It’s the wee hours of the morning. The party is still going, but the haze is becoming stronger by the second. That’s kind the kind of mood set by Chrome, the latest release from Ontario songstress Betty Moon. It’s the beginning of the end of the party.
“Sound” is a bouncy opener that hops back and forth from bubbly house to the synth-pop characterizing most of the rest of the songs. The next few songs are fun, but ultimately forgettable. They all wear the kind of melancholy beats that dominated clubs in the late 2000s and early 2010s on full display. They also suffer from unremarkable title syndrome, and Moon’s voice is drowned in overly heavy production.
Things pick up on “Bullet To The Brain.” This track boasts some real energy and some very solid hooks. “Afterglow” is another highlight. The instrumentation is a little lighter, and Moon’s voice sounds natural and smooth. From there on the record works quite well. Moon flirts with all kinds of different styles while never abandoning that dream-pop bass. Sometimes she sounds like some of Ryan Tedder’s best work, other times she combines the ethereal sounds of Kid Cudi with the mean indie rock of Metric. The bass track on “Parachutes” is so infectious you may find yourself addicted to it.
There is serious replay value in this collection. The songs don’t impose in any way, and they’re all dance floor ready. Moon explores the weird side of happy music in an interesting way. For someone who has been making music for so long, it’s nice to hear a group of songs that still sound like they have new ground to explore. It doesn’t always work, but it’s definitely worth more than just a listen.
Written by Syd Ghan
*edited by Kate Erickson