In the “reuse-recycle-repeat” of popular music so many artist come out as quickly as they are forgotten. Out of the Motown-famed Detroit, MI, singer-songwriter Trey Connor jumps into the scene. But does he bring anything new and exciting to table as his local predecessors have? His new EP, While Everything Is Now, is an exemplary culmination of creative stagnancy, going through the motions of all predictable clichés that satisfy the criterion of “Pop Rock”.
At the risk of sounding a bit rash, the overall content of this release may be best summarized as a series of generic lift-me-up, “when life gets you down” pop tunes and love songs hidden under the cookie-cutter sonic venire of Foo Fighters B-sides. Undoubtedly, Connor showcase some great, consistent vocal talent, yet also somehow comes out rather forced and plastic-sounding while seemingly trying to imitate Jon Bon Jovi. Instrumentally, the album is also well-delivered and consistent, if not also simplistic and repetitive most of the way through, leaving it as rather tedious and quite predictable. Lyrically, you have every overused ad lib, romantic and motivational catchphrase, and onomatopoeia imagined thrown into the fray. Songs on the EP, while sufficiently varied, are about as formulaically chorus-driven as they come. And while catchy chorus melodies are certainly prevalent throughout the release, they collectively have very little memorability and seem to be easily forgotten by the time at which the next track is heard.
What it lacks in overall substance certainly contrasts in excellent production, as would be expected. The EP is well mixed and mastered with a suitable amount of polish without completely choking the life and resonance out of any of the vocal or instrument tracks. The acoustic guitars overdubbed with electric guitars are a nice touch to the backing track, adding a bit of earthiness to an otherwise concrete sound palette.
My ultimate impression of While Everything Is Now is an EP that falls short on account of tedious repetition, predictability, formulaic composition, and cliché lyrical material; yet stands a solid ground for mainstream marketing appeal. That would typically prove as reasoning to record such a safe record that brings nothing new to the table. Hopefully, this artist would realize the propriety to promote himself directly as a pop artist, and not one self-proclaimed to be in the categories of indie or folk rock, for example. Or perhaps some creative exploration could benefit the results of future releases.