Despite its title, the new album by this Millenial duo is not disco. Instead, we are getting a deep dive into 90s pop from this duo who feels like the Tiktok version of Spinal Tap for turquoise-haired goth kids of today, It is a case of where they get the sounds right but are merely serving as a tribute band, and the execution is not as pristine as you might expect, considering their last album was decent. The vocals on the first song are pitchy, perhaps this is due to stepping out of the comfort zone they have existed up until this point, It is requiring them to try to sing in higher keys. "Corlyx helps them out on "Leave" allowing the verse vocal to stay in the mono baritone 90s new wave bridged over from post-punk. Caitlin Stokes finds her vocals sitting further back in the mix. They could have made better use of her talents.
Xorlyx also contributes backing vocals to "Sex on Drugs" which finds the lead vocal track on the verse struggling to stay in key as they reach outside of their comfort again. It reminds me of the Pet Shop Boys song "It's a Sin", though he is no Neil Tennant. This album highlights the problem of focusing on getting a sound rather than writing songs. When you focus on a sound you are betting solely on the fact that you will nail that sound, but it has to be a bullseye. However, if the production fails you, a well-written song can be played acoustic or electric, so it still holds up. They have grossly overestimated their vocal abilities on this album. Astari Nite is an example of a band that is capable of shifting sounds, but they are also good songwriters and that means they write to sound that best suits their abilities. The attempts at a more New Romantic sound on this album are just not who they are.
The album continues to be hit or miss, for every note they hit, there is one that slips between the cracks, This is not on stage but in the studio, meaning this is a collection of the best takes they had in them. This is as good as it gets for them. The problem lies in the fact they produced this album themselves, if they had a proper producer, he might not have let this performance slip, as they clearly can not hear if they were in key or not. They rip "Love My Way" on "He Want's Everything". this album becomes bad 80s karaoke at this point. "Regret for Nothing" at least finds them able to nail Talk Talk's sound. "This Party Ends in Tears" finds the synths sounding like early Madonna. The vocals don't lose it until heading toward the chorus. But it's an almost more forgivable performance than what has been heard earlier in the album. I will give this album a 7, there are decent moments, and if you have really romanced this sound and want anything that comes close then it might work better for your ears, I am disappointed and wish they stuck to what was working.
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