The instrumentation throughout the album is near-flawless, and is interesting enough to highlight Sparklehorse's creative spark while not overwhelming the earnest lyricism. While there is less unrestrained experimentation fans of Good Morning Spider might have hoped for, the album simply works, and every track is a worthwhile listen, though you might find Tom Waits' contribution on "Dog Door" a tad underwhelming. The group effort certainly benefits the overall direction. The former album showcased Max Bemis at what many would consider his creative peak, where he had utmost control on nearly every aspect of the album's production amidst a drug-fueled lifestyle, whereas the latter album sees Bemis more focused and collaborative. Is a Real Boy, followed by In Defense of the Genre. A decent comparison would be of Say Anything's. This marks an interesting transition from Sparklehorse's previous albums. Though, perhaps this is what makes IAWL work so cohesively, considering the multitude of guest musicians and orchestral backdrops, with pianos, woodwinds, and the like. As a listener, I felt myself patiently waiting for Linkous to reach an emotional peak at some point, but he trudges on calmly and unwavering. Nonetheless, the tone he creates conveys a saddening underlying message, albeit frustratingly. Its A Wonderful Life is ranked 1533rd in the overall chart, 256th in the 2000s. The challenge with analyzing Sparklehorse lyrically, is much of what Mark Linkous writes straddles the line between metaphorical and nonsensical. Its A Wonderful Life is a music album by Sparklehorse released in 2001.
The witches will return to their sticky tree knots Regardless, I found myself barely hanging on during "Apple Bed", particularly here: This can contribute to the overall emotional impact of the album, given the fact that Linkous shot himself ~9 years after the album was released.ĭespite the smooth soft-spoken vocal melodies and well-suited instrumentation, the album feels restrained. A lackluster research attempt on my part suggests that the album was written at a point in Mark's life when he had all but completely cast aside drugs, and a glimmer of optimism shines through in the more playful parts of IAWL. The album is thematically grim, while still lighthearted and naive. Then again, I approached this track with the knowledge that Linkous had written it specifically as a lovely middle finger to critics who undervalued his usual dark lyrical themes, so perhaps I saw the humour in the singer's apparent wonderful life as he described it. This is evident right from the get-go, with the album opener and title track. Yes, the album sees the ever-somber Linkous use sardonic wordplay to entice the listener, merely hinting at the singer's underlying depression. The album works much more cohesively, and is best enjoyed in one sitting accompanied by little more than the taste of scotch in a dimly lit room. With It's a Wonderful Life, we see a side of Mark Linkous that is more focused than previously presented on Good Morning Spider.
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