Review of “The Burning Hour”
By: Test Your Reflex
Review by: Jon Steinmeier

If I’m cruising around Southern California with my friends after talking about failed relationships and possibly crying over the latest one, I might slide “The Burning Hour” into the dashboard of my parents’ Park Avenue for a good post-cry smile and dose of self-empowerment. On my way, of course, to In and Out for a double-double and a “dammit, I kick ass and everything’s gonna be ok” style dance party.

Its feel-goody stuff, this record. It’s big, high energy, super-clean, sunny day empowerment-power-pop. Is that a genre? I dig it. These talented songwriters and performers have been doing it since 2004, but have recently broken onto a bigger scene with “The Burning Hour”, their first full length release (they’re young’ns too, average age being about 20). Ryan Levine (vocals), Sal Cortez (drums), RC (guitar), Andrew Ampaya (keyboards) and Agustin Sanchez (bass) take elements of U2, Genesis, Sunny Day Real Estate, and The Faint and rock it into a pretty consistent collection of strong writing and arranging, with solid performances all around.

So, after my double-double and a good cry, my friends and I decide to take a road trip. We don’t know where we’re going, but we’re gonna go fast and it’s gonna rule. It’s like leaving a troubled time, looking ahead to a cathartic drive across the country, with an energy that’ll probably be spent by mile 25, but we don’t know that yet. The road is long, but the sky is clear, and I’m thinking about the breakup again. Right around track 5. I tried, but it just didn’t work. But the lyric “I am alive tonight…” gives me a second wind. I turn it up. I might cry again, but a different sort of tear. The tear that says I’m gonna make it. By track 6, I’m starting to think about something else, aided by these great 80’s synths that ad a consistent rock and roll “nightrider” flavor to this record and moments of four-on-the-floor drive. It’s a good drive. Long or not. It’s helping.

The energy of the record loses a little steam by “I won’t follow” (track 8), a song with a chorus that reminds me a bit of a hands-in-the-air praise chorus. Again, not a bad thing per se, but not as strong to me as some of the driving first few tracks. Almost like the obligatory power-ballad syndrome. The standard “sensitive-side” track about ¾’s of the way through the record. I understand, it’s a pop-record, as are some of the greatest records of all time, but there’s a part of me that feels like, at this point in the record, it’s becoming borderline formulaic, in a “this is what a great album is supposed to have” sort of contour. It’s much like building a set list for a live show…”hit ‘em hard, keep ‘em focused, bring it down half way or more through the set, pull out a favorite or two, get the energy back up for the finale, and leave ‘em wanting more.” I think this record is a good listen. Solid writing and playing, great arrangements and sound choices, great energy and clean production, I just wonder by the end, if there weren’t a couple of other risks to be taken. I predict we’ll hear a lot from Test Your Reflex in the near future, and I hope they push the envelope for themselves. It’s an exciting time, a “New Year” (track 5). Nice work, boys.