The elephant in the room
Cage the Elephant would be praised for creating something eclectic and, for the most part, enjoyable with their latest album — if they had come up with it five years ago. There’s nothing truly wrong with Melophobia, the band’s third record, except almost every song sounds like something that’s been done before. And not in a good way.
Recently, front man Matthew Shultz revealed that the band strayed away from other musical influences in order to develop a unique and intrinsic sound. For some reason, this backfired.
I’m hoping it’s the awful quality of my laptop speakers, or the slow Internet connection that’s distorting some would-be masterpiece, but with its over-synthesized, jarring beats and low-fi electro-pop verses, Melophobia comes off as something every indie band today has already done.
The group’s debut self-titled album dropped in 2009 in spectacular fashion. It was the best thing you were never allowed to have as a kid. It was vulgar, strutting, confident and cocky — the John Bender of alt-rock albums. Shultz’s bluesy, whiny, almost self-depreciating vocals begged you to join him in illicit activities even he didn’t understand. Their sophomore LP, Thank You Happy Birthday, though definitely more progressive and refined, retained the true attraction of Cage The Elephant: Shultz’s drunken, unstable, growling, irresistible voice.
Enter Melophobia and that attraction is gone, replaced by the all-too-common electronic, low-fi, falsetto characteristic of MGMT and Passion Pit. And while this style isn’t unfavorable, it’s nothing new. The first track “Spiderhead,” starts with six powerful guitar strums, which would be interesting and engaging if it didn’t almost exactly mirror Muse’s “Knights of Cydonia.”
The album’s first single, “Come A Little Closer,” features subdued, drowned verses and a loud, jarring hook. Although appropriate for an angsty brooding session, the song seems like more of a late-era Beatles interpretation than anything else.
“It’s Just Forever” features female vocals and might be one of the more innovative songs on the album, but mainly for this feminine accomplice’s sultry shouts and a discordant piano outro.
“Take It or Leave It” sounds like a Vampire Weekend/Beatles collaboration. It starts with a twitchy beat, reminiscent of Vampire Weekend’s African chamber-pop feel, but digresses into a light, strumming buildup that culminates with something scarily similar to the Beatles’ famous “I Want To Hold Your Hand.” “Telescope” has a similar effect, but harnesses the story-telling aspects and huge instrumental breaks of both bands.
The most notable song on the album is one shining artifact from the bad-boy days. “Teeth” begins with an amp overload and quickly transitions to fast-paced electric guitar. It is one of the few songs, if not the only one, where Shultz’s taunting vocals are actually recognizable. “Now shut up and dance,” he commands, obviously the same master of mischief somewhere deep down inside. The intro to “Black Widow” seems to follow the same path, boasting sensual trumpets and powerful guitar, but quickly lets you down as Shultz’s falsetto interrupts the masquerade.
Melophobia is a word of Greek origin meaning “fear of music.” Perhaps Cage the Elephant named their third album with the intent of creating a new genre — something completely impervious to other influences, or music-fearing. If so, they missed the mark.
Or maybe I missed the whole point, and this record is an ironic testament to the fact that influence can’t be avoided. But the bottom line is, Melophobia, while a relatively entertaining listen, isn’t notable, nor is it novel. Dust off those Beatles tunes. Listen to “Sleepyhead.” You’ll get the same general effect.
