Silver Summer – Die of Love
Hailing from Minnesota, this self-produced (uh-oh) debut doesn’t have any new accessories in its arsenal, but Silver Summer does project a fresh, varied sound. “Closer” has an early New Order posture but lacks their darkness & originality of “Age of Consent.” Nonetheless, they’ve constructed an interesting 10-cut set that continues with the louder pop-oriented vocals of an Echo & the Bunnymen, Orchestral Maneuvers in the Dark & Kansas. “White Boots” is fashionably forceful.
Synthesizers dominate. “Princess Bitch” engages in a synth-pop aggregation closer to disco-era Sparks & their “The Number One Song In Heaven.” Silver Summer has a significant presence in their songs, but no whiskey. They tangle along the perimeters explored by others & try with muscle to push the right buttons & emerge with an original peak performance, but seem to fall short because they dabble in falsetto instead of investing in 1 or 2 dominating vocalists.
“Teeth” has falsetto, but here they do mix it up nicely in a Prince radiance & they lay down the funk without getting too soulful. The song has “teeth,” & the backup vocalists are fully fueled. Die of Love (Dropped June 19/Precious Metals Records/43:53) isn’t a disappointing set – far from it. It has lots of danceable tunes, good vocal varieties, & strikes the ear with intensity. The tunes do touch upon many “little deaths” as their PR informs. Deaths in the backseats of old cars, small motels, drug den apartments (shooting galleries), dance floors & highways.
However, I don’t hear much tragedy in the melodies, but I do hear sadness like “Witness.” This is arranged a bit chaotically. The sounds vary & are implemented well, but it’s like the sound of an old engine. The vocals are imbued with tones but need to be far better produced. It’s too generic, & the harmonies aren’t fine-tuned. The ideas are fascinating, but that’s where a good producer is gold.
This set doesn’t have a Lou Reed streetwise influence (I’m from NY & I didn’t detect any). The darkness, danger, & seedy topics of the Velvet Underground, with Reed’s intensity, were not apparent. Songs like “Ocean Drive” are more California sand. The vocals are applied sensibly, & the harmonies come together better. It just doesn’t come soon enough. Whereas one voice begins “Breath,” & it starts quite well until the Bee Gees-type vocals enter & it dissipates. Their signature “sound” does develop & it’s appealing as a hint in “Trouble.” A good driving pop-synth identity. They have it…it’s still in the box & needs to get unwrapped.
Highlights – “Closer,” “White Boots,” “Princess Bitch,” “Teeth,” “Catch Me,” “Trouble,” & “Silver Screen.”
Musicians – Colin Scharf (vocals/guitars/piano), Hanna Cesario (vocals/synth/piano), Ed Avila (bass/piano), Tyler Vaughan (drums/percussion) with Federico Sagolpa (synth bass), Evan Bierer (tenor sax), Ryan Shirk (trombone), Dustin Voges (trumpet), & Chestnut Squares (handclaps).
Color image courtesy of the band’s Bandcamp. CD @ Bandcamp & https://www.silversummerlovers.com/