Type: Album
Genre(s): Indie Pop
From: Germany/Norway
Release: June 5, 2006
Producer(s): The Whitest Boy Alive
This record has bass and guitar tones that are consistently appealing and smooth — although they can sometimes be ever-so-slightly lacking in variation at some points of the record. Additionally, the tracklist is inconsistent, some songs are nothing short of admirable and powerfully danceable; however, there are enough tracks with a lack of oomph to bring the record down.
Lyrically, the simple approach to understandable and relatable perspectives is quite an agreeable decision track after track. Even if they never evoke much, they do an appreciable job of accompanying the songs and giving Erlend Øye an excuse to grace us with his sweet voice.
•Low 8•
Highlights: Burning, Golden Cage, Inflation.
Lowlifes: Don’t Give Up, All Ears.
Track-by-track review
Burning is really repetitive lyrically. It’s also a somewhat amicable take on not getting caught up on people’s unsolicited advice and expectations but rather on a “motion”: living life as an individual. Sonically, the bass arrangements are really enjoyable and head-bob-inducing, while the guitar riffs are equally groovy and fitting. What’s more, the buildup to the solo is an applaudable structural feat.
Mid-High 8.
Golden Cage is honestly a pretty good spot in the album from a lyrical standpoint, exploring how a relationship is dead long before the actual breakup. The *golden cage* acts as a metaphor for the notion that staying together is no less than a prison if the relationship is unhealthy or lacks vitality. Instrumentally, the bass and guitar arrangements greatly complement each other once again — since the tone and composition keep being immersive and rhythmically soothing.
Mid-High 8.
Fireworks: here, someone is trying to convince a possible partner to be with them, despite something being in the way — presumably, the love interest is already in a relationship. At any rate or interpretation, it’s not that strong of a lyrical point. Audibly, the mixing favours the smooth vocal performance this time around, leaving the guitar as accompaniment (with quite an enjoyable riff).
Low 8.
Done With You is a lukewarm ‘I’m going my own way’ approach to a breakup song. Otherwise, the bass riff and tone are respectively moving and rich enough to carry the whole song to a highly likeable extent along with the silky snare tone and complementing guitar syncopation.
High 7.
Don’t Give Up is an intricate track with two possible interpretations. Overall, it’s a nihilistic critique of life, and so the *Don’t give up* line and title could be interpreted as sarcastic. However, the instrumental becomes so inspiring towards the end that it actually feels like it’s telling you to face life despite everything mentioned. It’s quite an applaudable effort, and clearly one of the best thought-out tracks on the record. That being said though, it falls flat because of how humdrum and lacking in energy it is when compared to other tracks.
Low 6.
Above You explores many aspects in life that could hold a person back — with a silver lining in the form of the hook, which has the message that it’s up to oneself to reach for the stars *above you*. Instrumentally, it’s a really playful cut, especially because of the jumpy synth work towards the end. Moreover, it’s once again groovy and evocative due to strong performances and chemistry between arrangements — even if it’s a more laid-back track in terms of both energy and flavour.
Mid 7.
Inflation seems to be about being caught up in only being able to find meaningless sexual relationships (and probably wanting more from human connection, without knowing how or why). The bass and guitar arrangements are again some of the best on the record, mostly because of their beautifully intertwining syncopation. It’s also worth mentioning that the vocals continue to be a nicely comforting addition to these plump rhythmic grooves.
Mid-High 8.
Figures simply albeit emotively explores the stale-becoming moments that lead to a breakup, as well as the melancholic reminiscing that comes after it’s all over. Moreover, it has an evocative instrumental — courtesy of a great mix and a rhythmically immersive guitar riff. Except for the pace-changing structural decision (due to the loss in inertia it causes) this cut is rather hard-hitting and memorable.
Low-Mid 8.
Borders is probably the most hurt and tortured post-breakup disposition on the record — again; in a simple, honest, and relatable way. Instrumentally, it’s a slow-paced, calming, and soothing yet still rhythmically evocative track. It’s a bit overly laid back, however, and a tad overlong.
High 7.
All Ears explores the need of being listened to and supported by others in difficult times, even if done so by just “five minutes without talking”, regardless of how unconventional it might feel to ask for it. The instrumental lacks the eccentricities boasted by previous tracks and thus remains an inoffensive and amicably tranquil cut; simultaneously unevocative and unmemorable.
Low-Mid 5.