venerdì 29 aprile 2011

Lowgold "Keep Music Miserable"

Il mondo della musica è pieno di misteri. Misteri nel senso che spesso ci si chiede perchè un gruppo è riuscito ad emergere e tanti altri, pur con potenziali e canzoni pazzesche è rimasto nell'ombra?
Ecco. I Lowgold fanno parte di questi misteri. Mi viene da pensare che sarebbero stati decisamente più meritevoli dei Coldplay, molto più intensi, emozionanti, ispirati, e'ultimi hanno un conto in banca a più zeri, i Lowgold neanche hanno il conto.
Un dispiacere.
Questa raccolta di b-sides e rarità risulta essere 1 altro tassello per avvalorare la mia tesi sul gruppo fondamentale. Caznoni che qualsiasi altr gruppo avrebbe usato per un disco, qui sono state criminalmente relegate al ruolo di lato b.
Ora raccolta in questo disco si mostrano in tutta la loro forza e splendore. E noi, in ginocchio, gioiamo di tale meraviglia. (2005 Dedted Records)

- Every Train
- Please Be Good To Me
- Over, Make Up
- End Of The Hammer
- Time Reclaims All Frontiers
- Flavour
- Burn A Hole
- The Feelings (Extended Studio Mix)
- Eddie Lejeune
- If People Were Vinyl (Feat. Tux)
- Beauty Dies Young (Graham Coxon Mix)
- See How The World’s Moved On
- Miles Is My Favourite

- I’d Rather Fuck Up Than Miss Out
- Remission Time
- Can’t Say No
- Whatever You Think You’re Wrong
- The Third One
- Coming On Strong
- Silver Ocean
- B Land
- Atlantic Pacific
- God Willing
- Do Not Deny Your Own Happiness
- Beauty Dies Young (Live)
- Never Alone (Live)
- Absolute Exocet
- Hip Hop Cooperative
- Jacob’s Ping Pong


martedì 26 aprile 2011

Even Johansen "Quiet & Still"

Se non sbaglio questo disco usciva quando ancora Even era ancora nei Libido. Tiro decisamente diverso dal suo gruppo questo album solista. Malinconico, intenso, rarefatto, soffuso. Decisamente un bel disco comunque.
Poi, dopo lo scioglimento dei Libido, il cantante tornerà sotto il nome di Magnet. (2001 Sidecho Records)

Even Johansen's debut solo album materialized out of a collection of songs that he wrote but didn't feel fit the vibe of his band Libido.
And it is a solo album in the true sense of the word, as he plays every note in addition to producing and recording the album himself. Quiet & Still has a suspended, luminescent quality, as if it hangs off somewhere by itself, on the horizon, part real and part placid hallucination.
The melodies often take a while to unfold fully, and the songs slowly build steam before they release all their pent-up emotions, but once they do, it is like a door being unlocked. There is a glassy quality to songs like "The Recluse," "Bullet to Your Heart," and "Nothing Hurts Now" that makes it feel like your heart has been enclosed in a prison of windows, separating you from the world even as it forces you to watch day-to-day existence go on without you.
Others ("Easily Undone," the cover of Phil Lynott's "Dancing in the Moonlight") open like broad Western vistas offering to be traveled. Throughout, Johansen borrows the languid, bleeding tone from Ennio Morricone's film music and the rustic guitars of country without sounding remotely like either.
The music emerges out of the same beautifully wistful place as the music of Radiohead, Travis, and Poor Rich Ones, but it has its own glistening mood. Johansen was correct not to use these songs in the band context.
They are too solitary and personal, too disillusioned and despondent. But what could have been an insular exercise instead is the format befitting the mood. It allows him to squeeze every ounce of loneliness out of the music, every moment of melancholy regret. Johansen is painfully candid in his lyrics, reopening all the darkest wounds of his heart, the decay and disintegration.
But the process also allows him to turn the most bitter and isolating of experiences into songs of sublime beauty. And it isn't all dark light. The last two songs begin to break through the gloom: "Beautiful Day" sees the dissatisfaction with life beginning to fade, while the final "Home Song" provides something to anticipate, even look forward to.
And in "There's an End to This," the album's centerpiece and most exceptional song, Johansen sings with an optimism missing from much of the rest of the album, even if the future he is hopeful for seems a long way off. But you don't have to wait to experience that moment of exultance with Quiet & Still.
The album is a resplendent oasis, catatonic in the most stunning of ways, and like all such phenomena, there is something both uplifting and sorrowful about it, as if the music is both ephemeral and timeless.
Regardless, it is tantalizing collateral for the time when Johansen decides to make a solo career his priority. (Stanton Swihart -

