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Röyksopp - The Understanding (Take 2)

About.com Rating fourhalf out of Five

From John Brassil, for About.com

Royksopp - The Understanding

Astralwerks

For the first few bars of "Triumphant" that unwind as the album opens, it might almost be the hand of Chris Martin guiding things, but then the synths swell and the backbeat kicks in and suddenly, there's no doubt that the mists that envelop you can only be blowing from the twin Norweigan peaks of Mounts Bruntland and Berge. One after another, breathy vocals and beguiling melodies unfold across the twelve tracks of what is amazingly only the second full-length project for Royksopp. The catchy tunes often belie bittersweet (or just plain bitter) lyrics, as on "Only This Moment" and "49 percent" (the second and third cuts that follow the instrumental opener). That tone is matched by the icy rhythm of the voiceless "Sombre Detune" that precedes "Follow My Ruin," an eighties-style tune featuring some synthesized roto-toms and a funky bassline, with lyrics revisiting the theme of crystallized time from "Only This Moment."

"Beautiful Day Without You" marks the halfway point of the album with a verbal middle finger that belies the content of the lyrics by its very existence. The pattern that appears, for all its delicate construction, is not a pretty one, even, and perhaps especially when voiced by Karin Dreijer on "What Else Is There?," on which she shares songwriting duties. Then there's "Circuit Breaker," an ode to the strange current that flows between the poles of adoration and addiction, a junkie's anthem if there ever was one. The album's third instrumental, "Alpha Male," starts off like vintage Tangerine Dream but quickly steps up the tempo to become a driving Oakenfold-esque rocker that's just begging for some remix treatment. There's finally a ray of sunshine on "Someone Like Me," all about the good fortune of finding someone that curves in where you curve out, but once again the final line "come on, let's share this moment" leaves the future firmly in doubt.
The coda of the final couplet in "Dead To The World" serves to neatly sum up everything that's gone before "i don't move but i keep on moving/ i'm only with you." And finally, we end where we began, with the instrumental "Triestesse Globale," a classical beauty that's over almost before it begins, barely giving us time for reflection on what we've learned: Sometimes, the only understanding is acceptance of its absence.

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