We do live in an age of hyperbole, nowhere is this more true than in the world of music. Three gigs over a weekend is now a tour, someone who samples music gets to call themselves a producer, the term pop singer and celebrity have become interchangeable and the title multi-instrumentalist seems refer to acoustic guitarists who put a bit of extra keyboards on their debut album. It is because of this heightened sense of musician’s own importance that when a true multi-instrumentalist does come along it really is a breath of fresh air. People like Trey Wonder.
Somebody Do Something is an energetic bundle of indie-pop grooves and rock and roll drive. It skirts the outer reaches of pop-punk, mainly through the infectious beat that it employs thankfully without getting caught up in the frat-boy cliches prevalent in those musical climes, employs the hookiest of guitar riffs and jaunts and jives along feeling both conformist and off kilter at the same time. But that’s what indie music, if that is even still a thing, should do. Take the building blocks of the mainstream, dismantle them from their usual structures and put them back together in such away that they seem simultaneously familiar and odd.
And that is what Trey Wonder does so well here. On first listen the song may seem fairly mainstream but the closer you get the more underground and alternative it feels. Weird breakdowns sit alongside the jauntiest of backbeats, the lyrics are self-reflective yet relatable, the bass lines brood and the guitar riff soars majestically. And it somehow seems like the odd kid at school that no-one really gets to know. It’s never going to be a big mainstream hit… its better than that (yes, I’m a music snob.) It walks its own line, one that follows in the footsteps of all those post-punks who realised that they were allowed to do anything that they wanted, the 90’s underground college musos who quirkily redefined what rock and indie might be and a growing underground gathering of today’s musicians who are fed up with cliche and want to look to a brighter, weirder, more fun future, one written on their, not the music industry’s terms.
Who wants commerciality when you can have cult status, who wants conformity when you can have cool?