos, and dynamic levels are achieved throughout the ten tracks. Guitarist Matt Dunehoo and bassist Billy Ning trade off spoken words, singing, and yelling with Matt carrying most of the load (including harmonies on the album). Through the many dynamic fluctuations in each song, John Cruz is the definitive rock-solid drummer. Every hit is struck with authority and purpose; his fills are musical and tasteful, but never flashy or excessive.

Of the ten tracks, six are songs, two are instrumentals, and two are non-songs. Four of the songs (“Kill Myself,” “1002,” “Fader In/Out,” and “No Knowledge”) feature variations of Proudentall’s signature rhythmic hook — a snare hit followed by three notes of equal length. These songs don’t simply rock — they swing, too, and also happen to be my four favorites. They also feature some great beginnings and endings, key benchmarks of mature songwriting. While instrumentals aren’t for everybody, “Instrumental Like a Compass” and “Untitiled with Mike and Breeze” are worthwhile instrumentals. The former is a quick, high-octane piece, and the latter is moodier and features a violin and trombone.

The two non-songs, “Line Drawing Dead Winter” and “Winter Dead Drawing Line” are mirror images of each other with Matt whispering something indiscernible (even with the volume cranked) over some mellow guitar strums and trombone phrases. Placing shorter versions of these at the beginning and end of the CD or being able to hear and understand Matt would have greatly increased my own appreciation for these. But I seldom listen to a full-length album without reaching for the skip button two times or less anyway (I have always skipped two or more songs on my own band’s album, actually). What’s happening Here is one of the strongest local CD’s I’ve ever had the pleasure of hearing.

--Mark Cuthbertson