Mirror Mirror


Coming on like the Super Furry Animals at their most psychedelic,
blended with Mercury Rev’s default ‘otherworldly’ setting,

‘The Society Of The Advancement Of Inflammatory Consciousness’
provokes exactly the kind of experience that the title suggests,

swerving between the sweetness of dreams and the unnerving recesses
of nightmares.

It’s basically the musical embodiment of a particularly strong mushroom trip. Whether or not it’s advisable to listen to this when on certain
substances and watching freaky films

(say, the original Willy Wonka & The Chocolate Factory) is difficult to say, but it’d certainly be an interesting experience.

The highlight of the album’s lighter side is the single ‘New Horizons’; give
Mirror Mirror a try and expand your own.

‘Earwig Town’ and ‘Territory’ make similarly bold impacts; their melodies, ethereal vocals and stately,

polished production simultaneously evoking ‘Take My Breath Away’-style 80s power balladry and film noir soundtracks.

Then just when it’s becoming predictable, Chairlift swap synths for twanging guitars for ‘Don’t Give A Damn’, the kind of melancholy country duet that Johnny Cash did so well on his final LPs.

Performed with the battered poise you’d expect from musicians three times their age, it’s a wellChairlift Does You Inspire You (Kanine Records)
By Sam Walton. In stores now placed breather from the glossy production.

A more experienced band may have wrapped things up here – ‘Don’t Give A Damn’ is as apt a closer as Radiohead’s ‘Motion Picture Soundtrack’ or Bjork’s ‘All Is Full Of Love’, and would’ve capped the album impressively.

However, youthful zeal wins over, and the two final tracks slightly spoil the sense of nonchalance generated by the first nine.

An aimless instrumental melds into a waffly number with far less substance than it aspires to have, and the result is a frustrating conclusion: the pair may as well be called ‘Love Me, Pts 1 and 2’, such is their eagerness to impress.

However, the rather unsatisfying end is the first serious clunk on an otherwise remarkably assured debut, and if Chairlift

can produce a follow-up that walks the line between 80s kitsch and sombre electropop as magically as this does,

then their status as just another iPod advert band may be as temporary as they hope.

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