On their fourth studio album, almost 11 years after their last record, Massachusetts outfit Boys Like Girls have finally returned with Sunday At Foxwoods. With nostalgic instrumentals, brilliant vocals and under-the-radar lyricism, Boys Like Girls has created their best record yet.
The album’s title track and opener feels like a time machine. Only instrumental, the group enters with radio static and melodic strings that simulate the launch of a spaceship, the dawn of a new era. The furious pace of prolific drum beats from John Keefe are the backbone of this track.
After a monumental launch, the band lifts off into a sonically impressive record. Every track seems to leak with this ’80s pop nostalgia in every note. Throughout the record, the band has seemingly embraced electronic flourishes that help give it that edge.
“Language” even starts with a funky bassline from Gregory James and it translates well to the entire track, especially in connection to lead vocalist Martin Johnson’s voice. The pre-chorus resembles “Message in a Bottle” by The Police with its guitar riff and gives color to a pretty simple song at its core.
If The Police weren’t enough of a touchpoint for the late ’70s/early ’80s, Peter Gabriel becomes a melodic focus on one of the album’s singles, “Blood and Sugar.” After the song opens, that familiar melody of “Sledgehammer” is contorted into a pop-rock beat surrounded by distorted guitars. The beat drops out to let Johnson’s vocals shine through, but its up-and-down motion keeps the listener engaged beyond compare.
While the instrumental is incredible, Johnson’s vocals and the album’s vibrant lyrics help it reach another level. “Physical” could have been another stereotypical song about love and lust, but it’s played nicely instead. Johnson’s vocals pair well with Keefe’s upbeat instrumental and punctual drumming.
Johnson’s evident vocal strength is used in full, with a few high notes littering the song for good measure. His vocals drip with desperation in a piece about wanting someone so badly and noticing the perfect moment.
“Touch me, take me, I’ll be your muse (And I really want it, yeah and I really want it) / Don’t need someone to love, someone to misuse (Tell me lies, let me in your head.)”
“Brooklyn State of Mind” is a combination of personal experience and a reflection of certain mindsets and emotions. Johnson draws out the ends of sentences and his speaking vocal flourishes add depth to the track. The usage of acoustic guitar throughout the chorus, the background synth similar to the opening of The 1975’s “Robbers” and short string sections round it out perfectly.
“Leather jackets like a costume / Soaked in sweat and perfume / But isn’t that the dream?”
Of all the great 13 songs comprising this record, “Miracle” is the best song of them all. The song frames the complexity of loving someone and forgetting as a somewhat metaphysical experience. Although the instrumental follows a similar pattern to “Language,” there’s more pop momentum attached to it.
The chorus structure is perfect, allowing Johnson to let loose with his vocals and display that desperation and emotion among a strong synth presence and drum machine-like percussion. Repetition is critical as the repeating chorus gets distorted, only adding to the emotion. But the chorus holds the keys to the kingdom.
“How do I, how do I get you out of my head? / I need a miracle / How did I, how did I let you out of my bed? / Can’t balance the chemicals / And I’m falling ‘cause I miss you / I’m not calling, but I want to / How do I, how do I get you out of my head? / I need a miracle.”
Boys Like Girls didn’t need a miracle to make this album perfect. It just took some great synth, perfect vocals, prominent basslines and stellar lyrics to help paint beautiful portraits of love and life.
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