I believe bands should take every possible opportunity to change their sound. I am on record across multiple reviews stating that artists should embrace ambition. They should make the music that makes them happy. If they want to keep their tried-and-true sound across multiple albums, that’s their choice. But I would much rather listen to acts that take musical risks on a regular basis. To be clear, they might fail and do so spectacularly. I’d rather them try something new because it interests them artistically than sink into a comfortable rut.
Which means I’m super-excited about the new Pip Blom album.
Bobbie bursts with 12 tracks clear-eyed synth-pop that deliver big dreams and bigger sounds. Earlier albums from this talented Dutch outfit featured whimsical yet heartfelt indie-pop. I absolutely loved what the group did just two years ago on Welcome Break. To the neophyte, it might seem simple just to switch out guitars for keyboards and keep writing sharp pop songs. Pip Blom did the opposite. They sought to expand their skill sets and flex their creative muscles by intentionally crafted tunes designed specifically for synths.
Released on Heavenly, this breezy and fun record showcases the band’s desire for reinvention because it’s rooted in quintessential indie rock verve. The group’s namesake and leader, Blom’s terrific soprano vocals absolutely rule. Not only do they flit and float with delirious ease, but her delightful break feels very authentic and relatable. By combining airy keyboard runs with slinky swathes of synth, the melody lines pulse with life instead of being twinkling or twee. Rest assured, there’s plenty of guitar buzz to be found, and it complements the taut drum production, whether it’s programmed or human.
What truly elevates Bobbie is its penchant for movement.
It’s evident both in the arrangements themselves and in the kinetic feel of the overall performances. I’d almost call it nervous energy, but it feels more intentional than subconscious. Pip Blom can’t sit still because they’re so amped up to write songs in a different way. But instead of being enamored with themselves over their own eccentricities, they focus on song craft and execution. Thus, these songs seem earnest, not frenetic or off-putting.
The album is an absolute stunner, giving tremendous Chvrches, Eurhythmics, Metric, and Erasure vibes. Standout tracks such as “Kiss Me By the Candlelight,” “I Can Be Your Man,” “Where’d You Get My Number” and “Get Back” contain heaps of hooks without being cookie-cutter power-pop.
I love its rambunctious and lovable golden retriever personality: the music might be in your face, but it wants to connect with you without being cloying. Moreover, it’s somehow jittery yet focused, as it speaks with an artistic clarity I felt in my soul. This is what I’m talking about when I say more artists should listen to their hearts and make the sort of music that interests them. I can only hope that Pip Blom wants to dive headlong into either Bjork, Fever Ray, or Robyn on future albums.