注目!宇多田ヒカル新譜の共同プロデューサー、'21年作。
宇多田ヒカル新譜の共同プロデューサーとして注目を集めるUK新興ジャンル「ハイパーポップ」の始祖、A. G. Cook (Alexander Guy Cook)の2ndアルバム。ダンスミュージック、ポップス、サウンドコラージュ、ノイズ等がアヴァンギャルドにミックスしローファイなポップに昇華した音楽性は、まさにダイバーシティーな時代性を象徴するような全く新しい感覚を受けます。フィジカルはアナログだけですが、宇多田ファンはもちろん早耳リスナーは必聴です。ダニエル・ジョンストン等の90's Lo-Fi アヴァン・ポップ界隈が好きな方も必聴
(C)梅田大阪マルビル店:清水 真広

タワーレコード （2022/02/04）

Prior to 2020, A.G. Cook sprinkled his own releases among the many projects he worked on with other artists. That year, however, he unleashed a flood of music, starting with 7G, which was presented as seven sprawling volumes dedicated to the essential ingredients of his music-making and as a seven-minute megamix. Both were perfect representations of the dizzying style he forged with PC Music, as a collaborator with artists such as Charli XCX, and on his own. Not long after, his self-described second debut album Apple appeared. After exploding his music on 7G, here he reassembles it into a surprisingly accessible blend of electronic noise, pop theatrics, and indie balladry that balances his work as a singer/songwriter and producer. While the albums title is Apple, it still gives equal weight to each part of PC Musics full name: This is music thats extremely computerized and extremely personal in the way technology is used. Personality has always been a major element of Cooks music, even if much of his work has been in service of a pop star like XCX or the facsimile of one, like Hannah Diamond or GFOTY. This time, his own persona, equal parts playful and vulnerable, emerges. If Apples pop songs sound a little like they were generated by AI, thats part of the point. The familiar chords and acoustic strumming of Oh Yeah signify earnestness -- as do lyrics like never felt so alive -- but in Cooks hands, they do have a genuine impact. When he returns to this sound later on Jumper, its wobbly, as though its illusion of reality cannot hold. Elsewhere, he puts his own stamp on the volatile electro pop hes crafted for others. Lifeline is a cyber power ballad for an arena of fans holding glow sticks aloft instead of lighters; the soul-bearing vibe of The Darkness feels akin to XCXs more revealing songs or Cooks friend and collaborator SOPHIEs Its OK to Cry. The songs Cook covered on 7G were among that albums brightest highlights, a trend that continues with Apples reworking of Oneohtrix Point Nevers Animals. Cook remains true to the originals slurred angst, but he transforms it into a more universal expression of catharsis than might have been expected when the song first appeared on Garden of Delete. Cooks proven skills as a producer are also well represented. At once harsh and whimsical, Xxoplexs spiky surfaces provide plenty of contrast to the albums soft, confessional pop. His famously jarring transitions become lulling on Airhead, while Haunted builds from wisps of acoustic guitar into luminous processed harmonies courtesy of HYD and Caroline Polachek. Though Cook creates both of Apples sides ably, juxtaposing them keeps the album engaging and makes it a successful entry point to his music. Happily bridging the gap between synthetic and organic, Apple is one of Cooks most satisfying obliterations of the borders between genres, authenticity, and artifice. ~ Heather Phares

Rovi