glass beach
plastic death
70--93点相当
エモの中に
プログレ的、物語的展開もあり
いろいろな要素も取り込んだ
壮大さも感じる作品。
展開的には、Mansunの『SIX』や
Muse なども思い出した。
https://www.pastemagazine.com/music/glass-beach/glass-beach-deliver-on-plastic-death
glass beach pack a discography’s worth of ideas into a single song. Ringleader J. McClendon mines prog rock, emo, jazz fusion and hardcore punk as touchstones, infusing them with a frenetic sense of turmoil that’s at times inscrutable but nevertheless affecting. Their penchant for waxing philosophical over labyrinthine arrangements has been a staple of glass beach since their 2019 debut, the wonderfully titled the first glass beach album. The end result is like wandering an amusement park with every possible theme blending into another: medieval into carnivalesque, cartoonish into futuristic, horrific into beachy. Yet, it somehow all works.
This is the feat that the Los Angeles band pulls off on their second album, plastic death. On paper, it may seem like an unfocused mess, but they execute everything with stylistic flair. Take lead single “the CIA,” which shifts from math rock noodling, to prog rhythms and, finally, to a hardcore breakdown. There’s also “200,” which starts off as a piano ballad before embracing jazz, power-pop and heart-on-sleeve emo mere moments later. McClendon’s uncanny ability to blend so many starkly disparate styles this smoothly speaks to their talents as an artist.
ロサンゼルスのバンド カルテット
2nd