REVIEW: Semisonic, Feeling Strangely Fine (MCA)
- Scott Slonaker
When it ain't broke, don't fix it.
Last time around, the Minneapolis trio Semisonic recorded Great Divide , one of 1996's best (and most criminally unheard) records. A shining pop masterpiece, it was, all unforced emotion and classic dynamism. Perhaps a little bad luck and a little bad marketing (placing the gorgeous "f.n.t." on the soundtrack to the retread action flick A Long Kiss Goodnight wasn't exactly a powerful push) were to blame. For the follow-up, there obviously wasn't much the band or producer Nick Launay could add to the formula; singer/guitarist Dan Wilson and bassist John Munson have been honing their take on classicist pop/rock since the mid '80s with Trip Shakespeare. So, they did what too many artists can't seem to do. They left well enough alone and did what came naturally.
Feeling Strangely Fine kicks off with the first single, "Closing Time", now blasting from radios across the country, which resembles Great Divide's "If I Run" plus some deft studio seasoning (drum machine on the breaks) that adds additional dimensions. "Singing in My Sleep"'s soaring chorus and propulsive rhythms might just make it the best of any of the band's songs. Besides, it's about a mix tape. How could it go wrong?
It's when we hit the middle of the album that it becomes apparent where the band's sound may be heading. "Secret Smile", "DND", and "Completely Pleased" all have a slightly more breathy, relaxed, R&B-styled spin that is not only effective, but refreshing, especially when put up next to the histrionic wailing-masquerading-as-sincerity (Matchbox 20, etc.) that is shoved down our throats on a daily basis. "Completely Pleased", in particular, has a pulsating, serpentine vibe that is almost totally absent from most of today's "white" rock music. Wilson adds a croony element to his already wondrous voice that is absolutely intoxicating.
Semisonic's penchant for studio experimentation again surfaces near the end of the album. "All Worked Out" has dressings reminiscent of Brian Wilson and Pet Sounds, "She Spreads Her Wings" the spare, whispery intimacy of John Lennon's best solo work, and the string quartet that sweetens the final track, "Gone to the Movies", brings the record to a gentle close.
Not since the days of Badfinger in the early '70s and Crowded House in the mid '80s has the mainstream been blessed with a pop band such as Semisonic- and actually responded. Why is it that bands without gimmicks or trendy sonic trappings have such a tough time? The success of "Closing Time" serves as a reminder that even in today's corrupt image-obsessed, next-big-thing marketplace, talented musicians can still make it based solely on their music. Congratulations to all involved; and add another record to the preliminary Best of '98 list.
