
Music Review: The rock band Garbage are defiant on new album, ‘Let All That We Imagine Be the Light'
Buzz-saw guitars, dense synthesizers and throbbing percussion can sometimes brighten the mood.
That's the goal of the new album from the American rock band Garbage, 'Let All That We Imagine Be the Light.' Due for release Friday, it's the sound of frontwoman Shirley Manson pushed to the brink by health issues and the fury of our times.
The band's familiar sonic mix provides a pathway out of the darkness, with heavy riffing and dramatic atmospherics accompanying Manson's alluring alto.
'This is a cold cruel world,' she sings on the crunchy 'Love to Give.' 'You've gotta find the love where you can get it.'
The album is Garbage's eighth and the first since 2021's 'No Gods No Masters.' The genesis came last August, when Manson aggravated an old hip injury, abruptly ending the band's world tour.
The other members of the group – Butch Vig, Duke Erikson and Steve Marker – retreated to the studio and began work on new music. Manson added lyrics that lament fatalism, ageism and sexism, acknowledge vulnerability and mortality, and seek to embrace joy, love and empowerment.
That's a lot, which may be why there's a song titled 'Sisyphus.' The sonics are formidable, too. A mix that echoes the Shangri-Las,
Patti Smith and Evanescence helps to leaven the occasional overripe lyric, such as, 'There is no future that can't be designed/With imagination and a beautiful mind,' in the title track.
Most of the material is less New Age-y, and there's a fascinating desperation in Manson's positivity. 'Chinese Fire Horse,' for example, becomes a punky, Gen X, age-defying fist-pumper.
Weekly
A weekly look at what's happening in Winnipeg's arts and entertainment scene.
'But I've still got the power in my brain and my body/I'll take no (expletive) from you,' she sings.
Manson sounds just as defiant singing about a love triangle on 'Have We Met (The Void),' or mourning in America on 'There's No Future in Optimism.' The album peaks on the backside with the back-to-back cuts 'Get Out My Face AKA Bad Kitty,' a battle cry in the gender war, and 'R U Happy Now,' a ferocious post-election rant.
Then comes the closer, 'The Day That I Met God,' a weird and whimsical benedictory mix of horns, strings, faith, pain management and more. Hope and uplift can sound good loud.
___
For more AP reviews of recent music releases, visit: https://apnews.com/hub/music-reviews
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Winnipeg Free Press
17 hours ago
- Winnipeg Free Press
French Open: Coco Gauff reaches quarterfinals and jokes with Frances Tiafoe about forgetting rackets
PARIS (AP) — Coco Gauff might have earned her fifth consecutive trip to the French Open quarterfinals with a straight-set victory Monday, but she still is catching flak because she forgot to bring her rackets to a match earlier in the tournament. The No. 2-seeded Gauff, who won the 2023 U.S. Open and was the runner-up in Paris in 2022, has been engaging in a bit of back-and-forth with another American and Roland-Garros quarterfinalist, Frances Tiafoe, over the equipment blunder. Tiafoe teasingly called the 21-year-old Gauff 'Mrs. Mature.' Gauff's retort: 'I feel like maybe just playing tennis, it forces you to grow up faster for some people. Maybe not him.' It was Tiafoe who first made that very mistake back in March, showing up for a match at the tournament in Indian Wells, California, without his rackets. He got plenty of ribbing on social media and from other players — including Gauff. So when Gauff went to Court Philippe-Chatrier for her first-round match last week and opened her bag only to realize there weren't any rackets inside, the 27-year-old Tiafoe was only too happy to call her out. 'She was full out shaking her whole bag like it was an empty cookie jar on Chatrier. I was like, 'What are you doing?' … I'm going to keep ripping her for a long time. I've never seen someone (ranked No. 2) in the world have zero things in her bag. That was incredible,' said Tiafoe, who will play in the quarterfinals Tuesday. 'That kind of thing is so big because it just makes everyone (realize) we're all human. People make mistakes, whether it's the team or her or whatever,' he said, then added with a smile: 'That was a funny moment, especially (because) she tries to be Mrs. Mature. That was great. I'm happy it happened to her. Hopefully it happens again.' Gauff acknowledged she couldn't really offer much of a retort. 'I literally told him: 'From you, I expected it. From you, it's OK, but the fact that it happened to me … .' Because I feel like I'm a professional person, and usually I am someone — if anybody knows me — I'm someone that can find the comeback real quick. Even if I'm wrong, I'm one of those people that will still defend myself. I don't like losing arguments,' Gauff said Monday after beating No. 20 Ekaterina Alexandrova 6-0, 7-5 in the fourth round. Thursdays Keep up to date on sports with Mike McIntyre's weekly newsletter. 