Following a hiatus, Brooklyn’s “power disco” quartet Adiós Ghost have returned with their second full-length album, Happy House. Entirely live-tracked, the new album is an absolute treat.
Beginning with pounding, pulsating synths, “Give It Up” — the first song on the new album –immediately brings to mind the Golden Era of indie disco with Simian Mobile Disco, Hot Chip and LCD Soundsystem all being obvious influences. (Indeed, the album was produced by former LCD Soundsystem member Phil Mossman). With sporadic, angular guitars, propulsive percussion, and infectious rhythms, “Give It Up” is a party in your ears and everyone’s invited.
It leads on to “D.Y.T.”, which is a funky dancefloor stomper. With an almost Bowie-esque shimmer to it in parts, it feels grandiose but also intimate. It could be a soundtrack for a night out on a club dance floor, and it could be on your headphones on the night bus home. The vocals here are layered in such a way that evoke the sound of TV On The Radio but with much more subtlety, and that deserves a special mention. There are also elements of early Passion Pit at play here in the desperation that permeates the song.
“Tricks” carries on in this vein. Thumping and urgent, it keeps the flow of the album running smoothly. The melody ripples along, the bass bounces and the cymbals splash. The vocal parts work together nicely, providing satisfying peaks and troughs and a good variety of dynamic range. We bet it sounds pretty epic live.
“If Anything” is a rather sinister feeling tune, with a malevolent skulking bassline and lively instrumentation that feels dark and foreboding. Granted, it gets the old shoulders moving, but there’s definitely a cinematic undertone of dread. The falsetto vocals that were also employed in the last song add a levity that the song needs, and we’re reminded at times of a little bit of the work of Unknown Mortal Orchestra.
Up next is “Bad Vibes”, which features another prominent bassline (kudos to Simon Davenport!) and some truly sparkling guitar. The whole thing melds together beautifully with each part feeling like an individual component, but also like the song is one living, breathing organism.
“I Don’t Mind” feels like the most retro-leaning song so far. It definitely maintains the sonic identity of the album, but splices it with an 80s-esque synthy, post-punky vibe that is a nice point of difference in the overall context of the record. The surprises aren’t done yet though. The following track, “In Your Car (True Wheels)” has an almost mid-late Arctic Monkeys-esque vibe about it. With vocals reminiscent of the verses of Nick Cave, it’s a significant stylistic departure and quite unexpected, though welcome. “Wishful Thinking” ramps up the disco vibes with its slinky instrumentation and stylish execution. There’s an almost Prince-esque confidence and a conviction here that translates to music to which you can lose your inhibitions.
“No Faith” is a hazy laidback track with a funky old school 70s character applied in a modern way. Feeling almost a bit like a Roxy Music song in places, we’d say it’s the yin to “D.Y.T.”‘s yang. Around the halfway point, there are some beautiful almost-isolated vocals that continue in the background. These add a lovely backdrop to the instrumentation that is as good as it has been throughout the course of the rest of the album.
“Late Night Cast” sounds like it should be played on the French Riviera just after sundown, as parasols are being put away and drinks are gently perspiring. Throbbing and persistent, there’s a touch of Primal Scream at their poppiest and most approachable here (which is interesting, as XTRMNTR was mixed by the album’s aforementioned producer Phil Mossman).
“Niveau” is positively jubilant in its percussion. Upbeat, unabashed, and unshackled, it’s like a carnival in your headphones. We defy you not to move to this; if you don’t, you’re simply not human. Actually, it’s more like if The Rapture and ESG played at a carnival; how we imagine those sets might sound. It’s the most infectious thing here, and at nearly 8 minutes long, there’s plenty of it to love!
The last track is a Phil Palazzolo mix of “Wishful Thinking”. This version is sludgier, bassier, deeper, and darker. It’s woozy and treacle-like in its thick groove-driven rhythm, and is just as enjoyable for different reasons. The producer/engineer has taken a vibrant track and dragged it through the sonic mud, but has somehow made it just as vivid as the original.
A resounding success, Happy House is a very welcome return for Adiós Ghost. Take a listen to the new album below.
Written by Kinda Grizzly
