Cameron - Pictures Never Taken
(self-released)
First I had thought someone had stolen my idea for a concept band based on the life and career of Kirk
Cameron, formerly of Growing Pains, currently of Left Behind: the Movie. Fortunately for
me, but not for you, Cameron is not that band. What they are is a stalwart indie rock band, kicking ass in a
easterly coast style. Herky-jerky new wave rhythms coupled with an emo-esqe intensity (but without
that sub-genre's disdain for skill, musicality, and listenability). They've got clean, fluid guitars, and
they've got loud, jagged guitars ranging from meticulous and arid to thick and raging. They've been
compared favorably to Fugazi and the whole D.C. Dischord scene, which may be apt, however, that
pigeonhole doesn't adequately contain Cameron's sense of balance and melody.
The weird thing about this record is that it made me nostalgic, longing for the period between Slint and
Tortoise--the great American Indie Rock Era, when ragged, intensely personal rockers ruled the earth
and Did It Themselves. When I was a younger man, during that period, this record would have kicked me
in the ass. Nowadays, the records are all about the instrumental noodling (see my review of Tortoise in this issue) and
songs that sound like glitched reference tones (see my review of Labradford in this issue).
Though Cameron is not derivative, they are not creating new language either. Is that necessary? No, but
maybe it's just a little too easy to drop them into a preset category.
The disc starts off with "Argument," a great track with a jaunty bass-and-snare rhythm underpinned by
an equally bouncy bass line, and barely restrained vocals, which lose restraint when the guitars burst the
song open. "Perfect Myth," however, shows that they can adequately bring it down for a moment. Slower
tempos and a really nice vocal melody provide a rejuvenating respite from the general intensity, with a bit
of distortion buzzing in the background to give the reflection an edge, a bit of tension. Being dudes with
guitars and big, big amps, they do throw in a couple of the loud, screamy parts. I could have done without
those for a song, but, hey, what are you gonna do?
"End" thunders open with some huge riffery, lets the dust settle, and breaks into some bluesy licks. This
track stands out because the band sounds unusually relaxed. Many tracks on the record are notable for
their tension, but "End," despite being a loud rocker, is a bit looser, a bit more lost in the groove.
Cameron are at their best when they let it loose. They become, in those moments, a band without
pretense, which is increasingly uncommon. If this record sounds good to you, click here and buy their CD. Hell, its only six bucks. If nothing
else, that is a testament to their indie-rock purity: they've one-uped Fugazi by three bucks.
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