Alaina Moore and Patrick Riley, now in their second decade as Tennis, have built much of their identity around the slow and steady progression of retro aesthetics. A pattern has emerged for how exactly the duo wears their sound; their first two albums owed to the '60s, their next two took more from the '70s, and their fifth and sixth outings are, inevitably, most indebted to the sparkle of the '80s — albeit the more restrained and sophisticated side of a decade infamous for its more gaudy tastes.
Even if one were to criticize Tennis for so consistently and predictably looking backwards, it would be harder to claim they don't do so with incredible commitment to the details that other retro-worship acts miss completely. Consistently gorgeous in their production following the evolution from lo-fi to a more layered and expensive sound, Tennis manage to remain relevant due to the level of effort they apply to each record, regardless of whatever decade happens to grab their attention. Pollen may indeed be their most confident expression to date.
Typically front-heavy as most Tennis albums are, Pollen's highlights lie largely in its singles. The remarkably lush opener "Forbidden Doors," deals in the tried and true method of gorgeous pop production leading to foreboding and cryptic lyricism, while "Let's Make a Mistake Tonight" builds comfortably to a remarkable last-minute hook, showcasing the duo's patient songwriting even when it comes to their biggest singles. Also worth noting is the uniquely sub-two minute "One Night With the Valet," which feels closer to a modern bedroom pop structure benefitted by Tennis' warmer and more detailed soundscape.
Pollen's deep cuts can't quite rise to the same heights as its singles, though they maintain a similar mood and prowess that gives the album life beyond just a couple music videos or haphazardly-ordered playlists. The main standout buried beneath the surface is the stunning "Gibraltar," which, while not as immediately infectious as those lead singles, features a gradual and impassioned progression into almost cinematic territory. For as obvious as Tennis' abilities may seem, they find similar power in the understated and unexpected.
(Mutually Detrimental)Even if one were to criticize Tennis for so consistently and predictably looking backwards, it would be harder to claim they don't do so with incredible commitment to the details that other retro-worship acts miss completely. Consistently gorgeous in their production following the evolution from lo-fi to a more layered and expensive sound, Tennis manage to remain relevant due to the level of effort they apply to each record, regardless of whatever decade happens to grab their attention. Pollen may indeed be their most confident expression to date.
Typically front-heavy as most Tennis albums are, Pollen's highlights lie largely in its singles. The remarkably lush opener "Forbidden Doors," deals in the tried and true method of gorgeous pop production leading to foreboding and cryptic lyricism, while "Let's Make a Mistake Tonight" builds comfortably to a remarkable last-minute hook, showcasing the duo's patient songwriting even when it comes to their biggest singles. Also worth noting is the uniquely sub-two minute "One Night With the Valet," which feels closer to a modern bedroom pop structure benefitted by Tennis' warmer and more detailed soundscape.
Pollen's deep cuts can't quite rise to the same heights as its singles, though they maintain a similar mood and prowess that gives the album life beyond just a couple music videos or haphazardly-ordered playlists. The main standout buried beneath the surface is the stunning "Gibraltar," which, while not as immediately infectious as those lead singles, features a gradual and impassioned progression into almost cinematic territory. For as obvious as Tennis' abilities may seem, they find similar power in the understated and unexpected.