Ritual In Repeat
The sheer joy in the super-catchy pop grooves of “Never Work for Free” is reason enough to check out what Tennis are doing on their third full-length album, *Ritual in Repeat*. The Denver-based husband-and-wife duo of Alaina Moore and Patrick Riley know exactly how to style-surf without sounding like mere dilettantes. No, these pop thrill-seekers live for Fleetwood Mac–style harmonies, ‘80s synth-pop hooks, nuanced keyboard chords, and driving (but never heavyhanded) rhythms. “Needle and a Knife” throws a synth line second to none, while “I’m Callin’” balances between the lightness of ‘80s pop and the subtle rainy-day textures that creep in. “Bad Girls” sounds like *Autoamerican*-era Blondie with a touch of pout. “Timothy” and “Wounded Heart” slow for reflective ballads. Everything comes with hooks, for it don’t mean a thing if you can’t remember the damn thing. Tennis seem incapable of writing songs without them.
Ritual in Repeat finds Tennis continuing to mature and highlight their strengths with the help of a prominent producer, Spoon’s Jim Eno. It's a nicely confident album, one that takes a simple formula to a few unexpected places.
Denver duo Tennis splashed on to the scene with their 2011 oceanic doo-woppy debut, Cape Dory.
After a second album that added some decidedly mid-fi punch and pop to their lo-fi, lilting sound, Tennis' third album, Ritual in Repeat, continues down the same path.
The third studio album from the eternally charming indie-pop duo Tennis is just a teeny bit deceptive; as buoyant and carefree as the music seems, it was born from a rigorous writing and practicing schedule, adopted by the Denver-based band in response to a brutal case of writer's block.
Tennis have made a solid career from their shimmering dream-pop shtick.
Review Of Tennis' New album 'Ritual In Repeat' out tomorrow on Communion, the lead single from the LP is "Never Work For Free" Tennis play NYC tonight