Skip to main content

Spiritualized – Everything Was Beautiful (2022)

Spiritualized – Everything Was Beautiful

There are plenty of comparisons to be made between Jason Pierce’s last album 2018’s And Nothing Hurt and this year’s Everything Was Beautiful, beyond just the reverse Vonnegut quote. For one thing, And Nothing sounded distinctly simple when it was released, owing little to its sweeping, almost psychedelic predecessor, Sweet Heart Sweet Light. That made sense, when And Nothing came out, Pierce billed it as his final album and although it didn’t present the kind of finality many Spiritualized fans were looking for, it was still a relatively strong effort. As with the context given by the completion of the quote, Everything Was Beautiful also recontextualized And Nothing’s almost elementary approach to the Spiritualized sound. That album now sounds like a dry run, providing the kernels for the ideas that would form later on, instead of just a missed opportunity.

Everything Was Beautiful works as a grand statement, much in the same way the best Spiritualized albums do, with spacey, sprawling compositions that take those simple kernels and build and layer them to almost operatic ends. The genesis of this album can be drawn back to the pandemic, as most things can these days. With touring suspended, Pierce has been slowly reissuing his back catalog, and in the process found time to record his newest album. As a result, Everything Was Beautiful pulls heavily from throughout the Spiritualized catalog, whether it be the Ladies and Gentlemen-era “Best Thing You Ever Had”, the soft, sentimentality of Pierce’s mid-career work on “Crazy” or the lush balance of And Nothing.

All those influences, and its tonal similarities to his last album, never distract or take a way from the conceptual success of Everything Was Beautiful. Unlike And Nothing, these songs work together to meld their differences and naturally push themselves past the five-minute mark. With these improvements, Everything Was Beautiful easily ascends to the top half of Spiritualized releases, not an easy feat for a musician who could reasonably be called an elder-stateman. If this does end up being the final Spiritualized album, and given Pierce’s string of health issues, that’s always a possibility, there would be worse ways to go out.

~8.5

Comments

Popular posts from this blog

Concert Review: Wilco at The Riviera Theatre, – 3/26/23

Wilco at The Riviera Theatre, – 3/26/23 Chicago’s Uptown neighborhood was once the center of the city’s booming entertainment district. Located at what had initially been the end of the L Train system, The Aragon Ballroom, Green Mill Jazz Club, and long-defunct Uptown Theatre quickly defined the corners of Broadway and Lawrence Avenue as the designated area for Chicagoans to congregate for the arts. As the area’s zeitgeist waivered though, the theatres grew into a weekend oasis of vibrancy amongst an otherwise casual and sleepy north-side neighborhood. Given Wilco’s consistent championing of Chicago’s local institutions, and another Uptown landmark Carol’s Pub in particular, The Rivera Theater seems like exactly the kind of venue for the band to host their latest three-night run and the start of their spring tour. Jeff Tweedy and company know the former movie palace well, playing there many times over the years and even using it as the base for a five-night series of performances b...

Buck Meek – Haunted Mountain (2023)

Buck Meek – Haunted Mountain   Big Thief, one of the best and most adept bands of the 21 st century, has done more in six short years than most bands can squeeze out of an entire catalog. Each of their five studio albums has managed to expand their signature homespun charm into exciting, self-contained albums. The sound always moves forward but with distinct detours projecting their country-folk and singer-songwriter tendencies over disparate palates. The band’s prolificity extends to their solo catalog as well, the most notable inclusions naturally coming from lead singer and principal songwriter Adrianne Lenker. But behind her eclipsing generational talent, is guitarist Buck Meek, an artist who could easily shepherd his own headlining band if he needed to. Aside from some early, Big Thief-adjacent work, Meek’s true breakout was with 2021’s Two Saviors , a beautiful, alt-country collection of songs, most of which approached the quality, if not the scale of his mother band’s...

Beach Fossils – Bunny (2023)

Beach Fossils – Bunny Give Beach Fossils credit, despite longtime comparisons to Wild Nothing, DIIV, and Real Estate, Dustin Payseur has always done a better job navigating the restraints of his sound. Beach Fossil’s debut is bright and lo-fi jangle rock, Clash the Truth brings a slightly harder and wispy, post-punk edge, and the underrated Somersault glistens in the sheen of a would-be major label debut. Each album is distinctly Beach Fossils though, the guitars and reverb-soaked vocals determined to reap the nostalgia of both fleeting, youthful summers, and the band’s own back catalog. Bunny comes six years after Somersault , a gap that saw the band celebrating the anniversary of their debut through live performances with label mate Wild Nothing as well as the release of an album of piano renditions of the group’s past work. The pandemic could partly be blamed for the long wait time, but regardless Bunny still holds a lot of expectations, and when the band’s last album landed...