We don’t like them quite as much this go-round…
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[5.75]
Alfred Soto: Lookee here: what to play over the opening credits to The Fast and the Furious VIII.
[5]
Iain Mew: “The Red Wing” makes a brash entrance with a grinding riff and squeaking synth whistle. There’s limited appeal in their repetitive force, but they gradually slip into the background, behind competing impulses for more noise and more pretty (and treble-y) melody. The resultant sense of hard-won beauty is the most compelling aspect. I’ve so far enjoyed this the most when listening to it while making a cup of tea, the roar of the kettle adding to the competition.
[6]
Katherine St Asaph: Not unlike three minutes of standing in front of a full-blast computer fan during The Matrix. It’s July now, and that sounds pretty good.
[6]
Jonathan Bogart: I’m sympathetic to this, if only for the object lesson on how to make abrasive, overcharged modern electronic music without having anything to do with dubstep. (A march tempo rather than anything danceable helps.) But I’m old enough that after three minutes I’m already worrying about what so much treble at such a high volume is going to do to my hearing.
[6]
Rebecca A. Gowns: This would put me to fucking sleep if it wasn’t also incredibly grating.
[1]
Brad Shoup: Could soundtrack a slo-mo rescue scene set in a burning disco. Wonderful use of the lower frequencies, too; I’m feeling this down my spinal cord. It’s quite a composed track, actually. The disco effects and off-rhythm horns led me to believe this was due to spin itself out of corporeality — but no, it holds.
[8]
Anthony Easton: Like a Las Vegas carpet: lurid, slightly painful patterns, repeating with no beginning and no end. I wonder if this is one of those things where two minutes of it isn’t enough, 10 minutes of it is too much, and an hour of it is transcendent.
[7]
Patrick St. Michel: Holding back total judgment because this is just an edit and, if these dudes’ two albums have taught me anything, their music works as long pieces that absolutely crush you as everything unfolds. Still, plenty to like — it has the aggression I’ve expected from Fuck Buttons but hides a playful side with all those chirpy electronics hopping around. I kind of think this is just the climax of something even better.
[7]