Scenes and Sirens, Peachcake, Royden, The High Court, Strike Four

Saturday, June 30, at the Door, Dallas

Not sure what the deal is with the Dallas Christian bands' tradition of insisting on reverb-drenched guitar that echoes—literally—the Edge, circa 1988. It's fine most of the time, if derivative (what isn't these days), and when well-executed can actually be quite enjoyable, as Dallas' Strike Four demonstrates.

Two parts synthesizer, one part attitude makes you a Peachcake.
Two parts synthesizer, one part attitude makes you a Peachcake.

But the real treat at this show is the lovely Peachcake. Also derivative—they punch keyboards and drum machines with a deftness that would make Depeche Mode proud—Peachcake provides a bedroom-dancing soundtrack that's so simple you can't help but love it. Take the jaggy "Stop Acting Like You," buoyed by a disco beat and arpeggiated synth lines running like shivers up a scoliotic spine. Or "Hundreds and Hundreds," with a beat just this side of frenetic and a main hook so effected it sounds like a message from outer space. Simultaneously soulful and synthesized, Peachcake is the band that should play at a robot dance party.

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