Ozma | Spending Time On The Borderline
Release Date: May 6th, 2003 -- Kung Fu Records 78807
Forget all the matching suits, stripped down sounds and the revival of the overblown rockstar attitude. Forget the critics' proclamations that "rock is back," because as far as Ozma is concerned, it never went away -- and never will while they're on watch. Gimmicks only hide the truth and disguise a lack of talent and creativity, and fortunately Ozma doesn't have the time to dabble in gratuitous rock gimmickry because they've been spending time cracking the code to the timeless craft of melodic rock songwriting.
The Pasadena five piece, consisting of long time friends Daniel Brummel (21, vocals/bass), Ryen Slegr (23, vocals/guitar), Patrick Edwards (24, drums), Jose Galvez (23, guitar) and Star Wick (21, keys/flute), has rapidly matured their sound since they formed back in 1995 after meeting in high school and on the internet. Their first demo, recorded with Rod Cervera (Weezer, The Rentals), got them started on what seemed like a never-ending circular tour of Southern California, and helped them earn the few thousand dollars with which they financed the 1999 recording of their debut album, Rock and Roll Part Three. The 11 slabs of infectiously singable powerpop on this little-album-that-could compelled Rivers Cuomo to insist that Ozma open two nationwide tours for Weezer in 2001 and 2002 -- before the band had even a label or booking agent supporting them! This kickstarted the spread of an already rabid fanbase, and after selling 4,000 copies independently, Ozma signed to Kung Fu Records and hit stores for the first time.
Then came The Doubble Donkey Disc, a double EP project that showcased the band's diverse influences and imagination while retaining the unmistakable melodic and lyrical hooks characteristic of their debut. By integrating the traditional Ukrainian balalaika and Star Wick's impeccable flute, Ozma zeroed in on a sound they describe as "Russian coldfusion." Supporting the June 2002 release with a main stage slot on the Warped Tour infused the group with the punk rock discipline to refine an intense live set that is both seasoned and spontaneous.
In the winter of 2002, with the impetus and perspective provided by two full years of touring, writing, and pondering the concept of time, Ozma confined themselves to a live-in studio one block from the beach in Venice, CA. After two monastic months of nocturnal overdubbing and knob-twiddling with co-producer Chris Fudurich (Nada Surf, Matthew Sweet), they emerged with Spending Time On The Borderline, a tour de force of uncommon artistic dimension that is sure to set the bar of musicality and lyrical depth a bit higher for aspiring young bands.
Most striking on first listen to Ozma's new album is hearing the hard rock texture thicken or change color as strings, organ, piano, saxophones, marching band, or guest vocals from studio darling Rachel Haden adorn the mix. With inventive arrangements ranging from sublime harmonic subtlety in "Your Name," to raunchy authenticity in the country romp "Come Home Andrea" and relentless rhythmic mutations that drive the title track, Spending Time On The Borderline covers more musical ground on one LP than the entire stock of "emo" bands will ever have a chance to before their fifteen minutes are up. Indeed, Ozma has learned more from rock orchestrators The Flaming Lips and respected indie innovators like Pavement and Cornelius than from the canned formulas that plague today's prosaic commercial mainstream.
Like true artists, Ozma continually strives to expand and perfect their sound. Each record is a progression, a new chapter which builds upon their musical prowess and hints at the greatness this versatile band is capable of. You don't need to be an intellectual to appreciate the simple, cathartic power of the songs; Ozma makes music for true rock aficionados who place melody, lyrics, and most importantly, feeling, above all else.
