Owen Pallett In Conflict

Last month, Owen Pallett wrote a 1,200-word essay for American culture website Slate about ‘Get Lucky’,

using degree-level musical theory to explain, with exacting precision, why Daft Punk’s monster is so addictive.

His piece also, perhaps unintentionally, acted as something of a primer for ‘In Conflict’,

his first record in over four years: it revealed a man who views the problem of a track as viscerally insistent as ‘Get Lucky’ as a scientific phenomenon to be unpicked. And in that context,

‘In Conflict’ feels like his latest contribution to the field.

Accordingly, here is an album of delicious musical sophistication, Owen Pallett In Conflict full of richly accomplished, detailed and unusual flourishes,

all spread across jaw-slackening arrangements and virtuoso tightness.

Unfortunately, though, where Pallett’s natural peers – the likes of Jonny Greenwood or Sufjan Stevens

Owen Pallett In Conflict imbue their strikingly complex work with commensurate emotion, the strongest musical moments here even the yearning,

insistent melody of ‘On A Path’ – still feel strangely synthetic and lifeless. Occasionally, as on ‘Sky Behind the Flag’ and ‘The Riverbed’,

Pallett combines his highfunctioning musicality with delivery, and the result is a tantalising treat.

More often, though, the theoretical intricacies are outweighed by the lab-grown coldness of academia.

Ultimately, for all the undeniably impressive technical flair on display here, one is left frequently longing for the texture of unpredictability.

The newly shaped Rough Trade Records journey came to an abrupt halt in 1991.

“The distribution company went down and we lost all of our back catalogue,” says Jeanette.

“We lost all the great things like The Smiths and there was a point where Geoff wanted to put money from Rough Trade back into it as it was a terrible, terrible thing, so the label just came to a stop. With everything going on it seemed appropriate anyway.”

And yet the Rough Trade universe remained intact. Jeanette and Geoff had a promising side label in Blanco Y Negro

(home to typically diverse artists like Dinosaur Jr and Everything but the Girl) to keep them creatively nourished, and it was at this point that Rough Trade management was born,

which led to Jeanette engineering such acts as Duffy. “Yes I did, guilty!” she says. “The first people that we managed were the Cranberries, so we did that first album,

which was a hugely successful record, and then shortly after the Cranberries we started managing Pulp,

who we still manage today, and then a few little bits and pieces but nothing much, and then ten years later Duffy walked in.”

For more information: หวยลาวสตาร์