The Clientele
Suburban Light
★★½
Is it really fair to come in with some preconceived notions about what I'm listening to, then be able to judge it? No it isn't, but it's impossible to avoid for me. Perhaps the rave reviews and supposed timelessness of this album led me down the path of increased expectations. And to be perfectly honest, I wasn't disappointed just a bit confused as to what really makes this album stand out or be considered a moody classic. It's a compilation, and it's almost immediately understood that there's little cohesiveness. There's various themes and styles that are attempted, sometimes they pay off and other times it just seems redundant and flat. I understand the appeal at the time, it's that perfect image of turn-of-the-millennium melancholy that only the teenagers understand. The local coffee shop band that plays to a small crowd but one that very much appreciates what they play, without getting too close to the band itself. The recording style and vocal delivery make you really believe that role too, It might've even served as my saving grace and go-to album after a disappointing rainy day, if I was a teenager two decades ago. Really, it's not all that bad to me. Just over the edge enough that it becomes forgettable.
The first song was a strong indicator that I wouldn't be head-over-heels for this album. "I Had to Say This" gladly shows off Alasdair MacLean using his nasally voice and wordless vocalizations that become a bit annoying to listen to after the second time. Also, maybe I take back a certain aspect concerning the cohesiveness of this compilation. The lyrics are surprisingly consistent, with the themes of rain, heartbreak, urban loneliness and loss. There's some hope tossed in there too but it stays pretty vanilla. To admit my bias, I've always believed that music playing comes before singing and lyrical ability. And I believe that The Clientele have done a commendable job with their playing; the bass is subtle but effective, the drums are versatile and colorful, and the lead guitar gives a double edged warmth. It's just the songwriting that makes me turn my back. What does it provide, if not a watered down version of the innocence and naivete I've already experienced. It's not something I would want to listen to personally, it's not a theme that I strongly identify with and fails to hold my interest.
"Reflections After Jane", "Saturday", and "Joseph Cornell" are the highlights for me in the sea of sameness. "Reflections After Jane" shows them off at their most lullaby-like and peaceful. And just a couple songs later, "Joseph Cornell" brings an aggressive, upfront attitude with it's sleek vocal delivery and colorful instrumentation. It's easily the boldest song and as far as they get on this album from their genre norms. "Saturday" is notable too, it's a journey through time and places unlike anything else here. It just sort of glides thanks to the humming and effortless singing, as well as the melodic guitar twanging and syrupy sweet bassline. The entire album, these songs included, take cues from psych pop originators like The Beatles and Love, as well as the later school which includes Galaxie 500. I guess this was another wave too, and of course it comes in cycles. You could say that Tame Impala is a variation of this style, perhaps with a punchier rock ideology. Some could say Neo-Psych, but I doubt that. Unless you're Animal Collective, psych pop like this does not move any genre or music forward, it's just stagnant.
What I would hope for in psych pop would be an element of nostalgia, of a time that was forgotten but always remained. I don't get that here, instead I'm experiencing a sort of loop that addresses the concerns of the here and now. And it really lacks the power or audacity to take it all on. I doubt I'll even return to those songs I enjoyed on here, as I probably won't be able to remember which they were on the album. If psych pop is your thing then go for it, but I can't recommend it myself. Black and white Polaroids of empty streets are taken to this, with the photographer's mind on something else. His / her time with a past lover, the gas they have to fill their car with before going home, or the this album. Or just anything else but the subject of the photograph. That's the image this music conjures up.
Favorite Song: Joseph Cornell
The first song was a strong indicator that I wouldn't be head-over-heels for this album. "I Had to Say This" gladly shows off Alasdair MacLean using his nasally voice and wordless vocalizations that become a bit annoying to listen to after the second time. Also, maybe I take back a certain aspect concerning the cohesiveness of this compilation. The lyrics are surprisingly consistent, with the themes of rain, heartbreak, urban loneliness and loss. There's some hope tossed in there too but it stays pretty vanilla. To admit my bias, I've always believed that music playing comes before singing and lyrical ability. And I believe that The Clientele have done a commendable job with their playing; the bass is subtle but effective, the drums are versatile and colorful, and the lead guitar gives a double edged warmth. It's just the songwriting that makes me turn my back. What does it provide, if not a watered down version of the innocence and naivete I've already experienced. It's not something I would want to listen to personally, it's not a theme that I strongly identify with and fails to hold my interest.
"Reflections After Jane", "Saturday", and "Joseph Cornell" are the highlights for me in the sea of sameness. "Reflections After Jane" shows them off at their most lullaby-like and peaceful. And just a couple songs later, "Joseph Cornell" brings an aggressive, upfront attitude with it's sleek vocal delivery and colorful instrumentation. It's easily the boldest song and as far as they get on this album from their genre norms. "Saturday" is notable too, it's a journey through time and places unlike anything else here. It just sort of glides thanks to the humming and effortless singing, as well as the melodic guitar twanging and syrupy sweet bassline. The entire album, these songs included, take cues from psych pop originators like The Beatles and Love, as well as the later school which includes Galaxie 500. I guess this was another wave too, and of course it comes in cycles. You could say that Tame Impala is a variation of this style, perhaps with a punchier rock ideology. Some could say Neo-Psych, but I doubt that. Unless you're Animal Collective, psych pop like this does not move any genre or music forward, it's just stagnant.
What I would hope for in psych pop would be an element of nostalgia, of a time that was forgotten but always remained. I don't get that here, instead I'm experiencing a sort of loop that addresses the concerns of the here and now. And it really lacks the power or audacity to take it all on. I doubt I'll even return to those songs I enjoyed on here, as I probably won't be able to remember which they were on the album. If psych pop is your thing then go for it, but I can't recommend it myself. Black and white Polaroids of empty streets are taken to this, with the photographer's mind on something else. His / her time with a past lover, the gas they have to fill their car with before going home, or the this album. Or just anything else but the subject of the photograph. That's the image this music conjures up.
Favorite Song: Joseph Cornell
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