Single Review – Chvrches – Get Away

Chvrches have taken a little time out from their unrelenting showcasing of their debut album The Bones of What You Believe to offer up a contribution to the reworking of the ‘Drive’ soundtrack with the track ‘Get Away’. Foals, SBTRKT and Laura Mvula are just some of the artists taking part in the reworking of the 2011 film’s soundtrack, with Lauren Mayberry highlighting how “the kind of music in the original score fits in with what we are doing” when she was talking on the Zane Lowe show this week on Radio 1. The track has a simple clicking backbeat from which waves of distorted electronica flow outwards to then settle in to a chiming and expansive verse with Mayberry’s distorted and muffled vocal. The track then bursts into clarity and light for the chorus with crisp sounds and vocals with all pop melody and harmony. The song goes on to fade in and out of clarity to really hammer home the chorus in all it’s delicately formed and electronic splendour. A track awash with luscious synthetica.

This Weeks Music Video with The Horrors, Sky Ferreira, RÜFÜS and Marissa Nadler


The Horrors – So Now You Know

Sky Ferreira – I Blame Myself

RÜFÜS – Sundream

Marissa Nadler – Drive




Warpaint – Warpaint Review

California’s Warpaint return with their second album of the same name. It is a follow up from their 2010 debut entitled The Fool. That album had generally positive reviews if not spectacular but nevertheless its a pretty good base to start from. The notorious second album is now what they have to face up to. Having said that. I don’t see them having too much of an issue with it as they already seem to have the production and recording techniques at a pretty high level and back in 2010 they were able to present lighter shades and darker tones in the music through a variety of methods, but who knows?

‘Love Is To Die’ was the first track they unveiled back in October. The songs starts off very sparsely and steadily and smoothly introduced elements on top of the previous. First with the subtle percussion and synths sounds and eerie vocals and then the rotating bass line give some depth and some rhythm along with the more standard percussion to allow for the vocals to come in. The soft echo on them lets each line trickle back into the bass line groove. The backing vocals do the same while the guitar parts simply add texture rather than play a starring role. The chorus is topped off with a vertical like vocal progression but they fade it back in to the understated and cool feel of the song. The song never really outreaches itself but its the cool and calmness that speaks much louder in this song. With ‘Love Is To Die’ being a spaced out atmospheric affair that had it’s melodies and hooks evaporate and fade out; with ‘Biggy’ you feel that the atmospheric quality is closer to home if you like. Perhaps a little more immediate and cut off for it is still there, but not to the same extent of the preceding track. The song has a more drawn out and extended vocal that pulls the song towards the same order. The overriding synth chords only have a slight echo and make it feel much more immediate. Apart from that each sound fades out in an isolated way. Less in unison as they did in ‘Love Is To Die’. All in all it evokes a much more mysterious and darker quality and feel.

‘Keep It Healthy’ is characterized by the cascading bass line and the steady rhythm it invokes. The vocals soar over the general rotation of the instrumentals for a more straightforward track on the whole, but one that works well on it’s own and in the context of the whole album with the stylistic alteration. ‘Disco/Very’ is recorded in a more claustrophobic and slightly muffled fashion as if they were playing in your living room. The deep rooted bass syncs in well with the main beat for a solid instrumental base for some interesting vocal methods and combinations that work most of the time. The layering atop the bass and percussion foundation is fantastic though and really generates a textured rhythm. ‘Drive’ has a very subdued feel to it with the muffled bass and the beeping from the synths as the vocals wash over it all with the help of an expanded and delayed echo. A further variation in tone but one that leaves you a little detached. ‘Hi’ has a great and ensuing beat of which all the other elements jump from. A great show of vocal agility to lead the song through it’s progression. To sum up, I think this is more than a worthy follow up from The Fool and expands adding a variety of tones and song structures that always stick to a central element so that the atmospheric and emotive quality is not completely lost. An accomplished piece of art-rock that was well worth the wait.

Warpaint – Warpaint = 8.5/10


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