Generally speaking, an alternative rock band that has already established its style gets a bad rap when it tries to broaden its musical horizons. Much worse is it when that band decides to make the bold crossing into the mainstream, catering their music to a broader audience and understanding that, sometimes, music may be a matter of practicality. Such is the case with L.A.-based Rilo Kiley, a band that has undergone a good amount of scrutiny for conforming to more typical musical conventions while thinly shedding off their indie roots with the release of their new album, Under the Blacklight.
And if the band’s previous albums were subtle in portraying their themes, Under the Blacklight is not. The motif of dirty, crude sex (most rampant in “The Moneymaker”) strings the album’s tracks together so obviously that it might be the closest thing to aural pornography that would still be considered music (the album’s great opener, “Silver Lining”, is as innocent as it gets).
But that’s definitely not to say that the songs are bad. In fact, Rilo Kiley adds a marvelous layer of complexity to their songs, with lead singer Jenny Lewis’ fine vocals acting as the veneer to the overall presentation of the album. The variety of Lewis’ style and range shines through, especially during tracks like “15″, where the playful tone contrasts the lost virginity of a fifteen year-old girl, and thus the irony and tension of this song (and others) brings the album to a whole new level of elaborate and deliberate meaning.
Yes, Rilo Kiley has gone mainstream, but no, it’s not a bad thing. Open-minded fans will appreciate the variety of tones and styles the album has to offer, while it may take some time for other, more skeptical followers to have the album slowly grow on them. Under the Blacklight is arguably Rilo Kiley’s definitive album, as they dramatically broaden their horizons while skillfully maintaining their careful song composition. In short, the album is as diverse as it is deliberate, and as intricate as it is brilliant.
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