The Washington, D.C.−based indie−pop trio Jukebox the Ghost recently released their sophomore effort, "Everything Under the Sun." Coming off of 2008's acclaimed "Let Live and Let Ghosts," fans eagerly anticipated a fresh set of songs, replete with the same bouncy, retro vibe of their debut.
The LP kicks off with "Schizophrenia," one of the strongest tracks on the album. The track opens with a jumpy piano riff and Ben Thornewill's delightfully frantic vocals. Nervous lyrics and a loopy synth hook combine stunningly, and the result is a song that is pure fun. That same jauntiness comes across in "Half Crazy," another track on the album. Unfortunately, while "Half Crazy" is well−produced, the song feels like a lesser version of "Schizophrenia." The chorus melody, aided by Tommy Siegel's falsetto, saves the song from complete redundancy.
Thornewill's "Empire" showcases the band's songwriting quality. In this song, Jukebox musically maintains their sunny pop theme by combining the piano and the glockenspiel. However, with lines like, "I've got my knives in the heart of my sleeves/But this weather's getting too nice for me/To keep an empire at peace," the band hints to a darker side disguised by their bright composition.
Another intriguing track is "The Sun," which picks up with a splashy piano intro soon joined by galloping guitar and drums. Instrumentally, the song provides some of the most interesting moments on the album.
Unfortunately, several tracks on "Everything Under the Sun" fail bring that unique energy to the table. "Summer Sun" opens with an easy piano arpeggio and tight harmonies provided by Thornewill and Siegel. The track again features piano and glockenspiel and moves from low to high energy halfway through, with Siegel providing tube−scream guitar power. The attempt is fair, and yet the song passes without incident and is uninteresting overall.
"Mistletoe" is another skippable pop number; like "Summer Sun," it feels like a filler track. Drummer Jesse Kristin provides bouncy percussion, while Thornewill relies on such unreliable lines as, "Don't look at me like another lost soul."
"So Let Us Create" feels equally recycled, with monotonous lyrics and a soft−pop sound. Considering that the band went into the studio with over 25 songs to record, it is a shame that these unremarkable tunes made the cut.
"Carrying" opens up with the same old trick of glockenspiel doubling guitar and piano parts. While it certainly creates a sunny−pop aura, it's one that's already been delved into several times before; as one of the CD's later tracks, it just sounds lazy. Thornewill and Siegel fail to impress lyrically with cookie−cutter poetry that's easy to stomach and is quickly forgotten.
Near the end of the CD, Jukebox picks up speed again. "The Stars" opens with a tightly synchronized piano and guitar riff that weaves under an arching synth hook. The refreshed vigor in Siegel's voice and the comparatively original songwriting make the song interesting, and the track provides respite from the heavily traveled pop territory that makes up the bulk of the album. The harmonized guitar and synth riffs return in the second half of the song, finishing it off with pop power.
The upward trend continues with "The Popular Thing," a track that sounds a bit like a Broadway number. Thornewill provides some catchy piano work admirably supported by the rest of the trio. It's definitely worth the time it takes to listen to it, a compliment that can't be given to many of the other tracks.
Considering the originality and fervor of Jukebox the Ghost's debut, "Everything Under the Sun" is an overall disappointment. Through overuse of pop tricks (lay off the glockenspiel, boys) and hyper−slick production, Jukebox the Ghost has lost their former distinctive quality. This is yet another sad case of the little "indie−band−thatcould" getting stuck in a rut after acquiring a bigger album budget. While "Everything Under the Sun" certainly isn't bad, it really isn't good either. It's inoffensive and would be good background music for a social gathering or a sunny highway drive, but attentive listeners shouldn't expect to be able to stomach the entire middle of the album. Sticking to the fringes is the best plan.
