martedì 30 novembre 2010

Fierce Panda Compilation "Shagging In The Streets"



Beata gioventù!
Compilation pazzesca della Fierce Panda, che iniziava allora a muovere i primi passi di una vita musicale che la vede tutt'ora sempre magnificamente in pista, che sprigiona vitalità e guitar pop da ogni nota.
Un tripudio che mette in vetrina sei gruppi di cui almeno due sono da 110 e lode (Mantaray e These Animal Man), ma gli altri sono comunque da voti altissimi.
Si, chiudete gli occhio e lasciatevi andare....This Is The Sound Of Youth!!! (1994 Fierce Panda)

S.M.A.S.H. - Bang Bang Bang
Blessed Ethel - Electro 1
Mantaray - Sad
Done Lying Down - Divorcee
These Animal Man - This Is The Sound Of Youth
Action Painting! - Mustard Gas

FIERCE PANDA - SHAGGING IN THE STREETS

Fierce Panda Compilation "Glowing Underground"



Piacevole compilation della Fierce Panda, che come sempre mantiene sempre alto il suo standard.
Tra le sei devo dire che le mie preferenze vanno a Dogs Die e Odeon Beat. (2004 Fierce Panda)

Dogs Die In Hot Cars - Pastimes & Lifestyles
Amateur Guitar Anti-Heroes - The Straight Instruct
X-Tigers- Elements
Multiplies - Megafist
Odon Beat Club - 1000 Arguments
This Familiar Smile - Plagiarism Is The New Theft


FIERCE PANDA - GLOWING UNDERGROUND

Unbelievable Truth "Sorrythankyou"



Secondo lavoro per questa formazione che ben presto vedrà la defezione proprio di Andy Yorke.
Se possibile ancora più malinconico del precedente. La qualità rimane ancora alta. Merita decisamente attenzione e concentrazione nel non facilissimo ascolto. (2000 Absolute Uk)

- Landslide
- A Name
- Disarm
- Pedestrian
- Home Again
- Daylight
- Shed Your Skin
- Advice To A Lover
- Agony To Covers
- Hypnotist
- I Can't Wait
- Let It Flow


UNBELIEVABLE TRUTH

Unbelievable Truth "Almost Here"








Immagino che molti si saranno accostati a questo gruppo per la parentela del cantante con il bruttone dei Radiohead.
Infatti Andy Yorke è fratello del più noto Thom.
I punti di contatto tra le due formazioni non sono così evidenti come la fratellanza magari potrebbe far pensare. Folk pop intenso ed evocativo quello degli UT, che sa toccare l'animo con una voce toccante e melodie importanti.
Esordio soffuso e decisamente incantevole. (1998 Virgin)


One thing's for certain: the Unbelievable Truth's lead singer, Andy Yorke, sure can sing his heart out. While this English trio's debut may receive attention solely because Yorke's brother is the acclaimed lead singer of Radiohead, Almost Here stands up quite well on its own musical merits.
A particularly evocative soft-rock ensemble, Yorke, Nigel Powell, and Jason Moulster have cobbled together a calm, moving collection of hauntingly melodic songs. Yorke's rich vocals practically glow with a seductive melancholy that gains much strength from the band's rich tapestry of guitars, keyboards, and percussion.
On "Higher Than Reason" his voice soars dramatically over a delicate arrangement of fanciful British pop. Gentle and hypnotic, this is one album of extremely sad songs that you shouldn't miss. (Mitch Meyers - http://www.amazon.com/)



- Solved
- Angel
- Stone
- Same Mistakes
- Forget About Me
- Settle Down
- Finest Little Space
- Building
- Almost Here
- Higher Than Reason
- Be Ready


UNBELIEVABLE TRUTH

lunedì 29 novembre 2010

James Iha "Let It Come Down"







Non ho nessun problema a definire questo disco come assolutamente sorprendente e magnifico.
Mettiamoci nei panni di questo ragazzo che tornava a casa dopo ogni concerto con le orecchie che fischiavano e il mal di testa e un pensiero nella testa: voglio un pò di tranquillità. Il pelatone martellava duro, ma lui aveva già manifestato, nei pezzi scritti per gli Smashing, una voglia di melodia e toni soffusi che però non mi sarei mai apsettato potesse sfociare in tanta meraviglia.
E così, nel 1998 esce il primo (e per ora unico) disco solista di James Iha. E fu amore al primo ascolto.
Come spesso accade si intrecciano tante cose parlando di questo disco.
C'è il lato prettamente musicale, quello fatto di ballate gentilissime, di canzoni d'amore che ti aprono il cuore, di voci sussurate e angelici arpeggi: il folk, il country, la tradizione americana che si dischiude in momenti sognanti, arrangiamenti d'archi per animi nobili, ma anche il pop più semplice e diretto, quello che ti entra in testa con un ritornello adorabile e non va più via.
Si, è un disco semplice, ma questo voleva James. Non c'era assolutamente l'intenzione di muoversi sui territori del capo branco Corgan. Niente rumori fastidiosi, niente chitarre distorte, niente sperimentalismi: solo 11 incantevoli canzoni di dolce e pastorale guitar pop.
E la copertina con lui semplice e "naturale" senza trucchi o vestiti assurdi ocme nei Pumpkins già la dice lunga!
La cosa vi fa incazzare? Ci siete rimasti male? No, io fin dal primo ascolto mi misi in ginocchio e piansi di gioia.
Parlavo di lato musicale, ma c'è anche quello emotivo.
Un disco che, come succede con i lavori che si amano veramente, porta alla mente persone, momenti, emozioni di una vita. L'università, le mie prime trasmissioni in radio, la prima dedica alla splendida Paola "Brit Pop", Le infinite chiacchierate con Gianni "Vanoli" su questo album, gli ascolti in coppia per trovare il passaggio più commovente, e poi uno dei momenti più belli della mia vita a Genova, in quella clamorosa spedizione per andare a vedere gli SP con Fabri, Vanoli e il Pepe che mai dimenticherò: James e Billy si guardano e parte 1 arpeggio di chitarra, io e Vanoli, che speravamo ovviamente in un pezzo da questo disco, ci guardiamo e all'unisono urliamo "Beautyyyyyyyy", si, era proprio l'inizio della nostra canzone preferita di James, un gioiello pop che solo nei nostri sogni avevamo immaginato live e li sembrava che quel sogno potesse diventare realtà. Iniziammo a saltare e a urlare come matti: il cuore batteva veramente forte.
In realtà poi quello fu l'inizio di "Tonight, Tonight", ma per quei pochi secondi fu davvero una delle emozioni più forti e più belle della mia adolescenza, vissuta con gli amici e gli eroi di sempre. La magia che solo una canzone può dare e può fare vivere.
Per questo e per tanti altri motivi che sarebbe lungo dire adesso ritengo questo lavoro come uno dei dischi fondamentali della mia vita, sicuramente in una mia personale TOP 5 non può mancare.
Grazie James. Grazie di cuore! (1998 Virgin)


