mercoledì 18 novembre 2009
The Sundays "Reading, Writing and Arithmetic"
La magia, la malinconia, la luce soffusa dei Sundays...il tutto in un magnifico esordio. Il loro guitar pop si muove su coordinate semplici, eppure così incantevoli, lontano da volumi alti, ritmiche incalzanti ed eccessi, e vicino invece a stati di pace, riflessione, sogno. Emozioni rare. (1990 Geffen)
Nearly 20 years ago, with Madchester at the height of its popular appeal, a band about as far removed from The Happy Mondays as it was possible to be briefly rivalled Bez, Shaun and friends as the new darlings of the independent music scene. With the release of their debut album Reading, Writing And Arithmetic, The Sundays received a flurry of euphoric reviews comparing the London quartet to The Smiths, and it's fair to say that David Gavurin builds his songs around the same peculiarly British melancholy yet achingly pretty guitar jangle immortalised by Johnny Marr.
But the most distinctive ingredient about the Sundays was always Harriet Wheeler's voice, which positions the group as a kind of missing link between the ethereal soundscapes of the Cocteau Twins and the more chart-friendly indie-pop of The Cranberries. Like Liz Fraser and Dolores O'Riordan, Wheeler's vocals transfer effortlessly from a fragile whisper to a passionate shriek, taking often simple melodies and leading them on a merry dance across her whole impressive range.
The two best known tracks on Reading, Writing And Arithmetic are the singles Can't Be Sure and Here's Where The Story Ends, and two decades later these remain the best examples of The Sundays' appeal with their instant, breezy hooks and delicate, shuffling rhythms. The rest of the album is a little less immediate, but gradually tracks like Hideous Towns and I Kicked A Boy work their way insidiously inside your head, with Wheeler's angelic, almost hypnotic voice leading the charm offensive.
The Sundays never again recaptured the heights of their debut record, fading slowly into obscurity as the world they inhabited gave way to the brash, confident swagger of Britpop. While Reading, Writing And Arithmetic is perhaps a little too fey and lightweight to warrant true classic status, it is nevertheless a sweet, beguiling piece of work that is utterly of its time, yet still fresh and enjoyable today. (Chris White - http://www.bbc.co.uk/)
Imitated many times but rarely equalled, The Sundays' debut album is rightly hailed as one of the key indie guitar albums. Released in 1990, just as Manchester seemed to be the dominant force, The Sundays made music that was the antithesis of the moodiness of the time; the innocence and joy of youth versus the Stone Roses and Happy Mondays 'E'-loving slackers if you will. Even the beginnings of the group were fairytale-like. Guitarist David Gavurin and singer Hariet Wheeler met at University, became lovers and then the music came after. It was hardly an afterthought, however, with the flowery 'Can't Be Sure' topping John Peel's end of year poll in 1989. Tin Tin Out's otherwise pointless late 90's dance reworking of 'Here's Where The Story Ends' served the purpose of reminding listeners just what a great song it was. Yet behind the apparent prettiness lurk downbeat tracks a-plenty, 'I Won' and 'A Certain Someone' even revealed a a modicum of anger. 'Skin & Bones' and 'You're Not The Only One I Know' were and still remain excellent album tracks; far from making up the numbers their subtlety and melodic glories are perennialy charming. (http://www.leonardslair.co.uk/)
- Skin & Bones
- Here's Where The Story Ends
- Can't Be Sure
- I Won
- Hideous Towns
- You're Not The Only One I Know
- A Certain Someone
- I Kicked A Boy
- My Finest Hour