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Born

Bond

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Album Review

Despite the conservatory training and classical pedigree of its members, Bond's debut album Born doesn't have much to do with classical music in actual fact. It may have string quartet instrumentation and the elegant style of classical music, but the similarities end there. Born is first and foremost a dance album, with electronic club beats pushing the musicians' alternately majestic and ethereal melodies into the realm of dancefloor dramatics. Worldbeat influences are an important component of Bond's sound, with bits of Middle Eastern, Celtic, and Southern/Eastern European folk musics popping up on various tracks. However, appropriated classical themes and a movie soundtrack feel (often courtesy of film composer Magnus Fiennes) predominate. Classical fans will either find this watered down or a great way to hook younger listeners (though that logic is somewhat debatable, since they wouldn't really be listening to classical music in all its complexity); it's probably best to take Born simply for what it aspires to be — exotic and melodic dance music for a non-purist audience. [The UK release adds one bonus tracks: "Viva!"]

Biography

Formed: 2000 in London, England

Genre: Pop

Years Active: '00s, '10s

Polarizing critics since their 2000 inception, Bond have continued to perfect their fusion of pop, worldbeat, and classical instrumentation. Eos Chater (violin), Haylie Ecker (violin), Gay-Yee Westerhoff (cello), and Tania Davis (viola) were well-educated musically, having played their specific instruments since early childhood and accompanied acts like the Divine Comedy, Primal Scream, Embrace, and Mark Knopfler. But the quartet couldn't find a happy medium. They raised the classical world's ire...
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Born, Bond
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