Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Their first album in four years finds The Corrs continuing the direction heralded on the Mutt Lange-produced tracks of 2000's In Blue, which encased the band's harmonies in a kind of shiny Teflon coating that rendered them all but untouchable. With Lange's associate Olle Romo at the helm this time, that untouchability has deepened: the opening track, "Summer Sunshine", has an odd, synthetic-sounding mix, closer to the soulless, cybernetic efficiency of dance music than the earthy rootsiness of folk music. It doesn't help that Andrea Corr's voice has been subjected to the kind of gimmicky vocoder effect that destroys the pristine vocal purity that is her hallmark. The folk roots are barely discernible now - apart from the closing "Silver Strand", based on a traditional Irish air, they're restricted to just a few isolated touches of Uillean pipes. Instead, the group appears to be reacting to changing currents in the pop mainstream: there's a distinct Dido-ish feel to numbers like "Hideaway" and "
Their first album in four years finds The Corrs continuing the direction heralded on the Mutt Lange-produced tracks of 2000's In Blue, which encased the band's harmonies in a kind of shiny Teflon coating that rendered them all but untouchable. With Lange's associate Olle Romo at the helm this time, that untouchability has deepened: the opening track, "Summer Sunshine", has an odd, synthetic-sounding mix, closer to the soulless, cybernetic efficiency of dance music than the earthy rootsiness of folk music. It doesn't help that Andrea Corr's voice has been subjected to the kind of gimmicky vocoder effect that destroys the pristine vocal purity that is her hallmark. The folk roots are barely discernible now - apart from the closing "Silver Strand", based on a traditional Irish air, they're restricted to just a few isolated touches of Uillean pipes. Instead, the group appears to be reacting to changing currents in the pop mainstream: there's a distinct Dido-ish feel to numbers like "Hideaway" and "Goodbye", while the group's version of the Bono/ Gavin Friday/ Maurice Seezer composition "Time Enough for Tears" (from the In America soundtrack) finds them keeping up with the Norah Joneses, with a limpid piano lullaby that even ends with a consolatory whisper, "I know - it's OK, it's OK." Which, for the most part, it is.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments