Silverchair
Diorama (2002)

review by: Jamie Laporte
Date: 9/17/02

To be honest, the last Silverchair album I had ever listened to was their first. It was during the summer of my freshman year in high school when Frogstomp came out. I suppose the album was pretty decent. The lyrics were okay and the music epitomized grunge (which was cool I guess). But what really drew me to the album was that these kids were my age. Eventually the novelty wore off and I began to notice how hard they were biting Nirvana and Pearl Jams style. Plus, I remember my attention being grabbed at a show by an unknown band called Incubus. And for the next 6ish years or so, Incubus ruled my life. Anyway...

In between their lead singers anorexia issues and extreme arthritis, this band managed to push out a few albums since then. Blah. I can't remember a single song from any of those albums. I do remember seeing one of their videos on MTV but all I remember was how pitiful their lead singer looked. So whatever. I am not a fan. How I came across this album is irrelevant. But thank blah I did.

Confusing. That is how I describe the first time I listened to this album. I couldn't decide if I actually liked it or not. My first listen to the opener "Across the Night," surprised me. I was wondering if this was a show tune or something. I picture kids dancing around, pirouetting and all that jazz. There is a full orchestra playing in the background. And the melody is gorgeous. Not to mention Daniel Johns delicate falsetto. I was in disbelief. "World Upon Your shoulders," is another disorienting battle. It reminds me of Mercury Rev, The Beach Boys, and Faith No More. How is that possible? They mixed the bubble pop of Mercury Rev with a Brian Wilson symphony while retaining an edge. "Tuna in the Brine" adds a dash of psychedelic rock to the mix. But there are some tracks on here that are painful. "One Way Mule," sounds like a song off Frogstomp while "Without You" sounds like your basic top 40 Matchbox 20 single. There is this annoyingly addictive, doo, do, da, doo, doo, doo, of a chorus in a later track but in that same song, Johns shows up with a touch of "Yellow," putting Chris Martins tattered voice to shame. The rest of the album is a mix of catchy tunes drifting in and out, showcasing Johns rich voice. After my first listen, I was pleased with the album. I didn't know if I liked it or not though. I was leaning towards like, but decided to wait a few weeks before coming to conclusions. Letting the bias of wanting to like it, due to its expense, wear off.

It has been a few weeks and I really like the album. I read the leaflet and found out that The Beach Boys similarities were not merely coincidental. Van Dyke Parks, a Brian Wilson collaborator from the "Smile" and "Pet Sounds" days, helped produce this album. I am please to have found it. Silverchair has greatly improved from its angst ridden, Cobain inspired debut. It is cool that these guys have the balls to try and change. Sure, some of the songs suck, but the fact that they are even attempting to mix it up like they are, is great for music. Now I don't expect many of you to go buy this album. I am still surprised that I did. Just go and download a few tracks, I am sure you'll be intrigued.