'Olio' is their second proper British release, and it makes the over hyped Fischerspooner seem like just another record company fuelled little pop band. No theatricality, just cold, dark, almost jabbing electric beats, a spooky grey synth and perhaps best of all, the pained, anguished, near breakdown vocals of lead man Luke Jenner. "Over and over and over again" he yelps, as if his life depended on it, and as the synths and bleeps transform into the kind of inspiring Deep House not heard for a decade, 'Olio' reaches a painful climax.
The song ends with about 30 seconds of the kind of noise lorries make when they reverse. Remember where you were when you first heard this record. Because as The Rapture grow and grow in both popularity and importance, the more you'll get asked.
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hahahaha....NOOOOnonono, what he *actually* sounds like is Robert Smith from the Cure!! which is a far far funnier and less sycophantic comparison BUT it is much much truer and results in less nauseatingly-adoratory copy. basically becos it's not really a "cool" comparison, tho from my pov as well as being spot on is not a negative one in the slightest.
olio sounds like early 80s cure [best period?] with ace electro synth lines and more disco/detroit beats inside of it.
it's fun debunking all the hype and slavish pant-wetting in reviews of this-week's-latest-MYC-whoeevrs -- The Rapture = early cure with cool synths, BRMC live earlier this year also reminded me of the cure too [weirdly.......] due to the roaming guitar parts [and was the only time i've eevr enjoyed them], the next Strokes song rips off an Elton John track, etc etc etc
the fuckin nme would be so much better if it told the truth like this ;)
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i'm refusing to yield on the Robert Smith/Rapture bloke thing tho. What's most annoying however is i cannot remember the name of the elton john song to prove the strokes thing to the whole world..
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and Hank Pancakes for Lord of Using Sarcasm to Kick the Puny Asses of Hifaluted Indie-Snob Fucknuts Who Struggle to Type Properly!
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Over an increasingly pointless, and unfunny whole review though you end up with the feeling of your head being rammed into a wall over and over again whilst pleading "YES WE'VE GOTTEN THE POINT NOW, write something interesting and with some inspiration now before we atrophy from the boredom of your oh-so-funny sarcasm overload". YEs. You need to know when to stop.
In this case it became as tiresome as one of NME's ceaselessly drooling reviews, despite it being the opposite opinion at the end of the day.
PS the Vines are bollocks anyway
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