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Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e'The Mountain' is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. 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If there’s an album in Charli’s back catalogue it most resembles, it is probably 2020’s lockdown record \u003cem\u003ehow I’m feeling now\u003c\/em\u003e, and a similar sense of claustrophobia, escape, and entrapment permeates many of \u003cem\u003eWuthering Heights’\u003c\/em\u003e strongest moments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Times New Roman',serif;\"\u003eThe brief but brilliant \u003cem\u003eWall of Sound\u003c\/em\u003e talks of tension, pressure, the inability to escape, of being stopped and restricted. Later, the excellent \u003cem\u003eChains of Love\u003c\/em\u003e, one of Charli’s finest individual tracks, brings the toxicity at the centre of Emily Brontë’s novel to the fore, inspiring the succinct, poetic refrain “The chains of love are cruel \/ I shouldn’t feel like a prisoner.” Charli’s ability to echo the palpable emotion of the novel into song with such balance, with restraint and power working in equal measure, is a marvel to behold. Frequently her lyrics demand attention, perhaps more than ever before (they’re even given their own separate zine in LP editions) and her ability to portray the characters’ emotions, \u003cspan style=\"color: black;\"\u003eand a tangible brutality and desperation of love is one of the record’s most noticeable strengths.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Times New Roman',serif;\"\u003eThough darkness pervades much of the album, it’s not all strictly doom and gloom.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe sprightly, pulsing strings of \u003cem\u003eSeeing Things\u003c\/em\u003e offer intermittent uplift, a sense of joy, even if it ultimately proves to be an illusion. \u003cem\u003eDying For You\u003c\/em\u003e delivers the kind of electronic pop Charli delivers better than most, and is without question the closest the record comes to recalling Brat’s euphoric, rave inspired peaks. It’s a strong track and will delight fans looking for more of that era, but \u003cem\u003eWuthering Heights\u003c\/em\u003e’ best moments lie where all semblance of Brat has faded. Listeners attuned to Charli’s earlier experimental leanings will likely find much to enjoy here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Times New Roman',serif;\"\u003eMost notably, a rare, highly anticipated collaboration with Sky Ferreira sees her pretty much take the lead on the huge, swirling ballad \u003cem\u003eEyes of the World\u003c\/em\u003e. Something of a centrepiece, it employs one of the record’s more complex arrangements, with strings loping and swaying through melodic twists alongside heavily distorted effects and thundering bass. Ferriera previously guested on \u003cem\u003eCross You Out\u003c\/em\u003e from \u003cem\u003eCharli\u003c\/em\u003e (2019), and \u003cem\u003eEyes of the World\u003c\/em\u003e, is an immediate highlight. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Times New Roman',serif;\"\u003eClosing track \u003cem\u003eFunny Mouth\u003c\/em\u003e, co-written with Joe Keery and Finn Keane (EasyFun, who produces throughout), combines dark, foreboding strings with glitchy electronic manipulations, before spiralling towards what feels like a premature conclusion, only to reveal ghostly, metallic clangs and scrapes that take us full circle, back to being trapped in that \u003cem\u003eHouse\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eWuthering Heights\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12.0pt;\"\u003e is \u003cstrong\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eCharli xcx’s \u003c\/span\u003e\u003c\/strong\u003ealbum written for Emerald Fennel’s highly anticipated film \u003cem\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eWuthering Heights\u003c\/span\u003e\u003c\/em\u003e, starring \u003cstrong\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eMargot Robbie \u003c\/span\u003e\u003c\/strong\u003eand \u003cstrong\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eJacob Elordi\u003c\/span\u003e\u003c\/strong\u003e. 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