Aiden
Conviction
Review by Annamarya Scaccia
Compact with fists-pumping anthems, tight production, and songs laced with tales of love-lost, "Conviction," by Seattle-bred emo-pop goths Aiden is an awfully catchy album. Catchy only for what it's good for: a record polished to perfection.
Starting off with the ascetic "The Opening Departure," a somber ballad composed with sinewy piano notes and dry vocals courtesy of vocalist wiL Francis, it is evident that "Conviction" is impressively better than Aiden's previous efforts, which were rooted heavy in screamo sensibilities. But whilst the dark yet up-tempo ambiance of "Conviction" is indeed listenable all the way through its 11 tracks, the record has its set of problems.
The primary problem: unlike the ostentatious quintet, which is comprised of Francis, Angel Ibarra (guitars), Nick Wiggins (bass), Jake Wambold (guitar), and Jake Davison (drums), "Conviction" is aberrantly timid. There is a recognizable earnest passion, yes, but even the album's decadent pop tracks like "She Will Love You," "Darkness," "Son of Lies," and "Bliss," have trouble masking Aiden's terrible lack of energetic zest that its tight production can only hide but so much. It makes one think: is the flamboyant statement this collective is making with their choice of Maybeline mascara and black hoodies just for show?
Nevertheless, even with its hackneyed hooks, cushy guitar work, iridescent radio-friendly melodies, and new wave, fashion-forward synths, "Conviction" is hardly innovative. Not that it really needed to be innovative. It just needed to be convincingly good, which it is.