Silversun Pickups: Tenterhooks
"Running out of Sounds" might seem like an oddly pessimistic title for a band that is marking two decades since the release of its first album. This is particularly interesting when considering that these musicians have long viewed their debut as a treasured template for all their subsequent work. Yet, in this regard, we should give Silversun Pickups some acknowledgment: Their latest album, Tenterhooks—which ironically features a track with the same name—shows them continuing to explore the sonic landscape they’ve established over the past twenty years, seemingly unaware of the paradox.
However, it’s important to note that Silversun Pickups don’t come across as a band grappling with middle age on Tenterhooks. Unlike many rock groups whose members are approaching their fifties, they do not desperately chase after new trends to stay in the spotlight. Nor do they spend their time reflecting on the past or contemplating their own mortality. Instead, this Los Angeles quartet remains firmly rooted in their signature style, blending ethereal harmonies and euphoric guitar sounds as if the 1990s never ended.
Yet, there exists a minor hurdle: Silversun Pickups themselves didn’t actually partake in the iconic dreamscape of the '90s. This reality contributes to an unsettling sense of stagnation felt throughout Tenterhooks. When the band emerged during the alt-rock revival of the late 2000s, their energetic rhythms and spirited vibe made their 2006 debut, Carnavas, feel invigoratingly fresh. As the years passed, their increasing professionalism created a noticeable divide between their underground influences and their own musical output. This gap widened even further when they began collaborating with Butch Vig, the legendary producer known for his work with alt-rock giants such as Nirvana, Smashing Pumpkins, and his own band, Garbage. Vig's polished production style smoothed out any remaining rough edges, enhancing the band's sound.
Tenterhooks marks the third consecutive album produced by Vig, and it’s clear that their partnership has developed a comforting familiarity. He envelops their powerful sound in a warm embrace of layered riffs and sweet electronic textures, perfectly complementing the wistful vocals of Brian Aubert and Nikki Monninger. The album features varying tempos and moods; tracks like "Au Revoir Reservoir" channel an intensified new wave vibe, while "Wakey Wakey" presents a lively rhythm, leading into the ethereal sparkle of "Witness Mark." However, Vig's production is so seamlessly executed that Tenterhooks begins to feel like one extended composition.
Within these expansive soundscapes, there are certainly delights to discover. For listeners drawn to this genre, the combination of dreamy pop harmonies and distorted guitar can be as soothing as a warm bath. Yet, the repetitive nature of their sound also highlights how the years are catching up with Silversun Pickups. It’s not that they lack urgency—their music has never been about dramatic catharsis—but rather that they seem to be revisiting the same themes they've explored since their inception. While Vig’s expert production lends the album a polished shine and impact, his era-specific touches only emphasize the weary undertone present on Tenterhooks, giving rise to the feeling that Silversun Pickups are stuck in a repetitive cycle. Perhaps this is an unavoidable issue that arises from heavily drawing upon the music of the past: eventually, one might find themselves running low on innovative sounds.
