Among the summer of loves, the magic buses and the motley gathering that was Haight-Ashbury; the 60’s were a glorious time for swirling pop melodies. Reaching an unsurpassed frenzy in The Beatles invasion and The Beach Boys’ ride into pop tradition, the high-arching vocal swoons and the wonderfully unusual harmonies forever left their mark on musicians and fans alike. Embracing timeless reverberation, Revolver and Pet Sounds are both spurred by their undying quality. Crafted with rich orchestration and a certain tunefulness rarely seen, they are unique in their brilliant universal appeal.
And perhaps, one of the few artists today who genuinely evoke this sort of memorable, long lasting allure of that double dose in ‘66 is Portland by-way-of Albuquerque popsters The Shins. Perched upon a burgeoning wave that swelled from 2001’s Oh! Inverted World, their sophomore effort successfully outshines their previous work and in an amalgam of joyous wails and twirls, vaults them into heights of distinction amongst their peers. Boosted by the album’s far improved production value, James Mercer’s means of constructing stunning song arrangements and his ability to glide them below his voice’s mottled fascination is lifted far beyond the promising milieu set some few years ago. The sparse nature of the instrumentation, stripped down but incredibly affecting, remains unshackled in their revitalizing confidence.
Take “Kissing the Lipless” as an example of this strutting poise; riled up and fantastically potent, the injection of Mercer’s high-pitched howl along with the song’s sonic crashing makes for one ideal album-opening greeting. It segues nicely into “Mine’s Not a High Horse”, a down-toned humming into floral acoustics and atmospheric synthesizers that makes a play for the sweetness in melody. In the album’s lead single “So Says I”, the band embarks on a far loftier march into manic rock beats, but buoyed again by Mercer’s piercing falsetto, its tramping swagger is the merry kind; one that surprisingly suits the faraway lyrical imagery penned in a wandering, almost chattering manner (“An address to the golden door I was strumming on a stone again pulling teeth from the pimps of gore”). Oh what lavish fairytale narrative!
Far from being known for a mere tune, Lennon and Wilson are artists recognized for their grand body of work. And if for some unforeseen, catastrophically shallow reason Mercer is famed for a single composition (Lennon’s “Imagine” is certainly worth this debate, at least from a solo career perspective), it would be “Saint Simon”. And while they have just sharpened their receptors of scrutiny (and judging from this, a very healthy future lies ahead) one cannot simply overlook a truly great song amongst a collection of really good ones. With intrigue and sophistication reserved for those upper-pantheon writers, the song is a delicate marriage of subtly pleasing tones, regal orchestral romance and distinct vocal triumph kept to sweet “la la la’s” and towering choral elegance. Let it be known, there is but a superb songwriter amongst the willow trees and grassy green.
How little wrong it seems they do; from the swinging beat-pop of “Fighting in a Sack” to the engulfing ravine of “Pink Bullets”, the songs are as brightly engaging as they are profoundly introspective. With Mercer’s scribe-like wordplay and charismatic process of culling together morsels of ageless qualities with the finer points of being accessible, he too perhaps, will someday be mentioned among our most prized authors of song. And along with him, The Shins have over the course of two releases, rightly etched themselves in pop’s Rosetta stone. Enigmatically tracing the greatest of pop roots with quenching success, Chutes Too Narrow is perfectly stated, and undoubtedly, a masterpiece.
(Sub Pop Records)
Pretty Vicious – Beauty of Youth
Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype
The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.
Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.
There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.
You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.
It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.
Sum 41 – Order In Decline
Long gone are the days of All Killer, No Filler
Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.
So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.
Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.
As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.