Even before I was a reviewer, I tired of reading reviews filled with either pandering affection for a preferred act or packed with passive allusions and pensive adjectives, both of which neglect to provide anything really informative. Music is supposed to evoke a response, so why shouldn’t music reviews do the same thing? Isn’t the point of a review supposed to provide criticism of the album in question so that the interested consumer has a point of reference in order to base his/her decision on if a purchase will be made? While this isn’t a call for reviews to be intentionally nasty, aggressively affirming, or otherwise over-the-top in their ability to taste-make, there is something to be said for blatant honesty in the arena of the review.
So forgive me if it bothers you when I declare that I really don’t get Superabundance, the sophomore album from British indie rock band Young Knives. The actual music itself is quite catchy in that it’s an attractive amalgam of ‘90s Britpop, ‘70s rock, and contemporary danceable indie, but there’s nothing that jumps out at me as that memorable. The lyrics are impassioned and clever, but they seem overly morose and out-of-sync with the pacing and feel of the music. Strong tracks exist - “Counters” and “Light Switch” are key - but there are some off-kilter moments that create a drag on the rest of the album, most notably “I Can Hardly See Them” and “Mummy Light The Fire.” Superabundance has received positive praise in some circles, and while I can understand what they’re enjoying on the record, something isn’t quite clicking with me here. Thus, though fans of British indie will find much to enjoy here, it’s as if the sum they achieve is not quite equal to the component parts the Young Knives have assembled (including bringing on frequent Belle & Sebastian producer Tony Doogan to produce this project), providing for a frustrating listening experience.
-- Adam P. Newton [May 19, 2008]
