I've been feeling out of the loop with new music over the last couple of weeks on here what with one thing and another. Firstly I've been involved with a listening group on social media making our way through the R.E.M. albums one by one, day by day. Fine as you're working through their glorious early classics. Still fine as you listen to the mid-period global sellers. Less fine as you anticipate the post-Bill Berry yawnathon. Don't think I'll sign up next week.
Another factor in my sense of disclocation from what's going on music-wise has been this whole Covid-19 thing. As we make our way into the thrird month of this housebound Lockdown in the UK, there's a sense that the world outside might actually have stopped. So it was with a great sense of excitement and relish that I realised there were a number of notable new record releases for me to immerse myself in. Not least of them this one.
The eponymous album by Muzz is the work of Paul Banks of Interpol, Matt Barrick of The Walkmen and Josh Kaufman who produced The National. And boy does it sound like it and I don't mean that in a disparaging way for a moment. Muzz distills the essentially DNA of these three American alternative stalwarts to quite affecting and memorable purpose.
There's something quite elegaic and reflective about the songs on here. There's also something that makes me feel sure that I'll return to this record again and again over the coming weeks at months. During the course of the record they scale some remarkable, emotive peaks. Muzz hints at the dangers that lie in the past and the importance of forging onwards along the road ahead. Never forget what happened to Lot's wife after all.
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