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Even the first second of the Paper Shapes’ debut, Shape Invasion, is a full-force wall of sound. Without warning or introduction guitars and bass sweep in for a non-stop frenzy for the entirety of the short EP, which falls under 15 minutes. Jaw-dropping, swift bass and guitar lines tangle together for an unrelenting solidity. The band’s talent is undeniable, it takes deft fingers to keep pace of the Paper Shapes’ guitar and bass, even if a lack of fresh elements give the EP a déjà vu feel.
“Summerguns” begins with gusto and a serious bass jam that remains the driving force of the song, overshadowing comparably slow guitar lines. The frantic tempo set by an instrument that usually functions as rhythm produces a bizarre feel for the song. It is when the guitar and bass share duties and work together at the same speed that the song picks up. The chorus also provides release from the crawling bass lines that get a little ambitious at points.
The bass line leads off again with “Crumbs,” but is slightly more subtle with its movements. Ambient guitar glides over the heavy bass lines, and finally erupts into a clean, hammered chorus. “Crumbs” is, overall, a more dynamic song that still manages to showcase talent but without anything being the overt showcase.
“Sunglasses” switches the spastic lines to the guitar. This consistency through the songs gives the EP an overall nervous quality. All of the songs seem to come together at the chorus, where simple guitar chords are used in place of skilled but showy twitches. The vocals start to fall into a pattern at this point, as well. Swooping elements on the lead singer’s tenor add a nice touch to songs, but in the case of “Sunglasses” and the next song “Snacks and Crackers”, there is a reoccurring vocal trope that loses its effectiveness. The speaking-style vocals of the quintet is also susceptible to repetition.
The final song “Glue” is the best compromise between the bass-guitar tirade throughout the majority of Shape Invasion. There is finally a sense of collaboration rather than the instrument competition. “Glue” shows what Paper Shapes could be if the playground type of rivalry ended between the instruments.
The Paper Shapes are undeniably talented and, when working in collaboration rather than a feature in their own song, obviously well assembled. If the band could pull together and show the cohesive qualities of their choruses, their overall sound would be much more accessible. Shape Invasion has bright moments, but risks overshadowing itself with flashy elements.
