The loose concept for this album, as you can first garner from the songs' titles and later as you listen to the lyrics of the individual tunes, is about finding some type of eternal bliss. Along this theme, "Utopia" opens the album with a funky bass line that plays well with their electropop style although the song never seems to go anywhere. Up next is the first single from the album, "Dystopia (The Earth Is on Fire)," which will further feed the comparisons the band gets to the Talking Heads with its synthesizer-heavy melody although the song is a much a homage to the Bloodhound Gang's classic "The Roof Is on Fire."
"I Walked Alone" features Bechtolt doing vocals in a manner that convincingly parrot's David Byrne's singing style on another Talking Heads-sounding track. The eponymous "Shangri-La" closes the album and it is a throwback jangle pop song that fully incorporates all the La's you see on the cover above into its cleverly arranged song with a sweeping hook that does its best to redeem any missteps that occurred on the album previously. The simple keyboard, lullaby-esque, melody that later layers in electric guitars and classical string instruments is absolutely enchanting although as a SoCal resident I'm not sure if I can completely agree with their "if I can't go to heaven/let me go to L.A." lyric.
Shangri-La is a fun album that will only increase YACHT's comparisons to the Talking Heads. In fact, on several of the songs where Bechtolt provides vocals, his tenor and pitch is nearly identical to David Byrne's although the similarities reach far beyond just their vocal styles and can be found in many different aspects from this release including on many of the tracks where Evans provides vocals. That is not to say that you need to be a fan of Talking Heads to like this album (although it certainly won't hurt) nor am I saying that all Talking Heads fans should rush out to get this album. But the similarities are even greater on this album than on their last release which first garnered the comparison.
This 10-track disk starts and ends very well although it does seem to lose its way during the middle of the album. Tracks like "One Step" and "Holy Roller" become monotonous early on although their lack of luster doesn't take away from the good songs that proceed or follow them. The loose concept of utopia is also explored pretty well throughout the album with the closing track doing its absolute best to put you in a state on unending bliss.
Score: 7.5/10
Song(s) to Sample: "Shangri-La" [sample it below] and "I Walked Alone"
The album opens with "Little Shocks" which feels like an Oingo Boingo song with its funky, new wave keyboard work driving the song over rambling electric guitar riffs and quick paced lyrics. "Long Way From Celebrating" has the feel of a hard jamming rock anthem with a big hook although I did find the lyrics somewhat confusing ("You're like a human TV/Spending time with you is some challenge/With a reaction guaranteed"--huh??). "Out of Focus" is a more subdued song with an enchanting keyboard melody during the refrain that, coupled with the more orchestral sound, I found to be a very sweeping track about trying to fit in even when you're not mentally ready to do so.
If I didn't know better, I'd think this is 80's new wave throwback week first with an album that draws comparisons to Talking Heads and now with an album that does its best at times to channel Danny Elfman's pre-movie scoring rock days mixed with a touch of Madness. There are a lot more piano driven songs on this album which helps to add to the throwback feel. However, overall, there's less catchy tunes and less of an overall album feel on Future Is Medieval than on any of their previous three releases. While not horrible album by any means, this is the band's most flawed and inconsistent release to date.
Score: 6.5/10
Song(s) to Sample: "Out of Focus" [sample it below] and "Heard It Break"
The difference between the UK and U.S. versions is noticeable immediately with the short instrumental track "Bukowksi" that closed the UK version opening the U.S. version of the album. From there "Rocket Scientist (featuring Eve)" really begins the album with heavy electric guitar work before the song is buoyed by nifty keyboard playing and Eve's digitally altered, quick tempo lyrics that fuses elctronica, pop and hip-hop into one fun song. "Crystal Meth Christian" featuring The Flaming Lips has a indie rock beat and tempo behind the electronic wizardry and synthesizers normally found on a Teddybears song to give us something that sounds unique from the other tracks on the album plus Wayne Coyne's silky vocal style is always a welcome addition to any release. "Cho Cha" features both Cee Lo and The B-52's, has a bass heavy rhythm, and seems to be a an ode to friendship between a man and his--uhm--cat.
Devil's Music is another fun and entertaining release that continues the electronica-heavy sound they began on their last album, Soft Machine. It doesn't display the same whimsy and cleverness as Soft Machine but it does manage to evoke the same level of fun especially when digested as a whole. The band's use of guest artists is also top notch creating songs that the guests can comfortably wrap themselves in without venturing too far from the overall electro style of album. The purely instrumental tracks are also blast taking you on an aural journey that you won't want to return from ("Glow In The Dark" and "Cisum Slived").
Score: 8/10
Song(s) to Sample: "Rocket Scientist (featuring Eve)," "Crystal Method Christian (featuring The Flaming Lips)" [sample it below] and "Glow In The Dark"
