First things first, you will struggle to find a more musically diverse pop album this year. ‘Hang’, Foxygen’s fourth offering, is a record of genre-hopping dexterity. It demonstrates a profound understanding of textures and tones while sashaying through categories with genuine affection.
That said, there’s trouble afoot. We open on Follow the Leader, a throwback soul cut with rich arrangement, strong hooks and tongue-in cheek falsetto backing vox. It’s a track that holds its own but somehow also falls flat. The video promo adds context. It feels like a Flight of the Conchords song without the jokes, and at the end it is not terribly clear why one would chose to listen to it instead of Curtis Mayfield or Marvin Gaye...or Flight of the Conchords.
As the album gears up, this feeling never really goes away. Foxygen are immensely talented arrangers, with a deep appreciation of multiple styles. Among them are ‘70s soft rock, musical theatre, ragtime, rock opera, baroque pop and easy listening. All of which is mightily impressive and worthy of acclaim.
The problem with ‘Hang’ is that it finds itself bang in the middle of Bowie-esque versatility and being just straight-up derivative. Papering over this crack is that tongue-in-cheek humour mentioned earlier. This whimsical tone of voice should only really be deployed as a get-out-of-jail-free card; any more usage veers towards downright irritating.
There are moments of spectacular beauty in it - the ragtime refrains of America and the gorgeous opening bars of On Lanershkim, for example. But ultimately, by the time album closer Rise Up judders into view, one is a little relieved.
Going back to Bowie, ‘Hang’ bears comparison with his 1974 record, ‘Diamond Dogs’ in its versatility, camp comedy and Berlin cabaret inflections. But it doesn’t have the fucked up (unhinged) imagination of that record. ‘Hang’ is an album that makes you excited about music, but which makes you want to go and listen to somebody else.
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