While I admit to having strong feelings for the Smashing Pumpkins, upon listening to Let It Come Down, I'm not sure how much of a creative force James Iha is in the band. What I always expected a solo album from this guy to sound like was a big, loud ruckus with a 17-minute experimental noise epic at the end.
Instead, Let It Come Down is 12 tracks of sugary- sweet pop music for lovers with extra cheese.
I'm not sure if I have the patience to count, but I'm willing to bet that the word 'love' is mentioned on this disc well over 100 times.
Not that it's necessarily a bad thing, but if you do the math, that comes out to 8.3 times per song. That's a whole lotta love.
Let It Come Down really tried to appeal to that embarrassed side of me that secretly likes Toad The Wet Sprocket, but it's not even that good. It sounds like Freedy Johnston singing rejected Carly Simon songs.
It sounds like the Gin Blossoms and Matthew Sweet soundtracking an early '70s film about young hippies in love, minus the drugs. It sounds like a lot of things you probably don't want to listen to.
Despite a bunch of interesting musical guests (Nina Gordon, D'arcy, Fountains of Wayne's Adam Schlesinger and former Filter drummer Matt Walker), the instrumentation is less than interesting; probably 'cause the songs are so incredibly simple.
At any rate, it's probably a nice change of pace for the guy since his full time job is rocking out in the Pumpkins.
And in that respect, the guy's got some cute creations, but it doesn't provide total redemption. This is still pretty bland. Be prepared to feel 14 again. (Ryan Schreiber - http://pitchfork.com/)


Fans of the Smashing Pumpkins who revel in the band's angst-ridden alt rock may well recoil in horror at this slice of pure, sweet melodicism from the band's lead guitarist, but Iha's solo debut is worthy enough to stand on its own merits.
Musically, Iha's ability to effortlessly reel off one catchy acoustic pop number after another is reminiscent of Freedy Johnston.
Lyrically, he's not nearly as adventurous or intriguing as Johnston. Yet, while some would no doubt classify his lovelorn ruminations as saccharine, they ultimately come across as honest and heartfelt--and, most importantly, they fit perfectly with the tone and spirit of the music. (Peter Blackstock - http://www.amazon.com/)


- Be Strong Now
- Sound Of Love
- Beauty
- See The Sun
- Country Girl
- Jealousy
- Lover, Lover
- Silver String
- Winter
- One And Two
- No One's Gonna Hurt You

JAMES IHA

martedì 23 novembre 2010

AA.VV "Volume Twelve"




Come non ricordare le ottime compilation di Volume Magazine, iniziate nel 1991 e terminate nel 1997?
Una serie di uscite in cd, composte da compilation di gruppi indie, molte volte con brani inediti, remix o rarità. Il corposo libretto del cd era in realtà il magazine, con articoli sui gruppi e sulla scena musicale.
Uso il numero dodici per rappresentare queste uscite, anche se presto ci sarà spazio per il best of delle compilation Volume.
Ho scelto questa per la presenza di una chicca pop come Girl Meets Girl degli sconossciuti (ai più) Shriek, ma anche per la presenza dei miei amati Goya Dress.
Da dimenticare la versione di Only Now dei Ride, veramente spenta. (Dicembre 1994)


Node – "Olivine"
Spiritualized – "Good Times (Pure Phase)"
Goya Dress – "Foetus"
Garbage – "Vow"
Prolapse – "Visa for Violet and Van"
Shriek – "Girl Meets Girl"
Pet Lamb – "Son of John Doe"
Moby – "What Love?"
G. Love & Special Sauce – "Tomorrow Night"
Massive Attack – "Karma Coma (Bumper Ball Dub)"
Experimental Audio Research – "Space Theme (Tribute to John Cage in C, A, G and E)"
Laika – "Lower Than Stars"
Ride – "Only Now"
Catatonia – "Dream On"
Love Spit Love – "Wake Up"
Novocaine – "Pond Life"
Flinch – "Days"
Nitzer Ebb – "In Decline"


VOLUME TWELVE

Veruca Salt "Blow It Out Your Ass It's Veruca Salt"



Il lato "violento" della forza! Ahahah!
Pigiano sull'accelleratore le fanciulle e nei primi due pezzi muscoli e chitarre non mancano, anzi, non credo che le Veruca siano mai state così toste.
Poi si torna a respirare.
Un pregevole EP che usciva tra il primo e il secondo disco! (1996 Geffen)

- Shimmer Like A Girl
- I'm Taking Europe With Me
- New York Mining Disaster 1996
- Disinherit


VERUCA SALT

domenica 21 novembre 2010




Il Myspace, anche nella sua nuova forma, è terribilmente lento. Quindi ho chiuso la pagina del mio programma e le playlist saranno messe sul blog.
Quest'anno Melting Pop è in differita, quindi non avrò problemi a postare la scaletta della puntata già con anticipo, in modo che possiate vedere se la musica trasmessa potrà interessarvi.
Ecco quindi la scaletta della puntata del 25 novembre.
Vi invito ad ascoltare la puntata perchè ci sono in palio 4 biglietti per la data veronese del 2 dicembre delle Luci Della Centrale Elettrica e 2 biglietti per i Chapel Club al Tunnel a Milano il 3 dicembre.
Buon ascolto allora. E magari fatemi sapere cosa ne pensate del mio programma, in onda dalle ore 21 ogni giovedì su Radio Popolare Verona, in streaming sul sito www.radiopopolareverona.it
Aloha. Ricky

Venua..... Buon Compleanno
My Foolish Heart..... Afternoon's Nuisance
Mambassa.... Casting
Dilaila..... Settembre
Le Luci Della Centrale Elettrica..... Una guerra Fredda
Chapel Club..... O Maybe I
The Hundred In The Hands...... Commotion
Vanity.... Howling
Cherry Ghost..... Kissing Strangers
The Walkmen..... Angela Surf City
School Of Seven Bells..... Heart Is Strange
Milk Kan..... Junkshop
Lucy's Diary.... Rock Kicks
Thoc!..... 1000 Resons
Massimo Volume..... Litio
Jimmy Eat World ......Mixtape
Ed Wood...... Miss Sunshine
Numero 6 ...... Maledetta
Union Sound Set...... Hiding Places

venerdì 19 novembre 2010

The Crescent "The Crescent"



