It would appear that at some point between Blake Sennett’s last Elected release, Sun, Sun, Sun, and Jenny Lewis’ solo effort, Rabbit Fur Coat, the longtime music partners realized that they no longer needed each other. For most this would probably result in a splitting of ways as each person goes on to pursue whichever musical endeavors they wish. But, for these two the situation culminated into Under The Blacklight, an album so endlessly different than anything previously branded with the Rilo Kiley name that there is no way they would dare try such a stunt apart from each other. Unfortunately, the world would have been better served without Blake and Jenny’s awkward attempt to stay together by simultaneously taking their sound in a different direction and trying to achieve commercial success. Out, is the simplistic charm of songs like the Frug, Science Vs Romance, My Slumbering Heart, Always, It’s A Hit and really, just about everything that they created on the Initial Friendship EP and each of their three previous full length records. In, is a sound so superficial and polished that about half way through the disc you will inevitably forget that you’re even listening to Rilo Kiley. Songs like Close Call, Breakin’ Up, and the title track are all achingly bland and seem as if they belong in the mid 90s on a Top 40 radio station’s playlist. Dejalo actually shows some charm and a nice amount of energy with a sound that is Rock Steady-era No Doubt meets the 70s, but, as is the case with much of the material on the album, the shallow songwriting renders it mostly forgettable. Even Dreamworld, which features the usually captivating Blake on vocals, will tempt you to hit the skip button because of how uninspired it is. It’s not all bad though. Silver Lining has a streamlined indie pop sound that feels like a natural progression for the band, especially in lyrics like: “I was once your silver lining, but now I’m gold.” Moneymaker doesn’t share any real similarities to their previous work, but the track’s dance-enthused ways and tongue-in-cheek songwriting make for one of the better guilty pleasure songs of the year. Maybe Under The Blacklight would have worked as a whole if it didn’t feel so forced, but it does and it’s woefully disappointing. It will be interesting to see if their next LP (if there is one) will showcase a return to form or will continue with more of the same. Hopefully it’s the former.
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John Laird -
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