- Recluse
- Where Happiness Lives
- Bullet to Your Heart
- Easily Undone
- Nothing Hurts Now
- There's an End to This
- Private Jinx
- Quiet and Still
- Dancing in the Moonlight (It's Caught Me in It's Spotlight)
- Beautiful Day
- Home Song


domenica 24 aprile 2011

Creation Records Compilation "A Palace In The Sun"

E noi andiamo avanti tutta con queste classiche compilation targate Creation Records. Però se dobbiamo partire da qualcosa per descivere il Brit Pop, beh, direi che non ci potrebbe esser miglior inizio. (1991 Creation Records)

My Bloody Valentine - Don't Ask Why
Primal Scream - I'm Losing More Than I'll Ever Have
Swervediver - Ravedown
Peter Astor - Chevron
The Telescopes - Everso
Jazz Butcher - She's On Drugs
Love Corporation - Lovers
Hypnotone - Dreambeam
Tangerine - I'm Telling Lies
Heidi Berry - Below The Waves
Something Pretty Beautiful - Freefall
Simon Turner - Dark Melt


venerdì 22 aprile 2011

Creation Records Compilation "Doing It For The Kids"

Altro tuffo nel passato, altra compilation targata Creation! (1988 Creation)

The Jasmine Minks – Cut Me Deep
Felt – Ballad Of The Band
The House Of Love– Christine
The Weather Prophets– Well Done Sonny
Primal Scream – All Fall Down
Biff Bang Pow! – She Paints
The Jazz Butcher – Lot 49
Heidi Berry – North Shore Train
Nikki Sudden – Death Is Hanging Over Me
My Bloody Valentine – Cigarette In My Bed
Pacific – Jetstream
The Times – Godevil
Momus – A Complete History Of Sexual Jealousy (Parts 17-24)
Emily – Reflect On Rye
Razorcuts – Brighter Now


martedì 19 aprile 2011

Creation Records Compilation "Do You Believe In Love?"

Crediamo nell'amore? Si!! Vogliamoci bene e amiamoci. E come colonna sonora usiamo questa vecchia compilation della Creation.
Ovviamente un tuffo nel passato, nomi e gruppi storici e nel mio blog ci stanno più che bene. Le basi del Brit Pop sono tutte qui! (1990 Creation)

Primal Scream – You're Just Dead Skin To Me
Jazz Butcher – Girl Go
Ride – Chelsea Girl
The Times – Snow
Tangerine – Organic
My Bloody Valentine – No More Sorry
Biff Bang Pow! – Hug Me Honey
Weather Prophets, The – Always The Light
Something Pretty Beautiful – Freak Outburst
Love Corporation – Palatial II
Pacific – Shrift
Bounty Hunters – Everything's For Her


domenica 17 aprile 2011

Delicatessen "Hustle Into Bed"

E chiudiamo il discorso con i Delicatessen con questo altro loro disco. Intenso, importante e profondo. Un gruppo che merita la nostra memoria! (1996 Starfish)

- Dear Boss Letter
- Ezra
- Hustle Into Bed
- Monkey Suit
- Buy A Chance To Breathe
- Full - Tilt In Paris
- I'd Love To Shut Up
- My Lungs Into
- Vanilla Folders
- Doc Prof
- 8 Pills
- Bentine
- Bad Dog


venerdì 15 aprile 2011

Delicatessen "There's No Confusing Some People"

Terzo disco per questa formazione dei Leicester. A me piace. (1998 Viper)

