This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Glass Candy, like fellow male/female dance pioneers Crystal Castles, have been described as distant and elusive which, like CC, only adds to their magnetic mystique. Similarly, too, they have a love/hate relationship with the press. After some early (bad) reviews for their debut release, 2001’s ‘Smashed Candy’, they outright refused to do interviews and, despite the deafening blog-led hype, ‘B/E/A/T/B/O/X’ isn’t yet officially available to buy in the UK, only via import. In fact, it’s their third album, but significant for two reasons – it’s the first on Italians Do It Better (a label set up, in part, for them) and the first where Jewel’s dreamy synths vacillate over No’s wide-eyed, mannequin-like vocals with such expansive, knowing depth. It really is remarkable.
If Andy Butler’s Hercules And Love Affair represent a brilliantly updated disco idiom for the post-Klaxons age, Glass Candy are breezily re-imagining it as something monumental. Their sound has been called ‘Italo’ and ‘smack disco’ and sees the dancefloor as a place of majesty and mysterious elegance, not the sweaty graveyard of ‘Agadoo’ and ‘The Cheeky Song (Touch My Bum)’. Partly due to Glass Candy’s classic songwriting and their archaic way of recording (Jewel only uses antique kit while No sings into a hand-held mic) much of ‘B/E/A/T/B/O/X’’s sound recalls Giorgio Moroder’s legendary work with Donna Summer. And, like Moroder, Jewel knows the best dance music has not only rhythm but edge and menace. ‘Digital Versicolor’ mixes ‘I Feel Love’ with the theme from John Carpenter’s Halloween while No intones her deadly nursery rhyme-like lyrics over the top. Meanwhile, the buzzing ‘Beatific’ stares wide-eyed at the disco ball with “beatific visions of horror and lovely things”. ‘B/E/A/T/B/O/X’ is a wonderfully fresh album untethered by the sound of history or the wrench of cliché. For that reason, it’s absolutely vital.
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing
With their bigger and better second album, London-based indie/dance band Boxed In have earned their breakout moment