8 of 8 people found the following review helpful:
5.0 out of 5 stars
One of the best of 2009, December 2, 2009
Little Dragon is one of the best little bands around right now. Machine Dreams is more upbeat than the debut and reaches back to some of the best 80s sounds for inspiration, yet also feels futuristic and sci-fi, sounding like nothing else out there. Yukimi Nagano's soulful voice is the star here and she is ably assisted by three fine musicians. You must see this band's excellent live show to understand that as good as this album is, it is mostly an outline of the even more electrifying live versions of the tracks. I can't get enough of "Feather".
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Clever and beautiful, it's a record you won't forget!, December 21, 2009
Little Dragon offers an interesting mix of electronic music that is supported with a dance beat but is still deeply rooted in pop structures. This combination is what makes this quartet from Gothenburg, Sweden stick out, as they present what seems like a complex sophomore outing in Machine Dreams, but in reality, it is a record that comes off very smooth. It is an easy and entertaining listen that has nice transitions from track to track and consistently will have you tapping your feet. At times, the female fronted band can be as poppy and beat heavy as Luscious Jackson but maintains a more atmospheric Sigur Rós vibe around every corner. Little Dragon is a group that needs repeat listens before you get the entire picture and Machine Dreams only perfects the sound they started on their debut and is well worth taking a listen.
The emphasis on atmosphere is made clear from the very start of Machine Dreams, as album opener "A New" begins and ends with electronic drones, as if to bracket the song in ellipses like an unfinished thought. The subsequent song, "Looking Glass", is firmer, more beat-driven, but as much as its groove is steady, as a whole it seems to wander. Motion and physicality is strongly implied by the rhythm, but the leisurely pace and subtly shifting keyboard tones indicate changes in setting, evoking a sense that we're stumbling around lost in some strange, beautiful city. This sets the tone for the rest of the album, which goes off on the tangents of different rhythms into other textural zones, but maintains a feeling of searching around for something, whether it is a person, a destination, a state of mind, or the right words to express some ineffable thought.
Little Dragon's palette is broad enough to lend the album a rich, luscious sound, but specific enough to ground the work in a particular time and place, though the definition of both terms is left to the listener's imagination. Some of the songs, like "Looking Glass" and "My Step", sound like a 1980s version of the future, and owe a debt to the keyboard aesthetics of freestyle and Prince circa Sign 'O' the Times. Others, like the gorgeous ballad "Feather" and the claustrophobic "Thunder Love", bring to mind the dystopian sexiness of Tricky's early classics on Maxinquaye and Pre-Millennium Tension. Yukimi Nagano, the band's charismatic Swedish-Japanese vocalist, has a smokey yet agile voice, and it serves as the anchor of each song. She avoids melisma, but her phrasing is in the general wheelhouse of modern R&B, particularly British iterations of the genre. As with every other element of their sound, Nagano's voice places Little Dragon's music in a lineage of recognizable influences under a vague "urban" umbrella, but it all comes out just a bit off, which is to say, unexpected and original.
Machine Dreams is at once familiar and slightly alien, and the emotional center is both intuitively obvious and intentionally vague. Nagano is the type of writer and singer who lets her words roughly sketch out a feeling that she embellishes with her voice. This approach puts more faith in the unique effects of music-- there is no sense in being direct and literal when singing can convey the sort of nuance that is almost impossible to express in other forms of communication. The album falters slightly when the music becomes more abstract and inscrutable, but on the whole it is not difficult to relate to Nagano or slip into the mood created by her bandmates. That mood is slippery and hard to define, but that's not so much a problem as it is part of the appeal, as the band navigate the strange spaces between big, easily identifiable emotions.
According to vocalist Yukimi Nagano, "these days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us". So we guess you can expect a movement towards a more electronic sound.
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