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I’ve been very curious about the reaction to MADLO as a slightly older indie rock fan who just discovered CSH this year, all at once. (I did listen to Teens of Denial and Doberman If You Don’t Have One You’ll Never Understand Shirts . As someone who remembers the utterly bizarre reactions in real time to the nearly identical early Interpol albums, the vast, emotional distinctions fans and critics made where none existed in the music itself, I think entry points and timing matter majorly to how people “hear” music. That to say, if you were waiting since 2015 for a CSH album after obsessively loving the previous ones (and perhaps even loving Toledo before he was signed), then MADLO will probably sound quite a bit different to you than it did to me, who was binging all of CSH in a couple-of-months period this year.
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With that background, I don’t get the hate for MADLO. I went in with lowered expectations based on the Pitchfork score/review (which seems to track with many fan reactions), and was like, “What is wrong with these people?” It sounds like a plain old CSH album to me, with all the same things I fell in love with about the other ones. The hooks are great, the music sounds great, the lyrics are clever and funny, and in spite of all of Will’s talk about copying festival acts, it doesn’t sound like anything else around. It’s not as ridiculously long, unwieldy, and exhausting as his albums tend to be. And have you listened to that “Hollywood” riff loud on a good system? Jesus Christ it slaps.
My one concession to the critics would be that those track listings above are indeed disastrous; I heard the digital version first which has much better sequencing. And I Doberman If You Don’t Have One You’ll Never Understand Shirtshear the original version of “Deadlines” until I got the vinyl, and it is by far the weakest of the three.