Django Django’s third album Marble Skies gets off to a bright start, but burns out too quickly [Review]
Art-pop four-piece Django Django shows off great electronic sounds, but the last few tracks could use some work
On their third album Marble Skies, art-pop four-piece Django Django move towards more psychedelic and electronic sounds – and it pays off.
The opening title track dives right in with bouncing, bright synths, dancing over a driving electro beat. The close-knit harmonies of the chorus are the only thing that hark back to the band’s debut, while the slinky bass solos towards the end provide a solid start. Surface To Air and Champagne follow this thread, with the band balancing between 80s new wave nostalgia, and bright optimistic chords.
Tic Tac Toe utilises the acoustic guitar in a country punk fashion with a splash of psychedelia, as Vincent Neff’s vocals recall 60s pop groups The Beach Boys and The Beatles. The stompy acoustic blues rock riff of Further maintains this retro feel, as Neff sings “Where’s everybody gone?” becoming more despondent with each passing song.
The stand-out track is Sundials, with its suspenseful piano chord progression, and subtle harmonies sitting under warm waves of psychedelic pop. A momentous ending builds with smooth clarinets melodies and a chorus that is reminiscent of Beach Fossils or Pond.
Beam Me Up goes back to the electronic sounds of the album openers, with the darker, more sinister tones bringing a welcome change.
Sadly, In Your Beat and Real Gone don’t really offer anything new or exciting, with repetitive drum beats becoming more irritating than interesting, while closer Fountains recalls the psychedelic sounds of Temples, with flute sounds and more tight harmonies.
Marble Skies may have burnt out by the end, but it’s still their most colourful and enticing album so.
Edited by Ginny Wong