mercoledì 30 marzo 2011

Warm Jets "Future Signs"



Mi piacevano i ragazzi. Suono alternativo, che entrava in circolo a poco a poco. Alcuni pezzi decisamente riusciti, che prendevano delle buone melodie che venivano sporcavate con gusto.
Niente per cui strapparsi i vestiti. Ma sicuramente un tentavo apprezzabile di uscire dal classico guitar pop. (1998 Island)


This debut from London-based four-piece The Warm Jets achieved the rare musical feat of living up to the hype generated by their fantastic 1998 single, "Hurricane". Mixing elements of pure pop song writing along with post-rock lo-fi noodlings, comparisons to Pavement are obvious; but The Warm Jets still manage to carve out a unique niche all of their own.
The title track, "Future Signs", is as catchy and polished as the fabulous "Hurricane", and another highlight, "Autopia", is a triumph of understated musicianship while simultaneously being as close to pop perfection as you can find. (Amber Cowan - http://www.amazon.co.uk/)

Coming from one of the more unfortunately overlooked British bands, Warm Jets' debut album, Future Signs, is an impressive disc of post-alternative rock. Since the demise of Brit-pop, most British bands have become decreasingly commercial, and while Warm Jets are no exception, they manage to combine the best of Brit-pop with the best of post-rock.
The songs aren't overproduced and the sound is a bit lazy (think of a young, British Pavement), but the pop appeal is definitely present, especially in the stellar singles "Hurricane," "Autopia" and the title track. There is only a minimal amount of filler, and the understated musicianship presented creates a truly unique sound for this debut LP.
Future Signs is a very assured debut and the work of a band who is poised to create some very memorable music. (Jason Damas - http://www.allmusic.com/)

- Move Away
- Never Never
- Hurricane
- Vapour Trails
- Future Signs
- Romero
- Autopia
- Maestro
- Rad Drag
- Meteorites
- Silver Surfer
- Liverpool Street


WARM JETS

Candidate "Tiger Flies"



Forse il mio disco preferito per questa onestissima formazione di pop folk (che comunque catalogare così è anche riduttivo!). (2001 Snowstorm)

- Avalanche
- Talk About Troubles
- Light Through Stones
- Hawaiian Police
- Honey
- Cactus Jack
- Burn Low
- Hangman's Waltz
- Head To Toe In White
- Hole
- The Wreck Of The Breeze
- Medicine Ball
- This Is The Way
- Last Days Of The War


CANDIDATE

Candidate "Under The Skylon"



Continuo con il postare le meraviglie sonore degli ottimi Candidate, un grupp oche va decisamente riscoperto! (2005 Snowstorm)

Candidate’s fourth album, ‘Under The Skylon’, following on from 2002’s pretty and considered ‘Nuada’, sees the band in a reflective mood.
That is to say, they’re always in a reflective mood, but this time around what’s being reflected is their musical heritage. Harking back to various times in the recent past of popular music, it is engaging and, although seemingly distant at first, it rewards repeated listening.
Opener ‘Going Outside’ could have been an offcut from 'The Wicker Man'-influenced ‘Nuada’, but to call it that would be to do it an injustice.
The song that follows it, ‘Garden’, is as much like a Smiths/Bert Jansch crossover as is possible to imagine, containing all the melodic sensibilities of Morrissey at his best along with a wise folk sensibility.
The sleevenotes helpfully point out that the Skylon of the title “was a complex skyscraping structure painstakingly built on London’s South Bank as part of the Festival of Britain in 1951.
It was demolished soon after, leaving no evidence of its existence except photographs.” It seems to be connected to the idea of futures and pasts, and what could have been.
The album often harks back to its influences, but they’re always twisted in some way – such as on ‘Nothing Between Us But Sky’ – which sounds like a folk tune performed by Mike and The Mechanics (in a good way, though, honestly).
‘Another One Down’ could be a lost piece by the Blur of a couple of years ago, but that could be just clutching at straws.
Nevertheless, it’s the most electronic-sounding song on the album. Mostly, the influences tend to manifest themselves in the small details of the music – after a while it becomes clear that, more than just being another album in the vein of their previous records, ‘Under The Skylon’ is a trip down memory lane in more ways than one.
This is an album by a band who are in control of their music.
Although it lacks the set-piece tunes of the previous two albums, it is something that grows in enjoyment with every listen, and the nuances, which surface with familiarity, are what make it worth coming back for. (http://www.pennyblackmusic.co.uk)


- May 4th, 1951
- Going Outside
- Garden
- Moving An Oil Rig
- Nothing Between Us But Sky
- Fatal Dose
- Mountain Snow
- Falling Leaves
- A Lifetime From Now
- Another One Down
- Glass Skylon
- You Are Loved
- Lay Me On The Line



CANDIDATE

lunedì 28 marzo 2011

Il brutto e il bello....




