Just in...Jukebox the Ghost: Safe Travels

    Jukebox the Ghost's follow up album to Everything Under the Sun (2010) is not quite as fulfilling as I had hoped it to be. I loved songs from Everything Under the Sun like "Schizophrenia", "Half Crazy", "Empire", and "So Let Us Create"--the first three because of the power pop style, use of mallet percussion, punchy chords and interesting guitar timbres; and the latter for its expansive beauty and phrasing. Yesterday's arrival, Safe Travels, does not have that kind of songwriting so much. Clearly their influences were different or they were trying to go a different direction than their previous effort. That being said, it is quite reminiscent and I have thus far enjoyed listening to it in preparation of this post. It is something to be experienced, not just taken in. Overall, there is a wonderful balance and progression to the album, which makes it feel quite complete. Side note: love the cover art!
    The differences I notice in songwriting is that Jukebox the Ghost has tried, in my opinion, to sound more ethereal, with more reverb and echo effect on their guitars. Also, some songs are very heavy on the effect and not mixed to contain as distinct instrument voices. The piano, for example, is somewhat lost in the blend of sound, while in Everything Under the Sun it was more the front runner of the band's sound. One of the guitars is also more pecky here and there, sort of like a Vampire Weekend picked sound, but not as prominent. I also hear more of a dance beat in the drums, almost disco-ish at times.
    A closer look at the album:
(1) "Somebody" - quite the peppy tune, starts right out with basically the chorus lines pared down to intro material. You'll hear that come back many times though, as this song has gained a lot of popularity for it. I must admit it is catchy and I have found myself singing it to myself.
(2) "Oh, Emily" - almost a continuation of "Somebody" with the intro as it is, but quickly morphs into more of a dance track with a longer sustained lyric sing-a-long chorus. Siegel also sings on this, instead of Thornewill (whose voice I prefer over Siegels, though his is of course a nice change of pace).
(3) "At Last" - very nice piano intro section, works perfectly with the first line "he was a songwriter..", sounds thematic. Like when the tambourine comes in and the piano goes into thirds. The chords get heavier in the piano and strings adorn this track with counterpoint, it all works together nicely. Also a kickin' guitar solo later on in the track.
(4) "Say When" - probably contains the most new wave, especially when the synth comes in two-thirds the way through. More heavy piano chords and Siegel sings. Another anthemic song.
(5) "Don't Let Me Fall Behind" - by this point, I'm almost ready for something slower, but whenever Thornewill sings, he tends to pare down the verses, which I appreciate, so it makes this song better right there as it suits his voice. Gradually layers are added, the drums particularly, and a more up beat tempo ensues with the familiar disco-ish dance beats and emphatic chorus section. Actually like this song more than I may be putting on.
(6) "Dead" - the beginning of this is sort of uninteresting, but I like the latter part, when things kick up a notch and Siegel keeps singing "if you're there God, see to it, God, see to it." It is sort of a plea to feel alive I guess, but just the chorus itself feels poignant enough.
(7) "Adulthood" - this is the first track, perhaps, that feels like the old Jukebox the Ghost--at least at its start. The piano is very rhythmic and syncopated still, as is the pattern of this record, while strings wash over everything throughout.
(8) "Ghosts in Empty Houses" - greeted by another dance beat, this is one of those songs you put in the middle of the record because it is not your best. In the grand scope though, it works fine and fits in with everything else well.
(9) "Devils On Our Side" - Thornewill has the vocal reigns again for this gorgeous song, quiet and somewhat eerie, with skeleton-esque piano in octaves ascending and descending. Stark and yet expansive, with great phrasing from Thornewill. The cello is a great addition too as he sings his "ooh's". Just like "So Let Us Create", I wish this one was longer.
(10) "All For Love" - sounds like a continuation of "Devils On Our Side". The sleigh bells are a great touch, making it sound Christmas-y. A lot of contrast between the sparse repeated staccato piano chord verses and cacophonous chorus sections with full strings and guitars.
(11) "Man In the Moon" - nice acoustic guitar in this, sounds like one of those songs you sing for your sweet heart. But, in this case, he asks at the end, "are you in love with someone new?"
(12) "Everybody Knows" - back to the heavier stuff, piano chords busting this one sounds like it is on a mission.
(13) "The Spiritual" - "ooh" harmonized vocals start nicely, setting the tone for a more gospel style, and clapping enters next, while the song ends up being more of a ballad like something Queen or Billy Joel would sing. There is even an old school drop in from the drums.
    So, a quick summation, to be sure, hopefully I gave you a taste of what Jukebox the Ghost's newest, Safe Travels, is all about. Check out the entire album streaming on A.V. Club, here. Or, just listen to my favorite track--yes I gravitate towards the mellower ones with JtG I admit--"Devils On Our Side", over under the 'Monthly Sample Tracks'. Next week will be my 100th post, so hopefully I will have something special for you before I go on my temporary summer hiatus. Enjoy!