Word: albumã
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...guitar keeps Green company in “Be My Man.” Nothing is off limits: a gospel choir makes occasional appearances, as does the sproingy sound associated with clown cartoons. Green churns out diverse, cheeky ballads at an almost alarming rate, with only one of the album??s twenty songs reaching the three-minute mark. Though it may not provide the most cohesive listening experience, the album??s variety means that there’s a decent possibility you’ll find something you like, provided your generation has been...
...buoy the album to stunning highs.Throughout the album, Gonzales hints at some sort of dramatic theme underlying all the layers of glassy synthesizers, and he anchors most of the tracks in beds of tonal allusion to the transatlantic dance pop of the mid-80s. In fact, most of the album??s tracks reek so heavily of excess that, after a first listen, it’s difficult to discern whether “Youth” proposes homage or parody. Gonzales clearly understands the nostalgia associated with such eagerly retrospective arrangements, but in trying to plug listeners into...
...keeping with the epic proportions typical of the group. The goal of the LP is summed up pretty neatly in “Heather Mills,” when lead singer Anton Newcombe—singing more clearly than he will for most of the rest of the album??conversationally claims that he’ll “tell you all about it because you’ve spoken to me.” “It” turns out to be his soul, as is made clear in the lyrics...
...best track, “Supernatural Superserious,” sounds like a lost ’90s classic. Despite its dopey title, the verses’ chiming guitar refrain and the infectious chorus make it the catchiest, most ecstatic tune R.E.M. has produced in the last decade. The album??s primary challenge is overcoming a sense of incompleteness. Many of the songs midway through the record suffer from a strong chorus with weak verses, or vice versa. “Hollow Man,” for instance, initially sounds like the pedestrian piano-driven ballads R.E.M...
...most maturely-constructed song on the album; a dramatic, tumbling mood-piece, it feeds on the catharsis of Auerbach’s howling refrain, with Danger Mouse’s production giving the song space to swell, breathe, resolve, and disappear. Even so, the album??s conclusion, “Things Ain’t Like They Used to Be,” is its most startling and triumphant success. With the help of young vocalist Jessica Lea Mayfield, not to mention additional organ and guitar support, Auerbach seems to mourn the tattered remains of an old love...