1997

It’s not unusual for a young band to face member changes, creative differences, and other road bumps along the way to being a successful band, and 1997 is no exception. But it’s how the young band reacts to said dilemmas that’ll make or break them. Right before the release of their Victory debut, A Better View Of The Rising Moon, in 2007, keyboardist and vocalist Kerri Mack left due to personal reasons, and bassist Colby Hatt left as well. But Alida Marroni and Alan Goffinski filled in immediately, helping the band to not lose any steam as they built momentum over the course of the year with non-stop touring. This past winter, 1997 headed up to Freeport, New York, to record with Steve Haigler (Brand New, As Tall As Lions) and came away with eleven tracks that make up their sophomore effort, On The Run.

While 1997’s debut was more on the pop-rock side, On The Run definitely moves into the musical direction of bands like Straylight Run and The Forecast; a more alternative, “indie-rock” (for lack of better term) record, full of lush instrumentation, which could be credited some to Haigler’s production skills. Opener “One Mind Track, Four Track Heart” seems to take the album title literally, as its fast-paced guitars and drums take the track on a getaway car. “Dancing With The Devil” is an aggressive tune, while “Sunset Beyond Black Clouds” channels just a bit of folk to mix in with this dreamy rocker, as the harmonica adds a nice touch.

“4 A.M. Conversation” may be my favorite track on the album, with a rickety guitar riff and booming drums, Marroni and vocalist Kevin Thomas play call and return as a couple coming to the bitter end of their relationship. “I Will Always Find You” is a dark, piano-paced tune anchored by Marroni, and “Winds Of Change” has a certain pep to it, a confident tune with spark. The album ends with a trifecta of quality songs, starting with “A Dream Of Form In Days Of Thought,” which is hauntingly beautiful and closes with the title track, a short gentle acoustic track.

To be honest, On The Run took me by surprise. I mildly enjoy their debut, although it was forgettable, but On The Run will definitely be spinning on my stereo for weeks to come. 1997 may be on the run from being a generic pop band, lineup shakeups, and my horrible puns, but with this release, they certainly aren’t hiding. - Reviewed by: Drew Beringer (05/28/08) absolutepunk.net

It’s amazing what you can decide in 30 seconds. In fact, if you think about it many of your important life decisions are made in about 30 seconds. You can decide whether or not to hit on that girl who you swear is looking at you from across the room (she’s not, by the way, you are just standing in front of those “eye focusing” posters). You can decide whether or not to see a movie from the preview alone (f-ing “Beverly Hills Chihuahua”). Or you can decide whether or not to give a band your full attention when they find their way onstage at a rock show.

The truth is with our ADD, 24 hour news channel minds we don’t have that long of an attention span anymore. This gives bands, especially bands you are seeing for the first time, only a few precious moments to win you over. If you’re on stage with an instrument in hand, you better get a good riff out there, or exude one hell of a stage presence within the first few chords of your stage time or chances are you going to lose the crowd for good.


But when a band is able to grab you: wow. Within the first 30-seconds of 1997’s opening set for headliners National Product Saturday night at Chain Reaction in Anaheim the band had me hook, line and sinker. The bands mixture of complex riffs, heavy stage presence and beautiful keyboard parts transfixed me immediately in a way I haven’t felt since seeing the Stiletto Formal at the same venue in 2006.


The bands thirty minute was like a blast furnace of intensity mixed with such a inherentbeauty that kept the music grounded. The hour men on stage (two guitarists, drums and bass) played like chaos was running through their veins. Guitarist/ singer had the mad eye of Tom Gabel from Against Me! as he whiskedthrough his lyrics while rigidly strumming his guitar. The other three thrashed onstage like they had just encountered a swarm of Africanized bees. On the complete opposite spectrum, though was their female keyboardist/ singer/ xylophonist, who standing on the opposite side of the stage, exuded calm and poise like a flower swaying softly in the eye of an hurricane. Her voice was planted so masterfully in the songs that her voice came off like a haunting siren singing from the storm. The band utilized instruments such as tambourines, harmonicas and even the previously mentioned xylophone to craft a sound that makes them one of the most intriguing bands i’ve seen in quite a while. - By Brian Spiegel - beatcrave.com