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At its best, Whitman’s debut recalls the first-generation emo blueprinted by Austin’s Mineral, with cackling guitars rupturing through the lyrical lapses. Engaging and energetic, six-minute suites like “Insomniac” and mournful closer “Merchants of Death” reveal the local quartet’s potential for something bigger, even if it isn’t realized here.
This article appears in April 11 • 2008.
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