The word ‘electroacoustic’, used on Starfucker’s MySpace page, is one that fills me with dread. It is ostensibly a word created to facilitate PR companies, and sums up numerous genres and sounds in one swift bastardization of the English language.
Unfortunately for me it is terrifyingly accurate when referring to Starfucker’s (or STRFKR when they want to look friendly on tour posters) blend of acoustic guitar, glitchy electronic beats and bubbling synths. So it is with reluctance that I start this review by saying that Starfucker have released a second record of electroacoustic alternative indie rock. I show reluctance for the word, you understand, not for the news of another Starfucker record. The record itself is actually quite accomplished in a pleasantly meandering sort of way.
The first thing that becomes alarmingly apparent is that this style has of course been tackled before. The first handful of tracks will remind the listener of The Flaming Lips around the time of The Soft Bulletin or Yoshimi Battles the Pink Robots (“Born” particularly will remind you of the title track of the latter), or even Passion Pit and Cut Copy in some places, and as a result the first half of the record appears to be a little bland.
“Julius” and “Bury Us Alive” both amble along in a faux disco sort of way and have ‘single’ written all over their accessibly dance-able faces. “Death As A Fetish” and “Astoria” attempt to play with atmospherics, but only in a minor way, and “Mystery Clouds” is only notable for using vocal samples of what appear to be philosophical monologues or lectures (a theme that runs throughout the record).
So far so predictable, but at seventh track “Reptilians,” the album takes a shift, focusing instead on atmosphere and more interest melodic sequences coupled with unpredictable arrangements, which makes for a surprisingly rewarding listen. “Hungry Ghost,” sampling more philosophy, is an instrumental that, unlike so many instrumentals before it, actually warrants a place on the record. The closing three tracks, particularly “Mona Vegas” more than make up for the comparatively dull first half and elevate this record from what could be seen as pointless electronic noodling into an album genuinely worth your time.
Conclusion: Ecstatically joyous second half makes up for a more trad-electro, accessible opening.
you are a fucking idiot. for one starfucker has been around longer than both passion pitt and cut copy, secondly you are a fucktard and i hope you choke on your own peen.