Dean Wareham – ‘That’s The Price of Loving Me’ album review: mournful dream-pop for the modern age
THE SKINNY: It was 1987 when Galaxie 500 first graced the airwaves with their unique brand of indie dream-pop. In the following few decades, the sound that the Massachusetts vocalist pioneered all those years ago has continued to inspire artists and audiences across the board. However, it isn’t the 1980s anymore, and the creative mind of Dean Wareham could never be satisfied with churning out the same sounds for upwards of three decades. As such, his latest solo record, That’s The Price of Loving Me, bridges the gap between the songwriter’s early material and multiple new avenues for the performer.
Reportedly, the album was recorded over only six days in Los Angeles, and that sense of improvisation and organicity certainly comes through in the final product. It is not a record which can be accused of being overblown or overproduced, resulting largely from Wareham’s distinctively understated guitar playing, which acts as a constant accompaniment to his gentle voice throughout the album. Seemingly, this atmosphere was fostered by producer Kramer, whom Wareham previously worked with back in the days of Galaxie 500.
There are a multitude of moments across this record which hark back to the glory days of Wareham’s old outfit, but there is also a constant sense of modernity and originality throughout the tracklisting. His work is often imbued with a mournful atmosphere, backed up with his slowcore guitar style, but there are also multiple moments of witticism on this record. The final track, in particular, holds up a mirror to the ridiculousness of modern politics and the current political climate expertly, without feeling overly preachy or out-of-touch.
Although the first half of the album follows a very similar sound and theme throughout, arguably leading to a sense of repetition, which can become banal over multiple listens, the latter half of That’s The Price of Loving Me is far more expansive in sound. The album is indebted to its wide range of influences, particularly drawing from the lush, timeless sounds of figures like Burt Bacharach and Segie Gainsbourg, all the while retaining that distinctive Wareham twang.
For fans of: Talking endlessly about how much better the indie music scene was back in the 1980s, despite being born after the new millennium.
A concluding comment from Julie: “Listen, you know, the songs are all very nice and everything, but this isn’t my first day on Earth. You don’t have to spell everything out quite so clearly, Dean.”
That’s The Price of Loving Me track by track:
Release: March 28th | Producer: Kramer | Label: Carpark Records
‘You Were the Ones I Had to Betray’: Easing the listener in with a gentle atmosphere, drawing from folk and country music, the album opener sets the tone for the remainder of the album – intimate romanticism with an undercurrent of intriguing darkness. [4/5]
‘Dear Betty Baby’: Clean guitar tones and a tender vocal performance, this song harks back to the early days of Wareham’s musical career while simultaneously driving forward his new sound and influences. [3/5]
‘The Mystery Guest’: A deep, mournful effort which blends Wareham’s usual wit with dark mystery and melancholy, ‘The Mystery Guest’ is a tale told through a poem, set to a gentle orchestral backing which never feels too overbearing. [3.5/5]
‘New World Julie’: Another quiet and gentle song that sees Wareham’s distinctive voice accompanied by understated guitars. These efforts culminate in a relaxed atmosphere on the record, but the lack of sonic diversity does risk making the tracklisting a little repetitive. [3/5]
‘We’re Not Finished Yet’: As we reach the halfway point of the album, Wareham continues to immerse the listener in his calming sense of romanticism. Again, this chapter of the record does not offer anything noticeably different, in terms of sound, from the rest of the record, but it does add to the flowing narrative inherent throughout. [3/5]
‘Bourgeois Manqué’: One of the most intriguing moments on the album, Wareham switches up his approach, creating a brooding atmosphere on this song, which is supported by a particularly compelling guitar performance and the particularly pertinent lyrical content. [4/5]
‘Yesterday’s Hero’: Moving into a more expansive, grandiose offering, which undoubtedly draws from Wareham’s previous work from over the years, ‘Yesterday’s Hero’ captures an indie dream-pop sound which suits the songwriter’s style perfectly. [3.5/5]
‘That’s the Price of Loving Me’: Opening into a bongo rhythm, Wareham demonstrates his abilities in crafting lush, cinematic sequences imbued with a universal sense of romance. The title track of the album certainly does not disappoint in getting across the message, aims, and enduring appeal of the songwriter. [4/5]
‘Reich Der Träume’: As we approach the end-point of the album, the songwriter continues to experiment with his output, delivering this song – the title of which translates to ‘Realm of Dream’ entirely in German. [3/5]
‘The Cloud Is Coming’: Concluding the narrative of the album, Wareham tackles political issues, current affairs, and mental health through his unique blend of understated instrumentation, witty lyricism, and a typically endearing performance style. [3.5/5]
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