Sono rarissimi i miei post senza musica.
Oggi capita che quello attuale non abbia un disco allegato o una segnalazione di un gruppo.
Ci tenevo solo a segnalarvi una paio di cose. Una brutta e una bella.
La notizia brutta è in realtà una specie di sfogo.
Diventa sempre più difficile gestire il blog. Ormai ogni giorno apro la mia paginetta e mi trovo fantomatiche segnalazioni di 1 associazione tal dei tali che mi intima di togliere questo o quel disco, pena la chiusura del blog.
Il bello è che mi mettono tutta la pagina in Bozze e sono costretto a toglierla. Ecco quindi il perchè a volte delle pagine "scompaiono" o dei dischi risultano essere assenti.
I post aumentano, i dischi pure. A me piace andare avanti e il mio scopo è mettere su più cose possibili, però se devo continuamente fermarmi per ripostare cose già messe, beh, la cosa si fa pesante.
Io non mollo, ci mancherebbe altro. Ma vi chiedo pazienza e comprensione nel caso vedeste pochi post nuovi.
Mi sarebbe piaciuto fare questo blog con grande tranquillità e scioltezza come all'inizio, in realtà mi vedo sempre in trincea....ma vado avanti, almeno fino a che mi lasciano farlo!
Passiamo alla cosa bella.
Il mio programma Melting Pop, dopo tanti anni di trasmissioni serali passa al pomeriggio. Sempre al giovedì, alle ore 15.35.
Lo potete ascoltare in streaming qui: RADIO POPOLARE VERONA
Nuovo sito, molto più curato graficamente e streaming decisamente migliorato! Vale la pena farci un giro.
Il menù di Melting Pop non cambia, tanto indie e tante novità discografiche e quando ho tempo anche un pò di perle del periodo Brit Pop. Dai, attendo i vostri commenti sul mio programma, ok?
Bene, questo è tutto!
A presto! Ricky

domenica 27 marzo 2011

Candidate "Taking on the Enemy's Sound"



Potremmo parlare di folk rock per qusto esordio dei Candidate, ma in realtà emergono poi così tanti riferimenti, rimandi e riferimenti che finiremmo domani per elencarli tutti.
In definitiva un bel disco. Sincero, onesto e toccante. Bravi. (2000 Snowatorm)


- The Great American Starving Band
- Load It All On Me
- Stay Outside
- Play Something
- Silver Boats
- Swim Home
- Caboose
- Somerset
- Son Of Kong
- Bird Machine


CANDIDATE

mercoledì 23 marzo 2011

Booth & Bad Angel "Booth & Bad Angel"





Un piacevole disco quello nato dalla collaborazione di tre testoline niente male: Tim Booth, Angelo Badalamenti e Bernard Butler.
Disco d'atmosfera, rarefatto, ma non per questo ostico o difficile. Si lascia ascoltare ed è decisamente ben fatto.
Ideale per i pomeriggi primaverili sul divano a sonnecchiare. (1996 Polygram)

- I Believe
- Dance Of The Bad Angels
- Hit Parade
- Fall In Love With Me
- Old Ways
- Life Gets Better
- Heart
- Rising
- Butterfly's Dream
- Stranger
- Hands In The Rain


BOOTH & BAD ANGEL

domenica 20 marzo 2011

Babylon Zoo "The Boy With the X-Ray Eyes"







Mah, che dire? Dischetto inutile? Dischetto senza pretese? Dischetto che deve tutto a un pezzo che a sua volta deve tutto a uno spot pubblicitario? Si..direi che tutte queste cose possono andare bene.
Da ascoltare e poi buttare. (1997 EMI)

