Morphine
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Treat Her Right: Treat Her Right (1986), 6/10
Treat Her Right: Tied To The Tracks (1989), 6.5/10
Treat Her Right: What's Good For You (1991), 5/10
Good, 9/10
Cure For Pain, 7.5/10
Yes, 8/10
Like Swimming, 6.5/10
The Night, 7/10
Twinemen: Twinemen , 6.5/10
AKACOD: Happiness (2008), 6/10
Links:

I Morphine sono stati uno dei complessi piu` originali degli anni '90 e Sandman una delle personalita` piu` forti del decennio. Come capita soltanto ai classici, erano riusciti a convogliare un concetto altamente sperimentale (una musica per basso e sassofono) in un formato classico come quello della canzone rock. Erano riusciti a coniare un loro genere ispirandosi a blues, jazz, rockabilly, new wave, etc, ma senza appartenere a nessuno di essi. I Morphine sono fra i pochi gruppi di musica rock il cui tratto distintivo e` il sound (fumoso, tenebroso, metafisico) di un sassofono. Sandman, dal canto suo, era diventato un poeta cupo e metafisico nella tradizione di Waits e Cave.

I Treat Her Right erano un complesso del Massachussetts che proveniva dal retroterra dei pub e suonava un blues-rock eccentrico alla Violent Femmes. Al fianco del leader David Champagne c'era il giovane cantante e bassista Mark Sandman.
Treat Her Right (Soul Selects, 1986) annovera una strascicata I Think She Likes Me e una sinistra You Don't Need Money (entrambe di Sandman), traboccanti di pathos delle paludi, accanto alle piu` vibranti I Got A Gun e Don't Look Back (di Champagne). Raramente il blues era stato suonato piu` levigato e manieristico.
Sandman stava prendendo il comando sul secondo Tied To The Tracks (RCA, 1989). Era la sua personalita` tormentata a dominare il disco, capace tanto dell'epica serenata country di Marie quanto della storia depressa di Junkyard, tanto del tributo honkytonk di Hank quanto del ritratto desolato di King Of Beers. Champagne teneva di nuovo per se` le composizioni piu` frizzanti (Big Medicine, Back To Sin City, la title-track). Ancora una volta il disco era soprattutto un capolavoro di produzione. Il terzo, What's Good For You (Rounder, 1991), perse un po' dello smalto di quei primi due dischi. The Anthology (Razor & Tie) riassume la loro carriera.

Sandman suono` per un po' nel Supergroup, con Chris Ballew (futuro Presidents Of The USA), poi, all'inizio degli anni '90, formo` i Morphine. Sandman era passato al basso a due corde e cantava in un languido registro da "crooner", mentre Jerome Deupree alla batteria e Dana Colley al sassofono baritono movimentavano la struttura delle sue canzoni.

Non solo la strumentazione, ma anche la tecnica compositiva e` del tutto insolita: si tratta, infatti, di una tecnica "minimale", che giostra sul dialogo fra basso e sassofono, due strumenti che non si possono accordare in maniera perfetta, e proprio dalla mancanza di accordi, che ne e` pertanto il marchio di fabbrica, trae linfa vitale. Il sound vitreo e scarno che ne risulta costituisce in realta` l'ideale "contenitore" per le loro canzoni irregolari: non potendo usare i manuali di composizione del rock, il trio pesca a piene mani dal blues e dal jazz, come soltanto Tom Waits ha saputo fare.

