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Grey Eyes

Salteens

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Album Review

Drawing upon the orchestral, wind instrument-driven sound of such '60s institutions as the Brill Building and Motown Records, lead singer Scott Walker and his band the Salteens have crafted a natural, moody piece of '60s pop on 2010's Grey Eyes. Moving away from the alternative indie pop sound of 2003's Let Go of Your Bad Days, Grey Eyes is an organic, beautifully produced large-ensemble pop album that is as sweetly melodic as it is introspective. Still exuding a shiny optimism that touches on '80s college rock and '90s twee pop, the Salteens have nonetheless expanded their palette here to include such supergraphic-era instruments as flutes, baritone saxophones, flügelhorns, and trumpets. To these ends, you get the driving leadoff track "Last Train from London" and several superb rainy-day ballads à la Burt Bacharach, including the epic midtempo yearner "You're Taking All of This Too Far." Elsewhere, the propulsive, xylophone-inflected "Go On" features a huge trumpet/choir midsection, and "You Stayed Up with the Lights On" is a definite foot-tapper. Ultimately, by the time the heart-wrenching album closer "Don't Break My Heart" arrives, with its symphonic bowed bass tugging against Walker's sweet lyrical croon, it’s clear that Grey Eyes isn't just something new for the Salteens, it's a kind of masterpiece.

Customer Reviews

A Tour De Force of Emotion

Grey Eyes is about being human -- and with that, it sets out to express the full range of human experience. Thus, this album is much like an M&M candy: it's got a cheery hard shell, but soft, earnest sadness. Here's my track by track review:

Last Train to London: Reminds me of Yoshimi Battles the Pink Robots in a good sense. There's an immediacy to it. The horns sound like hard guitars. Even though it's a clean sound.

You're Taking This Too Far: Sounds like a hang over from the previous song. Like someone partied out on Sunday morning and is looking for the aspirin.

Everything They Know About Us: A cheerful furiousness -- at least on the surface. It summons a need for justice -- a need to be happy through the thick of it all.

Weird Times: Only an echo of optimism in this track. Starts slow, but the saxophone brings it into overdrive. The bluesiest track. I'm sure this is accidental, but Leadbelly would approve.

Hallowed Ways: Would have preferred a follow-up to the intensity of "Weird Times". But it's catchy.

Savings and Loans: First track with female vocals. Whimsical and recalls a fondness for a prior time.

If Love Is Gone Where Do We Go From Here: Intensity is kicked up big time. Scott Walker kicks down the door.

Go On: A fast beat complemented by clever wordplay. You want to rock out like Kierkegaard would. Reminds me of The Cure.

You Stayed Up With The Light On: Conjures up a sense of joyousness for a time gone. You want to click your heels three times.

Don't Break My Heart: Closes with minimalistic piano. A heartfelt serenade to loss. Too earnest for hipsters.

All in all, I rate this album 9/10. It's an album that grows on you, even if it makes you feel like a yo-yo sometimes. But, it's all worth it.

Biography

Formed: 1997 in Vancouver, British Columbia, Cana

Genre: Alternative

Years Active: '90s, '00s, '10s

Vancouver indie pop combo the Salteens were formed in the spring of 1997 by singer/guitarist Scott Walker, bassist/vocalist Megan Bradfield, and drummer Dion Willis. After just two live dates, the group won a local battle of the bands contest, and with the addition of keyboardist Patrick Brealey, the Salteens signed to the local Endearing label to issue their debut LP, Short-Term Memories, in the spring of 2000. Let...
Full bio
Grey Eyes, Salteens
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Customer Ratings

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