It’s been three years since electro pop band Passion Pit released their debut full-length album and won over fans across the board. Since then, they’ve received a soaring amount of credible reviews, toured alongside outstanding bands, such as English-natives Muse, and finished up their second full-length album, “Gossamer.”
Back in May, the band unveiled the opening track, “Take a Walk,” and expectedly, received all sorts of feedback--criticism included. I’m a fan of the single, and therefore a fan of all that the Massachusetts-natives were able to accomplish from where they left off. “Take a Walk” is a mellow track, with a steady beat and a catchy hook that lead singer Michael’s voice harnesses perfectly.
A few other shining tracks include the upbeat, “Carried Away,” mimicking a chiming piano and a steady hook, and “Love is Greed,” which successfully brings back the bubbly sound that rose this band to fame from the start.
But it’s “Hideaway” that really steals the show through the entirety of this album. The chorus isn’t necessarily catchy, but instead an excellent depiction that not every single song on this album needs to sound exactly the same (a misconception with Michael’s unmistakably distinguishable voice). The avid use of instruments and thick blend of vocals drives the song to its peak-a revolving hook and an unmistakable chorus that, to this day, may be their best work to date.
There are a few, however, that tend to fall flat. “I’ll Be Alright,” is driven from screeching vocals and sound effects; something that, although may be concrete to Passion Pit’s unique sound, feels a bit overdone and overriding. The synthesizer is a nice touch, but again, can barely shine over the dominant dubstep-esque beat that carries into every verse.
“Constant Conversation” simply feels out of place. On an album built out of spritzy, melodic sounding tracks, the song is far too R&B sounding to fit the bill. And while I commend Passion Pit on doing what could be considered “outside the box” thinking, I think it was a bit too much of a stretch to feel like it had a proper place within this track listing.
“Where We Belong” end this album on a steady note, though, reviving Passion Pit into what fans have come to know and love about them. The electric opening and string quartet, matched with chiming bells and synthesizers, takes on a whole new meaning to electro pop. And when stripped down, Michael’s voice is nearly flawless. Ironically enough, it’s a simple song once the first chorus has ended. Sometimes, though, simple is a better showcase than anything, and this is clearly no exception.
Not only has Passion Pit returned, but also they’ve returned with another all around good collection of groundbreaking music. It may fall here and there, and like most cases, may need to be critiqued, but they end with a raw reminder of why we can only look forward to hearing what else is to come.