Sul primo album, Good (Accurate, 1992), si riconoscono i grandi maestri del blues moderno, Nick Cave, Gun Club, Tom Waits; ma come filtrati da un'altra dimensione. La title-track e Claire sono i primi capolavori di come da quelle premesse sia possibile costruire un "blues" del Duemila, al tempo stesso colmo di tensione drammatica e abulicamente privo di emozioni; le atmosfere sono dimesse, contrappuntate dal basso e dal sassofono in maniera meccanica; le frasi melodiche del sax escono dai locali fumosi del "cool jazz"; il canto e` vellutato e suadente.
Sono il sax e il basso, i loro riff e i loro duetti, le loro progressioni e le loro fratture, i protagonisti del sound; sono loro a plasmare strutture mobili, fluide, plastiche, instabili, anche se apparentemente ripetitive. Sono loro a propellere Have A Lucky Day con un passo incalzante da pow-wow; sono loro a generare il tempo frizzante di On The Other Side; sono loro, soprattutto, a incendiare le cadenze da palude di Do Not Go Quietly Under Your Grave. Immettendo poco a poco energia nello schema, matura cosi` un sound virile ed organico, che trova compiuta realizzazione in You Speak My Language, novelty dallo svolgimento tempestoso, e in Test-Tube Baby, lanciata a ritmo ferroviario.
Meno sperimentale, ma non meno suggestivo, e` il fronte della ballata jazzata, che impiega mezzi piu` normali ma affonda sempre nelle stesse sabbie mobili di accordi "notturni": You Look Like Rain e The Only One.
Il viscido itinerario dei Morphine all'interno del blues, dello spiritual, del gospel, del jazz sembra avere come scopo l'esplorazione della coscienza ossessiva e angosciosa del vuoto incommensurabile che circonda le nostre esistenze, che ci rende inutili, folli, reietti.

Cure For Pain (Rykodisc, 1993), con Billy Conway (ex Treat Her Right) al posto di Deupree, evolve verso una forma canzone piu` tradizionale e arrangiamenti piu' corposi. E` soprattutto il sassofono a colorare le atmosfere grigio pallide di questa musica, mentre il canto, cosi` fluido e pastoso, si mimetizza quasi dentro gli accordi, ne cavalca le asperita` con l'eleganza di un surfista sui cavalloni. I loro blues sono ancor piu` articolati, energici e rigogliosi, a partire dall'incedere sincopato di Buena per culminare nell'incalzante figura boogie di Thursday. Lo spettro di Cave ritorna soltanto Mary Won't You Call My Name, mentre In Spite Of Me ricama folk pastorale. A parte si colloca la jam Miles Davis' Funeral, di cui il disco riporta soltanto un accenno, un fugace promemoria sull'aldila'.
I numeri di alta classe di questo trio hanno la prerogativa di uscire e rientrare in continuazione dal loro tema, sempre conservando una loro qualita` "swingante" e una calligrafia preziosa. Il ritornello sottovoce e la "groove" rimbombante che si sposano in I'm Free Now, la cantilena funerea che funge da pretesto per All Wrong trasformano continuamente l'identita` dei Morphine, ma sempre su uno sfondo drammatico un po' depresso, sinistro, cupo, come se tutte le loro storie fossero sottese dalla stessa premonizione di un destino crudele. Nella sintesi anti-spettacolare dei Morphine trascendente e mondano trovano un provvisorio e prodigioso punto di equilibrio.

Il terzo album del gruppo, Yes (Rykodisc, 1995), quel che perde in atmofera "noir", in dolente contemplazione della futilita' di tutte le cose, acquista in immediatezza e incisivita'. Le canzoni sono innanzitutte piu` compatte, rispettose dell'unita` melodica che in passato il trio dilatava fino a disintegrare. In generale la musica e` anche piu` ritmata, e quindi piu` incalzante; e non e` la batteria a condurre il ballo, bensi` il basso e il sassofono, in quello che e` sempre piu` un acrobatico scambio di ruoli.
Honey White, messa all'inizio del disco, puo` trarre in inganno, in quanto e` il brano piu` vivace della loro carriera. Qui la spinta percussiva degli strumenti e` a pieno regime, a meta` strada fra le orchestrine di rhythm and blues e il rock and roll degli anni '50. I Morphine sono certamente "anche" un grande gruppo di revival (e non soltanto di quei due generi, ma anche del be bop e delle colonne sonore, insomma un po' di tutta l'epoca), ma sarebbe diminutivo limitare la portata della loro opera ad aver concepito un revival piu` creativo (non ci voleva molto) dei complessi di moderno rockabilly. Sandman imposta Radar come una ballata country degna di Stan Ridgway, ma il rimbombo ossessivo del basso (piu` ancora che il tema di sax) la trasforma in qualcosa di cupo e sinistro che non appartiene a nessun genere; recita Whisper come un rosario gospel di Nick Cave, ma il caos rarefatto dell'accompagnamento lo precipita in un incubo erotico; affonda gli artigli blues nelle pause di I Had My Chance lasciando che intorno a lui il sassofono stenda un sudario di melodia.
Di Sandman lascia senza fiato soprattutto il sesto senso per costruire armonie sempre originali, e sempre diverse, e sempre piu` sofisticate. Faccio fatica a trovare un jazzista che potrebbe comporre e arrangiare qualcosa come Yes. Posso pensare soltanto a Joni Mitchell quando ascolto la complessita` e la sottigliezza di una canzone come All Your Way.
Non meno strabiliante e` la sua (la loro?) abilita` di narratore: Super Sex non e` una canzone, e` un brano recitato su un sottofondo musicale, ma che sottofondo! Jury ci riprova poco piu` avanti, anche se con meno successo, ma il brano successivo, quella specie di swing per gruppo di hardrock che e' Sharks Patrol These Waters, sbanca il disco, come se a suonare fossero i Ten Years After con Albert Ayler al sassofono.
Nell'insieme si tratta di un album molto piu` eretto, solido, spesso. I deliqui catatonici dei primi dischi, ovvero quel modo di suonare "sottovoce", riaffiorano soltanto qua e la` (in Scratch, per esempio). Il mesto baritono di Sandman ha una padronanza ormai strepitosa dei gesti drammatici. Colley va annoverato fra i grandi virtuosi moderni del sassofono. E i Morphine nel loro insieme come uno dei gruppi piu` importanti dei nostri giorni.

