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Review: Jack Foley
NORWEGIAN duo, Royksopp (aka Svein Berge and Torbjørn
Brundtland) took the dance world by storm when they released their
debut album, Melody AM,
and the singles, Eple and Poor Leno.
The wide-spread success of Melody AM lay in its ability
to appeal to a broad cross-section of the dance fraternity, as
well as people who like to keep their distance.
It was lively, boasted some big club anthems, as well as something
for the comedown crowd, or people who just like music to chill
to.
Their follow-up, Understanding, does exactly what the
name suggests - ie, display a clever understanding for the dance
medium, while still proving itself able to surprise.
It's an excellent album in its own right as well as a damn fine
follow-up to Melody AM that confirms the Royksopp duo
as major new players on the dance scene.
What's more, it contains a bigger sound and evidence of progression,
employing the additional of Chelonis R Jones, from Get Physical
Records, Karin Dreijer, from The Knife, and new vocalist, Kate
Havnevik to mix things up.
The standard for what to expect is heralded by the lead single,
Only This Moment, a blistering dance anthem that basks
in a joyous robotic sunshine soul.
It's effortessly feel-good vibe makes it a sure-fire summer anthem
and features the haunting, hypnotic vocals of the Royksopp boys
themselves neatly offset by the sweeter style of new recruit,
Havernick.
The rest of the album unfolds in deliciously eclectic fashion,
seldom residing in one style for too long, but managing to retain
the Royksopp vibe throughout - think Air crossed with Groove Armada
and you're somewhere close to what to expect.
The laidback vibe of Beautiful Day Without You is a
hypnotic comedown moment, tailor-made for lazing around with.
While the slightly more edgy What Else Is There is notable
for featuring the Bjork-like vocals of The Knife singer, Karin
Dreijer, whose voice seems perfectly suited to the electronic
style of Royksopp.
The addition of a guitar solo is also worth noting, given the
way it compliments the rest of the track.
Havnevik returns for the more urgent dance beats of Circuit
Breaker (a track that demonstrates its Norwegian origins),
while the clap-happy beats of Someone Like Me owe a lot
in style to Poor Leno.
Opening track, Triumphant, is a chilled out entry point
that more than capably demonstrates Royksopp's ability to surprise,
while the beautifully poignant Dead To The World hints
at the ambient style of Moby, while also sounding completely cinematic
in scope.
It's a wonderful way of easing things to a close, which the atmospheric
Tristesse Globale does in fine style, being built around
some wonderfully hypnotic piano.
If, like me, you thought Melody AM provided a welcome
shot in the arm for modern dance, then you can't fail to be impressed
with its successor, Understanding, which provides further
proof that you don't just need heart-pounding dance beats and
a repetitive style to be successful.
Let's hope the record-buying public develop a similar sort of
Understanding of their own!
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