“Oh London moon, help me stumble home. Let me lose myself along the way. I’ve got nothing left. It’s kind of wonderful. Cause there’s nothing they can take away.” It’s clear from the first verse of the first track that James Mercer (lead vocalist and guitarist for indie-rock pioneers The Shins) and Brian Burton (better known as Grammy award-winning artist-producer Danger Mouse) have set the stage for yet another incredibly smooth and wildly infectious studio album. Ever since the “mellow-pop partnership” first collaborated in 2009 and having released their previous self-titled LP in March of 2010, most of us have been waiting with baited breath for a follow-up to quench our longing for more. Nearly four years later we have the much-anticipated After The Disco, which picks up right where they left off and refuses to disappoint.
The album begins with six and a half minutes of poetic, post-party, disco perfection. “Perfect World” is an introduction to their most recent foray, with thoughtful lyrics, sprawling synth, and an optimistic-pessimist honesty. The track begins with a dancing rhythm and Broken Bell’s signature swirling space-rock synth. It sonically conveys the feeling of one descending through the atmosphere back to earth and reality–only to realize the world in which we live will never truly be perfect. Mercer comes to grips with this while the pair simultaneously make it impossible to stay still (Why would you want to?!). The title-track, “After The Disco” (which accurately describe the post-disco vibes recurring throughout the album,) will be seen by many as the standout single from this atmospheric, indie-pop gem. The thumping bass-line, shimmering synth, and soaring falsettos are undeniable, and simply refuse to leave your head. “Holding On For Life” was the first single to be released in anticipation of the album and draws direct comparison with the Bee Gee’s featuring Mercer’s soaring falsettos and Burton’s flawless instrumentation. With lines like “What a lovely day to be lonely,” you begin to witness the bittersweet, transparent lyrical theme unfolding. “Leave It Alone” has a more soulful ballad feel to it as Mercer sings “I’ve been all around the world, but got nowhere to go. I give into this lonely life, and you can’t change me now, so just leave it alone.” These guys wrote the book on melodic melancholia.
“The Changing Lights” begins with a muted bass-line cadence and sweeping synth before the chorus crescendos into sweet harmonies and falsettos that’d surely make the 70’s smile and nod. “Control”-one of my absolute favorite tracks on the album-begins with a vibe that could very well be from a spy movie of old before smooth strings slowly melt in, which are later invaded by lo-fi distortion in the second verse. The chorus is a definite head bobber. Probably one of my favorite moments on this new-born masterpiece is the somewhat celebratory outro of “Control,” with its layers of organ and big-band brass that resonate in your head long after the music has stopped. The following track, “Lazy Wonderland,” actually feels as if you’re slowly descending into the very ‘underwater world’ Mercer is singing of in the opening verse. It’s soothing waves of synth swaying as the chorus develops a nostalgic ebb-and-flow that’s fitting and balances out the overall pace of the album.
“Medicine” will have you riding right along its muted guitar and urban rhythm. Background vocals then answer and complement Mercer’s melodic singing before transitioning into a relaxed outro with the open strums of an acoustic sprinkled with chimes. “No Matter What You’re Told” begins with an intricate instrumentation featuring layers of brass, xylophone, and that trademark fuzzed-out bass thump that sounds so good. The chorus is reminiscent of something I could see the Black Keys playing-and it sounds great. (Can you guess who has produced for them before, among many others?) “The Angel And The Fool” brings it down a notch once again and has a flavor of nostalgia a la “Stairway To Heaven.” It’s a beautifully composed song with tangible emotion and soul. A haunting yet wonderful whistle floats through the refrain of a gospel-like background chorus. It’s as if Broken Bells has taken our ears to church.
The album is bookended with “The Remains of Rock & Roll,” opposite of album-opener “Perfect World.” It begins with some of the finest lyrics I’ve heard, let alone on this album, as Mercer sings “It’s too long to wait around for everyone to decide. I’m off to the promised land if anyone needs a ride. It’s a small car, but we’ll fit inside if we leave our bags behind. We’ll entertain ourselves just watching the world go by.” We’re now left ascending from the same earth that we’d originally descended toward at the album’s start, before exploring nine tracks reflecting the bittersweet symphonies of life from the dark side of the disco ball.
No longer should this dynamic duo be considered a mere “side project,” as Broken Bells have developed a consistency and signature sound that’s all their own. There’s a place for them, just as much as for their original projects and endeavors. Between the two of them their talent knows no end, so how could Broken Bells produce anything less than the timeless synth-pop soundscapes they’ve already given us?
I will say this: After The Disco, personally, was and is a pleasure to listen through on all levels. For anything great there’ll be people that hate. Some will complain Broken Bells played things “too safe” and weren’t as experimental and pioneering as they were before…yet they produced eleven solid tracks with no “filler” and without sacrificing their identity or leaving their fan base stranded. They strengthened their signature sound and style, and have given us more timeless tracks that will be in heavy rotation for years (as they did with their debut in 2010.) If I’ve learned anything, I’ve learned that the best things take time. These guys have honed their craft and owned their talents. These Broken Bells ring as loud and clear as they ever have on After the Disco. Guess not everything “broken” needs fixed.
Rating: 5/5