B-Sides And Otherwise (Rykodisc, 1997) raccoglie rarita` che forse meritavano di restare tali.

Su Like Swimming (Rykodisc, 1997) Mark Sandman suona sempre piu` stanco, come se si facesse l'imitazione da solo. Billy Conway (batteria) e Dana Colley (sassofono) compongono sempre un'accoppiata d'oro, e il jazz noir del trio fa sempre salivare i palati fini. Ma Sandman e` a corto di idee. Il tappeto swingante di Potion potrebbe svilupparsi in una canzone interessante, ma viene abbandonato dopo due minuti. Molte delle canzoni sono numeri da anni '50 che si limitano a ricostruire un'atmosfera d'epoca (Wishing Well, French Fries). Altre sono semplicemente partiture confuse. A salvare il disco sono i brani piu` duri, come Early To Bed, che sembra un blues dei Doors. Murder For The Money e` quasi heavy metal per loro, con quella sinistra "groove" ripetuta in maniera ostinata. Poco altro. Sandman ha bisogno di una nuova carriera.

Boston was the home base of one of the greatest bands of the decade, Morphine, a guitar-less trio whose style borrowed heavily from blues and jazz but shared with the Pixies the same casual, detached approach to melody. Three masterpieces established them among the masters of the "noir" atmosphere. Good (1992) highlighted their ability to turn ballads and rockers into metaphysical dialogues between bass and saxophone. The languid crooning of former Treat Her Right's bassist Mark Sandman, who chiseled one of the most evocative voices of the era, added another layer of meaning, a Tom Waits-like mourner and Nick Cave-like preacher floating inside the stark, unreal, heavy fog of the music. The trio contrived melodies that offered a quiet vivisection of post-industrial anxiety. Sandman refined the way he rode (like a surfer) the gloomy and occasionally even lugubrious lines of Dana Colley's saxophone on Cure For Pain (1993), a less claustrophobic and more accessible work, featuring drummer Billy Conway (also ex-Treat Her Right). Yes (1995) followed the route that seemed less congenial to the trio, by emphasizing rhythm over melody. Less depressed and distressed, it almost sounded like like a return to rock'n'roll and rhythm'n'blues of the 1950s. Their representation of reality provided an anti-spectacular synthesis of transcendental and mundane elements, additionally soaked into premonitions of a merciless destiny. After the mediocre Like Swimming (1997), Morphine's last album, The Night (2000), released after Sandman died of a heart attack on-stage in 1999, turned out to be both their most introspective and their most orchestrated work (piano, cello, horns, organ, choir).
(Translated by Jason Pierce)

Morphine was one of the most original groups of the 1990ís and likewise, Sandman one of the strongest personalities of the decade. Like classical musicians, this group was successful in conveying a concept that was highly experimental (music for bass and saxophone) in a classic format: the rock song. They succeeded in creating their own genre by drawing inspiration from jazz, blues, rockabilly, new wave, etcÖ without ever belonging, however, exclusively to any of these. Morphine is among the few rock groups whose distinctive style and sound (muddled, dark, metaphysical) is reliant on a saxophone. Sandman, by way of his vocals, became known as a dismal and metaphysical poet in the likes of Tom Waits and Nick Cave.

