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Love in the Modern Age: in the airless echo of opening track Salton Sea, the glassy.
But it should be noted that Love in the Modern Age wouldn’t work if it were all synths and no songs. Josh Rouse: Love In The Modern Age Review. Rouse cites The Smiths and The Cure and The Blue Nile as influences, and you can hear little bits of each throughout Love in the Modern Age: in the airless echo of opening track Salton Sea.Kudos to Josh Rouse for recognizing the need. Processed piano, pulsating synths, mechanized vocals, buzzy bass lines and even a heartfelt saxophone solo swirl around him as he sings:Ĭhange is good, but it’s not easy.
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That baritone also surfaces in Love in the Modern Age’s title track, where Rouse brings this whole project together under one roof. And closing track “There Was A Time” is probably the most traditionally Rouse-ian song on the album, even with Rouse channelling Leonard Cohen’s raspy baritone. “Hugs and Kisses” overcomes a slightly awkward vocal melody with some chill vibes and video-game bloops. Similarly, “I’m Your Man” pairs a simple guitar chord progression with lush backing vocals and glowing keyboard tones and ends up feeling very Wilco-ish. He only reaches too far on “Businessman,” a jet-setting fantasy that feels more like pastiche than Rouse burrowing his way into a particular aesthetic. Rouse cites The Smiths and The Cure and The Blue Nile as influences, and you can hear little bits of each throughout Love in the Modern Age: in the airless echo of opening track “Salton Sea,” the glassy keyboards of “Ordinary People, Ordinary Lives” and the variegated synths of “Tropic Moon.” Most of Rouse’s ‘80s excursions are both tasteful and appropriate for his voice and style. But the guy realized after two decades of making solid folk-pop albums that he ought to put the guitar down for a bit and try something new. That ‘Salton Sea’ has a clear disco groove to it is also not that out of keeping with Josh Rouse’s back catalogue ‘1972’ you’ll recall was downright funky in a heavy soul way reflective of the year the album snatched its title from. That seems to be the basic idea behind veteran singer-songwriter Josh Rouse’s new album Love in the Modern Age. There ought to be a law that says if you successfully make a 20-year career out of writing, recording and releasing thoughtful and catchy folk-pop songs on the acoustic guitar, you should be required to record and release an album of songs written using mostly synthesizers.