I Babylon Zoo altro non sono il progetto nato dalla mente di Jas Mann, ragazzo inglese dalle chiare origini indiane.
É infatti lui che scrive tutti i testi, le musiche e si autoproduce aiutato dall’amico Steve Power. Esordisce ufficialmente sotto EMI nel 1996, con l’album The Boy With The X-Ray Eyes, aggettivo autobiografico che gli venne assegnato per il colore celeste acceso dei suoi occhi. Parteciparono anche al Festival di San Remo come ospiti internazionali, con la canzone Spaceman.
Il lavoro di Mann é un rock elettronico, ricco di significato, minimalista ed ermetico nei testi, molto ispirati al mondo ultraterreno, concetti religiosi, politiche sociali, temi mitologici e ancestrali.
Le sue origini sicuramente lo portano a sviluppare percorsi introspettivi e ad analizzare il mondo della natura e come influenza la nostra quotidianeitá, ed é una tematica che rievoca il film Jumanji che apre il full: Animal Army é un pezzo decisamente rock, stretto e diretto, condito da accurate giri di chitarra.
La canzone che ha reso famosi, o meglio, famoso, i Babylon Zoo é Spaceman, alla seconda posizione. Un intro techno da il via ad un brano che parla di tematiche sociali, richiami al fascismo e alla religione, in questo viaggio dell’uomo verso lo spazio, uomo che deve trovare nell’universo ignoto le risposte alle sue frustrazioni quotidiane.
I brani sono mixati tra loro, quindi mentre scivolano le ultime note, ecco entrare in scena Zodiac Sign, caratterizzata da un pregievole riff di chitarra che fa spalla alla predominante parte elettronica, punto di forza e costante del sound di Mass. Purtroppo peró, in pratica.il disco finisce qui.
I successivi otto brani presentano qualche buon elemento, musicalmente parlando, ma nel complesso sono una ripetizione di souni giá sentiti nel disco stesso e da altri artisti, come Queen (le prime note di Paris Green rievocano abbastanza chiaramente la celebre Bohemian Rhapsody, ad esempio) e David Bowie; inoltre le tematiche, seppur siano interessanti e ben sviluppate, sono sempre le stesse, e a volte forzate, come in Don’t Feed The Animals, dove questa é l’unica frase dell’intero breve pezzo.
Si dinstingue dalla massa solo la decima Is Your Soul For Sale?, brano al pianoforte dove il buon Jas regala un ottimo pezzo alla Elton John, ma niente, o molto poco, di rock qui.
Il progetto Babylon Zoo non é mai stato abbandonato da Mann, ma non é nemmeno mai diventato veramente popolare, se non per il singolo apripista Spaceman, brano tra l’altro coverizzato dai norvegesi The Kovenant e presente nell’ultimo Animatronic.
Nel complesso l’album é decisamente mediocre, interessanti spunti, una canzone molto buona piú tre valide, ma difficilmente lo si regge per i suoi cinquantacinque minuti complessivi.
Ulteriore nota (personalmente) negativa é il libretto assolutamente non curato, una monopagina, dove oltre ai testi manca ogni possibile citazione se non quelle strettamente legali.
Per i cultori del rock alternativo ed elettronico é anche consigliabile un ascolto, per chi non ne ha mai sentito l’esigenza, ivece, questo é un prodotto decisamente trascurabile. (Andrea Rubini - http://www.rockline.it/)



- Animal Army
- Spaceman
- Zodiac Sign
- Paris Green
- Confused Art
- Caffeine
- The Boy With The X-Ray Eyes
- Don't Feed The Animals
- Fire Guided Light
- Is Your Soul For Sale?
- I'm Cracking Up I Need A Pill


BABYLON ZOO

giovedì 17 marzo 2011

Puressence "B Sides & Rare Tracks"



Stamattina ho fatto una magnifica scoperta.
Il 21 aprile uscirà il nuovo disco dei Puressence. Ci sarà uno show di presentazione a Manchester dove sarà venduto anche il disco, poi, mi auguro inizierà la vendita presso i soliti canali.
Notizia fantastica comunque.
Ecco che per celebrare questo gruppo fondamentale posto questa valangata di rarità e b-sides. In ginocchio, come sempre!

- Siamese
- Scapa Flow
- Telekinesis
- Suck The Knife
- Polystyrene Snow
- Petrol Skin
- Offshore
- None Handed
- Mist
- Let It All Go
- Free Fall
- All Star
- Gutter Girl
- Let Down
- Different Sand
- Sick Of Waiting
- Hal The Way You Were
- Fifteen Years
- All I Want (acoustic)
- Think Of The Times
- Walk On By
- Northern Framing Company
- London In The Rain
- Another Day, Another Nicht
- Take a Ride
- The Drone
- Deathtrap
- Analgesic Love Song
- Black Snow
- My Eyes Are Streaming
- Along The Shore


PURESSENCE

martedì 15 marzo 2011

Animals That Swim "Faded Glamour (Best Of)"








Se il mio blog ha un motivo di esistere, beh, è pre gruppi così. Che meritano di non scomparire dalla memoria collettiva.
Grande talento, classe, misura e capacità indie pop, gli Animals That Swim vengono celebrati con questa doppia raccolta dei loro pezzi migliori. Da ascoltare con le lacrime agli occhi! (2004 Snowstorm)

This London-based quintet, all crumpled Oxfam shop suits and NHS specs, appeared out of time among Britpop's cocky glare. Unfortunately their yearning, hyper-literate twilight pop (Leonard Cohen romanticism multiplied by The Teardrop Explodes) only compounded their isolation.
Yet in those pre-Parklife days, Animals That Swim's intelligent barfly persona, particularly the bizarre imaginary tale of Roy Orbison on "Roy" and the doleful "King Beer", made them a haven from gormless grunge.
The 1996 single "Faded Glamour" got them some radio play, but 2001's Happiness From A Distant Star effectively sank. This judiciously selected collection highlights their ennui-soaked glory perfectly. (http://www.uncut.co.uk/)

