The band comes closer to defining their own original sound on their third effort. (Photo via cagetheelephant.com)

Following the 2008 self-titled debut, spawning the high-ranking rock single “Ain’t No Rest for the Wicked,” and their 2011 release, the critically acclaimed album “Thank You Happy Birthday,” the band faced a common challenge of many new musicians who find early success: to resist change and produce the same, already popular music or to take the risk of evolving.

Although the bluesy, punk-infused, Pixies-inspired playfulness of the earlier records remains, the new album revamps Cage the Elephant’s sound, bringing them closer to having a unique style. 

Opening with “Spiderhead,” an upbeat, bluesy tune with spirited vocals, and the lead single “Come A Little Closer,” sounding like something by the Silversun Pickups with softer vocals and a more somber tone, “Melophobia” oscillates between upbeat, fun songs and tracks that are lower-energy and meditative, even negative at times.

The third song, “Telescope,” similarly continues with a depressing tone, apparent in a chorus in which singer Matthew Shultz expresses, “I don’t think you understand / There’s nowhere left to turn / Walls keep breaking.” Furthermore, “Telescope” presents a departure from their old rock sound in exchange for a simple, mellow synthesizer-based melody.

Turning to the more upbeat end of the spectrum, “It’s Just Forever” sounds comparable to “Indy Kidz” off the band’s sophomore album with prevailing distorted, fuzzy guitars. However, the soulful, blues overtones in the song along with the featured vocals of Alison Mosshart from The Kills gives the song a unique, fresh spin.

“Take It Or Leave It” also showcases Cage the Elephant’s originality in the new record, blending funky verses with rock n’ roll choruses, producing a tune so catchy it is dance-worthy. 

“Halo” and “Black Widow” continue the trend towards more upbeat songs on “Melophobia,” featuring high-pitched vocals and a blues-heavy garage rock sound comparable to that of The Black Keys. Additionally, the ninth song “Teeth” – the first half of which distinguished by distorted, noisy guitars and almost screechy, quickly delivered sharp vocals – is easily the highest-energy piece of the album, even with its mellower yet psychedelic second half that acts as a necessary cool down for the energized song.

With the eighth song “Hypocrite,” the album returns to the more reflective, subdued end of the spectrum, characterized by unaffected singing, dominant drums, and self-critical lyrics such as “I guess that I’m the hypocrite.” The final song of “Melophobia,” an acoustic song titled “Cigarette Daydreams,” closes the album on an equally calm, wistful note that highlights Schultz’s maturity and growth as a lyricist.

Despite its accomplishments, Cage the Elephant, with its ever-increasing fan base and history of successful records, is still a young band with potential for growth in creating a more unique sound, a goal it has come close to but ultimately fallen short of. However, if the band stays loyal to musical progress, its future records will only continue to improve.

Read more of NT's album reviews here.

Reach Staff Reporter Ashley Hawkins here.