Sleepyheads around the world have been setting their alarms every three years to indulge in another synthpop masterpiece from the Massachusetts indietronica outfit, Passion Pit.
Gossamer, their sophomore release, became one of the most popular albums of 2012, and their new LP Kindred has ended the wait for their highly anticipated follow-up. The progression from their debut Manners to Gossamer proved Passion Pit was able to refine their craft into pop anthems fit enough to crossover, giving Kindred big shoes to fill. Unfortunately, their new release will have to find a smaller pair of shoes — because it failed to live up to its expectations.
This feeling doesn’t come right away. The opening number, “Lifted Up (1985),” is a fun, energetic song that harbors the masterful pop sound that made songs like Gossamer’s “Take A Walk” such a hit. However, this energy turns out to be a fleeting characteristic of only a few songs on Kindred.
“Whole Life Story” followed the fun intro with Passion Pit at their most subdued. The ballad’s production is noticeably uninspired and drawn out, toeing the usually avoidable line between ballad and lullaby. Lead singer Michael Angelakos’ vocals match the droll nature of the tune he carries, making no efforts to ornament a rather basic vocal progression.
Not all the ballads on the album are lackluster. “Where The Sky Hangs” has a pleasant, relaxing feel. Angelakos’ vocals ice the dream-pop slow jam with the subtle improvisations he’s known for, creating a Beach House-like feeling of euphoria. “Dancing In The Grave” sounds unlike any other Passion Pit song, with a slow building progression into its flashy, droning end.
Alas, these quasi-groundbreaking moments prove to be transient. Even the album’s faster tracks lack the dynamism that makes Passion Pit’s indie pop sound so electrifying. “Five Foot Ten” is catchy, but employs the same song structure as the songs prior to it. The band overuses heavily chorused bridge-dramatic finale structure throughout Kindred, making the album feel banal at points.
“My Brother Taught Me” slightly strays from this recurring theme, but the lyrics are unbelievably corny. Kindred is all about growth from childhood, through adolescence and into adulthood, but the songwriting seems to become more mundane as the album nears its close.
One track saves the album from its overall monotony. “We Can’t (Let’s Go )” is pleasantly loud and rowdy when it reaches its chorus. The synth sounds — unpolished at times — haven’t been a feature of Passion Pit’s production since their breakout single “Sleepyhead,” but they freshen up Kindred like an old trick. It’s a fun song that’ll induce toe tapping during the verses and head banging during the chorus and its climactic outro.
Although Kindred certainly has moments where it outperforms Gossamer, it was a regressive album that casts doubt on whether Passion Pit has the gusto to produce a jam that bangs harder than “Take A Walk” and a ballad that rocks steadier than “Constant Conversations.” Kindred may produce some songs that gain airplay and become relatively popular, but it seems like Angelakos and his crew have hit a creative wall.
2.5/5
