"Silent Alarm" might have been this band's calling card, but it was their subsequent albums that proved they were not just a band wanting to sound like Gang of Four. Some of this camke in the willingness to experiment with formula; some of it came with the vocals employing a more melodic cadance. Both those elements are in place here. Ths first track feels morel ike an intro, but they pull it all together for "Coming On Strong". They have a more upbeat bounce on "Love Bombs" that finds electronic beats moving the song. At this point in time, Kele and Russell Lissack are the only original members. This is sure to play a part in the evolution of their sound.
The energetic motion of the music is not as explosive or urgent as their earlier work, but there is a great deal of finely tuned thought put into the songs, though there are moments where they get ahead of themselves, as the dub-tinged "Pigwig" is not as strong as the first two songs. Perhaps it is just too British for their own good. "Lagoon Blue" carries more atmosphere, which gives the vocals more space to wander. Allowing Kele to find more nuanced vocal colors.
"Muscleworks" is the first song that has any homoerotic lyrics, but they are done pretty tastefully. It's also one of the album's hookiest songs. "Clark Kent" continues the album's trend of electronic drums being the primary percussive force of this album.. The lyrics continue to improve as the album progresses. Where the post-punk earlier days were more driven, the mature pacing allows him to continue finding his voice, with this feeling closer to his final form.
"Wort Birthday Ever" is not as focused as some of the other songs, but he touches on his more aggressive vocal apporach as the lyrics are spit out more forcefully. "Not the Problem" is more playful, though, dancing with a more bitchy queen energy. Synths set "Now We Can't Be Friends" into motion. Lyrically, he continues to sort through his drama. Not every moment is focused; some of the more balladic moment kill the momentum too much. It's when the electronics lean into a more tense, moodier groove, like on "Moving," that what they are doing works best, even with the minimalism. They do not always feel as sure of themselves in today's musical landscape, as this one borrows from the Temper Trap's "Sweet Disposition". 'Eulogy" is pretty upbeat considering its title. I will give this one a 9, and see how it grows on me.
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