Papercuts: Fading Parade

[rating=2.50]

Fading Parade is the first Papercuts record to be released by legendary label, Sub Pop. Jason Robert Quever is Papercuts’ principal songwriter and has been making subdued indie pop since the release of 2004’s Mockingbird.  He has gained wide acclaim and impeccable indie cred for producing Beach House, Casio Tone for the Painfully Alone and others at his home studio in Arcata, CA.  Fading Parade is the first time Quever recorded any part of an album outside of his home studio, landing in Sacramento where he relinquished some control to Thom Monahan who previously produced Beachwood Sparks and others. Papercuts’ sound remains singular here, a warm wall of atmospherics coupled with gently strummed daydreams. Mellotron and Moogs color the vast soundscapes and make this mood music of the highest degree. . 

There is a lot of melancholy indie pop these days. Since the days of Galaxie 500 and Slowdive the overloaded genre has taken a lot of flack from those seeking a little pep and urgency in their music but nonetheless, Papercuts continues in the tradition of bands like Mojave 3. Unfortunately, the haze covering Fading Parade is both a strong attribute and a detrimental crutch.  The wall of sound is thick enough to lose a bunch of the intricacies of Quever’s acoustic guitar playing but it also accents and bolsters the music in a challenging paradox. First two tracks “Do You Really Wanna Know” and “Do What You Will” are strong as both are performed with a greater sense of urgency than most of the album rest.  Third track “Ill See You Later I Guess” may be the best song, building steam amidst an achingly good melody that cracks and bends with emotion.

Tracks four through ten bleed into one another, lacking distinction and slowly losing steam. The album succeeds in its mosaic quality but lacks enough memorable songs to tack a firm stand. Quever paints with distinctly delicate brushstrokes of strings and piano and periodically uncovers lovelorn melodies that break like waves.  Vocals are snuggled inside a rich quilt of echo and reverb which feels comfortable for a while but leaves them too hush-hush and wanna-be emotional.  Quever’s friends and former teammate Beach House has made a massive splash with their version of modern dream pop and the genre continues to gain steam in the mainstream. While Fading Parade is artfully constructed its power does not last, literally wilting from a lack of punch as the album plays on as perfectly fine background music for a rainy day. This is lush vicodin pop but it’s a little gloomy, a little hollow.

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