Send "The Big Pink " Ringtones to your Cell 
| Sputnikmusic |
 magine for a moment that the Shins collaborate with MGMT to make a hands-in-the-air, no-frills-held arena synth-pop album. That’s the best way I can describe The Big Pink’s sophomore effort Future This - a record that, quite frankly, may be too damn anthemic for its own good. Its atmosphere is rich and vibrant, indulging in the elasticity of its electronic elements while somehow also remaining firmly entrenched in indie pop know-how. Those who have heard the band’s debut album, A Brief History Of Love, will know exactly what I mean – yet it is those same fans who may be overcome with disappointment at how much the band’s music appears to have been simplified here.It doesn’t take long to realize the tune that Future This will sing, as it commences with the triumphant ‘Stay Gold.’ The single nearly exists as one giant chorus, delightfully bouncing on wave after wave of euphoric “shut the light for the rest to follow” chants before fading into a reverb-soaked drum pattern in the outro. If there are two things to learn from the opening track, they are: 1.) The Big Pink are out to sweep you off your feet with one enormously epic musical gesture after another and 2.) their means of achieving such a grandiose sound come at the cost of experimentation and atmospheric/textural diversity. If we were to once again make a comparison to the band’s debut, the songs on here liken themselves much more to ‘Dominos’ than they do to ‘Crystal Visions’ or ‘Too Young to Love.’ Their once endearing murkiness and distortedness have been cleaned up, polished, and waxed to be as sleek and shiny as possible. Even though this gives Future This a somewhat tepid feel, it isn’t always a bad thing. ‘Stay Gold’ might be the best shamelessly mainstream indie song you will encounter all year, and I say that fully aware of the eleven months remaining in 2012. Their sampling of Laurie Anderson’s ‘O Superman’ in ‘Hit the Ground’ works well in creating an infectious follow-up to ‘Stay Gold’ - and to be truthful, catchiness is never the album’s problem. ‘Give It Up’, ‘The Palace’, and ‘Rubbernecking’ all keep the listener hooked, delivering one well-crafted chorus after another. The synth-driven nature of the album can really be heard in the rather appropriately titled ‘Jump Song’, which features a memorable stutter-step beat that makes some form of dance movement difficult to resist. Between The Big Pink’s quality efforts in the production department and their overall tune sense, there are plenty of reasons to get hooked on Future This....full text |
| Bbc |
| "Making noise" was UK duo Milo Cordell and Robbie Furze’s initial remit, with Furze’s former alliance with Berlin techno-punk ‘terrorist’ Alec Empire hinting at a possible template. So The Big Pink’s wall-of-sound pop classicism over synchronised, stomping beats came as a shock. Perhaps the fact they’re named after The Band’s iconic 1968 album that and Cordell’s dad is famed 1960s producer Denny showed there was more to The Big Pink than rampant modernism. And the brilliant Dominos – a single and the highlight of 2009 album debut A Brief History of Love – showed they had a natural propensity for pop rather than a dose of X Factor mimicry. Future This – this time named after a 1980s skateboard advert – underlines The Big Pink’s status, as an old-fashioned synth-pop duo with added guitar scuzz, sub-bass growls and caffeinated energy. Not ‘noise’, but definitely loud, like a post-feedback Jesus and Mary Chain without the surf-pop fixation. With Paul Epworth (Adele, Florence, Plan B) producing and Alan Moulder (My Bloody Valentine, Depeche Mode, Nine Inch Nails) mixing, the album sounds fantastic – a gleaming, towering aural edifice. But the album’s construction – the pair began with beats and samples, then added instrumental layers and vocal melodies – is too easily transmitted; the tunes aren’t as memorable or, in some cases, are arguably born out of consolidating that debut album success. Welcome to Difficult Second Album syndrome. It’s there in the first single and opening album track, Stay Gold, an obvious – and not as great – copy of Dominos. Rubbernecking follows the same pattern while 1313’s admirably chunky electro is also saddled with the now-generic Big Pink terrace chant. It’s left to the arrangements to carry the can this time. A spacier, swooning Hit the Ground (Superman) rubs shoulders with Give It Up’s robo-soul, built on a tweaked saxophone sample. The pizzicato motif of The Palace rubs strings with Lose Your Mind, which carries a distinct echo of 60s pulp classic Days of Pearly Spencer. Closing track 77 is one of the most striking here: mournful rather than brash, it’s evidence of a big pink heart and of these musicians’ ability to transcend their beats-based mindset. In other words, time for the boys to really future this....full text |
| Spin |
| The first album from multi-instrumentalists and London scenesters Robbie Furze and Milo Cordell, a.k.a., the Big Pink, was 2009's impressive, and impressively large-sounding, A Brief History of Love, which featured the anthemic single "Dominoes" (licensed by Xbox 360 and Skins, among others, and sampled on Nicki Minaj's Pink Friday). The follow-up, Future This, recorded last summer with producer Paul Epworth (Adele, Florence and the Machine, Bloc Party), goes even bigger and is even more packed with songs that stand to soundtrack the year. Cordell (whose father Denny produced Procol Harum's "A Whiter Shade of Pale" and Joe Cocker's "With a Little Help From My Friends"), knows his way around a song and a studio. So here's a bit of insight into how each of Future This' ten tracks came into being. Listen to our exclusive stream, and grab the album via iTunes presale starting Tuesday, January 10 here. Future This is available everywhere January 17....full text |
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