Silverchair- Young Modern

I became a Silverchair fan when I heard "Tomorrow" and "Pure Massacre" off of their first record, Frogstomp, which they wrote and recorded when they were just 15 year-old kids. Twelve years later, they are still pumping out material, and it could not be more different from the heavy stuff that got them lumped in with grunge in the mid-90s. Young Modern is one of the most unique records I've ever heard. It is both retro and, well, modern. It has some country songs, some songs that sound straight out of the '60s, and one very progressive three-part song.

Let me first talk about that progressive three-part opus, "Those Thieving Birds (Part 1)-Strange Behaviour-Those Thieving Birds (Part 2)." The "Thieving Birds" sections are soaked with reverb and strings. Daniel Johns's vocals are gorgeously layered. It sounds almost like their version of the Moody Blues's "Knights in White Satin." And then there's the part that links them together, "Strange Behaviour." This song is very dancey, and makes you want to start tapping your foot and clapping your hands in time with the snare drum. It at times can sound like a 1960s musical, and then like a very poppy 1970s radio hit. The whole song actually sounds like it should be performed by a Broadway cast. It's a very awesome experience.

The rest of the album doesn't fall short. It is a strange mix of retro and modern sounds that create probably the most unique album of the year. There really isn't a bad song on this record. Some highlights: "Young Modern Station" almost sounds like Radiohead with a dance vibe. "Straight Lines" is a gorgeously constructed piece of pop. "If You Keep Losing Sleep" sounds like a slightly evil version of the Beatles, with a very Ringo-esque drum part. "Reflections of a Sound" is almost folky, very spacey, and even sounds a bit like Tom Petty in the verses. "Waiting All Day" is one of the country songs, and it has some creamy layered background vocals, along with a very gorgeous reverby chorus that has a bit of twang thrown in for good measure. "Mind Reader" is a very dirty, gritty sounding pop song that is probably the heaviest song on the record (though it isn't very heavy at all, and there's nothing wrong with that) with a great sing-songy chorus. "Low" is the other country-style song, and it has a very sad-sounding verse, but a very perky, wonderful chorus. "All Across the World" ends the record on a very spacey, slowed-down retro rock vibe. It's quite excellent.

Basically, this record kicks ass. It is incredibly interesting and delightfully eccentric. I would definitely recommend this, for it has something for nearly everyone. 10 out of 10 for sure.