DI ASSANTE MI FIDO,HA BUONGUSTO

io li tengo d’occhio, la BBC anche:

The Victorian English Gentlemens Club: Love on an Oil Rig

It’s an evocative image, Love on an Oil Rig. Mercifully neither as forced, desperate or potentially carnally unpleasant as that title could imply, the second Victorian English Gentlemens Club album is a genuine leap forward for the freshly expanded Cardiff quartet.

Much has changed chez VEG Club since their hit-and-miss eponymous 2006 debut: a swapped drummer here, an additional guitarist there, upping actual gentlemen content to two (although whatever you may have previously read, at the time of recording they were still a trio with original drummer Emma Daman).

The most striking difference, however, is a coalesced direction that significantly updates their ramshackle art school indie-rock template. Lo-fi charms remain, just bolstered by scuzzy grit and a guttural, muscled-up rhythm section, alive with the twin spirits of C86 and Nirvana at their discordant best, circa In Utero.

That fresh manifesto is apparent within exactly three seconds of the opening title track-slash-intro, sweet harmonies mugged by an impressively distorted squall, forceful percussion pummelling all in its path.

Admittedly, the album’s two singles to date that follow, Parrot and Watching the Burglars, suggest a false start of sorts. Disregarding the lurching bassline that propels the former song, amplifier abuse is limited to a minimum behind ricocheting boy/girl vocalisations.

The potency of striking dual female backing melodies soon becomes sparkling apparent on standout Bored in Belgium, though, driving the drama while frontman Adam Taylor rivals Pixies mouthpiece Frank Black for unsettling lyricism. Women Versus Children similarly bounces off a bed of sunny timbres that contrast sharply with Taylor darkly pitching ladies against kids.

Oilrigs aren’t the only blue-collar workplaces given romantic consideration meanwhile, Driver’s Companion referencing the sexual plight of long-distance hauliers with the sage observation that “Love on a lorry wasn’t free”.

It takes until God Save Us From Being So Damn Primitive for the full picture to unravel. Shattering an atmosphere of Radiohead at their most paranoid with a shameless handclap breakdown, it’s apparent that The Victorian English Gentlemens Club are at grudging odds with the modern musical world. Their souls yearn for a simpler time. The late 19th century era their moniker suggests? Maybe. Indie-rock’s mid-1990s heyday? Definitely.

Poi non dite che non ve lo avevo detto 😉 ma occhio, sono tutto il contrario a qualsiasi logica commerciale, a qualsiasi idea di Rock “canonico”.

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un po’ di Electronica,Trip-Hop,Ambient,Post-Rock,Experimental con:

Arms And Sleepers: Matador – (Fake Chapter, 2009)

Arms and Sleepers are a duo of comprised of Max Lewis (Boston, MA) and Mirza Ramic (Portland, ME). Formed in 2006, they have produced multiple albums, EPs and hand-made releases, most notably the Bliss Was It In That Dawn To Be Alive EP (Fake Chapter, 2006) and the well-received Black Paris 86 (Expect Candy, 2008). Following an intense touring schedule in 2008 and 2009 that included appearances in the UK, Europe, and North America and saw the band opening for the likes of Asobi Seksu, The Books, Her Space Holiday, Cass McCombs, Lymbyc Systym, This Will Destroy You and Caspian, Max and Mirza took a break to focus on a new proper full-length in the summer of 2009. The result is Matador, featuring contributions from numerous musicians, including Tom Brosseau (Fat Cat Records), Shelley Short (Hush Records), Ben Shepard and Catherine Worsham (of Uzi & Ari), Philip Jamieson (of Caspian), Mona Elliott (of Travels), Adam Arrigo (of The Main Drag), and Matt Lajoie (of Cursillistas). Matador is an album studded with varying themes and textures. The synergy between a haunting sonic mix and delicate, ethereal lyrics yield an ambitious, precise whole. Maintaining consistent intensity and energy, the music and artwork both reflect the moodiness behind the concept of the album, which can be summarized as a reaction to the surroundings and circumstances Max and Mirza found themselves in throughout the past two years. Matador also finds the duo expanding on their sound, reaching for a new and fresh direction. Vocals are more prominent throughout the album than with previous releases, and the band ventures into new soundscapes, incorporating an expansive array of instruments. The result is a cinematic and hypnagogic mix of rusts, antique grays and olive greens which evoke an eerie nostalgia – memories of places you’ve never been and things you’ve never seen. Matador will be released in North America by Fake Chapter, Europe & the UK by Expect Candy, and Japan & rest of Asia by Friend of Mine.

http://www.myspace.com/armsandsleepers

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cazzatablancas?

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grande alien,grande b16,grandi Massive Attack e grandissimi i Local Natives,sto sentendo il disco ora,bello belllo…..poi passero’ al resto…..Casablancas?Una pena alla Cornell dell’ultima produzione,bleah!

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mica male i nativi…jumboexpress…

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