Like many acts heavily covered by blogs like this one, Passion Pit seemed to arrive already popular. A mix of blog press and a few well-placed commercial spots made their music instantly recognizable and ubiquitous. With this kind of early publicity, the danger is that these acts often quickly disappear or follow up early success with a very lackluster 2^nd album. Increased funding, demonstrated this year by Best Coast, does not always lead to better music. Passion Pit seemed like an act everyone was suspecting to fizz out early; however, if Gossamer is any indication, Michael Angelakos’ pop project is consistent in quality and worthy of the early praise. On his latest album, Angelakos shows signs of significant growth as a songwriter. Passion Pit’s sophomore effort is a strong synthesis of current trends and a legitimate step forward for the band.

“Take a Walk,” the first track and single, opens Gossamer  exuberantly with blaring percussive synths. This is followed by the equally energetic “I’ll Be Alright,” a maximalist piece that seems ready to disintegrate under its own weight at any second. Fans of Unicorn Kid and Rustie will recognize the kind of “everything and the kitchen sink” approach taken on this song. It is a great example of what seems to be a growing trend of a more joyfully cacophonous approach to electronic pop music.

Of course, if every track on Gossamer were like “I’ll Be Alright” the album would become tiring. Quite deftly, “Carried Away,” the album’s third track is a bouncy (a strangely accurate way to describe this album’s overall pace in general) more restrained song that edges away from the unbounded maximalist of the album’s openers.

Following these three tracks, the album veers back and forth between jubilant anthems like “On My Way” and “Hideaway,” and more subdued, soulful songs like “Constant Conversations” where Angelakos demonstrates a much more assured vocal range. Between albums, Angelakos has become a stronger vocalist and the songs mesh together well in this regard. Where the mixing felt a little unbalanced at times on Manners, Gossamer represents a significant improvement.

Overall, these songs work; however much of the album’s second half feels a little bit like the band is on autopilot, each song blending into each other more distinctly than in the beginning. The album closes out strongly on “It’s Not My Fault, I’m Happy,” and “Where We Belong” even if the first song would have been a stronger closing then the more loosely structured latter song.

In general, the album feels more controlled than Manners, and reflects an overall improvement from the debut. This is a welcome change from other, more lackluster follow ups this year. Angelakos held onto the elements that made Passion Pit interesting, the glistening and squelching synths, the tempo changes and intricate lyrics, while toning down the vocals in a way that better complements the songs. While Gossamer, perhaps, could take more chances, it signals that this band will hopefully be around for a little bit longer.

Passion Pit
Gossamer
Grade: B+