Mixing Synthpop and Indie Rock: Future Islands

Future Islands is a Baltimore based synth-pop band. The group is a trio with Gerrit Welmers on keyboard, William Cashion on bass guitar, and Samuel Herrings on vocals. To date, the band has released four full length studio albums and numerous extended plays and singles.

Their latest album, entitled “Singles” was released by 4AD record company on March 25, 2014. The album differs from the traditional electropop record in its air of seriousness. The album has a very dramatic, and at times even melodramatic, flow. This movement helps to disregard it as the typical “bubblegum” definition of pop. However, elements of the pop genre are still present in this album, specifically in the basic electronica beats and bass lines.

Because the album does rely so heavily on synthesized pop melodies, the album can feel a bit repetitive and boring at times. This is reinforced by the fact that each song is relatively the same length, between three to five minutes.

The album features simple, minimalist lyrics which convey uncomplicated messages. On most of the album, the atmosphere surrounding the sound has more of an impact on the listener than either the lyrics or the melodies on the tracks.

The album would be just another electropop record if not for Herrings’ vocals. The vocals are very eclectic throughout the album, ranging from very pop David Bowie-esque, all the way to death metals growls, and then to a raspy, indie rock flavored crooning. Sometimes this wide range even occurs all within the same song. This varied assortment of vocals is a savior, allowing for some differentiation between the individual songs.

The group performed the song “Seasons (Waiting on You)” on “Late Night with David Letterman” and received widespread recognition. The stage presence of Samuel Herring included numerous dance moves which sparked a viral interest on the internet. Other notable songs include “Spirit and Sun in the Morning,” yet these songs are only notable in the way in which they possess unique introductions to help to separate them from the other songs. “Back in the Tall Grass,” the fifth track on the album, combines clear vocals delivered in an interesting way to serve as a climax of the album. The songs before and after seem to blend together with their electronic beats never varying much from one track to the next.

The album in its entirety is a decently made synth-pop collection, which will appeal to fans of basic electronic pop or newer indie rock. This album would likely appeal to fans of Owl City or the Arctic Monkey’s 2013 album, “AM.” Those who seek deeper, more thought out lyrics, a more complex musical composition style, or a bit of variety within an album however should be wary of listening to “Singles.”

The album would be an impressive debut, but for a band that has been around since 2006, it seems tired and already out dated. Despite the redeeming quality of diverse and unconventional vocals, they become overshadowed when the lyrics have virtually no discernible deeper meaning to them.