A transitional record is a double-edged sword; sometimes it can attract new listeners and show progress toward musical maturity or ingenious experimentation, but in other instances it can cause irreparable damage and ultimately alienate old fans who expect a more consistent sound. Thus, the transitional record is often a tossup that most bands try to avoid altogether. But luckily for music consumers, music still has its risk-takers. Although they may not be heralding in the psychedelic era or pedaling punk rock to the masses, the Hush Sound has successfully shed the transitional stigma with the release of their third studio album, Goodbye Blues.

On their newest release, the Chicago quartet showcases incisive pop with a keen attitude. This new persona is not necessarily a full departure from the teen-swing-pop jingles that made 2006�s Like Vines a modest hit but instead gives them a more mature facade. Fresh off a two-year tour, the band has cut its teeth and learned what it really takes to make it in the musical niche they occupy (being label-mates with pop-punk all-stars like Fall Out Boy, Panic at the Disco and The Academy Is… certainly doesn�t hurt, either). But rather than eating up the teeny-bopper leftovers and following in the precise pop-punk formula of tight jeans and eyeliner, the Hush Sound have taken a more honorable approach to win over fans.

The first track, �Intro,� is an ominous lo-fi piano piece that features Greta Salpeter singing an ironic Victorian lyric, �There are children whirling, laughing/ They don’t know they should be scared.� After this eerie premonition, though, the album takes a more familiar turn, and listeners are welcomed by the album�s first single, �Honey.� The track follows a similar pattern of previous Hush Sound singles like �Wine Red� with its recurring bouncy piano riffs and spatial guitar work. Although it may be a bit hackneyed for a first single, the Zombies-esque harmonies in the chorus give it some novel qualities.

Goodbye Blues� instrumentation is very safe � it never veers too far from the overall feel of the record � but it also proves the saying �better safe than sorry.� Perhaps the biggest surprise of the album is Salpeter�s voice. Her subtle soprano has blossomed into a powerful driving force that demands attention and has the capacity to dictate some songs altogether. But rather than relying solely on sluggish ballads to showcase her refined voice, as she tediously did on Like Vines, she�s learned how to encompass her voice into rockier songs. On �Molasses,� her poignant falsetto transforms a mediocre rock chorus into a brilliant one with an opera-like feel complemented by a clever guitar hook.

Despite being a focal point of the album, Salpeter�s voice has nearly silenced Bob Morris. On their previous works, Salpeter and Morris divided lead vocals in a Lennon/McCartney fashion, with each singing approximately six songs. On Goodbye Blues, Morris has taken a backseat, playing a more George Harrison kind of role, if that. But in true Harrison fashion, it�s quality not quantity. Even though he only sings three songs, Morris�s songs are exceptional. �As You Cry� should have been the first single because, instead of �Honey,� it is the best track Goodbye Blues has to offer.

Though Goodbye Blues may not be the Hush Sound�s magnum opus, it has opened the doors of possibility and shown a positive progression for the band. The record is a mash-up of sophisticated pop that displays the Hush Sound perfecting their sound while still maintaining their musical integrity.

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3 stars out of 5