One of the first words that comes to mind when reviewing Cramer’s self-titled CD is fun. The 14-song debut meanders through swingy, poppy, punky funk in just under 42 minutes, essentially taking itself easy. There is no particular message, either lyrically or stylistically, but it is a solid first shot into the music biz by the barely-legal virtuoso, front man Brent Cramer.

Cramer hails from Dallas, TX, the land where cars, ranches and hair alike are big. Blooming from this dry and dusty environment, Cramer’s music is explorative and sophisticated and, while some songs lead off with sad acoustic guitars in a typical Southern ballad sound, the overall effect of the album is modern and more cosmopolitan than expected. Then again, eight years prior to this release, Brent Cramer was already a weathered musical performer.

Best-known as the front for Underage (a punk band of youngsters who played for No Doubt and MxPx), Cramer played various venues in a variety of bands and began his debut through collaboration with bassist Shawn Paladini, drummer Brian Carter and guitarist Jon “Sticks.” As continuing front man and namesake, the singer/songwriter Texan can also play the guitar, bass, drums and piano.

Not only is Cramer now trying his hand at solo rock albums, he continues to build his classical composition resume with works for large orchestra, choral and chamber ensembles. He has also written for electronic and computer media. Evidently the Renaissance man, he plays violin at an advanced level and attends school at Columbia in NYC. He maintained these activities while recording his debut album in his “spare time.”

This debut CD goes from slower, more harmonious laments similar to work by Cake to happier, hoppier Green Day punk riffs. It is refreshing that no false British accent is used, a la Green Day—I would never go so far as to say that Green Day doesn’t rock, but we must bear in mind that it’s been done. With that said, Cramer brings a medley of interesting sounds into being and weaves them together in interesting and often endearing ways. A typical combination of ragtimey piano filler with drunken guitar lines, bluesy lyrics and violin dubs might be heard in any given track. Cramer’s over-achiever tendencies are heard in these earnest compositions as clearly as they are seen in his other activities. Given Cramer’s effortless activity juggling and obvious talent, his energy will no doubt carry him toward musical success that looks to grow as time passes.

www.cramermusic.com