Review Summary: If Throw Me in the River was the Smithies dark, gloomy winter and More Scared of You Than You are of Me was the thawing freshness of spring, then this album is the manic summer.
The Smith Street Band has been in hibernation for the past few years now. Wil has had a rough time the past few years dealing with personal relationship struggles. Mistakes were made and time was spent working on a correctional path to get to this point. The Smith Street Band is back and from just a glance at their new album art, it was clear something had changed. A cover exploding with vibrant color and animals in a forest setting like the bears that adorned their juvenile debut. A scrap book page that ultimately foreshadowed the bright variety and rebirth to come.
Opting to open with the familiar; a traditional, building and cathartic Smith Street Band song is found in the opening track “God is Dead”. Reminiscent of the bands 2014 album opener “Something I can hold in my hand”, the song starts off with meandering and introspective ramblings. As the song slowly builds and Wil admits his past defeats, a renewed hope, a birth of sorts emerges from the acceptance of these character flaws. This explodes into a shouting and glistening ending before gently fading into the album's stand out single “Big Smoke”, their most mature and developed single to date.
After the initial emergence from the final chills of spring in the three familiar-sounding opening tracks, the album emerges into the quirky, sun-drenched sounds which make up the meat of the album. Synth, female backing harmonies (courtesy of new member Lucy Wilson) and funky guitar effects are scattered throughout. For better or for worse, this is The Smith Street Band’s most experimental album to date. The album feels like a homecoming: anthemic, victorious and slightly-cheesy guitar flourishes litter the tracks. Harmonies beg to be shouted along by the crowd.
A self-assured confidence is seen by the group more than ever. They don’t sound overly serious. They sound loosened up and like they are allowing themselves to have some fun. “The End of the World” has enough cutesy flare in its instrumentation to be a new track from The Front Bottoms. At risk of further comparisons that may not sound favorable, certain moments bring to mind Panic! at the Disco’s light and cheery sophomore album Pretty. Odd. From the electronically dancey "Heaven Eleven", to the bird-chirping, acoustic "Its OK", all the way to the galloping and optimistic title track. The album's variety of bright, sunny and whimsical touches add a much needed differentiation from the rest of their discography. Although the sad-boy introspective lyricism remains true to form, there is a new sincerity to be found in Wil’s ultimately hopeful outlook.
Despite all the album's strengths, minor flaws exist when the band treads too far outside their comfort zone. Stripped-down “Dirty Water” doesn’t hold its weight with its tepid, nervous and repetitive delivery. The same can be said for the band playing it overly safe. “I Still Dream About You”, the album’s second single, is a by-the-books shout-along track that could have found its home on any of the band’s past releases. Acoustic and bare “It’s OK”, although strong in its own right may feel to some like it is just trying to reclaim the past glories of “Little Sinking Ship”. The song would have fared much better as a separate release under Wil Wagner’s next solo outing.
The Smith Street Band is generally the same. Wil Wagner’s overall heart on sleeve lyrical approach has remained intact, but there is something about his hopeful outlook that has changed. There is a sincere optimism. There is an acceptance to all that life has thrown his way. “Profiteering's” victorious opening guitar met with Wil’s shouting of “Everything’s f**ked, everything’s fine, everyone sucks, everyone’s lying!”, is the perfect contrast. A resounding acceptance that although everything is not perfect, there is still victory in the hope for what is to come.
