6/10
CSS attempt to follow-up its cheery and infectious debut with polished, stripped-down versions of songs that sound too familiar, more Americanized and, at times, impenetrable.
What makes a song like "Alala," "Patins" or "Art Bitch" instantly catchy and absorbing is the group's simplicity, feel and focus on the overall message of the music: dance-rock themes with minimal hooks and a dynamite front woman who could out-run the Energizer Bunny. The beats, guitars, and bass drove forward while syncopated synths were scattered in just the right amount. CSS never sounded like they needed to check and make sure they were doing the right thing, but they always managed to sound ... right. The group proclaimed itself to be a party band that loved to hang out and drink, and the songs reflected just that. But now?
The two current singles being pushed, "Rat is Dead (Rage)" and "Left Behind," are largely forgettable and below-average examples of the band's strength, although "Rat" does have a pretty decent chorus. However, there are much better 'hits' that could have been prepped. The first noticeable, and cohesive, track is the opening rocker "Jager Yoga." It's the band's best attempt at writing a radio-ready single without relying on over-reaching guitar squeals, which you'll hear a lot of on this album. "Beautiful Song" is even better -- merely because it mimics the playfulness and 'I wish I was partying with them' feel of the quintet's self-titled debut.
Towards the end of the disc, "Air Painter" follows the same path. Lovefoxxx doesn't sound rushed or as if she's trying to catch up to a carefully placed guitar solo. To be honest, most of the record falls somewhere between instant-ready 80's chart-pop and Debbie Gibson-like melodies, and it's just so damn hard to get invested in.
I'm also still unsure how the kids will approach this album. With so much outstanding electronic-pop happening these days (Cut Copy, Crystal Castles, Midnight Juggernauts, etc.) I'd bet that the masses are way more savvy then they were a few years back. But then again, take a look at the indie music landscape in general and you don't see much originality or imagination in even the best releases this year has offered. Regardless, I've got my fingers crossed for CSS.
The Mars Volta, Gogol Bordello and Black Lips (Sunset Junction) will draw a decent crowd to this years L.A. Weekly Detour Festival, but where's the rest of the beef in this slider-sized event? Cut Copy and Datarock are also solid, but can they sustain the kind of audience needed to keep attendees interested in the lesser known groups? And finally, there's the L.A. talent: Mae Shi, Afternoons, The Submarines ... that's it? I'm confused.
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