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About Me:18-year-old sixth form student, studying English Literature, History and Government and Politics. My articles will broadly cover topics from the current affairs of politics to reviews of books and albums, as well as adding my own creative pieces, whether it be short fiction or general opinion.
Be Above It
The album’s opener opens and opens and opens, expanding out on a looped vocal of ‘gotta be above it’ met with stiff synth chords until we finally hear Kevin Parker’s vocals. The drum loop maintains as the song builds; the dynamics increasing with each layer of synth. The persistence of the vocal loop creates a hypnotic effect, laying the perfect foundation for the rest of the album.
A peculiar title for just the second track of an album – ‘Go To Sleep’ – keeps the spaced-out psychedelia of the first track with the synth melody oscillating between left and right, over the top of phasered guitar chords. Kevin’s vocals are, as ever, reverbed and drenched in echo making his ‘go to sleep, you’ll be fine’ appear as something from the subconscious. The song then loses its reins as Parker’s distorted guitar comes to the fore, somewhat perversely for a song that requests unconsciousness.
We now get the impression that the two tracks that preceded were indulgent treats somewhat; Apocalypse Dreams appears as the first full-fleshed song on the album with stoic driving drums, staccato piano chords and a funky bass line. The song’s brilliance, however, doesn’t come just come from its obvious pop influences but the way in which Parker is able to take these influences and fuse them with his own psychedelic touch (no surprise Parker admits to influence coming from listening to the Beegees whilst on hallucinogenic drugs). This culminates in a beautiful ending wherein the melody is adopted by the guitar, with the chords hitting hard over the top.
A track that needs no introduction as it does it all for itself. The song lambasts its way in with a killer riff and drum fill that loops for almost the entirety of the song. The edge is such that its video appears apt seeing a boy infatuated with the behind of his female teacher walking down the corridor. The bass line appears almost surreptitiously, complementing the main riff whilst adding its own fills. Dirt is piled on top of the guitar when it comes to the bridge, loosening up to allow synth chords to ease through the tension. The lyrical content is also appropriate: Parker tells a tale of unrequited love wherein the subject has confessed his love far too eagerly for what sounds like a femme fatale. The track, staying true to the album’s foundations, expands spicily and abruptly fades out.
Music to Walk Home By
The most underrated song not only on this album, but also of the whole of 2012. This track is a perfect amalgam of layers and textures encased in a confident and catchy melody line. It seems bizarre to me that people can applaud Kevin Parker on his ingenuity in blending pop, rock and psychedelia without using this song as the yardstick from which to measure. It is this track that showcases not only Parker’s adept ability to create intricate and harmonious music, but also the confidence and ease with which it comes across.
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