martedì 31 maggio 2011
Mi piace molto questo disco. Trasuda rock'n'roll. Un pò di glam, un pò di punk, punti di riferimernto canonici come Stooges, NY Dolls e Ramones e il divertimento è garantito.
Più sporchi e meno modaioli degli Strokes hanno avuto il loro buon momento di gloria. Questo era il loro esordio! (2003 EMI/capitol)
- I Live for Speed
- Which of the Two of Us Is Gonna Burn This House Down?
- I Don't Wanna Be Crazy Anymore
- Stay Away From Me
- I'll Get Her Back
- Science Fiction/Science Fact
- If We Can't Be Lovers
- In Love Again
- Crime of the Century
- Stain Glass Shoes
- The Party
THE STAR SPANGLES
domenica 29 maggio 2011
Fred Cornog. Cos' altro ci sarebbe da aggiungere?
Ecco la mia intervista via mail realzzata con uno degli artisti che più stimo nel mondo musicale. Una persona da rispettare e da apprezzare. Una persona unica.
INTERVISTA EAST RIVER PIPE
Filavano dritti e decisi questi Vatican DC. Peccato che siano finiti dritti dritti nel dimenticatoio. (2007 Red Flag)
- Side To Side
- Keep On Cutting
- She Takes Me Out
- Not Your Fault
- Danger To Myself
- End Is At The Beginning
mercoledì 25 maggio 2011
Adorabili Popguns. Pistole che sparavano proiettili guitar pop che ti colpivano dritto al cuore.
Forse quresto best of copre un periodo di tempo un pò troppo limitato del gruppo, ma averne di Best Of così, dai!
Freschi, immediati, solari e avvincenti. Successo zero.
Meno male che la Cherry Red non dimentica. (1996 Cherry Red)
- Because He Wanted To
- Waiting For The Winter
- Every Dream
- Someone You Love
- Still A World Away
- Put Me Through It
- Can't Ignore The Train
- You Must Never Know
- Down On Your Knees
- Leave It Alone
- Don't Smile
- Living In Sin
- Bye Bye Baby
- Send Me Shame
- Going Under
sabato 21 maggio 2011
Passato remoto del pop e della Creation, con questa compilation che metteva in mostra i primissimi gioielli! (1984 Creation)
Pastels – Something Going On
The Loft – Winter
Biff Bang Pow! – There Must Be A Better Life
Revolving Paint Dream – In The Afternoon
The Legend! – Melt The Guns
The X-Men – Talk
Pastels – Stay With Me Till Morning
Jasmine Minks – Think!
Ep diviso in due parti che ci mostra gli Embrace in versione live, nello splendore del periodo del loro primo disco.
Le prime tre canzoni erano contenute nella parte 1, che si trovava in vendita, comunque in limited edition, mentre la seconda parte (le ultime tre canzoni) era ordinabile solo al gruppo.
Tutte e sei le canzoni sono state registrate il 19 ottobre 1997. (1999 Hut)
- My Weakness Is None of Your Business
- Higher Sights
- All You Good Good People
- That's All Changed Forever
- You've Got to Say Yes
venerdì 20 maggio 2011
Continua la mia serie di interviste per il sito di Radio Popolare Verona e per il portale Indie-Rock.
Questa volta, dopo un gruppo "storico" come i Puressence, tocca a un gruppo piuttosto nuovo e decisamente rock, i Twin Atlantic.
Da poco è uscito il loro disco 'Free', ricco di melodie trascinanti e chitarre belle soniche.
Amo il gruppo fin dal loro Ep 'Vivarium', quindi l'intervista era quasi d'obbligo!
A voi...e buona lettura!
INTERVISTA TWIN ATLANTIC
martedì 17 maggio 2011
Con molto piacere vi segnalo la mia intervista ai Puressence, che trovate pubblicata sul portale Indie-Rock.it
Non sto neanche a dirvi quanto sono felice ed emozionato!
Ps...un ringraziamento speciale a Nicola Perina e lui sa perchè!
lunedì 16 maggio 2011
Inglesi che si travestono da americani. E ci provano a metterci dentro tutto il cuore e la passione per essere a stelle e strisce, ma sempre copie sono.
