Spoon’s seventh studio album, Transference, is no Ga Ga Ga Ga Ga, their previous and best-selling album. Released two years later, Transference is sort of an anomaly.
While it does contain the same ingredients (guitar, drums, bass and keyboard) as their previous effort, this album is bare on hooks, horns and hi-fi production.
Replacing that sound are brash, wiry guitars with twisted sounds, reverb-ed vocals and straight-out-of-singer-Britt-Daniel’s-basement demos.
Spoon, the quartet out of Austin, Texas, found a way throughout the 2000s to create minimalistic, indie pop/rock records with simple rhythms that transform into complex structures.
Led by Daniel, the band has unique songwriting with oblique lyrics. It’s the way their songs grab a hold of you with a sophisticated touch that has made Spoon indie icons.
As such, Spoon decided to produce this album on its own for the first time. Included in the final mix were several demos. Although going for a charming effect, the results leave the sequence with a bit of a jumpy feel.
Also adding to that idea is the constant abruption of sounds and words such as the song “Mystery Zone” where the song cuts straight out at Daniel’s singing, “Mystery Zo-.”
“Mystery Zone” is another altering of its signature sound as the track stands at a lengthy 4:59.
Spoon is known for their discipline and restraint in the studio, limiting most songs to their natural punch around three minutes.
“Goodnight Laura” serves as a standout track and rarity among the Spoon collection.
Recorded as a demo in Daniel’s basement, the piano ballad shows Daniel in more of a vulnerable mood.
“If you want to fall asleep be very still and you close your eyes, and slow yourself and let the worry leave you, and let go if it all just for this evening,” the song said.
But the remaining songs have lyrics that are far from lullabies and can difficult to decipher.
“Written Reverse”, the first single, has a delightful jaunty piano line but confuses with lines like, “I’m writing this to you in reverse, someone better call a hearse. I can see it all from here, from just a few glimpses now that light bulbs gone out and this pull in my wits and now the light bulbs gone out.”
Expect the next single to be the surprising catchy “Who Makes Your Money?” Improved drastically from its live origins, the song lays down a keyboard groove that keeps the head a-bobbing.
The album title sheds dim light on the album’s concept.
Judging from the album art, Spoon seems to be going for an album that evokes questions of youth such as the second track “Is Love Forever?”
Spoon played it smart and avoided the amateur act of creating an album just like its predecessor.
It is possible the band even fears the mainstream audience given its history of shifty label companies.
But the trouble with Transference is its lack of connection, significant melodies, cohesion. It fails to fully engage the listener.
Instead there are enjoyable vocal effects coupled with pulsing guitar outbursts.
So while this album may not give Spoon a spot on some people’s shelves, the fact is, it’s still Spoon. And that means it’s a solidly crafted album offering more with each listen.