There’s a fine line between being influenced and being derivative and while 60s influenced indie-pop isn’t a new phenomenon, Volume 3 skirts the ever-tricky barrier between descendancy and imitation.
While cheesy vocal twangs and antiquated phrases like “you make me feel blue” are usually nixed from the mix of most modern records in order to avoid seeming backwards, She & Him are a musical act that have derived all their influence directly, and unabashedly, from one era; that’s the reason so many people seem to hate them.
Bands such as The Like have taken cheap imitation of yesteryear’s goodness to new levels, and though the point of difference for She & Him is that the quality of their records is really damn high, it’s still, essentially copycat music-making.
It’s not surprising then, that this is music written by an actress. Zooey Deschanel has seemingly created the character of ‘the musician’, and not unlike her on-screen roles, it can at times seem two-dimensional.
Yes, the music can be cartoonish and imitative, but that isn’t to say it’s twee for twee’s sake. It’s clear both Deschanel and her partner M. Ward revel in and truly appreciate that very specific 60s sound that’s infused with equal parts California country (think Susan Raye) and harmony-heavy sunshine pop (hello, The Turtles).
Unlike the twosome’s previous efforts, their latest LP sees the instrumental arrangements and production taken in a far more mature path under Ward’s direction.
From the subtle horn section in “I’ve Got Your Number Son” to the lively strings in first single “Never Wanted Your Love” here is a She & Him we’ve not yet heard in terms of sophisticated instrumentation.
In saying this, Deschanel’s songwriting truly shines when accompanied by simple backing music. Much the same as ‘Brand New Shoes” from Volume 2, is new album counterpart “Turned To White”, which sees Ward’s beautiful arrangements discarded as simple ukulele is all the support Deschanel’s lyrics require.
If you let go of the notion that modern music should sound, well, modern, and resign yourself to 60s kitsch-ness done right, Volume 3 is a fun listen, just skip ‘Sunday Girl’. Please.
