Album Reviews

Tokyo Police Club – Forcefield

on March 27, 2014, 12:00am
tokyo-police-club-forcefield C-
Release Date
March 25, 2014
Mom + Pop
digital, vinyl, cd

Canadian collective Tokyo Police Club have spent their previous body of work (two LPs and two EPs) painstakingly crafting a signature sound. It drew a little bit from rock and a little bit from post-punk, and it was unmistakably, completely theirs, a kind of touchstone for seemingly cool and collected college kids who were really just tangled balls of emotion. No other rock song had the same blueprint as “Sixties Remake” from 2008’s Elephant Shell, and there are few songs that I have loved quite as much as “Breakneck Speed” from 2010’s Champ. David Monks’ nimble lyricism coupled with killer guitar hooks produced albums perfect for repeat lineups, somehow both comfortably familiar and full of distinct wrinkles.

That’s what makes Forcefield, as a whole, so disappointing. Tokyo Police Club’s signature sound, the niche that they carved out for themselves in a constantly fluctuating music scene (an emphasis on rhythm and abstract, maze-like lyrics with real emotion at their center) is almost completely gone, replaced by a rabid pop sensibility that sometimes works and sometimes really, really doesn’t.

Once expectations are adjusted and its accepted that Forcefield isn’t going to be Champ Part II, the whole thing becomes easier to swallow. Album opener “Argentina (Parts I, II, III)” is a promising start. “When you smile, you smile with all your teeth at once,” Monks sings, and the song progresses from power pop, to an exuberant ode to brand-new love, to a kind of chill jam session, with some power chords thrown in for good measure. It’s a nine-minute odyssey, executed by a group that had mastered the three-minute song, and it renders a feeling of “I see what you did there,” but not much else.

“Hot Tonight” is clearly the tour de force here, the intended radio hit. Monks and company have talked half-seriously about how their goal with this album was to do what The Strokes did with “Juicebox” and Weezer did with “Hash Pipe”: use the rock riffs that came so easily to them to their advantage instead of pushing them aside in search of something more esoteric. While that’s fine in theory, there might be a reason why those two predecessors confined the experiment to a single song instead of an entire album. “We just wanted to write choruses,” keyboardist Graham Wright told Exclaimand write choruses they did. “I need a countdown when the fire is high/ Sitting on the curb and it’s hot tonight,” Monks sings, and it sticks in your ears, but doesn’t need any further explanation. The album’s title is supposed to be a metaphor for the way the band tried to isolate themselves and reject the myriad musical trends that have come and gone since the release of Champ, but it’s likely tongue-in-cheek, too — this is inarguably Tokyo Police Club’s trendiest album yet.

Should Tokyo Police Club have to justify this dramatic shift in sound? The band’s Elephant Shell Saddle Creek heyday is largely over, and if a group that have been showing up for the last seven years want to ride the coattails of bands like Bastille and Imagine Dragons to some modicum of mainstream success, who am I to naysay? But all the momentum that the group had been building with A Lesson in Crime, Elephant Shell, and Champ feels thwarted here, diverted somehow, as if their label sent in bodysnatchers to create a band with the muscle memory of the originals, but the sensibilities of a radio favorite. “Hot Tonight” might start blasting from every car window this summer or it might not, and I’m not sure whether or not this gamble pays off really matters. Either way, Tokyo Police Club have staked their claim to a new sound and a place on the crowded airwaves, leaving longtime fans to look for something else to fill the void.

Essential Tracks: “Argentina I, II, III”


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April 23, 2014 at 5:32 pm

It makes me sad to have told people that TPC is my favorite band for years to now be let down by Forcefield. I remember a few years back I did a presentation on TPC in college describing the unique sound they had by playing ‘Your English is Good’ and ‘Citizens of Tomorrow’ for them. The music was so well received by the class I felt like I unintentionally created a classroom full of TPC fans. But now I feel like I misrepresented them as a ‘zero fucks given’ band when the direction with Forcfield is so poppy that it sounds like a whole other group of guys. I’ve listened all the way through the album a couple dozen times now searching for any remnants of what I once loved but only found a bit in ‘Argentina’ and ‘Through the Wire’ that gave me hope. I’m seriously just sad and hope in another 2years they deliver. Either way I’ll be at the Echoplex in a couple days in which I really think that D. Monks voice will sound like it used to live. Hopefully they play “cheer it on” and will re-capture me as a fan again.

April 23, 2014 at 3:52 pm

Every time they come to LA I see them and now….. I’m not so sure I can watch them play this album in front of me and shatter the image I have of them. Sad.

April 1, 2014 at 10:03 am

Man, that was a lot of words just to say “I don’t like that they changed.” If they had produced Champ 2, everyone would’ve written about how it was the same old same old. Bands need to evolve and change.

Andy Poplawski
March 28, 2014 at 1:28 pm

100% spot on review – was so excited to see them live in nyc coming up but if this is the album I’m going to hear – well its unfortunate.

Jess Frank
March 27, 2014 at 5:55 pm

I think it’s better than Champ. By a mile.


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