Soundbite: 'III' by the Shiny Toy Guns

Since the synth-pop band Shiny Toy Guns formed in 2002, shifts in their musical style and changes in their vocalists have created a split group of fans. Despite this, the band has maintained momentum from their debut album.

With the release of their third album, “III,” it seems that Shiny Toy Guns has attempted to stitch its competing sounds together. And while the album may appeal to a wide fan base, the overall impression is uneven.

The first part of the album showcases the return of vocalist Carah Faye, who was largely responsible for the band’s success in the mid 2000s. “We Are Pilots,” which received a Grammy nomination for “Best Electric/Dance Album” in 2008, owes much to Faye’s vocal spunk and character.

After the release of the album “We Are Pilots” in 2006, however, Faye was asked to leave. Vocalist Sisely Treasure replaced Faye for the 2008 alternative rock album “Season of Poison.” Though the album was successful in reaching an alternative audience, many long-standing Shiny Toy Guns fans expressed disappointment.

Since the band announced the return of the original lineup in 2011, several false release dates have created anticipation for “III.” Shiny Toy Guns took time to create a more produced sound, working with mixer Tony Maserati, who has helped produce albums for artists such as Lady Gaga and Taylor Swift.

“III” opens with “Somewhere to Hide,” an energetic pop song that puts Faye under the vocal spotlight. “Just like the dream/ Running against the wind with no regrets/ Leave behind our innocence,” Faye sings. The bouncy sound and flat lyrics may be overlooked by fans who anticipate her return, but others may claim the start lacks balance.

“Waiting Alone” perpetuates the energy from “Somewhere to Hide,” and introduces vocalist Chad Petree. The use of more sophisticated rhythms and instrumentals demonstrates the maturation of bass and keyboard player Jeremy Dawson, as well as the band’s ability to jam together effectively.

“Carrie” highlights Petree and Faye’s ability to flow as a duo: “Hesitation, frustration/ What’s the problem?/ Is this what you want?” Petree sings. But like Faye, his words fail to create a memorable effect.

While the album kicks off by highlighting Faye’s return to the group, it does not evoke the fun pop style of “Le Disko” until midway through the album.

In “Speaking Japanese,” Faye shifts her emphasis from holding high notes to creating a fun experience for the listener. She shouts, alternates the tone of her voice and fades out, giving the song more texture than preceding tracks. “My thunder’s going boom boom, just shaking from my hips/ Oh! The dirty minds, dirty tricks/ My body’s going boom boom, but I will not submit,” Faye sings. The result is a dance song that conjures part of the “We Are Pilots” sound while remaining uncommitted to past musical styles.

“Mercy” is a slight throwback to Petree’s work in “Season of Poison,” focusing more on guitar chords and minimizing the use of the synthesizers. Petree builds tension on this song more than on other tracks, and delivers a more sustained sound. The track may be a handout for “Season of Poison” fans, although Faye’s influence is noticeable.

As a whole, “III” is more pop than synth. “Fading Listening,” however, brings out an ’80s synth orchestration and puts more emphasis on the electronic sound than on the vocalists’ harmonies. “Fading Listening” is altogether an enjoyable song.

Compared to preceding tracks, “Wait For Me” is obscure. It experiments with tempo changes, vocal loops and a stalled beginning. The experimental essence of the song would have seemed less out of place if the lyrics had more weight. “Take me now and climb to fly/ To a higher place where love won’t die,” fails to hold listeners’ attention. This track, however, illustrates the band’s willingness to experiment and take musical risks.

Although the band has created music for a decade, it is still making efforts to expand its musical boundaries to a wider audience. The patchwork of synth-pop, alternative rock and dance genres, although not cohesive, provides at least one track for each type of Shiny Toy Guns fan to enjoy.

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