Introduced via eerie choral harmonies before a staccato, Stranger Things -esque synth, the opening and title track, 'Found Heaven', confirms that this third film is Conan Gray's biggest yet. It is made clear from the beginning that this is the case. Not necessarily in length (all 13 songs clock in at a brisk 36 minutes), but in concept, scope, ambition, and sound, this album is a sledgehammer of an LP that delivers maximum impact. Change things again for. Almost needless to say, there's a taste that has been forgotten for decades, aesthetically too – the cover photo has a Bowie vibe, with pale skin and primary colors that stand out against Marc Bolan's shag. Conan's face is painted over, and the acoustics are also affected. , the synths, falsetto delivery, and bombastic chorus reign supreme.
Fans of 2022's Superache will note that he hasn't abandoned his frankly vulnerable lyricism, but instead offers a prismatic mix of all-out synthpop (“Killing Me” and “Never Ending Song”) and power ballads. You will be pleased to hear that it was refracted through. (“Forever With Me,” LP his highlight “Winner”), even Conan's more heartbreaking moments pack a different kind of punch. His pain here is more like a bruise than an open wound, shimmering and iridescent yet tender to the touch.
“Found Heaven” can sometimes feel like you can play “iconic 80s songs” bingo. “Lonely Dancers” is imbued with the essence of Men Without Hats’ “The Safety Dance.” Soft Cell's interpretations of “Bourgeoisieses” and “Tainted Love” could make for a frankly great Pitch Perfect medley. And “Boys & Girls'' is a modern-day embodiment of Duran Duran's “Girls on Film.'' (And if you think this might all be coincidence or unconscious inspiration, think again: one track is literally called “Fainted Love”). But when his influence is worn as fully as it is here, and importantly, executed as well, the overall effect is one of knowing homage rather than a tribute act. It will be. Anyone getting a perm?