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Young & Old
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Young & Old in Franklin, TN
Current price: $14.99
Barnes and Noble
Young & Old in Franklin, TN
Current price: $14.99
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Size: CD
After their first album and the story behind it,
Tennis
weren't going to have an easy time with the follow-up. How do you compete with a record that came out of nowhere and knocked people out with its lovely, lo-fi-sounding '50s pop and the romantic back-story of how all the songs were written on a months-long boat excursion at sea? The easy answer is that you don't. The duo of
Alaina Moore
and
Patrick Riley
decided to keep the core sound intact on
Young & Old
but expand it a bit, adding drummer
James Barone
to the band full-time and hitting the studio with
Black Key
Patrick Carney
behind the board. The result is a record that sounds a whole bunch like
Cape Dory
but with a crisper, less bedroom sound that strips away most the gauzy reverb and lets the instruments breathe a little more, especially the piano and drums. It's enough of a shift in perspective and approach to stave off any accusations of sticking too closely to their formula, but it's not enough of one to scare off anyone but the hardest of the hardcore reverb fanatics. Now you can really absorb how good and unique
Moore
's vocals are; she sounds less affected this time out and invests the songs with more insistent emotional content. The whole album takes that tack as well, feeling much more immediate and powerful. Some may miss the mystery of
, but there's enough intrigue and drama left to make
exciting, even a little thrilling at times. Much of the album has a punch and power that
Cape
never had and the ratio of hits to misses is impressively high, hovering right around 100 percent hits. Almost every song would be a mixtape highlight and surprisingly, given how atmospheric
was, songs like "High Road," with its Northern soul bounce and handclaps, and "Traveling" wouldn't be out of place at an indie disco. Even the (rare) ballads, like the lilting "My Better Self" and "Origins," have more rhythmic intensity this time.
won't make you forget
, but it's an impressive flip side to
and shows they aren't a one-trick pony. If next time out they figure out how to blend the dreamy romance of the first record and the uptempo pop charm of this one, you might be looking at something pretty amazing. As it is, though,
are making some of the best pop music around in 2012, and that's plenty good enough. ~ Tim Sendra
Tennis
weren't going to have an easy time with the follow-up. How do you compete with a record that came out of nowhere and knocked people out with its lovely, lo-fi-sounding '50s pop and the romantic back-story of how all the songs were written on a months-long boat excursion at sea? The easy answer is that you don't. The duo of
Alaina Moore
and
Patrick Riley
decided to keep the core sound intact on
Young & Old
but expand it a bit, adding drummer
James Barone
to the band full-time and hitting the studio with
Black Key
Patrick Carney
behind the board. The result is a record that sounds a whole bunch like
Cape Dory
but with a crisper, less bedroom sound that strips away most the gauzy reverb and lets the instruments breathe a little more, especially the piano and drums. It's enough of a shift in perspective and approach to stave off any accusations of sticking too closely to their formula, but it's not enough of one to scare off anyone but the hardest of the hardcore reverb fanatics. Now you can really absorb how good and unique
Moore
's vocals are; she sounds less affected this time out and invests the songs with more insistent emotional content. The whole album takes that tack as well, feeling much more immediate and powerful. Some may miss the mystery of
, but there's enough intrigue and drama left to make
exciting, even a little thrilling at times. Much of the album has a punch and power that
Cape
never had and the ratio of hits to misses is impressively high, hovering right around 100 percent hits. Almost every song would be a mixtape highlight and surprisingly, given how atmospheric
was, songs like "High Road," with its Northern soul bounce and handclaps, and "Traveling" wouldn't be out of place at an indie disco. Even the (rare) ballads, like the lilting "My Better Self" and "Origins," have more rhythmic intensity this time.
