Stellastarr*

Harmonies for the Haunted

Released 23-August-2005

#09

Steeped in ‘80s post-punk and ‘90s post-grunge, Stellastarr*’s second album, Harmonies for the Haunted, is interesting in much the same way as their debut: the songs are entertaining and familiar, yet most of the time you’re never quite sure why. That element in the Stellastarr* equation is important to the enjoyment of their work, for without it, you’re relegated to being a nasty critic too hung up on the “why” and “how” rather than the “is.” You’d also miss quite a number of great musical moments.

In a way, theorizing about music such as this leads to the same problem that is bogging down the current hip-hop scene: how can I enjoy a particular song when it’s basically just a weak, calculated cover in sheep’s clothing? Kill the sheep and show the fangs, know what I mean? Take Eminem’s Lose Yourself, for example. The song is catchy, entertaining, and even inspirational on the surface. However, each time I hear it I can’t shake the notion that it is nothing more than a glossy, slick version of Led Zeppelin’s Kashmir for the Real World/Road Rules Challenge Generation. And something about that just isn’t right. But Stellastarr*, thankfully, is generally a little sneakier than that.

Aside from the way too direct correlation that occurred on their first album between their Jenny and The Smashing Pumpkins’ Cherub Rock/The Pixies’ Where is My Mind (go ahead and listen for yourself), theory isn’t what counts on Harmonies for the Haunted. Rather, it is being able to combine the echo and pulse of ‘80s New Wave/Post Punk with thunderous grunge like choruses from the ‘90s without getting caught in the “hey, that sounds just like…” game.

The key to the deception this time, the little edge that makes Harmonies for the Haunted such a fine affair is bassist/background vocalist Amanda Tannen. Her bass lines and sugary sweet harmonies elevate the best songs on this album. Those songs, Lost in Time, Sweet Troubled Soul, and Love and Longing, are wisely spaced apart throughout the record for maximum purpose. They form the anchor of the Stellastarr* method and allow lead singer/guitarist Shawn Christensen the opportunity to go for broke with his wailing vocals on songs like On My Own. Combine that with the familiarity (but remember, we’re not quite sure why) of guitarist Michael Jurin and his sparkling, echoey riffs, and it is as if we’re floating on a silver lined cloud. That is, if we let go and allow ourselves to be swept up in the alternate dimension of nostalgia and longing that is the true modus operandi of the band.

All considered, Harmonies for the Haunted is an improvement over Stellastarr*’s first album and a worthy addition to any child of the ‘80s or ‘90s musical catalogue. If you like a little Coldplay mixed in with your Foo Fighters, or vice versa, and still want to hang on to your hipster cred, this is the album for you.