- Another Meal Turns Up
- Lightbulbs And Moths
- Various Pets
- Psycho
- He Killed Himself In 1980
- Boy Dough
- Cruel Country
- A Priest In Half
- Sweet


domenica 10 aprile 2011

Easyworld "This Is Where I Stand"

Bravi, bravi e acora bravi!
Un disco di guitar pop decisamente accattivante. Ottime melodie, un tiro clamoroso, idee chiare e arrangiamenti pregevoli.
Insomma un disco davvero bello e divertente! (2002 Sony)

Many bands are formed in turbulent times, but more often sheer boredom is the catalyst. This is the case with Easyworld, who hail from Eastbourne (a town of "no music venues and about 150,000 retirement homes") and their debut album, This is Where I Stand. Fronted by singer/guitarist/songwriter Dav Ford, Easyworld's closest musical cousins are Muse and JJ72, who employ a similarly clear, high-pitched and melodramatic vocal, as well as stop-start power-pop tactics. But Easyworld avoid the depths of self-pity plumbed by Muse and are even, on occasion, quite cheerful.
"Try Not to Think", concerning true love on a provincial Saturday night, is genuinely charming and impressively well-written ("She finds it hard to breathe / She writes his name in steam"), proving Ford is a songwriter to watch. Other highlights include the title track, in which Ford sings a pyrotechnic hymn over a distant, dirty riff that seems entirely inappropriate but eventually mesmerises.
Then there's comedy sex song "You and Me" (a well-timed shot of humour), the punchy single, "Bleach", surely the chirpiest tune ever penned about quaffing Domestos, and "By the Sea", where Ford's voice takes off over a melancholy piano (and weirdly, he sounds not unlike the Cocteau Twins' Liz Fraser).
On the downside, there's a little too much Radiohead in the tinkling and chiming intros, and several songs never rise above the mediocre. This is a more-than-fair debut, nonetheless. (Dominic Wills -

- Armistice
- Try not to think
- 100 weight
- Junkies and whores
- This is where I stand
- Stain to never fade
- Demons
- By the sea
- Bleach
- You and me
- You were right


Cyclefly "Crave"

Adoravo il primo disco di questa formazione. Purtroppo la magia non si ripeto con questo secondo disco.
Le idee buone si perdono nel mare di cose scontate e senza mordente che invece abbondano.
Peccato (2002 MCA)

Seconda uscita per gli irlandesi (ma con componenti di origine italiana e francese) Cyclefly, dopo “Generation sap” del ’99, il secondo capitolo si intitola “Crave” e non è il primo esempio proveniente dalle “British Isles” di un certo rock che potremmo definire “new” ma non “nu”.
Dopo un avvio notevole e concitato imbastito dalle corpose chitarre di NoNo Presta e Ciaran O’Shea, ricamato dalla penetrante voce di Declan O’Shea e costituito da “No stress” (insaporita da tenui effetti elettronici) e da “Karma killer” (con guest vocals di Chester Bennington dei Linkin Park che si dichiara loro grande fan) si apre una lunga parentesi dai toni particolarmente melodici e smorzati: il variegato campionario di ballate va da “Selophane fixtures” (con cui potremmo accostare i Cyclefly a Smashing Pumpkins e Placebo) alla catartica “Drive” passando per la raffinata tranquillità della title-track “Crave”.
Il basso di Christian Montagne e una base drum’n’bass costruiscono la successiva “Crowns”, mentre si nota un manifesto sapore brit-rock in “Lost opinion”; metodico cambio di stile con la soave ballad quasi blues “King for a day” (un omaggio ai Faith No More?); si riparte con “Fallen wishes”, un pezzo alla Bush (la band di Gavin Rossdale, non George W.!) con un buon assolo di chitarra nel finale e con “Bulletproof” (con un riff “rubato” ai Garbage), onesta rock song che si colloca però un gradino sotto il livello qualitativo espresso nell’insieme da questo album.
Declan ci racconta le tristi “Tales from the fishbowl” in una canzone dalla doppia anima melanconica e aspramente abrasiva ben supportata dal suono di archi e organi. Completano questa “special edition” di “Crave” due dicotomiche bonus tracks: la rockeggiante “Weary” e l’acustica “Accidental ornaments”.
“Crave” passa l’esame senza affanno offrendoci una band, i Cyclefly, dal sound elegante e sufficientemente originale ma con un’arma a doppio taglio rappresentata dalla voce pressoché unica di Declan O’Shea, mix impensabile tra Perry Farrell, Sid Vicious ed Alvin dei Chipmunks, spesso gracchiante e indelicata che può, rischiosamente, risultare a tratti poco sopportabile se non sgradevole… (Silvio52 -

