QR Music Review: Love Is Dead / Chvrches
Since their formation in 2011, Scottish synth-poppers Chvrches have managed to redefine a scene that they inherited to fit the modern world. Electro-indie pop seems to be taking the world by storm, both in domestic sales and on the festival circuit. Despite their predominant role, however, Chvrches seem to have suffered at the expense of themselves: whilst local legends and indie scene heroes, they've yet to score a hit single in the charts using the genre they helped popularise. Whilst they have denied any desire to achieve this (I mean, the charts aren't exactly ‘cool’ nor, would it seem, are they making money), newest album ‘Love Is Dead’ seems to be a statement album, combining their political views with their pop sensibilities in what is their most daring album yet. Unfortunately, success does not always come to those who dare.
The inclusion of producers Greg Kurstin (Adele) and Steve Mac (Clean Bandit) indicate a definite shift in the band towards the mainstream. Having said this, the infusion of their political viewpoint, not exactly something symbiotic with synth-pop, also indicate a desire to remain true to the roots and attitudes that made them who they are. It proves to be too great a task, however, as the band suffer from being overambitious. Half of the songs on the album are too crammed full, leaving listeners wondering what they should or shouldn't be listening to, making each play an endeavor in effort, whereas the other half sacrifice too much of their indie bite, rendering them bland and predictable. Long renowned for their intricacy and honesty, the piercing synth beats now ring hollow and what should be anthems instead resemble whimpers.
Save for a few songs, ‘Love Is Dead’ could be seen as an artistic disaster. When considering opener ‘Graffiti’, with its pounding drums and addictive hook, the juxtaposition between the menace and cynicism of the lyrics and the airy, liquid beats of ‘Deliverance’ or the inescapable emotional outpouring of ‘Wonderland’, there is enough to have a civil argument with any fan that there is reason to find enjoyment in this new album. After all, it should be noted that the tinted and bright lyricism and frantic metaphorical language is still present, and the vocals of frontwoman Lauren Mayberry have not missed a beat. And, everything that is weak about this album also all but guarantees it radio airtime.
In a vacuum, there is certainly a place for these songs, namely stadiums or festivals, which means that in at least some ways Chvrches achieved what they set out to do. However, it is unavoidably plain after just one full listen - and I had three - that most of the songs follow the same basic, repetitive formula that modern chart music is built upon, leaving the album feeling drab, dishonest and sure to leave a sour taste in the mouths of fans. Chvrches clearly have something to say, as evidenced by the few bright spots and their prolific history. I just wish they'd spent more time figuring out what it was.
By Benjamin Magee