World Wide Pop is a chaotic second entry into Superorganism’s vibrant world

The band achieved rapid success through the viral single “Something For Your M.I.N.D.” and broke through the indie pop scene with their self-titled debut. Although their 2000s influences harkened back to acts like MGMT with plunderphonic samples reminiscent of The Avalanches, the diverse collective established a distinct voice. They refused to be pinned to a particular type by traversing multiple genres with their eclectic style, and with lyrics like “Have you ever kissed a prawn; got a cold sore?” provided a welcome dose of fun and humor to the 2010s pop landscape.

Beyond its cartoon samples and pop hooks, World Wide Pop is similar to the debut in its longing for real connection within the anxieties of a technological age. In today's context, these ideas resonate even more with feelings of loneliness and isolation commonplace. This informs the project's slight shift in tone, recognizing more emotional strains and personal struggles than before. Take "crushed.zip," a track that delves into alienation and depression, or "Solar System", a song that looks to space to feel a sense of belonging – the project feels like a celebration in the midst of a crumbling world.

World Wide Pop sees the band return to the dense and colorful sound that made their previous songs so striking. The opener, “Black Hole Baby”, serves as an apt introduction with an explosion occurring in the middle of the track, followed by sampled shout-outs from NPR Music’s Bob Boilen and Josh Homme, and ending with the lyrics, “Hold my hand cause the end is coming”. Sonically, Superorganism attempts to push forward, experimenting with vocal distortions, driving percussion, and new production quirks. “Teenager” shifts gears at lightning speed, appreciating the full effect that diverse production approaches can provide.

However, the band sometimes gets lost in their eccentricities. “It’s Raining” samples Scott Walker’s “It’s Raining Today” and features UK rapper Dylan Cartlidge as well as an unlikely appearance from Pavement’s Stephen Malkmus. It all culminates in a Gorillaz-like hip-hop track that unfortunately slowly meanders without direction. The track “crushed.zip” is drawn out too long and loses all momentum on its bridge, which explores too many ideas that remain underdeveloped. Often, the songs work better when Superorganism keep it simple – at least by their standards. “On and On” has the catchiest hook here and maintains focus with the production accompanying the vocals rather than pulling it in different directions.

Although the tracks can be uplifting in the uncertain times we live in, they are too inconsistent to amount to anything as a whole. The production idiosyncrasies become grating and tiresome as the band seemingly begins to use its various production tools without restraint. Ultimately, World Wide Pop works best in small doses. Still, Superorganism’s displays of creativity and personality are admirable and will get them farther than most in modern indie pop.