English electro rock duo The Big Pink released their sophomore album “Future This” to the masses Jan. 16. Signing with the 4AD label in 2009 and releasing their first full-length album “A Brief History of Love” that same year, multi-instrumentalists Robbie Furze and Milo Cordell have followed up their first Brit-pop-esque album with more new wave beats and seemingly reprocessed sounds.
With over-the-top indie-pop tracks on their first album, The Big Pink managed to make a name for themselves on the charts and gain a fanbase quickly. They also stepped onto coveted festivals’ lineups such as the Goldenvoice’s sold out 2012 Coachella roster.
On “A Brief History of Love,” The Big Pink conquered, being charismatic womanizing outsiders that made them stand out in the music industry. The twosome made a drastic change for “Future This,” with new inklings toward contentment and attempts at creating a relationship with their listeners in an unnecessarily whiny fashion through their lyrics.
According to NME.com, “Future This” is named in honor of a 1980s skateboard advert slogan that front man Cordell saw as a child. The slogan was produced by Paul Epworth and stimulated by hip-hop and electronic music creators respected by the duo.
The 10-track album opens with a percussion boom and synth break leading into the festival-ready track “Stay Gold.” Any fan obsessed with the hit track off their first album, “Dominos,” will agree that “Stay Gold” parallels “Dominos” to a tee, changing the concentration of the lyrics from promiscuity to homilies about staying true to your dreams, and pleading with listeners to “forgive your lovers, but don’t forget their names and let their spirit remain stay gold.”
At track two, “Hit the Ground (Superman)” gives listeners a taste of avant-gardist Laurie Anderson’s classic 1981 enactment “O Superman.” The song sounds as if it came straight from the 80s’ new wave phenomenon and will most definitely be heard while driving down PCH with the convertible top down and every hand (except hopefully one of the drivers’ hands) up in the air imitating Superman with all heads bopping to the repetitive beats.
“Give it up” takes the momentum of the album down a few notches with a slower jazzy-sounding back beat and cooing voices paired with hints of the synth. Maintaining the slower rhythm at first, “The Palace” drags on the repetitive percussion and swaying vocals throwing in heavier percussion making the song sound similar to a whiny cry for help.
The beat kicks it up a notch once “1313” comes through the stereo but by this point of the album it begins to feel as if the same song is just being played and dragging on and on and on.
The duo maintains their unique sound throughout the entirety of the album making any Big Pink fan pleased with “Future This,” but it is safe to say that this album is not exciting or any more riveting than their first. “Future This” could easily be a part two disc of “A Brief History of Love,” making it a big hit for fans or a disappointing release after almost three years of no new material.
The Big Pink sadly seems to have fallen into a sophomore slump with this album but not a slump too deep that their talent or potential has disappeared. On stage this album will fill the air with catchy beats able to keep any audience entertained, but telling their new songs from their old may be near impossible for any listener.
