Silversun Pickups – “Widow’s Weeds”

Of course I loved this record, I thought it was the best thing I’ve heard in weeks.

As a massive fan of this band, I’m not sure I’m technically qualified to provide a totally unbiased review, but I will sure try. Of course I loved this record, I thought it was the best thing I’ve heard in weeks. It fit right in with the rest of their catalog, and at the same time, branched out into uncharted territory for the band. It was beautifully noisy, but very sharply mixed. The heavy addition of synths on this album was a perfect way to introduce a new flair to an older band. For me, the number synths was unexpected, and I really enjoyed what they did with them. “Neon Wound”, the first track on the record, really set the tone for the album with heavy synth bass, and a much “dancier” drum beat than I’m used to with Silversun. All together, this whole record was much more danceable than anything they’ve put out before, and I loved it. “I Don’t Know Yet” was a clear departure from their usual noise rock feel, embracing elements of modern indie-pop to shape its sound. 

The band seems to be reaching for new heights with this outing, and I think they’ve achieved that. So many groups go out to do a brand new stand out record like this and seem to forget why people listen to them in the first place. I thought this sounded just like any other Silversun record, with some added bonuses, which is, I think, the best possible outcome for a band in their 19th year.

Now since I have to be unbiased, I’ll criticize a bit. While I love the idea they were going for, I didn’t really like “I Don’t Know Yet”. It wasn’t the worst song on the record, (“Simpatico” takes the trophy for that one) It just wasn’t that interesting. For me, it went too far in this new direction, and it lost me after the first chorus.

Another noticeable downfall was the vocals. I love Brian Aubert’s nasally voice, but it sounded very processed on this record, in fact, everything did. 

Something I did start to notice as I was listening, was that the general sound of the record was considerably brighter than their previous releases. The snare’s had a little extra bite, the vocals were more clear, and cutting, and the guitars were less washy. For the most part this didn’t bother me, in fact I really enjoyed the glassy sheen it provided over the whole mix. The vocals however, suffered from this type of processing. Im not sure if they were heavily pitch corrected, but due to the overt compression that’s become so popular, it really sounded like it at times.  

There, I’m unbiased. It’s a great record, probably one of the best I’ve heard in quite some time. Absolutely check this out.

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