Cults: Static

- Cults’ sophomore album Static is by all conventional definitions, a breakup album. However unlike other artists who have delved into their bitter heartache to escape the emotional turmoil, this album is the product of both sides of a shattered relationship. Despite the breakdown of their romantic relationship, multi-instrumentalists Brian Oblivion and Madeline Follin have managed to co-operate professionally to create a sound that doesn’t largely deviate from the niche they created for themselves with their 2011 debut. Static opens with the fuzzy echoes and layered reverb of I Know, a swelling choir-anthem that’s spectacularly rough around the edges. Thematically the lyrics are a rather grim affair, with references to the breakup just ambiguous enough to maintain the brooding, hazy appeal of Cults. Despite the dramatic change in the personal dynamics of the band, their sound remains largely similar. The production on Static is as heavily reverbed, fuzzy and echoed as its predecessor, with the notable addition of some new electronic elements. This album is certainly darker than Cults’ previous work, a development that is initially melodically rich and intriguing, though ultimately becomes laborious and repetitive. The spectral organs in Keep Your Head Up are certainly one of the album’s successes, highlighting the bands musical abilities and leaving you wishing for more. In High Road Follin’s vocals are expertly adapted to the bitter melancholy, foreshadowed by the dark lyrics and post-punk drum and bass arrangement. Unfortunately it is many of the elements that made Cults’ debut excellent that hold Static back. It’s not that the band has missed anything in particular, there just isn’t quite enough there. The 11 tracks come in at 35 minutes long, leaving very little room for missteps, but equally avoiding having to really push the writing and melodies as far as the band could have. - Clare Armstrong.