Young Modern - Silverchair

David Maegraith | 4 July 2007

Font size: + - | print | email to a friend

Silverchair played Luna Park in 1997. Ten years on the carnival continues, with the release of their latest album Young Modern containing not a few hints of showground similarities reminiscent of The Beatles’ Sgt. Peppers Lonely Hearts Club Band.

Whirling electronic and string lines recreate the noises of a fun park, and front man Daniel Johns must have dropped his guitar from atop the Ferris wheel on his last ride there, as his guitar is mostly way down in the mix on this album and electronics are to the fore.

Not that this is a bad thing, but it is a sign that Silverchair have come a long way since their loud and driven debut all those years ago.

Nor it is a bad thing that this album draws other inspirations from the 60s, such as the distinct Ringo Starr style of using toms instead of snare, tinkly piano riffs and complex harmonies that would make the Beach Boys proud.

The 60s presented many acts and musical styles that are still remembered and honoured. While in times past one may be tempted to scold current acts for producing music reminiscent of those times, I believe today we are more enlightened and can recognize that Silverchair are incorporating hints of the past while still presenting a fresh sound.

The eighties are also referenced with the drums in several tracks, such as The Man That Knew Too Much mixed to sound like that special decade; think Australian Crawl’s Restless (but to be fair, Silverchair hold back on the reverb!).

While I wouldn’t class the lyrics as ‘dark’ there is an overtone of past suffering wavering through the album, and Daniel Johns has had his share of bad times with his health and personal life over the last few years. Perhaps Johns would give assent to the words of Ecclesiastes 11: 8:

“However many years a man may live,
let him enjoy them all.
But let him remember the days of darkness,
for they will be many.
Everything to come is meaningless.”

This album will appeal to people who have perhaps never bought Silverchair or listened past their radio hits. It is a colourful, clever album and benefits from Johns’ distinct voice, evidenced when I briefly lost them while shuffling on my media player but quickly found them again when I recognized his voice.

The songs are well-written and fresh, despite the influences cited above. I love the constant change in chords, not giving the listener any hint of predictability, which is so hard to accomplish these days. I recommend you dub the album to your portable player, take it on your next trip to Luna Park and enjoy the ride.