For those new to this Swedish pop collective, their newest album ‘WYWH’ is perhaps not the best indicator of the band’s overall sound.
Over the course of the first three albums, the band’s vocalist has been replaced, and their sound evolved from catchy, twee indie pop into something more ambitious. Their latest record, the first release from the traditionally prolific band in three years, takes another new direction: “Disco”.
It’s hardly Abba though, with thumping bass and drums drowning out Lisa Milberg’s dulcet tones from the word go. First single 'Good Evening' is possibly the most rhythmically driven track on the album, and also the longest. The airy synths that dominate aren’t dramatically appealing, but the track does end on a high note with guitars finally entering the fray.
Whilst there are some pleasant melodies littered throughout the record, something The Concretes have an aptitude for, there is also very little variation. By 'Sing For Me', the band sound like they’ve almost run out of ideas with the same sustained, chordal pattern plaguing every song.
'WYWH' builds up steam when it breaks away from the norm, with the Robyn-esque 'I Wish We’d Never Met'’s sparkly piano melody being a highlight. The final, and title track on the album, could nearly call itself the album’s peak with the progression being the most developed and diverse on the record.
Ultimately however, it drags out like an unsatisfying meal, and that’s the best way I can describe this album. The Concretes are melodically sound and always a pleasurable listen, but they sound out of their depth on this record as they attempt the plunge into synth-pop territory. It’s nice and summery, but not terribly interesting.
Stereoboard Album Rating: 5/10
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Whilst there are some pleasant melodies littered throughout the record, something The Concretes have an aptitude for, there is also very little variation. By 'Sing For Me', the band sound like they’ve almost run out of ideas with the same sustained, chordal pattern plaguing every song.
