In what has become a near-annual tradition, I’ve once again taken it upon myself to review the latest Extensions album. If you missed my thoughts on their first two records, Gravitas and High Charisma, be sure to check them out first! But if you’re pressed for time, the quick version is that The Extensions singer, Brian Erickson, and I were college friends. I knew him before he learned guitar, he produced an EP for me back in 2007, and it’s been a pleasure watching one of my longest friends become one of my favorite songwriters. So, as I’ve done twice before, here are my thoughts on Modern Vice… (Available Now Via Mint 400 Records)
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Vampire – If this melody isn’t stuck in your brain the rest of the day, I’d be shocked! Sidebar: is this the overture of a Dracula musical? The last chorus giving way to Brian’s fierce, bloodthirsty vocal take is as perfect an ending as The Extensions have ever crafted! It’s one of his most memorable vocal performances.
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Mr. Broadside – I absolutely love this Stop Making Sense-inspired groove! The counter melodies in the chorus are an unexpected twist. It provides some shake to my hips and a tap to my toes; what more do we even need to be asking of our pop music these days? “Mr. Broadside” is art pop at its very finest. Off topic: What if we dress Brian up in a big suit for live performances?
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Discreet Bliss – Two great grooves in a row; what did I do to deserve this? It’s like Billy Ocean got hired to sing for Neon Trees and I can’t stop bobbing my head! Bassist Will Blakey’s singing is easy on the ears which lulls you right into this song’s smooth center. But I’ve heard Will’s own band ‘Never the Name,’ and I wish he’d added a little more octane to this vocal performance, the way I know he’s capable of. Do it up like that and this instantly gets cemented into the dance rotation once-and-for-all!
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Green Flags – The warbly phasing pulse of this song makes me think we may be headed into jam rock territory. But then the falsetto I wanted on “Discreet” shows up here, layering into the vocals to give off an 80s pop vibe reminiscent of George Michael or Prince. The Extensions could have held onto this one for another minute; I wasn’t ready for it to end yet.
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You and Me and Everybody We Know – If “Oh look, the sun just came out” had a theme song, it’d be “You and Me and Everybody We Know.” Guitarist Becca Cristino sings in a faster cadence than I was expecting. And while it took a minute for my brain to catch up with the song’s wordiness, it’s exactly what it should be! The chorus and bridge take the song from straight-up bubblegum to something more unexpected and layered. On paper, it shouldn’t work. In practice, it turns out to be a real treat!
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Light the Room – Fuzz and then…disco! I hear a little Steely Dan with a splash of Doobie Brothers in here. Brian clearly watched the Yacht Rock Doc when he was writing this because the melody flows perfectly over the groove! Multiple body parts are moving at the same time and the stripped-down third verse put the vocals into the spotlight almost entirely unaccompanied. It takes real resolve to do that, but The Extensions pull it off. This is my favorite track so far.
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Over Now – Even though the vibe is far different than the last song, that spooky intro keeps the endorphins in place. Keyboardist Lisa LoVell starts singing and – wait – I actually know this song! “Over Now” has been in and out of Brian’s setlists for twenty years, wow! What an unexpected surprise that he’d bring back such an oldie and that it wouldn’t just work, it would stand out! Out with Brian, in with Lisa is what I say! The dark, moody tone works brilliantly, and Brian and Becca’s guitar leads must be a lot of fun to watch live!
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Love at First Night – Money. Right from the start. This could have been used in that How I Met Your Mother scene where Ted is chasing a moment. If you know, you know. And if you don’t just trust me when I tell you The Extensions are Pulling. It. Off. The “I’d call you from the payphone / But all the payphones are gone” lyric lands so effectively both with respect to its rhythmic syncopation, and its ability to evoke something sentimental without becoming overly so. This is such a solid closer that it cozies right up next to “Light the Room” as the other instant favorite.
Overall, Modern Vice is an outstanding effort from a band who continues to show just how well-versed they’ve become in navigating pop’s shape-shifting landscape. Unlike previous albums, Modern Vice establishes one mood and then spends the rest of its time committing to it.
If The Extensions had one weakness, it was their seeming inability to sit still. Rock, disco, pop, and even shades of prog and jazz can be found beneath the floorboards of each of their records. Not here. It’s groove, it’s mood, and it’s all in the pocket. There are no misses. The beats set the stage for the melodies, and those melodies live in your head for days. At this point, The Extensions seem capable of anything. Four lead singers? Check! Relatable, story-driven songs? Check! The ability to set and maintain the vibe? Check!
This band acts entirely in the service of its songs, giving the egos the night off. But then again, this band, after making this album? Let them have some ego; let that be their…Modern Vice.