Here's an incomplete list of the subjects dealt with on Passion Pit's second album, Gossamer: immigration, alcoholism, economic disparity, suicide, mental illness, drugs, domestic abuse. So when Michael Angelakos sings, "I'm so self-loathing that it's hard for me to see," that should come across like a tremendous understatement. But two lines later, he cries "no one believes me, no not a single thing." That part cuts deep, since Passion Pit's 2009 debut LP, Manners, was an often dark and troubled record a lot of people chose not to take seriously due to its sugar-smacked synth pop and countless product placements. So it's no wonder that Angelakos' next words are "my brain is racing and I'll feel like I'll explode!" Three difficult years in the making, Gossamer is an overwhelming album about being overwhelmed, a bold and ultimately stunning torrent of maximalist musical ideas, repressed anger, and unchecked anxiety.
Perhaps it's fitting that Gossamer, so focused on failure and human frailty, should begin with a stumble. "Take a Walk" is a fairly by-the-numbers Passion Pit song. Nonetheless, there's a strange imbalance to it. The massed chorus of chipper vocals and the stoic, pavement-pounding verse feel mismatched. And while Angelakos' literal account of the financial troubles facing his family is gut-wrenching and brave, it amounts to a curious fit on an album that's otherwise entirely personal. As a one-off, it would be an intriguing character study. As the leadoff track on Gossamer, it feels misplaced.
Luckily, "I'll Be Alright" doesn't allow much time for the disappointment to register. The joy-buzzer synths and Angelakos' falsetto scan as instant-gratification Passion Pit, but on both a musical and lyrical level, it's a raising of the bar, far more complex than anything the band has done to date. Consider the combination of its surging chorus and the synapse-frying barrage of microscopic jumpcuts, and you might have the weirdest and catchiest band on Warp, and the most dejected if you're really paying attention. The first line of "I'll Be Alright" could be a retroactive assessment on the day-glo Manners, asking "Can you remember ever having any fun?/ Cause when it's all said and done/ I always believed we were/ But now I'm not so sure." The effect is initially disorienting and uncomfortable: Do you escape into the comforts of the music or give into the lurid thrill of confrontation?
Angelakos is no pop subversive. While he's been forthcoming about the autobiographical details that inspired Gossamer, within the auspices of Passion Pit, he seems incapable of dealing with them through anything other than pop's pleasure principle. This was true of the now comparatively restrained Manners, an album of strong melodies that worked in a fairly narrow stylistic range. On Gossamer, Passion Pit recast themselves as polyglots and pacesetters, tackling the currency of pop music head-on as a competitor rather than admiring it with a few well-placed press quotes. Gossamer is rife with dichotomy, one of which is that the hooks highest in fructose are lent to songs dealing with the most uncomfortable topic: money. While "Carried Away" proves Angelakos might not be Ezra Koenig in terms of cleverly deconstructing the interactions between the socially stratified, there's a thematic congruence in the occasionally forced rhyme within a song about saying all the wrong things. Later on, "Love Is Greed" is far more multi-layered than its title and hook ("If we really love ourselves/ How do you love somebody else?") initially indicate. Courtship is reduced to the search of "another person that's just yours for the taking," which is essentially a trenchant distillation of post-recession social science.