This album is just in time for global warming…of the heart.
First single “Think I Wanna Die” is two minutes and forty-nine seconds of pop bliss straight to the dome. Forget mix cds—this is the sort of stuff to define a romance, or a summer, or at least a semester. At about a half hour, this album struts and frets its way across your iPod for just long enough to get you hooked on the rush, then it vanishes. (Though in this age of media piracy, it’s not just the first time that’s free.)
There’s a veritable horn o’plenty of hooks and vocal melodies on this album, making for an eminently listenable experience. It contains (though does not entirely consist of) the hallmarks of indiepop, the Cloudberry Records variety: lightly strummed chords on what sound like expensive acoustic guitars, boys singing in a high register about lovesickness, at least one full-band “whoo!”, sweet harmony vocals, and some clunky notebook poetry about love.
To their credit though, those boys in Someone Still Loves You, Boris Yeltsin do better on the last front. Lyrically, they aim for generational anthem on “Modern Mystery” (“There is no modern mystery/ We’re makin’ up our history”), road-weary cynicism on “Boring Fountain” (“Gonna quit to a foreign country/Came back to find the same things on TV”), and self-deprecating honesty (“I don’t wanna get drunk, I just wanna get some”) on “Dead Right.” Then there’s the deliciously quotable oddities like “Fell asleep in a boring fountain/ Woke up with an unkind word in my mouth,” also on “Boring Fountain.”
What the album does not sound like is an offhand basement project. The band’s celebrated 2006 debut Broom was recorded in low-fi fashion. Though it required only twice as many microphones as the Antarctica Takes It! album, the re-mastered, Polyvinyl-released version of the Yeltsin debut really doesn’t have too much of the lo-fi bandbox sound sometimes attributed to it.
Well, if that point is arguable, this is less so: Pershing sounds clean. It sounds like the product of some judiciously used studio time, not the accidents of living room recording. And that’s not a problem, but if you’re looking for ramshackle you’ll come up short. Whimsy, sure---ramshackle, no. The band wisely adds just enough of a horn here or a string there to buoy the sonic palette, to successful effect. (Any more though and they’d venture into Irene territory.)
At bottom, indie pop (and especially indiepop) is still pop, and sometimes arrangement is the only thing differentiating a song from an 80’s guilty pleasure to the edgy work of a blog-worthy buzz band (buzz-worthy blog band?) If “The Beach Song” was coated in synthesizers and the vocal harmonies came from a highly paid female backing chorus rather than a couple suburban white guys you’re kinda rooting for to stay in tune, it could pass as trite. But it’s not, so it isn’t.
Buy it from Insound
Get it from emusic