Comeback Kids: March Goes Out Like a Lion With Some Fantastic New Albums
The Magnetic Fields, Love at the Bottom of the Sea (Merge)
The Magnetic Fields bandleader Stephin Merritt, one of the great living American songwriters, has returned to indie label Merge, picked up his synthesizers, and released his strongest album in years. No concepts or overarching themes this time out, just a collection of 15 short, crafty pop songs (all under three minutes) from a master of the form. The song titles alone will elicit giddy grins from fans (“God Wants Us to Wait,” “All She Cares About Is Mariachi”). Merritt covers a fair amount of ground: clever synth-pop, of course (“The Machine in Your Hand” is about wanting to be a crush’s mobile device); a spurned lover’s revenge fantasy (“Your Girlfriend’s Face,” which the song’s protagonist has hired a hitman to, um, remove); country (“Going Back to the Country”); and Gary Numan–style ’80s new wave (“Infatuation [With Your Gyration]”). Almost every track’s a keeper, and the (very) few that miss their marks are over before they wear out their welcome. It’s the band’s most consistently entertaining album since 69 Love Songs, and that’s quite an accomplishment.
The Ting Tings, Sounds from Nowheresville (Columbia)
Manchester pop duo and Apple darlings The Ting Tings follow up their ubiquitous international hits “That’s Not My Name” and “Shut Up and Let Me Go” with a confident, polished collection of smart, sassy modern pop. Highlights abound: The twin chant-a-longs “Hang It Up” and “Hit Me Down Sonny” could pass for M.I.A. at her catchiest, and “Soul Killing” is an admirable stab at a ska anthem. Elsewhere, the album effortlessly shifts from the ’90s heyday electronica of “One By One" to the deft radio-ready pop of “Day to Day.” The spare, haunting closing track “In Your Life” ends the album with hushed vocals, acoustic guitar, and viola—a well-deserved cooldown after a half hour of uptempo, spirited fun.
School of Seven Bells, Ghostory (Ghostly International)
The third album from NYC’s answer to M83 is another inspired mix of electronica and early-’90s dreampop.The band is now a duo after the departure of vocalist Alejandra Deheza’s twin sister, Claudia, but the vocals here soar as effectively as on prior releases. Ghostory is a concept album (thankfully without the minor-key dirges or goth trappings its title might imply), but while close attention reveals a story and the group’s trademark lyrical wordplay amid Benjamin Curtis’ swirling guitar textures, the individual songs are strong enough to stand on their own without narrative context. The propulsive opening track “The Night” is as good a song as any the band has yet produced, and “White Wind” packs a heavy, Garbage-like punch. Only on the trance-inducing “Show Me Love” and the percussion-less “Reappear” does atmosphere overtake songcraft.
Miike Snow, Happy to You (Downtown Records/Universal Republic)
Proving this Swedish trio’s stellar eponymous debut was no fluke, the self-produced Happy to You gamely picks up where its predecessor left off, with 10 more tracks of sonically tricked-out, expertly crafted songs that stylistically fall somewhere between The Postal Service and MGMT. While no single track reaches the dizzying pop heights of “Animal” (the first album’s finest moment and one of the best songs of 2009), some (“Paddling Out,” “Pretender,” and “Archipelago”) come awfully close. The album as a whole is packed with an arsenal of production tricks, sound effects, and marching band brass and drums that will hold your attention throughout.
Nite Jewel, One Second of Love (Secretly Canadian)
L.A. singer Ramona Gonzalez’s sophomore album of hip, lean, laptop disco retains the D.I.Y. charm of her earlier recordings, which have earned her a legitimate cult following. The main difference here is the expected studio polish and her improved songwriting chops. Half of the album consists of hooky pop confections like “Memory Man,” “Mind & Eyes,” and the album’s infectious title track and first single, all benefitting greatly from the cleaner, leaner sound. The remaining half is more stark, minimalist, and experimental, and should appeal to adventurous ears—the kind of music enthusiasts who prefer their pop in quotation marks.
Bright Moments, Natives (Luaka Bop)
Multi-instrumentalist Kelly Pratt, who has played brass and wind instruments for the likes of Beirut, Arcade Fire, and LCD Soundsystem, has released a solo album on David Byrne’s Luaka Bop label, and it’s a charmer. Natives is a home-studio recorded confection of odd samples, warm vocals, keyboards, and Pratt’s trademark trumpet flourishes. The Kentucky native’s everything-but-the-kitchen-sink approach to recording fills out the album with all manner of nifty sonic details without making it sound cluttered, and the songs themselves are tuneful and melodic (Careful: You’ll have the melody of “Travelers” stuck in your head for days.) A promising debut.
Plants and Animals, The End of That (Secret City Records)
The Montreal trio’s third folk-infused, guitar-centric indie rock record has a raw, intimate, in-session sound, with Warren Spicer’s vocals way up front in the mix, suiting the material just fine. While the lovely harmonies that sweetened their Polaris-nominated debut album, Parc Avenue, are missed, understated acoustic moments like opening track “Before,” and the midway interlude “HC” nicely offset Crazy Horse–style rave-ups like “Crisis!” (featuring the priceless chorus “We’re somewhere between a crisis and a pretty good time”). The End of That manages the neat trick of sounding contemporary, even as it harkens back to loose, ’70s-style guitar rock, ragged in all the right ways.