It’s not that Foxing's idiosyncrasies are absent on Nearer My God, it’s that there are much more of them. Under the co-production of Death Cab for Cutie’s Chris Walla, Conor Murphy’s toolkit has doubled on this record.
Kids See Ghosts, although the exact length of the other Wyoming releases, is by far the longest and stuffiest. All that’s really important is that this record takes risks without spazzing the news; and that we get to coolly rearrange the way we usually listen to a G.O.O.D. Music release.
On too many passages, Lattimore sticks closely to a pleasant and happy formula. In and of itself, this isn’t a bad thing. You get to spend quality time with each arpeggio, so much so that each little modification becomes precious. However, there’s merely six pieces here, and over half the record is spent exploring similar ideas.
It’s almost foolish to try and list all the genres at play across Sobereyed’s 60 minutes. It has to be experienced, not just described. The band employ guest vocals, cornet solos, and a stellar production team, smartly surrounding themselves with players that also couldn’t care less about which genre is at play.
Without the press release, there’s nothing suggesting that Efrim Manuel Menuck would have taken interest in a celebrity romance. However, there is a dichotomy swirling around Pissing Stars that could also be found on American entertainment news. There’s ugliness and beauty at play simultaneously. One track here is called 'The Beauty of Children and the War Against the Poor'. As a father, he’s got to be positive despite rampant corruption, war, and poverty.
You can’t listen to The Official Body without dancing, which is a blessing and a curse. It’s fun at first, but eventually you’ll need a breather. Seeing the band on their current tour would be the best way to experience these songs. However, if you’re partied out, The Official Body is headache-inducing in its reliance on the UK’s well-established socio-political post-punk tradition.