MewAnd The Glass Handed KitesColumbia RecordsThree out of Five Stars
From the outset of And The Glass Handed Kites, listeners get sucked into a vortex of complex arrangements and finely tuned craftsmanship. There’s no escape.
Well, sort of?
Danish prog-rock/indie band Mew has made its mark on the U.S. music market this year, releasing its fourth studio album. Some say it’s a concept album. I’m not sure (couldn’t find any concrete proof), but it definitely sounds like one, mostly because of its seamless transitions between tracks and obscure lyrics.
And the Glass Handed Kites is also characterized by its layered vocals, intricate melodies and delicate shifts of tempo, all of which further bolster the album. Naturally, time signatures don’t stray much from the rock-based 4/4 beat, but the ambient, keyboard-infused electronics create an overwhelming mood that entrances listeners.
At times, Jonas Bjerre’s vocals sound like Ben Gibbard’s, but usually his voice is registered in a higher range. Basically, what the listener gets is a sound that is very rich.
Too rich? Possibly.
One of the obstacles Mew runs into is the dizzying heights it brings the listener to; the saturation of the music can really get to be a little too much.
It’s like the time my friend and I invented the quesaburrnacho. It was a quesadilla, burrito and nachos all wrapped up into one dish, and, of course, it had sprinkles on top–cupcake sprinkles. Yes, it was fantastic, but frankly a little too much.
And The Glass Handed Kites will take some listeners by storm; others just won’t be up to the challenge. As for me, I think I’ll give Mew a head nod and take the middle ground.
