The third in a recent string of unreasonably excellent
Hot Chip
side projects, following
About Group
's
Start & Complete
and
the 2 Bears
'
Be Strong
-- all released within a year of one another and also, impressively, as the band were preparing their own soon-to-be-released fifth album) --
New Build
is spearheaded by guitarist
Al Doyle
(also of
LCD Soundsystem
) and drummer (in this group, bassist)
Felix Martin
. Given its pedigree,
Yesterday Was Lived & Lost
holds exactly no stylistic surprises, offering a familiar blend of gently melodic synth pop and electronic dance-rock with plenty of percussive,
LCD
-style disco-funk workouts.
Doyle
may not have the undeniable personality and charisma of
James Murphy
,
Joe Goddard
, or
Alexis Taylor
-- though he does have a bit of
Taylor
's earnest sweetness. But his understated melancholia is endearing in its own right, and his subdued vocals do sometimes recall another
Chip
affiliate, the smooth, blue-eyed retro-soul man
Grovesnor
. One of
's most effective tactics is to juxtapose a floating, leisurely lead vocal line against a markedly more kinetic rhythm track -- be it the stirring, propulsive, double-time drive of "Behind the Shutter," the jittery,
DFA
/
Talking Heads
-style dance-punk of "Mercy," the warmly sparkling, '80s-vintage pop-funk of "Silence and the Muttering," and the gorgeously silky "Miranda (Be My Guide)" or, most audaciously and dramatically, the pumping Euro-house synths of the plaintive/anthemic "Do You Not Feel Loved." As the tempos slow toward the album's latter half, the results grow somewhat less distinctive -- "Schism of the Mind," "Finding Reasons," and the beatbox bossa "Last Gasp" toe the line between suitably somber and simply sluggish -- although these ballads serve their function, balance-wise, in context. More satisfying, if slight, are a pair of mildly silly,
XTC
-ish pop nuggets, "Medication" and "The Third One." But it's lead single and go-to track "Misery Loves Company" that provides perhaps the most immediate and unabashed thrills, bursting from a sturdy, workmanlike chug to an effervescent, stop-time chorus whose musical effect is similar to
's lyrical description of his experience upon sighting the object of his affection: being transported to "a place where the process of thought dissolves into tiny pieces." Much more than a stop-gap substitute that will be forgotten by the time the next
full-length comes along;
Yesterday
stands on its own terms as one of the finest dance/electro-pop records of the year. Either
Martin
have been impeccably schooled by their bandmates in the fine art of blending melody and propulsion, humor and heart (not to mention the tasteful inclusion of steel drums) -- or else they've been some of the band's too-well-kept secret weapons all along. ~ K. Ross Hoffman