Miracle Mile

STRFKR’s latest album, Miracle Mile, sees the band successfully incorporate an organic feel to their version of electronic pop. 

Photo Credit: Courtesy Photo | Daily Texan Staff

Portland band Starfucker, or STRFKR, has a reputation for producing electronic dance hits and live shows as provocative as their name. 2011’s Reptilians hooked music critics and, with Miracle Mile, the band seductively reels them in. 

Beginning with “While I’m Alive,” the album opens as expected — with a catchy and nasally vocal melody and an easygoing synth progression. Then, about two minutes into the song, you realize that STRFKR is not just another happy-go-lucky electropop band, but the innovators of its genre. The descending bridge collapses before rebuilding a funky, easily accessible bass groove. The minimalist guitar work introduced on “While I’m Alive” defines the best parts of the album, which is STRFKR’s ability to craft ridiculously catchy hooks out of only three or four notes.  

“Isea” is a 50 second vibe-chiller comprised of a delicate, nylon string acoustic riff. Lead vocalist Joshua Hodges momentarily breaks from the prevailing themes of hedonism and sings, “We spoke of summer, fall back together/Said it will be better to stay indoors all day,” before the band seamlessly transitions into “YAYAYA,” a reversion to the ubiquitous feel-goodery. The juxtaposition of the hinting of nostalgia in “Isea” and the proceeding nonsensical “YAYAYA” makes Miracle Mile STRFKR’s most lyrically experimental album to date, showing its development as a band and increasing comfort to attempt things other than make a crowd dance. 

Miracle Mile sees STRFKR build off its ability to craft catchy dance melodies like “Rawnald Gregory Erickson the Second,” and develop them into full-fledged songs, often featuring better-written lyrics and equally catchy bridges. Where some of its previous material was so electronic it verged on banality, STRFKR has concisely revised its often-formulaic synthpop into a more organic version that features distinct live instrumentation while maintaining its characteristic simplicity. By the end of Miracle Mile, STRFKR reasserts its dominance, leaving other electronic contemporaries at a distant second. 

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