The second outing by Ireland's Cyclefly finds them putting further distance between themselves and the rap-metal and alterna-rock treadmills, embracing a downright '80s melodic sense and dramatic scale.
Even the lyrics from the opening "No Stress" (I can't hide my frustration / I don't like generation / We don't need your limitations") suggest that this is a band significantly less interested in fashionably reinventing the wheel than it is grounding itself in a little powerful history.
Singer Declan O'Shea has drawn comparisons with alternative touchstones Iggy Pop and Perry Farrell, but his expressive, riveting vocals actually seem inspired by more wildly disparate sources, variously recalling Rush's Geddy Lee ("Selophane Fixtures") and the Psychedelic Furs' Richard Butler (the rhythmic, low-key impressionism of the title track and the edgy, entrancing "Crowns").
The twin guitars of Declan's brother Ciaran and Nono Presta are powerful underpinnings throughout, whether grinding out stereotypical buzz-saw chords or the more lyrical riffing of the anthemic "Drive."
But while it's refreshing to find a young band savvy enough to realize that a quarter century of punk rock has spawned its own considerable body of tired clichés, Cyclefly occasionally plays it a little too familiar when spreading their songwriting wings. Still, it's hard to argue with results that immediately grab a listener's attention and keep it so masterfully.
This is the sound of a great young band still finding its voice--and a far cry from the sophomore slump. (Jerry McCulley -

- No Stress
- Karma Killer
- Selophane Fixtures
- Crave
- Drive
- Crowns
- Lost Opinion
- King For A Day
- Fallen Wishes
- Bulletproof
- Tales From The Fishbowl
- Weary
- Accidental Ornaments


mercoledì 6 aprile 2011

International Guardians Of Rock 'N' Roll 1983-1999 (Creation Records)

Beh, che dire? Una compilation per la quale parlano i nomi presenti e i pezzi scelti. Devi dire una buona scaletta, che ovviamente non può essere esauriente di una storica etichetta come la Creation, ma può essere una prima importante fotografia per avvicinarvisi, o un bel tuffo nel passato per chi già la conosce bene.
Insomma...W la Creation! (2000 Sony)

International Guardians Of Rock'n'Roll 1983-1999 is an epitaph for the most influential, successful, contrary, arrogant indie label that Britain ever saw: Creation Records.
Featuring tracks hand picked by label boss Alan McGee, this two-CD compilation displays a tender affection for the cobwebbed nooks and crannies of Creation's history. Beyond that, though, it is intriguing to see how International Guardians... works as a microcosm of the story of British indie music as a whole, charting the path of indie from the nihilistic scree of the Jesus And Mary Chain's "Upside Down" through to the anthemic bloke-rock balladry of Oasis' "Wonderwall".
International Guardians... excels when it turns up forgotten classics, like the House Of Love's "Shine On", or airs essential tracks, like Super Furry Animals' "The Man Don't Give A Fuck", although this retrospective wouldn't be complete without the odd "They did what?" moment--see an aged Jesus And Mary Chain, hobbling out of their bath chairs for "Cracking Up".
But are there any omissions? Well, with a project of this size, naturally--but the most notable absentee is My Bloody Valentine, the mooted three tracks pulled from the compilation by eccentric composer Kevin Shields just before this record's release. Irritating--but it is strangely fitting that Creation's swansong should be acrimonious to the last. (Louis Pattison -

