Jukebox The Ghost – Everything Under The Sun

Indie pop is a fickle genre, and one with some harsh double standards.  Make something too catchy and you’re branded commercial.  Make something too abstract and pitchfork will boycott you as “self indulgent.”  Few bands wedge into that middle ground without feeling torn.  But those that make it work, like Phoenix, Ra Ra Riot, Islands and Vampire Weekend, make it all worthwhile.

Always being on the hunt for a good indie tune, I was surprised to learn that up until now I had overlooked what seems to be another solid candidate: Philadelphia natives Jukebox The Ghost.  Their sophomore offering, Everything Under The Sun, features twelve tracks of sunny, piano driven, synth enhanced, indie pop ranking up there with the best of them.

Building themselves on the dual songmanship of pianist Ben Thornewill and guitarist Tommy Seigel, each vocalist plays and writes to their strengths.  Thornewill makes for a commanding presence, filled with the strength, confidence, and carefully refined tone characteristic of Ra Ra Riot’s Wes Miles.  Even in the scattered and ever-suspicious opener “Schizophrenia” Thornewill maintains control despite the track’s fleeting focus.  For these tracks Thornewill’s piano is a spectacle to behold.  Meanwhile, Seigel’s summery, boyish charm makes for a great counterbalance.  Unlike Thornewill’s piano heavy outings, Seigel’s tracks, like “Half Crazy,” typically feature bubbly synth bursts.  To be certain, Thornewill is the one to build an album around, so naturally his song credits outnumber Seigel 3-1.  Even so the band would likely get bogged down in the details without Seigel’s effortless appeal.

Generally a strong album with little filler (there’s a certain mid album slump with “So Let Us Create” and “Carrying” though), Everything Under The Sun also saves the best for last.  The album’s final tracks close to a super catchy, celebratory tone, in which Seigel and Thornewill toy with role reversals.  “The Stars,” an epic detailing a watery doomsday scenario, shines as Seigel’s most well-spoken and singable moment, while “The Popular Thing” and “Nobody” find Thornewill alongside a slew of youthful handclaps, fervent bells, and engulfing vocal choruses – all the while building up to one of the album’s grandest piano surprises.

Still, some may dismiss Everything Under The Sun as prototypical indie pop.  Those people are snobs.  Fact is, Jukebox The Ghost commands some serious song writing chops, lacing each sugary melody with a thoughtful lyric (following the words is a real treat) and tight musicianship.

Everything Under The Sun feels warm and radiant in the best of ways, making for a depthy, hook heavy listen both satisfying enough for critical listeners and casual indie flirts alike.