Three Imaginary Girls - Dangerbird

Ten Readings of a Warning

Imaginary Kelly — Fri, 07 Sep 2007 05:09:31 +0000

7.9

http://www.amazon.com/Ten-Readings-Warning-All-Smiles/dp/B000NQR7MU/wwwthreeimagi-20

I think that if John Denver had been in his late twenties right about now his album would have sounded a lot like this.

There is something about track four, "Pile of Burning Leaves," that reminds me of "Country Road." Fairchild’s soft breathy voice is definitely not a John Denver belt out by any stretch of the imagination, but still the homespun tales he tell remind one of camp fires and cook outs.

As a whole, Ten Readings of a Warning grows on you a bit like all singer songwriter albums usually do. There is a sweet, tempered grace to the songwriting that is enhanced by a witty repartee between Fairchild and his guitar. The chorus on "Moth In A Cloud of Smoke" is especially nice, breaking Fairchild out of his strumming to give us full body show.

"I Know Its Wrong" takes a crack at the piano, while megaphone vocals and stomping drums drift in alternating soft and loud stanzas. I can see this as being a crowd pleaser live, and quite possibly is the best underdog song of the album.

Judging by the sleeper success of Peter, Bjorn and John’s Young Folks, as well as pretty much any song with non lyrical noise making choruses (which I predict is well lauded due to its ease of sing along when inebriated) Summer Stay has the potential to be DIY single hit.

Fairchild’s soft breathy voice is definitely not a John Denver belt out by any stretch of the imagination, but still the homespun tales he tell remind one of camp fires and cook outs.

Nada Surf announces tour dates, shuns Northwest

imaginary dana — Fri, 20 Jul 2007 16:58:10 +0000

Nada Surf, why hast thou forsaken us??

Carnavas

Erik Gonzalez — Thu, 26 Oct 2006 07:00:00 +0000

6.3

http://www.amazon.com/exec/obidos/ASIN/B000FUF86Q/wwwthreeimagi-20

silversunpickups06oct.jpg

Sometimes familiarity is a good thing. It can make you feel more comfortable when presented with a new and exotic situation, allowing you to be yourself. However, most people recognize the saying "familiarity breeds contempt," and that may be the Achilles' Heel of the Silversun Pickups' debut Carnavas. It sounds so much like so many other bands from the mid-1990's, ranging from Smashing Pumpkins, Catherine Wheel, Lush and other fuzzed-out alternative rock bands from the hey-day of the guitar that you almost feel like you've heard the album before you've, well, heard the album. That is not to say that it is unpleasant to listen to, in fact that sonic textures that the Silversun Pickups create show a lot of potential for the Los Angeles band, but they might try to wander out of the shadow of their predecessors before that can really make a name for themselves.

Maybe the point where the Silversun Pickups went wrong was choosing a producer that also brought us albums by, well, Smash Mouth. Possibly finding a producer that might push the envelope a little more could have helped the Silversun Pickups reach their potential, but who knows? I mean, if Kennedy didn't choose LBJ as his VP, maybe he wouldn't have been shot on Texas. Who knows. Anyway, maybe the Pickups and I got off on the wrong foot. I digress. Carnavas opens with "Melatonin," a song that starts with a very Adore-era Smashing Pumpkins riff to the point you think you might be hearing Billy Corgan's vocals kick instead Brian Aubert's. The fuzzed out guitars and random vocal howls seem all well and good, but you can't shake the feeling you've heard this before. The same might be said for "Well Thought Out Twinkle," except flash yourself back to Gish. Luckily, "Checkered Floor has more of its own personality. The song is more restrained until the distortion-rich chorus kicks in with a shoegazer feel without copping the feel totally from a specific band. To a lesser extent "Future Foe Scenarios" and "Waste It On" follow this formula, but it has a little too much of a Bush feel to the song structure. "Dream at Tempo 119" is similar but seems to be able to stand on its own feet more effectively.

One of the real gems on Carnavas is "Lazy Eye", which first appearing on the Pikul EP. The song builds into a distorted frenzy slowly as the guitar, bass and drums twirl towards the howled chorus mid-way through the song. The song doesn't borrow as much other tracks on the album, and is likely the best representative of the real promise that the Silversun Pickups possess. They can be both delicate and ferocious in a 6 minute package and it is in their moments that they can be truly captivating. "Three Seed" is another song that captures more of the mellow side of the Silversun Pickups, with the guitars drifting across the low, rumbling basslines. The closing song, "Common Reactor" returns to the Smashing Pumpkins influenced sound, but has a lighter feel than their alt-rock ancestors, allowing for a little less musical de ja vu.

Carnavas is not a bad album. In fact, for someone who is less intimately familiar with 90's alternative rock, it could be a downright great album. However, for those of us who spent a little too much time listening to WFNX or WEQX (yes, New England!), Carnavas is a little to eerily familiar sounding for its own good. It does have its moments where you feel the band is beginning to break out, but they are a little few and far between on their debut. Carnavas might not be the most innovative album of the year, but it at least leaves us with glimpse into what could be a respectable future for the Silversun Pickups.

Carnavas might not be the most innovative album of the year, but it at least leaves us with glimpse into what could be a respectable future for the Silversun Pickups.

