Send "Cut Copy " Ringtones to your Cell 
| News |
 HAVING seen self-described "indie-dance band" Cut Copy, live, I knew what was in for. Their daggy sensibility comes across in a no holds barred approach to electro. These guys are making music, and you can tell they're loving it. While most of the tracks have the same feel to them, tracks such as Hearts On Fire and Lights and Music stumble upon catchiness and assert themselves as the definate stand out tracks of the album. Coincidentally, or not, these are also the first two singles to be released from the album. While it's easy to get caught up in the monotony of the electro, "the Cutters" as they have become affectionately known, embrace a collision of music styles, blending dance with instrumental electronica with subtle soft rock overtones. ...full text |
| Pitchforkmedia |
| For better or worse, Cut Copy swim in the same pool as those electro, French touch, and new wave revivalists for whom fashion, irony, and self-consciousness represent swords to live and die by. In a scene as self-reflexive as this, backlashes are the order of the day, but even still, there are signs-- such as the increasing use of "blog house" as an eye-rolling pejorative, recent records by Calvin Harris, Does It Offend You Yeah?, and Ghostland Observatory, and the parallel rise of Balearic-feeling dance as a worthy substitute-- that this world might be slipping under the weight of its own ubiquity. Based on their patchy and rainbow-chasing 2004 debut, Bright Like Neon Love there was every reason to believe that a new Cut Copy record this late in the cycle would only accelerate the meltdown; after all, there are only so many ways to arrange and re-arrange vibrant art direction, moneyed aloofness, and the right kinds of sounds before the party heads to a new venue altogether. As it turns out, we needn't have been so cynical-- not when Cut Copy aren't. If the pastichey Bright Like Neon Love felt more like an opportunistic patchwork quilt of other people's sounds and ideas, the hugely enjoyable In Ghost Colours feels light, confident, and unencumbered by the dictates of fashion. More than anything, though, it's a gloriously positive record, one whose cheerily strummed acoustic guitars, shimmering synths, sweeping choruses, and playful sonics maintain a delicate balance; where a lot of summer pop records like this often scream fun to the point of being oppressive (or at least annoyingly instructive), there's nothing remotely show-offy about In Ghost Colours. In fact, it's closer in spirit to the Avalanches' Since I Left You than it is to anything from the past few years. It's a hard record not to love....full text |
| Cokemachineglow |
| Yeah, I know, New Order. I don’t care. Cut Copy takes what every douchebag pseudo-dance group (I’m looking at you, Brandon Flowers) has tried to do since said post-Ian Curtis outfit excelled at it in the 80s and discovers a formula that works on both the dance floor (though I’m speculating here, as I’m currently stranded in a town where the YMCA doubles as a “club”) and headphones (I’m positive on this one, promise). Infectious as any release this year, In Ghost Colours succeeds, not due to its originality, you’ve heard this before, but because of its timing and measured approach. This isn’t a hookfest, all soaring guitars and trying-to-be-anthemic posturing, nor is it repetitive, the same pattern playing out for seven minutes at a time. The Aussie outfit tempers one extreme with the other, reverberating guitars balancing out warm synths and, yes, a handful of gigantic hooks, hung like gaudy neon signage highlighting several songs, most notably “So Haunted” which features a raucous, distorted guitar line morphing into a veritable synth orgy. The music is engrossing and sexually frustrated throughout; Cut Copy clearly has a knack for juggling tempos, a delicate feat despite the insistent momentum of everything. Present on this album is what some would affectionately refer to as “jams,” like the aforementioned “So Haunted” or “Lights And Music,” which radiates a hollow righteousness via dynamic twiddles and a few well-placed, angular guitar riffs. However, the more vivacious numbers are counterweighted with a number of vaguely subdued affairs, namely “Strangers In The Wind,” possibly the album’s strongest track, which employs clothes-right-out-of-the-dryer warmth, wistful vocals, and a forlorn alt-country guitar line buried deep in the mix....full text |
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