(courtesy of Merge Records)
Three years after their last album, Spoon returns with a powerful, diverse follow up in “Transference.”
The Austin locals have risen since their start in 1993 to catch the eyes of the present day mainstream. The piano-driven, rambunctious album has the Baskin-Robbins effect—there is a little something for everyone. Frontman Britt Daniel’s vocals change with each new genre as Spoon wrestles with post-punk, blues, synth-pop and funk in their most progressive album yet.
The raw opener, “Before Destruction,” has a low-fi introduction that lingers throughout the song. With a dark, garage-rock quality, it strays from the rest of the album, but reminds the listener that Spoon was born from the Nirvana era and are heavily influenced by post-punk rock.
“The Mystery Zone” begins with chunky, fragmented guitar chords and progresses into a synth-formed dance groove.
Similarly, “Who Makes the Money,” gets funky with an electronic feel. The funk bass line is complemented by Daniel’s take on an R&B voice similar to what Jim James of My Morning Jacket attempted on “Evil Urges.”
The album takes a significant turn as Spoon begins to rock out in “Written in Reverse.” With its heavy blues distortion in the guitar riff, they are reminiscent of the Black Keys.
“I Saw the Light,” an emotional multi-part rock tune, proves to be a highlight of the album. The piano jam that ends the song trances the listener as it juxtaposes repetition and variation, using simplicity as a means of seduction.
“Trouble Comes Running” uses poppy guitar chords and a catchy hook. The song sounds like it belongs on a Kings of Leon record rather than in Spoon’s repertoire, most noticeably in Britt Daniel’s voice.
The album ends weaker than it begins. “Goodnight Laura” is an emotional, slow piano ballad that has potential but never develops. The last two songs, “Out Go the Lights” and “Got Nuffin,” are a disappointment. “Out Go the Lights” dances between pop and emo, while “Got Nuffin” is a punk song without unique texture.
Despite a weak finish, “Transference” may be Spoon’s best album yet. It has the diversity to carry into a number of genres and has the emotional and musical depth to keep a strong fan base.
Contact CU Independent Staff Writer Davis Brown at Brownfd@colorado.edu.
3 comments
Really? You just go through the track listings, make a few clever references to other artists and albums, and blandly describe a few of them as “disappointments”? Pot calling the kettle black? Man, you’re writing a review of an album, not reciting the Nicene Creed. Spice it up a bit — act like you WANT to write it.
P.S. It may have been a bit of a lame read, but props for the slick vocabulary.
Spoon continues to amaze. There is not a single “disappointment” on this album. Listened to in sequence as a album it flows like a river: steady and unrelenting. Well worth the wait for this one. Britt, you rule!