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Arcade Fire, Aggregate Now
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★★★★☆
Download: Aggregate Now; Signs Of Life; Creature Comfort; Absolute Content; Good God Damn
Like animals sniffing the air for information, Arcade Fire accept consistently been actively active to the alive tides and currents of that best unfairly abandoned term, the zeitgeist. From the post-millennial alarming of Neon Bible to the ruminations on anamnesis and accident of Reflektor, Win Butler appears apprenticed to reflect aloft socio-cultural community that assume to seep, about hormonally, into his consciousness. With Aggregate Now, he confronts his best pertinent appetite so far, the appulse of agenda technology on ability and appearance – the way that the added we have, the beneath annoyed we get.
This is anon addressed in the title-track, which appears three times – aboriginal as a faltering, apparitional pre-echo, anon followed by the song proper, and afresh again at the end as a abrupt drain of sad resignation, capped by an black cord coda. The assorted versions accentuate its ubiquity, which is absolutely what the song is about: cultural overload, and the downside to accepting actual admission to about everything. “Every blur that you’ve anytime seen/Fills the spaces up in your dreams,” he sings, over a beautiful disco drag and perkily agreeable piano melody that at some point becomes a common “la-la-la” singalong hook, calmly apprehend as a apology of pop’s arrogant admiration to access by anthem. By the end, the adjustment is added personal: “Every inch of amplitude in my heart/Is abounding with article I’ll never start” - not just, one suspects, the amaranthine excess of box sets application accretion tranches of one’s life, but the artistic impulses aside by burning saturation.
It’s a bold, about self-defeating alpha which sets the advance of consecutive advance like “Signs Of Life”, area the futility of amaranthine awareness is borne with adverse bliss on a retro-‘70s alarm canal with echoes of Curtis Mayfield. It’s a abundant affluence of synths, strings, horns and percussion, that whisks forth blithely, followed by the appropriately agile dystopia of “Creature Comfort”, which hints at the links amid barren celebrity and self-harm: “God, accomplish me famous/If you can’t, aloof accomplish it painless”. Its beating electropop fizz is absolutely aided by Daft Punk’s Thomas Bangalter, one of a host of producers bottleneck the ascendancy room, forth with Pulp’s Steve Mackey, Portishead’s Geoff Barrow, adept AF abettor Markus Dravs, and the bandage themselves. The song’s bond of abort and desperate acknowledgment is paralleled in “Good God Damn”, whose bloodthirsty guitar riff and adulatory synth soundtracks someone’s alertness for a night out: the anticipation of analytic out thrills seems choleric by the anticipation of suicide if simpler thrills aren’t enough.
Several added pairs of advance assume to answer or reflect anniversary other. In “Electric Blue”, the android allure of a apple area anybody looks like you finds its commutual angle in the juddering agreeableness of “Peter Pan”, featuring a brace who’ve “grown so close, we’re growing apart”. The brace of “Infinite Content” and “Infinite_Content” at the album’s heart, meanwhile – the aboriginal a abrupt stomper whose blubbery mix seems to absorb into all attainable areas of the sonic spectrum, the additional a animated Laurel Canyon-style country-rock chant – suggests an baggy beyond attainable via all genres of the music spectrum. As the song claims, “with absolute content, we’re consistently content”. But it’s the air of aberrant blue an unfulfillment detectable abaft the album’s affection of artificial acclamation that carries its best connected message, and it’s far from contentment.
Alice Cooper, Paranormal
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★★★☆☆
Download: Paranormal; Paranoiac Personality; Dynamite Road
Whether it’s the active apocalyptism of “Fireball”, or the abrupt crowing in his “Paranoiac Personality”, Alice Cooper knows what he does well, and sees no reason, on this evidence, to change. But his aphotic missives are consistently acicular with a aberration of humour: on “Dynamite Road”, the limo abounding of women he’s antagonism turns out to be apprenticed by the devil; and the “bona fide adorableness in an animal world” acclaimed in “Genuine American Girl” is acutely cosmetically-constructed. Humour’s there appropriate from the off, back the acting arpeggios of the title-track are butchered by bleeding ability chords: is Alice’s affirmation that he’s so aphotic his “shadow has night of its own” annihilation added than a anapestic adjustment of Spinal Tap’s “none added black”? Musically, you apperceive what to apprehend back Cooper and ambassador Bob Ezrin accompany forces: metal turmoil, churning beats and slashing guitar flourishes, absolution up alone for Ezrin to allow his Pink Floyd ancestry with the awkward “The Sound Of A”, with its apt message, “Meaningless babble is everybody’s toys”. Quite.
Tyler, The Creator, Flower Boy
★★★★☆
Download: Foreword; Area This Flower Blooms; Who Dat Boy; Boredom; 911/Mr Lonely
His latest album’s addition appellation Scum Fuck Flower Boy epitomises the nice’n’nasty dichotomy active rapper Tyler, The Creator’s work. Although, for a man banned by Theresa May from entering Britain because of the available accent of some aboriginal lyrics, Flower Boy presents a decidedly sensitive, thoughtful, alike affable personality. Revealing reflections on bareness and apathy rub amateur with affliction hints about his acutely equal-opportunity female in advance like “Garden Shed” and “I Ain’t Got Time!”, area he describes himself benumbed about with a boy who looks like River Phoenix, and admits “I been kissing white boys back 2004”. Musically, opener “Foreword”, congenital about a sample of Can’s “Spoon”, sets the tone, with a warm, apathetic canal that apparel Tyler’s animated flow; strings, synth washes, electric piano and casual acerb guitar interjections are cautiously sculpted into circuitous but abatement backdrops which, on “Where This Flower Blooms”, resemble a trip-hop adjustment of a Brian Wilson production. As he suggests, this is a new, complete Tyler at work: “I rock, I roll, I bloom, I grow”.
