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What has the world come to

By Smaël Bouaici |

Fans of Woodkid have awaited a new album for seven years, but the man is in no rush.

After the success of his first LP The Golden Age, Woodkid quietly reaped what he sowed: he directed a music video for Rihanna as well as a film score for Jonas Cuaron’s (son of Alfonso Cuaron) film Desierto), produced for other artists (Mykki Blanco’s album Mykki), and penned the music for a Louis Vuitton show. He then went on to ponder “the collective and individual responsibility of creating in a world on the edge of breaking point” which resulted in this rather solemn second album, a sort of “science fiction thriller”.

The first thing we notice is Woodkid’s voice. He has worked daily with a voice coach and has gained both height and depth. This can be heard on the melancholic Shift, composed in the aftermath of the 2015 attacks in Paris, and on Horizons Into Battlegrounds, on which the Frenchman channels Nick Cave.

Instrumentals again feature a symphonic orchestra (“less emphatic and less Hollywoodian according to the artist) and computer assisted music software, resulting in sounds that are lyrical (Reactor), metallic (Highway 27) and grandiose (on Goliath, a signature Woodkid track).


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