Things start to get tense as 'How Do You Sleep?' enters the fray, with those gorgeous synth patches that wash over you with such delicate waves of sound (hey, these sky shenanigans aren't so bad!). We have a nice smattering of Eno- influenced bits and bobs, and oh look a metric fuckton of synth reverb. Hey, I was dancing with those!! Let's re- examine our melting pot so far. Sure, I can understand that tracks like 'Other Voices' and 'Emotional Haircut' make me wanna. This is where the main part of my confusion lies with this album (granted there isn't much). Wait what? So, we have a nice handful of the 'Eno' ingredient to spice and 'warm- jetify' our guitars, bring some pep to our drum tracks (as if Murphy didn't do that already!) and point us to towards the sky, what else could we add? Why not some giant fucking reverb synths to shoot us there in a matter of seconds? Oh, that guitar sound is so funny it's not even Frippian. The aforementioned Eno track was the very first thing that came to mind as the the drum beat shuffled around with that damn groovy bassline bringing up the rear. So, returning to this album, take tracks like 'Change Yr Mind'. However, the environment of the track fits the theme of the rest of the album, as if it were in an entirely foreign, almost alien land. The song is pretty much devoid of reverb, making all the instruments acquire this quirky stacco- like movement as they dance around the track in single file. Take Eno's 'Over Fire Island' for example. The channeling of the works of Brian Eno are extremely clear on most of these tracks (which can only be a good thing, right? Yes, it is!), which straight away bridges the gap between expansive landscapes and the dancefloor. Well, here I don't quite know how to feel. In fact, I've always thought James Murphy clung to that clipped, razor- sharp production style to keep his albums in line with that 'in the moment' feeling you get from extensive dancing and shit.
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