In 2007, Rilo Kiley had been ripe for a breakthrough. After steadily constructing their indie cred with earnest, folk-adjacent rock, they discovered themselves amongst a legion of bands who would go on to outline the “hipster-to-mainstream” explosion: Arcade Fireplace, Dying Cab for Cutie, Kings of Leon, Grizzly Bear. That they had cemented their indie royalty standing with their third album, 2004’s Extra Adventurous, rising their viewers by way of soundtrack inclusions, weblog recognition, excursions with Coldplay and Brilliant Eyes, and phrase of mouth. Because the Los Angeles quartet ready their Warner Data follow-up, they discovered themselves with extra momentum than ever.
Beneath the Blacklight, the band’s fourth and last album, avoids capitalizing on that momentum. As an alternative, it veers into uncharted territory with shiny manufacturing, ’70s pastiche, and a playful embrace of genre-hopping experimentation — a daring, polarizing transfer that each redefined what Rilo Kiley might be and drew criticism from followers and critics alike. Pitchfork’s preliminary overview described the album as “polished to a blinding sheen” and criticized its “overwhelmingly floor” content material, whereas longtime followers on message boards questioned whether or not the band had sacrificed their sincerity in pursuit of mainstream attraction.
In no way was Beneath the Blacklight unsuccessful, however it’s a little bit of an anomaly inside Rilo Kiley’s discography. Their pair of previous albums, 2002’s The Execution of All Issues and the aforementioned Extra Adventurous, turned the quintessential Rilo Kiley information, particularly given their affect on the sound of indie rock. Whereas Extra Adventurous hinted at a cultured, pop-influenced path, Beneath the Blacklight took issues additional, buying and selling Jenny Lewis’ revelatory, diary-core lyrics for wry observations, Steely Dan-esque sleaze, and intelligent soul-pop set towards seedy Los Angeles backdrops.
Right now, forward of Rilo Kiley’s newly-announced reunion, all of the clamoring about them promoting out and alienating followers in 2007 appears foolish. With tensions between Lewis and co-founder Blake Sennett peaking through the Blacklight classes, the band would tour for lower than a 12 months and enter a hiatus interval. Shortly after, Lewis and Sennett hit full ship on their solo initiatives, the indie vs. mainstream binary started to erode, and Lewis confirmed the band was over in 2013. Now that these early debates concerning the band’s perceived commercialization have pale into irrelevance, Beneath the Blacklight doesn’t learn as a sellout transfer, however extra as a misunderstood pivot.
Beneath the Blacklight, general, is a bizarre album. It’s cohesive in having its characters tied collectively by the use of being off-putting, over-ambitious, sex-obsessed, or vapid, however sonically, it’s everywhere in the map. There’s among the traditional earnest indie discovered of their earlier work (“The Angles Hung Round”), sexed-up funk rock (“The Moneymaker”), ’80s-esque dream pop (“Dreamworld”), and a handful of tracks that cut up the distinction between comfortable rock and soul (“Silver Lining,” “Breakin’ Up”). “15” is sort of a Sly & the Household Stone B-side with some ska affect, “Dejalo” takes cues from reggaeton and latin types, and nearer “Give a Little Love” feels like a late ’90s pop demo written for TLC.
However regardless of the numerous types and eccentric topics, Beneath the Blacklight nonetheless manages to be totally charming and infrequently good. “Silver Lining” particularly is a gem of an opener; the music’s soft-rock guitar line and roomy piano offers it a timeless high quality, and Lewis’ hopeful outlook on a relationship’s finish rings out with heat and pleasure. When she sings “I’m your silver lining/ Hooray, hooray/ However now I’m gold,” in her crystalline alto, you may virtually image her onstage with arms outstretched at a Sundown Strip cabaret, swaying alongside backing vocalists.