Like all of Spoon’s past albums, “Transference” breaks from previous efforts toward a new direction. The direction is a collage of the song structures of “Gimmie Fiction,” the instrumentation from “Ga Ga Ga Ga Ga” and the hoarse vocals from its debut, “Telephono.”
While “Transference” certainly has its fair share of catchy hooks and infectious beats, the album’s initial mediocrity degrades its status from that of its predecessors.
The album’s opening, “Before Destruction,” should have made a B-sides and rarities collection instead of the introduction to the album. Lead singer Britt Daniel’s vocal delivery is lacking at best and further hinders an already dull track. “Is Love Forever” picks up the pace and may seem more familiar to fans of Spoon’s past collection. Still, the repetition of staccato notes on the track is not pleasant through headphones.
“The Mystery Zone” is a fresh save for the album. Spoon’s minimal use of notes, blended with a beat one could master in a week, makes the simplistic song come alive. Track four, “Who Makes Your Money,” is an obscure track with annoying vocal effects that really lacks any redemption. Until now the album is not pleasing, but the beginning of “Written in Reverse” starts to give the album some momentum. It is certainly the strongest track on the album and its dirty blues, grabbing lyrics and a back-and-forth beat marks a strong collaboration among the band members.
“I Saw The Light” is another song that follows in the minimalist approach that the band hopes to master. It’s a song of simplicity, broken into two parts thanks to an unexpected change in drums. Unfortunately, the end result just feels like drummer Jim Eno seems to be suffering from a very apparent lack of craftsmanship.
If you like the obvious commercial sound of “Sister Jack,” then you will enjoy “Trouble Comes Running.” “Goodnight Laura” is the album’s slow ballad, the equivalent to “She’s Leaving Home” on the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band.” The track, both musically and lyrically, is well developed but seems problematic when juxtaposed to the album’s elementary writing results.
“Out Go The Lights” continues the well-developed songwriting and provides an ending that is perhaps the second strongest track of the album. The guitar’s gentle run is a nice change from the album’s staccatos that consume nearly every track. Perhaps many fans are familiar with the next track, “Got Nuffin’,” which was released early. Along with the album’s lack of progression, this track again features the ever-consuming single-note droning that fatigues the song, but Britt’s vocals somewhat save it. The album’s closing track “Nobody Gets Me But You” is nearly a rewrite of its song, “I Turned My Camera On.” It’s a good track, but it still shows a lack of innovation in the band’s now lost craft of songwriting.
If you found Saves The Day’s “Under The Boards” enjoyable for a select number of tracks, but overall disappointing, then anticipate the same reaction to “Transference.” Its best bet in making it a decent entry into the band’s discography would be to eliminate some of the tracks and serve it up as an EP.
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