Presets are predetermined to be
dark
Mucho
buzz has surrounded the Presets’ latest album release Apocalypso.
Quiet in terms of recording for two years, their debut release
Beans really was powerful in shocking people into adoration.
Adoration for the twisted electronic-pop sounds kooky fiends –
Jules and Kim - have established they have a knack for producing.
Upon the first couple listens I gave their new offering
I was sort of stuck on the fact that Apocalypso is nothing
like it’s predecessor. Largely I was disappointed it lacked
the anthems of yesteryear that for me made the Presets such a
fantastic act.
For anyone who loved that album wholey and solely
it would be wise to manage expectations that Apocalypso
is not quite in that vein this time around.
However, once I got down off my pedestal of taste
and what makes a good record, I realised that Apocalypso
offers a complete album experience.
Musicians are renowned for evolution and that is
what the Presets have accomplished with Apocalypso. Evolution
from the party anthem style album of Beans towards, dare
I say it, a more mature and perhaps superior album offering.
When I broke it down, the reasons for loving Beans
were that the duo had been clever in understanding what made an
excellent anthem and tracks like 'Go Hard or Go Home', were strategically
orchestrated in the first album to build and become worthy dance
pieces for all turntables.
Apocalypso seems to miss that this time
around, instead the lads have developed an album with a story.
From its title which is indicative of the end of the world to
the cover art, it’s a complex and emotive listen.
The
nihilistic feeling underpinning the first track, 'Kicking and
Screaming' doesn’t disappear but it morphs into more angry
and aggressive sounds characterized in 'My people' and then transgresses
into a beautiful love story of sorts with 'This boy’s in
love'. Retaining their homoeroticism in this track seems to be
a goal too. And that’s all within the first quarter of the
album.
I think the cleverness of this album is represented
in the journey it forces the listener to surrender themselves
too. Depending on your mood you can be easily sucked into the
netherworld of darkness but don’t be afraid as it’s
for the most part a pleasant ride.
Kim and Jules are unashamed in showing off some
of their musical influences too. One which screamed at me is contained
in 'Talk like that'. The opening is nothing but a complete rip
off of Blur’s 'Parklife' tune, well to these ears anyway.
I have to say my favourite track is 'Anywhere' and
it has become so perhaps for the emotional intensity which is
built as the repetitive synth is layered with a variety of other
musical nomenclature to tantalize your aural listening experience.
It is the stand-out track of the album for me and I guess it’s
unfortunate it’s at the end of the album, for once it’s
complete the album is no longer and your journeying with the Presets
comes to an end.
I’m impressed. Give this album time to take
fruition in your subconscious and if you happen to be feeling
a bit gloomy and low, this is a fantastic tonic to alleviate.
Rest assured you can navigate through the dark times.
Ruth Bailey
