At least once a year, I ask myself how the hell We Are Scientists have yet to become one of the biggest bands in the world.
The criminally underrated indie pop rock group with a wink-wink-nudge-nudge name is made up of two decidedly non-scientific men with big hearts, even bigger comedy chops, and painfully infectious melodies. Guitarist, lyricist, and lead vocalist Keith Murray met bassist Chris Cain at Pomona College in southern California in 2000, quickly bonded over a similar sense of humor, and have been crafting sweet harmonies ever since. After five studio albums, half a dozen EPs, and nearly two decades of performing and writing together, the duo have released their sixth and most pop record yet: Megaplex. And it just might be their best one in a decade.
Never one to miss even a brief opportunity to make a joke, Chris describes Megaplex to NME: “In the past we’ve used our music to educate, to enlighten, to awaken people to the depth and complexity of moral concerns. This time, we really want to drop a fun-bomb. Something to dance or fuck to.” Old records full of moral concerns aside, Megaplex does provide a complexity of its own. It’s a record that sounds very much like We Are Scientists while also sounding like a dozen other notable influences, and yet somehow still feels remarkably fresh and new.
Lead single “One In, One Out,” perfectly sets the tone for one pop explosion after the next. Easily conceivable as a radio hit, the track features everyone at their best; Keith’s vocals almost float alongside catchy guitar hooks and weave in and out of sugary harmonies as Chris’ bass provides the perfect blueprints for dancing. “Notes in a Bottle,” a wonderful companion piece to the album opener, similarly paints a picture of synth-pop heaven with a beachy melody, soft harmonies, electrifying guitar solo, and vulnerable lyrics: “Why don’t you hear me out? / Not try to keep it down / Occlusions really no use / So come on tell me the truth.”
Doubling down on the record’s incredibly danceable opening, Megaplex remains unrelenting with the infectious singalong and second single, “Heart Is A Weapon.” Chris shines through his funky bassline as Keith croons, “Your love / Is like waving a gun / Now I’m learning my lesson / Your heart is a weapon.” The synth-happy production and breezy vocals capture the feeling of a different time when rolling down windows on highways to let music breathe made sense.
More than once does Megaplex feel reminiscent of When In Rome’s catchiest ballads and Berlin’s singalongs — especially on the opening tracks.
Perhaps avoiding the risk of sounding like a pure 80’s record, the anthem “No Wait At Five Leaves” and unforgettable “Now Or Never” offer a different reprieve. In these, Keith’s guitar recalls the work of early 2000s nostalgia-infused acts like Weezer, Jimmy Eat World, and The Ataris as shimmery, elevated riffs become layered with his emotional words. Both songs include a lovestruck protagonist with a sense of urgency, but while “No Wait At Five Leaves” is a sweet clean-cut plea for loving now, “Now or Never” is a moody, mid-tempo groove with brooding guitars and drums that cut deep at the chorus. Both will get stuck in your head in no time.
For fans seeking more traditional We Are Scientists rock numbers, “Your Light Has Changed” offers power chords, garage band drums, and pedal-heavy guitar effects a la 2008’s “Altered Beast” and 2016’s “Classic Love.” Beyond the cacophony of pure pop sounds in the opening of “Not Another Word,” its thumping bass and raging guitar solo remind listeners of the band’s guitar rock roots on their debut With Love And Squalor.
Fans of heart-wrenching and soul-baring ballads like 2006’s “Textbook” and 2010’s “Pittsburgh,” will find solace in the show-stopping and synth-heavy “KIT.” From top to bottom, Megaplex provides enough for everyone without pandering strictly to either fans or newcomers; it’s intentional without being contrived.
While the record’s familiar rock moments and fun pop forays are certainly comforting, Megaplex stands out most when it wanders into surprising territories. “You Failed” is not only the first song in the band’s hefty catalog wherein Chris takes on lead vocals, but it’s their best one in years. The track is an unabashed pop hit wry with MGMT-level synths and chill-inducing vocals unlike anything they’ve ever done. Electric drums and dark, brooding tones intermingle with upbeat tempos like the most recent LCD Soundsystem record; it’s almost shocking to realize how much We Are Scientists are capable of. Hand the mic to Chris more, Keith.
Boundaries are pushed even further with the final track “Properties of Perception.” Somehow, Keith’s guitar-playing transforms into something that might’ve come out of Johnny Marr on early Smiths records, and the harmonies feel like they’ve been stripped straight from the Beach Boys.
In only 10 songs, Megaplex reveals We Are Scientists at their best. With the cleanest-sounding production since their major label hit Brain Thrust Mastery in 2008, Megaplex proves that Keith Murray and Chris Cain have their best days ahead of them. Every individual component of the record is deliberate and intentional, reminding fans and newcomers alike that it’s possible to remain earnest and heartfelt while crafting music to make people dance.
Sure, we all know Keith is kidding when he tells NME, “Our brilliant pop songwriting is unsurpassed […] and will probably make the We Are Scientists name live beyond eternity,” but I’m willing to hold up that mantle for them. We Are Scientists should be one of the biggest bands in the world, so don’t say I didn’t tell you first.
Megaplex Rating: 9.5/10
Highlights: “You Failed,” “Now Or Never,” “No Wait At Five Leaves,” “Notes In A Bottle”
