Cage the Elephant, an American rock band based out of Kentucky, just released a new album. They are not extremely popular, but those who know the name were ecstatic for a new bout of thick, complex guitar chords and Matthew Schultz’s distinctive voice. The beats of these songs vary from slow, deliberate pounding to a fast, jumpier pace. Melophobia was released on October 4^th, and it is Cage the Elephant’s third album, following their debut self-titled album and their second set of tracks (Thank You, Happy Birthday). They have had many unusual songs and music videos, but this new album is off the charts strange. Though the video for “Come a Little Closer” has not aired yet, the band has been posting pictures of the animations for the music video — and they are anything but normal. Main vocalist Matthew Shultz has stated in an interview with the Rolling Stone magazine that they have been following other band’s styles and techniques in the past, and think this album will be more of their own style, and a way of really showing off what the band is made of.

Melophobia starts off with “Spiderhead,” a song with a blend of sick drumbeats matched with bits of bass and guitar chords emphasizing the lyrics that Shultz sings in his baritone. The track is extremely catchy, although it does mimic the same style Cage the Elephant has been following in their past albums. There is nothing new here, but a great beat to start off the album. “Come a Little Closer” is the next melody, and it starts off a bit slow but with a good, steady drum in the background. In a split second, as the band launches into the chorus, the background beat that seemed a bit weak and soft is instantly supported by everything the band’s got. It goes from a song that you would think mediocre to a thrilling beat that fills up your earphones with killer lyrics. “Come a little closer, then you’ll see/C’mon, c’mon, c’mon/Things aren’t always what they seem,” Shultz sings, going from his voice sounding a little too soft and insecure to a strong, confident set of vocals.

“Telescope” sounds completely different than the first two songs. Where the second and first tracks had more of a rock/alternative style, this song sheds a brand new sound on Cage the Elephant. The first beat you hear sounds a bit like a synthesizer meeting a piano. After Shultz starts singing, you hear the guitar and drum beats come in, and there is something about it that makes it significantly different from the first songs on the album as well as the songs on the past albums. “It’s Just Forever,” featuring Alison Mosshart, is track number three.  With a faster beat than “Come A Little Closer,” but not at all lacking the passionate, deliberate vocals and beats that Cage the Elephant is so good at producing. This song is one of the band’s more eerie songs, the lyrics murmuring “Never stop until you love me/Even if you treat me cold/I’ll love you till we decompose/And the skin falls off our bones/It’s just forever.”  If there is any song that is the ballad of stalkers and obsessed lovers everywhere, it’s this one. The reference to the skin decomposing off bones emphasizes the ultimately haunting vibe of this song.

“Take It Or Leave It” is a softer, more higher-pitched song then the past songs though, once again, it does not lack Cage the Elephant’s passion in singing and in putting their all into the songs. Bass chords and drumbeats put significant emphasis on certain lyrics and words in this number, making the point of the track communicate ‘I’m tired of you being indecisive, take it or leave it.’ “Halo” starts off sounding slightly like “Fluorescent Adolescent” by the Arctic Monkeys, but then immediately switches off into an intricate song full of thick beats and really shows Shultz talent for what it is.

“Black Widow” has the same rock and alternative sound as “Spiderhead,” although there it is definitely faster in the sense of pace of beat.  The vocals are significantly higher than the first track on the album, although they sound very similar. Both are like the same theme of the past albums, but do not fail to impress audiences. “Hypocrite” is a good blend of drum beats, vocals, and bass that is much calmer then the rest of the album, just to give you a bit of break before you hit “Teeth.” In one word, this song is intense. There is a screeching sound in the background and thick, layered beats supporting Shultz lyrics, but the sound of the song is slightly frantic, almost panicked, and has taken a huge leap from the song before — almost like the calm before the storm.

The last song on the album, “Cigarette Daydreams,” is a form of closure, returning back to the less stressful sounding, jumping beats to a calm mixture of guitar, piano, and vocals. The entire vibe of the song is just relaxed, but never lacking the methodical stability and eagerness of the group. Melophobia is definitely out of the ordinary for the way the songs are pieced and the lyrics they depict, but for Cage the Elephant, it is nothing outside of the ordinary deliberation they show for making music. All in all, this band has put out another interesting album, continuing to amaze listeners with how energetic they are, and demonstrating a slightly different style to their past albums.