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MUSIC FEATURE

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SURRENDER TO BOYGENIUS

DYK?

M aybe one of the most anticipated indie releases of the year, The Record delivers on its half-a decade build. Raw, yearning and utterly devastating in moments, the trifecta of Phoebe Bridgers, Lucy Dacus and Julien Baker is a perfect storm of pure emotion and talent. A beautifully curated record that showcases each artist at their very best, Bridgers’ trademark melancholy masterfully complements

In the 2017 film Dunkirk , German composer Hans Zimmer infused his score with an auditory illusion called the Shepard Tone, to create a feeling of building unease. The effect works by playing slightly overlapping and slowly rising sounds that are precisely one octave apart, interpreted by our ears as an endless sonic climb which never actually rises beyond one octave in pitch. Zimmer is renowned for his innovative film scores, which include Gladiator (2000), The Dark Knight trilogy (2005-2012), Inception (2010) and Interstellar (2014).

The Record

Dacus’s razor-sharp lyricism, and allows for Baker’s heavier, louder moments to make The Record not your typical, light-touch indie piece. Often, albums that wear their emotions so profoundly on their sleeves risk faltering or buckling under the weight of their subjects, however boygenius have expertly navigated a thoughtful, sincere and deeply

by boygenius is out now via Universal.

engaging work which not only delivers on its promises, but leaves you longing for more when the final chords ring. Boygenius’s sophomore record offers a refuge for all the chaotic and confusing moments felt in life. Heartbreak, regret, infatuation, elation – this divine trio beckon you to press your hand to your heart and feel it all with no hesitation or self-consciousness. To be honest, to be human, and to be alive. Jacqui Picone

EVERYTHING BUT THE GIRL IGNITE THE SUBLIME ‘FUSE’ ”I need a thicker skin/ This pain keeps getting in/ Tell me what to do... ’Cause nothing works without you...” Sigh; hearing the heft (and just-right vibrato) of Tracey Thorn’s pathos-drenched vocal once more raises nostalgic goosebumps during Nothing Left to Lose , the opening lead

single from this British duo’s first album in 24 years. The tantalising, cinematic lyrical imagery continues (”And the rain falls/ And the days pass/ Her lipstick/ On the glass…”), as much an EBTG trademark as Thorn’s forlorn portrayals and Watt’s crisp, alluring, name-that-sound beats. Many moods are captured throughout Fuse : the minimal, funereal When You Mess Up repeatedly implores, ”Forgive yourself,” while the mournful, downtempo Lost chronicles much loss (”I lost my bags”, ”...my biggest client”, ”... my perfect job”, ”...the plot”, ”...my mother”) before the phrase ”Then I just lost it,” signals breaking point. Forever recommends the purging of ”all that gets in the way of the things that you feel”. Then, during closer Karaoke , a suitable sound to accompany The Six Million Dollar Man rotating in slow-mo slices through the mix. EBTG create supreme, drum machine soul music for listeners blessed with discerning ears and sophisticated palates. Bryget Chrisfield

Fuse by Everything But the Girl is out April 21 via Virgin.

70 APRIL 2021

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