The City That Sleeps
01 - Driven by Their Beating Hearts
02 - Sleeping Pills
03 - You Will Leave a Mark
04 - Thirteen Times the Strength
05 - Julie June
06 - One Wrong Door
07 - Firefly in my Window
08 - Lamplight
09 - Feather White
10 - Aurora
On paper, an album like A Silent Film's The City That Sleeps
shouldn't work. First off, they're a "piano rock" band, as if we really
need another one of those. When trying to dream up something to compare
it to, the first thing that comes to mind is Snow Patrol's snoozefest A Hundred Million Suns.
Oh, yeah, and they have songs like their single "You Will Leave a
Mark", whose uplifting "you can be anything you aspire to be" message
would typically send the needle on the ol' Schmaltz-o-Meter spinning
over to "American Idol Single." And yet, there's something authentic
about City that makes it a surefire winner in a genre that churns out records that are just flat-out easy to ignore.
The album, which dropped back in 2008 in the band's native UK, is
finally getting a stateside release, and it wouldn't be surprising if
some of its pop-friendly tunes find their way onto the airwaves. While
that might sound like an insult, or at least a backhanded compliment,
it's not intended as such. Radio-readiness in this context simply means
that A Silent Film have a Keane-like (we're talking pre-Perfect Symmetry)
knack for melody and nuance that allows their music to be readily
accessible without venturing into the realm of played-to-death, flaccid
balladry.
What's most striking about The City That Sleeps is the band's
ability to compose these largely populist tunes with strong pop
frameworks while infixing them with elements that feel like nods to
disparate styles. The sophistipop-tinged opener "Driven by a Beating
Heart" sounds like preparation for a record that delves into the lighter
side of the '80s, but its follow-up "Sleeping Pills" diverges sharply
with rhythmic vibraphone and a skittering bass-line reminiscent of Aloha
(yes, I probably hear that because I'm still spinning Home Acres,
but it's undeniably similar musically to "Microviolence"). As varied as
these songs are from the get-go, A Silent Film's melodic focus is
consistent and keeps it all feeling unified and not at all patched
together.
What's also remarkable is how the record never really rushes forward at
anything faster than a medium pace, yet it remains mostly engaging,
though not entirely-- not even the broad string sweeps can save the
languorous "One Wrong Door". Otherwise we're treated to billowing
ballads like "Thirteen Times the Strength", an anthemic piano-led
composition that's less Coldplay and more Copeland or Raining and OK.
"Julie June", one of the album's more subdued cuts, and "Firefly at My
Window", its most bombastic anthem, propped up by huge drums, offer
vocalist Robert Stevenson the opportunity to air out his impressive
falsetto. Undoubtedly, A Silent Film's path is well-tread, and that
would be a major complaint if they were some amateurish Fray knockoff.
However, they are so much more than that; on The City That Sleeps, they demonstrate the songwriting chops to deserve mention among adult pop's heavyweights.