won't make you forget
, but it's an impressive flip side to
and shows they aren't a one-trick pony. If next time out they figure out how to blend the dreamy romance of the first record and the uptempo pop charm of this one, you might be looking at something pretty amazing. As it is, though,
are making some of the best pop music around in 2012, and that's plenty good enough. ~ Tim Sendra
After their first album and the story behind it,
Tennis
weren't going to have an easy time with the follow-up. How do you compete with a record that came out of nowhere and knocked people out with its lovely, lo-fi-sounding '50s pop and the romantic back-story of how all the songs were written on a months-long boat excursion at sea? The easy answer is that you don't. The duo of
Alaina Moore
and
Patrick Riley
decided to keep the core sound intact on
Young & Old
but expand it a bit, adding drummer
James Barone
to the band full-time and hitting the studio with
Black Key
Patrick Carney
behind the board. The result is a record that sounds a whole bunch like
Cape Dory
but with a crisper, less bedroom sound that strips away most the gauzy reverb and lets the instruments breathe a little more, especially the piano and drums. It's enough of a shift in perspective and approach to stave off any accusations of sticking too closely to their formula, but it's not enough of one to scare off anyone but the hardest of the hardcore reverb fanatics. Now you can really absorb how good and unique
Moore
's vocals are; she sounds less affected this time out and invests the songs with more insistent emotional content. The whole album takes that tack as well, feeling much more immediate and powerful. Some may miss the mystery of
, but there's enough intrigue and drama left to make
exciting, even a little thrilling at times. Much of the album has a punch and power that
Cape
never had and the ratio of hits to misses is impressively high, hovering right around 100 percent hits. Almost every song would be a mixtape highlight and surprisingly, given how atmospheric
was, songs like "High Road," with its Northern soul bounce and handclaps, and "Traveling" wouldn't be out of place at an indie disco. Even the (rare) ballads, like the lilting "My Better Self" and "Origins," have more rhythmic intensity this time.
won't make you forget
, but it's an impressive flip side to
and shows they aren't a one-trick pony. If next time out they figure out how to blend the dreamy romance of the first record and the uptempo pop charm of this one, you might be looking at something pretty amazing. As it is, though,
are making some of the best pop music around in 2012, and that's plenty good enough. ~ Tim Sendra
Tennis
weren't going to have an easy time with the follow-up. How do you compete with a record that came out of nowhere and knocked people out with its lovely, lo-fi-sounding '50s pop and the romantic back-story of how all the songs were written on a months-long boat excursion at sea? The easy answer is that you don't. The duo of
Alaina Moore
and
Patrick Riley
decided to keep the core sound intact on
Young & Old
but expand it a bit, adding drummer
James Barone
to the band full-time and hitting the studio with
Black Key
Patrick Carney
behind the board. The result is a record that sounds a whole bunch like
Cape Dory
but with a crisper, less bedroom sound that strips away most the gauzy reverb and lets the instruments breathe a little more, especially the piano and drums. It's enough of a shift in perspective and approach to stave off any accusations of sticking too closely to their formula, but it's not enough of one to scare off anyone but the hardest of the hardcore reverb fanatics. Now you can really absorb how good and unique
Moore
's vocals are; she sounds less affected this time out and invests the songs with more insistent emotional content. The whole album takes that tack as well, feeling much more immediate and powerful. Some may miss the mystery of
, but there's enough intrigue and drama left to make
exciting, even a little thrilling at times. Much of the album has a punch and power that
Cape
never had and the ratio of hits to misses is impressively high, hovering right around 100 percent hits. Almost every song would be a mixtape highlight and surprisingly, given how atmospheric
was, songs like "High Road," with its Northern soul bounce and handclaps, and "Traveling" wouldn't be out of place at an indie disco. Even the (rare) ballads, like the lilting "My Better Self" and "Origins," have more rhythmic intensity this time.
won't make you forget
, but it's an impressive flip side to
and shows they aren't a one-trick pony. If next time out they figure out how to blend the dreamy romance of the first record and the uptempo pop charm of this one, you might be looking at something pretty amazing. As it is, though,
are making some of the best pop music around in 2012, and that's plenty good enough. ~ Tim Sendra
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1800 Galleria Blvd #1310, Franklin, TN 37067, United States
