The first thing noticeable about the new Honeymoon Suite album, "Clifton Hills" is the utter absence of keyboards. It's obvious they are trying to back pedal and come out with all nostalgic guns, cocked ready and prepared to blast us away back to 1984, or thereabouts. The album title is a place in Niagra Falls where the band was formed, the producer that handled their debut in 84 is back (Tom Treumuth) and the songs are ready to plow old ground and heap a bit of new dirt on top of that for good measure. Those keyboards are sorely missed however.
The band is at their best when cranking out melodic numbers that focus on electric guitars and bouncy choruses (though lacking the "big" sound that usually goes along with such). It's when they decide to start spinning storyteller tales about "them good ol' days" that things get cheesy and unwieldy.

Opener "She Ain't Alright" is the anthem of everyone's hearts everywhere and the focal point of the album. All we are looking for indeed is someone to love, whether they are a bit messed up and not quite right, because who of us is? The chorus is snappy, the melodies are flowing like wine, the rocker tempo suits it nicely and guitars are blazing. Elements click and the song works.  Too bad they couldn't stir up the ashes to find more flames such as on this promising first track. 
 
"Tired of Waitin'" is some kind of mix of Harem Scarem and mid 90s Pretty Maids. The verses are upfront and snazzy, Johnnie Dee weaving his vocals through the bitter aftertaste of a love turning sour. "Riffola" drifts around in middle ground, a pop rock song with some funky effects, and thick slabs of rock'n'roll guitars. "Ordinary" is a softie storyteller track, reminiscent of Bon Jovi doing his stripped back thing. There are threads of hope here, and a sense of determination that fuels the song into something that breaks the water into above average territory.   Just barely.

"The House" slides further down the slippery balance of being taken seriously or feeling like a cheesy mess. This has the reflective vocals of a country and western song, or Bon Jovi or even John Mellencamp. Simple stories of life, growing up and looking back at the past through the eyes of one older, wiser and wearing rose coloured glasses of sentimentality. A few growling riffs remind you that its not all sunny fluff, though their absences ring more telling than their token appearances for chorus and the odd solo.
 
"Why Should I" brings me thoughts of Saigon Kick's water. Little flourishes, the tone of the acoustic, the modern feel of the song structure and vocal stylings. It's pure pop rock, and you wouldn't be surprised to flick your radio on and hear this. Not terrible, but it's not going to change anyone's world.

Thick slabs of guitars for "Down 2 Business" is all modern-esque pillow talk with flashes of White Lion, and a simplistic feel that demands little and is a pleasant piece when all is said and done.  There's just this overall feeling that it should have been more, but that added spice is never tasted and the promises never come to fruition, leaving a track that's half starved on "what might have been".  "Sunday Morning" has a darker vibe, embracing the modern side of rock with the fragmented guitars, spaced vocals, and gathering itself to a driftingly sweet chorus. An undemanding song that has enough lyrical niceties and a relaxing vibe, much like being wrapped in the sweetness of after morning love with nothing better to do than lounge in the sheets and contemplate the sunshine painting the awakening morning. 

Throwing back in your face is the juvenile "That's All You Got". She left him but has hooked up with someone her former guy doesn't like, so he wrote a song about it. It's high school personal politics and a modern twist that suffocates the life out of the song. Avril Lavigne could sing this and it would have more meaning, than the bland performance here. It sounds like a track penned by a spiteful girl bent on petty revenge and lacks the venom to be convincing. "Restless" is a sappy throwaway B-worthy ballad that has all the substance of thin white summer clouds coming apart in the heat of the sun. A breezy guitar solo is about as light and memorable as those mentioned wispy clouds. Another track that lingers as a pleasant afterthought but little more.  AOR that stirs nothing but leaves no foul after taste either. "Seperate Lives" has a groove and a topic that hits home to some on many levels, but drops the ball where chorus and hooks are concerned.

Honeymoon Suite's "Clifton Hill" is worlds better than their strange and not so beautiful "Lemon Tongue" release. However, it gets bogged down in its quest to be a modern storyteller disc while keeping a few sharp hooks in the past. The keyboards are painfully missing, their presence is just a brush against the music. The White Lion/Bon Jovi/Mellencamp links give the disc a definite taste, and some of the ballads and rockers manage to strike a chord here and there.
 
The disc is overall a pleasant experience, but not one that lends itself to immortality in remembrance.  It lacks punch, flair or fire.  The band is obviously made up of musicians that ply their trade in a tight and efficient manner, but even when they are doing their best to tease ("Down 2 Business"), childish love squabbling backlash ("That's All You Got") or just thin veiled excuses to rock out ("Tired of Waitin'"), there's a restraint here that's more dying embers than fanning the flames.  The discs limp atmosphere holds it back as much as their pressing need to wander down patchy old roads of memory like a bunch of old men in their rocking chairs cranking on about the good ol days.  Fans will be more partial to this nu-retro mix and front porch fossil dabbling but others will want to reach for meatier, more fleshed out albums that are currently fresher and offer a more entertaining alternative.

Written by Alanna
Tuesday, October 7, 2008
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Ratings

Alanna: 5.5/10

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