Tilt makes occasional allusions to the often feminist bent of classic house and disco, but these too are comically shallow: “I’m a woman of many words/But words do not define me,” Stephenson intones on “Woman.” This song, like “Angry Girl” and the enjoyably misandrist “Toy Boy,” seems to have something to say, but the rhetoric falls apart under even minor scrutiny-which feels intentional. Although Stephenson takes most of the vocal duties on Tilt, Moore rarely fades into the background, probably because he takes the persona to even more loony heights than his bandmate, delivering lines like “We’re alive, we’re all animals with beautiful hair” with spine-chilling sleaze. The lyrics of Ace of Base-ish highlight “Push It Up,” spoken by Stephenson, typify the outlook: “I do the same thing every day around the world/I do it everywhere ’cause I’m that kind of girl.” They don’t really mean anything, but you feel hot and silly saying them, which is Confidence Man’s modus operandi. Rather than attempt to write jokey lyrics, as they did on Confident Music, Stephenson and Moore are more content just to vibe out, with far more engaging results. There’s nothing here for purists, but many of these tracks scratch the same itch as Dua Lipa’s Future Nostalgia or Lady Gaga’s Chromatica, picking elements from the past 30-odd years of dance music history to create a sophisticated and varied synthesis. Producers Sam Hales and Lewis Stephenson do an admirable job of paying homage to 1990s and 2000s dance pop: They conjure a simmering, spine-tingling tech-house build on “Woman,” pay tribute to “Groove Is in the Heart” on “What I Like,” and incorporate textures of dub, UK garage, and Balearic house in unshowy but ingratiating ways. The main reason is that these songs don’t feel like they were tossed off in the 15 minutes before a show. Although Tilt follows roughly the same format, it’s better in every way. The lyrics were strangely dense, as if Stephenson and Moore were looking so hard for punchlines that they ended up overcooking the joke the production felt undercooked, recalling the thinness of early aughts electroclash and dance punk without any of the anarchic edge. It does not store any personal data.Confidence Man first tried this formula on 2018’s Confident Music for Confident People, a collection of largely prosaic dance pop whose mildly fun concept-Stephenson and fellow vocalist Aidan Moore talk-singing in half-hearted American accents about being hot, being in a band, and going to cool parties-was driven into the ground several times over. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously.
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