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JUNIOR BOYS, "LAST EXIT"
KIN
Ten tracks of soulful, sophisticated synthpop by a Canadian trio withthe cleverly unassuming name of Junior Boys might well be exactly whatthe world needs now. Recent attempts at reviving the urbane electropopof Depeche Mode, Pet Shop Boys and The Human League—by Erlend Øye, ThePostal Service, and even The Human League themselves—have beenhalfhearted and largely uninspired. In their painstaking efforts torecreate the sparkling synthetic tones, drum machine rhythms anddetached vocal style of 80's new wave, they seem to have completelyforgotten about the qualities of innovation, creativity and originalitywhich were the original watchwords of the new wave. Luckily, JuniorBoys have not repeated these mistakes. Understanding the importance ofthe word "new" in the term "new wave," their Birthday and High Come DownEPs were beautifully crafted works of startling freshness, merging theromantic, cultivated elegance of David Sylvian's Japan with the jiggy,imaginative beat constructions of Timbaland. Now comes theirfull-length album on KIN Records, combining both EPs and adding a fewnew tracks. Pop music hasn't sounded this inventive and accomplishedsince New Order released Power, Corruption and Lies. I'm notexaggerating; I've had this record on constant rotation since Ireceived it, and it continues to reveal new charms and ingeniousdimensions with each listen. As I write this, I'm listening to "HighCome Down," a stuttering, off-kilter beat with staccato bass hits andhigh-end synth flutters. Jeremy Greenspan wraps his soulful,androgynous voice around a sad, fragile lyric that recalls the finestby Marc Almond or Dave Gahan. Junior Boys appreciate the value ofsilence and space, and they keep their songs refreshingly unadorned byextraneous composition, analogous perhaps to European MicroHouseartists but without the same annoyingly rigorous asceticism. There aresubtle sonic flourishes that seep into the music almost subliminally -a rattling dub echo or a synthesized chorus that underscores eachbreathy vocal refrain. Of the ten tracks on Last Exit, abouthalf are pure pop genius, and the others aren't too shabby either."Under the Sun" is a song that I keep returning to, a hypnoticseven-minute synthscape with one line repeated like a mantra: "You'rethe sweet one/The sweet one under the sun." This is repeated,trance-like, over a dark, Moroder-esque disco groove that slowlyunfolds to reveal a bright vista of clouds and sun. Junior Boys havecreated an impressive debut album that goes on my shelf right next to Violator, Dare, and Architecture and Morality.
Ten tracks of soulful, sophisticated synthpop by a Canadian trio withthe cleverly unassuming name of Junior Boys might well be exactly whatthe world needs now. Recent attempts at reviving the urbane electropopof Depeche Mode, Pet Shop Boys and The Human League—by Erlend Øye, ThePostal Service, and even The Human League themselves—have beenhalfhearted and largely uninspired. In their painstaking efforts torecreate the sparkling synthetic tones, drum machine rhythms anddetached vocal style of 80's new wave, they seem to have completelyforgotten about the qualities of innovation, creativity and originalitywhich were the original watchwords of the new wave. Luckily, JuniorBoys have not repeated these mistakes. Understanding the importance ofthe word "new" in the term "new wave," their Birthday and High Come DownEPs were beautifully crafted works of startling freshness, merging theromantic, cultivated elegance of David Sylvian's Japan with the jiggy,imaginative beat constructions of Timbaland. Now comes theirfull-length album on KIN Records, combining both EPs and adding a fewnew tracks. Pop music hasn't sounded this inventive and accomplishedsince New Order released Power, Corruption and Lies. I'm notexaggerating; I've had this record on constant rotation since Ireceived it, and it continues to reveal new charms and ingeniousdimensions with each listen. As I write this, I'm listening to "HighCome Down," a stuttering, off-kilter beat with staccato bass hits andhigh-end synth flutters. Jeremy Greenspan wraps his soulful,androgynous voice around a sad, fragile lyric that recalls the finestby Marc Almond or Dave Gahan. Junior Boys appreciate the value ofsilence and space, and they keep their songs refreshingly unadorned byextraneous composition, analogous perhaps to European MicroHouseartists but without the same annoyingly rigorous asceticism. There aresubtle sonic flourishes that seep into the music almost subliminally -a rattling dub echo or a synthesized chorus that underscores eachbreathy vocal refrain. Of the ten tracks on Last Exit, abouthalf are pure pop genius, and the others aren't too shabby either."Under the Sun" is a song that I keep returning to, a hypnoticseven-minute synthscape with one line repeated like a mantra: "You'rethe sweet one/The sweet one under the sun." This is repeated,trance-like, over a dark, Moroder-esque disco groove that slowlyunfolds to reveal a bright vista of clouds and sun. Junior Boys havecreated an impressive debut album that goes on my shelf right next to Violator, Dare, and Architecture and Morality.
