It reveals remnants of early TDCC and, despite its disillusioned lyrics, features the upbeat background expected from a Two Door Cinema Club hit. “Good Morning” is also a diamond in the rough. The song follows the ‘70s trend of the album but does so in a way that elicits nostalgia and emotion. Listeners are finally able to hear Trimble’s distinctive vocals amidst the electric guitar and bona fide music. Although seemingly out of place, the ballad “Invincible” successfully incorporates the album’s synthetic vibe with powerful lyrics such as “I pretend I was good to you / That you’re always on my mind / For a moment you believed it too.” Just when loyal fans of old-school TDCC are ready to call it quits, track lucky No. 7 arrives. The song is a clear commentary of consumerism and modern culture, which makes its bougie undertones all the more curious. It repeats “generation information” not one, not two, but seven times in a row in an almost Satanic manner. “Bad Decisions” manages to encompass aspects of Prince and cultish chanting at the same time. While the album opener mirrors some redeeming aspects of “Beacon,” subsequent song “Bad Decisions” makes it clear that TDCC are going in a completely new direction with their comeback album. Track 3, “Ordinary,” begins with beats that echo a ringing cell phone and “Surgery” is simply synthetic, static noise.
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The first track, “Are We Ready? (Wreck),” is full of discotheque rhythm and mainstream-pop patterns that fail at mimicking the indie-dance duo Matt and Kim. The first sign of genuine, live sound does not come until the fourth song and title track “Gameshow,” when listeners can just make out clapping and faint guitar instrumentals. It lacks a cohesive writing process and sounds as if it was made entirely on a computer. T he tensions that inevitably developed from 18 months apart, however, are reflected on the album.
They took a Fall Out Boy-esque break in hopes that a little self discovery and some dabbling with solo projects would ease the pressure that formed on the road.įortunately for fans, the musicians never strayed far from their roots, writing “Gameshow” over Skype and email and finally reuniting in 2015. Following the success of “Beacon” and a whirlwind year of festivals, shows and promotion performances, vocalist Alex Trimble, guitarist Sam Halliday and bassist Kevin Baird went their separate ways. “Gameshow” wears its development and production process on its sleeve. Once a self-proclaimed “alteronica” group that focused on upbeat, sophisticated, authentic tunes, Two Door Cinema Club’s new sound proves to be entirely synthetic, cynical and a bit uninspired. The third album transports fans back to the days of 1970’s disco dance floors, artificial beats and incoherent falsettos.
Not only does it serve as a re-emergence for the band since their last album in 2012, but the “Beacon” successor seems to have miraculously learned time travel. Two Door Cinema Club’s “Gameshow,” released Friday, is a landmark album for the Irish trio. Two Door Cinema Club released its third album “Gameshow” on Friday.
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