'But that one, I just had to take it. I learned that I had nothing to say, especially because I gave him a lot of (hassle) for it,' she said, 'and then not even six months later, I did the same thing on an even bigger stage. But I have learned my lesson, and hopefully it won't happen again.' As for his barb about 'Mrs. Mature' — stemming from how Gauff carries herself on the court and off after breaking through at Wimbledon at age 15 and collecting her first Grand Slam title at 19 — she said she hears that type of comment a lot. 'I definitely for sure feel like I'm sometimes, when I was a junior, especially more mature than maybe some of my peers. I don't know why. I feel like I have always been that. When I was in school, I would always be the first one to class. I remember getting yellow for the behavior chart once, and that was like the worst day of my life,' Gauff said. 'I'm definitely someone that prides myself in being a good example. I think it's because I have two younger brothers, and I feel like I have to be that example.' ___ Howard Fendrich has been the AP's tennis writer since 2002. Find his stories here: AP tennis:


Winnipeg Free Press
18 hours ago
- Winnipeg Free Press
Book Review: Desi Arnaz biography highlights triumphs of Lucy's favorite foil
Once a second banana, always a second banana when in the shadow of a brighter star. For musician and actor Desi Arnaz, that shadow belonged to Lucille Ball, his wife and co-star on the ground-breaking 1950s sitcom 'I Love Lucy.' Etched in television history are the images of Lucy falling on her rear while stomping grapes at a winery, Lucy overwhelmed by a conveyor belt of chocolates, and Lucy acting nonchalant as movie star William Holden lights up her fake nose instead of her cigarette. Desi seems as important as the cone is to the ice cream. Not only was Arnaz his wife's straight man, he endured non-stop mocking of his Cuban heritage on screen and off. In fact, he was a rare Latino on American screens, big and small, and played a successful husband and father, not a gangster or peon. His character achieved some degree of immortality in the catchphrase, 'Lucy, you got some 'splainin' to do!' 'Desi Arnaz: The Man Who Invented Television,' Todd S. Purdum's deeply researched, insightful and enjoyable biography, gives Arnaz his due as an entertainer and a savvy businessman. With help, Arnaz envisioned, assembled and led the transformation that provided early television production its bedrock. Arnaz (1917-1986) was the only child of a prominent family in Santiago, his father the mayor and a member of the Cuban national assembly. The 1933 revolution forced the privileged family to flee to the United States — their home set on fire, their cattle herd slaughtered and the father jailed for months. Arnaz spoke little English when he began attending high school in Miami and took any kind of work to earn some money. Show business was an unlikely pursuit given that Arnaz couldn't read music, but the handsome and energetic young man could sing and play guitar and the conga drum. Soon he was working in New York with the popular band leader Xavier Cugat and turning the conga line into a dance craze. He was cast in a 1939 Broadway musical, 'Too Many Girls,' and sent to Hollywood for the film version. At RKO studios, he met his future wife and co-star, then a veteran of dozens of uncredited and supporting roles and struggling to break out. Had either Arnaz or Ball been more successful in films in the 1940s, they would not have turned to the newborn medium of television. Had their marriage not been rife with problems — mainly their separate careers plus his womanizing and drinking — Ball might not have demanded that Arnaz be cast when her radio show, 'My Favorite Husband,' was transferred to TV in 1951. In that sense 'I Love Lucy' was designed to save their marriage. The show turned out to be the innovative outlet Arnaz needed. The industry norm was a show broadcast live in New York sans audience and recorded with a film camera pointed at a TV monitor. Arnaz insisted that 'Lucy' episodes be filmed before an audience in Los Angeles. Film meant higher image quality and that episodes could be shown at any time and later repeated — the idea of a 'rerun' was new — and sold for syndication around the country and the world. Three cameras worked in sync and the show was presented like a play. An audience necessitated a redesigned studio placing seats in bleachers for an unobstructed view. All this became the new standard for a situation comedy and jump-started the move of television production from East Coast to West Coast. Arnaz didn't create the machinery, but he did oversee the operation, hire the right people and lead the charge. With 'I Love Lucy' a hit — it was the first TV show to reach 10 million homes, about two in three TV sets in the U.S. — their company Desilu expanded to produce other programs and rented space to even more. By the end of the 1950s Desilu was the biggest studio in the world in terms of hours of filmed entertainment. With sympathy but open eyes Purdum chronicles Arnaz's descent into alcoholism, which sapped his creative energy and the goodwill he had established over the years. Arnaz also could not control his sexual drive, especially his desire for prostitutes. The combination of booze, adultery and fiery outbursts finished his career and