By J. Simpson

The Social Orphans
self-released; 2015
3.9 out of 5

Good things happen when you're outcast from society.         


The Social Orphans, the eponymous debut from the San Diego trio The Social Orphans, is a New Wave transmission from the margins of society. Drawing influence from sarcastic rockers like The B-52's, the rigid art funk of the Talking Heads and the slick pop rock of Rick Ocasek's The Cars, The Social Orphans comment on the world we're living with surreal, weird, dramatic, romantic lyrics over a cosmopolitan mixture of organs and clean ringing New Wave guitars that draw you in rather than repulse.

"Saturday" kicks things off, and serves as a great introduction to the weird and wonderful world of The Social Orphans. It's a quick jet setting trip to Monte Carlo, as slinky guitars meet groovy, spooky organs and a clipped spoken rapped vocal delivery that somehow manages to recall the Dead Kennedys' Jello Biafra, as well as B-52's Fred Schneider, over a musically masterful bedrock of organs and sparkling guitars. It's all played clean, relying on musicianship and good taste instead of studio gimmickry or musical fads.

The Social Orphans' musical influences are not the height of fashion, although this type of intelligent, sarcastic rock n’ roll will always have its advocates, but The Social Orphans don't care about that kind of thing. Instead, they make the music that speaks to their experience, honed on the margins of mainstream music and culture.

It's hard to comment on the culture, when you're firmly planted in it. The Social Orphans show just how ridiculous social media is on "Chocolate Milkshake," another weird but completely funky, sexy, and musically satisfying funk number, singing about "Texting and tweeting  with a love struck mouse." They also take on the diminishing economy on "Hard To Make A Living," turning the rustbelt depression into a slice of accessible guitar pop.

The Social Orphans just proves that good things happen when you go off by yourself and follow your passions. When I was growing up, it wasn't cool to be a nerd or a geek - you couldn't get a girl's phone number to save your life, people looked at you like a Martian at a party, if you were ever even invited in the first place. Instead, us outcasts retreated to our inner worlds and honed our instincts, ingesting all of the world's greatest art and endless word shedding.

So while it might seem like an attractive idea to go after the CEO, the MVP of an NFL team, some airbrushed pop star, I'm here to tell you: Nerds make better lovers, and probably artists as well. We've cultivated our tastes to elevated levels and, being devoid of social lives, we master our crafts and our skills. A nerd will cook you waffles laced with basil and Mongolian salt. A nerd will take you to an art museum, or write you a poem or a minor symphony to show you they care.

The Social Orphans obviously care - about their music, about the world, although not too much to be precious about it. In 10 years time, this bizarre and personal mixture of influences and individual tastes will be de rigeur, as we all finally succumb to the postmodern bubble bath. You better learn to float now, and The Social Orphans are here to show you how!


Review By Dutch Music Magazine RootsTime:

English Translation

Dutch Version

Indie pop and rock band "The Social Orphans' is actually an American duo of musicians from Point Loma, a coastal strip of the city of San Diego in California. Core members of this newly formed group in 2015, singer Randy Chiurazzi who also plays bass, keyboards and acoustic and electric guitar and John Sherman who plays violin, ukulele, keyboards and drums.

Influenced by genre icons from the '80s like' The Cars, "" The B-52's' and 'Talking Heads' these two musicians decided to create their own music and record on a plate. It eventually became a five-track debut EP which Mr themselves and their music proposals under the title "We Are All Social Orphans At Some Point".

With great attention to a catchy melody and smooth catchy music will be kicked off this mini-album with the song "Saturday" (see video) which Randy Chiurazzi was clearly inspired by the psychedelic vocal style of 'Talking heads' frontman David Byrne. This also applies to the second funky song "Chocolate Milkshake" with a previously spoken than sung songs text.

For the subsequent ballad "The Truth" about the distrust in politicians and in the social media seems to be the mustard in terms of sound to be achieved previously by David Bowie and "Hard To Make A Living" the sluggish economy is musically translated into a resigned depression on a bed of swinging guitar pop.

As often happens, the best song for the end of this plate was saved. "Let Me In" is a catchy song that is placed in a simple but catchy guitar riff. Overall a song with hit potential and in the near future may be the cause for a full plate of these two American 'Social Orphans'

De indie pop- en rockformatie ‘The Social Orphans’ is eigenlijk een Amerikaans duo muzikanten uit Point Loma, een kuststrook van de stad San Diego in Californië. Kernleden van deze pas in 2015 opgerichte groep zijn zanger Randy Chiurazzi die ook op basgitaar, keyboards en akoestische en elektrische gitaar speelt en John Sherman die viool, ukelele, keyboards en drums bespeelt.Type your paragraph here.

Beïnvloed door genre-iconen uit de jaren ’80 als ‘The Cars’, ‘The B-52’s’ en ‘Talking Heads’ besloten deze twee muzikanten om hun eigen muziek te creëren en op een plaat op te nemen. Dat werd uiteindelijk een vijf songs tellende debuut-ep waarin de heren zichzelf en hun muziek voorstellen onder de titel “We Are All Social Orphans At Some Point”.

Met veel aandacht voor een catchy melodie en vlot in het gehoor liggende muziek wordt er op dit minialbum afgetrapt met het nummer “Saturday” (zie video) waarvoor Randy Chiurazzi duidelijk geïnspireerd werd door de psychedelische zangstijl van ‘Talking Heads’-frontman David Byrne. Dat geldt eveneens voor het tweede funky nummer “Chocolade Milkshake” met een eerder gesproken dan gezongen liedjestekst.

Voor de daarna volgende ballad “The Truth” over het wantrouwen in politici en in de sociale media lijkt de mosterd qua sound eerder gehaald te zijn bij David Bowie en in “Hard To Make A Living” wordt de slabakkende economie muzikaal vertaald naar een berustende depressie op een bedje van swingende gitaarpopmuziek.

​​Zoals wel vaker gebeurt, werd het beste nummer voor het einde van deze plaat opgespaard. “Let Me In” is een aanstekelijk liedje dat gebracht wordt op een eenvoudige maar aanstekelijke gitaarriff. Kortom een nummer met hitpotentieel en in de nabije toekomst misschien wel de aanleiding tot een volwaardige plaat van deze twee Amerikaanse ‘Social Orphans’