We here at the Glow can get bogged down in the analysis, picking apart meanings and attempting exegesis of the fluffiest of pop. Occasionally we think too hard. Occasionally we take ourselves seriously (never too seriously). Occasionally we just have too much time on our hands. But for all of Mark’s theorizing, which I agree with in theory, I also think it takes a lot less to express the joy -- the sheer glee -- that a perfectly executed pop song like “Parentheses” can bring about in a person. [“Snerk. For all of my exegesis, I’ve never actually used the word ‘exegesis.’ Is that like a Sega Genesis?” -- Mark]

This song isn’t just a little good; it’s all sorts of catchy-as-all-get-out good. This is Carl Newman’s wet dream: upbeat drums, pulsing bass lines, and synth riffs that will grab onto your brain like the evil love child of Phil Spector and the Cars. This is mix-tape fodder of the first order. Jona Bechtolt has better moments on the album, sure, but none of the songs capture his ability to compose a perfect pop track as well as this three-minute love song. And maybe you could give this to any other singer, but I doubt they could make it work as convincingly as Khaela Maricich. Her pitch-perfect delivery of the beautifully simple chorus is flat-out gorgeous: “If something in the deli aisle makes you cry / of course I’ll put my arm around you and I’ll walk you outside / through the sliding doors. Why would I mind?” I’m sure that synth-pop can be better than this, but nothing else this year comes even close.

permanent link ::