Il punto di contatto più indicativ potrebbe essere l'esordio dei Cast. Poi ci si possono sentire i soliti mille rimandi a formazioni Uk, ma, ripeto, mi piace accostare i The Crescent ai Cast.
Sta di fatto che il disco era stato anticipato da dei singoli che a mio avviso non riescono poi ad avere nel resto dell'album un adeguato sostegno, risultando quindi le canzoni migliori. Onesti mestieranti. Tutto qua. (2004 Hut)


The Crescent is collection of four-minute guitar-pop gems by the band of the same name. Having served an apprenticeship with Lee Mavers, the notoriously eccentric former frontman of the La's, the group have developed a raw melodic touch that pulses with an infectious blistering energy.
Like Oasis, the Crescent make no attempt to disguise their influences. The opening track, "On the Run", recalls the Who, as the repeated burst of a single chord resonates before the guitar somehow tumbles into the riff from the Stones' "Jumpin' Jack Flash". Then there are Wayne Whitfield's wall-cracking vocals, somewhere between Liam Gallagher's guttural howl and the throaty raunch of Rod Stewart as he roars, "Shape up / Work out what's up / We're running out of time / Trying to keep up". Elsewhere, "Another Day" builds gently from a simple acoustic rhythm to a rousing string-laden atmospheric climax.
But in the main The Crescent is built around straightforward melodies and raw instrumentation. "Wake Up" would make Mavers proud. Demonstrating the infectious qualities of an incredibly simple guitar hook and a strong chorus, it proves that with a little precocious talent, less is indeed more. (Christopher Barrett - http://www.amazon.co.uk/)


- On The Run
- Streets Of Tide
- Parallel
- Wake Up
- Test Of Time
- Another Day
- Spinnin' Wheels
- Not Good Enough
- Told U So
- Stay On


THE CRESCENT

Don "Album"



Due cose sono commoventi. La prima è trovare qualcuno che mi chiede ancora qualcosa dei Don, non pensavo che questo gruppo potesse davvero interessare a un lettore del mio blog.
La seconda cosa che fa piangere è pensare a questo disco: onesto, sincero, e tutto sommato più che valido esempio di classico guitar pop rock, che però non credo sia mai uscito, se non in veste clandestina.
E allora lode ai Don! (1998 London Records)

- One By One
- Faces On Faces
- Alfie
- Dab
- How Free
- Sitting Room
- Gone Again
- Heads High
- Esprit
- Stay Sober


DON

Mandalay "Instinct"




Tutte le volte che la mia signora ascolta questo disco le viene in mente Madonna. E magari non è neanche tanto lontana dalla verità. Giusto se Madonna decidesse di spegnere le luci disco e buttarsi sul soffusto e morbidoso credo che il risultato potrebbe essere proprio così!
Ai posti di comando dei Mandalay c'era l'ex Thieves Saul Freeman, e se già con il suo precedente gruppo aveva un cantante all'altezza della situazione (cercare sul blog per saperne di più), beh, anche qui non si scherza.
Nicola Hitchcock ci conduce su territori decisamente angelici e delicati e gli accostamenti del gruppo a Portished e Cocteau Twins non ci stanno neanche così male. Alla fine i Mandalay sono entrati nel grande calderone del Trip Hop, ma devo dire che l'eleganza della loro musica merita ben di più di una semplice etichetta. Un disco, il secondo e ultimo per il gruppo, da ascoltare in religioso silenzio. (2000 V2 Records)


- Not Seventeen
- Don't Invent Me
- Like Her
- Deep Love
- No Reality
- You Forget
- Simple Things
- Too Much Room
- What If I
- It's Enough Now
- Believe


MANDALAY

The Bardots "V-Neck"



C'è qualcosa che non va in questo disco, o semplicemente non è bello come l'album d'esordio, che era veramente qualcosa di magnifico.
Tutto qui. (1995 Che)

- Carrion
- Annabel
- Irene
- Bad Feeling
- English Lovers
- Skin-Diving
- Berlitz
- How Could I Hurt You?
- Violent Love
- Somebody Could Die Across My Throne and I Would Never Know
- The Colony Room
- Feeling Juvenile


THE BARDOTS

Lodger "Walk in the Park"










Ci sono gruppi che ho amato nel periodo Brit Pop, altri che ho odiato, altri ancora che mi hanno fatto piuttosto schifo.
Uno di questi furono i Lodger. Vi giuro che io vendo pochissimi cd, a casa ho delle brutture assurde, ma se a suo tempo ero arrivato a venderlo sto cd, beh, vuol dire che non potevo proprio sentirlo.
Ma per fortuna il buon Cristian lo aveva ancora li, ed ecco che seppure per poco tempo questo cd torna a casa, giusto per comparire sul blog e poi è già tanto che non voli via dalla finestra.
Supergrass (Danny Goffey) + Powder (Pearl Lowe) + Delicatessen (Neil Carlill)= capolavoro??? Naaa, niente di tutto ciò. Solo un disco di una noia mortale. (1998 Island)


- I'm Leaving
- Always Round Here
- This Girl's in Love With Me
- Bones
- Love Is the Game
- Old Ways
- Cold Breeze
- Top Gear Luv
- Small Change
- Stepped On
- Ciao
- Safe

LODGER

martedì 16 novembre 2010

Space Monkeys "The Daddy Of Them All"







Lode al buon Geep Nicotera che tira fuori dal suo cilindro personale questo piacevole dischetto, e soddisfa una richiesta che era stata fatta.
Simpatici, pop, ballabili, movimentati....ma fuori dalla classifica. Dura la vita in quel di Manchester. (1997 Interscope)

- Acid House Killed Rock & Roll
- Blowing Down the Stylus
- Sugar Cane
- Inside My Soul
- Ready for the Rampage
- Dear Dhinus
- Smile America
- Let It Shine
- We Are the Supercool
- Sweetest Dream
- March of the Scarecrows


THE SPACE MONKEYS

sabato 13 novembre 2010

Luxembourg "Front"



Beh, ma che bel disco è questo?
Il fatto che non abbia avuto successo dimostra solo ottusità, nient'altro.
Il gruppo che più mi viene in mente ascoltandoli sono gli Elcka, accostabili se non altro per un triste destino.
Un bel disco dicevo: struggente, intenso, melodico, con ottimo gusto nella costruzione di raffinati pezzi che però non mancano anche di buone chitarre incisive. Tanti parlano di Pulp come nome tutelare, io ci trovo motlo di più. (2006 Dogbox Records)

