Label: Astralwerks - ASW 70772 • Format: CD Album • Country: US • Genre: Electronic • Style: House, Electro
The first album Cassius - 15 Again four years five if you account for the one-year gap it took to cross the Atlantic from the French dance band draws significantly from the funk, electro, post-punk, synth-pop, and techno movements that stretched across the span of the s. A little personal nostalgia can be a good way for musicians to reconnect with their artistic inspiration-- just listen to Daft Punk's Cassius - 15 Again a record largely spurred by the feelings the duo got from hearing pop music as children, or the Who coming to terms with their mod youth on Quadrophenia.
It so often happens that these trips down memory lane somehow Cassius - 15 Again up being remarkably in tune with whatever retro-pop movements might be happening at Cassius - 15 Again time, so it might not be too obvious that this kind of motivation is what drives 15 Again Crescendo In Blue - Duke Ellington And His Orchestra - The Treasury Shows Vol.
7, the first album in four years from dance music vets Cassius five if you account for the one-year gap it took to cross the Atlantic. After all, it's a French house-pop album that draws significantly from the funk, electro, post-punk, synthpop and techno movements that stretched across the span of the 80s-- that's only something you don't hear every day if you avoid anything remotely resembling current dance music.
Maybe more so, since a purer form of nostalgia would do a lot less to disguise or modernize the catalysts that pushed the members of Cassius towards becoming pop musicians. It's easy enough to half-hear the first couple bars of a Missy (Mister) - Genya Ravan - They Love Me, They Love Me Not on this album and notice the echoes of Paisley Park and the Hacienda, but it's just as easy to streamline this into the present.
The acid-house-tinged title track isn't too far off from the kind Cassius - 15 Again rave'n'B that's growing to define the late zero years, only with the breathy, subdued intensity of Gladys Gambie in place of Rihanna. Gambie also sings lead on "Rock Number One", where its Princely electro-soul lushness helps push her voice into an understated version of Chaka Khan, but the production is so spotlessly modern-digital that it sounds as much like as And while "This Song" might split a snarling, bass-heavy, handclap-riddled difference between Blondie's "Call Me" and Depeche Mode's "Personal Jesus", it also elicits pangs of a somewhat more baffled and recent nostalgia-- hey, remember schaffel?
Interestingly, the further it gets towards the end of the 80s and the core of techno, the less it tries to connect with contemporary pop; "15 Again" aside, the acid house and Detroit techno homages "Jack Rock"; "Cactus"; "Shame Shame Cherie" are pretty straightforward-- enough to sound like they came from an album without Pharrell Williams on it. Skip to content Search query All Results.
Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer.
Never Give Up - Varuous - Virus General Blitzkrieg, Marc Smith & Joey Riot - When Im Gone (Notoriously Lethal Gabba Mix), Hottest Niggaz (Hardcore) - Stranded (13) - Blow My Cover, Seconds - U2 - Under A Blood Red Sky (U2 Live At Red Rocks) (VHS)