giovedì 13 agosto 2009

Snowblind "The Falls"



Doveva uscira ancora nel 2001 questo disco, ma poi alla fine, dopo un cambio d'etichetta ecco che vide la luce l'anno dopo.
E' gentilezza e leggiadria in musica quella che ci propongono gli Snowblind. Chitarre acustiche che mi ricordano i Sundays o un suono post Smiths comunque, ma anche perfetti arrangiamenti con fiati per dare tono e brio ai pezzi. Direi che per l'estate è impossibile non farsi cullare dalla gentilezza melodica di un pezzo come Slowly e i suoi pregevoli archi o dalla chitarra leggiadra di Wish. Certo che un valore aggiunto è la delicata voce di Jane Murphy, che risplende letteralmente in tutti i pezzi. (2002 - Independiente)

Originally scheduled for release back in Autumn 2001, the timing of Snowblind's debut CD could turn out to be quite fortunate after all. This is a joyful record bursting with tunes to signal the sound of summer. The male/female alt-pop duo hasn't featured much on the musical agenda since the turn of the century; perhaps the most recent exponents have been Everything But The Girl or Moloko but Dubstar are perhaps nearer to their viewpoint; vocalist Jane Murphy revealing her Northern England charm in her intonations and references to 'pulling birds' and 'getting off your arse'. Yet Paul Williams' arrangements of the songs lead to influences from further back in time to the white-funk guitar of Orange Juice; this is clear on excellent songs of the calibre of 'Wish', 'Easy Girl' and 'Summer In The Sun' all embellished with the requisite jangle. 'Haven't Got A Clue' reveals an appreciation of 60's pop dynamics and the finale 'Fistful Of Dollars' is a homage to New Order's bass-driven euphoria. Non-believers will cast doubts on their obvious influences but the less cynical will just appreciate the sheer melodicism. (http://www.leonardslair.co.uk/)

Seems this has been some time coming, given that the single Cut was reviewed last summer. You'd think that 12 months would have given Snowblind ample time to adjust their sound but it soon becomes clear that this is not the case. Indeed, you'd believe that if members of perennial early 90's janglers the Sundays heard this record, they'd probably sue. Whether that's a compliment or an insult is for up to you to decide.
For those unfamiliar with the above reference, what you get is thus: acoustic rhythm guitars, sub-Smiths electric guitars and tasteful horn/string sections over pleasant enough yet ultimately fairly bland female vocals.
All this doesn't mean it's bad in any way. Of the songs here, none are ever going to make you rail against the injustice of someone having a record contract while you go unappreciated by the world. In parts, it works well. Remain The Same is quite touching and the aforementioned Cut is still catchy in a way that just about lies on the good side of irritating. The worst part of all is for 20 seconds during Summer In The Sun, they depart from their usual sound and move into a Pet Shop Boys/New Order electronica. It's the most engaging, interesting part of the record and leaves you wondering why they didn't follow this route a bit more. (Peter Mattinson - http://www.noripcord.com/)

- Easy Girl
- Slowly
- Country
- Wish
- Summer In The Sun
- Remain The Same
- Cut
- Haven't Got A Clue
- Message For Glo'
- I'll Be There
- Fistful Of Dollars


SNOWBLIND

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