Che ci sia Noel a fare da supervisore al tutto non aggiunge nulla.
Onesto disco di rock blues che profuma di "Oltre Oceano", con tutti i riferimenti e i nomi tutelari del caso. Trascurabile. (2001 Sour Mash)
It's a tradition that dates back to the early heyday of rock & roll: Brits playing rough-and-ready American rhythm & blues. The Same Old Blues, the debut from UK four piece Proud Mary, proudly lives up to this tradition.
Combining the street-fighting spirit of vintage Rolling Stones (there's even a cover of "Salt of the Earth" from their classic Beggar's Banquet) with the down-to-earth roughness of the Faces, Proud Mary champion the sound of the American South (their name is after all taken from the classic Creedence Clearwater Revival song).
Their retro sound is enhanced by the use of acoustic guitar, harmonica, Hammond organ and piano on songs like "Give A Little Love", "Very Best Friend" and the album highlights "Don't It All Look Ugly" and "Somewhere Down The Line".
Throughout, Noel Gallagher's production is kept basic, leaving enough roughness around the edges to give The Same Old Blues an appropriately vintage sound. It may not be the most original album but at least Proud Mary do their influences proud. (Robert Burrow - http://www.amazon.co.uk)
- Give A Little Love
- Very Best Friend
- Don't It All Look Ugly
- All Good Things
- Somewhere Down The Line
- Time On Our Hands
- Just For You
- Salt Of The Earth
- Same Old Blues
Faccio fatica a parlare bene di dischi così. Non discuto sull'impegno e l'onesta morale del buon Alex, ma un disco di folk così proprio non mi dice nulla.
Ma è colpa del genere, che io trovo francamente inutile.
Disco fatto come sempre con il cuore in mano, con canzoni semplici e dirette, ma che francamente non ascolterò mai dall'inizio alla fine. Qualche episodio sporcato di pop mi risulta anche simpatico, per il resto è una nenia che non è nelle mie corde. (2006 Lost Cat Records)
Alex Lowe spent time as the front man for Hurricane#1 - he complains that he didn’t have chance to do what he loves in the band, country. You ask yourself, why not? Why he couldn’t do what he wanted to do? Too busy chasing fame maybe. Now he professes a love of Bob Dylan and Wilco and released this record as a kind of homage to both.
The results aren’t bad, the songs are acoustic and in thrall to his major influence, King Bob, and as such deal with big issues like war, love and justice.
‘Big Guns’ is about the bloody Somme but I‘m not sure what it adds to the history; perhaps a meditation on more contemporary horrors would have more impact. Time and again he tries to locate himself in the Greenwich Village of the 1960’s; ‘Hey’ is a pretty song where he takes on Dylan’s vocal ticks when he would be better trying for Rod Stewart. Song after song follow the acoustic troubadour formula and neither his writing nor his voice are enough to raise it above the ordinary, where the sound is fuller on ‘Burns Me’ – a slowed down early REM – or ‘Rise Up All You Mothers’, things get much more interesting and he really should concentrate on working with a band. I can’t help but think that career in folk-pop would serve him better than the itinerant folk performer role that he’s attempting at present. (David Cowling - http://www.americana-uk.com)
- Heathen Mother
- Yellow Painted Buses
- Rise Up All You Mothers
- Big Guns
- Jail And Stripes
- Round In Circles
- Leave It All Behind
- Unity, Freedom, Slashing
- Fields Where My Fathers All Dwelled
- Burns Me
venerdì 13 maggio 2011
Cambiavano decisamente registro gli Witness con il secondo disco. Un lavoro molo più clado, solare, accogliente. Con i REM a fare da faro guida. Un disco che merita attenzione e grande rispetto. (2001 Island)
Under a Sun sounds suspiciously like the beginning of something marvellous. Were the casual listener unaware of Witness's history, they would assume that its five members were floppy-fringed, suede-jacketed college kids from somewhere on America's West Coast who'd grown up listening to Dream Syndicate, the Long Ryders, Uncle Tupelo, R.E.M. and their parents' Byrds records.