Treat Her Right was a group that emerged from the Massachusetts underground playing an eccentric fusion of blues and rock, similar to the musical fusion for which the Violent Femmes are famous. In this group, flanking front man David Champagne was the young singer/bassist Mark Sandman. Treat Her Right (Soul Selects, 1986) includes pieces such as the drawling I Think She Likes Me and the radically-charged You Donít Need Money (both by Sandman). Both of Sandmanís pieces overflowed with swamp-like pathos while Champagneís I Got A Gun and Donít Look Back were much more vibrant. The blues have rarely been played more polished and with so much affection. On the second album, Tied To The Tracks (RCA, 1989), it was Mark Sandman that took control. It was Sandmanís tormented personality that dominated the record, a personality that was capable of producing epic country serenatas like Marie, songs about troubled pasts such as Junkyard, tracks such as the honky-tonk tribute of Hank and even lonely portraits such as King of Beers. Once again Champagne created the more sparkling compositions (Big Medicine, and Back To Sin City, the title track). Once again the album was a production masterpiece. The third album, Whatís Good For You (Rounder, 1991), lost a little bit of the "shimmer" that the two previous albums had. The Anthology (Razor & Tie, 1998) sums up their career.

Sandman played for a short time in Supergroup with Chris Ballew (future member of Presidents Of The USA), and then at the beginning of the 1990ís he formed Morphine. In this period Sandman began to play a 2-stringed bass guitar and sing languishingly in the style of a "crooner", while Jerome Deupree (drums) and Dana Colley (baritone sax) livened up the structure of the songs. Not only the instrumentation, but also the technical composition of these songs is completely unusual and out of the ordinary. In fact, these songs flirt with a type of "minimalism", a minimalism that hinges on a bass-sax dialogue, two instruments that find difficulty in complementing each other. It is out of precisely this discordance that they draw their lifeblood, and define their trademark. The thin and glassy sound that results from the bass-sax dialogue forms an ideal rhythm section for their irregular songs. Unable to use the "manuals of rock", the trio "fishes" abundantly from the seas of jazz and blues (and catches), something that previously only Tom Waits knew how to do.

On the first album, Good (Accurate, 1992), Morphine became acknowledged as great masters of modern blues alongside Nick Cave, Gun Club, and Tom Waits. Their sound, however, seems to have been filtered through a different dimension. The title-track Good and Claire are the first masterpieces of the second millennium that introduce us to the possibility of, and affirmation of, the blues living on. Full of dramatic tension and simultaneously indolently lacking emotion, the atmosphere remains subdued and mechanically counter pointed by the bass and sax. The melodic saxophone phrases seem to have wafted to our ears from clubs smoky with "cool jazz", while the singing stays velvety and persuasive. It is the sax and the bass, their riffs and duets, their progressions and their fractures, that are the protagonists of this unique sound. It is this combination that shapes structures that are unstable, mobile, and fluid, even if at first they appear to be repetitive. It is these structures that propel Have A Lucky Day to the threatening pace of a pow-wow. Once again these same structures generate the sparkling tempo of On The Other Side; and last but not least their viscosity sets the swamp-like cadences of Do Not Go Quietly Under Your Grave. By introducing energy little by little into the scheme, a virile and organic sound is born. Their organic sound ultimately reaches its zenith in You Speak My Language, a novelty about stormy developments, and in Test-Tube Baby, a song that speeds ahead like a freight train.

Less experimental, but in no way less suggestive, is the façade given by the jazz ballads. The jazz ballads employ a more normal usage, but still they bury themselves in the same mobile sands of "nocturnal" harmonies: You Look Like Rain and The Only One.

The fluid itinerary of Morphine in the blues scene, spiritual scene, gospel scene, and the jazz scene, seems to have as its purpose the exploration of the obsessive conscience and the anguish of the incommensurate emptiness that surrounds our existences. Morphine speaks of the emptiness that makes us all useless, crazy, and outcasts.

