After splitting in 2004, it seemed initially unlikely that California's Ozma would ever resurface with their brand of power pop / new wave rock. After an unofficial reunion show (minus former drummer Patrick Edwards) in 2005, though, the band decided to reform, and Pasadena, named for their hometown, is the result, featuring new member Kenn Shane on the drums.
Opener "No One Needs to Know" is an abrupt introduction to the record, kicking straight into the chorus with a Blue album-era Weezer feel to it. The hesitant bass is soon backed up with some teasing guitar chords and some glossy flute samples, as well as a prime example of Ozma's penchant for melodic backing vocals and layered lyrics. It's not the greatest song on the record but it's familiar enough to the band's material showcased on Rock and Roll Part Three to work as an intro to the new Ozma.
"Breaking the Barriers" is an 80s-esque synth-laden track with an Andrew W.K. single note piano line in the chorus. The vocals are passionate though and the song features some classic Ozma dual guitar work from Ryan Slegr and Jose Galvez. More of the same is up next with a somewhat unnecessary re-recording of "Eponine" from 2003's Spending Time on the Borderline. The new version is barely different from the original, with the exception of the dropping of some guitar parts, notably the awesome solo at the end, which is cut down in length.
"Fight the Darkness" is where the record begins to kick off, with some particularly energetic drumming from Shane and a particularly cool harmonized synth outro. The only complaint is that the song ends too soon - the final vocals push up to a higher octave, which could have been done earlier. Still, the song ends leaving the listener wanting more rather than less, so it could be worse.
"Heartache vs. Heartbreak" features some nicely linked male and female vocals continuously throughout the song. There are a crowd of guest vocalists on Pasadena and a little like "Wake Up" on Spending Time... there's a sort of beauty to the melodic interlocking lines. "Incarnation Blues" features similar male/female counterparts, with a lyrical theme discussing the frustrations of unrequited love that could be fixed if only "you were me and I was you".
"Lunchbreak (Cobras Theme)" is a little out of place initially, and the weird phone sounds as a melody don't really work. It's got some nice vocals but it's a little forgettable. "Motorology 3:39" continues the band's theme of Back to The Future-referencing lyrics ("I'm still dreamin' of clock towers and synchronicity") and its electronic opening shows a bit of experimenting for the band. When the song itself starts though, it's fairly drab and doesn't really go anywhere till the end.
Acoustic track "I Wonder" is a nice addition as the record begins to draw to a close, and ushers in "Underneath My Tree" which has a kind of new-wave epic feel to it. This is in turn concluded with "Straight Flush," which completes the mid-tempo theme of the latter part of the album and adds slightly more lyrical dwelling than the more lighthearted tracks of the first half. In thirty-six minutes, the band's shortest full-length yet, it's all over.
So was it worth Ozma reuniting? It seems so. While Pasadena seems a little more varied than previous efforts, at times it feel like the band are a little uncertain about where their musical loyalties lie and don't want to commit to just one of these choices. For the most part though, the band is tight, feel sincere and soulful, and display a continuous talent for their instruments and lyrics. Hopefully they'll stick around to give us a few more records this time.