It shocked me to learn that Animals That Swim have been around for nearly 15 years. It seems like yesterday that I hurried home with my pristine vinyl copy of their debut LP, 'Workshy', but it was in fact 1993!
I have followed the band’s progress ever since and also rooted out their early singles (even parting with £15 for a copy of the excellent 'King Beer') to ensure my collection was complete.
Thankfully for the unenlightened, all the best tracks are gathered together on this CD, so there is no need to trawl obscure second hand shops or surf the internet to find the bands' records.
This collection kicks off with two of the bands most accessible (and “successful”) singles, the simply superb 'Faded Glamour'and the equally impressive 'Pink Carnations'. Both highlight the band’s fine ability to turn observational poetry into memorable songs.
Tracks are culled from all three of the band’s albums and while 'Workshy 'was the highlight, the other two LPs certainly had their moments and the quality of this compilation does not slip as a result. Indeed 'All Your Stars Are Out'and the closing track, '7 Days', (both from 2001’s 'Happiness From A Distant Star') are the equal of anything else the band has done.
The first two singles, the aforementioned 'King Beer', and 'Roy'” are also included and both unveil fantastic tales of drunken revelry and a chance meeting with Roy Orbison, respectively.
Musically, the band make an indie sound, punctuated by trumpet, more upbeat than the Tindersticks and not too distant from the Bitter Springs.
There is something vital about Animals That Swim. Something precious. Perhaps the fact that in 15 years they have only made 3 LPs has ensured that every one has been of the highest quality; or perhaps its the fact that they are one of the few truly indie bands of the last few years. Either way they are to be applauded and cherished in equal measures.
Trawling those second hand shops may become essential once you’ve heard this. You will not be disappointed. (Dixie Ernill - http://www.pennyblackmusic.co.uk/)



- Faded Glamour
- Pink Carnations (Single Version)
- The Longest Road
- Roy
- All Your Stars Are Out
- Dirt
- Smooth Steps
- The Moon And The Mothership
- East St. O'Neill
- Madame Yevonde
- 50 Dresses
- Mackie's Wake
- King Beer (Original Version)
- 7 Days
- Learning To Fly
- Chapel Market
- Kandy Kars
- May
- An Unbeaten Horse (Demo)
- Log City Road
- The Greenhouse (Single Version)
- Theme From Driving Home
- Oregon State Fair
- Me And Harry Dean
- Mexico (Demo)
- New Boots
- Happiness From A Distant Star (Version)
- Weary Mind


ANIMALS THAT SWIM

sabato 12 marzo 2011

Alex Lowe "Boys United Never Die Young "



Seconda prova solista del buon Alex, sempre più genuino e fragrante.
Dischi con il cuore in mano! Averne sempre di più! (2001)

I have an announcement to make: There is a third Finn brother. Tim and Neil have a younger brother. Though he does not go by the name "Finn" he is unmistakably related to the brothers from New Zealand. OK, he has a different last name, and his voice is slightly rougher, and he does not live in Australia.
Alex Lowe makes fine pop music. And with "pop music" I don't mean that Britney/Christina/N-SYNC thing my dear colleague Nathalie seems to adore since a couple of weeks - no, I mean mature quality pop.
And I don't mean the alternative pop or rock in a Motorpsycho or Mercury Rev kinda way my dear colleagues Bas and Omar seem to like, because Alex Lowe is as pop as can be. What else is there to say? Which bands Lowe played in? Why bother? With a pop record as fine as this one (The tune is right, the chorus easy, but not too easy, Lowe's voice is as high or low as the song deserves, the lyrics are good, and the Hammond and piano are in their right place.) you don't need any history or related artists. (Manuel Aalbers - http://www.kindamuzik.net/)

- Flight From Nowhere
- Between Times
- Just The Same
- Darling Boy
- Fields (Come Along)
- All My Life
- So It Is Time
- New Beginning Ends
- Now I Know It's Right
- It's Understood
- Untitled

ALEX LOWE

Cable "When Animals Attack"








Mi è arrivata questa gradita richiesta. E io rispondo presente.
Confesso che non avevo pensato a loro per il mio blog.
Suoni decisamente tosti, sulla scia di gente come Fugazi. Grande potenza, abrasività e idee chiare, quindi li inserisco volentieri. Anche perchè comunque le linee melodiche non mancano in questo disco, oltre a dei pezzi veramente trascinanti! (1997 Infectious)

- Souvenir
- Bluebirds Are Blue
- Signature Tune
- Freeze The Atlantic
- Ultra Violet
- I'm Always Right
- The Colder Climate
- Whisper Firing Line
- God Gave Me Gravity
- From Here You Can See Yourself
- Do The Tube

CABLE

giovedì 10 marzo 2011

Arnold "Hillside"