Cure For Pain (Rykodisc, 1993), with Billy Conway (ex-Treat Her Right) in the place of Deupree, evolves towards a more traditional musical composition with more full-bodied arrangements. The saxophone colors the atmosphere a pale gray, while the vocals, so fluid and mellow, tend to camouflage themselves within the chords by riding through the harshness with the elegance of a master surfer. From the solemn, syncopated gait of Buena to the urgent boogie of Thursday, their blues continue to be increasingly articulate, energetic and thriving. The specter of Nick Cave returns only in Mary Wonít You Call My Name, while In Spite Of Me is representative of pastoral folk music. They also perform a jam entitled Miles Davisí Funeral, one that bears evidence as a fleeting memorandum on his after-life.

The high-class acts by this trio give them the privilege to continuously exit and re-enter their "theme", while at the same time enabling them to conserve their "swinging" quality and precious calligraphy. The undertone of the refrain, and rumbling grooves that culminate in Iím Free Now, the funeral lullaby that acts as a pretext for All Wrong, continually transform the identity of Morphine. Below the surface, however, there is always a dramatic, depressed, sinister, and gloomy side to Morphine. It seems as if all their stories were buried by the same premonition of a cruel destiny. In the anti-spectacular synthesis of the transcendent and worldly Morphine, they manage to find a provisory and prodigious point of equilibrium.

The third album, Yes (Rykodisc, 1995), which loses itself in an atmosphere "noir", an atmosphere that is in sorrowful contemplation of the futility of everything, the group manages to acquire an immediacy and incisiveness. Above all, the songs are extremely compact. They are respectful of the melodic unity that the trio had previously expanded until disintegration. Generally speaking the music is more rhythmic, and therefore more imminent, but it isnít the drummer that conducts the beat; the bass and the saxophone, a system that is always an acrobatic exchange of roles, conduct the beat.

Honey White put at the beginning of the album, can be deceitful in that it is the liveliest piece of their career. Here the percussive push of the instruments is at full-throttle, lingering somewhere between the little R&B orchestras of the 1950ís and 1950ís rock ní roll. Without a doubt Morphine was also a big group of revival (and not only of those two aforementioned genres, but also one of bebop, movie soundtracks and, in short, a little bit of everything from the era), but it would be diminutive to limit the reach of their work by saying that they just conceptualized something more creative than most modern rockabilly, because letís face it: it didnít take much. Sandman sets up Radar as a country ballad worthy of Stan Ridgway, but the obsessive rumble of the bass (more still than the theme of the sax) transforms the song into a gloomy and sinister piece that doesnít belong to any specific genre. Sandman recites Whisper like a gospel rosary à la Nick Cave, but the rarefied chaos of the accompaniment hurls it into an erotic nightmare. Furthermore, he sinks his "blues talons" into the pauses of I Had My Chance and leaves himself shrouded in saxophone melodies.

Sandman without a breath leaves the sixth sense in order to construct harmonies that continue to be original, diverse, and sophisticated. In my opinion it is hard to find a jazz musician that can compose and arrange something like Yes. I can think only of Joni Mitchell when I listen to the complexity and subtlety of a song like All Your Way.

No less astonishing is his (their?) ability to narrate; Super Sex is not a song, it is a passage recited over background music, but what background music! Jury reattempts this down the road but it is adorned with less success. The successive piece, a type of "swing for hard rockerís" is Sharks Patrol These Waters, a song that catapults the disc to the musical standard of Ten Years After with Albert Ayler on sax.

Through and through this is a solid album. The catatonic swoons of the first discs, or in other words the art of playing "in an undertone", re-emerge only here and there (in Scratch for example). The melancholy baritone of Sandman by now shows a resounding mastery of dramatic gestures. Colley must be recognized as one of the great modern sax virtuosoís, and above all, Morphine must be remembered as one of the most important groups of our days.

B-Sides And Otherwise (Rykodisc, 1997) collects rarities that perhaps are worthy of being just that.

Su Like Swimming (Rykodisc, 1997) Mark Sandman plays always more tired, as if he was doing the mimicry alone. Billy Conway (drums) and Dana Colley (saxophone) continue to complement each other beautifully, and the jazz noir of the trio enriches ones palate. But Sandman is short on ideas. The swing-like tapestry of Potion could develop into an interesting song, but it is ended abruptly, leaving us wanting more. Many of the songs are numbers from the 1950ís that in my opinion limit themselves by attempting to simply reconstruct an atmosphere of a past age (Wishing Well, French Fries). Others numbers are simply botched scores. Some redeeming qualities of the disc, however, are the several harder pieces like Early To Bed, a piece that is similar to the blues-rock of The Doors. For Morphine, Murder For The Money is almost an attempt at heavy metal given that it is characterized by a sinister, repetitive groove.

