The Hush Sound - Goodbye Blues
Mar. 22nd, 2008 01:00 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
urgencytobleedThe Hush Sound
Goodbye Blues
Goodbye Blues
The Hush Sound is one of those bands that is often overlooked, mostly due to completely trivial things like the label they're signed to and the bands that they've toured with. This is made even more unfortunate by the fact that they are a truly amazing band, refreshing and young, with a sound that can't quite be pinned down or compared to anything else very easily. They've also grown drastically as people and musicians since their beginnings and it's interesting to see how their music develops as the band members themselves are still maturing. Their third release, Goodbye Blues, is the biggest leap yet, for the most part completely different from their first two albums. Most of its songs could be described as rollicking, sprightly, and piano-centric, borrowing as much from the ragtime, cabaret, and showtunes of past decades as from the hook-laden pop of the present. The similar thread that runs throughout most of Goodbye Blues seems a bit repetitive and unexciting at first, but with each subsequent listen, the songs start to reveal themselves as separate entities. Once each song has had a chance to come to life, it becomes apparent how vital their similarities actually are; they create a constant and vivid atmosphere rather than just being a collection of random songs, which is ultimately what makes the album most satisfying. Goodbye Blues is impressive because the songs stand up as well as a group as they do on their own, a level of cohesiveness that their previous releases never quite managed.
The most obvious change that Goodbye Blues presents is the decision to push pianist Greta Salpeter's vocals to the forefront. This takes a bit of adjusting, since she only sang lead vocals on about a third of their debut, So Sudden, and about half of their last album, Like Vines. It makes sense, though, that she should take a more prominent role since her voice has drastically changed and matured in a very short amount of time. It's almost unbelievable that the pretty but thin and wispy vocals on So Sudden and the assured, mature, and confident ones displayed here are sung by the same person. The drastic improvement can be credited to both age (and she's still barely out of her teens) and experience. She shows much more range and control than ever before which results in the songs sounding instantly more grown-up. The more direct and realistic lyrics also contribute to this, though they aren't perfect - they sometimes drift into mediocrity and often aren't fleshed-out enough to paint a complete picture. They don't ruin the listening experience by any means, but it is hard not to miss the vivid, deep but simple introspection of songs like "You Are the Moon", "Eileen", and "Echo".
Of the many energetic, Greta-led, and piano-centric tunes, it's hard to pick out favorites, partly because they all have a similar sound, but mostly because the majority of them are extremely well-performed and memorable. "Medicine Man" is propelled by a booming drum beat and gives Greta the chance to show off her new voice with a dramatic and instantly catchy chorus. The retro background vocals from the rest of the band and jaunty, playful piano melody give it a slightly vintage feel, making it sound both modern and completely timeless, a description that can describe most of the rest of the album as well. "The Boys Are Too Refined" intersperses raspy, obtuse verses with a bouncy chorus that features a lovely but brief moment of boy/girl back-and-forth and the slightly jazzy delivery of the lines "And if the timing is right to sneak off into the night/I'll let myself be taken just for the thrill/And if I'm given the chance to be a doll in his hands/I will be sure we shake the mountains while we dance" that is one of the high points of the entire album.
About halfway through is "Molasses", another delectable gem that showcases Greta's higher register, which is not completely flawless but definitely respectable. Within this song is perhaps the finest moment of pop perfection on all of Goodbye Blues; the bridge - starting with "Darkness, you can't hear me/I will try to draw you near me" and ending on "I'll go anywhere with you" - is stunning, with many different melodies flowing into each other and an insanely awesome instrumental build-up. It's moments like that one that show how truly talented the members of the Hush Sound are as songwriters; they definitely have a knack for penning infectious and innovative hooks. Another standout on the second half is "Love You Much Better". With its rowdy piano, lo-fi handclaps, and coy lyrics ("Why do you kiss everybody but me?/I just sit back and watch/Oh, but one day soon I'm going to grab you by the collar and kiss you all I want!") it's easy to imagine it being drunkenly played on some barroom piano decades ago. It also contains another perfect but brief moment of boy/girl vocalizing, which isn't something the Hush Sound do often, but should because it always sounds fantastic.
Only a couple of songs, "Hurricane" and "That's Okay", take a break from the high-energy swing of most of the album. The instrumentation is kept simple, allowing for Greta's newfound strength in her voice to shine through. This is especially true of the former, where her subtle, lilting phrasing ("You're standing in my doorway though he's asleep in my bed") brings to mind the singers of decades past, when an impressive voice was shown off less dramatically than by the pop divas of recent times.
Then there are the tracks where guitarist Bob Morris takes on lead vocal duty; surprisingly, there are only three. A lot of theories could be brought up as to why the band has decided to push Greta to the front vocalwise, but hopefully, it's an artistic decision rather than a business one. Of Bob's brief time in the spotlight (two of his three songs don't even reach past three minutes), "As You Cry" is perhaps the best, with its deliciously evil chorus of "As you cry/I want to lie/Say I love you so/Darling/Even though I don't." His songs are more rock-oriented and edgy than Greta's, leaning more on guitars than the piano, and they are the most similar to the band's previous work. The lack of Bob's vocals doesn't really make the album any better or worse, but it wouldn't have hurt to replace a couple of Greta's lesser songs with some more of his.
Once Goodbye Blues is given a chance to sink in, it becomes clear that there is truly little filler present in its thirteen tracks. The instrumental interlude is unnecessary and a few tracks, like "That's Okay" and "Break the Sky" (though that one is nearly redeemed by the "Fear will hold you back/If you believe in that" portion), have less spark than their similar counterparts. However, since no song breaks the four-minute mark, these few dips in quality slide by quickly and pleasantly, never quite tempting the skip button to be pressed. It's hard to decide whether the album is their best, since it's so different, but it at least proves that the Hush Sound enjoy experimenting with their sound and aren't afraid to expand and mature as their personal tastes change. The lyrics aren't perfect and a more even split between the two vocalists would have been nice, but overall, Goodbye Blues is an extremely strong showcase of their talents and a commendable accomplishment, especially for such a young band. From here, things can only go up as they grow more comfortable in both their performing and songwriting.
