Label: Upset! The Rhythm - UTR042 • Format: CD Album • Country: UK • Genre: Rock •
This may be Munch Munch's debut album, but it feels like they've been around for ages. I first saw them play live about four years ago Prank Call - Munch Munch - Double Visions a horrible, grotty little venue, accompanied by a handful of other people — all of whom, if I remember rightly, were my friends.
True to form, Munch Munch divided the group. One scoffed that, "This is real alternative music" not meant as a compliment. As for me, I was captivated and inspired. Loathing to adhere to the standard verse-chorus paradigm, they would weave all sorts of unconnected ideas into their twisted, finger-painted pop songs; one might begin all discordant and Nintendo-esque and shouty, then veer off into a mellifluous ditty.
The duo became a four-piece when they took the project live, recruiting Sarah Louise Renwick and Jack O'Connor, and they became known for their dazzling performances. Between then and now, their sound has undergone a steady and fascinating metamorphosis, finally crystalised in this deftly crafted minute record.
In Double Visions the band have honed a more cerebral sound than we've Prank Call - Munch Munch - Double Visions before. There is, of course, plenty of continuity with the style previously exhibited in EPs and singles — songs still branch in compelling directions, for example — but they're now more densely constructed and coherent wholes.
It's still fun, but it sounds so much bigger, so much more dynamic, layers of Deerhoof-tinged percussion creating an intricate web of rhythms crawling over pulsing Lee Konitz - Duets notes, screaming organs and spiralling mosaics of glock.
They remain difficult to categorise: there's noise, but they're not a noise band; there're synths, but this is not synth pop; at times a classic R'n'B vibe seems to take hold, before swinging towards 70s prog. This all creates an air of mystery. But once you begin to unravel the seemingly abstract lyrics, the songs are pregnant with secrets and themes. The main focus is on growing up and facing adulthood — a perfect narrative for a record keen to flaunt a maturing sound.
Its dual perspective is that of post-adolescence hence, 'Double Visions' : being young, but not as young as you were; not being old, but not so untainted by experience. We have, then, the recognition of increasing temporality in opener 'It's Nothing': "There's nothing happening, but it's the difference that shows…" sings Thomas in his characteristic high-pitched wail, as though marvelling at the changes wrought by the invisible passage of time; it's slow and thoughtful, a splendid forest glittering with golds and silvers like falling Prank Call - Munch Munch - Double Visions . Another part of growing up is overcoming childish pursuits and fears, tackled in the ostensibly juvenile 'Night Corner' and 'Prank Call'.
Handled in more depth, 'Wolfman's Wife' takes up the local freak-myth character often seen in teen films: "The head you carefully display to scare away Concerto For Violin And Orchestra No.
1, Op. 35 -Vivace Assai - Nicola Benedetti - Szymanowski - Cha children, it strikes a terror in me…We ride past your house every night to catch a glimpse of your face.
By the more confident, runaway finale, you realise it's about seeing past your fears, even embracing that which frightens. Progress, then, as you mature. But what of the growing threat of old age, the narrowing of possibilities? Joulun Tähti - Various - Kaikkien Aikojen Paras Joululevy 4 a means of moving on from the band's childlike signature, Double Visions feels like a masterstroke.
It reconciles the brilliant colours and shapes of childhood imagination with the stabbing doubts that accompany so-called maturity, the result being a fertile tapestry for you to pick at again and again, discovering something new each time. Granted, it won't please everyone, but compared with the band I saw four years ago, this debut boasts a depth and sophistication demanding more than a cursory look. Share this article:.
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