CUT COPY - BRIGHT LIKE NEON LOVE

At some point between the late-Seventies and early-Eighties, disco burped up a version of itself that relied more on synthesizers and drum machines than live instruments. The beats were less monotonous, and more poppy. This became the sort of funk that pumped you up at the roller rink. At the same time, pop songs changed from Carole King serenading from behind a piano, to Robert Smith whining from behind Morrissey. Androgyny ran rampant, and everyone was a sentimental, sappy sod. But everyone loved it. They still do.
Fast-forward 14 years after that vomitous neon-and-spandex decade ended. In walks a confident young Aussie named Cut Copy. He’s taken it upon himself to mix that early-Eighties dance funk with the heart-sleeve Eighties pop crooning. And, despite my severe hatred for that ugly, Reaganomicked decade, I kind of like it.
Bright Like Neon Love is a more futuristic sounding version of that Eighties funk, like Daft Punk or Air. But, unlike those groups, Cut Copy is less interested in experimenting, and more interested in utilizing that nostalgic sound to sing you some love songs. The \"electro\" parts of this electro-pop record are definitely more my speed than the \"pop\" aspects of it, especially on \"Time Stands Still\" and \"Saturdays\". The second track, \"Future\", is the healthiest mix of the two genres on the album. And the last track, \"A Dream\", is perfectly that-- the Eighties definition of \"dreamy\". The less funky, more poppy tunes sound incredibly similar to the influences they’re paying homage to. Just listen to \"Going Nowhere\". You’ll swear it’s a lost Depeche Mode tune.
Overall, if you have any affection for anything musical that was birthed during that bastard decade, you’ll love Bright Like Neon Love.