Chet, just one of Ryan Beattie’s prolific musical projects, certainly isn’t lacking in ambition on Chelsea Silver, Please Come Home. Each song is a grand suite built with thick layers of instrumentation and heavy on emotion. They’re also built as sturdy guitar pop that shifts to pastoral folk on “Saint Jerome, My Baby Tames Lions” or campfire balladry on “Every Night a Supper Wine”. But as beautifully constructed as these songs can be, they rest too much on a community-theater melodrama that pushes them way over the top. To a track, the album outstays its welcome, taking hushed pop tunes and devolving them into histrionic confusion where drums clang chaotically, Beattie’s voice tumbles across scales high and low, and its charming curl gets lost the minute he starts to sing. A distinct sound is in here somewhere—one filled out by the echo of guitar and anchored by stripped-down but well-placed percussion. All too often on Chelsea Silver, Please Come Home, those quieter successes get buried in thick layers of stage makeup.
- "Multiple tracks" Stream
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.
"PopMatters (est. 1999) is a respected source for smart long-form reading on a wide range of topics in culture. PopMatters serves as…READ the article