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Is This What The Temper Trap Wants To Be? (Album Review)

Liberation Music (2012)

This week, Aussie indie-rock band The Temper Trap released their self-titled sophomore release, a follow-up to their breakthrough debut record Conditions. On the first listen, I have to say I was a little confused. By the second listen, frankly, I was bored.

A sophomore album always carries a bit of risk, especially if your first record was huge. Even more risky is to make your sophomore release a self-titled work, because when you do that, it implies that the music on the record is a statement of identity, a definition of who you are as a band or artist. If that is the case with this album, then The Temper Trap is basically telling us they want to be a mediocre band that prefers obscurity to worldwide fame.

I hate to be that harsh; I really do. But the fact is that The Temper Trap really set the bar high with Conditions—and if you’ve ever heard them live, you know that Conditions itself didn’t even do justice to what they’re capable of. And even though they’re a great band, The Temper Trap is still relatively new—most people are only familiar with one song, “Sweet Disposition,” their only real hit so far.

In that situation, the next record needed to have at least one song that could carry them past “Sweet Disposition”—and I’m sad to say, this one doesn’t. It’s not that the songs are all bad—it’s that they just sort of sit there. Listening to this record, I don’t feel any sense of momentum at all. And that scares me, because it really puts The Temper Trap in danger of joining the un-coveted list of “one-hit wonders.”

Now, I suppose from a certain standpoint, The Temper Trap (the album, not the band) could be viewed as a self-contained work, a collective, reflective artistic statement that needs to be heard all together to be appreciated. But that’s the kind of album a band makes several albums in, after they’ve really established their audience. It’s not what you put out as a sophomore album when your band is still trying to build an audience. I guess I just feel like this record, if it should even have been made, is coming way too early in the band’s discography. And again—this is self-titled. I really have to question whether this collection is how the band wanted to define itself.

One track in the middle of the record seems eerily appropriate: “Where Do We Go From Here?”

Where, indeed?

ALBUM RATING: 2 Stars (out of five)


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About the Author

on MUSIC IS MY OXYGEN WEEKLY.

Growing up in Portland, Oregon, Kim Phelps found her inspiration and love for music listening to local bands play in the coffeehouses around town. She soon found her own voice as a singer-songwriter, and eventually began playing her own gigs in the coffee shops. Her personal influences include Ani DiFranco, Indigo Girls, Ingrid Michaelson and Cat Power, but as an indie musician herself, she has an affinity for any band or artist who pursues creative freedom on the outskirts of the music industry. As our Indie correspondent, Kim makes a point of highlighting up-and-coming independent acts who are creating a buzz and building an audience. When she's not blogging for us or playing in the coffee shops, Kim works as a barista herself to help pay the bills. She currently lives in Seattle, Washington.

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Posted in: Indie/Alternative Music


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