The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
The Walkmen with Milo Greene 7 p.m. Tuesday Fred Jones Jr. Museum of Art 555 Elm, Norman ou.edu/fjjma 325-3272 free
Coming up in the New York garage-rock revival of the early 2000s with bands like The Strokes, Yeah Yeah Yeahs and Interpol, The Walkmen have stepped out of the past decade looking no worse for the wear.
Unlike most of their peers, the group has put out one critically acclaimed album after another, emerging as big in 2012 as it was in 2002. “We didn’t go in as young kids excited to be in a band. We wanted to be musicians for our lives,” said bassist Peter Bauer. “It’s not something we were ever going to give up easily.”
Not even marriages and children can get in the way. Instead, The Walkmen’s current promotional photos include family members.
“We thought it would be an anti-rock ’n’ roll idea,” Bauer said. “It’s a wonderful life. It’s a great job for having kids. We tour in our own way. We’re not this huge machine, and we can come home when we want. Our kids love it.”
Becoming fathers seemingly has given The Walkmen a sense of nostalgia heading into their latest album, Heaven. The title track’s video is a montage of old photos and early video footage of the band playing its first gigs, leading into clips from headlining massive festivals. (In the Sooner State, The Walkmen have headlined the Norman Music Festival. Tuesday’s show at Fred Jones Jr. Museum of Art is free.)
“We wanted to make it about ourselves a little bit and see if that changed how people heard our music,” Bauer said. “I think people viewed us as very detached and serious. I liked that it showed another side.”
He said building Heaven, which was released in May, was rather, um, heavenly.
“This one came easy,” he said. “I don’t feel like the next one is going to be that simple. We don’t have nine songs written already.”
Ever the consummate professionals, the five guys are, in fact, already pondering where to go with the follow-up, even as they’re touring with this one.
If their history means anything, we can expect it to be strong as ever.
“The next is going to need to be incredibly different in some fashion,” Bauer said. “We are just trying to start to figure that out now, what record would be worth making.”