2023-11-24 17:11:56
Synth-electropop with sometimes more, sometimes less clear darkwave, industrial, goth and hip-hop hatchings: ††† (Crosses) go for their comeback Goodnight, God Bless, I Love U, Delete. (unfortunately too detailed) to the fullest.
A whopping nine years behind their debut album, but in the wind of Permanent. Radiant as well as some cover singles, Chino Moreno and Far-Guitarist Shaun Lopez has more than enough songs for their joint project after what feels like a long time of inactivity ††† had put together, like that Deftones-Frontman says: “We had so much material, but we didn’t wanna make a double-album out of it. I mean, 15 songs is a lot, you know? I’ve heard a couple people say, ‘Man, that’s a lot of songs.’ Generally, I like to have 12 songs on a record – less is always more in my opinion – but 15 just felt perfect. From where the album starts to where it ends, and I know this sounds cliché, it feels like a journey lyrically, musically… everything.“
Unfortunately, Chino is wrong about this: Goodnight, God Bless, I Love U, Delete. Over 50 minutes of playing time, it suffers rather from its verbosity, from a few empty, redundant meters and also from a uniform exhaustion in addition to the depth effect. Above all Pulseplaggthe ethereal Runner, Ghost Ride or Grace are aesthetically coherent and not unpleasant to hear in context, but they actually just babble along relatively unimpressively without offering any really concise scenes.
Little friction develops. Goodnight, God Bless, I Love U, Delete. therefore automatically accuse “style over substanceIt would be wrong to practice it, but for long stretches you’re more likely to immerse yourself in the sound design of the record in a fulfilling way than for the songwriting (often following the same MO) to unleash a truly stirring emotional catharsis.
Conversely, there are too few highlights in the structure that stand out from the crowd, such as the strong trio Light as a Featherthe stoically grooving one Natural Selection and the epic Last Rightsin addition to a good album staple, also likes the middle part of Goodnight, God Bless, I Love U, Delete. convince.
In the great opener Pleasure boom the clacking beats, the sinister mood shimmers darkly over the catchy melody in deep reverence for Depeche Modea seductive longing melancholically builds tension along the modern, clear production, Found is programmed in a similarly twisted and catchy manner following in the footsteps of Thom Yorke.
The fabulous Invisible Hand On the other hand, it booms like hip hop that has gone off the rails, but in a disjointed way the floating flows from destructiveness into optimistic forms. Big Youth Later, rolling, it pulsates even more subtly in this direction and also brings in the great matching contrast The p an Bord. The Cure-Boss Robert Smith appears as the second guest Goodnight, God Bless, I Love U, Delete. in Girls Float † Boys Cry Strictly speaking, he’s just a key extra, but he provides the igniting hook in the compressed drama.
In front of it there is (which, strictly speaking, runs in the void) Eraser particularly contemplative, but then, for once, even wakes up with heavy guitars, before the title song as a conciliatory end credits is exemplary in that (the one who is so competently tinkering with Chino’s voice alone) ††† Measured against their previous output and the demands that have arisen, they have only managed to produce a (very) good, albeit underwhelming (because it does not get to the heart of their undoubtedly existing strengths) second work.
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#Goodnight #God #Bless #Love #Delete