Brian Bonz & the Dot Hongs “From Sumi to Japan” Review

In a city that suffers from no shortage of charming singer/songwriters, it’s truly a feat to stand out among the hoards of NYC’s affected youths whispering into their home recording devices. Brian Bonz hails from the Brooklyn ‘hood of Sunset Park, one that must also latch on to uniqueness if it is to be recognized among the more accessible, hipper areas. Luckily for this spot it boasts the borough’s highest hills and a stunning Manhattan view; it is from this vantage point that Bonz made his transition from home tinkerer to Brian Bonz and the Dot Hongs. This incarnation fiercely represents Sunset Park, having recorded the bright, catchy From Sumi to Japan at its very own Seaside Lounge, and stands proud by drawing on its eclecticism. Bonz might be an indie singer/songwriter at first glance, but he brings in collaborators and guest instruments with the ferocity of a sleepless ball of energy, lending layers and diversity to his smooth vocals and casual guitar strums.

Brian Bonz’s boyish pop has an innocence to it that comes in part from his high, sweet voice and the airy momentum of the songs themselves. As a solo act he convinces with a thoughtful sincerity, while the Dot Hongs bring a strong electronic element, experimenting with synthy beats and otherworldly dips and dives. The piano also takes a large role on the album, guiding hazy solo passages or driving poppy verses, while bonus contributions from the banjo, horns, or even the hammered dulcimer ad another dimension to tunes that might otherwise lie flat. The vocals are strongly reminiscent to those of Ben Gibbard, and while that and the electronic bits evoke Death Cab or the Postal Service, they never do so for very long.

The ridiculously adorable “Dee the Dinosaur” takes a cue from its cutesy name to tug at the heart with Bonz’ reserved confessions and lovely vocal melodies. Piano plinks and a trotting banjo line accompany acoustic and electric guitars that fight one another for the best hook, though it’s hard to decide who wins as they both fold seamlessly into the mix. This is a song that could tickle music critics for its careful layering, and teenagers for its sugariness, all before exploding into a noisy, foreboding outro. It’s the band’s willingness to experiment beyond their clear pop roots that surprises the ear that thought it had the entire song figured out.

“Christa McCauliffe’s Cacophony (Reprise)” is a smattering of sound with its driving, hooky verse and a sampling of styles that shift unexpectedly. It begins as a guitar song, with a soft flute fluttering mysteriously in the background, before cooing more forcefully to lead into a big band, Latin rhythm interlude that’s gone almost as quickly as it started. But that’s not all: the track then transitions into a creepy, watery synth bridge before alarming with a noisy rock ‘n’ roll jam and then quietly letting way to one of Bonz’ most vulnerable lines. Having all this going on without the song losing its drive makes it feel both highly experimental and strongly poppy.

Bonz is a talented solo artist capable of penning great tunes with a voice that melts hearts, but in collaboration with the Dot Hongs he seems more like a rockstar. Each track potentially has a section for any type of music fan, and it’s refreshing that it all comes from a place slightly off the radar, at least more so than other NYC boroughs. Come to Sunset Park for the views and delicious tacos, and stay for the bands it quietly produces.

[Review by guest contributor Liz Levine.]

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