Slow Motion Daydream

Editorial Reviews

Barnes & Noble - David Sprague
Long before reality TV took root in the public consciousness, Art Alexakis staked out a claim as rock's ultimate survivor, veining wrenching songs with tales of abuse, both self-inflicted and external, and managing to crack the odd wry grin when the cosmos least expected it. Alexakis took a pretty big chance by putting Everclear on a fairly lengthy hiatus that saw him pump out a pair of divergent solo discs, but Slow Motion Daydream indicates that the singer left a breadcrumb trail to lead him back to the pop-punk mother lode. The disc's first single, "Volvo Driving Soccer Mom," sets the tone pretty clearly, with Alexakis spinning a pithy tale in crisp detail as ...
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Editorial Reviews

Barnes & Noble - David Sprague
Long before reality TV took root in the public consciousness, Art Alexakis staked out a claim as rock's ultimate survivor, veining wrenching songs with tales of abuse, both self-inflicted and external, and managing to crack the odd wry grin when the cosmos least expected it. Alexakis took a pretty big chance by putting Everclear on a fairly lengthy hiatus that saw him pump out a pair of divergent solo discs, but Slow Motion Daydream indicates that the singer left a breadcrumb trail to lead him back to the pop-punk mother lode. The disc's first single, "Volvo Driving Soccer Mom," sets the tone pretty clearly, with Alexakis spinning a pithy tale in crisp detail as insistent guitar riffs propel the emotional action from anger to resignation. There's a fair amount of the singer's patented grumpy old punk attitude -- he takes on the current administration in "Blackjack" -- but sentimentality is more pervasive than on most of Everclear's early work. That's played out in both the lyrical stance -- "New York Times" and "TV Show" are both a little gauzier than you might expect -- as well as in the arrangements, which are dusted with subtle strings and acoustic strumming. Even when moving in slow motion, Everclear packs a punch.
All Music Guide - Stephen Thomas Erlewine
Aging was never going to be an easy task for Everclear. Led by Art Alexakis, a singer/songwriter who was just a little older than the rest of his post-grunge peers, perhaps inevitably led to his tackling subjects outside of the range of the Seven Mary Threes of the world; but that wasn't as much of a problem as the fact that his band was a career band in an era where the music industry and the audience generally ignored career bands. So, after their time in the sun in the mid- '90s, they earned the license to stretch -- resulting in the two-part album, Songs from an American Movie, in 2000 -- but they did it at a time when audiences were fickle, and they lost a big part of their fan base between the two records Learning How to Smile debuted in the Top Ten that July; that November, its successor, Good Time for a Bad Attitude, peaked at a humiliating 66. The thing is, the band didn't get worse between those two records; if anything, they were more effective than ever in tying their hard rock and ambitious pop leanings together on Learning How to Smile, while Alexakis' songwriting remained sturdy and tuneful. In a different era, say 20 years earlier, they could have sustained a career as a good journeyman rock group, but stakes were higher in the post-alternative world and it was possible for the band to do good work without receiving any credit, while simultaneously stretching themselves too far in an attempt to get noticed thereby hurting the overall record. And that's the problem with Slow Motion Daydream, which consolidates the strengths and weaknesses of Songs from an American Movie on one disc. At its best, the album illustrates that Alexakis is a very good rock songwriter and his songs sound the best with just a little bit of pop gloss. That combination can be irresistible, as it is on the opening two tracks, along with a couple other incidents later in the album including the "hidden" bonus track; a good song -- one of the best on the record -- but its very presence makes this album seem like a '90s artifact. But for every shining moment, there are missteps, which fall into two categories. First, there's Alexakis' perennial tin ear, resulting in embarrassing stabs at social commentary in "Volvo Driving Soccer Mom," and the misguided "New York Times." More problematic is his commitment to the absurd notion, shared by many of his peers, that sub-Brian Wilson sunshine pop arrangements are the height of "adventurous" rock, resulting in debacles like the bungled baroque strings on "Science Fiction," and similar stumbles like "Chrysanthemum." That there aren't as many flops as there are good songs is something only the dedicated will notice, unfortunately, because journeymen rockers like this aren't paid attention to in 2003, and failed ambitions are more likely to earn ire than note from critics. Which is too bad, because Everclear and Slow Motion Daydream deserve better -- they may not be consistent, but when they deliver, they're still as good as they ever were.
Spin Magazine - Chuck Klosterman
This is a solid, well-constructed testament to the healing power of crankiness. (B)

