The Midsummer Station

Shortcut from debutante to scene leader by Owl City

American multi-instrumentalist and musical inventor Adam Young has already convinced us that his project Owl City is not an interim occupation or experiment for the sake of experiment, but a large-scale and considerate action aimed at high goals and looking to big prospects. We seem to miss how quick it happened: the sparking debut in 2008, the astonishing hit Fireflies soaring to the top and lots of expectations from praise-greedy critics. And now, just four years later, Owl City has several studio albums and universal, global acclaim to Young’s talent. Of course, it is not just about talent, but about hard work and determination of the musician who is always looking for options, in full confidence that a next record can sound even better, more convincing still. So far he has succeeded. The new Owl City offer is already the fourth long player, The Midsummer Station. This work is another display of a singular taste of own style, as well as readiness, ability and desire to evolve inside it.

Young remains optimistic

When it was announced that to do The Midsummer Station Adam Young addressed new authors and producers, partying ways with those he had made the first three albums with, it was easy to spot in this move the musician’s intention to bring some novelties in his art. In fact, he restrained himself from drastic changes, but rather made his style a bit more varied while preserving good mood in lyrics and high energy in music, which has always been his main rule. As before, Young capitalizes on sweeping choruses spreading his inexhaustible optimism. Explosive Dreams And Disasters, and Shooting Star instantly speed up the album as they create the right tone for the entire record, and then, in Gold, Owl City opens up its more melodious side. The next song, Dementia, is remarkable for participation of Blink 182’s Mark Hoppus. So it is no surprise that it is the album’s most drive-laden track with more rock than electronic in it. Being stylistically different, I’m Coming After You (techno in pop wrapping), and Speed Of Love (somewhat in between funk and punk), essentially, serve the same mission, making listeners want to dance. The series of dance tracks with life-is-good slogans is closed by excellent piece Embers, but this is not when the album end.

More emotions. Stronger emotions

In the concluding part of The Midssumer Station, Owl City fans who are not accustomed to surprises are actually greeted by surprises. Young, all of a sudden, takes a turn towards a sentimental feel and offers a very beautiful and moving song called Silhouette, inspired by the recent breakup. Metropolis, indeed, looks the possible best track on the whole album. Partially because the song is about home-coming to the family and friends, and this makes Adam sing differently, in a new manner. The last song, Take It All Away, is another sad picture of ruined relationship. This is how, unexpectedly coming to new topics, Young adds to Owl City style something fresh, interesting, yet unforeseeable. Nevertheless, The Midsummer Station, on the whole, leaves listeners in high spirits. Like previous Owl City long players, this one is a great demonstration of how lyrics and vocals fill electronic music with deep emotions. With due respect to the producers, the main credit goes to the performer who disarms listeners with his openness and optimism.