On “SKETAMINE,” rumbling bursts of guitar entwine with an ascending string section, while a harmonica wails in the distance. While the music is a good deal softer this time around, the approach isn’t so much Dean Blunt goes pop as Dean Blunt goes Talk Talk. The production, mixed with freeform loops and martial snares, felt like a personal homage to post-punk: Colin Newman’s Commercial Suicide or This Mortal Coil’s Blood on a budget. Black Metal’s instrumentation felt purposefully tinny the strings were compressed, somewhat muted, as if Dean Blunt had recorded them on his cellphone and placed his vocals over them in Audacity. In place of the flashes of intensity that popped up through Black Metal’s noisy interludes, its nominal sequel is built around stately strings, steady percussion, and jangling guitars. It is the clearest Dean Blunt has ever sounded and one of his most thrilling releases to date. This is minimalist sophisti-pop, sung by a terminally downward-looking troubadour. Dre’s 2001-it became clear that Black Metal 2 is the most approachable album of his career without losing the vital ambiguity that has always made his records special. But once you actually listened to the music-looking past the trollish humor and unignorable allusions to Dr. In typical Dean Blunt fashion, the rollout of Black Metal’s long-awaited sequel was understated and tongue-in-cheek.
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