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Sunshine Lies

Rate It! Avg: 3.5 (118 ratings)
Sunshine Lies album cover
time machine
room to rock
feel fear
let’s love
sunshine lies
pleasure is mine
sunrise eyes
around you now
burn through love
back of my mind
Album Information

Total Tracks: 13   Total Length: 50:36

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Wondering Sound

Review 92

Barry Walters


Award-winning critic Barry Walters is a longtime contributor to Rolling Stone, Spin, the Village Voice, and many other publications. His interview with Prince a...more »

Matthew Sweet, Sunshine Lies
Label: Shout! Factory

Matthew Sweet's 10th album isn't exactly innovative, but it is what this Los Angeles-based musical conservationist does best — '60s-rooted folk-rock sounds revived with an urgency that transcends tradition. Whether he redirected romantic sorrows a la 1990's breakthrough Girlfriend (certainly his cathartic “Room to Rock” here suggests that scenario) or simply craved another hit, Sunshine Lies'familiar boy-loses-girl scenarios take on an existential howl as thick slabs of guitars slam and slash power pop's expected jangle.

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Hooky, raw, fun and moving


SUNSHINE LIES grabbed me with a guitar sound that's even rawer than many of Matthew Sweet's previous works...and he does like to get a kind of raunchy raw sound to his playing to begin with. There is almost an instrumental incoherence tugging at many of the cuts, but yet they stick together magically, and it creates an exciting listen. The power and pop and gloss of the songs emerges from the din over the course of repeat plays...and you should repeat. I am...over and over. A great new record from Mr. Sweet.

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power pop w/ a lot of power


This is the best record of his career so far I think. It's absurd the radio didn't catch onto this one. The vinyl lp has bonus tracks, I may have to seek that one out soon.

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Best Matthew


Honestly folks, what is your problem? This Matthew Sweet is incredibly good. It is the most enjoyable thing that he has ever done - much more immediate and off the cuff - and the songs ROCK. the extra tracks on iTunes are some of the best - not sure why he left them of the proper CD. Please download these wonderfoul songs. 5 stars.

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Fast Forward


Not quite up to "In Reverse" in my book, but a solid, enjoyable Matthew Sweet who just doesn't take wrong or awkward steps. He does need a great lyricist though, say a Keith Reid or a Bernie Taupin to match Sweet's musical genius lyrically. My five cents.

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Very good


I think it is very good.

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Hoping for better


Matthew Sweet saw a lot of success with his album, Girlfriend and some praise for his releases following but since the mid-90's he has fallen off the radar. Being a fan of his music, I had to pick this one up. It's not a disappointment, just not as good as I expected.

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Sunshine guitars in 2008


Return to layered heavy guitar sound, this LP is solid. Special highlights -- Sunshine Lies with Suzanna Hoffs backing vocal (is she "byrdgirl"?), byrdgirl, feel fear, daisychain. The whole damn thing is great-- just download it now already. His live gig at First Ave. rocked ****.

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He does his thing --- but


--- so far I just can't get too excited about this. It must be my fault --- since Matthew Sweet is a special talent. Perhaps, I'm just not in the mood or something because I respect Matthew Sweet a great deal. In fact, I even saw him live in support of "In Reverse" (with key members of Velvet Crush as his band) --- it was quite great, as is that album. So it's hard to have to say that my first listen to this album ended after about 3 and a half songs before I went on to something else. I found it boring. I'll try again later --- probably.

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His best since Altered Beast


Back to rockin' out, not quite as great as Girlfriend, but pretty darn good.

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There's nothing as arresting as "Smog Moon" but even so-so Sweet is still pretty freakin' sweet.

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They Say All Music Guide

For somebody who played a large role in reviving guitar-driven power pop in the ’90s, Matthew Sweet spent a good chunk of the new millennium avoiding the six-string. Apart from 2003′s Japanese love letter Kimi Ga Suki * Raifu, Sweet walked on the soft side in the years since 1997′s Blue Sky on Mars, crafting psychedelic song cycles, Beach Boys tributes, and an album of sweet duets with Susanna Hoffs. Sunshine Lies returns the guitar to the center, pushing the playing of Greg Leisz, Ivan Julian, Richard Lloyd, and Sweet to the front and relying on arrangements that feel lean even when they’re each graced with subtle flourishes of layered, overdubbed harmonies, Mellotrons, and backward tapes. Although the album’s punch is a shade too pristine and precise, lacking the gangly ragged heart of Girlfriend, this is easily Sweet’s liveliest record since the ’90s, giving his sweet, sighing harmonies a candied warmth and his rockers some real bite. That slight snarl is evident throughout Sunshine Lies, even on the mellow moments, as Sweet’s writing is tight and purposeful throughout, with individual songs standing as tight, bright little gems; yet they all fit together to form a larger picture as if they were part of a tapestry — or more accurately a spider web, as Sweet peppers this album with all manners of nature, from the “Sunshine Lies” to the “Sunrise Eyes.” Sweet also flies with “Byrdgirl” here, and that song title is a good indication of how deeply steeped in the ’60s this album is, as it deftly balances chiming guitars indebted to both Roger McGuinn and George Harrison with harmonies from the Hollies and hooks from London and Los Angeles. There may be plenty of allusions to classic guitar pop, but Sunshine Lies plays as more reverential than referential, as Sweet never succumbs to pastiche but rather revives the feeling of the ’60s, from sun-bleached folk-rock to swirling, sighing psychedelia. Again, this isn’t all too far removed from other new millennium Sweet albums like Living Things, but the crisp, unadorned production — courtesy of Matthew himself, who recorded and mixed this in his home studio — keeps the focus on his brilliant pop hooks, which shine brighter and cleaner here than they have in quite some time. – Stephen Thomas Erlewine

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