Kill the Moonlight (CD - 2002)

Spoon: Britt Daniel (vocals, guitar); Mike McCarthy (12-String guitar); Matt Brown (saxophone); Eggo Johanson (piano, keyboards, tambourine); Joshua Zarbo, John Clayton (bass); Jim Eno (drums); Brad Shenfield (dabouke).

Producers: Britt Daniel, Jim Eno, Mike McCarthy.

Personnel: Britt Daniel (vocals, guitar); Mike McCarthy (12-string guitar); Matt Brown (saxophone); Joshua Zarbo, John Clayton, Roman Kuebler (bass guitar); Jim Eno (drums).

Audio Mixers: Jim Eno; Mike McCarthy; Britt Daniel.

Recording information: The Catacomb (01/2002-04/2002); The Garage (01/2002-04/2002).

Editor: J.J. Golden.

Photographer: Ben Dickey.

Building on the momentum of 2001's critically acclaimed GIRLS CAN TELL, Spoon unveiled KILL THE MOONLIGHT the following year. The Austin, Texas-based band's second outing for Merge Records finds frontman Britt Daniel and company settling comfortably into a mutually advantageous relationship with the revered indie label, resulting in a confident and creative album. The group reins in its blatant Pavement-isms, opting for a more stripped-down approach that relies on straightforward beats, minimal keyboard lines and guitar riffs, and smart melodies. Daniel hits a detached falsetto on the heavily looped, Krautrock-like "Stay Don't Go" (foreshadowing GIMME FICTION's "I Turn My Camera On"), while "Jonathan Fisk" is a garagey, no-frills rock tune that wouldn't have been out of place on the Strokes' debut. Keeping things spare, yet surprisingly eclectic, is what elevates KILL THE MOONLIGHT above similarly conceived underground albums, and, not surprisingly, this quality helped to make it one of 2002's most lauded indie-rock releases.

Coming just a year-and-a-half after their triumphant return Girls Can Tell, Kill the Moonlight isn't so much a step backward as a step sideways, almost like a breather after the emotional and musical intensity of their previous album. It isn't surprising, really, that the group would choose to follow such a cathartic album as Girls Can Tell with a collection of tougher, leaner, and meaner songs like "All the Pretty Girls Go to the City," which sounds like the inverse of Girls' "Everything Hits at Once"; "The Way We Get By," a prime example of Spoon's smart, nervy rock; or the spare, spooky pop of "Paper Tiger" and "Someone Something." It is somewhat surprising, however, that Spoon managed to pare down their sound even more on Kill the Moonlight -- tracks such as "Small Stakes" and "Something to Look Forward To" are so stripped-down and sculpted that they're practically aerodynamic; the only problem is that they don't always take off from there. Still, even the album's sparest moments feature Spoon's much-heralded knack with catchy melodies and hooks, even if songs such as "Don't Let It Get You Down" would be even more memorable with a slightly more fleshed-out approach. Hints of this appear on the songs with unique production twists, such as "Stay Don't Go," which sports a human beatbox rhythm; on the distant backing vocals and baritone saxes of "You Gotta Feel It"; and on the album-closer, "Vittorio E.," an undulating, vaguely psychedelic ballad that finally gives the band's playing and songwriting the full treatment they deserve. Though the album's brittle immediacy is far from a disappointment, and the quick turnaround between Kill the Moonlight and their previous one is a treat for Spoon fans, one can't help but notice that this album just isn't as revelatory as Girls Can Tell. But even if the artistic course Spoon seems to be plotting is two steps forward, one step back, it's more than rewarding enough to enjoy every stop on the journey. ~ Heather Phares minimize