Bless Luxembourg.
They're even trying to write the review for me with their press notes.
They also take pride in having a "real life audience rather than a virtual one", before going on to say how "myspace had no part in generating the word of mouth...".
Listening to the Cure meets Pulp of 'We Only Stayed Together For The Kids' ("it's years since I have seen you without clothes"), however, it's quite easy to see how people (and the Gay Times) have shown their interest in the band.
The aforementioned track is just one of thirteen in a concept album focussing on "small dramas". It's also a previous single and the best thing on here, lyrically depicting a failed relationship ("we wont feel pain, just rage") and how the couple only stay together for their kids. Blimey. Bet that's a fun house to live in.
Move over Pat Sharp.
'What The Housewives Don't Tell You' is Morrissey's best song on 'You Are The Quarry'. Unfortunately, Sir Moz forgot to record it and filled his album with sub-par tracks with stupid titles instead.
Nevermind though, because Luxembourg must have been able to mind-read, as they recorded it instead. How very kind, sirs. It's sarcastic and playful ("I'm stuck at home with a thousand housewives, they're such a scream"), easy to sing along to in the bath and a potential single so all's good there then.
Sometimes, Luxembourg do wear their influences a bit too heavy on their sleeves; 'Single' is Belle and Sebastian and 'Making Progress', likewise is 'Parklife' Blur. They do also have a tendency to slip into snoozeville too, and sexual innuendo filled ballad 'Mishandled' is only saved by a beautiful Jonny Grennwood-esque guitar solo to break up the tedious five minute dirge.
Despite these shortcomings, when Luxembourg are on form they really are on the cusp of indie pop greatness. 'Luxembourg vs Great Britain' is a soaring attempt to quell frustration. Guitars over-dub synths, rather than vice-versa which ultimately give the song a certain edge over some of the albums slower moments.
'Sick Of DIY' (the next single) is what the Manics would kill to sound like now, perfectly mixing 80s goth with Britpop- a pairing that sounds about as appealing as dog walking with George Michael on Hampstead Heath, but somehow manages to work.
'Faint Praise' on the other hand, would have sat perfectly on Strangeways, right where the abysmal 'Death At One's Elbow' stood.
When Luxembourg work, they're epic. When they don't, they come across a bit flat. Thankfully, this album is mostly the former.
Get gay! (http://www.leedsmusicscene.net)

- LE14
- We Only Stayed Together For The Kids
- What The Housewives Don't Tell You
- Single
- Relief
- Taking Cover
- WC1
- Sick Of DIY
- Making Progress
- Mishandled
- Luxembourg vs Great Britain
- Down A Sunny Street

LUXEMBOURG

venerdì 12 novembre 2010

Mansun "Little Kix"






Tirai un sospiro di sollievo ascoltando le prime note di questo disco. Mi ero detto "ecco, i ragazzi sono tornati a qualcosa di più normale, diciamo così". In teoria un tentativo di ritorno a qualcosa di più rassicurante, rispetto al secondo disco, c'è sicuramente stato.
In pratica è un disco privo di mordente che non lascia il segno.
Si adagiano su una scrittura piuttosto di maniera i Mansun, che raramente si risolleva e tutto fila via fin troppo piatto: per loro, sia chiaro. Lo avesse fatto un qualsiasi altro gruppo ci sarebbe stato anche da apprezzare, ma con i Mansun, beh, la delusione c'è.
Non mancano arrangiamenti d'archi, un singolo apripista decisamente buono, ma forse si calca un pò troppo la mano in certe ballate e si arriva alla fine con l'idea che qualcosa non quadra.
Canto del cigno per i Mansun. Gruppo fondamentale comunque. (2000 EMI)


After all, Mansun went from brooding glam-ish guitar rock on their 1997 debut, Attack of the Grey Lantern, to all-out prog song structures and abstrusities on the astonishing follow-up, Six.
They haven't exactly been pointing the way to Little Kix. This isn't a 180. This isn't even a 90.
This is almost shifting onto another plane of music. But that's not to say the shift is dramatic enough for comparisons to become meaningless. The band has expressed a taste for the Bee Gees, ABBA, and mid-'80s Prince, and this record is probably the result of such affinities.
All the same, not much of Little Kix could be classified as filler, even if two tracks-- "Fool" and "Goodbye"-- exhibit a slight dip in quality from the surrounding material.
The band seems to be painting with muted colors, though, especially in contrast to the manic off-kilterness of Six.
Perhaps this has something to do with the seeming disinterest of the band members backing frontman Paul Draper. Little Kix could, at times, be mistaken for a Draper solo album for all the effort the other guys appear to be investing.
Guitarist Dominic Chad contributes some nice lead touches occasionally, but bassist Stove King and drummer Andie Rathbone seem content with just laying down a nice pocket.
The album's largest detractor lies with its lyrics.
The complete lack of irony prevents it from reaching its potential as a genuinely satisfying production. Sure, honesty and directness are nice and all, but with no bite, lines like, "We are the boys, think about nothing and/ We are the boys, boys have got feelings, too," fall flatter than the late Bill Hicks at this year's Republican National Convention.
Everything is so amazingly darling and clichéd. Even the chorus of "Soundtrack 4 2 Lovers," a fine ballad by any measure, could've been culled from the new age compilation, Pure Moods.
If you're a real wonk for deep, original sentiments, Little Kix will probably wear like steel underwear. But as a collection of love-themed songs, the record has a lot to offer for listening in the car, boudoir, or singing in the shower. (Craig Griffith - http://pitchfork.com/)

When it comes to opinions about Mansun it seems they attract extreme reactions. On the one hand they have received some brutal - and frankly - rather insulting criticism from some sections of the music press.
On the plus side they have a strong cult following, not harmed by the fact that they reply personally to the fan mail they receive. Their first two albums also aimed for extremes, starting off with 1996's 'Attack Of The Grey Lantern', a widescreen pop-rock album that was one of the best of the year and then they decided to bring out 1998's 'Six', a prog-rock album which even early Genesis fans might have called self indulgent.
Thankfully 'Little Kix' is a return to former glories that doesn't contain anything as fantastic as 'Legacy' or 'Stripper Vicar' but certainly has its fair share of great moments. 'Fool', the single, aims straight fo the jugular by beginning with the chorus straight away.
There's delcious harmonising on 'Forgive Me' and the oft-repeated but never tiresome guitar melody that elevates 'Electric' is another definite highlight. No matter what people may say about Mansun's more grandiose moments, they have an arresting vocalist in the shape of Paul Draper whose vocal ululations are stronger than ever; just witness his range on 'Until The Next Life' for the evidence.
Mansun sometimes fly a little too high with ideas above their station but more often than not they deserve to get away with it thanks to superb musicianship and sheer spirit. (http://www.leonardslair.co.uk)


