| Passion Pit — Kindred (April 21st, 2015) |
Passion Pit — Kindred (April 21st, 2015)
♠♠ Effervescent, dance~minded indie electronica topped off by the distinctive falsetto of songwriter Michael Angelakos.
♠♠ While Angelakos may have banished his demons, they do still haunt the fringes of Passion Pit’s sound in the myriad of chaotic production and pop influences that embody Kindred. It may be a positive album, but you have to admire the consistent nature of Agelakos’ song~writing, and the sheer brilliance of the album. (CRAIG ROXBURGH, Cape Town)
Formed: 2008 in Boston, MA
Location: Boston, MA
Styles: Alternative/Indie Rock, Indie Electronic, Indie Pop
Album release: April 21st, 2015
Record Label: Columbia Records
Duration: 37:14
Tracks:
01 Lifted Up (1985) 4:23
02 Whole Life Story 3:18
03 Where the Sky Hangs 3:51
04 All I Want 3:26
05 Five Foot Ten, Pt. 1 4:34
06 Dancing On the Grave 3:28
07 Until We Can’t (Let’s Go) 4:05
08 Looks Like Rain 3:56
09 My Brother Taught Me How To Swim 4:13
10 Ten Feet Tall, Pt. 2 2:24
℗ 2015 Columbia Records, a Division of Sony Music Entertainment
Charts:
Chart (2015) Peak position:
♦» Australian Albums (ARIA) #30
♦» UK Albums (OCC) #81
♦» US Billboard 200 #23
Written by:
♠♠ Michael Angelakos / Benjamin Levin 1, 2, 4
♠♠ Michael Angelakos 3, 5, 6, 8, 9, 10
♠♠ Michael Angelakos / Benjamin Levin / Hans Zimmer 7
Credits:
♠♠ Alexandra Adams A&R
♠♠ Alex Aldi Engineer, Mixing, Producer
♠♠ Michael Angelakos Arr., Composer, Instrumentation, Producer, Programming
♠♠ Benny Blanco Instrumentation, Producer, Programming
♠♠ Steven Brahms Photography
♠♠ Greg Calbi Mastering
♠♠ Ed Goldson Bass
♠♠ Isaac Green A&R
♠♠ Chris Hartz Drums
♠♠ Brent Katz Liner Notes
♠♠ Benjamin Levin Composer
♠♠ Brett Long Assistant
♠♠ Hassan Rahim Creative Director
♠♠ Chris Sclafani Engineer
♠♠ Chris Zane Drums, Engineer, Mixing, Producer
♠♠ Hans Zimmer Composer
Review
BY KILLIAN YOUNG | APRIL 13, 2015, 6:01AM | SCORE: B
♠♠ Since a tell~all 2012 Pitchfork cover story, Michael Angelakos’ struggles with bipolar disorder have been well documented. Recently, the Passion Pit frontman joined forces with nonprofit Bring Change 2 Mind to help lead a campaign that aims to destigmatize mental health issues. Angelakos’ growth into an advocate for the community of people who struggle with mental illness reflects his headspace on Kindred, which showcases the singer beginning to overcome his past trials and tribulations. As the saying goes, “the darkest hour is just before the dawn” — and here, the first rays of light seem to peek from beyond the horizon.
♠♠ From the title forward, family plays a crucial role on Kindred. Throughout the concise 10~track effort, Angelakos alternates between expressing gratitude (“Lifted Up (1985)”) and apologizing (“Whole Life Story”) to those closest to him. According to a recent interview, Angelakos has made a clean break with past bandmates and will pick up a new touring group for upcoming shows. Since Passion Pit’s last record, 2012’s Gossamer, Angelakos also married his longtime girlfriend. Speaking about his wife and assistant in that interview, Angelakos said, “These are the people who help me make sure I’m able to record and work while I’m touring and also maintain my mental health.”
