Release Date: Jun 30, 2017
Record label: Interscope
Genre(s): Pop/Rock, Dance-Pop, Alternative Dance, Left-Field Pop
ROCKS LIKE: the 1975, Phoenix, the Griswolds WHAT'S DIFFERENT: Taking a different approach to introducing themselves to the world, the LA-based trio released four EPs before delving into their first full-length album. The result? A self-titled debut that sounds nothing like a debut. It's better. Fully produced by the band themselves, the album specializes in taking what LANY have previously done and raising the bar to perfection.
The self-titled debut from bicoastal American trio LANY is a fairly enjoyable collection of indie electronic that focuses on shimmering mood and atmosphere. Like contemporaries Troye Sivan and Muna, LANY's transportive soundscapes wrap themselves around yearning and emotional cores. Much of LANY consists of these introspective ruminations on the ups and downs of relationships and heartbreak, like "The Breakup," "13," "Hericane," and "Hurts," on which vocalist Paul Jason Klein sings "The more I love, the more it hurts." That sentiment sums up most of LANY.
Heartache has been a lyrical muse since words were first set to music, and is sure to continue as such in ten thousand years when everyone lives on a space station and all meals are consumed through eyeball injections. Paul Klein, the frontman of LANY, just entered the last year of his twenties a couple months ago, and his band's self-titled full-length debut feels like a going-away party for romantic immaturity before the beginning of one's fourth, and hopefully more levelheaded, decade. The problem is that for any rare moment of genuineness, there's several empty platitudes or cringe-inducing attempts at wit, without any sign that Klein has taken away anything from his experiences, beyond improbably finding fifteen different ways to express a decidedly limited palette of sentiments.
Lustful Californian trio LANY make love songs for the millennial generation. Bottling up teenage emotions and expressing it in effervescent electronica and wistful melodies, their self-titled debut is 16 tracks of minimalistic and clean compositions overridden with Paul Klein's lovestruck lyrics. More upbeat offerings -- 'Good Girls' and the disco tinged 'Flowers On The Floor' -- border pop euphoria, while slower tracks on the record like 'Tampa' and 'The Breakup' wallow in the struggles of 21st Century relationships paired with Les Priest's sparkling synth patterns.