只要mogwai在器乐后摇滚世界的限制内拥有一个棘手的命题。在很大程度上是抒情的表达，具有简单的分层图案，遍布广阔的歌曲结构，重复自己的危险是真实的。然而，在这里，他们距离首张单曲已有25年调谐器/较低sounding as vital and exhilarating as ever.
格拉斯哥乐队持久的吸引力的秘密在于他们的思想的微妙之处，其他类型的交叉授粉的开放性以及他们的纯粹作品耀斑。自1997年以来，以某种方式发行了10张专辑年轻团队, and at times here they match the spine-tingling emotive drama of that album’s supreme 16-minute highlightmogwaiFear Satan。The band’s soundtrack expertise is sprinkled over typically epic compositions and there are brief diversions into analogue electronica, grunge and all-out pulverising rock. Yet it’s when Stuart Braithwaite commits to a rare vocal appearance thatAs The Love Continuesreaches its highest peak.
Originally due to record in the US, lockdown meant the band had to settle instead for Worcestershire, with producer Dave Fridmann dialling in remotely, assuming the role of an “Orwellian oppressor”. Despite being sculpted in the midst of a pandemic, as the title suggests, this a record bathed in positivity. However, the first words we hear are a solitary voice stating ominously the name of dystopian-sounding openerTo The Bin My Friend, Tonight We Vacate Earth。旋转的电子垫在优雅的钢琴短语下嗡嗡作响，吉他和弦轻柔地摆动，直到两分钟30秒钟内，安静的速度让位于散发出宏伟的宏伟性，波涛汹涌的合成器质地在声音田里嘶哑。
我们在这里，我们在这里永远走在八个甜美的小礼拜之条之前，在被野生gurgling的合成器取代之前，打开了。吉他部分随着歌曲的上升和平息而返回，简单的短语增强，删除和重新引入了专家触摸。
第一单曲Dry Fantasyis a stately slow burner that floats in on arpegiatting synths and a shroud of heavenly ambient noise. Countless guitar lines are added to the swell, the sense of expectation building all the while, but the storm never breaking. But it’s the following Ritchie Sacramento, inspired by the late大卫·伯曼（David Berman）and given its title when a friend misheard the name of composer Ryuichi Sakamoto, that is most arresting. Braithwaite, on his first album since going teetotal, delivers an airy, chimerical vocal, while the central riff is a piece of shoegaze majesty, awash with delay.
第一个无情感的话语“水晶长矛飞过我”，立即宣布这是Mogwai最激动人心的音乐之一。Exiting the heart-swelling chorus into a deconstructed midsection, icy reversed notes dart mesmerically around the chords like tiny chirping songbirds before plunging back into Braithwaite’s refrain of “Disappear inside, all gone, all gone, it took a while just to think, of home, of home”. It’s the sort of dreamy shoegaze brilliance thatSlowdiveand骑近年来返回。
Braithwaite sings onFuck Off Money, too, although his deadened tones are fired through a vocoder, stirring memories of Daft Punk, and Air’s 1998 ambient classic月亮野生动物园，闪闪发光的颤音挑选的铅线和合成器图案彼此融化。格拉斯威格人对响亮的动态的长期掌握掌握了七分钟的证据驾驶指甲, the distorted progression and riff sounding all kinds of brutal, before dropping away to a probing bassline, spacious chords and splashing cymbals that build slowly, inevitably, in intensity then succumbing once more to the ferocity that went before.
乐队对他们的歌曲的偏爱再次沉迷于他们的歌曲，并以非常出色的名字命名Ceiling Granny。这是垃圾和飙升后摇滚的融合，这是一种肮脏的，肌肉发达的动力传动，与那种光荣的高注册的颤音挑选无人选择的好处，而且一桶加入了聚会。Midnight Flitfeatures九寸钉composer and synth wizard Atticus Ross, violins circling dramatically around the tumbling drum pattern. Juxtaposed against the preceding heavyosity, it’s all the more striking in its cinematic elegance.
总体而言，下半部分As The Love Continues无法完全保持A. Closing的强度这就是我想做的，妈妈暗示沉思的少年焦虑，从一个孤独的即兴演奏中延伸到七分钟，这是合唱合成器纹理加入的，然后用大量的绒毛制成。这是一种逐渐建立的声音攻击和精致平衡动力学的练习。不过，正如格拉斯哥电车公司（Glasgow Tramway）的专辑最近的一场爆炸性实时演出所展示的那样，这些歌曲需要发行到现场竞技场的集体享乐主义中，以实现他们的全部目的。
Braithwaite说：“我对听到这张唱片的人感到兴奋，人们仍然想听听这唱片，尤其是在这一年。”他有权对发行的释放感到非常热情，这强调了他的乐队继续召集的一贯的创造力。如果他们能出去巡回演出，并为我们播放这些歌曲。
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