- Butterfly (A New Beginning)
- I Can Only Disappoint U
- Comes As No Surprise
- Electric Man
- Love Is
- Soundtrack 4 2 Lovers
- Forgive Me
- Until The Next Life
- Fool
- We Are The Boys
- Goodbye


MANSUN

mercoledì 10 novembre 2010

Mansun "Six"













Ebbene si, ho odiato questo disco. Al primo ascolto rimasi sconvolto. Fors mi aspettavo una copia del primo disco e questa mistura di prog rock mi aveva profondamente deluso.
In realtà era stato il mio approccio ad essere sbagliato.
I Mansun non si erano fermati, no, avevano anzi raddoppiato sforzi, fatiche e impegno, ma era 1 impegno che veniva richiesto anche all'ascoltatore, che doveva smarcarsi dal primo disco e approcciarsi a questo lavoro a mente libera, pronto ad entrare in un mondo nuovo, ad un livello decisamente piùalto e complesso.
A tutt'oggi arrivare in fondo non è così facile, lo ammetto. Ma sicuramente è un disco che non mi spaventa più! Mi farebbe piacere leggere un pò di vostri commenti, cari lettori del blog (1998 Parlophone Records)


The sheer audacity of Mansun's sophomore album, Six, demands respect and ridicule. After the surprising success of their first record, Attack of the Grey Lantern, Mansun have practically abandoned all the key ingredients to that record's accolades. Songwriter Paul Draper dumped the satirical characters and simple guitar pop, which was a brave move, if not a stupid one.
Instead, Six invents the haphazard genre of glam- prog- space- bubblegum- rock in which rock stars in glitter and leather pants play nine- minute bezerk jams.
Surprisingly, this album has yet to see release in the States-- the songs change pace so frequently and randomly that they'd be perfect for our short- attention spans. It's perfect! I mean, if you don't like a song, you just have to wait about 30 seconds for it to completely change.
Seemingly influenced by comic books and hallucinogens, Six skitters from chugging power- chords, to intricate hooks, to Pink Floyd wandering, to Tchaikovsky samples, to lip- licking swagger.
At times they can come off like a frightening cross between the Pixies, T Rex, and Yes. If you give Mansun the benefit of the doubt, and assume they're not being completly serious, Six entertains immensely, chock-a-block with every element of modern rock. The fusion sounds so weird and seizure- inducing that it sucks you into its pretentious, mascara'd maw.
It helps that the four lads rock with remarkable skill. It's hard to imagine any other band pulling off this mammoth epic. (
Well, perhaps Radiohead on a heavy dose of prozac and a Cadbury chocolate rush.) Paul Draper's emotional, spotlight- sucking delivery sparkles over Dominic Chad's inventive solos and melodies, as the drummer and bassist simply try to keep up.
When making a concept album, a band walks the razor- sharp line between Kiss' (Music From) The Elder and Radiohead's OK Computer.
With a truckload of chutzpah, Mansun walks this tightrope for over an hour, teetering to either side, constantly looking to fall off. From moment to moment they can be ridiculous or beautiful, artistic or fluff.
The chills and thrills of hearing them perform such a stunt is worth hunting down an import. (Brent DiCrescenzo - http://pitchfork.com/)

If someone over at Parlophone Records had been doing their job back in the summer of 1998, this album would never have seen the light of day. All I have to say is thank god whoever was supposed to be supervising Mansun's follow-up to the mega-smash Britpop comedown, Attack of the Grey Lantern, was asleep at the switch.
Six is one of the most improbable and unpredictable records I've ever heard (from a major label or otherwise) and that's probably why I enjoy it so much. But I understand that it's not for everyone.
In fact, the few people I've exposed to this album have either a) violently ejected the CD from the player as if it were a reflex action, b) asked me to leave their home, or c) both. To date, I've only been able to convince one friend of its greatness and even he skips a good chunk of the songs. Still, I haven't given up hope that its debauched beauty resonates with someone else out there.
As of right now, Mansun is but a footnote in history. Try bringing up Mansun in conversation and you're almost certain to wind up discussing bad Eurythmics covers and fishnet stockings.
Then, once you explain away the confusion, the slightly more aware music fan will say, "Right, they did that Grey Lantern album. I liked that 'Wide Open Space' song." And for almost everyone in the States, the story ends right there. But see, for me, that's where it really begins.
Attack of the Grey Lantern was fantastic, and it easily ranks among my favorite albums of all time, but it still has nothing on their second offering. Six is the sound of a band collectively snubbing its fan base and smashing expectation to spectacular effect. No stone is left unturned and no genre unscathed over the course of its 70 monstrous minutes.
Mansun nick "The Dance of the Sugar Plum Fairy" (yeah, the one from Piotr Tchaikovsky's Nutcracker Suite) and marry it to lyrics about Stanley Kubrick faking it with the moon. They play a song entitled "Cancer" that, at over nine minutes long, features three distinct movements and they actually have the gall to break into laughter right in the middle of it.
There's a minute-long piano ballad called "Inverse Midas". Yes, there's even an operatic interlude that includes a voiceover from the legendary Tom Baker entitled "Witness to a Murder Part II". (FYI, "Witness to a Murder Part I" does not appear on the album and may not even exist.)Admittedly, Six is preposterous-almost certainly the product of copious amounts of drugs.
But there's something compelling about its insanity, the way it veers from classical scores to pedal-morphed guitar solos without so much as a case of whiplash. This is inspired dementia from start to finish. Some would be tempted to call it a concept album, but, honestly, there's too much going on for there to be a coherent concept.
I prefer to think of it as a "conceptual" album -- one that has the arc and scope of a concept album but never quite follows through.
There are scattered references to Scientology, Winnie the Pooh, and Marxism. But really, they're mocking the whole idea of a concept album. If Attack of the Grey Lantern was a spoof, Six is an outright parody.
The title track, which also, fittingly, happens to be the opener, sets the tone perfectly. It begins with a short piano intro before guitarist Dominic Chad revs up his guitar for a blazing volley.
Then, as the riffs die down and the strings fray, the track seemingly gives way to an entirely new song as Draper sings, "Life is a compromise everyday". His voice short-circuits, leapfrogging from speaker to speaker.
Any sane band would have divided the two sections up into separate songs, but not Mansun. And it's all the better as it is. "Television" is a frightful epic that takes on our present day fascination with the tube -- lampooning our insatiable desire for up-to-the-minute news coverage.
It ends with an avalanche of guitar feedback and a two second blip of our very own national anthem. The very next track, "Special/Blown It (Delete As Appropriate)", lulls the listener into a false sense of security only to deliver a backhanded punk wallop with Draper carrying on about fucking up, shooting his load, and spewing on the motorway shoulder. Varied to say the least.
But whole thing works because Mansun, even at their most deranged, can't betray their pop instincts. Their unerring ear for a memorable melody keeps the enterprise from sinking under the weight of ambition.
Much of Six goes on in this perfectly convoluted manner, save for the pristine ballad, "Legacy" (which is the saddest rumination on the fate of washed-up rock stars I've ever heard).
The album isn't so much a collection of songs as it is fragments and ideas. The story goes that Mansun entered the studio with very little in the way of actual material. They had nothing but 27 small sections and spare melodies.
Whereas every other band would try to flesh out the pieces into complete songs, Mansun decided to do it the harder way: combining the disparate segments as best they could. The result is akin to a collage, but, to their credit, it never feels forced or haphazard. Instead, the approach yields the most challenging and beguilingly unexpected music.
It sounds like no one and everyone: Magazine, Joy Division, Prince, Radiohead, David Bowie. But make no mistake, these fragments, snippets, whatever you want to call them do somehow, almost miraculously, form coherent songs. Six is a never short of a delirious prog-punk romp.
Sadly, Epic Records has ruined the Mansun experience for American audiences. Both of their albums have been irreparably mauled, but Six more so than the Attack of the Grey Lantern. Epic removed "Inverse Midas" and pared down "Six" and "Being a Girl" to both songs' detriment.
I'd go as far as to say that the American version of Six isn't even the same album. You're better off not hearing it all than to subject yourself to such an inferior, watered-down edition.
If you're serious about listening to Six, do it justice and get the import.
Mansun's wayward path following Six has been equally distressing. Little Kix, their third album, is the most wretched album I've ever heard from one of my favorite bands. Bland, unimaginative, and overproduced, the album was everything that Six was not.
It's hard to believe a band could stumble so terribly, but I suppose to scale such impossible heights, you've got to risk colossal failure.
Since the chilly reception of Little Kix, the band has been holed up in the studio, trying to regain their form. They emerged briefly this past May to test material at a handful of live dates across England. To be fair, it's hard to pass judgment on bootleg recordings, but what I heard of the new stuff didn't sound promising.
But even if Mansun never recovers, the band will always have a special place in my CD collection.
I only hope that people appreciate Mansun somewhere down the line -- that their sonic experiments weren't all for naught. That would be the greatest shame of all. (Jon Garrett - http://www.popmatters.com/)


