Club Silencio seems to be working in a style that is well-established in contemporary music. It is a method of music making that takes the best elements of pop—infectiousness, accessibility, buoyancy, space—and weaves them through more robust indie moves—hooky riffs, spiralling guitars, rock-infused grooves.
It isn’t a new take on making music, it is one that has served many an iconic band well, the result being music that is effervescent enough for the mainstream pop picker and clever enough for the more discerning underground fan; everyone from MGMT to Teenage Fanclub to The Wedding Present to The House of Love have wandered the same sonic byways, but you would have to go some to walk the fine line between pop and a hard place, between accessibility and maturity, as deliciously and deftly as Club Silencio does here.
Back in the day, “Being Late is the New On Time” would be classed as post-punk or new-pop; today, in the post-genre world, we don’t have to be so fixated on where this fits into the musical landscape (ironic considering I have spent the review so far trying to explain exactly where it fits into the musical landscape.) Let’s just call it good music: music built of succinct and shimmering hooks and hazy harmonies, slightly angular yet sumptuous riffs and a sound so addictive that it makes you want to mainline it straight into your ear. Actually, let’s just call it great music.
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