The Pains of Being Pure at Heart - Belong

The Pains of Being Pure at Heart’s self-titled 2009 debut was without reservation an artifact of the ’90s, and drew comparisons to any number of that decade’s indie touchstones. But the fuzzy production often obscured the Pains’ intentions; Ian Cohen described it as “sort of an indie Rorschach,” an apt description for an album that drew comparisons ranging from Belle and Sebastian to the Jesus and Mary Chain. What mattered more than the ambiguous influences, though, was their undeniable songcraft. Clever but not obnoxiously so, endearing without being cloying, the Pains clearly possessed an innate ear for instant-gratification hooks.

Sophomore effort Belong was produced and mixed by ’90s alternative royalty Flood and Alan Moulder, who count the Smashing Pumpkins and U2 among their considerable list of collaborators, and their influence is evident. Gone is the wash of fuzz that accompanied the Pains’ debut, replaced by an emphasis on beefed-up choruses and resonant guitars. The result, as might be expected, trends significantly more alt-rock than twee-pop. There’s always a tendency to emphasize this dynamic, especially when a band with decidedly indie roots appears to be making a play for the mainstream. But it’s less than appropriate here. At its core, Belong shares the DNA of its predecessor—a bit clearer, to be sure, but the Pains have hardly foregone the pop aesthetic of their debut. Side by side, Belong standout “Heaven’s Gonna Happen Now” shares the same chugging bassline and impeccable pop sensibilities of “Young Adult Friction.”

At the same time, it’s hard to shake the feeling that something’s gone awry in the transition. What made TPOBPAH so irresistibly enjoyable were Kip Berman’s wolf-in-sheep’s-clothing takes on teenage romance: the contrasting awe and detachment of “Young Adult Friction,” the wry perversity of “This Love Is F****** Right,” the helplessness of “The Tenure Itch.” By comparison, Belong feels manufactured; Berman’s breathy tenor (a dead ringer for British Sea Power’s Yan) is still the ideal instrument for the album’s infectious choruses, but those choruses are never as evocative, as subtly compelling as before.

If the Pains are shooting for a larger audience, they’re probably well on their way. Ironically, though, the knack for earworm melodies they displayed on their first album remains largely unchanged on Belong. Indeed, the most significant difference between the two has little to do with the much-discussed production; it’s simply that Belong comes off as hollow where its predecessor never did.