Perhaps we could describe The Limousines as a contemporary rehash of ’80s synth-pop consisting of one part Wham!, one part Yaz, and a whole spattering of chic, sunglasses-at-night, open shirts, leather jackets, etc style that we last saw with George Michael before his unfortunate (and yet silly to today’s social standards) bathroom mishap. Seriously, when you see Giovanni Giusti and Eric Victorino in their element you cannot help but feel as though you’ve been transplanted into an era consisting of multicolored everything and spacious musical timbre without chest-rattling bass drops buzzing your head until it’s numb. No, instead the San Francisco natives are part of a neo-pop-indietronica movement we seem to be witnessing with other contemporary acts such as The Shout Out Louds or Matt and Kim.
If you ask me, it is nice to see a trace piece of the ’80s holding dearly to the contemporary era. It’s been 25 odd years since the beginnings of synth-pop and needless to say, The Limousines have done well to facilitate the degenerating genre’s rebirth. Hush is complete with spacious sound, echoing rhythms, tolerably whiny boy-voices, low-fidelity synth elements and an entirely danceable countenance.
Might I suggest spinning track number seven, “Undercover,” for starters. Out of the thirteen other tracks, “Undercover” seems to be the finest fusion of prior notions and current trend. It employs the same musical textures one might hear from Yaz’s Upstairs at Eric’s but uniquely manifests its own identity, maintaining a new and original feel. The wavy rhythm swings in and out, forcing head movement and the insatiable need to keep time. For an all-classic feel, the lead-off track, “Love is a Dog from Hell,” is deliciously poppy. It undoubtedly sets the pace for the rest of the album and is playable for about four consecutive listens before it becomes only kind of stale.
In the end, Hush is a great album for fun, easy-going living. The bouncey synth elements and the precise execution of decent pop make it extremely accessible for nearly all listeners as well as pleasing the palate of an eclectic music lover. Hush probably will not garner a rousing approval by people whose voices “matter,” but regardless, it is a solid compilation and deserves an hour of attention, at least.