This is a solid, well-constructed testament to the healing power of crankiness. (B)
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Product Details

  • Release Date: 3/11/2003
  • Label: Capitol
  • UPC: 724353827007
  • Catalog Number: 38270

Tracks

Disc 1
  1. 1 How to Win Friends and Influence People (3:33)
  2. 2 Blackjack (2:51)
  3. 3 I Want to Die a Beautiful Death (3:30)
  4. 4 Volvo Driving Soccer Mom (3:13)
  5. 5 Science Fiction (2:43)
  6. 6 New Blue Champion (3:51)
  7. 7 TV Show (4:10)
  8. 8 Chrysanthemum (1:38)
  9. 9 Sunshine (That Acid Summer) (4:28)
  10. 10 A Beautiful Life (4:47)
  11. 11 The New York Times (4:17)
  12. 12 [Untitled Hidden Track] (6:30)
  13. 13 Volvo Driving Soccer Mom (23:06)
  14. 14 Behind-The-Scenes Making of the Record and Video
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Album Credits

Performance Credits
Everclear Primary Artist
Charlie Bisharat Violin
Brian Dembow Viola
Julie Gigante Violin
Endre Granat Violin
Miran Kojian Violin
David Low Cello
Rene Mandel Violin
Robin Olson Violin
Mark Robertson Violin
Anatoly Rosinsky Violin
Bennett Salvay Conductor
Cecilia Tsan Cello
John Walz Cello
Craig Montoya Bass, Vocals, Group Member
Art Alexakis Guitar, Percussion, Keyboards, Vocals, Group Member
Natalie Leggett Violin
Rafael Rishik Violin
Greg Eklund Percussion, Drums, Vocals, Group Member
Keith Greene Viola
Julie Coleman Strings
Phillip Levy Violin
Franklyn D'Antonio Violin
Matthew Funes Viola
Technical Credits
Bob Ludwig Mastering
Julian Raymond String Arrangements
Bennett Salvay String Arrangements
Everclear Composer
Lars Fox Producer, Engineer, Digital Editing
Larry DuPont Photo Tinting
Art Alexakis Composer, Art Conception
Chapman Baehler Cover Photo
Darren Lewis Executive Producer
Geoff Walcha Producer, Engineer
John Dittmar Booking
Mike Greek Booking
A.P. Alexakis Producer, String Arrangements
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Sort by: Showing all of 6 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    itchie

    i have to admit, i was not a huge fan of this album. It was okay listening to a few times althoug it got old and boring.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    I love Everclear

    I think this band is one of the best. Love the songs. makes me a better person. If you like this album get sparkle and Fade.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Everclear is not pop, it is pure rock.

    Yes, rock. Despite the age of Art on the outside, he is obviously young on the inside, or else he wouldn't be rocking for this long. This is a great album, the songs always gets stuck in my head, and it's not one of those annoying songs you can't get out of your head. I am glad to share the space up there (however small) with Everclear.

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  • Anonymous

    Posted October 1, 2010

    A psychedelic rollercoaster!

    What a fine collection of psychedlic mischief. Just looking at the cover gives you an indication of what's to come when you crack this baby open and slap the slippy into your roto robin. Wax up the Volkswagen and lambaste the chicken lockers because it's time to reminisce of late 60's psychedelic tromps, such as "Bus Stop" and "Don't you want someone to hold as your own?". Round up the chuck wagon for the grand finale of grand finales when the boys join the Boston Philharmonic on Metallica's "Give my fuel, give me fire, give me that which I desire". All in all, this collection is noteworthy, but if you are looking for some finer moments, check out the new Hall and Oates.

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  • Anonymous

    Posted October 1, 2010

    Real Punk is back with Everclear

    This album has its poppy moments but thank God that Art, Craig and Greg still have a soul. The First 4 tracks are definitly vintage Everclear (Sparkle and Fade). A few songs get kinda sentimental, like TV Show, but still is very catchy with the hooks. This is not your ordinary watered down pop we have all been hearing for the last year or so because even in the 'pop songs' you can tell there is more there. If you like Everclear you should get this.

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  • Anonymous

    Posted October 1, 2010

    What The Hell are u Talking about Roger's Roost?

    Dude, Roger's Roost you are a dumba ss. Everclear is a good band and this album is awesome, even better than The Learning How to Smile one. Alexakis takes this album a few notches upwards.

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