Fernando Torres has retired from professional football, but don’t worry, he hasn’t embarked on a musical career. No, this is Torres, AKA McKenzie Scott and Silver Tongue is her fourth album. This the first album she has produced by herself after previously collaborating with PJ Harvey cohort Rob Ellis. Expect a mix of guitars and synths, sparkling new wave sounds some irresistible hooks and the odd brooding number all about the journey of love.
Limited Vinyl LP £21.60 MRG707LPC1
Limited edition, indies only, half green & half silver coloured vinyl LP on Merge. Includes limited bonus 7".
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- Indies only
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Vinyl LP £19.99 MRG707LP
Black vinyl LP on Merge.
- Includes download code
CD £11.99 MRG707CD
CD on Merge.
I suppose the main takeaway for Torres’ latest album is that 80s pop music very much remains to be in. Recently we’ve had albums from actual 80s pop stars like the Pet Shop Boys, and people who can’t remember the 80s like Bat For Lashes and Destroyer, all of which embrace the musical stylings of the much maligned decade. And now we can add ‘Silver Tongue’ by Torres to the pile.
I was sure of this from its very earliest moments, ‘Good Scare’ features these big and cool drums, which smash open the door, giving us the biggest 80s welcome imaginable. And its not just the drums that are 80s; we’ve got laser synths and big chunky guitars, we’ve got melodrama, and we’ve got cooly disinterested vocals.
Despite its 80s-ness, the album most reminded me of music coming out in the mid-to-late-noughties, though given that’s when I musically came of age I suppose that’s not surprising. the melodrama reminded me very much of Arcade Fire’s ‘Neon Bible’, though Torres manages to be much less corny about it. There’s also a little bit of late career Yeah Yeah Yeahs in the vocal performance and composition.
That composition brings out some frankly astonishing moments, ‘Last Forest’ is built on a synth line which towards the end of the song is replaced with searing hot guitars. Then there’s ‘Good Grief’ whose chuggy chords sound like a battering ram, and ‘Gracious Day’ whose guitars are almost the opposite of that, a charming and familiar knock.
It’s a fun ride, though one that unfortunately ends with a slightly ponderous title track. Still pretty 80s though.
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