UnforgettableLemon
Rock n' Roll Doggie ALL ACCESS
So, it's offical. All traces of Cobain worship have been expunged and the band has developed its own musical identity. Don't get me wrong, I love Diorama and Neon Ballroom with a fiery passion, and still occasionally enjoy tracks from Frogstomp and Freakshow. The strings on songs like "Emotion Sickness" and "Black Tangled Heart" were the start, but I think Van Dyke Parks' contribution to the last album and Daniel's collaborations with Paul Mac have really redefined the band and finally allowed them to find their own voice.
The opening track, "Young Modern Station" is a declaration of change, with Johns stating that he is "stalled at young modern station" and that he has "stuck to the goal to rescue [his] own skin." The music is electronically tinged and almost danceable. The obvious choice for dealing with the "stall" is to move on.
This sentiment is echoed in the first single, "Straight Lines." The depression that Johns so clearly wrote of in the past is addressed, with the resolution to be a "desperate believer" and walk through "in a straight line." The only way out is through, as it were. The song is alternately quiet and loud, but not in the same way as early hits like "Pure Massacre." The music swells to anthemic levels, building over several verses, making the anticipation as much a part of the experience as the volume. The Dissociatives' influence is definietly present, but it's still a Silverchair song.
Freed from past demons and having made a bold musical declaration, the band delves into entirely new territory. "If You Keep Losing Sleep" is a frenetic number with a concert-friendly "da doo doo" opening, and begs to be a concert staple for a few tours. "Reflections of a Sound" is another song about moving towards happiness from depression. It's a whimsically pretty song, and a highlight of the album.
Next is the three-parter, "Those Thieving Birds (Part 1)/Strange Behaviour/Those Thieving Birds (Part 2)." While "Tuna in the Brine" from Diorama was a lengthy song with orchestral tinges, this is a soaring mini-epic. The pop song in the middle seems to be about embracing quirks and uniqueness as a means to combat life's difficulties. Certainly a fitting song for this band. The music is propulsive and poppy before lulling back into "Those Thieving Birds."
"The Man Who Knew Too Much" contains some surprising blues elements as does "Mind Reader," albeit with a more incendiary punk bent by way of T. Rex. It is in this track that the piano starts to really make its presence felt on the album.
"Low" is a surprising song as well. It is driven dually by piano and a Clapton-esque guitar. The acoustic guitar underneath of the track really brings it all together. The vocal layering is magnificent, too. Lyrically it is a bit more ambivalent than some tracks on the album, providing a nice counterpoint to the sunny arrangement.
"Insomnia" is another vocal standout for Johns. The piano is again the most noticable instrument, though it comes across somewhat muted in the production.
The album closes with "All Across the World," a lush orchestral track with strong Beatles-esque melodies. It's a call for forgiveness and acceptance among humanity, a counterpoint to the self-acceptance of the album's opening songs. While not as instantly memorable as past closers like "After All These Years" or "Steam Will Rise," it's a fitting close to an album by a band that has finally found itself.
The album was a hard listen for me the first time or two, but it's grown on me significantly. While some tracks, especially "Waiting All Day," are still growing on me, I believe that it's a reinvention on par with Sgt. Peppers and Achtung Baby. While it may not quite reach those heights in quality, it is an adventurous record. I hope that they finally get some attention in the States again, they've grown so much since they had exposure here, and we missed out on a great album in Diorama. Let's not let it happen with Young Modern.
The opening track, "Young Modern Station" is a declaration of change, with Johns stating that he is "stalled at young modern station" and that he has "stuck to the goal to rescue [his] own skin." The music is electronically tinged and almost danceable. The obvious choice for dealing with the "stall" is to move on.
This sentiment is echoed in the first single, "Straight Lines." The depression that Johns so clearly wrote of in the past is addressed, with the resolution to be a "desperate believer" and walk through "in a straight line." The only way out is through, as it were. The song is alternately quiet and loud, but not in the same way as early hits like "Pure Massacre." The music swells to anthemic levels, building over several verses, making the anticipation as much a part of the experience as the volume. The Dissociatives' influence is definietly present, but it's still a Silverchair song.
Freed from past demons and having made a bold musical declaration, the band delves into entirely new territory. "If You Keep Losing Sleep" is a frenetic number with a concert-friendly "da doo doo" opening, and begs to be a concert staple for a few tours. "Reflections of a Sound" is another song about moving towards happiness from depression. It's a whimsically pretty song, and a highlight of the album.
Next is the three-parter, "Those Thieving Birds (Part 1)/Strange Behaviour/Those Thieving Birds (Part 2)." While "Tuna in the Brine" from Diorama was a lengthy song with orchestral tinges, this is a soaring mini-epic. The pop song in the middle seems to be about embracing quirks and uniqueness as a means to combat life's difficulties. Certainly a fitting song for this band. The music is propulsive and poppy before lulling back into "Those Thieving Birds."
"The Man Who Knew Too Much" contains some surprising blues elements as does "Mind Reader," albeit with a more incendiary punk bent by way of T. Rex. It is in this track that the piano starts to really make its presence felt on the album.
"Low" is a surprising song as well. It is driven dually by piano and a Clapton-esque guitar. The acoustic guitar underneath of the track really brings it all together. The vocal layering is magnificent, too. Lyrically it is a bit more ambivalent than some tracks on the album, providing a nice counterpoint to the sunny arrangement.
"Insomnia" is another vocal standout for Johns. The piano is again the most noticable instrument, though it comes across somewhat muted in the production.
The album closes with "All Across the World," a lush orchestral track with strong Beatles-esque melodies. It's a call for forgiveness and acceptance among humanity, a counterpoint to the self-acceptance of the album's opening songs. While not as instantly memorable as past closers like "After All These Years" or "Steam Will Rise," it's a fitting close to an album by a band that has finally found itself.
The album was a hard listen for me the first time or two, but it's grown on me significantly. While some tracks, especially "Waiting All Day," are still growing on me, I believe that it's a reinvention on par with Sgt. Peppers and Achtung Baby. While it may not quite reach those heights in quality, it is an adventurous record. I hope that they finally get some attention in the States again, they've grown so much since they had exposure here, and we missed out on a great album in Diorama. Let's not let it happen with Young Modern.
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