Plastic Mermaids play gigs with two goals in mind. “We want people to dance and cry,” says guitarist Chris Newnham. “I like to think the music we make is quite emotive so hopefully someone feels something listening to it,” Douglas Richards, the main vocalist and de facto frontman identifiable by his baby-pink bowl cut, adds. His brother and bandmate Jamie, sums it up nicely: “We just want people not to be bored.”
The group can rest easy knowing the word “bored” has likely never been associated with their music. Eccentric and shifting, psychedelic and euphoric – these are the words that listeners typically use in their efforts to pin down the Plastic Mermaid sound. Boring, definitely not. The six-piece Isle of Wight outfit likewise struggle to define themselves (“A bit folky? A bit electronic?”) but they have no real desire to. Their 2019 debut Suddenly Everyone Explodes whipsawed between soaring guitars and filigree fingerpicking,...
The group can rest easy knowing the word “bored” has likely never been associated with their music. Eccentric and shifting, psychedelic and euphoric – these are the words that listeners typically use in their efforts to pin down the Plastic Mermaid sound. Boring, definitely not. The six-piece Isle of Wight outfit likewise struggle to define themselves (“A bit folky? A bit electronic?”) but they have no real desire to. Their 2019 debut Suddenly Everyone Explodes whipsawed between soaring guitars and filigree fingerpicking,...
- 10/6/2022
- by Annabel Nugent
- The Independent - Music
Yeah Yeah Yeahs – Cool It Down
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This is the way the Yeah Yeah Yeahs return, not with a “Bang” – as the lascivious punk lead track from their debut EP was named in 2001 – but with a sizzle. The electronic textures that have been underpinning Nick Zinner’s gruesome guitar slashes since 2009’s It’s Blitz!, and which kept the lo-fi retro-trash tunes of 2013’s last album Mosquito up to date, have, on this long-awaited fifth album, almost completely consumed the band. They’ve largely ditched guitars for the sort of dramatic, cavernous electronics favoured by Perfume Genius, who guests on the climate reckoning first single and album opener “Spitting Off the Edge of the World”. The eight tracks of Cool It Down (a real mission statement of a title) make for a quasi-gothic synth record that beefs up the Eighties revivalism of the past decade... even...
â..â..â..â..â..
This is the way the Yeah Yeah Yeahs return, not with a “Bang” – as the lascivious punk lead track from their debut EP was named in 2001 – but with a sizzle. The electronic textures that have been underpinning Nick Zinner’s gruesome guitar slashes since 2009’s It’s Blitz!, and which kept the lo-fi retro-trash tunes of 2013’s last album Mosquito up to date, have, on this long-awaited fifth album, almost completely consumed the band. They’ve largely ditched guitars for the sort of dramatic, cavernous electronics favoured by Perfume Genius, who guests on the climate reckoning first single and album opener “Spitting Off the Edge of the World”. The eight tracks of Cool It Down (a real mission statement of a title) make for a quasi-gothic synth record that beefs up the Eighties revivalism of the past decade... even...
- 9/29/2022
- by Mark Beaumont and Roisin O'Connor
- The Independent - Music
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