marriage, destroyed his health, and broke him financially. Ball, meanwhile, had career challenges of her own — she couldn't move beyond her Lucy persona — but she was wise enough when it came to handling her money. As the head of Desilu, having bought out her husband in 1962, she gave the greenlight for two television series that resonate today, 'Star Trek' and 'Mission: Impossible.' When she sold the studio in 1967, the on-screen ditzy redhead walked away with what today would be $100 million. America's favorite make-believe couple in the 1950s each married again. Yet they were never out of each other's life completely, due in large part to their two children and extended families, some business interests and a unique professional legacy. Their undying affection for each other needs no 'splainin' at all. ___ Douglass K. Daniel is the author of 'Anne Bancroft: A Life' (University Press of Kentucky) ___ AP book reviews:


Winnipeg Free Press
3 days ago
- Winnipeg Free Press
A killer curveball
Our favourite diminutive gray-haired autistic private eye Holly Gibney faces not one, not two, but three totally whackjob wingnut killers converging on dreary Buckeye City on the even drearier shores of Lake Erie. Having sold plenty of copies of his most recent novel Holly, American horror master Stephen King brings Gibney back again, this time tackling an unknown avenger seemingly killing people randomly, and siblings from a far-right church aiming to assassinate a feminist icon. Well, as Holly might say, this is kind of poopy, but no more than she can handle. Probably. Maybe. Shane Leonard photo After supporting roles in some of his other books, Never Flinch is Stephen King's second novel to feature Holly Gibney as the protagonist. Never Flinch is quite the episodic tale, offering us disparate elements galore, which we're confident will all come together in an apocalyptic finale. One hint: no supernatural creatures this time… just evil on steroids. To set the scene: A man who was beaten out for a big promotion frames his competitor as a child pornographer who goes to prison and is murdered by another inmate. The elevated runner-up doesn't get to enjoy his new job very long; he has terminal cancer and relents, although the innocent man is dead by then. Except… except that there's evidence he recanted in time to save the wrongfully convicted man, but the prosecutor sat on the evidence because he had a slam-dunk conviction. Now someone has announced he'll kill 13 innocents and one guilty in retribution. And proceeds to start doing so. Meanwhile, feminist motivational author Kate is on a speaking tour across the U.S., attracting hordes of supporters and MAGA haters. King quietly works in the names of real doctors murdered for providing abortion as a health care service. Unbeknownst to Kate and faithful assistant Corrie, a right-wing church has dispatched siblings Chris and Chrissy to try to scare her off the campaign, and if that doesn't work, to murder her and as many of her followers as they can manage. In Buckeye City, it goes without saying. The plot needs even more thickening — so Holly becomes Kate's bodyguard. Meanwhile, legendary soul singer Sista Betty is going to be performing in Buckeye City, and is a huge admirer of Holly's young associate, poet Barbara, and wants to adapt one of her poems to music and perform it together. Yes, together. Barbara and her brother Jerome are tangentially helping Holly unofficially sleuthing the growing list of random murders, after Holly is off-the-books enlisted by her friend police detective Izzy. Never Flinch Meanwhile (yet again), Izzy is starting pitcher for the cops in a charity softball game against the firefighters, that the mayor has decreed must go on, serial carnage notwithstanding. Further muddying the picture, the firefighters are depicted as a pack of MAGA misogynists. Stephen King has written dozens of horror novels since Carrie in 1976, only a handful limited to human beings, and a paucity of straightforward murder mysteries, an obvious exception Holly the book, albeit with elderly professorial cannibals. Never Flinch does get quite busy, the softball game especially cumbersome. In a desperate attempt to avoid spoilers: some characters are dealt with quite abruptly, when we might expect drawn-out confrontations lasting the better part of a chapter. King has generally had well-meaning white liberals from the northern U.S. as his protagonists, for which Holly certainly qualifies. He has had less success writing Black characters who feel like rounded real people. Barbara, Jerome and Sista Betty are just so nice, and so magnificently talented in everything they do. They feel like folk in a '50s sitcom about perfect families. Nevertheless, Holly Gibney is an appealing hero with legions of fans. In the acknowledgements, King says his wife Tabitha read a draft and told him he could have done better. Maybe so, but it's Stephen King, and Never Flinch offers a darned good read. Retired Free Press reporter Nick Martin has no intention of visiting Erie or Sandusky or whichever awful Ohio city that Buckeye City is supposed to be; he reckons random murders might not have been one of the featured tourism draws.