- Inverse Midas
- Anti Everything
- Fall Out
- Serotonin
- Cancer
- (Interlude)
- Witness To A Murder (Part Two)
- (Part Two)
- Television
- Special/Blown It
- Legacy
- Being A Girl


MANSUN

Chapterhouse "Blood Music"








E' ovviamente una gran bella notizia sapere che i Chapterhouse si sono riformati. Vabbè, lo stanno facendo un pò tutti ultimamente, pure i Pulp, sintomo che le bollette da pagare sono sempre tante, ma tant'è, sono contento ugualmente, senza pensare al perchè di una reunion.
Comunque sono decisamente meno contento a risentire questo secondo disco del gruppo, che apriva la porta ad arrangiamenti elettronici senza arte ne parte, che appesantivano il suono, anzi, più che altro lo banalizzavano e lo allontanavano da quelle meraviglie che avevo sentito nel primo disco.
Salvo veramente poco da Blood Music, che per me fu una grossa delusione. (1993 Dedicated)


- Don't Look Now
- There's Still Life
- We Are The Beautiful
- Summer's Gone
- Everytime
- Deli
- On The Way To Fly
- She's A Vision
- Greater Power
- Confusion Trip
- Love Forever


CHAPTERHOUSE

Nina Gordon "Bleeding Heart Graffiti"



Getta definitivamente la spugna la bella Nina e spinge l'accelleratore sul pop da classifica, con arrangiamenti finto rock made in Bob Rock.
Ancora una volta tutto scorre via piacevole e senza impegno. Un buon disco da macchina direi. (2006 Warner Bros / Wea)

Add ex-Veruca Salt co-leader Nina Gordon to a growing list of 90s female rock singers (think Liz Phair and Alanis Morissette) who have left behind the grit of their earlier work to emphasize a more accessible pop sound.
On her 2nd solo release Bleeding Heart Graffiti, producer Bob Rock polishes each song to a high-gloss, showcasing Gordon's lightweight but pleasant voice over lush backgrounds.
The lead-off single "Kiss Me Til It Bleeds" is a catchy meditation on the guy-you-can't-resist, but most of the album lingers in somber ballad territory without displaying the tension of pop contemporaries like Aimee Mann or Fiona Apple.
Nina Gordon sounds like she's having more fun on "Suffragette", where an infectious T-Rex groove and background vocals dead lifted from an 80s Prince record blend into a danceable concoction. (Ben Heege - http://www.amazon.com/)


- Bleeding Heart Graffiti
- Christmas Lights
- Kiss Me Til It Bleeds
- Suffragette
- This Was The Year
- Don't Let Me Down
- Pure
- Watercolors
- Superstar
- Turn On Your Radio
- When You Don't Want Me Anymore
- Bones And A Name
- The Time Comes
- The Crickets Sound Like Sleigh Bells


NINA GORDON

martedì 9 novembre 2010

Nina Gordon "Tonight And The Rest Of My Life"





Lasciare le Veruca Salt per intraprendere una via solista, ecco cosa fece Nina Gordon quando tra fuoco e fiamma lasciò la sua (ex) amica Louise Post.
Il cambio fu però decisamente repentino e insieme al precedente gruppo, Nina sembra anche aver perso quella carica indie rock che la contraddistingueva.
Un piacevole disco di pop rock, classico, con pochissimi accenni al suo passato "carico", ma che invece preferisce muoversi su territori piuttosto convenzionali. Niente di male sia chiaro, anzi, melodie e arrangiamenenti piacevoli non mancano per nulla: un pop rock che viaggia tranquillo. E a me tutto sommato soddisfa.
Certo, se avete in mente le Veruca Salt....beh, lasciate perdere! (2000 Warner Bros / Wea)

