ORIGINAL RELEASE DATE: JANUARY 17TH 2011
1YRON’S TOP 52 RECORDS OF 2011 RANKING: #41


It’s a shame that Smith Westerns released Dye It Blonde so early on in 2011. Had it been released later, it could’ve become one of the year’s biggest breakaway hits through mere word of mouth. Following their self-titled 2009 debut, this Chicago-based trio have risen in prominence impressive for any band that cranes its neck so intensely towards a glittery reimagining of ambrosial Beatles melodies and T. Rex-inspired glam rock. Much like fellow tourmates Girls - who have bucked the trend of diminishing success with the recent release of their fantastic sophomore record Father, Son, Holy Ghost - Smith Westerns realise that the stakes have to be upped dramatically in following such a successful debut, even if that means releasing an album that doesn’t pack as many punches.


Dye It Blonde is the kind of record best experienced with headphones. Where their debut sounded great when being played loud in wide, open spaces, Dye It Blonde builds on the distinctly lo-fi brand of guitar rock Smith Westerns could so easily have become sidelined with. The leap is huge, and the sequencing of the record is intrinsic to how it’s meant to be heard. Weekend and Still New are hands down the two best tracks on the record, delivering an astonishing one-two punch that showcases their knack for making pop songs that simply float. Real Estate have become particularly adept at this, It’s Real being a more recent example of a song that almost writes itself. The hooky guitar twist of Weekend tears through at a particularly breakneck pace, giving way to the rip-roaring chasm that provides the backbone to the euphoria of Still New. Elsewhere, centerpiece All Die Young and the jingle-jangle of End Of The Night feel inspired by the decadent aspect of Britpop frontrunners such as Suede and Oasis.


The difference between Smith Westerns and some of their contemporaries is that they’ve already managed to outlast most of them by believing that what they’re doing is a sure thing, something to build upon with each release. Yet it’s important to note that upon first impression, Dye It Blonde does very little to endear itself. Upon closer inspection, it unfurls. The surface chaos of most of these choruses is actually tight and almost subservient to the astute vocals of frontman Cullen Omari. Smile, and to a lesser extent the album’s closer Dye The World, are case in point of a band utilising their studio setting to develop their own sonic universe. As a live experience, they’re equally as engrossing. Here’s hoping they can further build on this talent for their third outing.