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Duffy: Endlessly

Duffy: Endlessly
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ANTAL
Duffy er tilbage med et af årets mest vendtede udgivelser.
Skrevet og indspillet i New York, Spanien og London gennem det sidste års tid, er det nye album blevet til i et unikt samarbejde mellem veteran sangskriveren Albert Hammond og sangerinden selv. Den legendariske Albert Hammond er bedst kendt som sangskriveren bag klassikere som ‘When I Need You’, ‘The Air That I Breathe’, ‘Nothing’s Gonna Stop Us Now’ og ‘To All The Girls I Loved Before’.

Sammen har de skrevet og produceret det næste kapitel af Duffy’s meteoriske karriere.

Den iørefaldende første single ‘Well, Well, Well’ er første smagsprøve på denne stærke samling sange, og understøttes af en uforlignelig rytme sektion spillet af hip-hop bandet The Roots.

‘Endlessly’ åbner med det fængende soul-disco nummer ‘My Boy’ efterfulgt af den hjerteknusende, ‘Too Hurt To Dance’. En af Duffy’s personlige favoritter er ‘Don’t Forsake Me’, en følelsesladet sang om længsel. “This is the song of my life,” indrømmer Duffy. Den uimodståelige titelsang ‘Endlessly’ viser den walisiske sangerinde’s lyrik når det er bedst, når hun synger, “I fall asleep to a dream and you’re here again.” Men man skal ikke dvæle ved hjertesorger, optimismen kommer hurtigt igen med den pumpende ‘Lovestruck’ og den vanedannende svingende pop sound på ‘Girl’ med Duffy’s luftige, søde vokal.


Duffy's gennemgang af sangene på Endlessly:

MY BOY
Stomping album opener. With handclaps and killer keyboard flourishes, this is a spinning glitterball of a call to the dancefloor. “Simply tongue in cheek,” confirms Duffy.

TOO HURT TO DANCE
‘If they call it heartache/ Why is the rest of my body aching?/ Why is the rest of my body shaking?’ “I remember the night I wrote that line. Albert said ‘I don’t know where you’re getting this from’. And I was, like, ‘Baggage, Albert. Baggage!’”

KEEPING MY BABY
A disco-soul string-soaked number and an early album highlight. “Dancing for someone who was promised the world in love,” Duffy muses.

WELL, WELL, WELL
Funk-driven first single and an instant pop smash. Will please anyone who thought ‘Mercy’ just wasn’t catchy enough.

DON’T FORSAKE ME
“This, presently, feels like the title of my life,” says Duffy. ‘All the casualties that I’ve left behind/ and I hide them in the corner of my mind.’ The song of girl turning into a young woman?

ENDLESSLY
Built round an acoustic guitar, and the crackle of needle on vinyl. “A yearning for your love,” she smiles. “But I found it now”.

BREATH AWAY
Duffy’s best vocal to date? ‘Teenage games/ All I did was call you names’. Features a lovely middle-eight brass section. “Foolish regrets,” Duffy giggles.



LOVESTRUCK
Another uptempo highlight; but with an after-hours, lusty vibe. ‘They say I’m crazy/ But I know where I belong/ In your loving arms/ You got me sleepless all night long’. Lustful? “Now I’m blushing!”

GIRL
A 1960s black-and-white film, possibly French new wave, set to pop music. Breezy, in a good way. “Something that isn’t too heavy and is fun. It’s healthy to not take yourself too seriously.” ‘Girl’ centres around Duffy seeing off a love rival, in no uncertain terms. ‘Girl stay away’ say the lyrics. And: ‘You’d better find your own scene, baby!’

HARD FOR THE HEART
Epic closer; surely destined for placement at the end of the live set? Starts with an acoustic guitar and ‘Do-do-do’ vocals before changing tempo entirely. ‘Life is a play/ And we all play a part/ But it often gets hard for the heart’ – once heard, it sticks like glue. The track plunges you into a live feeling. Watch this space… it’s going to be a great show.
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