I was so enamored with The Silent League’s second album, Of Stars and Other Somebodies, that I wrote about it twice within several months. I rarely feature an artist more than once in the same year, but the lack of awareness surrounding Justin Russo’s project was alarming considering its unlimited potential. Although its focus was a delightful interpretation of orchestral chamber-pop, Russo’s eclectic stylistic tendencies often pushed through to add elements of psychedelia, alternative-rock, and folk music that differentiated the material from its similar contemporaries. Tracks like “Let It Roll” mixed elements of country with brisk folk-driven pop for the project’s most common form, with a rich twangy sound reverberating with the youthfully sullen vocals of Russo. Previously best recognized as an occasional keyboardist for ’90s psyche-rockers Mercury Rev, Russo has been accustomed to genre-bending innovation for decades already. He has worked with the best of the best, particularly since many Mercury Rev members went on to become successful producers (bassist Dave Fridmann with The Flaming Lips, specifically). When realizing this shared mixture of uniquely invigorating experience and pure melodic talent, one should rationally expect giant leaps from Russo in his quest as a solo artist.

The Silent League’s third album, …But You’ve Always Been the Caretaker, is a rather appropriate way to kick off this century’s second decade. It applies futuristic themes like IBM-manufactured love and holograms with gurgling synths and occasional vocoders, but it also pays ode to Russo’s rock-oriented past with influences like David Bowie, Todd Rundgren, and even Mercury Rev popping up. Reaching for the future while holding on to the past is a common characteristic of most upcoming artists, who have more technology than any previous decade but are skeptical of the consequential public reaction. Music fans develop attachments to certain genres or artists, and if an artist focuses on one linear genre then they would exclude all potential fans resistant to the genre. It is not a very good way to gain exposure, so many are not afraid to wear their influences on their sleeve. Russo’s fascination with electronica has noticeably increased with …But You’ve Always Been the Caretaker, but the release also contains some of his most explosive ideas in regard to genres like glam-rock and psychedelia. It sounds almost like his past experiences clashing with an urge to stylistically advance, producing a mostly successful result that contains several brilliant moments.

The Silent League’s third album opens somewhat conventionally, introducing the listener again to Russo’s string arrangements and percussive build-ups in “When Stars Attack!!!” Its thundering presence is enough to generate some excitement for its subsequent tracks, but on a whole it is merely a tease of Russo’s full ability. For that, the majestic “Here’s a Star” showcases both growth and stunning achievement as a songwriter. Like “Let It Roll” it begins as a simple piano melody that suggests balladry, which later is found to have no relevance on the track’s true composition. This one soars and keeps flying, serving as Russo’s most ambitiously entertaining effort. The Bowie imitation toward the latter half is pretty great, as the messy guitar solo and echoing twinkles of synths are reminiscent of an age where the hooks were just as flashy as the clothing. Russo’s voice, which usually sounds like a higher-pitched Michael Stipe or The Pet Shop Boys’ Chris Lowe, follows an untraveled path into inimitable madness. His voice was previously the most predictable element of The Silent League’s tracks, but a masterful effort like this in its combining of glam-rock and orchestral-pop has made Russo’s presence just as memorable. A stunning achievement, for sure, and one that is easily the album’s best.

There are more positives than negatives on this album, but some tracks feel rushed or too bare. “The Ohio Winter Conventioners” initially sounds like a lullaby despite its clashing of percussion with keys and strings, where Russo’s sonorous voice leads to an conclusive stomp with a percussive mess of various brass. It never goes anywhere, though, and it sounds more like novelty than melody. “Rule of Disengagement” does not have much to enamor either, serving basically as a joint collaboration between cascading pianos and distorted percussion. Its creepy melodic presence is notable, but its lack of variation is not. This is an issue on some tracks throughout …But You’ve Always Been the Caretaker, but there are certainly more highlights than not.

“Yours Truly, 2095” does not have the intricate breadth of songwriting that “Here’s a Star” or “There’s a Caretaker in the Woods” has, but the ELO cover is surely the most pure fun on …But You’ve Always Been the Caretaker. Russo takes advantage with his high-pitched voice with a vocoder, which considering its minimal presence throughout the album finds a rare case in acceptance because it actually makes sense on “Yours Truly, 2095”. In a vocal-led digital postcard of sorts, Russo narrates a tale of robotic love in which an IBM-manufactured robot has reminded him of someone else who is real and true. The AI looks and acts the same as his neglected human love, but possesses a distant coldness that reminds us of the importance of purely human facilities. His writing to her suggests a time-traveling shift, and the pulsating keys alongside the vibrant synths pack an infectious punch that is simultaneously anthemic and danceable. It is prevalently futuristic and makes us ponder like how Yoshimi did, but almost as exciting as our technological future is the one of Russo.  An album like this, despite some rough edges, is a step forward for Russo. His musings concerning the futuristic advancements are interesting, just like the potential of his own.

