Cage the Elephant front-man turns down screaming, turns up blues on ‘Melophobia’
Indie darling Cage the Elephant has been making waves for a few years now, buoyed by its very fun, very energetic sophomore album, “Thank You, Happy Birthday,” which raises the question: How has success changed the band?
As it turns out, success seems to have mellowed them out. The band’s balance of frenetic rock and dreamy tunes used to lean toward chaos, but on “Melophobia,” the band trades frenzy for reverie.
Lead singer Matthew Shultz has put aside the screams, and his vocal chords surely thank him.
Once you get used to the new sound, which is reminiscent of the band’s self-titled debut album in its blues and classic rock influences, it’s a very enjoyable listen.
“Melophobia,” which means “fear of music,” opens with “Spiderhead,” a classic Cage the Elephant rollicking tune full of paranoia and passion.
Then the album gets dreamy and wistful. Songs “Come a Little Closer” and “Telescope” are entrancing. “Hypocrite,” a smooth, bluesy relationship ballad, is a little well-worn, but a welcome addition to Cage’s song stable.
Of course, a calmer Cage the Elephant balances out to about a normal level of energy, so rock fans will still get their fill; the funky, lavish tunes of “Take It or Leave It” and “Black Widow” are perfect head bobbers. For those hoping to see more of their punk tunes, only the harsh “Teeth” really qualifies.
“Melophobia” discards most of Cage the Elephant’s punk trappings and comes out the other end a very good indie rock album. It’s disappointing to see part of the band’s identity be put to the wayside, but with an album this solid, it’s hard to complain.
“Melophobia” may mean “fear of music,” but the album offers nothing to fear for any rock fan.