Dolarhyde's self-titled full-length is scrappy, nascent-sounding skatepunk with a nearly demo-level recording. To some, this will be a refreshing slab of simply played and sung punk rock. Many others, however, might seek a little more out of Dolarhyde, and in that regard, it's lacking.

One might be inclined to draw comparisons to '90s staples like NOFX or early No Use for a Name, but the band usually don't sound much like either ("Counting" a rare exception where it seems totally apt), and honestly, their guitars and vocal work aren't as complex or impressive. They're generally more pop-punk-oriented, and the vocals are less snotty. (There's been a Jawbreaker comparison here and there, but you really gotta focus and dig to hear it.) It feels like they could really accomplish something great here, but they're stuck in a rut of playing pretty derivative chord progressions and uninteresting power-chord riffs, and it makes for way too standard of a composition.

"1,000 Miles" is a fairly typical road song, while the band manage to produce a relatively catchy chorus–one of the better on the album, actually. "Fall Away" could receive the same backhanded compliment regarding its chorus. "We All Fall Down" momentarily sounds like the kind of acoustic track Broadway Calls have done, with vocals distant and in the background; the song quickly transitions to band's m.o., though. "Find Bright Lights" is a late bright spot. Some of these provide Dolarhyde's better moments, but the album is by and large kinda boring and rehashed.

Nothing on Dolarhyde is necessarily offensive, or awful, or any seriously detrimental characteristic, really. It's just not very good, and it feels like this trio would be better served with a generous handful of more original and invigorating ideas.

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Dolarhyde