♠♠ Angelakos’ wife serves as the inspiration for much of the record, including the bubbly opener “Lifted Up (1985)”. Here, Angelakos characterizes her as an angelic figure who gave meaning to his life. As with many Passion Pit songs, this one masks dark thoughts with a pulsing beat and a catchy hook. With lines like “How many days went to waste/ Now the rain and the thunder are clashing” and “I fight so hard and come back beaten,” Angelakos acknowledges that his past struggles are tempered by the realization that “the sun’s got a smile ‘cross the face.” On Gossamer, Angelakos would often describe how he’s liable to let down those around him; Kindred shows that his dedication to his wife constantly pushes him to maintain a healthy mental outlook.
♠♠ Clocking in at just under 36 minutes, Kindred is easily the most consistent and thematically focused Passion Pit record to date. Gone are lyrically ambitious oddballs like “Take a Walk”. Instead, Angelakos employs various dichotomies, such as light versus darkness (two sides of the same coin) or running to escape versus running to move forward. In fact, imagery of light (the sun, warmth) surpassing darkness (the moon, storms, rain) peppers the album and gives it a narrative arc: The day~night juxtaposition reflects the manic and depressive periods associated with bipolar disorder. Angelakos proves that a simple idea can effectively illustrate his illness, as he repurposes the “Rain Rain Go Away” nursery rhyme on the dreamy “Looks Like Rain”. Sure, there may be dark clouds overhead on a dreary day, but the water ensures new life can grow.
♠♠ Sonically and lyrically, early single “Until We Can’t (Let’s Go)” is the album’s strongest offering, with an irrepressible energy that matches past singles like “Take a Walk” and “Carried Away”. Taken at face value, the song’s narrative of buying a house is relatively simple. But for Angelakos, who once said he didn’t envision himself “living very long,” picking out a home has weighty connotations: settling down, having kids, and embracing getting older. On another level, feeling the urge to “break down the confines of these rooms” represents the spectrum of Angelakos’ mind.
♠♠ For its cohesiveness and brevity, Kindred still very much sounds like Passion Pit’s previous material, hand claps, snaps, and all. Minor flourishes like the dreamy harp on “Looks Like Rain” add some variation, but for the most part the evolution on Kindred can be found in the lyrics rather than the instrumentals. One misstep takes place on final track “Ten Feet Tall (II)”, which sees Angelakos employ garbled Auto~Tune. It’s a jarring shift, especially since Angelakos shows off his high~pitched falsetto on the previous nine tracks. The distorted words also distract from the interesting link between “Five Foot Ten (I)” and “Ten Feet Tall (II)”. Where the former draws inspiration from Angelakos’ inability to be completely honest about his height — and also realizing his own limitations — the latter focuses on Angelakos reflecting on the progress he’s made.
♠♠ One of the great pleasures of Passion Pit is feeling the greater impact of the lyrics across repeat listens. It’s easy to get caught up in the saccharine beats and hooks, but Angelakos has once again succeeded in making a powerful and accessible pop record about his deeply personal experiences.
