Boomkat Product Review:
For fans of moody ‘80s pop pomp, Death of Lovers’ 2nd album, The Acrobat packs all the aching emo swoon and synthy licks you could hope for. Think New Order, Duran Duran, John Hughes movies, montages of Reagan/Thatcher economics in effect, and buckets of salty, sugary nostalgia.
“Since the 2014 release of Philly outfit Death of Lover’s acclaimed debut EP “Buried Under a World of Roses”, many wondered if a full length follow-up for the band was even possible – largely due to the extensive touring schedule of Domenic, Nick, and Kyle’s other band: Nothing. But between 2016 and 2017, the four piece band (that includes keyboard player CC Loo) was able to find the time to focus, demo, write, and carve out a stunning new direction and polished sound for the band. “The Acrobat” represents that labor of love, and Death of Lovers have created one of the most eye-opening alternative records we’ve heard in years.
Thoughtful compositions weave driving synths, drums and guitars through lock-step rhythm and nostalgia before shattering into intricate and spacious instrumental breaks. There is a welcome complexity and depth to the tracks, which dance between moody and sweeping to sparkling and bright – creating a beautiful contrast to the honest and dark lyrics.
On the album single “The Absolute”, Domenic’s vocals (accompanied in harmony by drummer Kyle Kimball) take on the topics of selfishness and greed - “All in all is trembling fear – bound to fall on bludgeoned bell rung ears. A senseless world of worth, deceived by needing, and the crow who perches on your tongue – reminding you it won’t be too long.”
“Lowly People” is the band’s answer to PULP’s “Common People”, cast through the lens of their own upbringing: the streets of Kensington, Philly – where “Broken glass shimmers like the stars, summer air breeds a certain violence.”
Somehow, The Acrobat achieves warm familiarity while sounding completely new. While the tracks could easily have been included on the soundtrack to every one of your favorite 80s films, there is a fresh perspective and process evident in the songwriting that rewrites the “post-punk” rulebook.”