Röyksopp – The Inevitable End

Hot on the heels of the collaborative mini-album with Robyn, Do it Again, Röyksopp quickly reappeared with what they described as their last album “in this format”, The Inevitable End. Time will tell what they actually mean by that, but one can only guess that they were starting to find the two years off, two years on pattern of modern music somewhat stifling creatively. Hopefully they’ll come up with something else, rather than just disappear into obscurity, as others have before them.

But The Inevitable End is still an album that can be enjoyed on many levels. It opens with the darkly analogue sound of Skulls, hinting slightly in places at the glorious sound of their second album The Understanding (2005). The vocals are curious and heavily obscured by effects, but the overall sound is exceptional – this is a great way to enter an album.

Reworked from the Do it Again album comes Monument, now with an enormous analogue counter-melody, and sounding even better than it did originally. The standard here really is exceptionally high, and it continues, as Monument drifts into what might be the best track on this album, the adorable Sordid Affair, another piece which might have fitted beautifully on the second album alongside What Else is There?

There is an unmistakable air of introspection here. Melody AM (2001) was naïve and Nordic; The Understanding was mysterious; Junior (2009) was loud and powerful; and somehow The Inevitable End is all of those at once. But we don’t want to think of it as any kind of end, so you have to put those thoughts out of your mind.

You Know I Have to Go is the first of several collaborations on here with Jamie from The Irrepressibles, and introduces us to his exceptionally emotive voice. It’s the longest track on here, clocking in at seven and a half minutes, but it’s also quite exceptional. And then, with a bit of a bang, Susanne Sundfør turns up to deliver the brilliant Save Me. Like most of this album, it’s huge, powerful, and entirely unforgettable.

The enormous pads that herald I Had This Thing are entirely appropriate, as Jamie Irrepressible turns up to deliver an exceptional song. It was later released as one of the singles, and deservedly so – it’s absolutely brilliant.

If anything lets this album down, it’s Rong. Even then, it’s only a short and momentary blip, with Robyn suddenly and inexplicably swearing at listeners about how much she hates them. But never mind, Here She Comes Again quickly picks things up again.

A long time before this album appeared, Running to the Sea came along as its lead single, and I predicted great things for this album. Well, it’s always good to be proved right, but this song is still one of the most exceptional pieces of music that Röyksopp have ever recorded. An exceptional vocal from Susanne Sundfør, set to an enormous, moving backing track. This is truly faultless.

Any other artist could have given up after something like that, but for some reason Röyksopp keep going. All of the final three tracks, Compulsion, Coup de Grace, and Thank You are premium quality. What a send-off this is.

It would also be hard to mention this album without adding a word for the superlative second disc, with another five songs, some of which are more than deserving of a place on the main album. But let’s hope that this isn’t really the end, but if it does have to be, then it’s an amazing send-off.

 

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