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    • Melophobia - Wikipedia
      • Melophobia has received positive reviews from contemporary music critics. Brian Mansfield of USA Today designated it "Album of the Week," summarizing that " Melophobia may mean 'fear of music,' but there's nothing to be afraid of: Its glorious chaos makes for thrilling listening."
      en.wikipedia.org/wiki/Melophobia
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  2. I think Melophobia is a really good album, back to front it's all good vibes, but I just wouldn't call it their best album because I just think all of CTE's music is the best, there is no greater album above the rest of them

  3. Cage the Elephant’s album Melophobia is a trippy tale that goes into Matt Schultz’s mind as he faces existential and mental conflict. It is a telling of how the societal paranoia and insanity consumes his “music”, otherwise life and soul. His better, innocent side is the protagonist.

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  4. Oct 1, 2013 · Melophobia is another collection of dirty, bluesy rock ‘n’ roll. As single “Come a Little Closer” showed, Cage The Elephant have moved even further into the camp of bands like The Black Keys and The Kills (Alison Mosshart guests on one track), making broody, earnest rock music.

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  5. en.wikipedia.org › wiki › MelophobiaMelophobia - Wikipedia

    Melophobia is the third studio album by American rock band Cage the Elephant. Recorded at St. Charles in Nashville, Tennessee and produced by Jay Joyce, the album was released on October 8, 2013, through RCA Records. It is also the final album that features lead guitarist Lincoln Parish.

  6. Nov 11, 2013 · Cage The Elephant. Melophobia. RCA Records [2013] Fire Note Says: Cage The Elephant’s uneven third LP Melophobia has some great moments. Album Review: Bowling Green’s (KY) Cage The Elephant has returned with their third LP, Melophobia.

  7. Oct 8, 2013 · Music. Melophobia. By Jon Dolan. October 8, 2013. Kentucky’s Cage the Elephant warp Sixties garage rock, Seventies punk and Eighties alt-rock into excellently weird new shapes – like the way a...

  8. Oct 10, 2013 · It’s a nostalgic album, but one that trades direct referentiality for broader echoes. That war between Shultz’s new proclivity for “super inner reflective songs” and the rest of the band’s preference for high octane rock flashes throughout Melophobia.