Have Crush with Past Perfect because with the second album, which is considered so difficult, you may have recorded a transitional work – from one of the best indie pop bands of recent years to a really outstanding event?
In defiance of the pluperfect (and, to anticipate it, a little to one’s own chagrin of the satisfactory result-effect) is Past Perfect felt that it has become an album that has its most captivating moments when it indicates where to go Crush could still grow in the future – which, conversely, gives a latently frustrating aftertaste in the here and now, since this development has not yet been completed in the final analysis, and the band remains in doubt on the threshold of the promised evolutionary steps.
Roughly when the opener Just Work, No Play so briskly exhilarated with sparkling jangle guitar driving his bridge in the last few seconds on a cosmic acceleration track in the direction of herbaceous doors of perception seems to catapult, but then after a short look through the keyhole he prefers to return directly to what is actually the only Achilles’ heel of the record by it follows the penchant for structural simplicity in songwriting, simply knitting the loop around a compact hit – which is of course not the worst reproach you can make to the start of a record, which with each pass – first surprisingly sober, then always unfolding its addictive effect more obviously – craving for summer heavy rotation.
In fact, despite the claims, Past Perfect does Sundown (2020) and of course above all Sugarcoat (2018) have cultivated, and the immensely high expectations, which alone are the stunning (since the publication has long cemented the status as an instant favorite, after initial irritation because of the sequencing, ultimately also works wonderfully as a yearning end credits, in the context here in more detail fancy) pre-single Where Flowers Grow evoked, far more right than wrong.
Well, the airy and catchy one that comes along Run unfortunately doesn’t let his exquisite guitar solo rise endlessly into the sky, the intonation remains too uniform in terms of intensity despite the swearword and recitation, the rest of it a little bit too harmless; and Songbirds is content with being a convincing standard, which nevertheless does not succeed in rushing through without a positive aftertaste, because the overall structure of the album has a carrying capacity that does not have to shy away from the international level.
Without such a song that stands out from the rest of the structure like Jellyfish, Clams, Whales is the basic level on the grower Past Perfect actually to be rated even higher than on the, if you will, simpler circumstances that took the favor by storm Sugarcoat.
The potential hits finally come into their own: Monsters falls (like later the one that takes the wave momentum in the synths with it The Rush) with the endorphin door into the house, as if Real Estate with Maximo Park Written a cute smash single, whose fine closing point (a striking trick of some songs on the record!) of the call-and-response twist at the end should teach the recording the last catharsis that was still missing live.
On the occasion: the anticipation, the drummer Manfred Herzog, who joined the band, live behind the Crush-Hearing material whirling – huge! You can also listen to it, for example, in the tropical groove bridge of the pretty fantastic one Daffodilsa wonderfully outdated grace of a reveling treat that chooses the path of bittersweet cuteness rather than the blatantly slaying anthem, though the melody would unleash such greatness without hesitation. Great Unknown leans towards Friday I’m In Lovebut the chorus, which you can’t get out of your ear canals, floats in a fairytale sparkling fantasy sea of stars of the 80s, meanwhile Speed of Light the casual spirit of optimism even at midnight in the happy longing sunshine on the autobahn. The band’s accuracy in their traditional sovereignty zone is simply great, impressive – the density of stubbornly sticking catchy tunes characterizes.
Exemplary that the Crush‘sche comfort zone will on the one hand be one of the most beautiful gifts that will be given to the pop year 2023, but on the other hand the horizon is also beginning to expand with this second work and thus space has been created again upwards, but is Asleepswaying dreamily like a lost jewel from the pool of the young Beach House plucks and in the end, as one of the most beautiful songs of the quintet so far, it can even howl a bit magically.
Scenes like these (behind the pretentious fan glasses at least from the point of view of subjective preferences) always make it clear how a very good album could have turned into an outstanding one – with each passage more joyfully learning to appreciate the effective pigeon on the snappy roof, is, however, also a lesson for which there is no better teacher than that which enhances the moment in a way that is both entertaining and sustainable Past Perfect could give.