Nikki Monninger of Silversun Pickups

renata sadunas — Sun, 05 Feb 2006 08:00:00 +0000

Around the last time Silversun Pickups were in Seattle, our staffer, La Imaginary Renata exchanged words with SSPU bass player Nikki Monninger. More than just a fan, La Imaginary Renata was able to get the inside scoop as she and Nikki were grammer school pals. Who would have known Seattle would be the locale for these two sweet and hottie SoCal ladies would meet catch up?

TIG: How did you all meet? I understand SSPUs started as kind of a joke?

SSPU: I met Brian (Aubert) on a plane to England around ten years ago. We met Joe (Lester) and Chris (Guanlao) about seven or eight years ago but it was a while before we started playing music together. Everything just kind of came together organically. I never thought of us as a joke, but I think it's cute that Brian does.

TIG: You've toured with some great musicians. Elliot Smith and Rilo Kiley and Autolux to name a few. Any good stories from the road?

SSPU: Hmmm. . .I can't think of any offhand. Autolux is one of my favorite local bands... and they are very sweet people. I used to have a crush on Eugene when I was in highschool.

TIG: How would you describe the sound of Silversun Pickups, for someone who hasn't heard one of your songs?

SSPU: Brian says something about us getting loud and quiet and ugly and pretty and I agree with him on that.

TIG: Are you surprised at your band's success?

SSPU: Hmmm... well, I still have my day job.

TIG: Where have audiences been most receptive to your music - outside of your home base, LA?

SSPU: So far, definately Seattle. . . KEXP has helped us out so much. we recently played at the crocodile and it felt like a homecoming, although it was the first time we had actually played there. We've also had some good shows in NYC.

TIG: What are you listening to these days? What's your favorite 2005 release (and you can't say Silversun Pickups)?

SSPU: Pretty much for the past month I've been listening to SSPU day in and day out... we're in the middle of recording... when I come home at night I enjoy the sounds of my space heater and of our cat Cauliflower snoring. I did have high hopes for the sun kil moon album of Modest Mouse covers, but unfortunately I was disappointed. What makes Modest Mouse great is that they work so well together as a band... and that's pretty much impossible to translate.

TIG: Thanks, Nikki! Oh and last question...when do you expect your full length album to come out?

SSPU: It depends when we are finished recording, but hopefully April 2006.

Silversun Pickups photos by Philip Petrilli

silversunpickups06jan01.jpg

Brian says something about us getting loud and quiet and ugly and pretty and I agree with him on that.

Pikul

Joseph Riippi — Sat, 07 Jan 2006 08:00:00 +0000

http://www.amazon.com/exec/obidos/ASIN/B0009WFEF0/wwwthreeimagi-20

silversunpickupspikul06jan.jpg

First things first, a helpful hint for all those reading this aloud to themselves: Pikul is pronounced Pie-Kull. It doesn't rhyme with "tickle" but it does rhyme with "cycle."

Silversun Pickups are an up-and-coming-fast indie group with a sound both gamut-running and competent in its performance. Their music is at times as easy-flowing and melody-centric that an Avril Lavigne analogy is as possible as it is unexpected.

The all-over-the-place quality of the record is most likely due to the record's being a collage of various sessions from over the past years. The inside cover gives four different years of copyrights. 2002-5. Given this, the record is remarkably well pieced together in terms of sound quality; none of the tracks seems less or more produced than another, a trait of compiled records as annoying as the mispronunciation of the record's name. (PIE-KULL!)

Opening track "Kissing Families" is easily the best track on the record. From the driving 4/4 beat that seems to be the foundation of every track on the record to screaming, androgynous vocal lines, "Well sure as shit I made a mistake/ kept looking forward I bounced sideways." The track succeeds in a way that supersedes any misgivings about the band that later tracks may conjure.

A track or two later and the Pickups have their droning, early-Smashing Pumpkins fuzz distortion seep into their ears and through to their moods. Tool or Nine Inch Nails are the easiest jumping-off points from which to make a description, and indeed if it weren't for the pop sensibility of the first two tracks ("Kissing Families" and "Comeback Kid") the record would seem much more introspective and brooding. Think if Trent Reznor spent more time in a surf shop, and you'll be on the right track.

In the songs "Booksmart Devil" and "The Fuzz," the tempo exits and the thinking begins. A hypothetical audience stops tapping their feet and either exits to get a stronger drink or begins swaying back and forth, eyes half open or half shut, depending on which way makes it seem more pessimistic. Neither of these tracks is suited for an individual's listening pleasure, however as music to "chill to" (as the kids say) it would be a pleasurable "chill out" time.

"Creation Lake" and "...all the go in betweens" end the record. The former brings a Nico-like female vocal line to the front, backed by a lovely and clean electric guitar that is joined, as expected, with various string-type keys, soft drums and keys. It is beautiful yet lacking any suspense or surprise. The latter track is somewhat more formative than the last, but seem to be from the same creative space as the last. A mellower, less punkish version of the Silversun Pickups than we are given on "Kissing Families."

Overall, the record possesses a quality of talent and potential that should have anyone watching out for a Silversun Pickups full-length or live date. It's a subtle rock and roll EP with gargantuan potential written all over it; they give us the highlights of four years' progression and maturation.

It's a subtle rock and roll EP with gargantuan potential written all over it; they give us the highlights of four years' progression and maturation.