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Track List
01) North of No South
02) The Champ
03) Weird Leisure
04) Tiny Indoor Fireworks
05) Worst Type of Best Possible
06) Space
07) End Of
08) Instant History
09) The Pink Limit
10) Opaque
11) Cop Syrup
01) North of No South
02) The Champ
03) Weird Leisure
04) Tiny Indoor Fireworks
05) Worst Type of Best Possible
06) Space
07) End Of
08) Instant History
09) The Pink Limit
10) Opaque
11) Cop Syrup
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4:37
3:18
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Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
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3D Flat
3D Face
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First Released
2020
Rock
Energetic
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Medium
Album
0 copies
Album Description
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Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.
User Album Review
Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.
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Available in:
Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.
User Album Review
Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.
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