As such, Ice On The Dune is less album and more soundtrack for a greater multi-sensory project.Ĭomparing the disc to memorable concept albums like The Who’s Tommy, Bowie’s The Rise and Fall of Ziggy Stadust and the Spiders from Mars or more contemporary albums by Arcade Fire ( The Suburbs) and The Antlers ( Hospice) illuminates the lack of depth within the album’s anecdotal lyricism. Music is just one ingredient of the overall concept, with the choreography, stage setup, costumes and dancers all integral parts of telling the Empire of the Sun story. Although Littlemore rarely tours with Empire of The Sun, he has been vocal about his involvement on the live aesthetics of the outfit. Littlemore’s involvement as musical director with Cirque Du Soleil’s Zarkana might offer some answers for that conflict. With previous dabblings in blues, alt-folk, acid-house, trance and pop, the pair possesses a skillset that greatly exceeds the strict boundaries of Ice on The Dune. The David Bowery-leaning “Surround Sound” and beat-driven “Old Flavours” showcase slightly new routes for their signature vibe, yet these efforts fail to measure up to the abilities of Steele and Littlemore. The nostalgic electro pulse strikes the appropriate cords to incite a rush of serotonin, but like a piece of over-gnawed Dubble Bubble, the enjoyment rapidly transitions into a mild irritation. After launching with a short instrumental that pulls heavily from 1970s sci-fi, “DNA” and “Alive” pick up at the exact same location where Walking On A Dream left indie partygoers three years ago. This rift seems to have stunted the growth of a once promising import. As Steele performed their debut album across the States, Littlemore remained in Australia contemplating his next career move. The band’s sophomore effort, Ice On The Dune, epitomizes the notion of style outweighing substance.Ĭomprised of frontman Luke Steele and the enigmatic Nick Littlemore, the Australian duo took North American audiences by storm at the onset of the decade with the electro-pop singles that lined 2008’s Walking on a Dream. What started as an incendiary infatuation fades into a tedious obligation. As time passes and this stranger turns into a familiar acquaintance, the zeal is lost. After you find the nerve to approach this mysterious stranger, the initial conversation comes naturally, striking a seductive balance between innocence and sensuality. The one whose beauty and charisma is a devastating lure for anyone within ear (or eye) shot. Empire of the Sun is that seductive stranger at the end of the bar.
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