The latest release from Curve is being hyped by their new label as a natural merger of electronica and noise-pop. While the description is accurate, genre bending and blending is nothing new for the band, which has been moving in this direction since their 1992 debut, "Döppelganger." On "Come Clean," overdriven breakbeats collide with Jesus and Mary Chain-inspired guitar drones, buzzing synthesizers and singer Toni Halliday's menacing yet seductive vocals.
This time around, the drum loops and electronics are pushed up in the mix at an equal level with the guitars instead of hovering in the background. Still tracks like "Sweetback" and "Recovery" feature the grand, white-noise jams and moody atmospheres that made Curve's early music so attractive. Though this beat-heavy direction may turn off some old fans, it seems like a natural progression for a band who have set their sights on making innovative music for years to come.
We welcome readers to submit letters regarding articles and content in Orlando Weekly. Letters should be a minimum of 150 words, refer to content that has appeared on Orlando Weekly, and must include the writer's full name, address, and phone number for verification purposes. No attachments will be considered. Writers of letters selected for publication will be notified via email. Letters may be edited and shortened for space.
Email us at email@example.com.
Orlando Weekly works for you, and your support is essential.
Our small but mighty local team works tirelessly to bring you high-quality, uncensored news and cultural coverage of Central Florida.
Unlike many newspapers, ours is free – and we'd like to keep it that way, because we believe, now more than ever, everyone deserves access to accurate, independent coverage of their community.
Whether it's a one-time acknowledgement of this article or an ongoing pledge, your support helps keep Orlando’s true free press free.