Silversun Pickups' latest album, Tenterhooks, presents a fascinating dilemma for music enthusiasts. Are they creatively stuck in the past?
The band's seventh studio offering, released two decades after their debut, boldly features a track titled 'Running out of Sounds'. This choice is intriguing, especially considering their unwavering commitment to their original sound. It's as if they're inviting listeners to question their artistic evolution.
But here's the twist: Silversun Pickups aren't trying to reinvent themselves. They confidently navigate the same sonic territory they've occupied for years, seemingly unaware of the potential irony. Unlike many bands approaching mid-career, they don't chase trends or indulge in nostalgia. Instead, they seamlessly blend dreamy harmonies and distorted guitars, reminiscent of the 1990s alt-rock scene.
The problem? Silversun Pickups weren't part of that era. Their emergence in the late 2000s with Carnavas brought a fresh energy to the alt-rock revival. However, their subsequent albums, including Tenterhooks, produced by Butch Vig (known for his work with Nirvana, Smashing Pumpkins, and Garbage), have smoothed out the rough edges, creating a polished sound that risks stagnation.
Vig's production on Tenterhooks is seamless, with songs like 'Au Revoir Reservoir', 'Wakey Wakey', and 'Witness Mark' flowing into one another. This cohesiveness, while pleasing to fans of dream-pop and distorted guitars, also highlights the band's reluctance to venture beyond their comfort zone.
Is this a case of artistic consistency or creative stagnation? The album's familiarity might make one wonder if the band is indeed running out of sounds. Perhaps this is the inevitable fate of artists who trade in the music of yesteryear. But is it a fair judgment for a band that has consistently delivered a specific sound over the years?
Tenterhooks leaves us with this intriguing question, inviting listeners to decide whether it's a satisfying continuation or a sign of creative exhaustion.