Quano ci aveva visto giusto il buon Alan Mc Gee. Gli Arnold erano magnifici ed adorabili.
Tantissime idee nel loro disco e spunti disparati che rimandavano tanto ai Radiohead, quanto ai Teenage Fanclub, ma anche alla sperimentazione, alla psichedelia, a suoni più americani a base di folk....insomma un disco ricchissimo di emozioni.
Magnifico! (1998 Creation Records)

- Fleas Don't Fly
- Ira Jones Goes To The Country
- Hillside
- Fishsounds
- Country Biscuit
- Windsor Park
- Curio
- Rabbit
- Goodbye Grey
- Face
- Rubber Duck
- Mickey's Mother
- Moroccan Roll
- Catherine Day


ARNOLD

Republica "Speed Ballads"





La sola domanda che possiamo farci, ascoltando i Republica è questa? Qual'è il motivo per cui dovremo ricordarci di questo gruppo, se escludiamo la cantante? Nessuno.
Dio che insipidi.
Però lei magnifica.
E visto che al limite non c'è fine...pare che si siano pure riformati.
Poveri noi! (1998 Deconstruction)

- From Rush Hour With Love
- Fading Of The Man
- Try Everything
- Luxury Cage
- Faster Faster
- Nothing's Feeling New
- Millennium
- Pretty Girl Hate
- Kung Fu Movies
- Pub Pusher


REPUBLICA

sabato 5 marzo 2011

Alex Lowe "Dreamcatcher"



Mi commuovo di fronte a dischi simili. Sinceri, onesti, senza pretese, anche con arrangiamenti che a volte ti viene quasi da sorridere su quanto possono essere banali o scontati, ma genuini. E noi diciamo va bene così
In questo caso stiamo parlando dell'esordio solista di Alex Lowe, ex voce degli Hurricane#1, che si getta anima e corpo nel suo pop rock e lo fa in modo tutto sommato convincente! (2000 Japan Import)

- I'll be on my way
- Across the waves
- Speak the truth
- Think of you that way
- Coming down
- Take me back
- Sleepless standing in the rain
- I do believe
- Go and tell the world
- Your love
- Hey bulldog


ALEX LOWE

60Ft Dolls "Joya Magica"







Ed eccolo qui il secondo disco dei cari 60ft Dolls, disco che in pratica segnò anche la loro fine. Non ebbe una buona distribuzione e la promozione fu altrettanto poco efficace e così passo in secondo piano questa onoesta produzione che forse meritava più fortuna.
Rallentano un pò il ritmo i tre ragazzi e inseriscono anche chitarre acustiche e passaggi più morbidi rispetto alla furia pop punk dell'esordio, ma il tutto non disturba, anzi, ce li mostra più maturi e attenti alle sfumature.
Insomma, un buon disco che meritava di più! (1998 Indolent)

Aah. Those were the days.
Slap bang in the middle of Britpop, the mere sniff of a guitar had the kids pogoing madly and hoping that, just maybe, Newport nutters 60ft Dolls would be the ones to make the world understand.
Naturally they didn't. Even by the time they finished this second album early last year, times had changed but the band hadn't changed with them. Mad drummer Carl Bevan's tales of all-night partying and amyl nitrate weren't quite so hilarious and the double force of frontmen Mike Cole and Richard Parfitt couldn't muster the youthfully irreverent power of a couple of years earlier.
And it's taken until now to find someone to release 'Joya Magica' and the band have already split up.
So in every way possible, this record doesn't matter.
It's a harmless enough blast from the past, with a brief reminder of arguably better times stirred up in typical rousing single 'Alison's Room'. But if you really want to listen to 60ft Dolls again, hunt down their first album, 'The Big 3'.
This is sadly only a pointless and very definite end to an unspectacular but enjoyable career. Everyone -; including the band -; have already moved on. (http://www.nme.com/)

- Alison's Room
- Let It Show
- Baby Says Yeah
- Biggest Kick
- Summer's Gone
- Silver Screen
- Back To The Summer
- Killer Inside
- Cars Bars And Movie Stars
- I Want You
- Pretty Little Thing
- Spanish

60FT DOLLS

venerdì 4 marzo 2011

The Cooper Temple Clause "Kick Up the Fire, And Let the Flames Break Loose"



Secondo disco più dhe convincente per questa formazione. Sembrava davvero filare tutto per il meglio...idee chiarissime e spunti magnifici! (2003 BMG)

