Floyd legend Gilmour’s lush new album


Madison Stowers

M. Stowers

In 2014, Pink Floyd fans witnessed the band’s first studio release in twenty years, entitled The Endless River. Most recently, former Floyd guitarist David Gilmour released his fourth solo album. In “Rattle That Lock,” the legendary Gilmour demonstrates his mastery of composing powerful chord progressions and killer prog-rock riffs.

Album opener “5 A.M.,” with its forlorn guitar, is a beautifully-synthesized instrumental piece. “Beauty” and “And Then,” Rattle’s other instrumental tracks, reveal Gilmour’s chordal genius. Together, these tracks serve as a bluesy triumvirate of lush orchestration. 

Lead single “Rattle That Lock” is as close to jazz as the album gets. Despite Gilmour’s forgettable vocal performance here – he turns 70 this April, after all – his guitar playing is as solid as ever. Gilmour explores jazz (as well as Spanish) influence further in songs such as “The Girl in the Yellow Dress” and Dancing Right in Front of Me,” which provide markedly better vocals.

The dark and sulky “In Any Tongue” is a standout track. It contrasts strongly with “Today,” a funky throwback to Gilmour’s 1984 album About Face that borders on disco-rock.

Undoubtedly, Rattle’s most moving track is “A Boat Lies Waiting,” an acoustic tune with a haunting piano sequence and lyrics to match.

If one can overlook Gilmour’s flaky vocals, his true instrumental talent becomes apparent. Rattle That Lock is a tapestry of dense, handsome chord structures and inventive rock riffs that is a welcomed addition to Gilmour’s oeuvre.

The Libertines, Anthems for Doomed Youth


Garage-rock revivalists The Libertines have reunited, and it feels so good. Their new album is an outstanding amalgam of post-punk and indie-rock that is both electrifying and introspective.

The aptly-named Anthems for Doomed Youth is dark and powerful from the get-go. “Barbarians,” the record’s first track, is a standout cut that pounds relentlessly. It transforms into the single “Gunga Din,” which sports both punk and reggae influence.

The record shifts gears halfway through with the track “You’re My Waterloo,” a relatively mellow piano tune, but the grittiness returns with the knockout cut “Heart of the Matter.” Anthemic and haunting, the tune’s accompanying music video is both self-reflective and disturbing. Additionally, tracks such as “Fury of Chonburi” and “Glasgow Coma Scale Blues” hearken back to the band’s early vivacity, with their crunchy riffage, walloping drums, and demanding vocals.

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