A split forms in the blackness that envelopes you, and blinding light enters your cramped enclosure. Your cocoon opens, and overwhelming warmth covers your body. Your eyes slowly adjust to the bright world. You unfurl your limbs and stumble to your feet. You hear a faint melody hummed in the distance, carried by the soft breeze. You follow the sound to the top of a hill. A celebratory gathering is occurring in the valley below. You run down the grassy hill . . .
The formula for pop music received a long-deserved overhaul recently. Even the most devout naysayers of the mainstream have begun to trust the output of artists in the arena, and we can thank the act of risk-taking for that. Now more than ever, producers are meshing seemingly disparate elements to create fresh songwriting. Moth is the newest full-length from Brooklyn-based band Chairlift, a duo of this prestigious caliber.
The funnest record of the year has arrived early. Caroline Polachek and Patrick Wimberly’s songs are stuffed to the brim with euphonious melodies, irresistible grooves, and compelling pop experimentation. Both artists are proficient multi-instrumentalists, with Wimberly handling mostly instrumental duties to compliment Polachek’s pristine vocals. Any kind of individual can easily fall in love with this gem of an album.
The state of being overwhelmed with emotion is the common thematic thread that runs through these compositions, and none exemplify the feeling better than “Crying In Public.” It’s about realizing how vivid the colors that surround us are, and the minusculity of our existence within it all. It’s about the unfathomable beauty within every one of life’s moments. If you’re seeking euphonious, effervescent pop, this album is for you.
– stasi (@stasisphere)