Three years have passed from “Something” and its collection of ecstatic, charmingly odd tunes, but Caroline and Patrick haven’t lost their knack for sparkly pop. Not even empress of all things Beyoncé could resist to their sense for magic and recruited them for her now iconic fifth record.
“Moth” is as euphoric as ever, gorgeous and light like a moth, but just like a moth, it’s vulnerable and fragile at the same time. Its energy flows in two directions: it can explode in joyous and fast-paced numbers, like “Ch-Ching” and “Romeo“, first and second single from the LP, or turn more quiet and personal, like in “Crying in Public“, a delicate midtempo which wouldn’t have sounded out of place on the soundtrack of a early ’00s teen drama.
“Moth to the Flame”, the latest taste of the album, seems to encapsulate both sensibilities. It’s cheerful and lively, the kind of song you can’t help but dance to, but it’s fluid dance moves that it conveys, more hips shaking gently than full-blown shameless twerking. It’s bouncy but in a laid-back way, like dance pop from the ’80s, like something early Madonna would have liked to sing, sweet-sour, playful but straight to the point. Caroline‘s wonderful voice shines bright as usual, stretching here and opening up there, elastic as a rubber band.
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