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Product Description
Amazon.co.uk Review
With 2003's box set stirring old feelings for Talking Heads' intelligent and angular pop music, Grown Backwards could not arrive at a more appropriate time. After years of experimenting with salsa and strings, David Byrne returns with a cohesive record that catches him at his incohesive best: the stream-of-consciousness lyrics, the sly rhythms, the unexpected bursts of melody. Like recent works by Elvis Costello and David Bowie, Grown Backwards represents a return to form, particularly on leftfield songs such as "Tiny Apocalypse" and "Dialog Box", which could have easily fit alongside the classics on his former band's retrospective. Meanwhile, a duet with Rufus Wainwright on a cover of Bizet's "Au Fond du Temple Saint" points the way forward. --Aidin Vaziri
CD Description
Discounting David Byrne's 2003 soundtrack recording LEAD USNOT INTO TEMPTATION, GROWN BACKWARDS can be seen as the third installment in a trilogy that began with 1997's FEELINGS and found the former Talking Head moving away from his world-music obsession towards a kind of eclectic, intellectual chamber-pop. This '04 release is probably the least international-sounding of any of Byrne's solo albums, and while it contains elements of electronica, R&B, jazz, and rock, it's also his most unassuming recording in some time.
Elegant, artful string arrangements grace much of the material, and Byrne's previous polyrhythmic approach is supplanted by a more cerebral, European sensibility. Nowhere is this more apparent than in the inclusion of two honest-to-God opera tracks, Bizet's "Au Fond du Temple Saint" (with assistance from fellow opera buff Rufus Wainwright) and Verdi's "Un de Felice, Eterea". To his credit, Byrne manages to make these works his own, and along with a markedly more politicised lyrical approach on some of his own compositions, they mark the most significant changes to his artistic template.
With 2003's box set stirring old feelings for Talking Heads' intelligent and angular pop music, Grown Backwards could not arrive at a more appropriate time. After years of experimenting with salsa and strings, David Byrne returns with a cohesive record that catches him at his incohesive best: the stream-of-consciousness lyrics, the sly rhythms, the unexpected bursts of melody. Like recent works by Elvis Costello and David Bowie, Grown Backwards represents a return to form, particularly on leftfield songs such as "Tiny Apocalypse" and "Dialog Box", which could have easily fit alongside the classics on his former band's retrospective. Meanwhile, a duet with Rufus Wainwright on a cover of Bizet's "Au Fond du Temple Saint" points the way forward. --Aidin Vaziri
CD Description
Discounting David Byrne's 2003 soundtrack recording LEAD USNOT INTO TEMPTATION, GROWN BACKWARDS can be seen as the third installment in a trilogy that began with 1997's FEELINGS and found the former Talking Head moving away from his world-music obsession towards a kind of eclectic, intellectual chamber-pop. This '04 release is probably the least international-sounding of any of Byrne's solo albums, and while it contains elements of electronica, R&B, jazz, and rock, it's also his most unassuming recording in some time.
Elegant, artful string arrangements grace much of the material, and Byrne's previous polyrhythmic approach is supplanted by a more cerebral, European sensibility. Nowhere is this more apparent than in the inclusion of two honest-to-God opera tracks, Bizet's "Au Fond du Temple Saint" (with assistance from fellow opera buff Rufus Wainwright) and Verdi's "Un de Felice, Eterea". To his credit, Byrne manages to make these works his own, and along with a markedly more politicised lyrical approach on some of his own compositions, they mark the most significant changes to his artistic template.
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