It is both a shock and a supreme testament to Witness's determination and talent for self-invention to discover that they hail, in fact, from Wigan. Under a Sun, Witness's second album, is everything their proverbially drab hometown is not: radiant, warm, charming and powerfully upbeat.
This is a record unafraid of wearing its enormous throbbing heart on its sleeve, the arrangements aiming for a majesty comparable with R.E.M.'s Document or U2's The Unforgettable Fire, and getting fairly close on a commendable number of occasions. (Andrew Mueller - http://www.amazon.co.uk)
For much-touted Next Big Things, Witness' 1999 debut album 'Before The Calm' was a bleak work lacking in tunes. Relocating to Bristol, and bringing in ex-Strangelove multi-instrumentalist Julian Pransky-Poole has, however, transformed them.
Witness may still trade in (faintly) countrified indie-rock but 'Under A Sun' reveals a band capable of writing pithy pop songs.
A band who don't moulder, but smoulder before exploding into insistent choruses which, despite misgivings you might have about such radio-friendly guitar rock, ultimately win you over. A band who've discovered something of The Verve's slide-guitar swagger.
Granted, it's old men's music.
But, where Stereophonics' Kelly Jones seems intent on paring everything down to absolute basics, Witness are weaving ornate tapestries.
The subtle complexity and warmly wistful tone of 'Closing Up' isn't a million miles from Elbow's 'Scattered Black And Whites', while 'My Time Alone' is the best single REM never wrote; chords crashing and splashing in a melancholic Californian sun.
Although it takes too long to get going and is not without its dodgy moments ('Mines'' almost pastiche country tinges, or slight should-be-B-side 'Warning', for instance), 'Under The Sun' has an honesty, depth and a winning Big Music communality that could weedle its way into Britain's affections. (Tony Naylor - http://www.nme.com/)
Witness can already lay claim to having a place in my heart thanks to the plaintive complexity, emotional depths and honesty found within 'Before The Calm', the debut. The follow up just increases the love affair.
I cannot justify the wonder of music this good. My words will only hack a rough tomb to what is a true masterpiece.
The nervous ball of excitement at just how good this is, is tearing it's way through my veins, this album is my intravenous drip.
It's an album of delicate subtlety, which over the course of several listens has tightened it's grip round my throat and is showing no signs of letting go.
The stand out track was to be 'You Are All My Own Invention', but to say one track truly stands out from the rest is derogatory to the others.
The album oozes warmth and emotion, 'Avalanche', 'My Boat', 'Pushchair', the title track 'Under A Sun' the list is simply endless. Each song merely confirming the greatness that precedes it.
Musically, Witness would nestle somewhere between 'Starsailor' and 'The Charlatans'. Although comparison is unfair as Witness are occupying a time and space all of their own creation.
By definition Witness are the guitar band that never made it. Too small in the cavernous aftermath of 'Travis' and 'Stereophonics' and too early for the chart acceptance of 'Coldplay'.
Witness, however have remained true to their cause and in 'Under A Sun' have created something truly flawless. (Neil Leeds - http://drownedinsound.com/)
- Here's One For You
- You Are All My Own Invention
- Dividing Line
- Under A Sun
- Till The Morning
- Closing Up
- My Time Alone
- Warning Song
- So Here Be Well Again
- My Boat
Poco da dire. In ginocchio. Non aggiungo altro. (2003 Sanctuary)
Around the time of their debut, Lowgold were being touted as "the new Coldplay". Then, as Chris Martin's bunch went inexplicably stratospheric, singer/songwriter Darren Lee Ford and band disappeared without trace—until now.
Welcome To Winners lacks the killer neo-MOR hooks of the first album, instead building momentum with the slo-mo ache of "Quiet Times" and "Means To An End". The air of weary melancholy is sometimes a little overbearing, but Ford's smooth, perfectly poised tone eventually proves irresistible.
Elliott Smith associate Tony Lash produces, adding subtle electronic colour to "Keep Your Gun Dry" and "Clear The Skies". (http://www.uncut.co.uk/)
Lowgold have to be one of the unluckiest British bands of the past five years. When the likeable pop rock band signed to Nude Records in 1999, commercial success seemed inevitable.
