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

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

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.

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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