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There's nothing lazy about this album, they've worked hard in the heat and sweat of the Big Apple - producing something which is quite special. Add to this the fact that singer Luck Jenner sounds like Robert Smith of the Cure and you have.an exercise in nostalgia? Protest music of the Thatcher era, music which made you wear a beret and live in a squat and think about taking up Kung Fu. If you're over 35 you might remember, The Gang of Four, PiL, ACR. (So last year!) No, the Rapture reference the austere sounds of British punk-funk. In the spirit of the age this album mines the early 80s though not the electro pop of that decade like Fischerspooner et al. An early single from the album, the shouty "House of Jealous Lovers", has become a dance floor classic. This is their first album, produced by the hip studio duo DFA.
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The Rapture are a New York indie rock band, sometimes referred to as The Disco Strokes. The song "House of Jealous Lovers" was also ranked sixth on NME's "100 Tracks Of The Decade". Resident Advisor ranked the album 35th best of the decade.
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They also honored the songs "I Need Your Love" at #323 and "House of Jealous Lovers" at #16 on their best songs of the 2000s countdown. The album garnered much critical praise from Pitchfork Media, who hailed the album as the best of 2003. As good as Echoes is, it could just be the beginning of a great pop adventure.Echoes is the debut full-length album by dance-punk band The Rapture, released in 2003. As John Lydon sang on the album that sounds like the touchstone for Echoes, PIL‘s Metal Box, the next step could be “getting rid of the albatross”. There’s enough vaulting ambition and sense of adventure over this album to suggest that The Rapture have enough to shake off the many antecedents that inform this record. It takes conscious examination to realise that the band plays fully on either.
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Both tracks benefit from a lightness of touch.
#The rapture echoes how to
Leavening out the record are two ballads Infatuation is a torch ballad, high on the drama of despondency (“you don’t know by now how to take me down”), and Open Up Your Heart generates a warm empathy. Love Is All wouldn’t sound out of place on Big Star‘s second album. The range of Luke Jenner’s vocals may well be limited, but along with his guitar playing, he can vary the phrasing. The synths re-appear, bubbling beautifully, for Sister Saviour, an electro-hymn possibly dedicated to the joys of types of party enhancers, complete with a Shaun Ryder-style caterwaul. Olio also sounds like the kind of single that was required of Fischerspooner to justify the hype. It’s possible to discern a post-house music fascination with the dancefloor, with the insistent dance-centred intro to House Of Jealous Lovers, the club keyboards of I Need Your Love and the meaner Killing.Īnother single, Olio, makes a repetitive synth figure central to the mix, and rivals House of Jealous Lovers with its stark simplicity versus the latter’s visceral thrill. There’s none of the semantic musings or semi-didacticism of the post-punk era, but in its place lies a beguiling anxiety characterised by singer Luke Jenner’s rich catalogue of yelps and shrieks, redolent of Tom Verlaine. Released into this milieu, The Rapture’s Echoes album sounds perfectly timed, timely, and indeed of the time. Now, with falling figures at the poll booths on both sides of the Atlantic indicating that pessimism is still a premier currency, much of the early ’80s post-punk music sounds like unfinished business. That music reflected the pessimism of the times, with many of the bands themselves seeking to define their creed in Neo-Marxist mission statements in the days before Perestroika. The buzzsaw guitars of punk were replaced by panicky, nervous guitar stabs, while the rhythm sections owed as much to the tough and muscular sound of the more politicised funk of the ’70s. House Of Jealous Lovers is the single that fixed itself onto the playlist of the more aware radio and club DJs and suggested a band on familiar terms with the spare, fractured, sound that could be heard in areas here in Limeyville in the early ’80s.īands like Gang of Four, A Certain Ratio and The Pop Group pioneered stripped-down, post-punk dance music that was a logical extension to the seismic cultural shock of early punk. After 12 months of enough contractual wrangling to make the modern football transfer appear unfussy by comparison, New York four-piece The Rapture finally land a release for their Echoes album.