Review of MUNA’s Album ‘Dancing On The Wall’
MUNA, a trio known for their unique “gayotic” brand, has taken a bold, maximalist approach in their fourth album, Dancing On The Wall. This album, starting with the stormy and humid bop of “It Gets So Hot,” showcases the band’s signature blend of erotic metaphors and sapphic desire. The thumping beats and metallic production perfectly complement Katie Gavin’s vocals, setting a promising tone for the record. However, this promising start is marred by moments of unevenness that run throughout the album.
As MUNA ascends the indie pop ranks, there is an increased pressure on the band to both defy expectations and cater to their devoted fanbase. Dancing On The Wall balances between delivering something daring and maintaining their professional momentum. While the record still retains traces of MUNA’s exuberant warmth and irreverence, it also pushes their trademarks—spirited strings, vigorous drums, Robyn-inspired synths, and vivid lyrics—to new heights. This maximalist approach aims to preserve their unique brand and resonate with the current cultural climate, but doesn’t always hit the mark.
One of the album’s pitfalls is the bluntness and clumsiness of its songwriting. Tracks like “Eastside Girls” and “Wannabeher” stumble with overproduced beats and cringe-worthy lyrics, failing to strike the right balance of coolness and humor. Similarly, songs like “Mary Jane” and “Big Stick” come off as heavy-handed in their political messaging, detracting from the album’s overall rawness.
Interestingly, Dancing On The Wall shines brightest when MUNA embraces a more subtle approach. Tracks like “On Call” and the title track, while reminiscent of HAIM and previous MUNA songs, capture emotional desperation with powerful guitar riffs and stirring choruses. The New Wave-inspired “Girl’s Girl” showcases MUNA’s knack for wordplay and slick guitar work, offering a refreshing break from the album’s more ambitious tracks.
Overall, Dancing On The Wall sees MUNA embracing a more maximalist sound while struggling to maintain the authenticity and charm of their earlier work. While the album has its high points, particularly in moments of emotional vulnerability and musical restraint, it falls short in its attempts to be provocative and politically charged. MUNA’s bold new approach may not always translate to better results, but it is a necessary step in the evolution of a band seeking to carve out their own unique space in the music industry.