Monarchy’s journey to create a brand of electronic pop which rises well above the shitty cynical X-factor pop, has seen the mysterious duo gain a lot of hype over the last 12 months – but the wait is over finally and their debut album ‘From The Sun’ is out and about bloody time too.
Many of you will remember the early belief that the duo had something to do with Stuart Price – we even peddled this theory for a while. Fortunately the duo tweeted us to finally set the record straight – but they took it as a compliment nonetheless.
The duo has been steadily releasing a superb set of remixes and tracks over the last 12 months, and finally we are able to sample the fruits of their futuristic pop labours. Was the hype and the waiting worth it? Yes.
It’s a debut album that shows that pop music can be clever, well made and not too cynical. It’s never too showy – it’s just a lovely collection of electronic-based tracks which patters along to their up-beat serene synths, clever pop tapestry’s and dance floor undertones of days gone by – it reference everything from Depeche Mode to Daft Punk.
The opening few tracks are a superb; the ethereal charm of ‘Black, The Colour heart’ draws you in and then the album steps it up a gear with the charmingly upbeat ‘I Won’t Let Go’.
By now your swinging to the beat of Monarchy’s space-aged pop melodies and their gleaming vocals. The vocals do compete for your attention a bit too much and sometimes lack a bit variety. But it is, on the whole, a delicate and modern interpretation pop with a bright 80’s electronic streak shining right through.
‘Pheonix Alive’ is one of the stand-out tracks fo us and draws from a broad church of influences from 80’s synth pop, disco and house. It’s a track which shows the talents of their super-catchy vocals and their classy production.
‘Love Get Out Of Way’ draw on more 4-on-floor electro-pop influences and shows off their precision for carefully craft pieces of standalone electro-pop. As does the progressive beats and slicing synths of ‘Call’ and ‘Jealous Guy’.
The whole album is positively brimming with plump pop beats, catchy Scissor Sister-esque vocals and futuristic disco-pop melodies.
The album doesn’t strive too far from their glossy pop aestetic and there’s plenty here for you to come back more than a few times. In the end it’s a pop-oreientated album that has enough dancfloor nous that you wouldn’t be ashamed to admit you like it; they’ve essential made pop cool again, and done so by prying it out of the hands of money hungry douches with autotune and comedy haircuts. And about time too.