Silver Relics – Generic

Farmadelica

Silver Relics are a duo from New York who ply a kind of synth- and rhythm-orientated take in classic American rock song-writing. Consisting of songwriter Alex Sepassi on guitar and synths, amongst other things, and Justin Alvis on drums, they formulate a sound that is redolent of the sort of film imagery that anyone could recognise from the last thirty years; those enormous storm drains that run through California or a night-time drive through an illuminated tunnel. These timeless and classic images run through the album and project an unexpectedly filmic quality.

The precision of drummer Justin is uncanny; at first I assumed that the beats were synthetic, as on opener “Fame”, and there is a space-age feel to the gliding rhythm. The voice somehow also sounds synthesised, giving it an unnatural smoothness that doesn’t affect the overall positive sentiments of the song, a kind of philosophy for life evinced by the lines “You should be happy, take what you need”. There is something sun-blinded about the sound with chiming guitars lurking in the background, only clearing when the synth-pop rhythm takes a backseat.

The voice is intriguing; I can’t help hearing Trent Reznor, but there is none of the negativity or frustration, and there is a half-croon delivery at times that allays any darkness. There is a purpose to the voice, and it feels as though the construction of the songs is all about putting the message across. “Generic” itself is a bit darker, a bit more strident and the chiming guitar sparkles like barely glimpsed stars; the overall sensation is that of striving for something. The guitar is like a gem that can only be shown at special moments, and the vocals can be processed and underplayed if a change of emotion needs to be employed. The observation of a friend in the lyrics of “End Of Zero” (“It’s like you like to lick the metal of a loaded gun / It’s easier than looking in the mirror”) shows a willingness to tackle a subject head-on.

Throughout the album, the snatches of guitar give the songs a different feel; there is a touch of blues on “Time Bomb” and the stratospheric soar on “Wanderlust” revels in the extra space as gentle electric piano takes the basis of the song. It is on “Gridlock”, though, that you catch a glimpse of the bones of the songs. Underneath the heavier than usual guitar, which vies with a high-pitched synth-like sound, there is a pretty acoustic guitar form that shows through only when the rhythm drops out briefly, showing itself naked and unadorned. Once the songs are built up, these sketches disappear under the carefully placed layers.

There are dark images here, but they are diluted by the feelings of the music. In a keening voice that is as American as Bruce Springsteen, Alex sings: “I told you so, now I’m gonna watch you sink in the spotlight”. It sounds harsh and the sentiments are rough, but still the sun is shining over the soundscape. There might have been a touch of ELO in the layered voices and the synths on “Cardiac”, and even a hint of modern R&B in the multitracked vocals of “Yellow Master Motive”. The R&B feel is offset though by what sounds like an unexpected bossa rhythm running through the track.

There are a few surprises lurking through the album that don’t always have the opportunity to shine through due to the strict crafting of the songs, but when they do — as on the dropping of all vocal effects on closer ‘Post Script” — they are all the more effective for it. The vocals become shrouded again as the track charges towards its dramatic denouement, but we have seen the chink in the armour and feel all the better for it. The songs feel utterly American, but contain transatlantic influences that prevent them from falling into a generic trap. Sepassi is a skilled songwriter and with Alvis at his side, they lay open the heart of the American dream and show us glimpses of what beats beneath.

-Mr Olivetti-

Silver Relics play 2 July at The Islington, London with AutoRotation and CyberWaste.