Ecco una di quelle band di cui da noi si parla davvero troppo poco e che in Inghilterra invece fanno parte della ristretta cerchia di gruppi che svettano in classifica e sfilano sulle copertine dei magazine specializzati.
Per i The Cooper Temple Clause non è però non si tratta di una casualità trovarsi sulla bocca dei media e dei fans inglesi, questi ragazzi di Reading (esatto la città del festival) di talento ne hanno da vendere e con questo loro secondo disco dimostrano di aver affinato le loro caratteristiche compositive ed espressive.
Le canzoni di “Kick Up The Fire And Let The Flames Break Loose” sono un incrocio intelligente di personalità e creatività che prende spunto dalle cantine underground indie-rock associato ad una intensa vena rumorosa che ai Muse farebbe invidia il tutto condito da un’eclettismo che così limpido e chiaro è inferiore solo ai Clinic.
Troppo bello per essere vero? No, questo è un disco che ha testosterone da vendere per come è vigoroso (“Promises Promises”), voglia di andare oltre il canone indie grazie ad attraversamenti notturni in un rock capace di lavorare su immagini offuscate e compresse (“New Toy”, “Music Box”) e capacità di scrivere canzoni pop mai melense o troppo ammiccanti ad un mercato saturo di band tutte uguali.
I T.C.T.C. con questo loro secondo disco fanno sentire forte la loro voce che è in grado di arrivare forte e chiara, basta avere voglia di ascoltarla con attenzione.
Il gruppo inglese, lasciatisi alle spalle i paragoni vocali con Liam Gallagher degli Oasis (qui non ce n’è traccia) ed aver affinato l’utilizzo dell’elettronica (come nel trip-soul-rock di “Into My Arms”), minaccia di divenire davvero un gruppo di punta dell’intera scena UK; non capita a tutti di entrare al 5° posto in classifica e di avere un tour completamente sold out, o meglio capita a chi quei numeri li vale.
Questo è uno di quei casi in cui bisogna arrivare prima degli altri, per dire, quando questa band esploderà anche dalle nostre parti: ah ma li ha conosciuti solo ora?... il consiglio è di cercare in rete “Music Box” (un capolavoro di genialità) o qualsiasi altro brano di questo album, assicuro che sarà amore a prima vista.
Quasi perfetti. (Jarno - http://www.newsic.it/)

Is it true that all Britpop bands sound like either Radiohead or Oasis? Are all UK artists doomed to repeat history -- reproducing and re-releasing recycled versions of OK Computer and What's the Story Morning Glory? Well, if the Cooper Temple Clause's second full-length album, Kick Up the Fire, and Let the Flames Break Loose, is the evidence submitted, then, yes.
These Reading natives channel both landmark Brit bands -- but also invoke a host of other worthy influences. While the Cooper Temple Clause may have serious ties to the mother country, the band succeeds in moving within and beyond its preordained genre of alt rock.
The six members of the band are all self-proclaimed outcasts, getting together in high school and forming a band basically because there was nothing else to do in Hertfordshire.
The band released two EPs in 2000 and, after landing a deal with RCA, released their full-length debut, See This Through and Leave in 2001. The band members freely admit that they don't play their instruments particularly well, and according to their bio are "bad musicians who just get a sound out". Apparently, a fresher sound results from this lack of musical chops.
That's debatable. It's possible for a bunch of guys to produce their own, unique sound simply because they don't know how to play other peoples' music. Case in point: U2.
When those kids were 18, they couldn't play anyone else's music so they created some crazy and totally original punk/soul hybrid. On the other side of the spectrum, your band may come up short in the mechanical skills department, and to make up for it, can only sound like other influential bands.
This is at least partly the case on Kick Up the Fire, and Let the Flames Break Loose. "The Same Mistakes" is an interesting choice for an album opener. It's a slow burner that builds and spirals upward, but doesn't ever really pay off. Front man Ben Gautrey's voice is restrained and cool.
He doesn't risk much with this first track. The real artistry comes from guitarists Dan Fisher and Tom Bellamy. The sounds they create are soft and moody, reminiscent of the Edge's more tranquil work.
"Promise Promise", the first single and the heaviest song on the album, allows Gautrey to really showcase his rough, gravel-filled voice.
This mosh-friendly metal tune is the perfect first single -- under three-and-a-half minutes, shamelessly aggressive, and Gautrey provides an almost perfect imitation of Liam Gallagher's howl.
"New Toys" switches gears as the band delves into electronic rhythms, synthesizers courtesy of Bellamy and programmer, Kieran Mahon, and an overall IDM sensibility. Drummer Jon Harper creates intricate drum 'n' bass-tinged beats that give the otherwise poppy song a darker and more complicated feel.
Pretty much every band member sings on the next track, "Talking to a Brick Wall", and quite, frankly, it's a disconcerting sound.
The voices combine with some haunted circus-style synthesizers to create a creepy atmosphere that becomes bearable only when the chorus kicks in and the power of six people playing at once takes over.
"Blind Pilots", a new wave-infused '80s throwback and one of the strongest and slickest tracks on Kick Up the Fire, channels both the Smiths and the Cure with the instrumentally spare verses. However, by the chorus, Liam Gallagher is back.
This pattern continues throughout the album.
The band members produce huge sounds reminiscent of Primal Scream, Radiohead, and Nine Inch Nails, but when Gautrey opens his mouth -- there's Liam!
For some, this could be problematic. Imitation's worthless when the real thing already exists. For others, the combination of sounds from all these great bands is valuable in and of itself.
Even though these guys aren't stellar musicians, they're far from untalented. Yes, they've got the shag haircuts, the loose-fitting jeans, and the retro hoodies, but they also work well together.
The Cooper Temple Clause is a good band -- cohesive and confident. Worth more than one listen. (Christine Klunk - http://www.popmatters.com/)