Essential Tracks: “Lifted Up (1985)”, “Until We Can’t (Let’s Go)”, and “Five Foot Ten (I)” ♠♠ https://consequenceofsound.net/
AllMusic Review by Marcy Donelson | Score: ****
♠♠ Married after his group’s previous album, Gossamer, having split from prior bandmates, and appearing in a PSA about the importance of his having sought professional help for his bipolar disorder, frontman Michael Angelakos presents a gratitude~imbued, relatively ballad heavy, but still sparkling third Passion Pit LP in Kindred. In no great shift from the distinctive sound of previous records, it is, if anything, even more sugary in the synth palette and high end, as on the lullaby~leaning tones and melody of the candy~lacquered, ultra~falsettoed “Dancing on the Grave.” Requisite redwood~sized beats and quirky noise doodles are also aboard, with strong reflections of ‘80s Scritti Politti trebles shining through, particularly on the playful “Five Foot Ten (I).” The ballad “Where the Sky Hangs” represents a softer side with rare sparsity, though still has Passion Pit’s triple~rainbow impact, including cartoon kerplops and outer space vibes. Angelakos’ skepticism and dark introspection are also intact, if slightly tempered. “All I Want” is a sweet love serenade with off~kilter keyboard interjections that acknowledges feeling a step from disaster: “And with one motion it could all go wrong/If I’m emotional it’ll ruin it all/Then the roof will cave in and fall to the ground.” On “Lifted Up (1985),” he’s jubilant (“1985 was a good year/The sky broke apart then you appeared”) but also “tired” and “beaten,” and “Until We Can’t (Let’s Go)” lets loose on the dancefloor while sounding formulated for arena sports licensing (“Let’s go!”), until one notices the lyrics are about things going wrong and needing a change of environs (“How much can we take before we both break down?”). “Five Foot Ten (I)” unexpectedly serves up the reverse with the endearing reveal, “All alone/I wanna be all alone/Alone with you.” A song in part about singing, “Ten Feet Tall (II)” makes for a goofy closer with its (as is often the case) completely unnecessary Auto~Tune, especially when Angelakos starts riffing on it, but maybe that’s the point: Don’t always be serious, and value the lightness when the good gets going. Kindred expresses a version of hesitant romance where disaster lurks but may not be inevitable, and where the moment is everything; “Let’s go ‘til we can’t.” A cartload of sugar helps the anxiety go down in the most irresistible Passion Pit way, or something like that. ♠♠ https://www.allmusic.com/
Also:
by Jamieson Cox | APRIL 22 2015 | Score: 6.8
¶ On Kindred, Michael Angelakos shifts focus from the painful public self~examination of Gossamer to focus on the parts of his life that give him strength: his family, his faith, and the radiant love that springs from both. It is also his most concise effort, far from the sprawl of his first two albums. ♠♠ https://pitchfork.com/reviews/albums/20454-kindred/
BARRY DIVOLA | Score: ***½
♠♠ https://rollingstoneaus.com/reviews/post/passion-pit-kindred/1446
By Hilary Saunders | April 28, 2015 | 2:56pm | Score: 7
♠♠ https://www.pastemagazine.com/articles/2015/04/passion-pit-kindred-review.html
_____________________________________________________________
| Passion Pit — Kindred (April 21st, 2015) |
♠♠ Effervescent, dance~minded indie electronica topped off by the distinctive falsetto of songwriter Michael Angelakos.
♠♠ While Angelakos may have banished his demons, they do still haunt the fringes of Passion Pit’s sound in the myriad of chaotic production and pop influences that embody Kindred. It may be a positive album, but you have to admire the consistent nature of Agelakos’ song~writing, and the sheer brilliance of the album. (CRAIG ROXBURGH, Cape Town)
Formed: 2008 in Boston, MA
Location: Boston, MA
Styles: Alternative/Indie Rock, Indie Electronic, Indie Pop
Album release: April 21st, 2015
Record Label: Columbia Records
Duration: 37:14
Tracks:
01 Lifted Up (1985) 4:23
02 Whole Life Story 3:18
03 Where the Sky Hangs 3:51
04 All I Want 3:26
05 Five Foot Ten, Pt. 1 4:34
06 Dancing On the Grave 3:28
07 Until We Can’t (Let’s Go) 4:05
08 Looks Like Rain 3:56
09 My Brother Taught Me How To Swim 4:13
10 Ten Feet Tall, Pt. 2 2:24
℗ 2015 Columbia Records, a Division of Sony Music Entertainment
