![]() ![]() What can be overtly and frequently criticised is the lack of structure between tracks. ![]() He did so with Talking Heads often, and it is no surprise that the spiritual new age production on offer here is just as unique as his work on Speaking in Tongues or American Utopia decades later. It shows that Byrne as an artist cannot just grow out of that and into something different, but provides him with the opportunity to engage with a new form of music. There is no in-your-face, “got you” style moment, nor are there any spicy designs or intensively grand bits of wordplay, but that is the beauty of The Forest. It is the movement of music that Byrne relies on here, and how it can be changed with pace or style to provide a different emotive backdrop. There are plenty of reasons it would not appeal to the Talking Heads addict, primarily due to The Forest opening with a 13-minute rendition with barely a word of recognisable quality. Byrne is born under punches, but, strangely, his 1991 effort is not as quick to be played or purchased as some of his finer works. The Forest is not just a surprise because of its quality, but because of its lack of fanfare. ![]() He is the type of character to bust a move, fire out Road to Nowhere in all of its fascinatingly nonsensical forms, and subsequently bridge his way into the works of charming and sophisticated compendiums of grand music. Magnificent orchestral numbers are not to be associated with the man who once sang of wanting to burn down the house, but David Byrne is a jack of all trades. ![]()
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