Their first album, Just Backwards of Square, though a bit plain at times, was nonetheless an assured, catchy little record, an easygoing blend of Big Star style pop touches with the unassuming indie rock quality of Sebadoh, a record that would have fit perfectly between other young bands that were garnering attention at the time, like Travis and Coldplay.
Unfortunately for the band, their new label was beset by financial difficulties (eventually leaving the band £60,000 in debt), and the release of the album was postponed for an extended period. When the debut finally hit stores, it was practically ignored by listeners. It was especially tragic, considering how great two of the album's singles were.
The stunning "Mercury" and the ballad "Beauty Dies Young" were every bit as great as Travis's "Why Does It Always Rain on Me?" and Coldplay's "Yellow", but they simply didn't catch on with the public.
Such a run of bad fortune would break the spirits of anyone, but much to their credit, Lowgold have soldiered on, working day jobs to pay off their debt, playing gigs, building a reputation as one of the better live rock acts in the UK, and now they've returned with their first new album in four long years.
Released by Sanctuary Records this time around, Welcome to Winners, incredibly, sounds like Lowgold have barely skipped a beat in the time between albums, as they build on the promise of the debut, serving up a confident, introspective piece of work.
Singer/guitarist Darren Ford says it all in the first verse of the album's opening track, "Quiet Times", singing in that warm, soulful voice of his, "It's the quiet times that get you/ If you let them creep in... Ain't that the truth." Heaven knows these boys have had enough time so sit and reflect.
The rest of the album continues in the same vein, rarely wavering from the gentle, unpretentious Brit rock Lowgold do so well. "We Don't Have Much Time" is tailor-made for anyone who misses the Travis of four years ago (before they went and got all adult contemporary on us), while the rough-edged "Clear the Skies" does what every Nickelback clone keeps failing to accomplish: create a song loaded with distorted guitars that actually possesses a memorable melody.
Meanwhile, "Save Yourself", with Ford's hushed, lower register vocals, greatly resembles the gentle acoustic pop of Badly Drawn Boy.
A trio of very pretty ballads, "Let Me Into Yours", "Means to an End", and especially "Famous Last Words", stand out the most; they're rather blatant with the whole Coldplay/U2 schtick, but they're all done very well, with complete sincerity, and will appeal to anyone who gave in to recent Coldplay singles as "In My Place" and "The Scientist".
When Lowgold do manage to turn up the volume a bit, it's especially refreshing, as songs like the soaring, upbeat "The Same Way" and "Just a Ride" have the band returning to their Sebadoh and Low influences.
If there's a down side to Welcome to Winners, it would be the lack of a couple of real knockout singles, and the album does get a bit repetitive near the end. It doesn't help that lugubrious, maudlin ballads like "Keep Your Gun Dry" and "Fade Down" grind things to a halt.
Sensitive is okay; it's when a band gets unbearably sensitive that bores a listener to tears, and those two songs dampen the mood considerably.
However, it's so great to have Lowgold back making good music, that those minor mis-steps are forgivable. Welcome to Winners isn't a great album, but it's a nice one, one that at the very least deserves more attention than it's been getting.
There are plenty of people who would like this album; seeing that Travis has lost the plot for the time being, and we won't be getting a new Coldplay album until probably 2005, fans of either band should do themselves, and this hard working band, a favor, and give this CD a listen. (Adrien Begrand - http://www.popmatters.com/)
- Quiet Times
- We Don't Have Much Time
- The Same Way
- Let Me Into Yours
- Means To An End
- Just A Ride
- Keep Your Gun Dry
- Famous Last Words
- Clear The Skies
- Fade Down
- Save Yourself
sabato 7 maggio 2011
Devo dire che sono proprio felice di poter avere questa "esclusiva", chiamiamola così.
In realtà devo ringraziare Angelo e Gary per essere così gentili e sopratutto per darmi il permesso e la possibilità di avere questi pezzi e di poterli mettere sul blog.
Mi è già capitato alte volte di lamentarmi sul fatto che molti gruppi non riescano ad avere il sucesso o l'attenzione che avrebbero meritato.
Beh, è stato il caso dei Lick, che forti di un pugno di singoli magnifici non riuscirono mai a vedere il loro album pubblicato.
