Silverchair
warned their fans this new album would be different, and they've
delivered on their promise. There's no mucking around. We're thrown
into the deepest water with the very first track, 'Across The Night',
Silverchair in Alex Loyd intricate pop territory, with a little
hint of Pet Sounds era Beach Boys (orchestral arrangements courtesy
Beach Boys conspirator Van Dyke Parks). That's followed by the single,
the romantic 'The Greatest View' with its heavy laden backdrop.
And the mood is set. From here Silverchair can step back on familiar
ground (and do - 'One Way Mule' ) or keep exploring this new grand
lushness. The last album already had moments like this ('Satin Sheets')
but this time Silverchair have gone much further in that direction,
obviously planning to go this way from the very beginning. Inside
and around the adventures roams the tight rock and roll band at
the heart of it all. If we had to picture the album we might imagine
the band - bass, drums, guitar voice - playing its heart out while
what's in Daniel John's mind swirls with colour and movement around
them. You can't help but feel that the angry dreams which drove
Daniel at the start, and the fragile creature that Silverchair's
success turned him into are behind him. The music saw Daniel through
that osmosis. He emerges here, clearly enjoying his music for itself,
more patient, more relaxed, more sure of himself, a better songwriter,
a better singer. Last time Daniel walked into the studio with a
batch of songs written in isolation, songs then moulded for general
consumption. These songs were clearly meant to be heard from the
start. (On Eleven)
Silverchair
warned their fans this new album would be different, and they've
delivered on their promise. There's no mucking around. We're thrown
into the deepest water with the very first track, 'Across The Night',
Silverchair in Alex Loyd intricate pop territory, with a little
hint of Pet Sounds era Beach Boys (orchestral arrangements courtesy
Beach Boys conspirator Van Dyke Parks). That's followed by the single,
the romantic 'The Greatest View' with its heavy laden backdrop.
And the mood is set. From here Silverchair can step back on familiar
ground (and do - 'One Way Mule' ) or keep exploring this new grand
lushness. The last album already had moments like this ('Satin Sheets')
but this time Silverchair have gone much further in that direction,
obviously planning to go this way from the very beginning. Inside
and around the adventures roams the tight rock and roll band at
the heart of it all. If we had to picture the album we might imagine
the band - bass, drums, guitar voice - playing its heart out while
what's in Daniel John's mind swirls with colour and movement around
them. You can't help but feel that the angry dreams which drove
Daniel at the start, and the fragile creature that Silverchair's
success turned him into are behind him. The music saw Daniel through
that osmosis. He emerges here, clearly enjoying his music for itself,
more patient, more relaxed, more sure of himself, a better songwriter,
a better singer. Last time Daniel walked into the studio with a
batch of songs written in isolation, songs then moulded for general
consumption. These songs were clearly meant to be heard from the
start. (On Eleven)