Charts:
Chart (2015) Peak position:
♦» Australian Albums (ARIA) #30
♦» UK Albums (OCC) #81
♦» US Billboard 200 #23
Written by:
♠♠ Michael Angelakos / Benjamin Levin 1, 2, 4
♠♠ Michael Angelakos 3, 5, 6, 8, 9, 10
♠♠ Michael Angelakos / Benjamin Levin / Hans Zimmer 7
Credits:
♠♠ Alexandra Adams A&R
♠♠ Alex Aldi Engineer, Mixing, Producer
♠♠ Michael Angelakos Arr., Composer, Instrumentation, Producer, Programming
♠♠ Benny Blanco Instrumentation, Producer, Programming
♠♠ Steven Brahms Photography
♠♠ Greg Calbi Mastering
♠♠ Ed Goldson Bass
♠♠ Isaac Green A&R
♠♠ Chris Hartz Drums
♠♠ Brent Katz Liner Notes
♠♠ Benjamin Levin Composer
♠♠ Brett Long Assistant
♠♠ Hassan Rahim Creative Director
♠♠ Chris Sclafani Engineer
♠♠ Chris Zane Drums, Engineer, Mixing, Producer
♠♠ Hans Zimmer Composer
Review
BY KILLIAN YOUNG | APRIL 13, 2015, 6:01AM | SCORE: B
♠♠ Since a tell~all 2012 Pitchfork cover story, Michael Angelakos’ struggles with bipolar disorder have been well documented. Recently, the Passion Pit frontman joined forces with nonprofit Bring Change 2 Mind to help lead a campaign that aims to destigmatize mental health issues. Angelakos’ growth into an advocate for the community of people who struggle with mental illness reflects his headspace on Kindred, which showcases the singer beginning to overcome his past trials and tribulations. As the saying goes, “the darkest hour is just before the dawn” — and here, the first rays of light seem to peek from beyond the horizon.
♠♠ From the title forward, family plays a crucial role on Kindred. Throughout the concise 10~track effort, Angelakos alternates between expressing gratitude (“Lifted Up (1985)”) and apologizing (“Whole Life Story”) to those closest to him. According to a recent interview, Angelakos has made a clean break with past bandmates and will pick up a new touring group for upcoming shows. Since Passion Pit’s last record, 2012’s Gossamer, Angelakos also married his longtime girlfriend. Speaking about his wife and assistant in that interview, Angelakos said, “These are the people who help me make sure I’m able to record and work while I’m touring and also maintain my mental health.”
♠♠ Angelakos’ wife serves as the inspiration for much of the record, including the bubbly opener “Lifted Up (1985)”. Here, Angelakos characterizes her as an angelic figure who gave meaning to his life. As with many Passion Pit songs, this one masks dark thoughts with a pulsing beat and a catchy hook. With lines like “How many days went to waste/ Now the rain and the thunder are clashing” and “I fight so hard and come back beaten,” Angelakos acknowledges that his past struggles are tempered by the realization that “the sun’s got a smile ‘cross the face.” On Gossamer, Angelakos would often describe how he’s liable to let down those around him; Kindred shows that his dedication to his wife constantly pushes him to maintain a healthy mental outlook.
♠♠ Clocking in at just under 36 minutes, Kindred is easily the most consistent and thematically focused Passion Pit record to date. Gone are lyrically ambitious oddballs like “Take a Walk”. Instead, Angelakos employs various dichotomies, such as light versus darkness (two sides of the same coin) or running to escape versus running to move forward. In fact, imagery of light (the sun, warmth) surpassing darkness (the moon, storms, rain) peppers the album and gives it a narrative arc: The day~night juxtaposition reflects the manic and depressive periods associated with bipolar disorder. Angelakos proves that a simple idea can effectively illustrate his illness, as he repurposes the “Rain Rain Go Away” nursery rhyme on the dreamy “Looks Like Rain”. Sure, there may be dark clouds overhead on a dreary day, but the water ensures new life can grow.
♠♠ Sonically and lyrically, early single “Until We Can’t (Let’s Go)” is the album’s strongest offering, with an irrepressible energy that matches past singles like “Take a Walk” and “Carried Away”. Taken at face value, the song’s narrative of buying a house is relatively simple. But for Angelakos, who once said he didn’t envision himself “living very long,” picking out a home has weighty connotations: settling down, having kids, and embracing getting older. On another level, feeling the urge to “break down the confines of these rooms” represents the spectrum of Angelakos’ mind.
