A wise philosopher named Forrest Gump once claimed that peas and carrots went together perfectly, but if he’d grown up as a fan of Californian pop-rock then his example might have been a little different. You see, few things combine better than Rooney and the blazing summer sunshine and, after six years away, they’ve returned with an album that’s so radiant it should really come with a free bottle of sunscreen.
Since 2010’s ‘Eureka’, Rooney have devolved from a band of high school friends into the musical vehicle of Robert Schwartzman. It’s not a seismic shift, as he was always the group’s leader and principal songwriter, but without anyone to answer to he’s now free to move in whatever creative direction he pleases.
Assuming the role of one man cottage industry, Schwartzman single-handedly wrote, performed and produced this fourth album at his home studio, layering the trademark Rooney icing on top of a cake he’s baked from a selection of surprising new ingredients.
All The Beautiful People glides out of the speakers on a magic carpet of new wave synths, drum loops, goth-tinged lyrics and glazed vocals. Its repetitive hook gets catchier with each listen and a rousing communal chant of Arcade Fire proportions shows the winning melodies are still present.
Then there’s the post-punk agitation of Do You Have To Go?. Brandishing a staccato riff that’s seemingly gone AWOL from Manic Street Preachers’ ‘Holy Bible’, it peaks with a typically euphoric climax of hearty ‘woah-ohs’. Why, meanwhile, is a giddy ramshackle duet with SoKo that apes the plucky bounce of the Strokes with a waterfall of synthesisers over sprightly guitar lines.
Schwartzman has always crafted great songs from a bevy of rich, somewhat retro, influences and although his usual touchstones remain – I Miss You When You’re Gone is pure ELO, My Heart Beats 4 U revisits their Weezer slacker sound and wistful ballad Sad But True is the Beatles meets ‘Dark Side Of The Moon’ - he’s effectively relaunched his band as Rooney 2.0 by pillaging from other genres and eras this time out.
Don’t Be A Hero epitomises this reinvention. Beginning with dirty disco bass, its cocktail of sweltering electronica, pulsing grooves, shimmering keys and a bridge that winks at the Beach Boys makes you feel like a dancefloor lothario. As a result, some Rooney fans won’t like ‘Washed Away’ as it lacks the angsty guitar crunch and lyrical bite of their early records, making it more a pop record than a rock one. Reflective and adult as opposed to adolescent and cocky, it mirrors Schwartzman’s personal and creative growth as an artist who refuses to look backwards.
Besides, there’s still plenty of organic instrumentation – the title track’s spiky riff and crashing drums for one – as well as an abundance of glorious west coast harmonies and uplifting backing vocals. Hand clapping party starter Come On Baby, You’re All I’ll Ever Need, with its groovy ooh-la-las, and the dreamy Time Alone are all packed with enough sugary melodies to feed gluttonous eardrums.
Although not as exciting and energised as their first two albums, this is a fine example of how to stage a comeback. More evolution than revolution, it’s a nice balance of the fresh and familiar. Hit the beach and don’t forget your lotion, because the magic of 'Washed Away' will only intensify under a blanket of scorching rays.
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