After three albums of solidly composed, occasionally brilliant indie rock songs in chamber pop drag, it was probably the right time for Starlight Mints to stretch out and change their formula. Though their 2006 record Drowaton proved a mastery of their niche-- if you're in the market for an excellent facsimile of early David Bowie, by all means seek out the standout track "Seventeen Devils"-- it also indicated that the group's songwriter Allan Vest was running out of ideas, save for adding yet more layers to his already lush and overstuffed arrangements. As its title implies, Change Remains is a clear turning point for the band, but weirdly, also something of a holding pattern. Though Vest has downplayed his string section in favor of emphasizing white boy funk akin to MGMT's singles or an off-brand Of Montreal, his songs are marked by a stiff fussiness that neutralizes even his best grooves.
Taken at face value, the melodic bass lines that serve as the basis for the songs on Change Remains are above average, and Vest's instincts as a composer are pretty good. The problem here is not in the writing, but in the execution: The bass parts seem too flimsy and fragile for actual dancing, and most of them come off like pain-stakingly crafted replicas of funk hooks intended strictly for display purposes. This isn't always a problem-- "Sesame (Untie the Wrath)" and "Zoomba" have enough juice in their grooves to at least inspire some half-hearted swaying during headphone listening-- but it's hard to shake off the sense that Vest is not yet fully comfortable working in this mode. Many great songs play up tightness at the service of body-moving funk, but too much of this music sounds more uptight than taut, and the general vibe of the record is like being invited to a house party in which the host hovers around the room, terrified that a guest may spill some beer on their carpeting.
Starlight Mints may be foregrounding their rhythm section, but they still shine the brightest when they fall back on their strengths as an orchestral pop outfit. The string accents in "Sesame" and "Black Champagne" are by far the most exciting and appealing textures in their respective arrangements, and "40 Fingers", a goofy number that could have fit in easily on their debut album, betrays a natural confidence lacking in the flat-footed beats of tracks like "Natural" and "Power Bleed".
This is not to say the band should have stayed within its comfort zone. There are good ideas all over Change Remains, but the band does not fully connect with its own material. There is a good possibility that these songs may come to life in the context of a live performance, or more likely, that this work is the necessary first step towards more effective and refined versions of similar ideas on future records. Ideally, Vest should work towards finding a happy medium between the generous melodicism of his earlier records, and the physicality of this music. It may be best to think of Change Remains like a failed attempt to cook a new dish from scratch: This first try may have turned out bland and overcooked, but with a few adjustments, the next batch may yield something rather wonderful.
