If Memory Tapes and MGMT were to be parents to a child, it’d be Starfucker. Each track on Reptilians sent me on a different trip with the electronic beats and faint vocals that consumed me. The album, that is to be released March 8 on Polyvinyl Records, adds a lighter side to dark topics. The band samples the morbid philosopher Alan Watts throughout this piece of work.
The first song, “Born,” has a carefree vibe with acoustic guitar underneath a busy electronic rhythm. The dancey instrumentals of “Julius“ had my hopes up, but, once the lyrics kicked in, my expectations were trampled on. “Bury Us Alive” drills the idea that death isn’t something to be feared, but to be viewed as a release. “Mystery Cloud,” which sounds like something out of Mario Kart 64, has an interesting ending; it is completely spoken by Alan Watts, he talks about how death can be used for creativity. Like “Bury Us Alive,” “Death As A Fetish,” reiterates the idea that death shouldn’t be feared and is probably my favorite number off of the faster tempo part of Reptilians because it is extremely catchy and how death is personified.
The second half brings the tone of the album down. “Astoria” is pure repetition, and “Reptilians” has a nostalgic vibe to it. My least favorite tune on the release, “The White Of Noon,” has promising instrumentals but, once again, the lyrics are nothing special. On the flip side, “Mona Vegas” is my favorite of the lighter tracks; it is a lonely version of a love song. The final two tunes, “Millions” and “Quality Time” are extremely dancey and fun. Watts’ voice can be heard in “Quality Time,” and provides the only vocals in the finale. The way the beats clash with the lyrics throughout this piece is ironic yet enjoyable.
In A Word: Electrofundeathisn’tscary