Metascore
79

Generally favorable reviews - based on 11 Critic Reviews

Critic score distribution:
  1. Positive: 9 out of 11
  2. Negative: 0 out of 11
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  1. Aug 10, 2017
    60
    It’s all lovely, although some songs drift into pretty but insubstantial washes of sound, so the album may not quite pack the punch needed to change her fortunes.
  2. Aug 9, 2017
    60
    Cage Tropical is a dreampop record. ... And the problem with dreampop records is--well, if they fall short of dreams, then you’ve got to either imbue something other than the divine into the lining (hi, Deafcult!), or you’ve got to work it into overdrive until your listener’s heart flutters like a virgin on the mattress (hi, Ballet School!). And our protagonist simply fails on both counts.
User Score
8.0

Generally favorable reviews- based on 4 Ratings

User score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. Nov 2, 2017
    8
    How long until the 1980s stop informing every corner of pop music? Not anytime soon, recent babymaking opuses 1989 and Emotion seemed to tellHow long until the 1980s stop informing every corner of pop music? Not anytime soon, recent babymaking opuses 1989 and Emotion seemed to tell us. For some reason, whether its the froth and elegance of early new wave or the marriage of synth pop and r’n’b of that ruled the charts during the latter part of the decade, modernizing the sounds of the 1980s keeps on feeling fresh and necessary. Enter Frankie Rose’s Cage Tropical. It’s another 80s referencing dream pop record meaning basically it summons the ghosts of The Cure, Cocteau Twins and Echo and the Bunnymen, with jangly guitars and echo-laden vocals galore. But something distinctive enough separates Frankie Rose from the pack of pretty but insubstantial female-fronted dream pop acts. Make no mistake, the synth pop inspiration is bright and unapologetic, like on “Game to Play”, where the sound is a spot-on tribute to slick FM new wave vibe (think The Motels, The Fixx) and the multitracked chorus has a gravitas worthy of Violator. Undoubtedly steeped in the 80s, the production courtesy of Violens’ Jorge Elbrecht is nevertheless a meticulously rich foray into the less-obvious; strings, piano and mellotron give a sparkling baroque sensibility to tracks like ''Dancing On The Hall'' and ''Red Museum'' while the melodies of 60s go go and surf pop haunt ''Cage Tropical'' and ''Dyson Sphere''. The record’s muscularity and propulsion is nothing but Rose's own, with a tight rhythm section from her chops as a drummer and from her past as a member of more disheveled rock bands Dum Dum Girls and Vivian Girls, proving that while nuanced and wistful, Cage Tropical can subtly rock as well. And her vocals are as expected, the spell that binds everything forward, breathy yet mixed to feel massive, like an angel beckoning you from the horizon on a highway. Unfortunately, and this is a common pitfall within this style of music, they are given as much echo and reverb as to render the words unintelligible. Cage Tropical’s lyrics allegedly deal with disappointment and alienation; prior to recording the album, Rose almost gave up on her music career after a failed and impoverished period living in Los Angeles. How can we connect when, except on the comparatively lucid Decontrol, only half of what she sings is understandable? Another complaint is that the tracklist is a bit short; given the strength of the material, you’re left intrigued for a couple more songs. But these are minor issues for what is otherwise a solid third statement and career highlight for Frankie Rose. Cage Tropical is indeed ideal music for a road trip, one preferibly through dry or template landscapes: the production is as expansive as open field vistas and the songs themselves carry all the anthemic pulse of your favorite New Wave or College Rock hits station. A special 80s-inspired record evoking something else than nostalgia. Full Review »