Grade: B/C

With the release of its debut album Commencement on Korn’s fledgling Elementree record label, Deadsy makes an attempt to prove to the world that the future of rock is in fact digital.

Through the use of standard, as well as synth-powered guitars, electronic drums and keyboards, this five-member pseudonym-flaunting goth/glam concept band strives to resurrect the darker atmosphere of the early ’80s New Wave movement with new sounds that have resulted from two decades of technological progress. The result is a uniquely mellow blend of modern art rock, emo, techno and hard rock that is years ahead of its time.

Lead by Cher and Gregg Allman’s progeny, Elijah Blue Allman (who assumes the identity P. Exeter Blue I), Deadsy’s “East Coast boarding school from hell” image only serves to further confuse the listener, who is already at a loss for words to explain this anomaly of an album. With backing sounds ranging from droning bass lines associated with ’80s music pioneers Depeche Mode, to twinkling synthesizer work familiar to fans of Gary Numan and Flock of Seagulls, and a hint of modern synth-guitar distortion-fuzz and V-drum work (first introduced by label-mates Orgy), Blue croons over these futuristic progressions with a processed, quasi-British accented vocal style that possesses a rhythm and sound of its own.

The few-and-far-between highlights of this album are unquestionably the finest examples of synth-rock since this genre became the musical backbone of the decade of decadence. The opening track, “The Key to Gramercy Park,” is a solid tongue-in-cheek tribute to Gary Numan’s “Down in the Park” that simultaneously combines modern guitar noise with cheesy ’80s synth pads and hooks the listener to continue on with this bland album.

Although a lighter side of Deadsy is exposed with the gentle swaying of “Brand New Love,” the true strength of this album comes in the form of “She Likes Big Words.”

This hard-hitting masterpiece begins with a bubbling staccato xylophone line that provides the necessary foundation for synth-guitarist Carlton Megalodon and bassist Craig Riker to establish their presences, as keyboardist Dr. Nner works a variety of synthesized voices all at once. Meanwhile, Blue dishes forth a story of an insecure young woman who plays the prom-queen bit everyday of her pathetic life.

As sad as it may seem, not even this incredible song can save Commencement from the remaining weak filler songs and hokey New Wave throwback attempts. Only the intense remake of Rush’s “Tom Sawyer” comes close to the power of “Words,” but by then the dragging of this album has already taken its toll on the listener’s patience.

As dull and repetitive as Commencement becomes between the hits, it should be noted that the only member of Deadsy that even remotely attempts to rescue this album is multi-keyboardist Dr. Nner. His ability of knowing when a brief, relatively unnoticed synth line is appropriate to break up the monotony of the guitar fuzz and dragging basslines is an example of experienced musicianship, even if the “music” used is merely a pitch bend.

As evident in the fourth track, there is a brief moment in “Mansion World” when Deadsy has the ability to free itself from the hole that the slow, echoing beat digs for itself when Nner presents a Baroque 16th beat sequence, but peer pressure sets in, and the band goes on with an “all for one, and one for all, even if it sucks” approach.

This album leaves listeners with a bittersweet feeling. It’s good to see that there are creative semi-heavy bands out there experimenting with new sounds and approaches, but if Commencement is any indication, it’s going to be a long time before these bands change the current approach to modern music.

Perhaps the members of Deadsy are just decades ahead of their finest hour.