A transitional record is a double-edged sword; sometimes it
can attract new listeners and show progress toward musical maturity or
ingenious experimentation, but in other instances it can cause irreparable
damage and ultimately alienate old fans who expect a more consistent sound.
Thus, the transitional record is often a tossup that most bands try to avoid
altogether. But luckily for music consumers, music still has its risk-takers.
Although they may not be heralding in the psychedelic era or pedaling punk rock
to the masses, the Hush Sound has successfully shed the transitional stigma
with the release of their third studio album, Goodbye Blues.

On their newest release, the Chicago quartet showcases
incisive pop with a keen attitude. This new persona is not necessarily a full
departure from the teen-swing-pop jingles that made 2006?s Like Vines a
modest hit but instead gives them a more mature facade. Fresh off a two-year
tour, the band has cut its teeth and learned what it really takes to make it in
the musical niche they occupy (being label-mates with pop-punk all-stars like
Fall Out Boy, Panic at the Disco and The Academy Is… certainly doesn?t hurt,
either). But rather than eating up the teeny-bopper leftovers and following in
the precise pop-punk formula of tight jeans and eyeliner, the Hush Sound have
taken a more honorable approach to win over fans.

The first track, ?Intro,? is an ominous lo-fi piano piece
that features Greta Salpeter singing an ironic Victorian lyric, ?There are
children whirling, laughing/ They don’t know they should be scared.? After this
eerie premonition, though, the album takes a more familiar turn, and listeners
are welcomed by the album?s first single, ?Honey.? The track follows a similar
pattern of previous Hush Sound singles like ?Wine Red? with its recurring
bouncy piano riffs and spatial guitar work. Although it may be a bit hackneyed
for a first single, the Zombies-esque harmonies in the chorus give it some
novel qualities.

Goodbye Blues? instrumentation is very safe ? it
never veers too far from the overall feel of the record ? but it also proves
the saying ?better safe than sorry.? Perhaps the biggest surprise of the album
is Salpeter?s voice. Her subtle soprano has blossomed into a powerful driving
force that demands attention and has the capacity to dictate some songs
altogether. But rather than relying solely on sluggish ballads to showcase her
refined voice, as she tediously did on Like Vines, she?s learned how to
encompass her voice into rockier songs. On ?Molasses,? her poignant falsetto
transforms a mediocre rock chorus into a brilliant one with an opera-like feel
complemented by a clever guitar hook.

Despite being a focal point of the album, Salpeter?s voice
has nearly silenced Bob Morris. On their previous works, Salpeter and Morris
divided lead vocals in a Lennon/McCartney fashion, with each singing
approximately six songs. On Goodbye Blues, Morris has taken a backseat,
playing a more George Harrison kind of role, if that. But in true Harrison
fashion, it?s quality not quantity. Even though he only sings three songs,
Morris?s songs are exceptional. ?As You Cry? should have been the first single
because, instead of ?Honey,? it is the best track Goodbye Blues has to
offer.

Though Goodbye Blues may not be the Hush Sound?s
magnum opus, it has opened the doors of possibility and shown a positive
progression for the band. The record is a mash-up of sophisticated pop that
displays the Hush Sound perfecting their sound while still maintaining their
musical integrity.

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3 stars out of 5?