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The musicianship is really quite good, as Sweet has used his long-time sidemen Richard Lloyd (Television), Ivan Julian (Richard Hell & The Voidoids), Greg Leisz (Beck, Bill Frisell), Ric Menck (Velvet Crush), and a guest vocal by Susanna Hoffs (The Bangles). Not much has changed with his sound either; it's like the grunge movement and everything that came after has never happened.This album is simple guitar pop and bubblegum rock. Just as the Girlfriend album didn't follow any guitar trends, this one follows suit and it makes me happier for that reason. Sunshine Lies could easily fit between Girlfriend and Altered Beast as a secret mail away album. Sweet has been flying under the radar for couple of years by collaborating with others and not strictly releasing his own songwriting. The album does have a few missteps, such as "Let's Love" and the Tom Pettyisms of "Burn Through Love".
But if this album had been released by a mystery band in 1972, it would now be spoken of in the same sentence as the great double Lps of the late 60s. It has a lovely sense of melody, a wild and sweet variety of guitar sounds, and many songs that combine a fascinating sense of craft, a feeling spontaneous necessity, and rock-poetry reminiscent of masters of desire and understatement like Lennon and Berry. Because it is by Matthew Sweet, and perhaps because many fans of his disagree as to what his best two Lps are, this set already has a contentious reception, and even some shrugs. I tend to like all of his records, and "Sunshine Lies" runs the gamut from his tougher "dinosaur act" stuff to the gentler tones of his Lloyd-less records like "Mars." "Sunshine Lies" has some remarkable songs, including the title cut and "Byrdgirl" and "Let's Love." (The set is all strong, but side two of the vinyl version is brilliant).
The new stuff played well along side the classics. I've been a big fan from the beginning. Excellent show. Sunshine Lies grabbed me instantly with great lyrics, melodies, and numerous heavy guitar riffs. (Ric Menck is the coolist drummer). Please.
Etc. Matthew Sweet is back. Sweet's high vocal range is countered again by the tangled, jagged soloing of Richard Loyd and Ivan Julian. Sweet. I will admit to being a little disapointed with the last two disc. I caught the band live 2 weeks ago.
Fall Out Boy. Buy this record. A rock solid return to form for Mr. Matthew is in great voice throughout. All American Rejects.
I liked this one quite a bit too the first weeks I had it. Somehow the key to the puzzle was transmitted to me--by means of feedback, I'm guessing.the mechanism is unclear.This is an extreme set of songs, seriously over-the-top as both ear candy and lyric sincerity.
I needed that. Delivering rueful musings of experience wrapped in these shimmery Pet-Sounds-kind of pop gloss produces a dissonance that works for me.
I think the step required to access Sunshine Lies is awakening the silly 16 year old rocker within, so play it LOUD. And Back of My Mind is the best album-ender since Party Girl.Thanks, Matthew.
As rabid fan of the big 3, I've liked the most recent CDs fine. Something happened though, at the GAMH show in SF: Great band + Hot groovy fun, and suddenly I could properly hear Sunshine Lies, even the tracks he didn't play that night.
Sunshine Lies asserts sweet optimism even after all that young rocker has seen and done, a neat trick.(I Need A) Room to Rock In is our new house motto.
He did it again.In the great songwriting vein of The Byrds,Beatles,Big Star.i.e. songs with singalong choruses,harmonies,melodies,chunky guitar solos,all wrapped up in a shimmering and vibrant and punchy style,man it just rocks and flows and my 19 month old daughter Daisy just LURVES ''Lets Love''.Terrific.
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