Wednesday, February 14th, 2018

Chvrches – Get Out

No, not that one…


Alfred Soto: It sticks to their tried and true: Tegan and Sara synth pop without the fizz. This time the hesitation impairs them. “Get Out” could be faster, fizzier. 

Julian Axelrod: “Get Out” boasts a gigantic, glittering chorus, the kind that reminds you how Chvrches vaulted to the top of festival posters and remade pop in their own image. But where their earlier singles had a radiant synth line or a brilliantly oblique shout-along lyric packed into every conceivable corner, this strands its big hook in a sea of repetitive arpeggios and confusingly deployed platitudes. I don’t think Chvrches have lost their touch, but this one feels undercooked.

Thomas Inskeep: Dark-ish synthpop that bursts into a Paramore chorus.

Iain Mew: I didn’t get the first Chvrches album at all, and then something flipped with the second. It pumped their songs up bigger until the cracks began to show, and suddenly there was both a bigger rush and more of an emotional way into it. “Get Out” is at least as big, so after Every Open Eye I was always likely to be tuned in enough to like it, and the shiny mystery of “you are a kaleidoscope” works. But it’s not quite doing the same for me. The most obvious thing to blame is that the softened Kurstin edges have taken away the faultlines that were the best bits.

Will Adams: As he’s done with Carly Rae and Ellie and Tegan and Sara, Greg Kurstin has smothered the usually more adventurous Chvrches with a safe Big Pop Chorus that leaves little room for the rest of the song. Only the fuzzy synths in the verses managed to escape.

Katie Gill: “The Mother We Share” run through a peppier “Dead Air”. The song’s got some odd phrases to hang the song on and the production is pretty uneven at some points: that chorus could definitely use some tweaking. Mayberry’s voice is the highlight of the song at the expense of preeetty much everything else (sorry, synths!). But honestly, I’m just so happy we’re getting new Chvrches that I can overlook some of the flaws.

Katherine St Asaph: Chvrches songs, like the Purity Ring and Knife tracks they used to be juxtaposed against, need menace underlying their sparkling choruses; otherwise, they get saccharine fast. And just when I thought Every Open Eye permanently sugared that menace away, the verses of “Get Out” recapture some of the old “Science/Visions” arpeggiation, plus synthclaps that, now that it isn’t 2012 anymore, sound fresh again and not annoying.

Hannah Jocelyn: This brings back some of the bombast lost on Every Open Eye, even as the lyrics are not nearly up to their usual standard. The way the title stutters is not pop-punk in a positive way — it feels almost too childish, more “Girlfriend” than “I’m With You.” But while “Leave A Trace” was a perfectly fine first single, we also got “Clearest Blue” and “Down Side of Me” on the same album, so I’m not worried. They’re smart and they like making smart music, and the strange sounds floating around the bridge are indicative that they’re not running out of ideas just yet.

Reader average: [6.75] (4 votes)

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2 Responses to “Chvrches – Get Out”

  1. I imagine this has been said elsewhere, but I’d gladly hear Chvrches do a song named after most of this year’s Best Picture nominees. All of them except Dunkirk and Three Billboards. In fact “Call Me By Your Name” and “Phantom Thread” better be on the album.

  2. Chvrches on auto-pilot but it still mostly works for me. Where some are hearing a shortage of ideas, I’m hearing a confident underplay. I don’t really know what “you are a kaleidoscope” means in the context of the song but like “clearest blue” or “you caught the light” it’s a phrase that underlines Chvrches’ prismatic pop sensibility.