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Duran Duran: Paper Gods

Track List

>Paper Gods
>Last Night in the City - (featuring Kiesza)
>You Kill Me with Silence
>Pressure Off - (featuring Nile Rodgers/Janelle Monáe)
>Face for Today
>What Are the Chances?
>Sunset Garage
>Change the Skyline - (featuring Jonas Bjerre)
>Butterfly Girl
>Only in Dreams
>Universe Alone, The

Album Reviews:

Rolling Stone - 3.5 stars out of 5 -- "Duran Duran are still kicking, and sounding surprisingly vibrant."

Billboard - 3.5 stars out of 5 -- "These are fabulously phony times, and that's just fine with Duran Duran. On their 14th studio album, Britain's original bubble-gum post-punk heartthrobs note, and even revel in, the absurdity..."

Album Notes

Audio Mixer: Mark "Spike" Stent.

Recording information: Battersea Park Studios, London; The Village, Los Angeles; Zelig Studio, London.

Photographer: Nick Rhodes.

With the cover art for Paper Gods, Duran Duran cheekily revisit icons of their past: the smile of Rio, the cap of the "Chauffeur," girls on film, and a prowling tiger. Thirty years in, Duran Duran are comfortable enough to play with their past, comfortable enough to draw an explicit connection to their back pages by hiring Nile Rodgers -- who helmed Notorious back in the day -- to do a bit of production alongside Mark Ronson, the hitmaker who gave the group a refurbishment on 2010's All You Need Is Now. Most of the record, however, bears credits either by Mr. Hudson or Josh Blair, two younger musicians who help give Paper Gods a bit of a contemporary glint. While there are nods at the '80s and even the '90s arriving in the form of samples, synthesizers, and power ballads, Paper Gods is an aggressively modern album, living in the oversaturated world where emojis and gifs battle in perpetual motion. Whenever Duran Duran seem slick and savvy -- i.e, when they bring Janelle Monáe in to play with Rodgers on "Pressure Off" -- they manage to undercut their hipster overture with either crass commerciality or something flat-out tasteless, like when Lindsay Lohan drops in to growl through "Danceophobia." The thing is, Paper Gods works better because it has space for these sides of Duran Duran, moments where they seem like the coolest band to bear a synth and the dorkiest to ever chase a club trend. Most of the album exists somewhere between these two extremes, gathering steam with the giddy neo-disco of "Change the Skyline" and benefiting from moody assists from ex-Red Hot Chili Pepper John Frusciante (he brings the closer "The Universe Alone" to an apocalyptic crescendo), but it's that tension between the good and the bad, the yin and yang of Duran Duran, that makes Paper Gods absorbing. ~ Stephen Thomas Erlewine


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