RIYL: Field Music, Mercury Rev, The Pet Shop Boys, The Flaming Lips, Elk City, The Czars, Calla, Clearlake

7.5/10.0

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The Silent League – Here’s a Star

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The Silent League – Yours Truly, 2095

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The Silent League – When Stars Attack!!!

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The post The Silent League – …But You’ve Always Been The Caretaker (2010) appeared first on Obscure Sound: Indie Music Blog.

Justin Russo follows up a pleasing debut with a more expansively fulfilling continuation of his enjoyable style: infectiously majestic orchestral chamber-pop with hints of country and 60s pop.

The Silent League
Of Stars and Other Somebodies
(Something in Construction)
US release date: TBA
UK release date: 18 June 2007
My Review on PopMatters

by Mike Mineo

There is certainly little doubt surrounding Justin Russo and his musical abilities. As a former collaborative keyboardist for the influential ‘90s psyche-rockers Mercury Rev, he was exposed to a variety of songwriting methods by being a member of a band who never ceased to impress with an eclectic implementation of varying musical styles. When he left Mercury Rev in 2004, there was a considerable amount of skepticism regarding the stylistic intentions for his upcoming new output. Upon releasing the Silent League’s debut, The Orchestra, Sadly, Has Refused the same year, fans were greeted with surprise and delight as the critically acclaimed album etched visions of accessible chamber-pop and country influences, distancing Russo from his previous bandmates and into a separate artist altogether. Russo’s instrumental arsenal was also a particularly impressive aspect of the debut, delivering adeptly executed orchestral flurries of strings, brass, and guitars over Russo’s tenderly country-twanged vocals and dexterous piano abilities.

The Silent League’s sophomore effort, Of Stars and Other Somebodies, represents the improvement of the style that proved to be successful for the Silent League in their commendable debut. Russo returns with a bolstered confidence both in his vocal and instrumental ability, the songs being more collectively diverse and downright memorable due to a larger emphasis on pop hooks and melodic accessibility. Even though The Orchestra, Sadly, Has Refused was hardly the epitome of hesitation, it saw Russo venturing out into his own as he sought to establish a sound that was certainly not expected from longtime fans of his previous work with Mercury Rev. While the majority of tracks were bursting to the seams with laudable production and extravagant instrumentation, several songs lacked a melodic focus or dominant concept. Of Stars and Other Somebodies proves to be the more emotionally rousing of the two albums, as Russo finally seems comfortable with his majestically orchestral technique. Though the capacious orchestral accompaniments still play a large role, the importance of Russo’s whimsical vocal melodies now take central stage, resulting in an experience that is both largely worthwhile and candidly memorable.

The album’s most shining moment, the exceptional “Let It Roll”, is a definitive example of Russo’s newly originated melodic apprehension. In the lengthily rewarding introduction, he presents a form that he did not attempt often on his band’s debut. “Please let this roll over me ‘cause I don’t have what it takes”, Russo sings aptly over the bare, hushed sound of his piano, “and frankly I’m afraid, I’ve made mistakes before”. On tracks like “Canary in the Coalmine” and “Untied”, moments of similar instrumental minimalism and vocal prominence are consistent throughout; a structural aspect that was rare to behold on The Orchestra, Sadly, Has Refused. While “Let It Roll” eventually transcends into a beautiful ballad with a full-scale accompaniment, the sheer evolution from a bare piano to a breathtaking orchestral upheaval establishes the track as one of Russo’s most accomplished songs. The ardently chill-inducing chorus implements a variety of horns, backing vocals, and guitar progressions, sounding dramatically appropriate within the realm of Russo’s soaring vocals as he sings of romantically inspired regret and overgrown tradition. Such moments on Of Stars and Other Somebodies only serve to validate Russo’s progression as a melodically capable songwriter.

While “Let It Roll” serves as one of the most rewardingly somber tracks on the album, the Silent League’s reestablished knack for diversity is redeemed in more immediately excitable tracks like the lead single “Victim of Aeroplanes”. With an initial chord progression that draws modernistic comparisons to Arcade Fire, a series of trumpets builds up to a catchy chorus excelled by an array of guitars and twinkling keys. Speaking of guitars, “Out of Reach” is one of the rare tracks on the album where a guitar is the focal instrument. With an influential nod reaching out to the Flaming Lips, the Smashing Pumpkins, or the most blatant in Mercury Rev, an airy synth pad collides with an electric guitar progression through Russo’s entrancing, dream-like vocals. Even if the instrumental transition feels somewhat out of place compared to the rest of the album, “Out of Reach” is delightful in its own stylistic sense, providing another spoonful of diversity on an album that reaps from plenty of it. Even when Russo tries his hand at lyrical storytelling in the captivating “Untied”, he does it with apparent ease. While those who had heard The Orchestra may have previously held doubts on whether or not Russo’s vocal melody and lyrical content could carry a song on its own, gems like “Let It Roll”, “Untied”, and “Kings & Queens” serve as more than enough justification.