Veruca Salt were a band torn between catchy pop hooks and arena rock dreams. Producer Bob Rock (Metallica, Motley Crüe) tried to help them realize the "big" sound with mixed success.
Now, he's helping former Veruca Salt singer-guitarist Nina Gordon turn away from "big rock" and toward the lush power pop championed by musicians like Aimee Mann. The title track, "Now I Can Die," and "2003" feature stacked harmonies and a carefree gait that recall the melodic renaissance of early-'80s new wave, with the additional bite of modern-day production values.
Hammond B-3s, pedal steels, Mellotrons, and Chamberlins add somber texture to "Horses in the City" and "Hold On to Me" without sacrificing the straight-ahead rock feel. Producer Rock adds a bit too much gloss here and there, but in any case Gordon's a power-pop diva in waiting. (Rob O'Connor - http://www.amazon.com/)

- Now I Can Die
- 2003
- Tonight And The Rest Of My Life
- Badway
- Horses In The City
- Hold On To Me
- New Year's Eve
- Fade To Black
- Number One Camera
- Got Me Down
- Too Slow To Ride
- Hate Your Way
- The End Of The World

NINA GORDON

Llama Farmers "El Toppo"



Passo indietro a mio avviso rispetto allo sfolgorante esordio. Le coordinate musicali bene o male sono quelle, ma mi sembrano mancare proprio le melodie vincenti che nel primo disco invece erano più che presenti.
Il canto del cigno per una formazione comuqnue dignitosa. (2000 Beggars Banquet)

Ah, teenage angst.
Ever since Britpop sparked off the first wave of straight-outta-Sixth-form kiddie punkers--groups like Ash, Bis and Kenickie--the indie firmament has been full-to-bursting with legions of fresh-faced guitar rapscallions eager to turn their amps up to 11.
The proof, though, was always in what happened a few years down the line; cue, El Toppo--the difficult second album from fresh-faced punksters Llama Farmers. The old post-Nevermind formula still holds strong, although admittedly the emphasis now is not so much on the pogo-friendly choruses and bubblegum dynamics as on moody, frayed-string acoustic laments and the odd coruscating wall of grunge-pop noise.
Where it's good, it's not bad--listen to the skewed indie-rock-with-handclaps of "Snow White", or the wishful nostalgia of "Postcards & Moonrock" ("Do you remember the time/we got drunk and danced to Marvin Gaye?").
But too often, El Toppo is just unremarkable indie-pop by numbers, leaving you gazing misty-eyed back to the days when teenage angst didn't sound like it had fallen off the conveyor belt of a production line. (Louis Pattison - http://www.amazon.co.uk/)

Before you yell "Another guitar band!" at me, allow me to let you know why Llama Farmers are worth listening to.
Single Snow White should do very well in the USA - despite being from a British band it is American college rock. More Salt has some guitar playing worthy of Ani DiFranco and vocal backdrops that call to mind The Stone Roses. Still other songs sound like Nirvana-induced guitar blow-outs.
Additionally, Llama Farmers are in the happy position of being able to work with Clive Martin, a producer who really ought to be as big as Godrich, Orbit, Flood et al but so far isn't, who allows the band's natural energy to flood through into the recording, all the while adding subtle embellishments to the noise that is produced.
As a second album this shows progression - the melodies are tighter than on Dead Letter Chorus and there is more to listen to; serrated guitars sitting alongside fingered acoustic stuff.
If this isn't enough, fine. You're not going to get anything particularly original from this band - at least not yet - but the words "shows promise" were surely invented for them. Just don't expect too much. (Michael Hubbard - http://www.musicomh.com/)


- El Toppo
- Snow White
- More Salt
- Doggy Fudge
- Postcards & Moonrock
- Feathers
- Note On The Door
- Same Song
- Ear The C
- You Bore Me
- Movie
- (hidden Track)


LLAMA FARMERS

domenica 7 novembre 2010

The Montrose Avenue "Thirty Days Out"



Mi avvicinai al gruppo in questione principalmente per un motivo: dopo aver lasciato i Menswear, Matt Everitt, il batterista, entrò nei Montrose Avenue. Ovviamente io, schiavo, decisi che dovevo avere tutto anche di quest'ultimi, senza aver sentito ancora nulla, e così avvenne.
Mi ritrovai così fra le mani un gruppo che non aveva nulla dell'estetica prettamente britannica dei Menswear, anzi, i Montrose Avenue erano un gruppo che piuttosto guardava all'America, non a caso nacquero come gruppo di cover dei Byrds.
Il tentativo era quello di fondere un suono power pop britannico con sonorità classiche del rock americano, anche con venature country, con la particolarità delle due voci che spesso si alternavano.
Tentativo che magari non riesce pienamente in tutto il disco, ma che comunque si fa ascoltare molto piacevolmente, esaltando nei suoi momenti più sparati e riuscendo anche a toccare corde più malinconiche nelle ballate.
Di successo neanche a parlarne ovviamente! (1998 Columbia)

- She's Looking For Me
- Helplessly Hoping
- Start Again
- Yesterday's Return
- Keep On The Road
- Where Do I Stand
- Emergency Exit
- Shine
- Leaving In The Morning
- Closing Time
- Lost For Words
- Thirty Days Out

THE MONTROSE AVENUE

giovedì 4 novembre 2010

Hofman "Keep Your Receipts And Deny Everything"




Un disco più che onesto. Il buon Carlo Villa li definiva un incrocio fra i Salako e gli Snow Patrol e il loro indie guitar rock non è certo da buttare.
Ok, un gruppo minore se vogliamo, ma non certo da disprezzare, anzi, alcune parti sono decisamente ben riuscite! (2000 Vibrations From The Edge Of Sanity)


- Let Us Down
- Song You Hate
- Broken Arm Theory
- Llangattock Farm
- Cliché
- I Won The War On Drugs
- Videobird (Theme From Mentex)
- Since You Took The Plane
- The Happy Medium

HOFMAN

Catherine Wheel "Happy Days"









Non ci saranno più le radici shoegazer, ma trovo que,sto disco molto bello. Carico, sonico, melodico. Un gruppo che forse tentava il salto commerciale, ma lo faceva comunque, a mio avviso, con grande proprietà di mezzi e senza sputtanarsi.
Purtroppo il successo cercato non arrivò. (1995 Fontana)