♠♠ For its cohesiveness and brevity, Kindred still very much sounds like Passion Pit’s previous material, hand claps, snaps, and all. Minor flourishes like the dreamy harp on “Looks Like Rain” add some variation, but for the most part the evolution on Kindred can be found in the lyrics rather than the instrumentals. One misstep takes place on final track “Ten Feet Tall (II)”, which sees Angelakos employ garbled Auto~Tune. It’s a jarring shift, especially since Angelakos shows off his high~pitched falsetto on the previous nine tracks. The distorted words also distract from the interesting link between “Five Foot Ten (I)” and “Ten Feet Tall (II)”. Where the former draws inspiration from Angelakos’ inability to be completely honest about his height — and also realizing his own limitations — the latter focuses on Angelakos reflecting on the progress he’s made.
♠♠ One of the great pleasures of Passion Pit is feeling the greater impact of the lyrics across repeat listens. It’s easy to get caught up in the saccharine beats and hooks, but Angelakos has once again succeeded in making a powerful and accessible pop record about his deeply personal experiences.
Essential Tracks: “Lifted Up (1985)”, “Until We Can’t (Let’s Go)”, and “Five Foot Ten (I)” ♠♠ https://consequenceofsound.net/
AllMusic Review by Marcy Donelson | Score: ****
♠♠ Married after his group’s previous album, Gossamer, having split from prior bandmates, and appearing in a PSA about the importance of his having sought professional help for his bipolar disorder, frontman Michael Angelakos presents a gratitude~imbued, relatively ballad heavy, but still sparkling third Passion Pit LP in Kindred. In no great shift from the distinctive sound of previous records, it is, if anything, even more sugary in the synth palette and high end, as on the lullaby~leaning tones and melody of the candy~lacquered, ultra~falsettoed “Dancing on the Grave.” Requisite redwood~sized beats and quirky noise doodles are also aboard, with strong reflections of ‘80s Scritti Politti trebles shining through, particularly on the playful “Five Foot Ten (I).” The ballad “Where the Sky Hangs” represents a softer side with rare sparsity, though still has Passion Pit’s triple~rainbow impact, including cartoon kerplops and outer space vibes. Angelakos’ skepticism and dark introspection are also intact, if slightly tempered. “All I Want” is a sweet love serenade with off~kilter keyboard interjections that acknowledges feeling a step from disaster: “And with one motion it could all go wrong/If I’m emotional it’ll ruin it all/Then the roof will cave in and fall to the ground.” On “Lifted Up (1985),” he’s jubilant (“1985 was a good year/The sky broke apart then you appeared”) but also “tired” and “beaten,” and “Until We Can’t (Let’s Go)” lets loose on the dancefloor while sounding formulated for arena sports licensing (“Let’s go!”), until one notices the lyrics are about things going wrong and needing a change of environs (“How much can we take before we both break down?”). “Five Foot Ten (I)” unexpectedly serves up the reverse with the endearing reveal, “All alone/I wanna be all alone/Alone with you.” A song in part about singing, “Ten Feet Tall (II)” makes for a goofy closer with its (as is often the case) completely unnecessary Auto~Tune, especially when Angelakos starts riffing on it, but maybe that’s the point: Don’t always be serious, and value the lightness when the good gets going. Kindred expresses a version of hesitant romance where disaster lurks but may not be inevitable, and where the moment is everything; “Let’s go ‘til we can’t.” A cartload of sugar helps the anxiety go down in the most irresistible Passion Pit way, or something like that. ♠♠ https://www.allmusic.com/
Also:
by Jamieson Cox | APRIL 22 2015 | Score: 6.8
¶ On Kindred, Michael Angelakos shifts focus from the painful public self~examination of Gossamer to focus on the parts of his life that give him strength: his family, his faith, and the radiant love that springs from both. It is also his most concise effort, far from the sprawl of his first two albums. ♠♠ https://pitchfork.com/reviews/albums/20454-kindred/
BARRY DIVOLA | Score: ***½
♠♠ https://rollingstoneaus.com/reviews/post/passion-pit-kindred/1446
By Hilary Saunders | April 28, 2015 | 2:56pm | Score: 7
♠♠ https://www.pastemagazine.com/articles/2015/04/passion-pit-kindred-review.html
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