Music
Musically the album marks a return to "the more expansive elements of sound even though it features the fewest noise-scapes and most terse songs in Spiritualized's history." The Observer Music Monthly has described the album's sound as "touching and harrowing belligerent."
New songs such as "Death Take Your Fiddle" and, especially, "Sitting on Fire" - which sounds as if Pierce recorded the vocal from his deathbed - are eerily prescient, while "Don't Hold Me Close," a tender duet with film-maker Harmony Korine's wife, Rachel, recalls Gram Parsons and Emmylou Harris Throughout the album there are interludes of church chimes, otherworldly beeps and odd noises. In places it could be mistaken for an album of elevator music made for funeral homes and released on electronic label Warp. It is quite a trip.
The album features a number of guest vocalists, including backing vocals from The Dirtbombs on "Yeah Yeah" and a duet with film-maker Harmony Korine's wife, Rachel on "Don't Hold Me Close." The album also introduces a greater influence of string arrangements to Spiritualized's sound. Pierce credits the compositions of the album's orchestrations to his paucity of technical skill. "I don't write music. So I just sing what I want into a tape machine. That way I'm not limited by what I can't play."
The ending of the last track, "Goodnight Goodnight," features a brief lyrical and melodic nod to Daniel Johnston's "Funeral Home" (from his albums Continued Story and 1990), which itself is a nod to Bruce Springsteen. Pierce has stated this was a 'thank-you' to the singer, as Pierce's first live performance after his recovery was supporting Johnston at a tribute concert, in which he played a version of Funeral Home, as well as two other Johnston songs.
Read more about this topic: Songs In A&E
Famous quotes containing the word music:
“Good-by, my book! Like mortal eyes, imagined ones must close some day. Onegin from his knees will rise—but his creator strolls away. And yet the ear cannot right now part with the music and allow the tale to fade; the chords of fate itself continue to vibrate; and no obstruction for the sage exists where I have put The End: the shadows of my world extend beyond the skyline of the page, blue as tomorrow’s morning haze—nor does this terminate the phrase.”
—Vladimir Nabokov (1899–1977)
“We live in the mind, in ideas, in fragments. We no longer drink in the wild outer music of the streets—we remember only.”
—Henry Miller (1891–1980)