silver sun. disappear here. review by alan haber. buhdge

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Disappear Here Silver Sun Invisible Hands (2005) Meant to be played loud, and I mean loud like jet engine loud, like dynamite a building loud, like standing in front of amplifier stacks at a Metallica concert loud, like, and I'm really serious here, loud enough so people who died in 1899 can hear it, Silver Sun's first album since 1998's Neo Wave is the proverbial fish out of water, and I mean this in the best, most endearing way: a record made to be played at deafening levels that is really, really, really incredibly good. Because loud for loud's sake is one step above a really bad ear infection. James Broad really knows how to write a catchy pop song; well, what he really knows, I think, is how to write catchy bubblegum songs, because that's what these 10 creations are, sugar-dripping confections that will raise your blood sugar level to heretofore unreached heights, but in a good way. Guitars are constantly a-blazing, the drums are in your face, and the singing, both in the foreground and background, is simply tremendous in classic pop tradition. It's really quite a thing, this album. The band comes out swinging with the relentless attack of the album's first single, "Bubblegum," and it makes quite an impact. Riff heavy and topical, with an hysterical Janet Jackson reference, it's made to incite fans, jammed into a really big stadium, to holler like never before, to shake like there's no tomorrow. It's a song to let your inhibitions go to, it rocks, and it sticks to you like bubblegum, which is apropos, I think. You just try to get it out of your head, or off your tongue, as the song goes. "Lies" keeps the ramped-up mood going, with barrellilng drums and tight harmonies in the chorus, matched at every turn by some wonderful background vocals. "Can't Get You Out of My Head" fuses blues, rock and even heavier rock for an unbeatable combination emotional punch that may be the best song on the album. Unless, that is,"Jody" is more your cup of tea. The only thing this classic pop song structure seems to be missing is handclaps, which you are more than welcome to provide. Sweeter and perhaps a bit more mannered than the other songs on this album, "Jody" is a catchy keeper, as are songs such as "Garlic," an upbeat, updated glammy 70s-styled rocker made even greater by the appearance of sleighbells. As Broad sings in the closing number, you can't kill rock 'n' roll, which, I guess, is the point of this album, all gussied up in pop clothes and appropriate accessories. Well, I'd rather call it a marriage of rock and pop and say that catchier doesn't come more plugged in than it does with this punchy half-hour of dazzling hook-heavy artistry. Don't forget to play it loud. Alan Haber February 20, 2005
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Disappear Here
Silver Sun
Invisible Hands (2005)

silver sun's disappear here Meant to be played loud, and I mean loud like jet engine loud, like dynamite a building loud, like standing in front of amplifier stacks at a Metallica concert loud, like, and I'm really serious here, loud enough so people who died in 1899 can hear it, Silver Sun's first album since 1998's Neo Wave is the proverbial fish out of water, and I mean this in the best, most endearing way: a record made to be played at deafening levels that is really, really, really incredibly good. Because loud for loud's sake is one step above a really bad ear infection.

James Broad really knows how to write a catchy pop song; well, what he really knows, I think, is how to write catchy bubblegum songs, because that's what these 10 creations are, sugar-dripping confections that will raise your blood sugar level to heretofore unreached heights, but in a good way. Guitars are constantly a-blazing, the drums are in your face, and the singing, both in the foreground and background, is simply tremendous in classic pop tradition. It's really quite a thing, this album.

The band comes out swinging with the relentless attack of the album's first single, "Bubblegum," and it makes quite an impact. Riff heavy and topical, with an hysterical Janet Jackson reference, it's made to incite fans, jammed into a really big stadium, to holler like never before, to shake like there's no tomorrow. It's a song to let your inhibitions go to, it rocks, and it sticks to you like bubblegum, which is apropos, I think. You just try to get it out of your head, or off your tongue, as the song goes.

"Lies" keeps the ramped-up mood going, with barrellilng drums and tight harmonies in the chorus, matched at every turn by some wonderful background vocals. "Can't Get You Out of My Head" fuses blues, rock and even heavier rock for an unbeatable combination emotional punch that may be the best song on the album.

Unless, that is,"Jody" is more your cup of tea. The only thing this classic pop song structure seems to be missing is handclaps, which you are more than welcome to provide. Sweeter and perhaps a bit more mannered than the other songs on this album, "Jody" is a catchy keeper, as are songs such as "Garlic," an upbeat, updated glammy 70s-styled rocker made even greater by the appearance of sleighbells.

As Broad sings in the closing number, you can't kill rock 'n' roll, which, I guess, is the point of this album, all gussied up in pop clothes and appropriate accessories. Well, I'd rather call it a marriage of rock and pop and say that catchier doesn't come more plugged in than it does with this punchy half-hour of dazzling hook-heavy artistry.

Don't forget to play it loud.

Alan Haber
February 20, 2005