Album Review: We Are Scientists – Lobes

Scientists Pack a Spirited Punch

We Are Scientists released their eighth studio album titled Lobes in January 2023. Lobes maintains a pretty consistent sound throughout the album, with a few exceptions. Founding members Chris Cain, Keith Murray and Keith Carne, created a masterpiece that reflects on their personal and musical past, present and hopes for the future.

“Operator Error” opens the album with a shrill synth and a shaker. The drums kick in along with the bass, and Murray’s voice cuts open the soundscape in the most powerful way. The chorus is immediately satisfying and a big release of tension—not just musically, but emotionally for both the listener and the artist. There aren’t many choruses as powerful as one that begins with “Cut the shit, enough of this!” The track talks about confidence, fake bravado and cognitive dissonance in society, from business meetings to hanging out with friends that have more than a few differences.

The second track, “Dispense with Sentiment” continues with digital synthesizers. Murray’s voice holds more space in this track, with harmonies and an emphasized delay. The song is not as intense as the previous track, but it holds much hope, a mix of tension and release simultaneously, making the track neither high nor low on energy; a perfect balance.

With a more intriguing opening, “Human Resources” sonically mixes futuristic reverb-soaked synths and a very present bass that bounces from ear to ear. It is a track that fills the listener with energy and spirit. Murray expertly adds a delightful arpeggio between the chorus and the verse that keeps listeners itching for more. The bridge is a masterpiece—two electric guitars harmonizing to maximize the tension and passion. By the end, the listener is “all out of reasons” to not add this song to their playlist.

“Lucky Just To Be Here” starts more relaxed, sounding like crickets in the night. The drum kick is steady and soft in the back but still very present, carrying the song’s rhythm. One of the more interesting features of this song is what sounds like a pre-chorus is actually the chorus. It clears to make space for the vocals and synths. It increases the tension and never releases it, keeping the listener on edge. The second verse is brimming with ear candy, a clear distinction between it and the first verse. The second pre-chorus/chorus climaxes in a bridge primarily composed of drums, a guitar and a tambourine. Murray’s vocals join in, freeing more of the tension in the song, and finally closes with a soft outro.

Because it is the album’s only song with a music video, “Turn It Up” has high expectations to meet. It mixes futuristic sounding synths with We Are Scientists’ signature bass sound and nasal electric guitars to result in a hyper pop song. It is an ode to themselves as a band with a long lasting career, something not seen very often in the music industry. While sonically, other songs on the album may be more ambitious, “Turn it Up” is clearly closer to their hearts and holds a lot of weight.

“Settled Accounts” opens with bright electric guitars. Immediately, the lyrics get philosophical. This song talks about the crisis of creating. From using alcohol as a crutch to coming to terms with the fact that everything has been accomplished by someone else—creating can be a process full of self doubt and questioning. The part that stands out the most is the bridge and the last chorus, a rundown of the song’s soundscape and emotions all being let go.

Beginning with an ’80s reminiscent bass line and synth, “Here Goes” is an absorbing song. Murray’s voice is finely decorated with reverb and an eccentric amount of delay in the verses. The chorus is much clearer vocally and sonically. It’s punchy, and the chord progression lends the song a liberating feeling.

One of the most interesting plot twists of the album is “Parachute.” It opens with acoustic guitars, stunning the listener quickly before acclimating to the new style. It’s not as punchy as tracks like “Turn it Up,” or “Operation Error,” but it is certainly accompanied by a ton of energy and attitude. It is a vital addition to the album, substituting the classic “ballad of the album.” “Parachute” talks about taking chances, and diving into new experiences, though always keeping the safety of a parachute. The bridge is essential; all the energy runs down and hits the nail of what a bridge should be. If the entire album were a song, this song would be its bridge.

Back to a song that packs a punch, “Less From You” is funky and electronic in its instrumentation. It is reminiscent of “Get Lucky” by Daft Punk, but more sped up. It speaks about life being full of surprises, taking turns and twists of all sorts, with nothing less to expect, and accepting that people can’t have everything figured out all the time, “I really ain’t seen nothing yet.”

The closing track, “Miracle of ‘22” starts like a coming of age movie ends. It’s hopeful, energetic and cheery. But the intro is nothing like the verse, sounding darker and more tense, “Miracle of ‘22” speaks of struggles and overcoming them while appreciating life through all its years, as well as being afraid of running out of time to truly live. It is the perfect closing track, perfectly existential and catchy. The song closes with a distorted glitch, alluding to a TV being turned off. It is the end, until the next time viewers take the time to “turn on the TV” and hear their works again.