Have you ever wondered what would happen if a band shut themselves off from as much music as possible while they were in the process of recording an album? It appears that this could result in a sound resembling the latest record from Kentucky-based indie rockers Cage The Elephant. Melophobia, which roughly translates as the “fear of music,” is the title of the third full-length studio effort from the group, and it released everywhere last October.
“Spiderhead,” a fun tune with a bluesy riff and a groovy bassline, starts things off on the right note. Singer Matthew Shultz’s crooning throughout the chorus and the bridge completely seals the deal, before the band speeds things up, albeit briefly, for the outro. Next up is “Come a Little Closer,” which was the first single released from Melophobia, and with good reason. It’s just about as accessible as an alternative radio single can be, and there’s even a psychedelic music video that was released to complement the song. The bass is prominent, the guitar has lots of twang, and there are even some keys leading into the final chorus. “Telescope” offers a bit of a reprieve from the fast-paced, aggressive nature of the first two tracks. Don’t be fooled though: “Telescope” may be a slower song, but it definitely holds its own.
Although things only pick up slightly during the bridge, “It’s Just Forever” brings the rock right back. Here, Shultz and featured guest vocalist Alison Mosshart blend quite well together. The group adds even more flavor to the song when they kick into a fast ¾, both immediately following the choruses and also during the bridge (where Mosshart solos at first before Shultz comes back in). The piano goes wild just before the song ends. “Take it or Leave it” starts with a simple yet infectious riff, which sticks around for the majority of the song, particularly the verses. The mini-breakdown during every refrain only adds to its charm. “Halo” follows, and although there isn’t anything that makes this song stand out from the rest of Melophobia, “Halo” is still a fairly decent track.
[youtube=https://www.youtube.com/watch?v=KVYup3Qwh8Q&feature=kp&h=297&w=450]“Black Widow” comes in full-force with a fast drum pattern right away. The rest of the tune is great too, and it helps that there’s an all-star horn section (comprised of trombonist Roy Agee, known for his work with Prince, session trumpeter Mike Haynes, and Jeff Coffin, the saxophone player for the Dave Matthews Band) adding layers to the song. “Hypocrite” keeps the horn section in the mix, but slows things down a bit. The horns stay in the background until right up near the end, when all three guys go crazy. Not only are the horns there, but also Shultz once again delivers with his crooning melodies. In fact, “Hypocrite” is one of his better vocal performances on the album. “Teeth” is the final song featuring the dynamic trio that is the all-star horn section.
Undoubtedly the most chaotic song on the record, “Teeth” is absolutely phenomenal. The combination of raging guitar, thumping drums, thunderous bassline, and subtle horns perfectly complements the purposefully-yelled vocal lines. This continues right up until the bridge, when all of the instruments, but particularly Jeff Coffin, cut loose. His insane saxophone lick takes the song to a whole new level. Shultz returns, and the band plays through the chorus one final time, before they all slow it down in order to parallel the extended spoken word outro. The record finishes with “Cigarette Daydreams,” a softer number driven mainly by piano and acoustic guitar. Essentially it is for Melophobia what “Flow” was for the group’s last full-length, Thank You Happy Birthday. The former is just a little bit more upbeat than the latter. Nonetheless, “Cigarette Daydreams” is a good closer to an even better album.
On their latest effort, Cage The Elephant once again prove that they are one of the most talented groups in alternative rock. Melophobia has many more highs than lows, and although it may not measure up to the status of 2011’s Thank You Happy Birthday, it looks like the rockers from Bowling Green have found their signature sound and are sticking with it.
Well played Tuned Up