There's an appealing plasticity to those opening little plinking keystrokes. Like maybe some piece of arty artifice is within reach, like maybe this will be more than just a wall of big-shit guitars and thundering lead bass. But those illusions are dispelled circa 1:24 and 1:38, respectively.
And then its more. And more and more. And its giant clockwork basslines crushing skulls to dust, and its those vocal lines that range from nasal clenching to hooting falsetto, and nothing in between.
It's thrilling for 10 minutes or so, but it's pummeling for the next 45, a machine with one gear which is to COME AT YOU WITH EVERYTHING. All Michael Bay bombastics, all ENTIRE WORLD AT STAKE, all CLIMAX CLIMAX CLIMAX CLIMAX _w_h_i_n_g_i_n_g___t_e_n_s_i_o_n_ CLIMAX CLIMAX CLIMAX CLIMAX.
And shit, some of those climaxes are good. And those bass lines are pretty sick. And you almost admire it all, in its commitment. And when the production kicks in, you can just feel where they put their focus, on the big hits of Hyper Music and Feeling Good where you just go "we got ourselves a hit!" But on the balance it's such a blunt instrument, an H-bomb in the loudness wars, a relentless assault that leaves you numb more than it makes you feel anything in particular 3.5/5
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