Maroon 5’s fourth studio album reminds usof what makes them so good- the fact that the band re-invents itself with everypassing album without a decline in quality, albeit a hint of commercialism.They are barely the same band that first arrived on the music world withtheir debut single ‘Harder to Breathe’ a decade ago. The alternative-rock licksare a far cry from the direction the band has taken since hitting pop's bigleagues. With last year's inescapable ‘Moves Like Jagger’ it is fair to saythat the band has certainly taken a new direction.
If you must, categorise them as a pop-rockband. But the Los Angeles outfit has employed so many effects and sounds overthe course of their career - and successfully so - that to classify them stifflywould make one feel morally impaired. ‘Overexposed’ is yet another diverseouting, with the reggae-infused lead track "One More Night" soundingdifferent from the funky "Ladykiller" and the earnest "Love Somebody."
There's even an oddly country-soundingcover of Prince's ‘Kiss’ at the end that goes on for more than seven minutes,five of those devoted to guitars.
This is another record where Maroon 5 isn'tafraid to step out of their comfort zone, and frontman Adam Levine, guitaristsJames Valentine and Mickey Madden, drummer Matt Flynn and keyboardist PJ Morton(a stand-in for Jesse Carmichael, are obviously enjoying themselves in theprocess. There's a certain level of energy and an electric pulse that comes fromlistening to the album, whether lyrically, a guitar riff or just the beat ofthe tune. "The Man Who Never Lied" is a track that deserves repeatedlistening to, with undertones of heartbreak to an otherwise pop sound.
If there's one significant flaw in thealbum, it's that it's almost too good. Regardless of how fans respondto the band's creative facelift, ‘Overexposed’ is a fun, fresh album worthplenty of listening -to and most assuredly promises to mark an important pointin Maroon 5's iconic musical career.
