His very public political activism and socially and politically aware lyrics have earned him a prominent place in the creative and political history of rock. Inspired designs on t-shirts, posters, stickers, home decor, and more by independent artists and designers from around the world. Thank you for your life, Eddie Van Halen. What’s worse is that it’s the last taste of this band that’s been had since, with a downward trend that makes way for enormous apprehension of the eve of Social Cues’ release. It doesn’t help that Shultz has something of an acquired taste in a very curt, pointed delivery anyway, but even that can prove to be unworkably slapdash, like on the extreme tightening and condensing on Black Madonna, or to the point where his contributions are virtually indistinguishable from Beck’s on Night Running. Cage The Elephant might still be a distance away from their former glories, and if there was anything to isolate that’s keeping them there it’d be a lack of beneficial production choices, but at the very least they’re grasping more interesting ideas and moulding them into a much stronger foundation to build on. It’s easy to tell that producer John Hill is far more used to working with pop acts, as the emphasis on cramming everything into place when the band clearly want to verge towards something a bit more raucous is blatant, and it leads to instances like on Broken Boy and Dance Dance where the guitars are reduced to buzzes with all the body of a scraping knife, or where they simply just cave and ape Twenty One Pilots on the chunky reggae thrum of Night Running. 7/10. It might be a bit out of Cage The Elephant’s wheelhouse sonically, but it says a lot that, just like how everything is musically shunted into place, it actually works for the whole album when viewed as a bigger piece. All in all, I hadn’t expected much from them, but was pleasantly surprised. I decided, in true me fashion, that I would change that today and listened to Social Cues, their latest album today. Sure, moments of garage-rock intrigue definitely show up, and on the whole Social Cues does have a more distinct overall palate than Cage The Elephant’s later work, but it’s trying to sound outwardly contemporary doesn’t make for as sturdy of a listen, at least on the surface. ( Log Out /  Social Cues serves as the group’s fifth full-length since forming in 2006. For fans of: The Black Keys, Foster The People, Beck Words by Luke Nuttall Social Cues is easily one of Cage the Elephant's best efforts. Above all else, the band manages to keep a somewhat limited method interesting and likable after over a decade of ingenuity. Now, I haven’t listened to a lot of this band before, so please bear with me if I don’t totally get one hundred percent of what I’m about to hear. They add in a few bits and bobs and boom- they have an album! True, they've never really released anything outstanding in terms of resonant songwriting or daring variability, but their formula has remained strongly characteristic and enjoyable nonetheless. Aside from a few uninspiring entries, every inclusion offers something valuable, be it fetchingly catchy radiance or notably moving self-reflection. Over It. ( Log Out /  That alone means Social Cues will make longtime fans happy. REVIEW ROUND-UP: Public Enemy, Jamie Lenman, Into It. That said, Social Cues is easily one of Cage the Elephant's best efforts. Social Cues already does that extremely well, and it actually makes reaching a point of true greatness once again seem more in focus than it has been in years. Blended with vocalist Matt Shultz's trademark presence, a fusion of 1970s punk attitude and classic Mick Jagger swagger, it's a superficial yet sufficiently gripping good time. Opener "Broken Boy" immediately dishes out dissonant energy and ethereality before channeling 1960s surf rock attitude via sharp, overlapping guitar chords and steadfast rhythms.

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