Oh, the '80s. Copious synth lines, tight leggings, nightclubs and Cut Copy … wait a second.
Despite the obvious anachronism, Cut Copy could certainly fit in with New Order, Echo & The Bunnymen or any other group from the '80s pantheon. Its latest album, "Zonoscope," keeps the '80s vibe alive without feeling trite or contrived. Considering the wave of electro bands and synth-pop revival groups, standing out among a sea of nostalgic 30-somethings is definitely impressive.
One of the tricks Cut Copy has played so successfully on this album is relatively simple: good songwriting. While many bands these days (and in the '80s) relax behind gleaming production values and studio-honed gimmicks, artists like Cut Copy have their cake and eat it, too. Not only does "Zonoscope" sound great, but its well-written songs — from the introspective to the devilishly catchy — offer something for most listeners.
The album opens with familiar territory for Cut Copy fans. "Need You Now" starts with some nice disco bass-drum work, handclaps and a simple synth line. Dan Whitford enters with an understated melody that quickly gets backed up by overdubbed vocals. You couldn't ask for a better vocalist for this kind of music. Whitford manages to cop the vocal stylings of everyone from New Order's Bernard Sumner to The Smiths' Morrissey. The result is an impressive, unique throwback.
Of course, Cut Copy couldn't keep its opening track quiet for the whole time. After four minutes of buildup and minimal production, "Need You Now" quickly blooms into a conclusion that layers vocals on vocals and synths on synths until the listener has few options beyond dancing.
Tracks like "Strange Nostalgia for the Future" couldn't be more different from the opener. Although this song is mostly a transition between the first and second halves of the album, it manages to cleanse the listener's palette while holding his or her interest. The song is an ambient, atmospheric trip that boasts heavily processed vocals and murky soundscapes.
"This is All We've Got" quickly follows, imparting the album with a more mellow rock sound. Fuzzy, impressionistic chords and heavy vocal reverb lend the song a shoegaze sound. Combine these traits with an indie rock drumbeat and you get a hipster's aural paradise.
The tracks that follow keep a similar vibe going, balancing spaced-out harmonies with direct, immediate rhythmic contributions.
"Alisa" combines some delectable new Order-esque backup vocals with propulsive synth work and even livelier drumming. A heavily processed, distorted guitar adds a menacing air to the tune, keeping it interesting. In true Cut Copy fashion, the song ends with an even broader sound than it started, as new synth ornaments and guitar lines are added and expanded upon.
The next track, "Hanging Onto Every Heartbeat" is a welcome change of pace. After the spacey, shoegaze aesthetic of the last few songs, it's good to hear a more direct, straightforward tune. A simple, effective bass line and some catchy percussion contribute to a more traditionally poppy atmosphere. As the song progresses, it sounds more and more like a B-side from French electronic group Air. But hell, that's not a bad thing.
As good as the '80s were for electronic music and synth-pop, the era's music featured a lot more than just these genres. Cut Copy's discography has demonstrated its ability to synthesize different kinds of music into a compelling whole, but as good as this album is, one can't help but wonder what different kinds of music will be a part of Cut Copy's next release. Hopefully these lads will use their next effort to introduce more diverse kinds of music into their sound.
