Silversun Pickups: Tenterhooks
"Running out of Sounds" might seem like an ironic choice for a song title, especially for a band celebrating the two-decade milestone since their debut album. This is particularly noteworthy for artists who have consistently viewed their initial offering as a foundational blueprint for all future projects. Yet, one must acknowledge Silversun Pickups for their latest release, Tenterhooks—which intriguingly includes the aforementioned track—where they continue to explore the sonic territory they've crafted over the past twenty years, seemingly unaware of the irony that surrounds them.
However, despite their long tenure, Silversun Pickups do not present themselves as a band in midlife crisis on Tenterhooks. Unlike many rock bands whose members are edging into their 50s, they don’t desperately adopt new trends in a bid to maintain relevance. Nor do they indulge in nostalgia or reflect on their own mortality throughout the album. Instead, this group from Los Angeles remains committed to their signature sound, seamlessly blending ethereal harmonies with soaring guitar melodies, reminiscing as if the 1990s never truly ended.
Here’s where the complexity arises: Silversun Pickups were not part of the original 1990s dreamscape, a reality that contributes to a subtle feeling of stagnation within Tenterhooks. Emerging during the alt-rock resurgence of the late 2000s, their debut album, Carnavas, released in 2006, was infused with energy and vibrant rhythms that made it feel refreshing at the time. As the years passed, however, their increasing professionalism created a noticeable distance between their underground inspirations and their own sound. This gap widened further when they began collaborating with Butch Vig—a notable producer known for his work with iconic bands such as Nirvana, Smashing Pumpkins, and his own group, Garbage. Vig's production techniques polished any rawness that remained, giving their music a more refined edge.
Tenterhooks marks the third consecutive album produced by Vig, and there is a tangible sense of comfort in their collaboration. He envelops their heavy sound in a warm embrace, intertwining fuzzy guitar riffs and sweet electronic elements with the breathy vocals of Brian Aubert and Nikki Monninger. The album features varied shifts in tempo and mood: tracks like "Au Revoir Reservoir" exude a heightened nocturnal new wave vibe, leading into the energetic pulse of "Wakey Wakey," which then transitions into the shimmering textures of "Witness Mark." Yet, Vig’s seamless production creates a flow that can make Tenterhooks feel like one extended piece rather than distinct songs.
Within these expansive soundscapes, there are indeed pleasures to be found. For certain listeners, the blend of dreamy pop harmonies and distorted guitar tones can evoke feelings of comfort akin to a soothing bath. However, this familiarity also highlights the passage of time for Silversun Pickups. It’s not that they lack intensity; they have never been known for overt catharsis, but rather that they seem to be revisiting the same themes and ideas since their beginnings. While Vig’s expert production infuses the album with a polished brightness and impact, his adherence to period-specific sounds only intensifies the underlying sense of weariness permeating Tenterhooks; it gives the impression that the band is stuck in a cyclical pattern. This raises an inevitable question: when you constantly draw from the well of past musical styles, at what point do you run out of fresh sounds?
