Oh, how the ominous feel of synths makes my soul beam. London, England’s own From Apes To Angels dawns the universe with their latest release Let The Light In. Twelve tracks of neon dreams tease the secret dance party lover inside me that hasn’t seen a decent 80s night in far too long. There are only so many times one can listen to Whitney Houston’s “I Wanna Dance With Somebody” without plummeting into a week-long cry about missing your friends.
Leaning much towards the synth-pop genre, we need a bit more oomph in certain areas of the album: “Motorway” kicks off with hard Milk & Bone vibes, but it’s catchiness falls prey to a chorus that seems to be a little more awkward than expected. This same phenomenon appears on most of the tracks on this record, like “Perfection” and “Turn The Dark On.” Another occurrence throughout this record are instances of lyrics that fall a bit flat and tend to be a bit more infantile than intended, such as on “Head &Heart” and “Fly (Feat. Femmepop).”
On the other end of the spectrum, we have unbelievably fun moments such as in “No Reason,” which is clearly the best and most successful track; it could easily be a huge radio hit due to its rather effortless catchiness. The general flow of this track is very enjoyable from end to end; great buildup but not too much that it deters the listener from a natural channeling of emotions. “Works Out” also brings up this flow but doesn’t seem to have as much of a sing-along quality as the previous hit.
“K.I.S.S. (Feat. Chrøønicv)” borrows much of it’s allure from modern pop, sounding more like something you’d hear in a run of the mill dance club, but this lacking of originality is followed by “Grain Bridge” which honestly titillates the weirdest parts of me. Is it progressive? Yes. Is it reminiscent of several five-hour Trance videos on YouTube? Yes. Does it make me wish I was flying through clouds on my luck dragon Falkor? Absolutely.
With an overall positive impression, Let The Light In definitely teases me to look for more synthwave in life, but fails slightly due to questionable lyrical work and underdeveloped song writing.
Written by Talia Plante
*edited by Danielle Kenedy