Chairlift’s remarkable pop streamlining continues at thrilling pace: after breaking through as a kooky indie band soundtracking iPod ads in 2008,
Chairlift Moth their first giant leap came with ‘Something’, their second album of irresistible Madonnaindebted hooks in 2012.
Now, ‘Moth’ is another major progression: preserved from ‘Something’ is the duo’s preternatural ear for melody,
simultaneously novel and familiar, and Caroline Polachek’s knack for the sort of gut-punching lyrics normally found on Joni Mitchell albums
Chairlift Moth (particular the gorgeously sad centrepiece ‘Crying In Public’).
Added to the recipe is an elegance of arrangement and weightless production that lifts the whole album effortlessly from the speakers
(the latter probably aided by the band’s work on Beyoncé’s latest LP). What’s more,
Chairlift’s tendency to let albums sag towards their end is entirely shaken off here: ‘Moth’’s final trio of songs are a delightful demonstration of the breadth of the pair’s skills.
Seductive, nuanced, sophisticated and, perhaps most importantly, continued progress.
And it’s also this exploratory outlook that drives Alex down new, more inventive avenues as he discovers and develops AGWNN’s admittedly raw sound.
“I like to push myself and the way I write is, if I’m in a rut, if I find something isn’t giving me the results, I’ll try a different approach.
Equally, at some point, it’s going to give me an extra creative route to go down. If you put yourself out of your comfort zone,
it’s always going to push you to be creative.
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