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Young Modern Import

4 out of 5 stars 123 customer reviews

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Audio CD, Import, April 10, 2007
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Editorial Reviews

Product Description

Since the Release of their 1995 Debut "Frogstomp," which Came Out When all Three Members of the Band were 15, Silverchair Has Been the Most Popular Rock Band in their Native Australia. Their Previous Album "Diorama" (2002) Debuted at No. One in in their Homeland and Took Home Six Awards at the Arias, the Australian Equivalent of the Grammys. "Young Modern" Marks the Band's Return from a Long Hiatus and Confirmation That, Despite Rampant Rumors, the Band is Doing Quite Well, Thank You Very Much Are Better Than Ever. This Stunning Album was Been Produced by Legendary Songwriter Van Dyke Parks, Best Known for his Collaborations with Brian Wilson.

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With front man Daniel Johns at the helm, Silverchair refuses to do the same thing twice. When the Australian trio released their first album, Frogstomp, in 1995, they were merely 15 years old. Each new album since has been a dramatic departure from the last, and the band eventually shed their sticky grunge image with 2002’s Diorama. A returning cast of producer Nick Launay (INXS, Talking Heads), mixer David Bottrill (Tool, Muse), and legendary composer Van Dyke Parks (U2, Beach Boys) coddled Young Modern--yet another completely different version of Silverchair. The lyrics are pensive, the melodies cathartic, and the music is distinctly refined. Having already proven his epic vocal ability, Johns appeals to more creativity and experimentation this time around. He retains his singing style, but at times he is reminiscent of AC/DC's Brian Johnson, at others of the Beach Boys' Brian Wilson. Listeners will be shocked to learn that the upbeat opening track, "Young Modern Station," is the heaviest rock song on the record. "Straight Lines" is a celebratory pop fête, and "If You Keep Losing Sleep" makes Queen's "Bohemian Rhapsody" sound almost docile. Van Dyke Parks's renowned talent shines on the tracks with orchestral arrangements like "All Across the World" and the three-part epic "Those Thieving Birds." The entire album is seamless and offers new facets with each listen. Once again, Silverchair has clearly taken another giant step forward. --Jordan Thompson

Track Listings

Disc: 1

  1. Young Modern Station
  2. Straight Lines
  3. If You Keep Losing Sleep
  4. Reflections Of A Sound
  5. Those Thieving Birds (Part 1)
  6. Strange Behaviour
  7. Those Thieving Birds (Part 2)
  8. Man That Knew Too Much
  9. Waiting All Day
  10. Mindreader
  11. Low
  12. Insomnia
  13. All Across The World


Product Details

  • Audio CD (April 10, 2007)
  • Number of Discs: 1
  • Format: Import
  • Label: EMI Import
  • ASIN: B000NQR8AQ
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (123 customer reviews)
  • Amazon Best Sellers Rank: #627,084 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
Silverchair's complete change of musical attitude plays a large part in my enjoyment of this record. I've been a fan since I was literally fifteen, and I can testify that despite the angst, the band members have always been a bunch of goofballs. Daniel, in particular, has a strangely ironic sense of humor that always showed up at concerts but never came out on a Silverchair album - until now.

Young Modern is WEIRD. Daniel knows it - he over-warbles and tinges his voice with self mockery. Quirky noises and backing vocals take the place of loud guitar sounds. He's stopped taking himself so seriously - and the results are akin to a band going 'Wheeeee!'

By coincidence or on purpose, the first single, Straight Lines, is by far the straightest song on the album. It's very pretty, and comes complete with singable verse, singable chorus, and singable bridge. The rest of the tracks sound like impish tree monkeys throwing nuts at normal music. I can't separate songs so well here - it's a massive casserole of awesomeness. Daniel still loves to write songs with two or three key changes per verse, but this time the entire mood changes with it, swerving from sentimental to ridiculous and back again. The band can still play about ten different genres, but here they do it all in the same song instead of alternating during the tracklist.

The thing that always bugged me about Neon Ballroom is that the heavy songs all sound like filler. The ones on Diorama are better, but they still feel like a `break' from the real music. On Young Modern, there is no break. It's fluctuous acrobatics all the way through. This is the band that put flutes in the middle of `Dearest Helpless' and joyful `doo doo doo's into the refrain of `Luv Your Life'.
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Format: Audio CD
At 56, it's difficult to find new music to relate to. For years I've been purchasing mostly new product from artists of my generation. A buddy of mine suggested this release and I was hesitant. Being a disc jockey at a classic rock station, I was familiar with Silverchair of the 90's. Not my cup of tequila. If I want Pearl Jam and Nirvana, I'll listen to Pearl Jam and Nirvana. And quite frankly, I could only listen to Pearl Jam and Nirvana in exceedingly small doses. So when I bit the bullet on "Young Modern" I was not prepared for their music or my reaction. I must admit that I didn't "hear" it on the first 3 listens, but when I took it in the car with me for a 2 hour trip, I was knocked over not only by its sonic beauty, but by the maturity of the songs. I admit that I was initially attracted to the familiar, retro feel "Young Modern" exudes, weather it be Beatle-esque changes or Beach Boys melodic twists and of course the orchestral arrangements of VanDyke Parks lend itself directly to this. But beyond that, the songs display a playful originality set against a frenetic urgency that differentiates this from a band who's just knocking off the past. The hooks are fresh, the melodies maddeningly memorable. When the thing rocks, it rocks. When it doesn't, it holds you captive through inventive twists and turns. It's not exactly the most lyrically accessable collection of songs, (neither is a Bob Dylan release) but that's an element that helps to enhance and shape the songs into something undeniably intriguing.

So if you're still rockin' at 56 and you've got the time to invest in a CD that will, after a few listens pay you back in divine dividends, then "Young Modern" is for you. McCartney oughta listen to this.
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Format: Audio CD
As a musical group, you have two options. Option A involves a dedicated group of musicians that no matter the perils they face in life, they will keep their musical identity so as long as they live. To find an example of this, I suggest you look at the catalogs of AC/DC or Slayer. Or you can choose Option B, which involves a group coming together and deciding they will venture outside the boundaries of what their band can be. For a primetime example, I suggest you look no further than Australia's own Silverchair. On their 5th album, Young Modern, Silverchair shows that 2002's Diorama was merely a stepping stone into the musicians they would become.

The last time Silverchair graced us with Diorama, the band was caught in a fork in the road. The album went from beautiful soundscapes of "The Greatest View" and "Tuna in the Brine" to bass heavy efforts like "One Way Mule" and "The Lever". The heavier songs seemed to weigh down the album's flow. Young Modern, while a softer effort, is still more varied and experimental than Diorama. Right from the get go, "Young Modern Station" and first U.S. single "Straight Lines" are great examples of tight songwriting and cohesiveness within a band. The album really struck me with it's string arrangements on songs like the McCartney-esque "If You Keep Losing Sleep". If I were to showcase the new album's sound through one song it would be here.

What the band does really well is pacing of the album. The moment the listener thinks that the band is going too experimental, the band brings them back down to earth. Note songs like "Reflections of a Sound" and "The Man Who Knows Too Much", which both follow the album's more moodier and atmospheric tracks.
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