- The Same Mistake
- Promises Promises
- New Toy
- Talking To A Brick Wall
- In To My Arms
- Blind Pilots
- A.I.M.
- Music Box
- In Your Prime
- Written Apology


THE COOPER TEMPLE CLAUSE

martedì 1 marzo 2011

The Cooper Temple Clause "See This Through And Leave"



Idee chiare, pezzi clamorosi, spirito decisamente intraprendente e un guitar pop che si fonde con mille altre sensazioni e umori. Bravissimi. (2002 BMG)

"A killer key change is all you'll ever need," Cooper Temple Clause singer Ben Gautrey howls excitedly on "Who Need Enemies?". This neatly sums up the vibe on See This Through and Leave, an adventurous, noisy, eclectic debut album from a Reading six-piece best known, thus far, for their "Let's Kill Music" mini-hit from 2001.
Unlike many a contemporary Brit guitar band, the Clause have, firstly, listened to a lot of weird and wonderful music; secondly, have no interest in being the new Radiohead or Jeff Buckley; and, thirdly, seem too excitable to sit on stools and strum tasteful acoustic guitar.
Consequently, See This Through.. travels from the dubby electronic textures of opener "Did You Miss Me?", through the mighty space-thrash of "Panzer Attack", to the troubled grandiosity of the final "Murder Song". Admittedly, the lack of truly killer hooklines, and the slightly predictable Liam/Kelly Jones nature of Gautrey's vocals, means that the Clause are not world-beaters just yet. But, for a first album from a band still in their early 20s, See This Through... exudes unusual confidence, ambition and skill. (Garry Mulholland - http://www.amazon.co.uk)

Glam anthems and hardcore rants. The whir of techno and the crunch of britpop. Emo-boy crying and scary stalker screeds. The Cooper Temple Clause are a wily bunch, that's for sure.
For example, their debut album, See This Through and Leave, seems at first listen to be a rotten amalgam of all that's wrong with guitar rock these days: Unoriginal genre-splicing. Maudlin songwriting.
Uninspired lyrics. Annoying sibling-band guitars. A contrived and utterly overdone ragamuffin slack-boy image. It's the stuff vengeful rock critics are seething with. At first it gives you pause. Why would anyone want to make this album?
But even if singer Ben Gautrey does come off sounding like a two-bit Liam Gallagher at times, even if the guitars do sound like they could use a little less NOFX and a little more Stooges, even if the arty-patchouli rock-boy thing has been wrung out ad nauseum . . . well, the damn album gets in your head. It works its way in there like a rare South American parasite worming through your brain.
And the only way to get it out -- naturally, in this case -- is to play the album until you're sick of it.
The Cooper Temple Clause play off their musical influences like they're writing a children's book. It's almost their schtick to make things as big and as evident as possible.
On See This Through and Leave, the clicks and blips of technology find themselves equally as comfortable as the blasted mid-range of a punk-rock guitar. In some circles this type of music -- the mixing/matching of psychedelia, technology, and rock -- is called "space rock".
But don't go trying to lump them in with the likes of Spaceman 3 or Galaxie 500, two well-cited purveyors of the art. In many ways, See This Through and Leave is a more ambitious album than either of those bands ever put out. Because unlike others of their ilk, the Coopers seem to be striving toward an honest-to-goodness, commercially-lucrative art rock album here.
It takes a certain amount of moxie to be unfashionable and then try to make that sort of thing fashionable.
For instance, some of the songs on the album go on for more than eight minutes -- not exactly mainstream rock-radio fodder -- and much like the Super Furry Animals, the Coopers aren't afraid of excess. They cram ideas into songs like tuna fish into a Starkist can.
Album opener "Did You Miss Me?", for example, starts off all slow and dreamlike, with Gautrey whispering the title and inquiring about someone's love life before degenerating into propulsive rock guitars and schizophrenic stalker yelps.
"Panzer Attack" opens with a classic grunge riff (a little sped-up) before whipping into a hardcore moment in the chorus, all deathly crunch and vitriol-soaked lyrics. And "Been Training Dogs" is a glammed out, Stooges-inspired rollicker, with Gautrey singing things like "Been training dogs / To bite your little princess" and "I wouldn't wanna be ya /'Cause we're drawing blood if we see ya".
Violent? Yeah, a little. It's that type of lyric that really separates the Coopers from the kids. Throughout See This Through and Leave, Gautrey visits themes as disparate yet connected as rebellion, rejection, obsession and, well, death and murder.
On "Film-Maker", Gautrey neatly states "Don't think 'cos you can't see me that I'm not watching," the jilted lover going on obsessively about his ex-girl's new guy. In "Did You Miss Me?", he's screaming and rubbing it in (forcefully) that he's "Back with what I got / But it's not for you / It's for someone else / Someone beautiful", and that "You'll never scream my name / She'll scream my name".
This, apparently, is the sort of thing that makes him happy. In the somnambulistic dirge "The Lake", however, he's pleading "Won't you help a stranger?" before concluding "That's a sorry sight my friend / It's not me to make a fuss / It's just that the water's cold / And I can't feel my legs".
Heavy stuff for a pop record. But in the end of it all, that's what See This Through and Leave is: an admirable pop rock effort with enough drive and hook to keep it on the radio, but enough experimentation and strife to keep it kosher with the hep crowd.
Again, at first glance it all seems like so much maudlin pablum, and if it weren't for the Coopers' almost divine aggressiveness, it would be.
But they come off supremely agitated, like a swarm of killer bees, even on slinkier tracks like the blatantly Oasis-inspired "Who Needs Enemies?" and the trippy electronica of "555-4823".
If it were possible to literally feel the aggression coming off of an album, See This Through and Leave would be fire, slow burning and sublimely hot. It'd be third-degree burns, my friend, not those wimpy first-degree rugburns that only require salve.
The Coopers want some musical honesty, and they'll take you down looking for it if that's what they have to do.
It's most apparent -- most readily apparent -- in the single "Let's Kill Music". "We dare you to mean a single word you say," they chant, before stating "It's not number one who will come out alive / It's the freak in the corner with his eyes on fire / Let's kill music before it kills us all."
The Coopers aren't killing music so much as deconstructing it, then putting it back together, on See This Through and Leave As the resident freaks with their eyes on fire, they make a good show of it.

