& The Glass Handed Kites

By way of the internet, I was introduced to Mew initially through text. I had never actually heard their music, but by way of some few positive reviews, a little desperation, and a leap of faith, I purchased "And the Glass Handed Kites." Since it found its way into my CD player, I have concluded that it is my favorite album of 2006. Several albums have competed for this title over the course of the past few months, not the least of which was Muse's "Black Holes and Revelations." While competition was fierce between these two, I can confidently say that Mew has been the winner. This is not meant to degrade (the more visible) Muse's efforts. In fact, my comparison between the two bands is meant to encourage fans to research this important Danish band for themselves. Mew exudes an aesthetic that coolly reflects both passion and intelligence. Lyrically, "And the Glass Handed Kites" walks the line that divides the surreal and the personal. Sonically, they strongly reference the late 80s, as well as 2K and many points in between, but their approach is so experimental and somehow accessible that they ultimately transcend any of the genres that are associated with either of these eras. Is it possible to reconcile the seemingly divergent styles of New Order and The Mars Volta? Miraculously, Mew seems to find a way to. Because of their ability to ride the fence between the accessible and the experimental, Mew has been increasingly accepted by the prog community. However, the bulk of their influences lie outside of the accepted prog mainstream - perhaps a touch of Yes, but very little Genesis, ELP, etc. Instead Mew openly cites among their influences the pre-alternative bands of the late 80's such as My Bloody Valentine. "Special" is particularly reminiscent of this era. This approach gives them a widely acceptable soundscape for their experimentation, and an admittedly exciting format for those of us who love the spirit of that music but are exhausted with over 40 years of recycled prog clichés. The opening track "Circuitry of the Wolf" is deceptively lo-fi, and fooled me into thinking that I had the newest incarnation of the late 90s sound that was represented by Hum. It quickly opens up, however, and as it seamlessly segues into "Chinaberry Tree", we find a significant sonic and conceptual depth. This is driven home by Jonas' Bjerre's vocals. His control of intonation in the falsetto range is nothing short of extraordinary. The album is conceptual in nature, and as a result it is very difficult to recommend a singular track as a representation. As an introduction, I would suggest finding a way to listen to a seamlessly segued medley that includes everything from "Fox Cub" to "Zookeeper's Boy" (including "Apacalypso" and "Special"). There are other really great tunes on the album, but this sequence is one of my favorites and it exemplifies what "And the Glass Handed Kites" has to offer. Some songs function as vignettes and others as pivotal set pieces. When a piece is conceived of as an album-length whole ( as in the style of Kevin Gilbert's "The Shaming of the True", the Flower Kings' "Garden of Dreams", the Who's "Tommy", or several selections from Pink Floyd's classic 70s work), I think that this is a necessary concession to allow for accessibility. Understanding "And the Glass Handed Kites" as a whole might require more of the casual contemporary listener than is fair, so breaking the album up into isolated tracks is probably essential to digesting its complexity. Increasingly, I find myself researching modern music by looking for live video footage online. Many times, if I find some footage that really helps me to conceptualize a given band's approach, it helps me to understand their vision (this was influential in my acceptance of both Muse and Pure Reason Revolution). Pretty much 100% of the footage I have found of Mew has impressed me. I would suggest doing some searches, as there is quite a bit of Mew footage available. Watching lead vocalist Jonas Bjerre's eyes roll back into his head as the rest of the band alternates between aggressive grooves and emotional atmospheres is absolutely priceless. The Lowdown: The atmosphere that Mew creates is almost sonically overwhelming at times. As I have stated in my previous King Crimson reviews, sometimes it feels like I just cannot experience the songs at a high enough volume, and I feel like I am reaching out for the connection that can only happen in a live performance. In a recent interview, Yes' Rick Wakeman lauded Mew's ability as a band that could "really play," specifically citing the vocal prowess of Bjerre. After several months, I concur: Wakeman's observations are valid and his advice is solid. Mew is a powerfully unique band that deserves wide attention. Plus, its distinctively Nordic feel makes rocking out in the winter seem like fun. Get it yesterday.