In an additional display of ambition, tracks like the near-instrumental “The Tolka, Not the Liffey” and the entirely instrumental “Second Canary Test” could just as easily be the score to an old-fashioned romance film, with their sweeping strings, suave saxophone, and percussive flexibility. Perhaps Russo has a career to fall back on if, for whatever unrighteous reason, he tires of writing nearly flawless chamber-pop ballads. Regardless, let’s just hope that the Silent League can stick together for quite some time if their successive releases are as enjoyable and boldly rewarding as Of Stars and Other Somebodies. 7/10

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The Silent League – Let It Roll

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The Silent League – Victim of Aeroplanes

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The Silent League – Kings & Queens

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The Silent League – Out of Reach

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Official Web Site

MySpace

BUY

I also wrote a preview on Of Stars and Somebodies a few months ago here.

The post REVIEW: The Silent League – Of Stars and Other Somebodies appeared first on Obscure Sound: Indie Music Blog.

I would imagine that hanging around Mercury Rev would do extreme justice in molding a musical intellect. Keyboardist Justin Russo was fortunately given that opportunity for quite some time. Possessing one of the largest cult followings of the 90s, Mercury Rev was the epitome of a band who dared to exceed all dull commercialized limits. Whether they presented experimental songs of atmospheric beauty or vaguely catchy melodies reminiscent of the psychedelic shape-shifters of the past, they are a band that carries a definitive legacy. It should comes an no surprise that several of the band’s members also tout successful careers as producers, most particularly bassist Dave Fridmann, the producer of every Flaming Lips release post-Transmissions from the Satellite Heart. Though Mercury Rev emerged two years ago with their sixth album, The Secret Migration, their reputation remains etched in the 90s with several releases that, despite lukewarm sales, echo in time as a blatant influence in regard to contemporary artists.

Justin Russo was never a core member in Mercury Rev. Despite his credible contributions as a keyboardist, Mercury Rev’s main five members are usually remembered as the sole performers in the studio and abroad. While Russo’s name will only ring a bell to the most dedicated of Mercury Rev fans, it appears that his experience on tour with the band and his durability as a revolving member allowed him to truly capture a grasp on what quality songwriting can live up to. While Russo’s newest central musical project, The Silent League, borders on the same delicately crafted moods of intertwined melancholy that Mercury Rev expressed so well, The Silent League is grouped in a category that remains more accessible and directly straightforward. When he formed The Silent League in 2002, Russo appeared to be taking the band in a clear direction. Their debut, The Orchestra, Sadly, Has Refused, expressed a form of ambitious chamber pop, incorporating orchestral elements within songs that, while often structurally unconventional, were infectious pop songs at the heart. Along with a dozen or so collaborating musicians including Interpol’s Sam Fogarino and Mercury Rev’s Sean Mackowiack, the album gave Russo a new and appreciative label. No longer was he known as “that guy who played keys on tour for Mercury Rev.” Finally, he was considered to be an expressively talented songwriter in his own individual right.

Justin Russo and The Silent League plans to release their anticipated sophomore album, Of Stars and Other Somebodies, on June 19th. The difference between their debut and their follow-up is that, while not overly dramatic, is the emphasis on pop music. Of Stars and Other Somebodies is presently the less ambitious of the two, travelling through a flurry of pleasently lighthearted pop songs that are both tender and wholesome. This comparison of equal ambitiousness is hardly fair though, as I am actually discovering Of Stars and Other Somebodies to be the more enjoyable release of the two. The songs are immediately engaging, slow-paced but also full of epic instrumentations that are supplemented by an array of orchestral bursts. Russo’s utilization of keys are natural and expected, though a variety of strings and brass are enjoyable aspects that manufacture both credibility and memorable intentions. The production on Of Stars and Other Somebodies is also particularly favored toward more accessibly elegant chamber pop. It makes sense that Charlie Francis, the album’s producer, has previously worked with the likes of Wilco and R.E.M. The influence garnered from the latter is certainly evident, as Russo recalls slight symptoms of the Michael Stipe vocal technique in several tracks, most noticeably in the twinkling “Kings & Queens.”

My personal highlight on the album is the sincerely unforgettable “Let It Roll.” There will most likely be much critical hype concerning the standout single, “Victim of Aeroplanes”, but “Let It Roll” is truly a song contains some of the most enjoyable songwriting I have all year. The lyrics are immediately heartfelt and honest, with a hook that is uplifted by a beautiful string accompaniment as Russo sings passionately, “I get my coffee up, cigarettes and go, it’s the same old thing. I guess it’s just enough for someone else.” Strings, horns, and keys are a few of the primary instruments implemented in the distinguishable “Let It Roll.” The Silent League currently sits as an eight-piece and with each song, every instrument shines as an individual piece to crafting songs of a remarkably beautiful nature. While their promo shot above depicts melancholy and umbrellas on a dim day, the beauty contained in Of Stars and Other Somebodies can’t help but make me feel optimistic about the things to come for Justin Russo and his talented band.

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The Silent League – Let It Roll

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The Silent League – Victim of Aeroplanes

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The Silent League – Kings & Queens

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Official Web Site

BUY

The post The Silent League Continues to Make Enjoyable Sounds appeared first on Obscure Sound: Indie Music Blog.