Streaming ilimitado
Escuche este álbum ahora en alta calidad en nuestras apps
Comenzar mi periodo de prueba gratis y escuchar este álbumDisfrute de este álbum en las apps Qobuz con sususcripción
SuscribirDisfrute de este álbum en las apps Qobuz con sususcripción
Following her dreamy, artfully textured debut, 2017's Night Night at the First Landing, by about a year, Perfect Shapes finds a more explorative Madeline Kenney, both stylistically and timbrally. Venturing into bolder indie electronica and time-shifting experimental rock, the album was produced by Wye Oak's Jenn Wasner and features more prominent synths and electronics. Both women played multiple instruments on the record. While no track is representative of the whole album, opener "Overhead" (the one song here produced by Ben Sloan rather than Wasner) establishes its contrasting timbres and mix of lyricism and atmosphere. Clanging, industrial percussion is combined with muted drums, spacy synths are joined by rumbling guitar tones, and twinkling keyboards and guitar float over a distinct, funky bass on a song that wonders "So now what's the light I'm living in?/No sound, just the colors coming in." The quirkier, more syncopated "Cut Me Off" seems descended from Talking Heads, while the drifting "I Went Home" offers borderline jammy rock. Elsewhere, the playful, surprising "The Flavor of the Fruit Tree" borrows from woozy alt-R&B, bleepy synth pop, and stylized vocal-era pop. With the exception of Kenney's consistently breezy, warm vocals, altogether, the album comes off as unpredictable as that sounds, especially compared to her relatively intimate debut. However, for those who aren't put off by its favoring crafted texture and melody over mood or structure, it's also absorbing, offering layers to uncover with repeat listens. Trivia of note: Perfect Shapes is Wasner's first time producing music that isn't her own.
© Marcy Donelson /TiVo
Está escuchando muestras.
Escuche más de 100 millones de pistas con un plan de streaming ilimitado.
Escuche esta playlist y más de 100 millones de pistas con nuestros planes de streaming ilimitado.
Desde $ 124.90/mes
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Madeline Kenney, Composer, MainArtist - Carpark Publishing, MusicPublisher
2018 Carpark Records 2018 Carpark Records
Presentación del Álbum
Following her dreamy, artfully textured debut, 2017's Night Night at the First Landing, by about a year, Perfect Shapes finds a more explorative Madeline Kenney, both stylistically and timbrally. Venturing into bolder indie electronica and time-shifting experimental rock, the album was produced by Wye Oak's Jenn Wasner and features more prominent synths and electronics. Both women played multiple instruments on the record. While no track is representative of the whole album, opener "Overhead" (the one song here produced by Ben Sloan rather than Wasner) establishes its contrasting timbres and mix of lyricism and atmosphere. Clanging, industrial percussion is combined with muted drums, spacy synths are joined by rumbling guitar tones, and twinkling keyboards and guitar float over a distinct, funky bass on a song that wonders "So now what's the light I'm living in?/No sound, just the colors coming in." The quirkier, more syncopated "Cut Me Off" seems descended from Talking Heads, while the drifting "I Went Home" offers borderline jammy rock. Elsewhere, the playful, surprising "The Flavor of the Fruit Tree" borrows from woozy alt-R&B, bleepy synth pop, and stylized vocal-era pop. With the exception of Kenney's consistently breezy, warm vocals, altogether, the album comes off as unpredictable as that sounds, especially compared to her relatively intimate debut. However, for those who aren't put off by its favoring crafted texture and melody over mood or structure, it's also absorbing, offering layers to uncover with repeat listens. Trivia of note: Perfect Shapes is Wasner's first time producing music that isn't her own.
© Marcy Donelson /TiVo
Acerca del álbum
- 1 disco(s) - 10 pista(s)
- Duración total: 00:37:34
- Artistas principales: Madeline Kenney
- Compositor: Madeline Kenney
- Sello: Carpark Records
- Género Pop/Rock Rock
2018 Carpark Records 2018 Carpark Records
Mejorar la información del álbum