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13. The Rapture – House of Jealous Lovers


Maybe it’s the apeshit counting in the middle. Maybe it’s every instrument trying to play a solo at once. Maybe it’s Luke Jenner’s petulant scream that never seems to let up. Or that incessant cowbell. Whatever it is, it makes House of Jealous Lovers’ five minutes sound like the biggest free-wheeling abandonment of control ever, like a fairground teacup waltzer that’s come free of its couplings and is careering into the stratosphere while its passengers scream with oblivious glee. It sounds rebellious and unruly, it makes you want to be in its gang. Even before it begins, a cacophony, somewhere, is raging. It’s a glorious, sloppy, kicking-screaming intro, all detuned guitars and wails – and then the groove arrives, the cowbell and bass, and we’re off. Electro-punk tautness is replaced by blare and yell, which in turn is replaced with tautness and then more crunch. House of Jealous Lovers is a rattling rollercoaster of a record, swerving and diving but always rickety enough to induce a genuine sense of danger and keep the adrenaline coursing through the track. It’s erratic and impulsive, maverick and cocksure, and one of the most fun ways to lose it ever committed to tape.

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