Like the reviews and profiles say, their music is “emotional” and “powerful,” but Wayne fails to consistently express these elements in any sort of depth. At the bitter end the band creeps out of its insecure shell of macho-ness, and literally leaves its landscape bare and exposed. It’s almost as if the band is attempting to cover up what really constructs their songs – sentiment and simple vocal harmonies.
There’s something to be desired in the first half of Music on Plastic. Crunching guitars discreetly cover up the gentle and predictable riffs, yet the songs beg to be played at a coed campfire. It’s almost as if they’re embarrassed by their girl songs, and try to hide under a veil of aggressive power pop.
“Take Me Home” really picks up this album, with its rolling acoustic riff, finger-snapping and a certain summer air, that conjures a moment (only 1:31 minutes long) of translucent feelings coupled with a pleasant breeze. “With Regards” works in much the same way. It simply revolves around a looped picking pattern that creates a soothing background hum, like a faint note played in reverse playback. But it is unmodified, an inherent element of the song, and it ultimately defines the singsong harmony Wayne is attempting to accomplish.
Music on Plastic needs to ignore that anyone else is listening, and simply relish in its own observations and natural tendency towards simplicity.