Reading Time: 4 min read

4 out of 5 stars

Neon Trees, Pop Psychology Ā© MercuryAlternative pop collective Neon Trees excel at ā€˜neo-, New Wave’ on their third album, Pop Psychology.

ā€œSleeping With a Friendā€ was the first thing that caught my eye about alternative band Neon Trees’ third LP, Pop Psychology.  The cover of the latest album didn’t hurt, but having never heard the single, the title itself was enough to grasp my interest. ā€œSleeping With A Friendā€ is tamer than had it been performed by an R&B or rap artist – that’s almost definitely a blessing.  What Pop Psychology does have that makes it a successful album is plenty of energy and the utmost consistency.  Maybe shock value isn’t part of Neon Trees’ arsenal, but they have plenty of other goods to offer.

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ā€œLove in the 21st Centuryā€

ā€œLove in the 21st Centuryā€ kicks off Pop Psychology exceptionally, with an overall air of ā€˜feel-good’. The production work is balanced, never sounding under- or overproduced.   The songwriting stands out, particularly on the chorus:

ā€œI guess it’s love
In the 21st century 
Oh oh it’s touch 
Broken heart technology 
Your kisses taste so sweet 
But then you quick delete 
Love in the 21st century.ā€

ā€œText Me in the Morningā€ keeps both momentum and tempo up.   Much like the opener, ā€œText Meā€ is soundly produced and pleasant.   Among notable lines is verse two’s

ā€œWoke up all soakin’ wet from last night’s fever
Smelling like cigarettes and broken promisesā€¦ā€

ā€œSleeping With a Friendā€

The third consecutive standout, single ā€œSleeping With a Friendā€ is neo- new wave at its best. ā€œWe are both young hot-blooded people,ā€ frontman Tyler Glenn sings on the bridge,

ā€œWe don’t wanna die alone
Two become one, it could be lethal…sleeping with a friend.ā€

Glenn and the band definitely begin Pop Psychology in superb fashion.

ā€œTeenagers in Loveā€ is no slouch either, continuing to exemplify the consistency of Pop Psychology.  Once more favoring a quick tempo, ā€œTeenagers in Loveā€ sticks it right to the listener with its speed.  Like the majority of the LP, Tyler Glenn never has to tussle with the production in order for his pipes to be heard – he sounds marvelous thanks in part to himself and the vocal production itself.

ā€œI Love You (But I Hate Your Friends)ā€ is even feistier than ā€œTeenagersā€, finding Glenn adding a few ā€˜colorful’ words to the mix (if you catch my drift).  Still, as fun as ā€œI Love Youā€ is, the scenario presented by Neon Trees is very plausible:

ā€œI love you but I hate your friends
They’re all desperate
If you knew what I know would you be ready to goā€¦ā€

The beat thumps on ā€œUnavoidableā€, a fine duet between Glenn and Elaine Bradley.  It isn’t a reinvention or anything but is another worthwhile listen.  It’s ā€œunavoidable / You are the magnet…pull me in.ā€


ā€œVoices in the Hallsā€

ā€œVoices in the Hallsā€ gives Pop Psychology a more pronounced contrast compared to previous showings.  That’s no knock to the previous cuts, but ā€œVoices in the Hallsā€ stark differences makes it shine, keeping Pop Psychology from drifting into sameness and predictability.  Eschewing percussive accompaniment initially, though still rhythmic, the brief ā€œVoicesā€ relies on its synths to drive.  Eventually, looping, mysterious drum programming adds more definition to the rhythmic scheme. Haunting, ā€œVoices in the Halls possesses some truly stunning lyrics, particularly on verse one:

ā€œI can taste your lemonade
Bittersweet like every summer fling
Been keeping up with all your stories
Talking to your ghost when I’m asleep.ā€

The chorus isn’t quite as poetic, but it gets the job done giving off the ghostly sentiment.  The vocal treatment of lyric ā€œIn the hallsā€ in particular is a highlight.

The album closes soundly as well, if less electrifyingly compared to the ā€˜stacked’ opening.  ā€œFoolish Behaviorā€ is more straight-ahead compared to ā€œVoices in the Hallsā€, but that’s no deal breaker; it’s an appropriate contrast.  Perhaps ā€œFoolish Behaviorā€ doesn’t have the oomph of a juggernaut the likes of ā€œSleeping With a Friendā€, but it still incites head nodding and foot tapping.

So does ā€œLiving in Another Worldā€, another well-done neo- new wave joint.  Of the penultimate cut, the guitar parts stand out in particular.  Closer ā€œFirst Things Firstā€ has the distinction of being the album’s lengthiest cut.  Length isn’t a factor as ā€œFirst Things Firstā€ closes impressively with its clapping drums and intriguing synths.


Final Thoughts 

The overall verdict for Pop Psychology – favorable by all means! It isn’t an album that is innovative, but few are.  Additionally, it isn’t an album that necessarily ā€˜jumps right out at you’, but that’s no shade or shame either.  Just because Pop Psychology doesn’t try to reinvent alt- and pop music, doesn’t make it inferior in the least – it is far from it.  With no misses and most – if not all – of its I’s dotted and T’s crossed, Pop Psychology gets my blessing.

Gems: ā€œLove in the 21st Century,ā€ ā€œText Me in the Morning,ā€ ā€œSleeping With A Friendā€ & ā€œVoices in the Hallsā€

4 out of 5 stars


 Neon Trees • Pop Psychology • Mercury • US Release: 4.22.14
Photo Credit: Mercury

 


the musical hype

the musical hype (Brent Faulkner) has earned Bachelor's and Master's degrees in music (music education, music theory/composition respectively). A multi-instrumentalist, he plays piano, trombone, and organ among numerous other instruments. He's a certified music educator, composer, and freelance music blogger. Faulkner cites music and writing as two of the most important parts of his life. Notably, he's blessed with a great ear, possessing perfect pitch.

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