LAST YEAR'S MODEL

Two sentences I never thought I’d be saying, “Have you heard the new New Young Pony Club record?  It’s rad!”  Okay, so I can imagine myself saying the first sentence, but not followed by the second.  I’ve never been a fan of NYPC.  When their debut album, Fantastic Playroom, was all the rage of 2k7, I was referring to them as “that awful band I hate” (to be fair, this is not a distinction only reserved for NYPC–there are many awful bands I hate out there).  I have, however, always really wanted to like them.  At their core, they are a new wave revival band; minimal dance punk beats, icy detached vox, synth hooks and guitar hooks galore.  It all looks real appealing to me on paper.  But every time I sat down to give their record a listen, I found that the ironic smirk they wore got old fast, and that the songs themselves were not strong enough to keep me from hitting skip.

I begin with an explanation of my distaste for the first NYCP full length only to point out my love for their new album.  On their second record, The Optimist, NYCP show themselves to be the band I always hoped they would be.  Let’s start with my favorite single from the new record, Chaos.

MORE AFTER THE BREAK.  NOT CLICKING IS FOR JERKS AND BABIES
Admittedly, this song is NYCP version 2.0.  There’s not a whole lot new here; Gang of Four style dance punk, ect.  But there is major growth.  The songwriting has clearly improved.  The melodies are much better than anything on Fantastic Playroom.  And this attention to writing a better pop song pays off in a wonderful yet withdrawn chorus that lifts the song up from something I could leave or take to something I listen to over and over.  Also, I find that even in this song, which is closest to their old style, the lyrics are markedly better.  Not wearing the joke on their collective sleeve makes the lyrics that much more enjoyable.

What truly causes this album to stand apart as something great is the sonic territory NYCP explores on the rest of The Optimist’s ten tracks.  The title tracks shows the band paring down their sound even more; it’s moody and dark–a kind of post punk reminiscent of Siouxsie and the Banshees.  There’s even some noisy sax in there…I like noisy sax.  Next up, Stone, where the guitars are replaced by layers of synths, and the result is nice piece of atmospheric synth pop rounded out by harmonized vocals and a nice dance bass line.

We Want To and Dolls move back into more familiar dance punk territory.  Dolls boasts a solid chorus and some fun Lene Lovich / B-52’s harmonies and oddball synth hooks.  We Want To sounds like the band’s response to their old party aesthetic; the lyrics are a snotty response to get wasted culture but from the inside, at one point admitting “we think that we hate it.  But we hate it more when we’re just ignored”.

The final four of the album are bleaker post punk, layered nicely with a variety of synths, vocal harmonies and a simple but engaging rhythm section which keeps each song from getting lost in the dreary sonic landscape.  Sometimes the droning vocals actually remind me a bit of Nico–left field maybe given all the 80’s references I’ve made prior, but I think it’s neat.  I especially like Oh Cherie, with it’s slightly math rock feel, and Rapture, with it’s static bass line (oh the old Joy Division trick–reminds me a bit of first ep Van She, too) and angular guitar riffs.

The first of the final four tracks, Before the Light, is one of my favorites on the record.  The song has a great build, slowly adding layers of instruments before moving into a deadpan chorus with my favorite lyrics on the album (the same lyrics that pitchfork made fun of, natch), “Don’t look at me now.  Look at my intellect”.  Tahita Bulmer’s voice quavers in a low register, which adds to the confessional nature of the song, but what makes it great is the inherent humor coupled with the honesty.  The lyrics reek of dairy style self consciousness and yet are clearly over the top and very self obsessed.  Love it.

So go out and pick up this album.  I like hearing things that I enjoy that aren’t from Japan for a change.  Is this the new wave of new wave?  I hope so.  I have had quite enough of bands described as psych rock.  Give me a melody please.  I think I’m gonna have to have another listen to Fantastic Playroom now.  It would seem I missed something.

Here’s the vid for The Optimist’s opener, Lost a Girl.  Bye!