The phrase double album was very much a thing when I was a kid. That term seems to have totally disappeared but if I will, The Tales of Morpheus by The New Citizen Kane would certainly be considered a double album. Spanning 21 tracks and clocking in at an hour and fifteen minutes, it’s a sprawling body of work that revels in excess. But rather than feeling bloated or unwieldy, it moves with the energy of a long, electrified night—an album built for movement, conversation, and late hours stretching into early mornings.
From the outset, The Tales of Morpheus carries the DNA of a party record. The beats are steady and propulsive, the melodies immediate, and the atmosphere effortlessly buoyant. It’s dance music with an unpretentious core, leaning into pure fun in the same way Daft Punk once did—less about cerebral complexity, more about instinctive, physical reaction. These songs don’t beg for analysis; they ask you to move. The foundation is a sleek blend of crisp 4/4 percussion, pulsing basslines, and shimmering synths, while the vocals—bathed in auto-tune—glide across the mix like neon reflections on wet pavement. At its core, the album thrives on momentum, but that doesn’t mean it lacks depth. “Could Have Been” stands out as a rare moment of introspection, its wistful tone laced with the regret of roads not taken. On the opposite end of the spectrum, “Killer Charisma” is all exhilaration, a shot of pure adrenaline that stands as one of the album’s best moments. Other highlights include the pulsating groove of “Stupid Blue,” the euphoric escapism of “Forget The World,” and the mythic allure of “Adonis & Aphrodite.” Despite its length, The Tales of Morpheus never drags. It knows exactly what it wants to be: a soundtrack for nights spent under neon lights, where reality blurs and the world feels limitless. The hooks stick, the production lands, and by the time the final track fades out, the only logical move is to press play again.
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