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Review: Chvrches, Every Open Eye

It’s easy to read Every Open Eye as a defiant statement of self-reliance, rising above the bullshit of criticism to live an unfettered life.

4.0

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Chvrches, Every Open Eye

One can almost be forgiven for thinking Chvrches are merely a vehicle for singer Lauren Mayberry’s dulcet voice and cutting, emotional lyrics. To an extent, that’s true: The group’s monolithic, austere synth compositions are almost 100% mechanical, and without Mayberry’s earnest delivery veering between defiant resolve and quivering desperation, Chvrches would sound almost inhuman. But on Every Open Eye, Iain Cook and Martin Doherty coyly play to their singer’s strengths, whether they’re repurposing samples of her voice to serve as a backing chorus or simply not stepping on the toes of a stunning, clarion chorus. They’re gracious band members, supporting Mayberry not only musically, but even in her highly publicized war against Internet misogynists.

That sort of supportive, us-against-the-world camaraderie bleeds through into Mayberry’s lyrics. Rather than a cynical, self-referential sophomore effort that bears the weight of fraying band relationships and a growing weariness with the music industry, these songs skew personal and positive. There are the expected moments of romantic incongruency, from the hip-hop-inflected chorus of kiss-off ballad “Leave a Trace” (“Take care to bury all that you can/Take care to leave a trace of a man”) to the pent-up emotional spillover on the industrial-tinged “Playing Dead” (“If I give more than enough ground, will you claim it?/I will take it all in one breath and hold it down”). But there are moments of self-help sloganeering too. “Make Them Gold” is Chvrches at their most uplifting, bombastic drum accents and chattering pads lending credence to a hook that would come off as tawdry if it weren’t delivered with such power: “We will take the best parts of ourselves/And make them gold!”

In a recent interview for the Andy Greenwald Podcast, Mayberry, following an admission to a teenage obsession with Jimmy Eat World, jokingly pointed out that Chvrches’ sound is merely a combination of electronic textures and emo melodrama. It’s an apt description, as every feeling conjured is stadium-sized, worthy of a synthetic symphony. Mayberry’s lyrics are vulnerable and welcoming; what they lack in specificity they make up in an inhabitable yearning, whether it’s for release or independence or simply something better. “Clearest Blue,” a call to compromise and mutual support, is the album’s finest example of this, riding a percussive buildup reminiscent of LCD Soundsystem’s “All My Friends” to a momentous climax that serves as a euphoric ode to a relationship’s mutually beneficial give and take.

In the wake of online rape threats Mayberry receives with alarming regularity, it’s easy to read Every Open Eye as a defiant statement of self-reliance, rising above the bullshit of criticism to live an unfettered life. That’s part of it (“Bury it and rise above,” Mayberry sings on the standout “Bury It”), but it’s also an affirmation that Chvrches’ original sound needed refinement, not an overhaul. Rather than shy away from the populism of The Bones of What You Believe, Chvrches double down with strong melodies and production flourishes, from gooey disco synths on “Empty Threat” to wobbly bass drops on “Never Ending Circles,” that could legitimately have the band snagging radio play.

Every Open Eye is pop music with sharp edges and high stakes. With its immense drums, metallic-sheen synths, and a singer whose voice lends humanity to a totemic sound, it’s irresistibly endearing music that empowers the most vulnerable of sentiments.

Label: Glassnote Release Date: September 25, 2015 Buy: Amazon

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Review: Cherry Glazerr’s Stuffed & Ready Rages Against a Hostile World

The L.A. trio’s third album is a cathartic expression of estrangement in a cruel world.

4

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Stuffed & Ready

Clementine Creevy has always had a playful streak. At 15, she recorded her first songs under the name ClemButt, and her current outfit, the Los Angeles trio Cherry Glazerr, gained notoriety for a spaced-out, miniature ode to grilled cheese on their 2013 EP Papa Cremp. With Stuffed & Ready, Creevy’s signature irreverence has been transposed into scathing exasperation. The album rages against a hostile, misogynistic world, and then directs its venom inward.

That rage becomes the operating principle of Stuffed & Ready, which is Cherry Glazerr’s most mature and complex album to date. The opening track, “Ohio,” is a barometer for the ensuing ferocity, as a brief, lo-fi prelude crumbles into propulsive guitar noise. The music video for lead single “Daddi,” in which a solitary orange humanoid navigates a turbulent sea of blue creatures, captures the sense of alienation, confusion, and self-abasement that permeates the album. “Who should I fuck, Daddy? Is it you?” Creevy sneers in her characteristic falsetto. Her lyrics often vacillate between affirmation and uncertainty, probing for empowerment in a world that consistently renders her existence invalid. On “Self Explained,” she confesses, “I don’t want people to know how much time I spend alone.”

Under the direction of Carlos de la Garza, who also produced 2017’s Apocalipstick, Stuffed & Ready is Cherry Glazerr’s most sonically sophisticated effort yet. Musically, “Stupid Fish” is a gripping mash-up of the Smiths and early Sleater-Kinney, with sulking distortion interspersed with melodic bursts of Johnny-Marr-inspired guitar play. “Juicy Socks,” perhaps the album’s one moment of breathing room, finds Creevy playfully quipping over a shimmering guitar and florid bassline, “I don’t want nobody hurt/But I made an exception with him/I’m so lucky I can breathe/When the others cannot swim.”

