almost industrial-tinged in the loud andbombastic, in-your-face production withalmost zero negative space even between verses:until suddenly the track comes to a halt andyou’re thrown into the album’s musical blackhole: two minutes of deafening near-silence,with only a singular pulsating beat and Higgs’vague repetition of “Do you have any ideas?”.Something is coming, and then:Track 7, Fortune 500 is where the act ofterrorism that has been whispered about inhushed tones since track one seems to haveoccurred. Whilst most of the album thus far hasbeen danceable, and the true intentions behindthe lyrics easy to ignore, this is quieter, moreanxious and jittery. A loud police sirensample plays above all instruments, whilstHiggs’ falsetto whispers and screams with adisturbed anxiety. He’s committed an atrocityand knows this, but it’s too late now. “I knowI’m only living half of a life, they said thatI should do this for my sons.” It’s a twistedexperience of a track and seems to catch alistener off guard, and that’s why I’d considerit to be the most vital track to a record whoseconcepts and ideas are often overlooked byits listeners. Then comes Blast Door which isa sudden and intense switch back into Higgs’personallyricism: in what he has called ‘just an extremelyangry rant at everything I hate aboutthe world.’ some of the wittiest one-liners ofthe record are apparent here: “Shoot a starvingporno for the yuppies in a circle” appears todetail the upper class’s fetishisation andcommodification of poverty and the peoplewith issues that they could never imagine,and is probably the single greatest line in theband’s discography. Musically, this one featuresJonathan rapping once again, a sound which Imust stress won’t be for everybody, as well assome of the most epic backing vocals from theentire band during the chorus.Closing track Warm Healer is the last that Iwant to shine special light onto: a track which,like opener To The Blade, feels almost like aletter- whilst To The Blade was felt as if it wasaddressed to a family, Warm Healer feels morepersonal, as if addressed to a romantic partner.“Babe, they call me the medicine man, but myold pills don’t work anymore.” This semanticfield of medical imagery used throughout givesthe impression that the character believes thathis actions are a source for good, even if heknows inside that what he is doing is wrong.Another more unobtrusive track, and onewhich is unique in the way that it seems tofeature nothing more than a chunky bassline,the lightest synths, and vocals at points: an ideahave seen very few bands attempt, and evenless succeed at. It’s a cold and desolate sendoffafter the often hyperactive and excitable musicof the album.And all of that is why, without any competition,Get to Heaven is the most essential keyto understanding my music taste. It’s a recordwhich can be enjoyed in two ways: for some ofthe most detailed and interesting yet danceableand largely accessible pop music I can think of;or as a record which goes in depth on the storyof a character whose actions may be awful, butleaves you possibly understanding the meaningbehind and motivation it, something I believewe forget about too much at times. It’s the recordwe still need in the times of a world gonemad, a record which truly deserves the place ithas in the hearts of so many. Thank youEverything Everything.51
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REVALATIONS OF THE MUSICAL KINDBy:
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something, which paints a different
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READY FOR A REINCARNATIONBy: Becky
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130I KNOW HOW IT ENDS,
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132dear alex, jon, mike, and jeremy
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Dear Jon, Alex, Jeremy, Mike,I’ve
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“So you think there’s no meanin
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ARTISTS@mykzurgf(pgs. 6, 14-15. 68,
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@Super_redhead(pgs. 32-35, 108-109)
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@b1rdlawyer(pg. 102)@mintymalamute(
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Stephen Pierce(pgs. 93-96)Cami Iver
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AND A SPECIAL THANK YOU TO THE “E
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I’M VAPOUR IN YOUR LOVE ....