Reviews

The opening track of The Hush Sound's latest album, Goodbye Blues, sounds like it belongs in a musical adaptation of a Broadway ballet. "Intro" starts off with a fluid piano solo by lead singer and classic pianist Greta Salpeter. The vocals, slathered in dramatic ranges, get very classic opera with Salpeter's voice reaching vocal maturity at the end of the track.

"Honey" the first single is cute, catchy and boisterous bringing us out of the heavy mood painted in the first track. The track can get a bit Cabaret-ish towards the end with its glittery breakdown but it nonetheless makes you want to get up and dance. The foot stomping, upbeat pop-piano rock continues with "Medicine Man." The drumbeats and guitar work are solid and the piano-driven breakdown steadily closes out the track. "The Boys Are Too Refined" is a standout, upbeat track and features guitarist and vocalist Bob Morris making a much needed vocal appearance.

"Hurricane," a heavy-ballad, demands attention for Salpeter's vocal performance and the slow stillness of lyrics and background music, which if you can picture it, is the perfect song for an indie-film set on a Hawaiian beach.

The lead vocals switch up halfway into the album and Morris takes over. His vocals mirror that of Brendon Urie of fellow Fueled By Ramen label mates Panic At the Disco. "As You Cry" is a little more hurried and Beach Boys sounding. Morris' vocals lift the record up and "As You Cry" provides a bouncy sound and classic pop structure to the record.

"Molasses" sounds like classic circus theme music with its jittery guitar riffs and thick 40's style vocals. Its piano driven rock and Salpeter's syrupy vocals seem natural and reflect a mature musical style of the band. "That's Okay," is a track that sounds a lot like the rest of the album - tinkly piano pop melodies and sunshine sounding guitar riffs. "Not Your Concern," another Morris track, sounds identical to some Panic At the Disco song I heard. The immediate thumping drum beats, paced vocals, and fizzling guitar riffs nail down the catchy flow of the entire album. "Love You Much Better" starts off with slapping shotgun beats, hand claps, and incorporates the multiple vocal styling of Salpeter and Morris. The saloon-style manner of the piano ends the song with a jazzy snap.

"Hospital Bed Crawl" is much like Morris' other tracks but its scratchy guitar riffs and slow, syncopated rhythms develop into a vivacious track.

However great her piano playing is, Salpeter's vocals, which carry their own throughout the album, fall flat at times and the catchiest songs belong to Morris. Goodbye Blues is full of bubbly, piano rock laced with ballet, 40's era and even circus themed styles. It's an album worth listening to if you appreciate the piano as an underrated musical instrument in rock and roll.