The Hush Sound - Goodbye Blues
Release Date: March 18, 2008
Record Label: Decaydance/Fueled By Ramen
Whenever the discussion of underrated bands comes up, I always automatically think of The Hush Sound. It’s hard to get attention on a label stacked with more popular acts like Panic At The Disco, The Academy Is, and Cobra Starship, but The Hush Sound would rather not cater to the teenage girl scene. With the release of their third album, Goodbye Blues, the Chicago quartet furthers themselves from the Decaydance sound, as their brand of mature, piano-backed pop have flourished into a more refined sound.
Produced by Kevin Augunas (Cold War Kids), Goodbye Blues is a more focused effort, displaying a good balance of quirky, upbeat pop tunes and piano-driven, heavy ballads. Vocalist and pianist Greta Salpeter definitely carries this album, as you hear a lot of her throughout. Her vocal delivery has improved from Like Vines, as she demands more of your attention on each track she appears. She welcomes you to the listen experience with “Intro,” as heavy piano keys paint the mood. Two of the catchier tracks follow, first single “Honey” and the foot-stomping “Medicine Man” (which should have been the first single; hopefully it gets second single treatment).
Salpeter’s is the lead in the first five tracks, none as impressive and moving as “Hurricane.” A slow-paced, heart-wrenching ballad, Salpeter’s vocals and lyrics bleed with honesty. Guitarist Bob Morris makes his first appearance as lead on “As You Cry,” which is layered by jittery riffs. After the very breezy and fun “Six (Interlude),” which sounds like elevator music with a tinge of indie film goodness, the album’s pace definitely picks up. “Molasses” is driven by a tantalizing combination of the keys and jagged guitar riffs, and “Not Your Concern” is paced by staccato drum beats and riffs.
“Love You Much Better” sounds straight out of a saloon movie scene and is instantly catchy with huge shotgun-like beats, hand claps, and smooth vocals from Salpeter and Morris. Throughout the album, it’s noticeable that The Hush Sound are perfecting their piano-pop sound while incorporating a variety of moods and vibes, thus never creating redundancy on Goodbye Blues.
Like Vines was such a big hit with fans that they may be compelled to label Goodbye Blues as disappointing, but I urge the listener to give this a few good attentive listens. While it may not be as accessible as Vines, Goodbye Blues has the structure and completeness to make this an album that sticks with the listener over time. While it would have been nice to hear more of Bob Morris on the album, Greta Salpeter shows she is worthy of carrying an album from start to finish. If you are a fan of this genre of music, there is no way you’ll be disappointed, as the only thing you’ll be saying goodbye to is the same recycled pop-rock trash you’ve been listening to. Mmhmm, the Blues have never sounded better.
Anyway, well-stated review Drew. I agree with you on "Medicine Man" and the album as a whole is a developing work in progress. After three listens, I like it more and more but I think it lacks the lovely pop of Like Vines.
Still, this band is promising and I enjoy each release and the subtle differences within them.
Absolutely amazing album. You can tell they have definitely matured. I'm scared people will judge this album too harshly after loving Like Vines so much. I urge everybody to listen to this with an open mind.
And it kills me that people complain that there is too much Greta. Her voice has improved a lot and is sooo amazing on this album. While yes, a little more Bob would be nice, but i think it's absolutely fine.
It’s hard to get attention on a label stacked with more popular acts like Panic At The Disco, The Academy Is, and Cobra Starship, The Hush Sound would rather not cater to the teenage girl scene.
Quote:
Salpeter’s is the lead in the first five tracks, none as impressive and moving as “Hurricane.”
Needs editing. But nitpicking aside, this is one of your best reviews yet, and it's definitely one of the most fun albums this year.
It's the natural progression from Like Vines. It doesn't stray far from that album.
From the snippets I heard GB has more that 60's sound, no? I though it was pretty far from LV, but I'm maybe wrong. That sounded good, tough.
I'm really interested in hearing this, especially after your review. Btw I always love to read your reviews, really good job, sir.
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