Driven by crispy drum machines and shimmering synths, Lanza’s second full-length Hyperdub offering is instantly more direct and relatable than its predecessor; cloudy reverb is replaced by sheeny production.
A band reborn? Possibly. Refined? Definitely. The brilliance of ‘The Getaway’ is in its subtleties, which define their most intimate and expressive album to date, and suggest that, after 32 years, the Chilis can still keep us guessing.
While Rihanna has put out great records throughout her career, the focus has always been on singles, and as such full-length listens can feel disjointed. ‘ANTI’ is one that you can vibe to from beginning to end.
That a record so dark and ripe with nuance can also harbour such blatant pop sensibility belies the duo’s young age while serving as a testament to their rampant eccentricities.
It’s her vocal prowess that threads together the line-up of producer-du-jour types that feature on ‘For All We Know’. That, and the infectious grooves that dominate this album provide endless enjoyment.
‘Birds…’ is peppered with guest spots left, right and centre, and that’s where it becomes obvious what Travis Scott’s real talent lies - as a platform for other artists to shine.
If Hynes had chosen to make the power of femininity the basis of this album it would be pretty much flawless ... But the single issue that undermines the cohesiveness of ‘Freetown Sound’ is Hynes’ decision to publicise it as an album about black identity, which it really isn’t.
The album ultimately feels like the half-breed cousin of Duran Duran’s druggiest years, re-imagined in light of a millennial pop formula. It sounds like a band shooting for the moon too soon.