The Designer’s Drugs: The Rapture – In the Grace of Your Love


Medium: Album

Stimulus: The Rapture – In the Grace of Your Love

Anno: 2011


The Rapture used to be an exciting dance band.  Now it’s just a dance band.  Not everything on In the Grace of Your Love is the bored, stoned beach hippie electrorock that can pass for songwriting maturity since MGMT came out with Oracular Spectacular (a comparison that’s easy to make considering the waterfront album art of each).  Still, there’s also not a lot here that is as gripping as past Rapture works.  Almost as if it was made to reinforce this idea, track two of Grace is a harpsichord-wielding swinger titled “Miss You” which, while it’s one of the album’s best tracks, also has the exact same beat as the title track of the Rapture’s much better album, Pieces of the People We Love.  That track was also a track two, appropriately enough.

There’s very little that’s gut-wrenchingly terrible; I’d point to Luke Jenner’s screechy vocals opening the album on “Sail Away,” the boring and annoyingly whimsical “Roller Coaster,” and the terrible, repetitive lyrics laid over the dull, repetitive synths of “Can You Find a Way?”  These shortcomings would have been overlooked had the Rapture compensated by filling the rest of the album with great songs.  Instead, the rest of the songs are at best pretty good, the main selling point being that Luke Jenner, who used to screech and wail and get kind of ridiculous with his high-pitched throat muscles, has become a much better singer.

The title track of Grace is probably the collection’s high point, being a sly and self-assured bass-synth and guitar track that saunters through alongside Jenner at one of his best vocal moments on the album.  It’s followed by “Never Die Again,” which sounds the most like the big, spastic dance rock sound of old Rapture (without, as mentioned above, the band plagiarizing itself).  “How Deep Is Your Love?” is pretty solid dancefloor fuel, being both old and new by busting out some old Rapture saxophone while exchanging the guitars for piano.  “Come Back to Me” could have been great; it starts as a neat French accordion-driven dance song that would have been so much better had the brooding sluggishness of the second half been completely cut out and the opening it reflected allowed to exist independently.  That last half drags down the whole song.

It’s a bit of a disappointment hearing the Rapture trade in frenzied groove for a slower shot at adulthood, but In the Grace of Your Love isn’t the worst letdown imaginable.

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