![]() ![]() ![]() While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. ![]() The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “ I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “ …breaking free from demons that have long plagued him,” per an official press release. ![]()
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