Album Review: Moth by Chairlift

It’s mad that so few people know about Chairlift. Utterly mad.

To be honest, despite being a music blogger who actively seeks out such things, it’s still a miracle I’m aware of them; were it not for me stumbling across one of The 1975’s Spotify playlists last year this review probably never would have been written (thanks, guys).

Why is this so bonkers? Their new album is incredible.

I’ll elaborate.

Moth, the band’s third album, not only includes one of the most exciting songs I’ve heard for a while, but is rounded off with enough quality to make it one of the most complete pop albums since Carly Rae’s Emotion – I’d even argue it’s on a par with 1989*.

That exciting number is ‘Ch-Ching’, the album’s lead single. Set to an endlessly danceable beat, the song recreates the sensation of being in New York and feeling as though you’re onto a win. Through the constant stream of hooks, whether whistled or sung, it’s an utterly enticing listen – complete with saxophone backing and hella dance moves.

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‘Ch-Ching’ isn’t the only big track on the album though, far from it. Moth has already produced three more singles to accompany ‘Ch-Ching’, the energetic ‘Romeo’, the sad yet sophisticated ‘Crying In Public’, and potential summer dance hit ‘Moth To The Flame’.

What makes the tracks even more impressive is just how varied they are. The whole album has a consistently light and fresh feel to it, a lot of saxophone too, but as far as styles go you’d be forced to only loosely categorise it as vaguely r’n’b just from the sheer range of beats and rhythms going on – everything just comes across as exciting and new, not just a collection of the same songs, whilst still being incredibly coherent (impressive, right?)

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If four big singles wasn’t enough, in ‘Show U Off’ the Brooklyn duo could very easily have a fifth. The song indulges itself with singer Caroline Polachek’s luxuriously breathy and smooth vocal chords, which in turn are layered over a delightfully funky beat that could brighten anyone’s day if heard on the radio.

Which again begs the question: why is this not everywhere?

I haven’t even mentioned the artwork yet.

What makes such little sense is that Moth is incredibly accessible – subtly danceable beats, romantic themes, saxophones… the sort of template that should in theory lead to mainstream success – but as well as that there are deeper layers to the album. The album artwork, a gorgeous oil painting depicting a moth up above New York City, offers a massive giveaway to the running themes present – of being drawn to life and losing yourself to the excitement. This isn’t just a collection of hopeful pop songs, there’s artistic design and feeling and is made in exactly in the way such an album should be.

Tell your friends about it.

*Yes, I am implying that Emotion was better than 1989, but this is neither the time or place to get into that.

Will you be listening to Moth? Let us know in the comments below!