This year marks the tenth anniversary of the formation of British-based duo Monster Movie. In recognition of that milestone, Monster Movie masterminds Christian Savill and Sean Hewson have seen fit to celebrate (so to speak) the occasion by releasing Everyone Is a Ghost, ten tracks of consistently melancholy indie-synthpop. Which is kind of the bandâs deal, to be fair, but donât you think theyâd at least be a bit more upbeat about it this time around? Well, a quick glance at the duoâs latest press photos will reveal inklings of muted contentment, and even a smile or two. If anything, itâs an indication that they are pleased that after all these years theyâve carved themselves a comfortable niche in the rather specialist field of âsynthy indie pop for miserablistsâ.
If you are new to the Monster Movie oeuvre yet are a fan of Christian Savillâs previous band Slowdive, donât expect shoegaze-style swirling guitar tones here — the closest Everyone Is a Ghost gets to that sound is via âSilver Knifeâ and the grinding noise pop distortion of âBored Beyond Oblivionâ. No, Monster Movie is all about electronic pop (or, more specifically, an indie rockerâs vision of what that should be), meaning that Everyone Is a Ghost is quixotically fixated on bridging the gap between â80s synthpop and late â60/early â70 Bee Gees records. Despite the liberal intermingling of keyboards and acoustic sounds throughout the record, the band doesnât really try to mesh the two ends of the spectrum together on each song, instead tilting towards a given extreme depending on the track. This either/or approach means that on the title cut and especially âFallâ, the stark, piercing synth tones recall Pet Shop Boys at their most pensive, while the acoustic-backed harmonies of âHow the Dead Liveâ would slot in solidly into the discography of the Brothers Gibb. At its most integrated, Everyone Is a Ghost invokes the early work of The The, a third-tier cult synthpop group that all too often diluted its melodic punch with post-punk ponderousness.
That tendency is a flaw that Monster Movie suffers from as well. One thing is clear from the outset: despite Savill and Hewsonâs pop inclinations, listening to Everyone Is a Ghost all the way through is a bit of a chore. The album is full of pop aspirations that routinely arenât potent enough to overcome leaden arrangements that verge on the tedious. Monster Movie seems to have allowed the dour subject matter to afflict the music, resulting in a plodding feel that pervades the record. In spite of the plentiful hooks, the album is as much fun as attending a wake.
However, Everyone Is a Ghost isnât a lost cause. The key to fully appreciating what the album has to offer is to hone in on those â70s-indebted vocals in order to latch onto Savill and Hewsonâs affecting ruminations on death and sadness. Itâs hard to deny the sighing harmonies of âDown Down Downâ or the arching phrasing of âIn the Morningâ in the first place, but once you let the words sink in, it becomes apparent that the album pretty much is a wake, full of bittersweet reflection, misty-eyed longing, and calls for emotional support. Yes, Everyone Is a Ghost is downer listening (given the albumâs title, itâs not surprising to find death-related imagery omnipresent), but in that context, it works very well.
Still, Everyone Is a Ghost isnât the sort of album you throw on during a leisurely afternoon. Monster Movie is genuinely trying to craft music that suits its conception of deft pop music, but the pair canât seem to overcome its tendency to strip the fun out of it. Sure, aging and mortality arenât the most uplifting lyrical subjects in the world, which to its credit, the duo always attempts to balance out with sing-along melodies. Yet consider that even Depeche Mode at its gloomiest knew how to arrange a dynamic track. After ten years, Monster Movie proves itself content to trade in somber synthpop, but I canât shake the feeling that by indulging in their own pop fascinations and inspirations, Savill and Hewson are keeping themselves from developing the skills to match their influences.