Stuffed & Ready’s fiery denouement, “Distressor,” oscillates from an arpeggiated guitar and rolling drumbeat to a headbanging refrain. “The only faces I can see/Are the faces I pushed away from me/So I can just be,” Creevy wails, repeating the word “be” like a mantra. The album isn’t always hopeful, but it isn’t hopeless either, as it consistently provides a cathartic release for Creevy’s fury.

Label: Secretly Canadian Release Date: February 1, 2019 Buy: Amazon

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Review: Guster’s Look Alive Is the Sound of a Band Rejuvenated

Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.

3.5

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Guster, Look Alive

Guster has long been associated with “college rock,” and not without reason. Even though every member of the Boston-based band is now over 40, they still make bright, hyper-polished alt-pop tailor-made for campus radio. The band’s eighth album, Look Alive, adds synths and contemporary production flourishes to their sonic repertoire, but all the hallmarks of their sound remain: winsome melodies, soaring hooks, and tight, immaculate songcraft that combines the best of Britpop, 1960s folk, and post-grunge.

Like most Guster albums, Look Alive has a few duds, a few modest successes, and at least one showstopper—a song that makes you wonder why the band was never more successful. On 2006’s Ganging Up on the Sun, that song was “Satellite,” a shimmering power-pop masterpiece that split the difference between the Shins and Neutral Milk Hotel. Here, it’s “Hard Times,” which also happens to be the least Guster-like track on the album. Drenched in Auto-Tune, buzzing synth frequencies, and stadium-ready percussion, the song doesn’t sound anything like “Satellite,” let alone like the band’s output before 2000. Yet, true to form, it’s a remarkable piece of pop. “Sinister systems keep us satisfied/These are hard times,” Ryan Miller wails. It’s a simple statement, but it makes for a stunning chorus, and Miller’s effusive delivery renders it the most cathartic moment on the album.

On “Not for Nothing,” the band ventures into dream-rock territory, surrounding themselves with icy synth textures that wouldn’t sound out of place on a Wild Nothing track, while “Hello Mister Sun” is unabashed bubblegum pop that pays homage to whimsical Paul McCartney tracks like “Penny Lane” and “Good Day Sunshine.” Likewise, the sprightly “Overexcited” bounces along with a spoken-word verse and pounding, piano-centric chorus. While none of these tracks tackle complex themes, they’re playful, infectious, and eminently listenable.

Many of Guster’s best-known songs delve into same subject matter: newfound love, crippling heartache, the pain of being young, restless, and alone. Yet much of Look Alive is more elliptical. “Maybe we’re all criminals and this is just the scene of a crime,” Miller sings ambiguously on “Terrified,” forcing the listener to fill in the blanks. “Summertime” similarly defies easy explanation: Brimming with obscure religious imagery, whispered background vocals, and references to an unspecified war, it follows no logical narrative, instead allowing the track’s mood—a feeling of triumph over some great adversity—to tell the story.

For better and worse, Look Alive’s production mimics the spacious, ‘80s-inspired aesthetic that pervades much of contemporary indie-rock. “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.

Label: Nettwerk Release Date: January 18, 2019 Buy: Amazon

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Review: Toro y Moi’s Outer Peace Bends Boundaries with Mixed Results

Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.

3.0

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Toro y Moi, Outer Peace

Having already concocted brainy dance music under the alter ego Les Sins, chillwave trailblazer, synth-pop alchemist, and psychedelic rock enthusiast Chaz Bear fully embraces the dance floor on Outer Peace, his sixth studio album as Toro y Moi. Pulling from sources as disparate as R&B, tropical house, and trap, the California-based singer bends the boundaries of club music, albeit with mixed results.

Upon first listen, it seems like Outer Peace colors a rough sketch of a dystopian future where the material is mistaken for the immaterial, technology becomes a gateway to the metaphysical, and fleeting pleasures, prompting ever greater hedonistic pursuits. It doesn’t take long to realize, though, that this dystopia isn’t some future prospect, but the present moment. With lines like “Mystic staring at his phone for oneness,” Bear masterfully defamiliarizes our world, exposing the absurdity of the digital age.

Bear charmingly pairs this oft-heavy subject matter with club-ready grooves. The existential crisis of “Who Am I” is juxtaposed with sweetly pitched-up vocals and a fizzy patchwork of synths. Bear’s playful approach to house music ensures that no amount of existential dread and doom can dampen the mood he creates throughout the album.

Bear’s tinkering, however, isn’t always transportive. The rather vanilla tropical house beat of “Baby Drive It Down” recalls Drake’s dancehall-lite, with a lifeless performance from Bear. His experimentation with trap is at first promising on “Monte Carlo,” with the support of a dreamy pillow of vocal samples, but coming in at two minutes, the track feels one note, lacking any tempo changes or even a bridge, suggesting it was perhaps better fit for an interlude.

The cover of Outer Peace depicts Bear gazing intently at a computer screen, surrounded by instruments in a clean, sterile room. He reportedly created the majority of the album during an unaccompanied two-week retreat off Northern California’s Russian River, and this isolation can be felt throughout. The album’s title represents the remarkable possibility of finding freedom from the outside world by letting loose on the dance floor and experiencing liberation in a crowd of strangers. Bear certainly takes the album there at several points, but in the limited scope and cerebral slant of these too-brief songs, he loses that outer peace.

Label: Carpark Release Date: January 18, 2019 Buy: Amazon

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