The breakbeats throughout “Violent Delights” and gentle strings on “Lullabies” are homages to, respectively, the Prodigy and the Blue Nile. Instead, they let their influences sprawl widely. The group could have delivered 10 variations on “Clearest Blue” and made (relative) bank. But it’s not merely a safe return to form. The machine shows little discernment, and the next vocalist down Marshmello’s conveyor belt was disgraced Chris Brown when the band spoke out against his replatforming, the death threats began again.īesides a guest spot by the Cure’s Robert Smith, the new album is written, produced, and performed by just the core trio. Then they wrote a song even songwriter Lauren Mayberry called “ tacky pop crap” for EDM mascot Marshmello. (The title, though, predates COVID-19 by almost a decade the trio considered it as a band name.) Love Is Dead, the group’s intermittently fun third album, enlisted Adele’s producers to blow their sound up to megafestival size. Ironically, Screen Violence outshines their last few years of deliberately “happy” music, even if it’s inspired by slashers and failures and the screen-mediated deadness of post-pandemic life.
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