Junior Boys
Begone Dull Care
For their third album, Begone Dull Care, Junior Boys have found somewhat of a middle point between both of their preceding releases. Their grasp of illustrious pop music remains strong, even as several aspects of their music have taken a more constricted approach. Ironically, this constraint proves to be beneficial on several tracks, most notably on efforts like “Sneak a Picture” and “Parallel Lines” where the use of percussion is extremely minimal compared to their previous, more hectically involved works like on “Birthday”. On “Parallel Lines”, the album’s opener, the percussion relies more on reverb and subdued flexibility than intensity. Combined with a bass arpeggio and a few percussively enabled samples, the introduction sounds surprisingly bare for Junior Boys’ standards. However, as the track later proves, its build-up is dependent on its success. When Greenspan’s vocals emerge nearly simultaneously with a brief electro-sax accompaniment and, later, a whirring synth pad, the listener is reminded of the infectious tranquility of gems like “Teach Me How to Fight” and “Neon Rider”. For “Parallel Lines” though, the chorus is the real treat. After all accompaniments fade out, Greenspan re-emerges with a chorus that is repeated well over one dozen times. However, because of both the brilliancy of its placement and the subtle melodic variety occurring in the background, it never becomes tiring or repetitive. When Greenspan aggressively responds with, “No lights, no show, no sex; that’s all you get,” during one of the latter chorus’ bridge, the ardent variation is utterly irresistible.

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