Cash Cash - Take It To The Floor Review
Posted by Vanessa Willoughby on 02.19.2009
Meet Cash Cash, the latest techno-pop band to come out of the small town of Roseland, New Jersey. Their mission? In the words of lead singer Jean Paul Makhlouf, "to bring back some of that 70s funk guitar, mixed in with the life and fun of the 80s.” But does the band succeed?
TRACK LISTING:
1. Breakout
2. Sugar Rush
3. Party In Your Bedroom
4. Cash Cash
5. Can't Stop Looking
6. Electric Hearts
7. Interlude
8. Concerta
9. Two Days Old
10. Your Love
11. Radio
12. Dynamite
Hailing from the small town of Roseland, New Jersey, Cash Cash is a techno-pop group consisting of Jean Paul Makhlouf (vocals, guitar), Alex Makhlouf (keyboards, programming), Samuel Frisch (vocals, bass) and Anthony Villacari (drums, percussion). Reminiscent of the electronic-fueled pop of the 1980s, Jean Paul Makhlouf claims that their mission is to “bring back some of that 70s funk guitar, mixed in with the life and fun of the 80s.”
So, the question is: Does Cash Cash succeed?
As soon as the opening track hits my ears, the first thing I think is: Haven’t I heard this before?
Truthfully, this isn’t a simple case of déjà vu. Cash Cash’s debut album, Take It to the Floor, is energetic, enthusiastic, and earnest. However, the effort lacks one vital asset: originality. Following the stylistic leanings of bands such as Hellogoodbye and Panic! At The Disco, Cash Cash favors a sound that is heavy on cheery electronics and soft on creativity. The opening track, “Breakout,” is utterly forgettable, evoking the clichéd imagery of a tween Disney channel movie extravaganza. Lead singer Jean Paul Makhlouf’s voice is distorted every so often, attempting to keep up with the neurotic backbeat of the synthesizer. The second track, “Sugar Rush,” is as peppy and sugary as the title, as Makhlouf swoons over the object of his affection. The rhythm arrangement isn’t that much different than the opening song, evoking the fitting imagery of middle school angst even John Hughes wouldn’t touch. The third track, “Party in Your Bedroom,” is somewhat of an improvement over the two previous tracks, utilizing the tongue in cheek irony of the breakout band Gym Class Heroes.
Furthermore, the amount of fanatical energy has been toned down and appropriately gauged for the song. In other words, it’s a suitable dance song that doesn’t cross the line of whimsical to teenybopper. Fans of the Jonas Brothers may appreciate this song, as the bridge cuts out the electronic background entirely and momentarily takes on a pop-rock twist. The fourth track, “Cash Cash,” has the touch of Latin percussion, making light use of the guiro. The song itself tackles the earlier themes of adolescent loneliness and alienation, love, and relationships. Makhlouf sings:
“There’s a girl inside tonight
Cause she’s got nowhere to go
And her loves are running wild
Oh her loves are running wild
And there’s a voice inside her head but it’s told just what to say (told just what to say)
Never loved you anyway
He’s just a snake and you’re the prey.”
The lyrics themselves are nothing revolutionary, often repetitive and one-dimensional, but coupled with the musical arrangement, it all works. Makhlouf and Samuel Frisch (vocals and bass), create harmonies that bear a striking resemblance to pop’s latest Disney darlings, the Jonas Brothers.
Despite the lackluster opening, Take It To The Floor, does have its moments of hopeful potential. The ninth track, “Two Days Old,” is a good example of Cash Cash’s ability to blend the electronic with the infectious bliss of rock-driven pop. The synthesizer/keyboard doesn’t overpower Makhlouf’s vocals, allowing the listener to finally realize that he has a pretty decent voice.
The second to last song, “Radio,” addresses the benefits and pitfalls of stardom. Makhlouf confesses:
“Every year I feel the same
I hate the men and lose the game
Now I find myself on top
Nowhere to start, don't wanna stop.”
The final track, “Dynamite” is a strong and definite ending that accurately reflects the flavor and the musical ambitions of the band. Unlike the opening song, “Dynamite” effectively captures the capriciousness of 80’s synth pop, the keyboard slowing fading out.
The 411: The final verdict: Does Take It To The Floor provide the groundbreaking foundation for Cash Cash? Unfortunately, the answer leans heavily toward no. On the other hand, this doesn’t mean that Cash Cash is entirely doomed. With tracks such as “Radio,” “Dynamite,” and “Two Days Old,” the band certainly has the room and the opportunity for growth and improvement. If you’re looking for a fun, devil-may-care dance album reminiscent more so of the Jonas Brothers rather than Human League, then Take It To The Floor should be your cup of tea.
