Pop producers step out from behind the stars, but fail to dazzle
Life is full of surprises, today’s being the fact that the best out-and-out pop single of the decade – Britney’s ‘Toxic’ – was co-written and produced by two of the chaps from Miike Snow, a trio of earnest Swedes with designs on being the next Coldplay (or at least the next A-Ha).
Miike Snow’s debut is a curious affair: clad in icy, inscrutable packaging à la Sigur Rós with american singer Andrew Wyatt carefully enunciating every overwrought word, it’s also jam-packed with the kind of dazzling pop tricks you might expect from three chaps whose day job is churning out radio hits for the likes of [a]Kylie[/a] and Jordin Sparks.
They’re certainly aware that today’s casual listeners have the attention spans of ADD-afflicted goldfish: ‘Burial’ starts off like Sufjan Stevens and bites the verse from Prince’s ‘Little Red Corvette’ before evolving into something by operatic indie-rockers Mew if they were produced by Deadmau5. You almost don’t notice that they’re gleefully singing “Don’t forget to cry at your own burial”. Creepy. The surging emo-electropop of ‘Cult Logic’ is another tap-in, while ‘Animal’ is an impressive piece of sleight of hand, sounding a bit like The Police while remaining bearable.
Most ‘proper’ bands would hack off their own genitals to get a sniff of the hooks Miike Snow piss away. Then again, for all the deft artistry on display here, it’s a bit bloodless. And it would be impossible to truly love any band who’ve got a song called ‘A Horse Is Not A Home’ that sounds like Mika fronting [a]Enter Shikari[/a].
Ultimately, Miike Snow’s talents are probably best enjoyed when they’re ghostwriting for someone else. We’ve heard Klaxons could do with a hand…
[i]What do you think of the album? Let us know by posting a coment below.[/a]