It was the high level of musicianship on which bands surfed the third wave, the wave itself a flood of eclectic sounds, a froth of Two Tone with torrid undercurrents of other genres streaming through. Chickenpox, however, are sailing in somewhat different waters, and unlike their hybrid-bound American counterparts, prefer a purer '70s styling. Like
the Specials, the lyrics are integral to the band's music, delivered with deadpan perfection by Mattias Ahlen and bringing to mind
Talking Heads'
David Byrne. The album's mostly angsty themes are intercut with jokier, if black humored, pieces, all proving that disgruntlement doesn't end at 21. Musically, the band are equally cutting, and although a septet, have a sparseness to the sound that's emphasized by
Michael Blair's production, and enhances the Two Tone comparisons. Still, Chickenpox do throw in some intriguing twists, notably Per Tornquist's organ, which is perhaps inspired by
Ray Manzarek, but in the context of the band's overall sound, more immediately suggests
the Stranglers. However, it's the group's copious use of brass that draws a thick line between themselves and their antecedents, and place the band firmly in a third wave context.
The tightness of the musicianship, strong songwriting, spare sound, and distinctive vocals all help set Chickenpox apart, even on songs like the very
Specialsesque "I Won't Change" and "Sitting on My Roof," the
Madness laced "Defence," or
the English Beatish "Stupid." Shifting out of Two Tone territory are songs like "Running Late," rocksteady sweet with a reggae beat and boasting Ahlen at his most unabashedly blasé, the exuberant horn blasting ska of "Thirtysomethingrestlesslife," and the '60s pop flair of "Defence." For those decidedly underwhelmed by the fizzing fusion found elsewhere, consider catching Chickenpox instead. ~ Jo-Ann Greene