No matter where you turn, the effects of globalization are staring at you in the face. We have friends on the Internet from several different countries, we watch as new children’s television programs are aimed at learning different languages, and we are surrounded by the global emphasis of every facet of academia. A prime musical example of our connected world can be found in the Russian band Everything Is Made In China. While they’re from one country, their moniker hails from another, and furthermore, their vocals are produced in the English language. As a fellow staff member has recently pointed out, American influence seems to be dominating the music scene, including the band in question. From the name Everything Is Made In China (what is now almost an American cliché in itself) to the way they sing, the band is definitely trying to impress those of us in the U.S., although that struggle for credibility ends up hurting the album as a whole.

To put it simply, the whole album feels forced. I get this impression often with up-and-coming bands because they often do not stay true to themselves. It’s as easy to detect for an instrumental fan as a dog’s keen sense of fear. I really don’t believe that this Russian threesome’s true musical heart is in the trite nonsense depicted in “My Marshell.” You might as well be listening to, oh, the other million-and-five pop-rock crapsters that bludgeon our American airwaves. The sound bytes that they slapped into a few of their songs are boring and overdone. Perhaps the first time we heard recorded voices put into a heartfelt song we were intrigued. Now it seems like a half-assed attempt at creativity that I’m frankly tired of.

Speaking of voices, the vocals in the band need a bit of work. While the record’s opener “Catch and Carry” (which, I must say, is the best tune on the album) employs the voice as an instrument that blends in with the guitars, piano, and drums, most of the album directs vocals to the forefront. Maksim Fedorov’s vocals are simply not good enough to be standing alone. They take away from the creativity of the instrumental work and hurt the album as a whole. Fedorov is not a horrible singer, but with a listen to the album in its entirety, one can definitely feel the beauty of the blending of voice and instrument in contrast to the traditional singer-driven band.

I also wish that these three men had found a way to connect to their listeners better. Personal experience has led me to believe that the more honed a title is, the better connection the band has with their audience. Most of the album is reserved and without a sound idea of what is going on. Throughout the course of a listen, we lose the sense of purpose that comes with spending time on their piece of art. I feel like I’m so far away from Everything Is Made In China that I’m left trying to figure out who they are and why they have made this music for us, rather than percieving the music itself.

While looking at their website, I discovered many pictures that serve to describe the band and their direction, but not many words. This is a handy metaphor for 4 - we have the music, it’s laying out in front of us, but where is the band? I know that Russia can ooze out more talent, because we have definitely not seen all that there is to offer as far as the country’s musical prowess. I’m interested in a band’s real culture, real language, real feelings - and I am confident that more listeners are too. It’s time to make a change - don’t try to impress anyone with your art, just go for it. It’s not about being big. It’s about making something that you’re proud of.

-Jessica Reuter