One day, in the far, far future, I will understand the process of naming indie bands. Until then, I will stand in awe of Someone Still Loves You Boris Yeltsin. Or, at least, in definite appreciation of the indie pop songcraft, especially with regards to their new album, Let it Sway.
A disclaimer from the Surgeon General: some of the songs contained herein are infectiously catchy. Side effects include head bobbling, hip swaying, and that ridiculous face some people make when smiling and rocking out (you know what I’m talking about, don’t try to hide it). You’ve been warned. Any snapping-induced carpal tunnel is your own fault.
As an opening number, ‘Back in the Saddle’ does a great job of setting the tone for the album. It’s bright and clean, gently urging you with its repeated chorus to sing along and groove a bit. It leads beautifully into title track, ‘Sink/Let It Sway’, another of those frequent moments where if you don’t at least tap your feet to this one, you’re dead (emotionally, if not clinically). The lyrics grow a little inane at times, but never offensively so. It’s mostly just a bright, jangly guitar and some softly-sung encouragements.
The album veers a little bit from here, slowing down slightly for ‘Stuart Gets Lost Dans De Metro’, but it really doesn’t damage the momentum terribly. They throw in a touch of piano for a few thoughtful interludes towards the end of the record, including the Carroll-referencing ‘Phantomwise’, but these songs still carry an earnest intensity that carefully sidesteps pastiche.
Except, perhaps, ‘All Hail Dracula’, which barrels past enthusiasm and straight into inanity with lyrics like “I’ll never need another friend” and “You’ll torture anyone/if they’re having more fun than me.” The biggest problem with this is that it seems vaguely reminiscent of teenage melodrama a la Twilight, and that’s never a good thing. It’s irritatingly catchy, switching between muddy guitars and bare drum beats, with a little vamping and vibrato thrown in for good measure. ’Made to Last’ is a bit cheesy, and with its dirge-esque tone, is ultimately a poor fit with the rest of the album.
Let It Sway is more mainstream indie-pop than SSLYBY’s sophomore effort Pershing, but manages to be so without losing much in the way of value, which is no mean effort given the current state of popular music. There’s variety here, but it retains an overarching focus. It manages to be catchy without being infested with earworms which plague you long after you’ve forgotten the name of the track, a blessing for which we should all be extremely grateful. In summary then, Let It Sway will certainly manage to put a smile on your face. A fine, if not world-changing album.
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Margret Crist is Stereokill's US correspondent, based in San Francisco. Email her at 
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When you think lyrics are inane, listen to the words as another layer of instrumentation. I can appreciate both the cadence and sounds of lyrics as well its the poetry. In regard to your comment on “Made to Last”, I believe cheesiness in in the eye of the beholder. If you filter “Made to Last” through you own experiences, it takes on whatever qualities you project on them. Lastly, when did ear worms take on a negative connotation? I always thought the reference just meant a really catchy tune. Let it Sway is a solid and think SSLYBY will get a whole new group of fans as the good news spreads.