Review Summary: Silverchair uses tactics of rock n' roll past to revitalize their future.
Silverchair left a legion of fans wondering about the trio’s future when they went on an indefinite hiatus in 2003, having built a large following upon four recordings since their inception. When the band announced that they would again be recording a few years later, a buzz was created, built off early demos and live renditions of would-be tracks for a new album. Having always been a band that, while maintaining their musical roots, were able to evolve with the times and keep their style fresh. Undoubtedly more experienced by this point in their career, Silverchair puts forth something incredibly surprising and pleasantly surprising with their latest effort Young Modern
If on closed their eyes and muffled the sound of some of the material on this record, you would almost think you’d popped in a Beatles album. The comparisons to classic rock and indeed The Beatles are uncanny throughout the disc, though the band – lead vocalist/guitarist Daniel Johns no doubt the majority – are able to put their own personalised spin on the idea. The disc kicks off with the incredibly catchy and radio-friendly Young Modern Station
, which introduces listeners to the blurred version of rock long-past that will be found densely throughout the track list. Catchy is a good word for Young Modern
, as the vast majority of it is; just pretty straightforward music that seems to draw you in upon multiple listens. The discs first single, Straight Lines
follows the albums format, and is a definite standout. It’s nice to hear epic keyboards thrown into a Silverchair mix, most notably on Those Thieving Birds (Pt.1)/Strange Behaviour/Those Thieving Birds (Pt.2)
, one of the more epic tracks on the disc. John’s vocal-range has improved to impressive levels, shifting from ethereal, haunting, Coldplay inspired vocals to powerful rock and roll tones. There are even slight hints of punk in the over-accented vocals on tracks like Mind Reader
. The overall versatility of the musicianship on the record should be commended, and bassist Chris Joannou and drummer Ben Gillies respective roles in the writing/recording process of this one cannot be overlooked. Songs like If You Keep Losing Sleep
and The Man That Knew Too Much
are instant fan/listener favourites and are perfect examples of tracks on this record that will be able to draw new listens to the band.
A major draw to Young Modern
is the encompassing sense of positivity associated with it. Perhaps looking back at the band’s previous outings, there just seems to be a feeling of growth and regeneration. It sounds like there is something new being developed in Silverchair’s music now, and hopefully this will lead to future recordings of the same calibre.
: Young Modern Station, Straight Lines, If You Keep Losing Sleep, The Man That Knew Too Much, Those Thieving Birds, and Low.