Dopo i Lick però Gary Cosby e Simon Moore, che appunto dei Lick erano rispettivamente voce e chitarra, formarono un nuovo gruppo, i Cosby. Anche per loro tanti sogni che sono rimasti nel cassetto, così come un album che non ha mai visto la luce.
I due pezzi che posto oggi sul blog sono due rare perle inedite di questo gruppo e il mio consiglio, come meritano tutte le cose preziose, è di custodire con cura e amore queste due canzoni, splendidi esempi di quello che poteva essere il disco dei Cosby (che spero di poter pubblicare presto sul blog)!
Capacità melodica altissima e incantevoli riverberi post Suede...i Cosby avevano le carte in regola per farci sognare!
- London Tonight
- Chewing Gum
COSBY - LONDON TONIGHT
COSBY - CHEWING GUM
martedì 3 maggio 2011
Non più canzoni esplosive in questo secondo disco per gli Easyworld, ma direi una buona capacità riflessiva, con i tempi che rallentano e le canzoni che si fanno più malinconiche e struggenti.
Si fa ascoltare sempre con grande piacere.
Ultimo lavro per i lgruppo, poi David Ford inizierà una carriera solista a base di scontatezze di una noia mortale (2004 Sony)
There's obviously still an audience for Easyworld's Ben Folds-meets-Radiohead melancholia but, sadly, this territory is already overcrowded—Placebo, Subcircus (remember them?), JJ72, even (at a pinch) Muse have all ploughed a not dissimilar furrow. On the plus side, Easyworld have David "Faultline" Kosten at the controls.
Kosten, whose own album corralled Michael Stipe, Wayne Coyne and Chris Martin (on two songs that easily better the half-arsed bland-out of A Rush Of Blood To The Head), has a reputation for working with proper singers, and the appeal of Dav Ford's lightly crumpled falsetto is obvious.
Fragile, etherised songs like "You Have Been Here" work best—here the pervading (and, it must be said, predictable) sense of disquiet is beguiling rather than overplayed. Elsewhere, unfortunately, Ford's undoubted songwriting ability gets a little lost in the general tastefulness. Perhaps this kind of thing has become the new MOR. (http://www.uncut.co.uk/)
Easyworld's 2002 debut dealt in fraught pyrotechnics similar to those of Muse and JJ72, but the band have stepped away from stadium angst and on Kill the Last Romantic they deliver a far less bombastic set. Discarding their big guitars, they've purposefully (and thankfully) sought more imaginative backings for singer/writer Dav Ford's striking voice.
Though the maudlin piano of the opening title track has you thinking you're in for another of today's festivals of self-pity, Easyworld immediately change tack with the chirpy rock of "2nd Amendment", enlivened by light-hearted harmonica and a juddering keyboard recalling "Blinded By the Light".
As Ford examines and questions the death of youthful hopes, life in a grey world and the end of several affairs, the music moves impressively through styles and moods. "'Til the Day" features big and beautiful orchestrations, while "A Lot of Miles from Home", seemingly a discreet drug song, is driven on by slow, distorted guitar and cleverly arranged handclaps.
"Celebritykiller", on the other hand, is a crazy collision of filthy riffing and sweet vocals, while "All I Can Remember" is deep electric folk, reminiscent of Neil Young live. Evidently Easyworld have matured and worked hard to prove it. There is surely more to come. (Dominic Wills - http://www.amazon.co.uk/)
- Kill the Last Romantic
- 2nd Amndment
- Til the Day See All 4
- A Lot of Miles From Home
- All I Can Remember
- When You Come Back I Wont Be Here
- Saddest Song
- You Have Been Here
Il più sofferto e il più personale album dei Lowgold e, lo dico ocn un pò di amarezza, anche il meno bello.
Rimaniamo su un livello qualitativo alto, ma paragonato agli altri due dischi, questo lavoro dimostra segni di cedimento con canzoni un pò monocordi e non così felicemente ispirate.
A tutt'oggi l'ultimo lavoro del gruppo. (2008 Goldhawk)
- Burning Embers
- Just Like Skin
- Don't Let Love In
- When The Song Is Over
- Dead Sea
- Nothing Stays The Same
- Farmer's Tale
- Hope & Reason