So What In the history of music, there have been very few artists who have come out of the gate so strongly that it feels like they can’t miss. MUNA are one of those artists. Dancing On The Wall is the fourth studio album from the band, and was produced by MUNA’s own Naomi McPherson. The set is filled with underrated production, infectious melodies/harmonies, and crisp songwriting that somehow continues to get even better as the band releases each record. The songs on Dancing On The Wall are sure to get your body moving, as the LP features a club-ready atmosphere to it and continues to accentuate the best parts of the pop rock genre. MUNA are a rare breed of an artist who are willing to take big swings for the chance to become you’re favorite band and achieve world domination. They may just have pulled off both tasks here.
The album begins with the programmed synths on “It Gets So Hot” as lead vocalist Katie Gavin rhythmically sings, “Sun beats down on the concrete / It beats so hot, not even a palm tree / The house I live in doesn’t have AC / It gets so hot, so I might as well daydream / It gets so hot that I can’t even think straight / And she’s so hot when she’s putting on her make-up / And she’ll sweat it off when she’s in the club / When we go downtown just now.” The steady beat allows Gavin the perfect landscape to describe the song built for the clubs in the summertime. The title track and lead single follows in the sequencing, and features a great pop-centered guitar riff from Josette Maskin, while McPherson’s production remains top-notch and pulsating throughout the key song. The track recalls Gavin preparing to go out dancing with a love interest, but something is pulling them back as she croons, “You said, ‘Sorry, I’ll be there by 9’ / I should’ve told you not to waste my time, but / You’re so magnetic, it’s like, what’s the use? / I would wait forever as long as I’m waiting for you.” The heartfelt confession is laser-focused and is surrounded by a great beat and shimmering synths.
”Eastside Girls” has a bit of an 80’s pop flair to it, and the heavy synths help Gavin with describing herself as being a part of that side of the coast as she mentions, “Eastside girl / Where you don’t even miss the ocean / And if you know then you know and I know it / Oh I know it, I’m your…Eastside girl”, that shows off her impressive vocal range as she effortlessly goes into a higher vocal range at the drop of a hat. “Wannabeher” feels like a Charli XCX-type of song that is filled with a heavy bassline and syrupy-thick synths that bounce off the speakers as Gavin describes “that bitch” before she admits, “I think I wanna be her.” That lust for becoming someone cooler than ourselves is human nature, and MUNA capture this feeling perfectly.
”On Call” recalls the difficulties of romantic relationships that may be leaning towards being one-sided as Gavin describes, “Friday night, and the east side is turning pink and red / Jessie tried to see if I would meet her at El Cid / And I know she’d like to get me three drinks in / It’s not like you and I made any concrete plans.” As the song progresses to the bridge, MUNA lean into the wanting for human connection as Gavin sings vulnerably, “I wanna be somebody to you / But if you just want a warm body, that works too.” “So What” was the second song to be released as a single, and with its quirky beat and infectious vocals, it was an easy target to chose for the follow-up to the title track. MUNA describe how critics can be scathing in their evaluations by stating, “The reviews came in / The fan-girls and the harshest critics / Are all in agreement / It’s our best work without you in it.” The exclusion of others is a part of growing up and life in general, and yet MUNA take it all in stride through their exploration.
”Party’s Over” is the first of two interludes on Dancing on the Wall, and it sets the stage for the rhythmic beat of “Big Stick” that is filled with social commentary on body types and social expectations. Lyrics like, “Make you want a nice house with a picket fence / Make you want two kids with inheritance / Make you want a ring light for self defense / Make you wanna give money to the government,” showcase a band growing up gracefully, but still admitting that they have a lot to figure out for themselves as well. “Mary Jane” rocks with a profound urgency to it, and it shimmers off of the page brilliantly with some more great production from McPherson to get just the right tone to it. Gavin describes a relationship on the cusp of becoming permanent as she croons, “You know that I would’ve changed my name / Made a home to go up in flames / I gave you love, you just gave me pain / ‘Cause you only want to marry Mary Jane.” The heart-wrenching chorus is filled with a great beat, swooning synths, and another impressive vocal performance from Gavin that makes you a believer in each lyric. The bridge slows down the chorus for a clap-along section that I’m sure will be therapeutic for them, and their fans, when the play the song live.
”Girl’s Girl” feels like another 80’s throwback song that is comfortable in its near-cosplay as a Madonna song with some playful, “Ha, ha, ha, ha’s” to laugh about the silliness of it all. Gavin continues to invite the listener into her personal space as she sings, “I heard from Beka, you know, she’s my friend / Did you think that it wouldn’t get back to me in the end? / She said you’re so sweet, but you’re trying too hard / It’s like every girl who doesn’t care is winning your heart.”
The closing duo of the speedy “Why Do I Get A Good Feeling?” and the reflective “Buzzkiller” wrap up another stellar chapter in the ascent of MUNA that shows little signs of losing steam anytime soon. Dancing On The Wall is comfortable in its own skin as a dance rock record, even if the lyrics showcase Gavin and her bandmates’ own insecurities and vulnerabilities in relationships. MUNA continue to be one of the most interesting indie rock bands in our scene, and they knocked another album out of the park with ease.