Titles on disc 1

Upside Down - Jesus & Mary Chain
Baby Honey - Pastels
Shine On - House Of Love
Slowdive - Slowdive
Duel - Swervedriver
Loaded - Primal Scream
Lazarus - Boo Radleys
Don't Slip Up - Meat Whiplash
Drive Blind - Ride
All The People I Like Are Those That Are Dead - Felt
Up The Hill And Down The Slope - Loft
Cut Me Deep - Jasmine Minks
Flying - Telescopes
Almost Prayed - Weather Prophets
I'll Follow You Down - Slaughter Joe
Concept - Teenage Fanclub
Higher Than The Sun - Primal Scream

Titles on disc 2

If I Can't Change Your Mind - Sugar
Cracking Up - Jesus & Mary Chain
Give Me Some Love - Love Corporation
Drive Me Down (Softly) - Velvet Crush
Sunshine Smile - Adorable
Wonderwall - Oasis
Rocks - Primal Scream
Mellow Doubt - Teenage Fanclub
Man Don't Give A Fuck - Super Furry Animals
Serious Drugs - BMX Bandits
Stay - Butler, Bernard
Step Into My World - Hurricane #1
Mill Hill Self Hate Club - Ed Ball


domenica 3 aprile 2011

Shed Seven a Carpi - 2 aprile 2011

Davvero una gran bella serata quella di Carpi.
Emozionante e ricca di sensazioni positive.
Visto che questo è un blog dedicato al Brit Pop, beh, ho pensato che vi avrebbe fatto piacere leggere il mio resoconto della serata.
A voi. Buona lettura. Ricky


venerdì 1 aprile 2011

Subcircus "Carousel"

Un disco magnifico.
A mio avviso una delle perle più brillanti del guitar pop britannico post bagliori brit pop.
Tranquillamente alla pari con un disco osannato come The Bends, tanto per capirsi.
Lascivo, tormentato, sensuale, stordente, ipnotico: melodie da capogiro e una voce che catturava.
E poi 86'd, che da sola meriterebbe un trattato di mille pagine.
Un disco fondamentale insomma! (1997 Echo)

When Subcircus emerged on the British pop scene in 1997 with "86'd," the band stood out from the pack not only because of its peculiar Britishness (fey, artful, prickly to the touch) but also because it incorporated a refreshing emo-charged blast of amplified emotion, thereby tapping a vein of genuine ardor rarely broached in the realm of Britpop.
It almost made the quartet sound erotic (in a sissy sort of way). And there were few songs from the latter half of the '90s as electrifying and grandiose as "86'd," a swooping, ebbing, summer-struck anthem topped by the delicious, inimitable bubblegum vocals of frontman Peter Bradley.
The song owed something to both U2 and Radiohead, while also tipping its cap to glam rock and the kind of gloriously woebegone wretches (Morrissey and Jarvis Cocker come immediately to mind) endemic to the British pop scene.
Nothing else on Carousel really challenges the unimpeachable mastery of that single, but it is nevertheless a superlative debut album that offers its fair share of noble triumphs. First and foremost, Bradley's voice transforms even the album's lesser moments into rapturous, ecstatic affairs.
He has the kind of confounding, mixed spice of a voice -- lusty, naïve, cartoonishly flamboyant, strangely sublime -- that is absolutely enveloping, the kind in which you can get lost.
But there are also songs on the album that stand out because they are simply stellar tunes: from the gentle, strummed "I Want You Like an Accident" to songs on which the band goes alien and atmospheric, like the stray guitar doodles and electronic ambience of "Las Zoot Suit" and the sublimely romantic "So Strange.
" On the latter cut, Subcircus gets as close to matching the sound and tone of Jeff Buckley's music as anyone else is likely to. Bombastic in every good way, Carousel has an opulent sense of whimsy, a fairy tale charm.
It is mesmeric and drunk with its own dreaminess. The best songs easily make up for the few defects, and are strong enough to make the album one of the most interesting first efforts to come out of London at the end of the decade. (Stanton Swihart -

- Shelley's on the Telephone
- 86'd
- 20th Century Bitch
- U Love U
- Storm Fly Baby
- I Want You Like an Accident
- Las Zoot Suit
- Gravity Girl and Analog
- Article 11 (Early Departure)
- So Strange
- Kill This Distraction, Kill Your Reaction