GENRE(S): Indie Rock, Pop, Lo-Fi.
PREAMBLE: Transference is no exception in the steady stream of better-than-average albums cut by our favorite Texan, Hipster quartet.
LOOK: Found images is Spoon's principal-songwriter-turned-designer motif for his band's album artwork. To the designer's eye this appears as a cop-out, considering the inordinately simple treatment of the images (the band's name/title of the album in simple type). Reality; if it weren't for the near perfect pairing of ambiance-of-image to ambiance-of-music I might find it easier to talk [exploitive] about it. Britt Daniel has found how to represent his band visually quite successfully.
LISTEN: The Beach Boys' Brian Wilson had a tendency of fading out most of his songs instead of garnering a proper ending for them. Likewise, Spoon's Britt Daniel likes to cut his songs a la scissor mishap in the control room. How dare I compare ANYONE to Brian Wilson? Why Not? Both Wilson and Daniel have an affinity for writing unconventional pop songs. Why they can't seem to manufactured endings for their songs is beyond me.
"Written In Reverse's" heavy rhythm section, and pounding piano keys showcases Daniel's leathery croon in such a fashion, making you imitate him as you drive alone. Raspy vocals aside, "Written in Reverse" stands as a climax in this story, whereas the rest of the album falls around it as a supporting cast (ain't nothing wrong with that). "Trouble Comes Running" on the other hand stands quite well on it's own, as a quick interlude/revelation before a dramatic resolution. Its cheeky, upbeat home-recording sound adds depth to its simple tune and melody: this is a foot-tapper.
Spoon's pop sensibility make them easy to love, and makes it even easier to pinpoint their influences. What others mimic, Spoon takes and makes their own. This can't escaped with "Goodnight Laura" as they channel the powerful Paul McCartney balled, and sprinkle in off-kilter Radiohead piano.
Spoon cut a record that sounds more like a home recording than a proper album. Lacking in lead guitar riffs and proper endings, Transference's mix of jump cuts and faux lo-fi recording is like peering into a practice session . Weather or not this is the intention draws a line between "work of genius" or "not".
SPEAK: As before, with Ga Ga Ga Ga Ga, the album's image serves as the perfect scene for its sound track, this album.
PREAMBLE: Transference is no exception in the steady stream of better-than-average albums cut by our favorite Texan, Hipster quartet.
LOOK: Found images is Spoon's principal-songwriter-turned-designer motif for his band's album artwork. To the designer's eye this appears as a cop-out, considering the inordinately simple treatment of the images (the band's name/title of the album in simple type). Reality; if it weren't for the near perfect pairing of ambiance-of-image to ambiance-of-music I might find it easier to talk [exploitive] about it. Britt Daniel has found how to represent his band visually quite successfully.
LISTEN: The Beach Boys' Brian Wilson had a tendency of fading out most of his songs instead of garnering a proper ending for them. Likewise, Spoon's Britt Daniel likes to cut his songs a la scissor mishap in the control room. How dare I compare ANYONE to Brian Wilson? Why Not? Both Wilson and Daniel have an affinity for writing unconventional pop songs. Why they can't seem to manufactured endings for their songs is beyond me.
"Written In Reverse's" heavy rhythm section, and pounding piano keys showcases Daniel's leathery croon in such a fashion, making you imitate him as you drive alone. Raspy vocals aside, "Written in Reverse" stands as a climax in this story, whereas the rest of the album falls around it as a supporting cast (ain't nothing wrong with that). "Trouble Comes Running" on the other hand stands quite well on it's own, as a quick interlude/revelation before a dramatic resolution. Its cheeky, upbeat home-recording sound adds depth to its simple tune and melody: this is a foot-tapper.
Spoon's pop sensibility make them easy to love, and makes it even easier to pinpoint their influences. What others mimic, Spoon takes and makes their own. This can't escaped with "Goodnight Laura" as they channel the powerful Paul McCartney balled, and sprinkle in off-kilter Radiohead piano.
Spoon cut a record that sounds more like a home recording than a proper album. Lacking in lead guitar riffs and proper endings, Transference's mix of jump cuts and faux lo-fi recording is like peering into a practice session . Weather or not this is the intention draws a line between "work of genius" or "not".
SPEAK: As before, with Ga Ga Ga Ga Ga, the album's image serves as the perfect scene for its sound track, this album.
ALBUM - B-
ALB UM ARTWORK - B-
DO WE HAVE A FIT? YES!
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