If you think you died and went to heaven when you first heard Postal Service, then you'll relive that experience 10x over with Cut Copy.
Composed of mostly synth and guitars with danceable beats and a melancholic britpop-esque post-punk flair, I'd describe Cut Copy as "electro-synthpop-dance-rock." Recalling everything alternative 80's, you hear references to the best of Depeche Mode, The Smiths, New Order, Human League, mixed with a Daft Punk-ian shake of house-y funk.
All the tracks are incredibly, incredibly catchy--the kind that stay in your head for days. The kind you cry over because they're just so good.
My standout picks:
"Future" - you'll hear this track tearing it up at quite a few NYC/Bklyn bars and lounges. True electropop confection perfection, brilliantly produced. From the catchy "ahhh, ahhh ahhh" chorus to the sweet lil' blips and bleeps, brooding Sumner-like vocals, Marr-guitar styling--every 80s new wave band trying to make a comeback only WISHES they could have come out with this single.
"Saturdays" - Bouncy, bass-y, hooky, funky. Imagine roller-skating in a swirling discoball rink wearing striped tube socks, giant headphones, and shorts. Great contrast between the insouciant, cold, near-robotic vocals and the unabashed, juicy happiness of this 70's flavored electro-funk single.
"Saturdays (reprise)" - oh man. Pixies, Smiths, Interpol, Joy Division, Cure... this melancholy, somber, minor-key, acoustic version of the above track just KILLS it.
"Going Nowhere" - Cut Copy's best example of how dance and rock can co-exist, creating a frothy bassline and beat while retaining emotion, soul, and gritty depth. Makes you want to dance and cry at the same time.
"The Twighlight" - Clash-style guitars get busy with a touch of Kraftwerk. Probably the most pure "rock" they get on this album.
"Autobahn Music Box" - Beautiful, sad, synthesized strings enhance a lo-fi crackly duet between the lead singer and female vocalist. Beats hold steady as guitars stab delicately, while the melody shimmers progressively down the keyboard scale, echoing a depression deeper and blacker, further and forever. The best lovelorn/love-lost love song to come in a long time.
But every single track is just amazing and so worth your money, from the dreamy synthpop prettiness of "That was just a Dream," to the post-punk indie-rock tribute of "Bright Neon Payphone," this album has high ratings on every major music magazine for a reason. I can't do justice to this beyond-five-star blend of electronica and rock.
And the best bonus of this album? It'll conjure up mad nostalgia.
So stop thrashing around to The Rapture and The Faint. It's time for music to get beautiful again. Start dancing, kids.