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“Evolution will not be compromised” was the mantra under which Dubliners The murder capital recorded their second album “Gigi’s Recovery”. If they’re smart they’ll stick it on the shirt, but it really captures the essence of the leap that the five of them made. The band’s 2019 debut album ‘When I Have Fears’ was released as the Irish scene exploded with fellow metropolitan noise artists Fontaines DC releasing their first album, Shame setting things straight and IDLES making waves on their backs . breakthrough “Joy as an act of resistance”.
Frontman James McGovern recently told NME how the band’s “identity was formed early on around the idea of going against everything and seeing the friction it created”, without ever feeling “fully represented” by the scene around them. They will always be mentioned alongside the aforementioned bands, but they deserve credit for forging their own path and taking a bold leap into the unknown here.
“A strange feeling I’ve got, I can’t admit it – I’m losing my grip,” McGovern warns over the brooding and wistful opening soundscape of ‘Existence’, before on the harrowing and drugged-out ‘Crying’ he asks: ‘Is this our way run away? Our way through the gate we built? Is this the end of us?” From this moment the album begins a journey of introspection, introspection, discovery and recovery through a sonic adventure.
The most exciting experiments come in the form of the brooding electro-questioning deathly “The Stars Will Leave Their Stage”, the kaleidoscopic middle section “Lies Become Themselves” and the fast-paced Radiohead-owned “A Thousand Lives”. all the while, McGovern wonders if he’ll ever be “enough.” You can still find a scorching punk edge in the cathartic “Get My Head Back,” and “Birthday Party” meets the bleakness of Iceage’s “Ethel,” but adds to a more widescreen vibe. The final sequence from “We Had To Disappear” to the last song “Exist” through “Only Good Things” and the title track complete the arc of self-discovery with increasing ease and a gentle finale number that finds McGovern a bit of a tough-suffering world: “I’ll stay committed , I’ll make it stick. This morning I took upon myself the responsibility of staying forever in my skin.”
The murder capital they may have come with a shout and a fist, but now they soar with nuance, ideas, big heart and the first great guitar album of 2023. Anger is energy, but love is power.
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“Evolution will not be compromised” was the mantra under which Dubliners The murder capital recorded their second album “Gigi’s Recovery”. If they’re smart they’ll stick it on the shirt, but it really captures the essence of the leap that the five of them made. The band’s 2019 debut album ‘When I Have Fears’ was released as the Irish scene exploded with fellow metropolitan noise artists Fontaines DC releasing their first album, Shame setting things straight and IDLES making waves on their backs . breakthrough “Joy as an act of resistance”.
Frontman James McGovern recently told NME how the band’s “identity was formed early on around the idea of going against everything and seeing the friction it created”, without ever feeling “fully represented” by the scene around them. They will always be mentioned alongside the aforementioned bands, but they deserve credit for forging their own path and taking a bold leap into the unknown here.
“A strange feeling I’ve got, I can’t admit it – I’m losing my grip,” McGovern warns over the brooding and wistful opening soundscape of ‘Existence’, before on the harrowing and drugged-out ‘Crying’ he asks: ‘Is this our way run away? Our way through the gate we built? Is this the end of us?” From this moment the album begins a journey of introspection, introspection, discovery and recovery through a sonic adventure.
The most exciting experiments come in the form of the brooding electro-questioning deathly “The Stars Will Leave Their Stage”, the kaleidoscopic middle section “Lies Become Themselves” and the fast-paced Radiohead-owned “A Thousand Lives”. all the while, McGovern wonders if he’ll ever be “enough.” You can still find a scorching punk edge in the cathartic “Get My Head Back,” and “Birthday Party” meets the bleakness of Iceage’s “Ethel,” but adds to a more widescreen vibe. The final sequence from “We Had To Disappear” to the last song “Exist” through “Only Good Things” and the title track complete the arc of self-discovery with increasing ease and a gentle finale number that finds McGovern a bit of a tough-suffering world: “I’ll stay committed , I’ll make it stick. This morning I took upon myself the responsibility of staying forever in my skin.”
The murder capital they may have come with a shout and a fist, but now they soar with nuance, ideas, big heart and the first great guitar album of 2023. Anger is energy, but love is power.
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