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In a time when pop stars seem in constant competition to cause the largest amount of noise, controversy and status around their music, it is possible for artists of quiet brilliance to make pop almost entirely unnoticed. The arrival of Chairlift's third LP feels both overdue and unexpected. Caroline Polachek and Patrick Wimberly are now members of the indie elite and they have taken their time to craft and consider Moth.

Ushering their audience into trip-hop territory on short opener 'Look Up' they layer Haim style vocal over alt-jazz undertones before synth and kick drum build the pace to a simmering excitement for the nine tracks ahead. The two of which we have heard, 'Romeo' and 'Ch-Ching' are placed as a double A-side early on. The former is awash with shivering synth moving through the verse playfully interacting with Polachek's vocal before arriving at an alt-R&B bridge and a sugary crescendo. Meanwhile 'Ch-Ching' indulges further in an alternate R&B, a snare keeping things in time and a Mary J Blige delivery. It is clear the pair are not only huge fans of this genre but firmly in command, making their inclusion on Beyoncé's fifth album seem crystal clear.

Caroline's voice is at its most versatile on this record, 'Crying In Public' has Feist-like quality while 'Polymorphing' strays into PJ Harvey territory as she muses on similar subject matter. 'Moth to the Flame' demonstrates the unashamed pop potential of Chairlift, this dreamy '80s influenced banger soundtracks Swedish nightlife and coming of age indie beach film all at once. There are tones of The Knife and production evoking thoughts of Moloko with charming imperfection.

The progression of 'Ottawa to Osaka' feels reflective of the Japanese train journey. It opens up dramatically into a theatrical oriental arrangement of instrumentals permeated by Caroline's near-operatic vocal as she turns the words into a Kate Bush style gaelic chant. The group should have finished with the luscious and shimmering guitar laced 'Show U Off' as unfortunately the final two tracks are notably weaker and do not close the album in a manner befitting to the first thirty minutes of superb pop. Though as a collection Moth is both fascinating and fun, demonstrative of what can be achieved when you focus on substance over style.

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