It’s been three years since the NME Radar blog on the side referred to a MySpace-page of a band that was only a few months old and had only three tracks: Django Django. »Love’s Dart« immediately burnt its way into our brains, with its concentrated arrangements, delicate vocal harmonies and electronic borrowings, which are still full of an unbelievable tenderness, like everything else that Django Django come up with. After that, it became quiet around them, and now, three years later, Django Django seem to have become a must-have-mentioned in every notable blog of this year. The critics are going crazy with praise when reviewing this debut, which really is coherent through and through. Their story of success reminds us of The XX, who at the moment can be seen on every magazine-cover in the world with their second album. And yes, Django Django really have come up with a unique and distinctive sound, just like the musicians from the south of London did, which is rare in times when anything new only exists in the form of remix-fragmentations. They achieve this sound through delicate drum-bits, clear guitars and bass, and especially their use of unusual sounds like African instruments and significant synthesizers. Not to forget the continuous vocal harmonies. The deliberate way, in which sounds are used and arrangements are implemented, without letting go of their nonchalant attitude – hardly anyone since Brian Wilson has managed to pull that of as good as Django Django. It’s an unagitated pop-album, which almost takes as much time as the band has taken to release it, and which can totally rely on its melodious diversity and great songwriting. This album will remain.
Django Django
