Silversun Pickups: Tenterhooks
"Running out of Sounds" might seem like a questionable title for a band celebrating the milestone of two decades since their debut album, especially for artists who regard that first record as a foundational guide for all subsequent creations. However, we must give some credit to Silversun Pickups (https://pitchfork.com/artists/4929-silversun-pickups/): in their seventh album, titled Tenterhooks—which features a track bearing that very name—they continue to explore the same sonic landscape they have drawn from for the past twenty years, seemingly unaware of the irony involved.
But don’t be misled into thinking that on Tenterhooks, Silversun Pickups act like a band stuck in middle age. In contrast to numerous rock bands with members approaching their 50s, they do not scramble to adopt new trends desperately in an effort to maintain relevance. Nor do they indulge in nostalgic reflections about their past or ponder their own mortality throughout the album. Instead, this Los Angeles-based quartet remains firmly committed to their signature sound, intertwining ethereal harmonies and blissful guitar work as though the 1990s never truly ended.
There's a slight hitch, however: Silversun Pickups themselves were not part of the original 90s dream, which contributes to a creeping sensation of stagnation present in Tenterhooks. When they emerged during the alt-rock revival of the late 2000s, their catchy rhythms and infectious energy made their debut album, Carnavas, released in 2006, feel invigoratingly fresh. As the years have passed, their increasing professionalism has created a distance between their underground influences and their own musical output. This divide widened further when they began collaborating with Butch Vig, the esteemed producer known for shaping iconic alt-rock albums by Nirvana (https://pitchfork.com/artists/3046-nirvana/), Smashing Pumpkins (https://pitchfork.com/artists/3838-the-smashing-pumpkins/), and his own band, Garbage (https://pitchfork.com/artists/1682-garbage/), whose polished studio techniques have smoothed out any remaining raw edges in their sound.
Tenterhooks marks the third consecutive album produced by Vig, and the chemistry between him and the band is palpable throughout. He envelops their intense sound in a cozy embrace, skillfully blending fuzzy riffs and sweet electronic elements with the sighing vocals of Brian Aubert and Nikki Monninger. The album features shifts in both tempo and mood: tracks like "Au Revoir Reservoir" resonate with an intensified nocturnal new wave vibe, transitioning into the lively rhythm of "Wakey Wakey," which then glides into the shimmering texture of "Witness Mark." Yet, Vig’s seamless production creates such a fluidity that Tenterhooks begins to feel more like one extended composition rather than a collection of distinct songs.
Listeners will find enjoyment within these expansive soundscapes. For those with a particular appreciation for dreamy pop melodies and distorted guitar textures, this combination can evoke the warmth of a soothing bath. Nevertheless, this sense of familiarity also highlights the passage of time for Silversun Pickups. It’s not that they lack a sense of urgency—after all, they have never been known for emotional catharsis—but rather that they’re revisiting the same themes they've explored since their inception. While Vig's expert production lends the album a polished shine and punch, his era-specific touches only serve to amplify the underlying feeling of weariness present in Tenterhooks; it creates a sensation of stagnation, suggesting that Silversun Pickups may be trapped in an unending cycle. Perhaps this is an unavoidable challenge when navigating through the sounds of the past; eventually, you might just run out of ideas.
