The Breakdown
Dean Wareham’s latest album, That’s the Price of Loving Me, showcases his enduring talent for crafting melodic indie pop infused with psychedelic nuances. Reuniting with producer Kramer after 34 years, this collaboration rekindles the synergy that marked Wareham’s earlier works, resulting in a collection that feels both nostalgic and fresh.
The album opens with “You Were the Ones I Had to Betray,” a beautiful, string-infused slice of indie pop where chiming guitars interject seamlessly. The melody carries a nonchalant, wistful quality, embedding itself as an earworm complemented by angelic backing vocals. Wareham’s trademark fragile vocals are evident, but with a seemingly boldness and quality that I still confidence into things. Throughout the album looms the influence of The Velvet Underground, none more so than the lovely Dear Betty Baby, but its elevated by warm strings that add emotional depth, culminating in a poignant guitar solo.
“The Mystery Guest” introduces a slightly theatrical flair, showcasing Wareham’s songcraft with its charming stops and starts. One can almost envision an artist like Richard Hawley embracing this track, given its endless charm and intricate arrangement. “New World Julie” follows, featuring a swooning 50s-style guitar, and a mood which harkens back to Wareham’s Galaxie 500 days. Echoing The Velvet Underground’s drumming style and enriched with echoey backing vocals, the melody lingers in the listener’s mind.
“We’re Not Finished Yet” presents chiming, picked guitars with a lovely folk lilt, enhanced by angelic backing vocals. “Bourgeois Manqué” delves into psychedelic territory with primitive drumming and stripped-back accompaniments, featuring tom-tom and tambourine-heavy percussion alongside a cool acoustic guitar solo. “Yesterday’s Hero” shimmers as it evolves from its psych-pop outset into a warm, intimate indie pop piece, gradually growing into something memorable and lovely.
The title track, “That’s the Price of Loving Me,” stands out with its string-laden, torch song essence. The warmth of the strings enhances its beauty, while the melody embeds itself in the listener’s head, complemented by a beautifully off-kilter synth line that adds a unique twist. “Reich der Träume,” sung in German, features arpeggiated bass and a vibraphone-flute melody, giving it a baroque pop feel as wiry guitars spiral around the track, allowing the vocal melody to shine.
Closing the album, “The Cloud is Coming” echoes the sounds of Galaxie 500 and Luna, with beautiful backing vocals and earthy strings contributing to its psych-pop charm. Recorded in just six days in Los Angeles’ Eagle Rock neighborhood, the album benefits from Kramer’s influence, who plays acoustic and electric piano, pump organ, celeste, and various synthesizers. Britta Phillips adds bass and backing vocals, while drummers Roger Brogan and Anthony LaMarca provide rhythmic foundations. Cellist Gabe Noel’s on-the-spot arrangements further enrich the album’s texture.
That’s the Price of Loving Me is a testament to Wareham’s ability to blend melancholic and wistful themes within an indie pop framework, adorned with psychedelic sensibilities. The album’s melodies and arrangements exude warmth and intimacy, making it a beautiful addition to Wareham’s discography
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