venerdì 19 giugno 2009
The Bigger The God "...And The Ugly"
No, non mi chiedete. Non mi chiedete cosa ne penso di questo di questo disco, cosa ne penso del cambiamento che fecero i TBTG, cosa accadde dopo quel magnifico primo disco. Non mi chiedete o rischio di diventare nervoso e cattivo. Perchè francamente quando un grande gruppo si rovina per me è sempre una cosa inspiegabile. Mah. (1999 Outdigo)
Proof that a "they don't care, let's do what we want anyway" attitude can have life-affirming consequences for a band no longer deemed fashionable by the British media, this appallingly named album is a happy collision of left-field adventurism with deft and, where necessary, brusque musicianship (the original quartet is joined herein by accordionist John Franklin and keyboard player Jim Driscoll). Self-consciously vaudeville in outlook, . . . and the Ugly ramraids the costume department and struts provocatively in front of the mirror in everything from Stetson hats to ladies lingerie. Once peddlers of twisted pop, from the opening track "Bloodstains" onwards, TBTG reveal themselves to be merely twisted. The cross currents owe as much to the British music-hall tradition as they do to David Bowie or Lou Reed -- though trace elements of both are detectable. Eclecticism is all well and good, but the trick is to hold the whole thing together, and credit for achieving that goes to a musical core that meets each new challenge with enthusiasm and skill. This is one of the most imaginative records made in the U.K. since the Monochrome Set were at their peak. (Alex Ogg, All Music Guide)
....After a further single ("If Everyone I Ever Loved Left Me"/"Mr. And Mrs. Right') for Oxford's Shifty Disco singles club, the quartet recruited Jim Driscoll (keyboards) and John Franklin (accordion) for 1999"s The Bigger The God And The Ugly. The pop dynamic was abandoned for a nightmarish Euro-cabaret, a Jacques Brel meets Lou Reed hybrid which perfectly suited Cowles-Hamar's brittle falsetto. Yet for all the spaghetti western guitar codas and dark undercurrents, the album's finest track, "Lullaby", demonstrated that the band could still pen songs that recalled the pure emotional resonance of late-period Undertones. (www.nme.com)
- Sleepy Head
- Ad Infinitum
- Downwards Trend
- Waltzing in
- If Everyone...