The anthemic “Hideaway Girl” features a shimmering, high-speed guitar tremolo, while “Rubicon” thickens time and stretches into a spacious expansion, surrounded by immersive, multi-dimensional film-noir imaginations.Marr, who’s returned to the U.K. Elaborated with soft strings, Johnny Marr deliberately mends soul and gospel influences into the arrangement: “be the lightning people, it’s like we’ll always be. In this process, the motion backward begins to overlap with the current sensation, shedding the rusty tones with a glorious celebration.Īs Fever Dreams Pts 1-4 enters a lit phrase in part 2, evoked by the passing of time, “Lightening People” marks an instant shift in the landscape. The counter clock goes back in time, into the warm, blurry memories of a past era.
The guitar work in the opening of “Counter Clock World” mimics the mechanic optimism of a clock. A tap of beautiful dissonances in the constant, distorted ring crowded exhaustion in the residual of industrialization. Gazed in the euphoric nostalgia of new wave, “Tenement Time” presents a poetic, maddening sadness, being trapped in the endless rush of time. Instead of exploiting the desire to further twist the strings in sounds, the album is dubbed with audiovisual introspection and atmospheric exploration. From the urgent, sexually intense Playland in 2014 to a darker, more experimental Call the Comet in 2018, Fever Dreams Pts 1-4 is filmic and retrospective. Since the release of The Messenger in 2013, Marr’s solo project has remained a keen but steady curve of development. In recent terms, Marr co-wrote the score for the new James Bond film No Time To Die with Hans Zimmer, including the film’s title track of the same name, written with Billie Eilish and Finneas. He played a huge role in making the score of Inception (2010). In the past decades, Johnny Marr has been participating as a guitarist and composer in the film industry, along with his long-time collaborator Hans Zimmer. And I feel very satisfied that I’ve been able to harness it,” the artist commented. We didn’t do that consciously, but I think I’ve got a vocabulary of sound. "There’s a set of influences and a very broad sound that I’ve been developing – really since getting out of The Smiths until now, and I hear it in this record. There are so many strands of music in it. The introspection in his highly repetitive, thematic guitar work has the chilling taste of clarity and distance. Marr is a thinker when it comes to lyrics and songwriting. The idea of time and space becomes extremely fascinating to Johnny Marr in Fever Dreams Pts 1-4.
Time’s illusion echoes the madness of feverish dreams.
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