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“Shazam is an app that feels like magic”. Discover artists, lyrics, videos & playlists, all for free. Shazam will identify any song in seconds. Indeed, a minor key spoken free jazz denouement on “Teeth,” punctuated by almost atonal horns, collapses into the sparkling Big Star homage “Cigarette Dreams,” traces of The Kinks and Replacements wafting through.Get & gift up to 5/mo free of Apple Music until 1/31! Download & Shazam a song or visit /applemusic. What’s thrilling about Jay Joyce’s production is not only are the sonics clear-each instrument captured at its most resonant-but there’s a freewheeling sense of the commonality amongst genres. “Telescope” suggests Abbey Road building to a Bowie-esque chanted chorus, then dry finish, while “Take It Or Leave It” merges a Daft Punk disco shuffle on the verses then disrupts it with choruses that swoop into an “I Wanna Hold Your Hand”-style melody delivered via bulked-up Southern California pop arrangement.

Melophobia’s a crazy quilt of sounds and influences. After opening with lacerating guitars, the song moves into buzzy bass-driven verses, only to culminate with a fade to cheap toy piano. “It’s Just Forever” finds The Kills’ Alison Mosshart taking the Ellen Foley turn from Meatloaf’s “Paradise By the Dashboard Light” to create a startling eruption that blasts the female perspective into a tale of obsessive die-by-my-side sort of love. The refrain’s “Come a little closer, then you’ll see” repeated over and over, becoming an almost narcotic invitation-and one seemingly designed to engage girls as well as boys. That promise delivers on “Come A Little Closer,” a song whose tempo surges and recedes, then surges again. Vocalist Matt Shultz’s torn-open wail makes him a relentlessly romantic, if tortured, figure. Suggesting The Sweet with a touch of Mott the Hoople and a bit of Ziggy Stardust, Cage the Elephant flexes a bravado that makes the Kings of Leon’s brazen swagger seem almost crude. With six slamming chords, “Spiderhead” opens Melophobia with a throb and wash of fuzz-tone guitar. Propulsive choruses, a musical cacophony that whirls and a melodic sense that secedes nothing to the rhythms, the scrappy quintet’s third album is a focused, frenzied affair. isn’t the place one expects to find the hot pink center of a post-modern glam revival, but that’s where Cage The Elephant-whose Melophobia is a glitter-flecked triumph of banging power pop-calls home.

Come a little closer and you ll see