Amy Meredith


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Every prominent band tows a bunch of impersonators in its wake, and the Killers are no exception. Amy Meredith are the Australian dealer of Vegasian bouncy disco-punk, offering what plays almost like an homage to their heroes -- and boasting to boot what is a blunder of a name, considering the group has five boys and no Amy at all -- but, luckily, doing a good job despite the evident shortcomings. Originality is not in the cards on Restless: Christian Lo Russo with his wavering tenor sounds like a dead ringer for Brandon Flowers, and his band plays those gloriously primitive, ├╝ber-catchy guitar lines over breakneck rhythms that leave little opportunity to ruminate on the music's simplicity, just like good dance tunes should. The picky will note minor differences: Amy Meredith use relatively little keys, go for a sunnier atmosphere than the Killers -- some parts of Restless sound almost like perkier Dashboard Confessional -- and throw in some delay-drenched guitar textures indicating that the band doesn't mind borrowing directly from U2. But on the whole, Restless is a perfectly derivative record -- which, however, is also its saving grace. The Killers may be kitschy, melodramatic, and overly fond of ripping off their own favorite bands, but they are great pop songwriters, and copying them cannot be complete without coming up with some genuinely catchy, stuck-in-your-memory songs. Amy Meredith dish out no pop classics on Restless -- that, after all, takes a distinct individuality -- but the record is a filler-free blast of simple, energetic pop/rock fun, and that's exactly what the guys set out to do in this case.

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