Is it better to do one thing well, or do many things passably? When approaching the divisive topic of music, most would likely agree that the former is preferable. Think about it. People fall in love with a certain band or artist because of their talent for capturing attention, ability of penetrating deep into one’s current mood, and staying true to variations on one musical style. Boundaries of rock, blues, country, electronic, and myriads of others are best enjoyed in isolation. Of course, combos are possible: blues-rock, alt-country, synth-pop. But a combo is still a concrete make up of a few stable parts.
|
| |
Peter Bjorn and John
|
 Entertainment
Art
The Metro
Chicago, IL
April 23, 2009
|
| |
|
|
The Swedish trio, Peter Bjorn and John, push the envelope on this idea, and the technique has gotten them through five albums, the most recent being March’s Living Thing.
Their show at The Metro, unfortunately, pushed that envelope a bit too far. The pulses were upbeat, and Peter Moren displayed his technical prowess on guitar. In fact, each separate element was tidy and on target. It was the combination that quickly grew tired, oh-so predictable and cheesier than flaming saganaki.
Moren’s stage presence resembled something between that of a main character at a community theater and a well-intentioned-but-flawed finalist on American Idol. Belting out things like, “it doesn’t matter what you do, we’re just talking, maybe walking” works as part of a catchy tune, but with John Erikkson’s steadily dry drum thumps backing, it seemed the collective couldn’t decide which route to take. The hand-on-heart lyrics in many songs suggested a melancholic meditation on a lost lover. The beats suggested a maverick flight into uncharted territory. Combined with Bjorn Yttling’s new-wave keys, the result was mostly a discordant sprint to throw everything these guys have at the audience, hoping that something will stick.
The few good moments were riddled with flaws. A seemingly golden nugget, “Lay it Down” was reminiscent of their 2002 debut and their 2005 U.S. entrance via Falling Out. It started with 60s-inspired pop that reminds one of “I’m a Believer” by The Monkees. But the lyrics didn’t quite jive with the style, being a part of the only track labeled “EXPLICIT” for this album on iTunes. “Nothing to Worry About” produced a chorus of singing fans, but also suffered from the symptom of genre ambiguity – this time falling somewhere between hip-hop and hard rock with an electro twist. This may happen when a band’s influences are as varied as AC/DC and Depeche Mode.
The band really seemed in the middle of an identity crisis, and the faint hints of the things that brought them to stardom were few and in between. One was a rendition of their feel-good classic “Young Folks”; the crowd whistled in bliss to this memorable track from their knockout, Writer’s Block. “Objects of My Affection” was also a solid, surprisingly depth-filled moment that showed the potential of the group. “It Beets Me Everytime” exemplified Moren’s slippery guitar work and showed that PB & J (as fans affectionately yelled out during a brief pause) has got what it takes to craft hooky songs. They just have to save themselves from the noise pollution.
Opening act Chairlift recently re-released their 2008 debut, Does You Inspire You. They are a new addition to the slew of new-wave-esque indie outfits, and resembled a light version of M83 with their “Planet Health”. Their iPod nano supporting number, “Bruises” also infused an airy feeling into the crowd.
Powered by AkoComment 2.0!
