Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr Typically, the more you love music, the more of it you consume. Over time, especially if you make a career of it, you listen to hours of music and develop an internal catalog of sounds which you then begin to lose track of. Sometimes you catch yourself wondering: have I heard this song before, or just this sound? This sense of sonic déjà vu plays a major part in the debut album by the California-based Hunny, Yes. Yes. Yes. Yes. Yes.. On their own Spotify page, the four-person band acknowledges the ‘80s influences present on the album, including citing Depeche Mode as the primary influence. “Saturday Night,” with its echoed guitar riff intro and a chorus featuring the lyric “You’re Echo, I’m the Bunnymen,” presents said influences quite overtly and succeeds. Even when you listen to a past single like “July,” it sounds a lot like the refitted new wave of Dev Hynes’ “You’re Not Good Enough.” However, Yes. Yes. Yes. Yes. Yes. really resembles ‘00s pop punk; acts like Yellowcard, All Time Low, and All American Rejects come to mind upon listening. Much of this likely comes from the inclusion of Carlos de la Garza as producer, whose previous credits include Neon Trees and Paramore. Lead singer Jason Yarger possesses the tenor-tinged angst perfect for songs about relationship woes and their ability to exacerbate your own self-pity (“A Slow Death in Pacific Standard Time”). This blend of new wave and scene kid self-consciousness becomes evident as early as track one, “Lula, I’m Not Mad”: a line like “I lie and recover/ My Bed is a hospital” recalls the theatrical drama of Panic! At the Disco, including the title-omitted-from-the-lyrics trope. Unfortunately, the song stumbles rather than bursts out the gate, tripping over its own clichés. Thankfully, the following, “Change Ur Mind,” proves a bit more fruitful with its catchy, clever chorus (“Change your mind/ That’s what it’s for”) supported by what sounds like a subtle xylophone. Overall, Yes. Yes. Yes. Yes. Yes. delivers such moments amid a relatively monotonous and repetitive cycle of songs. By the finale, “Halloween,” which hardly provides any sort of conclusion, Yarger is still “In [his] bed/ Where [he] spend[s] much of [his] time,” the same way you find him at the beginning of the album. Despite their polish and generally cohesive sound, Hunny could benefit by incorporating a few less-expected elements to their music to set themselves apart. The distorted amps of “Cry for Me,” another previous cut that outshines their newer material, gave that song an edge that would set it apart from Yes. Yes. Yes. Yes. Yes.. Yes, it’s from five years ago, but it’s also still streaming more than anything from their latest album. Ultimately, the album’s resemblance to what came before it ends up being a double-edged sword. Yes. Yes. Yes. Yes. Yes. is certainly reminiscent of something heard before. But if even the originators are difficult to recall, how would anyone be expected to remember the imitators, no matter how well they mimic?