I Catherine Wheel si lasciano definitivamente alle spalle lo shoegazing con il sound chiassoso e sguaiato di Happy Days (Fontana, 1995).
Il disco inizia addirittura al ritmo di galoppo grindcore con God Inside My Head, e continua all'insegna del boogie sudista con Little Muscle e delle distorsioni assordanti con Hole.
Anche i ritornelli piu` innocui, quelli di Shocking e Judy Staring At The Sun, sono viziati da una tensione spasmodica. Questo stile teatrale e pretenzioso li porta inevitabilmente nel territorio della power-ballad (Eat My Dust e Heal).
I tentativi di suonare minacciosi sono un po' patetici, ma, quando Dickinson urla il ritornello di Waydown su un barrage strumentale degno degli Smashing Pumpkins, il gruppo si conquista una sua dignita`.
A differenza di buona parte degli shoegazer britannici, non mancano le idee ai Catherine Wheel: mancano pero` ancora le buone canzoni. (Piero Scaruffi - http://www.scaruffi.com/)

- God Inside My Head
- Waydown
- Little Muscle
- Heal
- Empty Head
- Receive
- My Exhibition
- Eat My Dust You Insensitive F***
- Shocking
- Love Tips Up
- Judy Staring At The Sun
- Hole
- Fizzy Love
- Kill My Soul



CATHERINE WHEEL

Eloise "Giorni " & "Mathias Rust"







Non è la prima volta che accade e mi auguro che non sarà neanche l'ultima.
Essere contattato da gruppi che mi propongono i loro cd o i loro demo di un passato musicale è una cosa che mi fa molto piacere. Se poi trovo che il gruppo sia interessante non vedo perchè non pubblicarlo sul blog.
In questo caso ringrazio il buon Gabriele Peirolo, che mi proposto gli Eloise, formazione in cui lui suonava la chitarra.
Decisamente piacevoli le loro trame indie rock, con anche rimandi alle sonorità britanniche con un piglio più oscuro però.
Sul blog troverete "Giorni" e "Mathias Rust" oltre a un file che racchiude biografia e una buona rassegna stampa. A voi!


eloise.formazione
Luca Isidoris – Voce
Gabriele Peirolo – Chitarra
Oscar Bresolin – Basso
Antonio Mangano – Batteria

eloise.discografia
“Divisione da Zero” – CD autoprodotto 1999
“Giorni” – CD autoprodotto 2000
“Mathias Rust” – CD autoprodotto 2002

BIOGRAFIA

ELOISE - GIORNI

ELOISE - MATHIAS RUST

Brothers In Sound "Family Is for Sharing"






Un pò troppo spaziali e morbidi questi fratelli per i miei gusti, ma ovviamente compaiono fra i miei dischi "grazie" al solito Carlo Villa. L'ennesimo scheletro nell'armadio. Nel genere comuqnue erano piuttosto quotati...è che a me non piace il genere! Mannaggia! (2000 Regal)

It's not just a label that three-piece Brothers In Sound share with notorious non-conformists the Beta Band.
Like the Betas, this trio sees no boundaries in music, gleefully soaking up influences across genres and eras. Like the Betas, there's a joyously psychedelic playfulness spiking everything they do.
And like the Betas, their debut album is really just a collection of their first three EPs with a little extra on top. But what a debut. Whether it's the dopy bleepy chill-out of "Sleep Again", the thrash-funk of "Brothers Go Down" or the acoustic lull of "Levitation", leftield grooves have rarely been done this gracefully and this hypnotically.
Nodding at Nick Drake on "Mannequin", making like a rejuvenated Massive Attack on "Leave Glide Out", Family Is For Sharing is an astonishingly innovative album. File between Screamadelica, Revolver and Trout Mask Replica. (Calvin Bush - http://www.amazon.co.uk/)

You will know them by their befuddled grins and their dozy thousand-yard stare. They are Brothers In Sound, and once, we suspect, they were your common-or-garden indie kids. But somewhere along the way, there has been an awakening.
It almost certainly involved a psychedelic experience And quite possibly bubble machines, water slides and strobe lights. Yet happily, Bournemouth three-piece Brothers In Sound are not hippies.
The opening robotic twinkle of 'Journey Song' might hint at the misty electronica of, say, Boards Of Canada, but 'Family Is For Sharing' is an altogether more playful prospect.
Picture the eddying currents and wave-battered beaches of ambient music. And then, build a whoppin' great big Butlin's amusement arcade slap-bang on top of it.
The Brothers mark the point where the whole concept of 'band' pulls hard on a joint, splutters throatily and collapses into dizzy hysterics.
No frontman. No drummer. All hands on deck. Eternally adolescent and relentlessly eclectic, this is a cheerfully loose-knit approach to the making of pop music.
It's initially galling, then, that the spirit of cynical rehash should raise its head. 'Family Is For Sharing' is less a debut album, more a cunningly packaged compilation of the Brothers' first three EPs - 'Barelyafterawake', 'Just Like A Day', and 'The High And Low Show'.
The two remixes rather lamely included as, ahem, 'incentive' are singularly pointless; Twisted Nerve artist Sirconical turns out a forgettable remix of 'Journey Song', and the crunchy Aphex Twinnery of Wauvenfold's take on 'Sleep Again' covers well-trodden ground. Worse still, they take the album to a sprawling, and thoroughly unfocused 69 minutes in length.
Thankfully, the high points, they are many.
At its best, 'Family Is For Sharing' excels with the odd gem of futuristic space-pop of the sort that Blur so memorably botched on '13'; 'Hey You', for one, sounds like Graham Coxon locked in a flotation tank with a member of Tangerine Dream - all lost-little-boy vocals and rusty, lo-fidelity drum loops.
And there's no heel-kicking, indie-schmindie crisis of confidence on 'Journey Song', which sets its co-ordinates to the horizon in the grand spirit of Kraftwerk's 'Autobahn', or 'Brothers Go Down' - which tries, and almost succeeds in envisaging a breakbeat Mercury Rev.
Where Albarn and friends forced it, Brothers In Sound feel it. Magnificently.
But oh, for some clarity. If the Brothers were real siblings, you'd doubtless hear a voice of discipline - you'd feel the Gallagher-esque sharp edges that still make Oasis an ever-entertaining prospect now that the spark's long since burnt out.
Not here; long-familiar tracks drift by, a sedative retread of Brothers In Sound's past achievements.
Bless them, just occasionally, the Brothers offer a far-sighted glance outside the normal clod-hopping parameters of indie. But 'Family Is For Sharing', it just yawns, closes its sleep-encrusted eyes, and drifts into slumber. Here's to another awakening. 7 out of 10 (http://www.nme.com/)


- Journey Song
- Shady Mia
- Sleep Again
- Brothers Go Down
- Leave (Glide Out)
- Levitation
- Hey You
- Journey Song (Sirconical Remix)
- Breathing
- Mannequin
- Sleep Again (Wauvenfold Remix)
- Scene From The Boozer
- Lauryn Hill
- Easy Life

BROTHERS IN SOUND