- #How did fleetwood mac recruit the marching band for tusk full#
- #How did fleetwood mac recruit the marching band for tusk series#
Head First drew attention for its big 80s sounding pop hits like “Rocket” or “Alive,” and those songs are fantastic. To me, the synthesizer can be one of the most emotional instruments out there, and a lot of the songs that really hit me on a deep level are based around electronic soundscapes. It really bothered me when Goldfrapp's previous album, “Seventh Tree” came out, and people wrote about how this one must be more confessional and real, since it was based around acoustic instrumentation, not synthesizers. Ferry was making it back then, and he's still making it now. Like a lot of the albums on the list, it's throwing back to an 80s sound, but doing so in a way that emphasizes the timelessness of the best of that music. His epic transformation of “Song to the Siren” is the high point, but the driving, U2 in a steam room sound of “Heartache by Numbers” jumps out as well.
#How did fleetwood mac recruit the marching band for tusk series#
Olympia picks up the sound of late period Roxy Music and applies Bryan Ferry's unparalleled voice to a series of lush soundscapes you can get lost in. I was surprised to find that their later work was even better, particularly the enveloping atmosphere of Avalon. I really got into Roxy Music this year after spending the past couple of years listening only to their first glam rock album. It's a very cohesive album, and a great progression for Albarn and the “band.”
Highlights include the sugar high of “Superfast Jellyfish” and driving bass of “Stylo,” but the album's great moment is the entrance of an electronic hop hop beat on “Empire Ants,” and the layers of dreamy vocal layered on top. It's not about the clash of styles, it's about their seamless integration. Albarn's orchestration is lush and epic at times, and his combination of traditionally rock instrumentation and atmosphere with well chosen hip hop beats and cameos never worked better. I love the attack of opening track “Bang Bang Bang.” The vocal contributions of ex-Pipette Rose Elinor Dougall are a highlight, particularly on the soaring chorus of “Hey Boy.”Ī bit more downbeat and low key than previous Gorillaz albums, this one took a while to grow on me, but after listening to it several times, it's clear there's a lot of real beauty in the album.
#How did fleetwood mac recruit the marching band for tusk full#
Full of really great synth pop songs, set off with some well chosen hip hop guest spots, this album sounds very fresh, while still paying respect to Duran Duran and other 80s bands. Ronson follows up the great 60s inspired covers set Version with the 80s inspired Record Collection. That said, this album stands well next to those first three, hitting power pop highs on “Crash Years,” and going more anthemic on “We End Up Together.” If not quite as classic as their first three albums, it's still a really satisfying set.Ĩ.
I absolutely love the first three New Pornographer albums, but to some extent, I feel like I've absorbed everything they can do. This album is to some extent one of those. The lush string arrangements and wonderful disco bass keep things moving.Ī couple of my longtime favorite bands (notably Belle and Sebastian) released albums this year that weren't notably different from their previous work in form or quality that just didn't hit me for whatever reason. It's not the production that's attention grabbing, it's the ultra smooth melodies and really fun lyrical conceits. It's a bit less kitschy and ironic than previous albums, and the best songs here really showcase Chromeo's strength as song writers. While previous albums were mostly 80s dance inspired, this one is a bit more Hall and Oates style, and it generally works really well. This album marks an embrace of the implicit 70s pop elements that had always been present in their sound.
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