Smoosh

Free to Stay

(Barsuk)

Record Review by Adam McKibbin

Smoosh sister act Asya and Chloe continue to expand their sound on their sophomore album, Free To Stay, which finds the duo retaining their playful, piano-driven indie-pop charm but largely leaving behind the goofier and experimental shadings of 2004’s She Like Electric.  Some fans will likely miss the anything-goes approach—which even temporarily led Asya down the alleys of suburban hip-hop—but Free To Stay benefits from the lack of distraction.

Not every song lingers after the album has faded from the speakers, but every song is a pleasant companion while it’s on the speakers.  Asya continues to develop a compelling lead vocal, mostly sweet and airy, with a particularly vulnerable falsetto, but also capable of an occasionally agitated bite.  It’s difficult to pin down where the Smoosh sound will go on future albums; there are hints of Tegan & Sara, hints of inventive piano-based songwriters like Tori Amos, and a brief but strong nod to 10,000 Maniacs.  Chloe sees to it that the piano doesn’t get to dominate, though, as she beefs up the songs with hyperactive and well-timed bursts on her drum kit.

Two of the album’s best songs, “Gold” and “She’s Right,” offer examples of how well the sisters complement one another, and also how—to simplify terribly—their serious-sounding songs have rapidly become more interesting than their silly-sounding ones.  “Gold” is lively but scattershot for a little while, and then veers unexpectedly into a softer, slower closing third that combines a gentle piano line with an almost militaristic drum beat—and some of Asya’s most expressive vocals on the record.

Jason McGerr, a mentor to the band since before they were even a band, proves that it’s not just Chris Walla who has the Midas touch when it comes time to step out from Death Cab for Cutie to man the production boards elsewhere.  McGerr’s work on Free To Stay is clean and understated, and presents his pupils in a flattering but genuine light throughout.