Thanks to my friend, I got a chance to listen to these guys awhile back. If I were to describe its sound, I'd say...well, to be quite honest, I can't. Mew has a sound all their own, it's extremely original and those who claim this isn't classic or groundbreaking, really don't know what they are talking about. Not many bands sound like Mew, in fact I can't think of one that does really. You have to hear them to understand what I mean. They also have another album "Frengers," and while that album is excellent, I think that "And The Glass Handed Kites" is a bit better. Favorite tracks include: Circuitry of the Wolf, Apocalypso (probably my favorite one out of all of them), and Special. But the rest of the tracks are great as well, trust me this album is well worth the money. Stop wasting time on stuff like Limp Bizkit, Matchbook Romance, Kelly Clarkson, etc. and actually listen to something that has brillance within, like Mew.:) To those who deemed my review unhelpful, it's okay because I know this music is not within your limited capicity of intelligence so therefore your opinion is invalid.

I'm enjoying the heck out of this album. Loved it at first listen, love it even more after 30+ plays. Just blasted it coming down the freeway late at night, what a trip! It's solid from the symphonic sound, grandiose, to the high voices and lyrics. Solid also in the sense that it's a whole. The songs merge into one another. Very beautiful music to my ears. I've thoroughly checked the cream of 2006, for me this is the "creme de la creme". The first song builds up the sound as if they were looking for it, they establish it with the second , from there on it's, one beautiful song after another, to the end. The last song is poignant, a highlight of its own. They do remind me of YES, Cocteau Twins and Slowdive, all bands I love.

I've lived with "Frengers" and this for some time, generally love it, and noticed I haven't said anything about it. Not that the world needs to hear from me to be complete, but there are only 12 reviews here and that's not right. Considering all the absolute [...] that gets pressed into CD's each day, and considering this is easily in the top 10 of my playlists for the last year, a little more applause is appropriate. When Mew played Seattle this spring they had to settle for a small club, and that's way out of scale for what they represent. Not that this is a uniform effort. Their sound is new, really new, and when it works it kills, but they have the disease of varying tempos common to young bands who are striving for importance, producing songs that appear to be assemblies of individual riffs. Judging by their interviews they think this CD is a crowning achievement, but it's really only exceptional in fits and starts. But hey, they're young and fresh, they have time to grow and allow maturity to effect their work, starting with learning to live with some pain when the world doesn't appreciate everything they do. If the principals can make a living from doing this, one has the feeling that 2 or 3 CD's down the road they might make something truly remarkable. It's worth supporting and celebrating, buy this CD for what's here, but do it also to provide some encouragement to the band. I can't think of another CD I'm looking forward to more than their next. Get to work boys, you only think this is your best music.

Many critics site "Frengers" as Mew's masterpiece. I don't agree. I love this complex and beautiful album. It does fizzle out by the end, but what comes out in the first six songs is worth it.

It rarely gets better than this. Definitely the finest of Mews releases that I've heard, this is an incredible album that'll grow on you and stay there. It's one of those epics were every track blends into the next but the massive variation between songs means you'll never be confused and the album never drags. Beautiful songs and excellent muscianship.

ウワーオ！ こんな音聴いた事が無い！ Friengiersに続いての驚愕。 前作よりもパワフルでラウドでノイジーですがやっぱりMewです。2年半待ったかいがあったぜ！ ここ20年ほど見かけないようなアルバム全部で1曲のナガーーイ構成です。14曲のパートに分かれているけど、14曲セットでの1曲です。Lamb lies down がインテリ階級英国人の見た悪夢とすれば、これは内向的北欧ヴァイキングの見た耽美な悪夢です。 これって、プログレの金字塔のGenesisのLamb lies down とかYesのFragileと同じ構成だよね？ ヨーナスは僕等はプログレじゃないと言いながら、Lamb lies downが好きだと言っていたし、ロスはLand of Plentyだなんて言っていたから、絶対にGenisisやガブリエルの影響を受けている。 前と一緒じゃん？はないです。それでも一秒聴けばMewの音です。 英語の発音は正しいけど、最初は何を言っているのか聴き取れなかった。アクセントとテンポが違うんです。そのせいでなおさら不思議な印象とメランコリックなタッチを感じます。イギリス人のロッカーとは違う感銘を感じることが出来ます。 絶対に買いです。日本版はボーナス2曲付きです。これが凄い!!! サプライズギフトが好きな人は下記を読まないで！ ＊＊＊＊＊＊＊ ボーナスの最後の曲は全編日本語歌詞の｢白い唇｣です。ヨーナスが流暢な日本語で歌っています。輸入版には無いですよ。鳥肌が立って涙が出るような秀作でっせ！ヨーナスの日本語学習は信じられないくらい早いです。

Pas de commentaire à ajouter. J'aurais aimé que cette rubrique ne soit pas obligatoire pour éviter de perdre du temps.

Denmark's greatest musical export.

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