by Oliver on March 26, 2024 in Album
Audio Vertigo puts bassist Pete Turner in the spotlight is actually the one announced Elbows reverse thrust to the intimate, introverted 2021 beauty, which is underestimated in many places Flying Dream 1.
Where after the pre-release single (as if in a trance, having chosen the rhythm with its brash brass as the leitmotif, catchy and compact, cackling so pompously to the final swing into the lounge). Lovers‘ Leap (and to be honest: even after the first three runs of Audio Vertigo itself) there was still a fear that Elbow let their tenth studio album as a herbaceous art pop be dominated by the groove alone, while strong melodies only reveal themselves to a limited extent at first glance – so you have taken a more interesting course for the band itself than for the listener on an emotional level – this is true to a relative extent, but after a manageable phase of getting to know each other, the all-clear can be given: Elbow Over the length of the album, they have found the balance between a previously unknown coolness and their sensitive knack for touching scenes.
Like for example Her to Earth (just because of the sound of bass and drums!) is not averse to the dance floor (and to a certain extent like a more consistent implementation of the ideas of about Dexter & Sinister seems) with a distinguished sophisti-drama full of grandeur but actually a typical one Elbow-Song leads to the balance of the contemplative Garvey longing (“We live in a troubling age/ But the world has given me arms for you/ …/ All roads lead to your door/ Since moonlight honoured our first embrace/ Stay my bonny girl, stay“), is a kind of reinvention of the familiar band aesthetic without abandoning its basis.
In Things I’ve Been Telling Myself for Years soul ladies inject majestic depth into the stoically fidgeting spurts, Very Heaven waits peacefully and, for once, lets the guitars flow in a more dreamy way and gives the melodies more space, all while leaning back Knife Fight begins with a knife fight in Istanbul, in which everyone ends up bleeding in each other’s arms, and also leads to heartfelt Garvey-isms via hints of world music: “Is it ‚cause we/ Communicate disastrously/ I want you, I love you, I need you/ What’s that supposed to mean?“
The three short sketches (Where Is It?) (a nearly 30 second rehearsal room jam to intensify the dynamics), Poker Face (a hallucinogenic groove intermezzo that languishes in indolence for a minute and a half, ends abruptly, but works completely and catchy) and (the breathing on the guitar) interlude Embers of Day contribute to the great flow and sequencing of a failure-free record, which you can then forgive for having From the River In its latent disco vibe, as a cozy calmness, the chorus is too pale and therefore underwhelming Audio Vertigo dismissed. (The fact that there are no goosebumps moments at the moment may not mean anything: you can see them Elbow-Works only years later).
However, the best scenes arise when… Elbow shift the emphasis of the production even more drastically (and not just offer everyone enough performance space here, for whom the English would otherwise tend to slip too far into sentimental kitsch), so let yourself be completely carried away by the aesthetics of the record: create a feeling of freedom and a spirit of optimism , get carried away and give your own discography a few more iconic moments!
Balu booms with brilliance Myxomatosis– Woofers frying and shimmering in sparkling 80s synths, massive waltzing and adding fanfares and background choirs: you’ve never heard Elbow like this before! The Picture drives forward almost hectically and nervously with handclaps, while the sparkling wonderland arrangements in the chorus circle like one-armed bandits in the amazement of fireworks: “There’s no love for me on this train/ There’s no cocaine in this cocaineGarvey rushes, but doesn’t let himself be stressed. And like the bass in the chorus of Good Blood Mexico City suddenly starts to fry, turning the nonchalantly twisting pop twang into the red in its simple grip to the party exuberance that makes the endorphins dance, will not only be fun live and distract from the state of the world. The rhythm section works its magic, albeit a little at the expense of the rest of the band’s magic – and gives the Brits exciting impulses that don’t break out of their comfort zone so much as really dive into it, to achieve their tenth fabulous album in a row.
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