Not “The Capitol,” not a Taylor Swift cover, and nothing to do with The Hunger Games …
[Video]
[4.92]
Alfred Soto: With a voice as huffy as any early eighties pop metal dildobrain, this singer does not offer the kind of solace that would persuade me to give him a try. The trumpet is another story.
[3]
Anthony Easton: The horns on this are so gorgeously tight, reflective of the optimism of the rest of the track. The problem is that the horns do all of the work.
[4]
Daniel Montesinos-Donaghy: Assembly-kit synth revival.
[4]
David Lee: This is no 1901.
[3]
Katherine St Asaph: “If I play the riff from ‘White Noise’ half-speed on a trumpet, I don’t even need to try!”
[4]
Mallory O’Donnell: Pretty standard sellout pop from the year it was recorded. Still, the nifty Death in June trumpet has and might still make sure it doth endure, like the McDonald’s across from the Pantheon.
[4]
Iain Mew: “Safe and Sound” sees Capital Cities pull off suitably uplifting synth-rock without its different elements seeming forced together, even when they add the triumphant brass that provides its stand-out moments. The tinge of goofiness throughout also allows them to get away with the most ridiculous puffed up drum fills I’ve heard in a long time. They sound like the end of EastEnders!
[7]
Tara Hillegeist: Maybe it’s that soaring horn solo that buoys the whole song every time it shows up. Maybe it’s Sebu Simonian’s truly magnificent beard. Maybe it’s because I unironically love Step Up 3D. Whatever the reason, I’m really sad this band has probably already found themselves co-opted by dudebros and TMZ fans (secretly, these social groups are the same thing) as their new favorite band, because I can hear it already and despite that, these guys are great. It’s always nice when commercial jingle-makers, like Simonian & Merchant used to be, make good on their years of practice at punching the pleasure button without using their powers for evil. Musical hugs for everyone!
[7]
Will Adams: Maybe it’s just because I’ve begun paying more attention to hip blogs, but it seems easier than ever to find these vaguely dancey synthpop trinkets. Especially ones that don’t use the cheap, out-of-the-box synths heard here.
[4]
Brad Shoup: A fine successor to Grouplove and what not. I’m pleased; this keeps the signifiers of alt/indie, but there’s no mistaking the streamlined commercial approach. I hope they put it together; they could be another Climax Blues Band.
[6]
Scott Mildenhall: In 2009, when The People In Charge somewhat successfully tried to create a “the ’80s are back!!!” narrative in Britain with generally sincere acts like La Roux, Little Boots, and Preston From The Ordinary Boys, there seemed to be a bit of a US counterpoint in the “LOL ’80s”ness of Metro Station, Cobra Starship and 3OH!3. It gave the impression that one corner was positing the ’80s as represented by The Human League, while the other was just laughing at their hair. Point is, Capital Cities are American, and while they’re not hitting you round the head with an oversized mobile phone, they do offer what feels like a different perspective to anything British acts aspiring to similar things might. It doesn’t really code ’80s, but rather something that’s probably meant to, a bit like that Hellogoodbye song you’ve probably forgotten. Whether this is all subjective, objectively-disprovable nonsense or not, the perspective is nice; the song is good, successful in its supplementing upbeatness with a modicum of melancholy.
[7]
Patrick St. Michel: Take your pick: either an American Friendly Fires or Passion Pit with a non-grating vocalist. Either way, this is a catchy track bogged down by a weird sense of wanting to be bigger than it is. There is a really good, straightforward electro-pop song in here, but I think Capital Cities want to soundtrack goofy YouTube videos of choreographed wedding dances.
[6]