On their Definitive Jux debut, the trio of New York musicians known as Chin Chin is quite distant from the post-apocalyptic soundscape often associated with that label’s flagship releases. Though they invite comparisons to others in the current dance-music-friendly rock landscape, there is an authenticity and virtuosity to Chin Chin’s 1970s funkiness that separates them from much of that world. Their instrumentation and arrangements do plenty to compensate for vocal weaknesses, and something of their raved-about live energy is indeed captured in this recording. The core instruments of keyboard, drum, guitar, and bass are supplemented by nearly a dozen extra musicians, picking up a horn section, vibes, and percussion players along the way. Altogether they succeed in bringing the spirit and the musicianship; even if it is not a completely new sound, it is a good sound.

Chin Chin’s basic musical competence is present from the beginning. Opening track “Miami” begins with a quiet guitar strum, subtle syncopations from the drummer, and some mellow trombone soloing for atmosphere. Thirty seconds in comes a keyboard glissando, then the horns and congas announce the beginning of the song proper. All throughout, the introduction of various licks and keyboard sounds, quiet interludes, alternating and then twin guitar solos (!) give much musical meat to chew on. It is true for much of the album that there are a lot of changes in writing, instrumentation, and subsequently dynamic, all pulled off so tightly that the inescapable conclusion is that these are extremely well-trained and professional musicians.

Again, one of the primary weaknesses of the album is in the vocals. Although capable, they perhaps fail to shine quite as brightly when contrasted against the musicianship. Chin Chin sometimes make use of an increasingly cliché falsetto, as in “Appetite,” which still possesses a killer late-night groove and great vibraphone work courtesy of Yusuke Yamamoto that keep the track more than appealing. It almost seems as if there is some self-awareness of this vocal limitation, as more obvious production effects like phasing are often applied. Certain tracks, like “Dontchusee” and “Le Petit Mort” make significant use of vocoding.

Chin Chin is basically just a fun album, comprised of not particularly innovative but well-made music. You’ve likely heard ‘70s-informed disco-funk-rock hybrids before, but this one probably stands as one of the more credible examples in recent memory.