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Nine Inch Nails, Add Violence EP
★★★☆☆
Download: Beneath Than; The Lovers; The Background World
Since 2013’s Hesitation Marks, Nine Inch Nails accept activated themselves instead to EPs, a anatomy in which their brutalised affliction is added palatable: this one, the aftereffect to aftermost December’s Not The Actual Events, is the axial allotment of a leash to be completed aural the year. The cycling electropop synths of “Less Than” accessible proceedings, beginning into adulterated guitar-noise on choruses as Reznor fulminates at how “Sirens/Add a little violence/In a blur assuming to avert and address our compliance” – basically, addition battery about ascendancy and abetment in the ball industry, followed by his captious murmurs over the calm but acquisitive bleepscape of “The Lovers”. The EP becomes added automated as it progresses, with articulate hums, active drones and aphotic ambiences burst by accelerating antagonism and the casual barbarous howl. “Are you abiding this is what you want?” enquires Reznor on the 11-minute afterpiece “The Background World”: as its plodding, alarming chords become anytime added scarified by distortion, until one’s larboard with a bank of noise, it’s a arguable point.
Binker & Moses, Journey To The Mountain Of Forever
★★★☆☆
Download: The Departure; Valley Of The Ultra Blacks; Gifts From The Vibrations Of Light; Reverse Genesis
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Compared to pop and rock, applesauce charcoal a acreage area connected accord and cross-fertilisation sustains the genre’s artful health. Saxophonist Binker Golding and bagman Moses Boyd both run several bands of their own as able-bodied as alive with artists as assorted as Steve Williamson, Four Tet, Sampha and Kano, but for this bifold album, they accomplish as a duo on the aboriginal disc (“The Realm Of Now”), afore actuality abutting by added musicians, including free-jazz fable Evan Parker, for the additional disc. With Golding’s expansive, questing curve benumbed Boyd’s rolling, polyrhythmic funk, the duo set displays a focused agreeable intimacy, while the bandage set is anon added incendiary, acknowledgment to Parker bawl agrarian over Golding’s added abiding allotment in “Valley Of The Ultra Blacks”. Elsewhere, the duo are in added cogitating affection accompanied by Tori Handsley’s aerial harp and Sarathy Korwar’s tabla for a brace of tracks, while “Reverse Genesis” finds Golding and Parker cobweb curve of agnate accent and accentuation over Boyd’s chastened tom-tom rolls and cymbals.
Fairport Convention, Come All Ye: The Aboriginal Ten Years
★★★★★
Download: Nottamun Town; Meet On The Ledge; A Sailor’s Life; Who Knows Area The Time Goes?; Come All Ye; Matty Groves
It says abundant about accepting roots in the bawdy admixture of folk music that Fairport Convention should be one of the few late-‘60s bands still operating bisected a aeon later, and around the alone one bottomless by the advantageous address of a Stones or a Who. This acceptable 7CD set covers the band’s best beat and advantageous period, back they afflicted from actuality an English agnate of Jefferson Airplane, to article added like an English agnate of The Band, by applying bedrock dynamics to acceptable folk material. The alteration was both ablaze and sudden: in the amplitude of one year, 1969, they appear three albums that adapted folk music, including the alternate Unhalfbricking and Liege & Lief. Of course, it helped accepting two such able talents as Sandy Denny and Richard Thompson in their ranks; but by the time both had departed, the band’s position, and style, were able-bodied established. Bulging with 55 ahead unreleased outtakes, Come All Ye is an education, and as absorbing as it gets.
Various Artists, Noise Reduction System
★★★☆☆
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Download: Ich Will; NY NY; Tanzen & Singen
Towards the end of the ‘70s, the can-do attitude of jailbait accumulated with the availability of bargain synthesiser technology to aftermath a beachcomber of adolescent cyberbanking artists agog on blame the boundaries of pop. The brand of The Human League, Gary Numan and Cabaret Voltaire bound accustomed the UK’s aboriginal dominance, but as this 4CD accumulation shows, the anarchy was accident everywhere beyond Europe, from Sweden to Slovenia, mostly circulating on bootleg cassettes. It’s a alluring journey, presaged by Cluster’s 1974 about-face from beat to pop with “Caramel”, demography in the beating minimalism of Monoton’s “Tanzen & Singen”, the simplistic electropop of Die Gesunden’s “Die Gesunden Kommen” and the added adult soundscapes of Yello, Vangelis and Klaus Schulze. Some seemed about to blunder aloft article special, as with the basal bleeps and murmured travelogue of Truus de Groot’s “NY NY”; others, like DAF, had focus and appetite on addition level: their lean, actively active “Ich Will” sounds like a Teutonic adjustment of Suicide’s backstreet, flick-knife soul.
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