What qualifies as "good" synthpop? Let's assume that a viable, potentially "classic" synthpop tune should be lighter in tone than keyboard-intensive industrial music -- that's the "pop" factor -- but perhaps a little heavier than the twanky synthesizer squiggles that characterized the new wave movement. And finally, there are the lyrics. These should have a bit of depth, but not too much: we want to land comfortably between dance music sloganeering and the distinct narrative structure of more grown-up forms of pop.
So really, good synthpop means moody, winsome, only-occasionally-bouncy music, and lyrics on the level of above-average adolescent poetry. Listen closely to an early New Order song -- for they remain the masters of the form -- and you'll see that I speak the truth.
Chapter13 seem determined to squeeze themselves onto the shelf that holds Ultravox, mid-period Depeche Mode, the first couple of New Order records and numerous other worthies. Their songs are full of deep, pulsating bass lines, twankily cheerful analog melodies, the metallic pitter-patter of anemic drum loops and low, sorrowful male vocals. However, while The World From Heaven will sound familiar to anyone who was old enough to buy records in 1984, it doesn't come across as deliberately retro or consciously derivative; rather, it seems like an attempt to make new songs that fit into a well-defined style. It's a subtle difference, I guess, best differentiated by the fact that Chapter13 do their best not to wear their influences on their sleeves.
Influences aside, The World From Heaven is fun. "Crisco Disco" is a dreamy, midtempo dancefloor delight from the days when beats didn't have to be big; it's filled with subtle aural cues -- like the three-beat kick-off that launches each melodic swell -- that make the song thoroughly authentic. Until you decipher and learn the lyrics, you'll be happy to discover that half a dozen New Order songs fit nicely into its metre ("Temptation" works best, in my opinion). "Plan K" offers an even prettier, more fleshed-out melody, though it's one of those slow-tempo songs that are almost, but not quite, too slow to dance to, and may therefore inspire some club confusion. "Hours & Days", which follows, gooses the tempo to a more manageable pace, though it sets a far darker mood. "Hidden" sustains the pace and warms the mood, while also offering you another chance to trot out those "Temptation" lyrics.
The criticisms here are obvious. Chapter13 cuts a narrow sonic path. Unless you're thoroughly untutored in synthpop, you won't find any surprises here -- the band is clearly more interested in authenticity than innovation. Once you've heard The World From Heaven once or twice, you've more or less exhausted its potential; while these songs are bouncy and enjoyable, they don't have a great deal to say. Remember, we're basically talking about above-average adolescent poetry.
However, while the album fails to make any great philosophical discoveries, it succeeds at being eminently listenable -- at least as far as I'm concerned. I've spent two happy weeks listening to the disc for several hours at a time. It entertains me, and asks for nothing in return. These days, with albums gradually evolving into heavy-handed sociopolitical manifestos, an undemanding synthpop record is like a vacation. Relish it.
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