Hot Chip – One Life Stand : Album Reviews

Hot Chip returns with their fourth album, One Life Stand, giving us irrefutable evidence that genuinely uncool people (the most normal one resembling an overweight Jarvis Cocker) can make some ultra-choice tunes. In One Life Stand, they and provides us with an album once again full of  uplifting, exuberant indie dance beats. Neither is One Life Stand one-dimensional, these London-ers seem to experiment throughout the album with the strengths of their vocal repertoire and for the most part, hit the mark. Above all, they reveal the versatility in their abilities: producing simple, yet likable rhythms that are going to keep the dance-monkeys happy whilst demonstrating that they’re capable of genuinely complex beats too.

The fundamentals of Hot Chip remain strong throughout One Life Stand. The strong use of synth and electro, undercut by infectious bass-lines and dancy beats are complemented by their lilting vocals. Whilst vocals have always been an essential part to the sound of Hot Chip, One Life Stand sees an increased use of this obvious strength in lead songs such as the crescendo-ing opener Thieves in the Night.  Compared to previous work, One Life Stand opens itself as a much more consistent album, with the ‘hits’ less apparent this time around.

At times, the vocal quality resembles a cute sugar-laden delirium, that in some ways counteracts the driving beat from the bass and drum lines. This is not such a bad thing, as evidenced with the chords throughout Hand Me Down Your Love, which seem ready to bust out into full force at any given moment, but are tantalizingly restrained by Hot Chip’s vocals and orchestral interpositions.

However, perhaps as a result of this, we may not see a song from this album that galvanizes a crowd in quite the manner as the hugely popular Over and Over when the dirty guitar rhythms kick in. Though, it’s a matter of personal preference as to what dynamic best gives you that visceral clutch. Certainly the first four songs on One Life Stand try to do exactly that and they certainly got me moving, but there was something about the vocals that prevented me from achieving an all-out musical climax.

Their characteristic sounds have evolved as well, perhaps including more influence from dance-hall than might be expected. In fact there were some points I could physically feel my neck getting thicker and my dance moves being constricted to jutting out my lower jaw, head bobbing like a pigeon and booty tapping. However, Hot Chip seem to be aware that this does not sustain an entire 4 minute auditory experience – let alone a full album and there are few songs on the album that feel flat or thin in terms of depth.

Slush is a minor speed-hump, whilst the anthemic Brothers is a highlight; over-the-top and self-deprecating once you stop to listen to the lyrics. The kind of song I love to hear at a gig just so I can laugh inwardly at those douche bags going nuts for the song which simultaneously bags them out.

Arguably my favourite song of the album, Alley Cats, exudes effortlessness and perfectly places them above many of their contempraries. Perhaps this song, having won me over completely, influenced my appreciation of the rest of the album as it finishes solidly with a number of tracks that cement the position of Hot Chip as being able to produce catchy, lovable, and an undeniably positive music experience.