Broods - 'Don't Feed the Pop Monster': Album Review

From New Zealand to the world, this alt-pop duo, Broods’ (Georgia and Caleb Nott) third album Don't Feed the Pop Monster is their most instrumentally focused work to date. After a long break from their sophomore album Conscious, they seem to establish a new solid ground with their new material. While the first two albums were more inclined towards synth and electronic production, this album takes more organic approach in terms of the overall sound. The debut album was musically very unique and cuts like "Bridges" and "Never Gonna Change" really cultivated their alt-pop sound. The second album felt more commercial rather than focusing on evolving their sound, they penned some decent radio-friendly songs like "Heartlines" and the lead single "Free." Even so, the album didn’t stick out unfortunately.

The lead single from the new album "Peach" is a standout track, with a sharp and poppy piano and pretty catchy lyrics that will stick around after 48 minutes of listening to the album. The second single "Everything Goes (Wow)" is a playful track filled with vibrant piano and heavy base that makes the track one of the highlights of Don't Feed the Pop Monster.

The album opener "Sucker" reminds us that they are not following the trend of the pop industry and sticking to their guts with a little hint of CHVRCHES synthpop style. "Falling Apart" is a synth ballad where the lyrics are the simplest but most effective. "Dust" might catch the audience off-guard with electric guitar and traditional instruments. The production itself here is not that overwhelming, but very at its best. The track "To Belong" follows the same pattern here. The groovy base guitar really lifts the other components of this track.

Caleb takes a lead vocal for the first time in their career in the emotional track "Too Proud" where he sings "too many times that I've been too proud / to let it out." The second of half of the album is rather poppy. A track like "Old Dog" really works as a more sophisticated 90s-inspired sound with glittery guitar that reminds you that they are not just messing around with those instruments.

Although the album sounds quite different from what they have released in the past, there are some tracks that play homage to the previous works. "Why Do You Believe Me?" is a stunning track with layered vocals that really convey a message of celebrities being under the spotlight and faking their feelings. "Every Time You Go" is a simple bass-driven song where Georgia asks her partner "Is it good enough to know it’s enough? 'Cause I need to know that you need my love."

"Hospitalized" might be the weakest track on the album, yet it has catchy enough hooks where you barely understand what Georgia is singing. The only problem with this solid album is cohesion. While "Peach," "Every Time You Go," and "Everything Goes (Wow)" keep the album flowing smoothly, sleepy tunes like "Why Do You Believe Me?" and "Falling Apart" kill the momentum of the album. There are some tracks that could even have been in the different albums too ("Dust" and "Old Dog").

Broods' Don't Feed the Pop Monster is definitely a step up for them as they rediscovered and reestablished their artistry after signing with a new record label. The new direction for the duo might have been the best opportunity to craft their finest record. However, the new opportunity might have influenced the duo in both positive and negative ways. The production of each track is absolutely effortless, yet they seem to struggle to identify their sound and what makes them Broods, which will be the next chapter for them and what excites us.

RATING: 3.5 out of 5