The melting pot that is NYC's Cholo would seem to have all the tools needed to create an expansive sound, but instead, they have decided to stick to the basics on their sophomore release, Unlimited Nights and Weekends. Opener, "The Breaks," misguides the listener as Fleipe F's multi-tracked sax leans towards a free-form jazz freak-out. As it settles into a more straight-forward pop song, forgiveness looms as Rosa B's vocals teeter on the edginess of an Exile to Guyville's Liz Phair, while the band falls into their rhythm – a well-practiced Pavement simplicity, mixed with the innocence of 69 Love Songs-era Magnetic Fields. It's a start but a complete album of such agi-twee becomes tiresome and monotonous.

"Blue" again highlights Rosa's gleeful, matter-of-fact delivery but suddenly takes a wild turn as she warns, "…and the bitch goes down." The adolescence of the project cracks a bit with the weight of those words, but the cutesiness of the rest of the album holds it up so as to not tarnish the image they are projecting. Closing epic, "Low Life [I-III]," promises something of note but delivers only a longer version of what has already been heard.

Think of pop music as a cube, six-sided and shiny. Cholo has presented to us their unique take on this cube, with one corner shaved. In the end, what we're left with is a die that doesn't roll.