グラミー賞計8度の受賞経歴を持つシンガー・ソングライター / プロデューサーのジャック・アントノフがブリーチャーズとして約3年振りの新アルバムをリリース

アルバムにはラナ・デル・レイ、クレイロ、バーティーズ・ストレンジ等が参加
先行シングル「Modern Girl」、「Alma Mater」収録

★CDの内容にボーナス・トラックを4曲プラスしたLP
■COLOR: Clear Vinyl

発売・販売元 提供資料 （2024/01/11）

When Jack Antonoff sings "How does it feel to get what you need?" on Bleachers fourth album, it goes to the heart of the changes in his life and music. Though hes never downplayed the therapeutic nature of his work, the feeling of a breakthrough on Bleachers is unmistakable. Rather than merely taking the sadness out of Saturday night, Antonoff envisions happiness as something that could last. The timing for a new attitude is apt: Bleachers is his first album for a new label (Dirty Hit) and stems from a healing relationship and marriage. Antonoff traces this emotional journey with the skill of an artist who won his third consecutive Producer of the Year, Non-Classical Grammy Award shortly before the albums release. Instead of the forceful joy of Take the Sadness Out of Saturday Night, Bleachers presents his growth, hopes, and worries in songs that are equally contemplative and comforting. On "Me Before You," he ponders being ready for a life-changing love over bubbling sax and luminous synths that evoke his hero Bruce Springsteens "Streets of Philadelphia". Even when shadows of doubt creep into "Woke Up Today"s Laurel Canyon sunrise or Lana Del Rey coos "Ill make it darker" on "Alma Mater"s impressionistic collage, its soothing and thoughtful in a way that feels new to Bleachers. Though the focus is on the albums meditative flow, there are still standout moments of Antonoffs pop wizardry. Like a party soundtracked by the E Street Band, "Modern Girls" comes on strong, as though Antonoff put most of the albums exuberance into it. He finds a more natural balance between fist-pumping and soul-searching on "Tiny Moves" praise of change and on "Call Me After Midnight," a sprawling fusion of R&B and synth pop thats one of his best contrasts of slick sounds and feelings that are anything but. Bleachers occasionally borders on indulgent, but its tangents and loose ends are part and parcel of Antonoffs process -- and part of what makes it such a complete self-portrait. ~ Heather Phares

Rovi