New Jersey’s finest – Bleachers – drop their latest self-titled fourth studio album after signing a major record deal to Dirty Hit.
Honing in their craft and classic Bleachers sonic sound of eighties synth and surprisingly earnest lyricism, pop mogul and frontman Jack Antonoff finds a way to make this latest release somewhat experimental whilst honouring eighties rock influences of Bruce Springsteen and classic John Hughes movie’s romanticism. The band cohesively stick to what their fans favour and love the most about the American rock band in their latest record – Bleachers.
The record opens with ‘I am right on time’ – a track enriched with deep echoing and looping vocals intertwined with the classic Bleachers synth-rock elements they are best known for. This song sets the mellow yet yearning tone for the rest of the album. It leads directly in the lead single from the record ‘Modern Girl’. Arguably Bleachers at their finest, the song remains as infectious and catchy as it was at first listen. Antonoffs production and lyricism are groovy and effortless – yet the saxophone in the back elevates the track to a different plain. “New Jersey’s finest New Yorker,” is a statement that producer of the year Jack Antonoff can hold up high – ‘Modern Girl’ feeds the infectious pop needs of the masses, and you cannot help but flail around your bedroom to it.
‘Alma Mater’ features no other than the icon Lana Del Rey. The pair have collaborated in the past, especially on Lana’s album Did You Know That There’s A Tunnel Under Ocean Boulevard where the pair crafted a hit – ‘Margaret’ – dedicated to Antonoff’s wife. Yet in ‘Alma Mater’, the echoing and lopping vocals laced throughout Bleachers are present again, as well as the synth-electronic elements. Del Rey’s haunting vocals effortlessly overpower the track, making it stand out from the rest of the album. Antonoff utilises her powerful chords in the best way.
The happiness and upbeat nature of ‘Modern Girl’ transpires into tracks like ‘Tiny Moves’ – this one is classic bleachers. ‘Jesus is Dead’ and ‘Call Me After Midnight’ mirror the echoing synthy vocals seen throughout the album, as mentioned – this album tightly hones into this specific Bleachers sound – lending it to be rigid and cohesive.
‘Isimo’ is probably the most heartfelt and yearning track on Bleachers. It is a love letter dedicated to Antonoff’s wife – Margaret Qualley. Jack reels off poetic and love allegories, accompanied by a soft-sounding beat. It is sweet and earnest – the admiration for his wife pours out of ‘Isimo’ and seeps into listeners like a sincere hug. He sings, “Look at you, you made it out,” alongside other sweet nothings.
A stand out on the entire record is ‘Self Respect’. Co-written by no other than the ethereal deity herself – Florence Welch – the eclectic singer also accompanies Antonoff on this track. It is reminiscent of Jack’s work on Dance Fever by Florence and The Machine with a similar synthy pace to ‘Free’ and the breathy vocals interwoven within it. The track ends with a colourful burst in the form of a saxophone that entangles ‘Self Respect’ with a magical sonic feel.
Bleachers is a rigorous and cohesive album packed with echoing melodies and Bruce Sprignesteen-esque saxophone solos. The sonic and thematic pace sustains, yet there is not much space for change other than the slight experimentation that arguably is lacklustre and overexposed. It remains static and frequent, but stand-out moments appear mainly from ‘Modern Girl’ and the co-written tracks. It is an album comprised of six musicians stapling themselves as talented – highlighting their artistry, yet it is rigid and somewhat flat. For what could have been a defined era for Bleachers, their previous work appears more enjoyable.
