St. Lucia's 'Matter' is unadulterated synthpop

If you visited any independent coffee shops or juice bars in 2014, you are undoubtedly acquainted with “Elevate,” the infectious synthpop hit from South African indie musician St. Lucia. “Elevate” exemplifies the unique sound on St. Lucia’s debut album “When the Night” (2013): 80s synth, brass backing, celebratory lyrics and tropical rhythms all packaged into accessible indie pop. Some of the album’s tracks were slower and more experimental, but on his latest LP, “Matter," St. Lucia — real name Jean-Philip Grobler — has scrapped all that experimentation. The new album, which was released Jan. 29 through Columbia Records, is a streamlined body of synthpop dance tracks. Although it successfully pays tribute to the 80s synth sound, “Matter” appears to follow a well-worn pop formula, sacrificing uniqueness and experimentation for danceability.

This danceable formula is apparent from the album's very first track, “Do You Remember.” The song is a joyous, synth-y sing-along, but it’s impossible to ignore the similarities it shares with singles from some of St. Lucia’s indie pop contemporaries, like the Jack Antonoff-fronted act Bleachers and Scottish trio CHVRCHES. Eighties synth is clearly having a moment, if not an entire resurgence of the revival that came in the 2000s, so it only follows that these artists are all producing albums with a degree of overlap. However, Grobler’s unique voice may be the only thing saving the track from being something of a copycat.

“Home” is a frantic, in-your-face synthpop jam true to the 80s style from which St. Lucia has always drawn a direct influence. Layers of synthesizers, brass and percussion both compete for attention and build off one another, leading to a crescendo reminiscent of a classic 16-bit video game soundtrack or a Neil Cicierega remix. It’s a little abrasive, but executed with such precision that it’s hard to fault its energy.

Unlike many pop albums, however, “Matter” doesn’t suffer from blocks of forgettable or dull tracks packed between its singles. The lead single “Dancing on Glass” is a fun, solid pop song, but it is also followed by more interesting tracks like “Game 4 U” and “Rescue Me” that demonstrate St. Lucia’s ability to blend characteristics from his past and contemporary influences with his own personal musical style. It’s this style that St. Lucia can, and often does, use to define himself against acts like M83, Bleachers and CHVRCHES.

“Physical” is a less successful execution of the frantic crescendo demonstrated in “Home"--the kind of thing you listen to a the gym for its pure loudness and energy. “The Winds of Change” and “Stay” are both very reminiscent of the sound on St. Lucia’s first album, but “Matter” benefits from it. “When the Night” was an inherently more unique creation, if less polished and danceable, with its slow-building synth and South African influences. St. Lucia is clearly evolving musically, although it appears he’s moving closer to the middle of the genre than remaining anywhere on the fringes of the style. Maintaining the aspects that set “When the Night” apart from the rest of the indie pop releases of the past five years or moving in a new direction rather than deeper into the synth trend can help Grobler as an artist.

The standout track on the album is also its most measured and simple. “Love Somebody,” which St. Lucia unofficially premiered on stage when touring for “When the Night” in 2014, is all finger snapping and warped, warbly synth, like Tame Impala meets a jazz singer. It has a soul and humanity to it that can get lost in some of the more up-tempo dance tracks on the album, like “Help Me Run Away.”

“Matter” closes with “Always,” which features more prominent vocals from Grobler’s wife, Patti Beranek but still sounds like it fits the 80s formula that is so carefully followed in the album’s opening track. “Baby, I’ll remember you always,” she croons, but the song is forgettable. It seems to announce, “Here is the 80s track with 80s style closing our 80s album” rather than adding something new to the conversation. It gets this point across, but clear messaging isn’t a substitute for the best music.

With “Matter,” St. Lucia has strengthened his grip on the indie pop scene and secured his place in the synthpop renaissance. But whether he will be able to set himself apart from the rest again remains to be seen.