Here they come, the young men with the unwieldy name and topiary haircuts,
waving the flag for revitalised UK guitar rock 2002.
They have last year's
most idiosyncratic Top 40 hit, 'Kill All Music' under their second-hand
belts, and a (deserved) reputation for bone-rattlingly bonkers live
performances. Still, they're an unlikely bunch.
Cooper Temple Clause don't
so much kill music as deconstruct and reanimate it like deranged Dr.
Frankentein's stitching together limbs from every conceivable genre onto a
twitching post-rock torso.
As a result, their debut album 'See This
Through...' is a defiant, often thrilling, monstrosity.
There are so many ideas crammed into this record that within the first three
minutes you'll be asking if it's the same band, much less the same song,
you1re listening to.
CTC ricochet around like rocks in a tumble dryer, and
although it1s difficult to find anything to cling to, their schizoid fusion
of influences is impressive and their energy is relentless.
The click and
thud of techno coexists with propulsive Primals rock'n'roll in 'Prazer
Attack', 'Who Needs Enemies?' is like an uglier Oasis covering Portishead,
and 'Did You Miss Me?' start sweet and spangly before ballooning into a
sinister, bloated stalker-anthem.
Throughout, there are shades of everyone
from Floyd to The Pixies, Spiritualized to Supergrass, Cheap Trick to
Zeppelin. The only consistent elements are a prodigious, agitated wall of
sound and Ben Gautrey's raw-throated vocals.
It takes guts to be unfashionable, and CTC are patently unaffected by the
zeitgeist - wearing their patchouli proudly in an arena full of Calvin
Klein.
They simply do what they do, and we can take it or leave it.
There's
no obsequious genuflection to the current vogue for trad-retro revivalism.
Some songs trail on for eight minutes plus, and there's no discernible tune
on the whole album.
The only contemporary band CTC are comparable to,
possibly, is Muse, as both embrace ludicrous excess with shameless
enthusiasm. And neither, apparently, are afraid of looking ridiculous.
While a band that manages to reference both Ogden Nash and the Moody Blues
can't be all bad, chances are they're not all good either.
CTC do have
weaknesses, and being unfocused is certainly one of them. It's also strange
that for all its emotional-sounding contortions, this records still feels so
hollow. 'See This Through...' is more for the head than the heart (though
exactly whose head is hard to say).
The only thing heartening is that such a
complex and unconventional sound can be making populist impact - not only
puncturing the charts, but landing CTC with a video spot virtually every
five minutes on MTV2 for 'Been Training Dogs'.
Their appeal may be difficult
to define, but they've definitely got it. (April Long - http://www.nme.com/)



- Did You Miss Me?
- Film Maker (Album Mix)
- Panzer Attack
- Who Needs Enemies?
- Amber
- Digital Observation
- Let's Kill Music
- 555-4823
- Been Training Dogs
- The Lake
- Murder Song


COOPER TEMPLE CLAUSE