The beaming ‘No Time For Toxic People’ tries its hand at ‘Lover’-era Taylor Swift, but stumbles over unclear imagery.
Often, listening to ‘Mercury – Act 1’ feels like navigating a torrential downpour of spaghetti being flung at the wall from cider advert soundtrack vibes to ‘Cutthroat”s thoroughly unconvincing attempt at screamo. The question is, having dominated the previous one, do they have anything new to offer it? Teaming up with enigmatic producer Rick Rubin for their fifth album ‘Mercury – Act 1’, they now find themselves releasing music in a brand new decade.
When the Las Vegas band released their last record ‘Origins’ in 2018 they were officially Spotify’s most listened-to group, and based on sales and streams, they’re one of the most wildly successful bands of the 2010s. The new album extends the band’s flirtation with Charles Darwin - taking its name from “On the Origin of Species” and coming right after “Evolve.” In some ways, the names should be reversed: “Origins” shows the sound really evolving.Think of Imagine Dragons and the phrase ‘doing massive numbers’ comes to mind. The Dragons also explore a dehumanizing digital world, as in their plea for “Love,” where Reynolds notes everyone tones out shocking news: “We put on our headphones.” Elsewhere, he screams: “I’m not a part of your machine/I am the machine.” On the moody “Bullet in a Gun,” he notes sadly: “To make a name you pay the price” and later the words “sellout, sellout, sellout!” are heard. On “Zero,” lead singer Dan Reynolds reminds everyone he once felt empty and unreal. Lyrically, “Origins” dwells on modern-day alienation and the band’s uncomfortable relationship to its own fame. “West Coast” is basically a folky tune that could happily sit in a Lumineers album - how’s that for predictable? “Bullet in a Gun” is fresh with unpredictable electronic flourishes, and the club-ready “Only” has interesting tempo shifts and unexpected layered parts, as if the Dragons are fighting monotony this time. The album sees the Dragons again reteaming with producers Alex da Kid and Mattman & Robin - folks who have delivered some of the band’s biggest hits - but, to everyone’s credit, not doing more of the same. That slice of bombastic, fist-pumping bravado seems to indicate more of the same on “Origins,” but the band drifts into other areas, like the blissed-out summer jam “Cool Out” that could be on a DNCE album, and the gloriously anarchic, disruptive “Digital,” which plays with dub step and chops itself into pieces. If “Origins” was the band stalking around as an arena powerhouse, “Origins” is their quirky little sister, making cool stuff in her bedroom.ĭon’t let the first single, “Natural,” fool you. “Origins” is supposed to be a sister companion to last year’s monster “Evolve” and it’s an intriguing follow-up, offering more textures and sonic experiments. Less than a year and a half after releasing the double-platinum album “Evolve” and crisscrossing the globe on a 100-date tour, the band is back with a dozen new songs. Do Imagine Dragons ever sleep? Not apparently.