For fans of: Straylight Run, Eisley, Rilo Kiley, Meg & Dia, Nerina Pallot
Goodbye Blues is out now, so make sure to pick it up and visit the Hush Sound's official website (or the fansite, Sweet Tangerine) for up-to-date information on the band.
The most obvious change that Goodbye Blues presents is the decision to push pianist Greta Salpeter's vocals to the forefront. This takes a bit of adjusting, since she only sang lead vocals on about a third of their debut, So Sudden, and about half of their last album, Like Vines. It makes sense, though, that she should take a more prominent role since her voice has drastically changed and matured in a very short amount of time. It's almost unbelievable that the pretty but thin and wispy vocals on So Sudden and the assured, mature, and confident ones displayed here are sung by the same person. The drastic improvement can be credited to both age (and she's still barely out of her teens) and experience. She shows much more range and control than ever before which results in the songs sounding instantly more grown-up. The more direct and realistic lyrics also contribute to this, though they aren't perfect - they sometimes drift into mediocrity and often aren't fleshed-out enough to paint a complete picture. They don't ruin the listening experience by any means, but it is hard not to miss the vivid, deep but simple introspection of songs like "You Are the Moon", "Eileen", and "Echo".
Of the many energetic, Greta-led, and piano-centric tunes, it's hard to pick out favorites, partly because they all have a similar sound, but mostly because the majority of them are extremely well-performed and memorable. "Medicine Man" is propelled by a booming drum beat and gives Greta the chance to show off her new voice with a dramatic and instantly catchy chorus. The retro background vocals from the rest of the band and jaunty, playful piano melody give it a slightly vintage feel, making it sound both modern and completely timeless, a description that can describe most of the rest of the album as well. "The Boys Are Too Refined" intersperses raspy, obtuse verses with a bouncy chorus that features a lovely but brief moment of boy/girl back-and-forth and the slightly jazzy delivery of the lines "And if the timing is right to sneak off into the night/I'll let myself be taken just for the thrill/And if I'm given the chance to be a doll in his hands/I will be sure we shake the mountains while we dance" that is one of the high points of the entire album.
About halfway through is "Molasses", another delectable gem that showcases Greta's higher register, which is not completely flawless but definitely respectable. Within this song is perhaps the finest moment of pop perfection on all of Goodbye Blues; the bridge - starting with "Darkness, you can't hear me/I will try to draw you near me" and ending on "I'll go anywhere with you" - is stunning, with many different melodies flowing into each other and an insanely awesome instrumental build-up. It's moments like that one that show how truly talented the members of the Hush Sound are as songwriters; they definitely have a knack for penning infectious and innovative hooks. Another standout on the second half is "Love You Much Better". With its rowdy piano, lo-fi handclaps, and coy lyrics ("Why do you kiss everybody but me?/I just sit back and watch/Oh, but one day soon I'm going to grab you by the collar and kiss you all I want!") it's easy to imagine it being drunkenly played on some barroom piano decades ago. It also contains another perfect but brief moment of boy/girl vocalizing, which isn't something the Hush Sound do often, but should because it always sounds fantastic.
Only a couple of songs, "Hurricane" and "That's Okay", take a break from the high-energy swing of most of the album. The instrumentation is kept simple, allowing for Greta's newfound strength in her voice to shine through. This is especially true of the former, where her subtle, lilting phrasing ("You're standing in my doorway though he's asleep in my bed") brings to mind the singers of decades past, when an impressive voice was shown off less dramatically than by the pop divas of recent times.
Then there are the tracks where guitarist Bob Morris takes on lead vocal duty; surprisingly, there are only three. A lot of theories could be brought up as to why the band has decided to push Greta to the front vocalwise, but hopefully, it's an artistic decision rather than a business one. Of Bob's brief time in the spotlight (two of his three songs don't even reach past three minutes), "As You Cry" is perhaps the best, with its deliciously evil chorus of "As you cry/I want to lie/Say I love you so/Darling/Even though I don't." His songs are more rock-oriented and edgy than Greta's, leaning more on guitars than the piano, and they are the most similar to the band's previous work. The lack of Bob's vocals doesn't really make the album any better or worse, but it wouldn't have hurt to replace a couple of Greta's lesser songs with some more of his.
Once Goodbye Blues is given a chance to sink in, it becomes clear that there is truly little filler present in its thirteen tracks. The instrumental interlude is unnecessary and a few tracks, like "That's Okay" and "Break the Sky" (though that one is nearly redeemed by the "Fear will hold you back/If you believe in that" portion), have less spark than their similar counterparts. However, since no song breaks the four-minute mark, these few dips in quality slide by quickly and pleasantly, never quite tempting the skip button to be pressed. It's hard to decide whether the album is their best, since it's so different, but it at least proves that the Hush Sound enjoy experimenting with their sound and aren't afraid to expand and mature as their personal tastes change. The lyrics aren't perfect and a more even split between the two vocalists would have been nice, but overall, Goodbye Blues is an extremely strong showcase of their talents and a commendable accomplishment, especially for such a young band. From here, things can only go up as they grow more comfortable in both their performing and songwriting.
For fans of: Straylight Run, Eisley, Rilo Kiley, Meg & Dia, Nerina Pallot
Goodbye Blues is out now, so make sure to pick it up and visit the Hush Sound's official website (or the fansite, Sweet Tangerine) for up-to-date information on the band.
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