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Vincent track, while "I Should Watch TV" sets classic Byrne observations ("How are you?
"/"Not like me") to alternately jarring and jubilant brass.
First Direction The dynamic musician made her directorial debut with the horror movie XX (2017). Vincent informed in an interview that she ran and lifted weights. Her work keeps her busy and she has to often stay in hotels where she uses the gym.
While in New York City, she likes to ride a bike to stay fit but does not consider it as a serious exercise.
But at the same time, collaborations aren't always as simple as pairing two smart artists cut from the same cloth.Clark takes a funky turn on "Weekend in the Dust," where her singing mirrors the angular brass stabs behind her as beats whirr and tick like wind-up toys, and delivers some of her most vulnerable vocals on the expansive "Optimist," one of the most unabashed love songs to New York's potential since "Empire State of Mind." However, it's Byrne who sounds most revitalized by all the creativity flowing through Love This Giant, whether on the jaunty album opener "Who," the whimsical character study "I Am an Ape," or the celebratory "The One Who Broke Your Heart," which drafts the Dap-Kings and Antibalas to help him and Clark dance on their troubles.The album peaks with back-to-back highlights from the duo: "The Forest Awakes" lets Clark unleash her formidable fretwork over a relentlessly marching beat and strings and woodwinds, suggesting a particularly audacious St.Both Byrne and Clark are equally fascinated by the theatricality of everyday life: the scripts and performances that drive our days and raise the stakes of our mundane interactions to the level of high drama or (for this duo) dark comedy.Both performers are known for their thousand-yard stares (compare the covers of Byrne's ) that suggest a quiet intensity merged with a playful approach to self-presentation.
Though not quite as moving (or danceable) as "Child", "Who" was an encouraging sign for the duo's project. Vincent's Annie Clark fit well amidst a few of Byrne's favorite tricks: lyrics doubling as a series of philosophical questions, a croony curiosity about the wider world, and an arrangement loaded with the brazen brass blurts (Clark's idea, actually) that Byrne first fell for via his album.