11 Songs, 41 Minutes

EDITORS’ NOTES

Slimmed down to a duo, Brooklyn’s Chairlift combines a sharp pop sensibility with eerie techno ambiance on its sophomore album, Something. Beneath the music’s sleek surfaces, Caroline Polachek and Patrick Wimberly capture a sense of emotional volatility. Something's mood veers from the elegant melancholy of “Cool as a Fire” and “Ghost Tonight” to the jumpy angst of “Amaneaemonesia” and the surging, ominous thrust of “Sidewalk Safari.” The unearthly, echo-bathed “Turning” could fit comfortably on a David Lynch film soundtrack. Polachek’s lithe, immaculately controlled vocals remain seductive even when tinged with shadows of paranoia (as in “Guilty as Charged”). With seasoned pop hitmaker Dan Carey producing, Something emphasizes Chairlift’s affinity for ‘80s-era new wave sounds. “I Belong in Your Arms,” for instance, has the bass-driven aggression of a natural radio hit yet mixes its erotic abandon with enough weirdness to remain distinctive.

EDITORS’ NOTES

Slimmed down to a duo, Brooklyn’s Chairlift combines a sharp pop sensibility with eerie techno ambiance on its sophomore album, Something. Beneath the music’s sleek surfaces, Caroline Polachek and Patrick Wimberly capture a sense of emotional volatility. Something's mood veers from the elegant melancholy of “Cool as a Fire” and “Ghost Tonight” to the jumpy angst of “Amaneaemonesia” and the surging, ominous thrust of “Sidewalk Safari.” The unearthly, echo-bathed “Turning” could fit comfortably on a David Lynch film soundtrack. Polachek’s lithe, immaculately controlled vocals remain seductive even when tinged with shadows of paranoia (as in “Guilty as Charged”). With seasoned pop hitmaker Dan Carey producing, Something emphasizes Chairlift’s affinity for ‘80s-era new wave sounds. “I Belong in Your Arms,” for instance, has the bass-driven aggression of a natural radio hit yet mixes its erotic abandon with enough weirdness to remain distinctive.

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