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MG-203 The Magnificents - The Magnificents  The Magnificents emerge from their lair beneath ye olde Edinburgh streets with their debut full-length, and with a name like the Magnificents, why shouldn’t the album be self-titled? An eleven track manifesto of synth led anthems, The Magnificents doesn’t pay homage to influences so much as it reawakens the raw energy of the summer of ’77. A whirl of battered analog keyboards, jagged guitars, dueling analog and digital drum work, surrounds the hook-laden songwriting that has become the Magnificents’ stock-in-tirade. |
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| Reviews Summary |
| Don't so much have influences as seem to have directly tapped into the life-force of the greats - NME / Sound like precious little else at present. Record Of The Week - Scotland On Sunday / An overall stimulating discharge - The Scotsman / The Magnificents get it very right indeed, which is rare at this point in time - Art Rocker / Deserve all the hype they can get. Their ballsy, chaotic debut... works brilliantly - The List / Tunes that are currently making us pant like puppies for more - Bullit / Truly remarkable - Stylus |
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| The Magnificents hail from Edinburgh, and their obsessions are clearly Joy Division and electro, injecting fun into the former, and saving the latter from the curse of electroclash. The robot chant of opener "Infidel Infidel (Six Fingered Hell)" morphs violently into a hardcore glamorama, whilst "Last Gasp Of Revenge" comes on like a mish-mash of To Rococo Rot and Josef K. "Digital Dirt" buzzes with Germanic foreboding before segueing into the theme from Commando as reworked by the ghost of Ian Curtis ("M.I.A."). You expect a crunchy hook in "The Russian Disco," but it holds back to the breaking point, offering up vistas of ice-cool despair instead. Outside the club stalks "Ex-Airport," weilding its precision steel electronics as a weapon of paranoid defence. There is darkness and oppression aplenty, yet it is offset with bleeps and splutters, and the record therefore endears rather than isolates. - Fact |
