Who's kicking herself she didn't venture over to the Reading Festival tent where Bastille were playing last summer?
The release of Bad Blood was enough to encourage me to ditch my tri-weekly caramel macchiatos in favour of The Extended Cut - and if you're asking if it's worth it - I'm refusing to update my iPhone on the basis that the album will disappear from my easily accessible "recently added" playlist.
'The Weight of Living, Pt. II' has a special place in this English Lit girl's heart because any piece of art that mentions an albatross might as well slap you across the face with The Rime of the Ancient Mariner and subsequently Paradise Lost and then Frankenstein and even Hamlet and all the other texts that live in your western cultured veins whether you know it or not.
The ageing theme of 'Laughter Lines' and 'Oblivion' is a grotesque look into the future; it's fresh in comparison to the overused hedonism in pop music but I guess I'm more comfortable with/desensitised to Ke$ha's carnivalesque 'Die Young' than: die old and wrinkly.
'These Streets' is the belter though - the hipster's 'We Are Never Getting Back Together'. Twirly and passionate.
Special mentions go to:
- 'Daniel in the Den' for being generally great in every aspect
- 'Laura Palmer' for being so emotionally arresting I thought I might have a heart attack on an elliptical trainer
- 'The Silence' for lyrically bitchslapping us all into growing some balls and using our words
- and acoustic 'Flaws' for it's fantastic strings
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