13 Songs, 50 Minutes

EDITORS’ NOTES

On Strange Pleasures, the London-based duo Still Corners interweaves disco, new wave, and Southern California pop influences with a very modern sensibility. The band’s sophomore project favors clean-edged guitar lines and swirling synthesizers, giving Tessa Murray’s winsome vocals a silvery aural patina. There’s an ‘80s pop sensibility here that recalls everyone from Fleetwood Mac to Mr. Mister, along with a moody sensuality suggestive of Selebrities and Chairlift. Organic and artificial textures merge to create a spacy fairyland that's at once sinister and inviting; it's heard in the tingling washes and billowing rhythms of “The Trip,” “All I Know," and similar tracks. Producer/chief songwriter Greg Hughes backs Murray with austere Krautrock beats (“Berlin Lovers”), gleaming synth backdrops (“Future Age”), and slow, eerie atmospherics (“We Killed the Moonlight”). Though radiating an ethereal presence, Murray reveals a yearning, almost desperate edge at times, cutting through the robotic throb of tracks such as “Beatcity” with palpable desire. Here, Still Corners does it all with a blend of studio precision and darkly obsessive emotion.

EDITORS’ NOTES

On Strange Pleasures, the London-based duo Still Corners interweaves disco, new wave, and Southern California pop influences with a very modern sensibility. The band’s sophomore project favors clean-edged guitar lines and swirling synthesizers, giving Tessa Murray’s winsome vocals a silvery aural patina. There’s an ‘80s pop sensibility here that recalls everyone from Fleetwood Mac to Mr. Mister, along with a moody sensuality suggestive of Selebrities and Chairlift. Organic and artificial textures merge to create a spacy fairyland that's at once sinister and inviting; it's heard in the tingling washes and billowing rhythms of “The Trip,” “All I Know," and similar tracks. Producer/chief songwriter Greg Hughes backs Murray with austere Krautrock beats (“Berlin Lovers”), gleaming synth backdrops (“Future Age”), and slow, eerie atmospherics (“We Killed the Moonlight”). Though radiating an ethereal presence, Murray reveals a yearning, almost desperate edge at times, cutting through the robotic throb of tracks such as “Beatcity” with palpable desire. Here, Still Corners does it all with a blend of studio precision and darkly obsessive emotion.

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Ratings and Reviews

4.7 out of 5
49 Ratings

49 Ratings

Anabur ,

I like it

If you like the song previews, you should like the album. I like putting it on while I read or clean or write or give massages to cats

Dseaman77 ,

Strange Pleasures

Wonderful album. Diverse. Nice use of electronic technology. Different from previous aibum. Good to see Still Corners try new things. That's the sign of a band that will last.

carneal ,

A sort of Cocteau Twins 2.0

Very happy I just stumbled upon this lovely recording. Fantastic moods that borrow from - and advance - most of the aesthetic charm of the old 4AD artists' sonics and ethereal calm.

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