Not much elseÖSandman needs a new career.

(Translation by/ Tradotto da Walter Consonni)

Sandman è morto nel 1999 nel corso di un concerto in Italia. La band aveva appena finito di registrare The Night (Dreamworks, 2000), che può essere considerato il loro lavoro più introspettivo. Per quanto sia impossibile creare più atmosfera rispetto ai loro album precedenti, la strumentazione avventurosa ne fa per lo meno il loro lavoro più psicologico. Le ballate da camera Rope On Fire (per salmo mediorientale con viola, cello e oud) e Take Me With You (un soul appassionato con coro gospel, viola, cello e contrabbasso) stanno a cavallo tra la disperazione e l'estasi.
Il malinconico violoncello di Jane Scarpantoni ruba la scena in The Night, ma il brano è in realtà un capolavoro collettivo: il canto di Sandman fluttua tra lo stile caldo/mesto di Leonard Cohen ed un rap indifferente, il sassofono di Colley dapprima duetta con il violoncello e poi si libra in un assolo romantico, e la batteria di Conway attraversa tutto il brano in maniera convulsa.
Persino quando consegue risultati pomposi, l'orchestrazione è più funerea che sinfonica, come nella sferzante (quasi techno) e molto alla Nick Cave I'm Yours You're Mine.
La band eccelle anche nel creare atmosfere desolate e tenebrose, che ricordano il Tom Waits più scoraggiato. L'elegiaca Souvenir volteggia su fraseggi di pianoforte ammalianti. Slow Number è un languido blues da cocktail-lounge. Like A Mirror, appena più di un bisbiglio su un drumming voodoo, segna l'estrema emotività del disco.
Veramente pochi brani sono allegri. Il garage-rock di Top Floor Bottom Buzzer è condotto da fiati rhythm and blues ed enfatizzato da un coro gospel. So Many Ways potrebbe essere il più eccentrico dei crossover, dato che mischia percussioni brasiliane, organo e sassofono jazzati ed un febbrile canto gospel. A Good Woman Is Hard To Find è un rhythm and blues pulsante che ricorda i Girls Vs Boys.
La tenebrosa vena che sta dietro a queste canzoni è facilmente identificabile, o per merito dei ritmi voodoo o grazie ai testi bisbigliati come preghiere. La musica di Sandman ha raggiunto un livello altamente personale.

Sandman died in 1999 during a show in Italy. The band had just finished recording The Night (Dreamworks, 2000), that stands as their most introspective work. While it is impossible to sound more atmospheric than their previous albums, adventurous instrumentation makes it at least more psychological. The chamber ballads Rope On Fire (for a middle eastern psalm with viola, cello and oud) and Take Me With You (a passionate soul with gospel choir, viola, cello and standup bass) stradle the line between misery and trance.
Jane Scarpantoni's gloomy cello steals the show in The Night, but the song is actually a collective masterpiece: Sandman's vocals fluctuate between Leonard Cohen's warm/sad tone and a nonchalant rap, Colley's sax first resonates with the cello and then soars in a romantic solo, and Conway drums convulsively throughout.
Even when it grows to pompous effects, the orchestration is more mournful than symphonic, as in the driving (almost techno) and very Nick Cave-ish I'm Yours You're Mine.
The band still excels at creating bleak and somber atmospheres, reminiscent of the most dejected Tom Waits. The elegy Souvenir flows over the haunting piano phrases. Slow Number is a languid cocktail-lounge blues. Like A Mirror, hardly more than a whisper over voodoo drumming, marks the emotional bottom of the disc.
Very few tracks are upbeat. The garage-rocker Top Floor Bottom Buzzer is led by rhythm and blues horns and punctuated by a gospel choir. So Many Ways may be the most eccentric genre crossover, as it combines Brazilian drumming, jazzy organ and sax, and feverish gospel chanting. A Good Woman Is Hard To Find is a pulsing rhythm and blues reminiscent of Girls Vs Boys.
A dark undercurrent to these songs is easily identifiable, whether because of voodoo rhythms or because of lyrics whispered like prayers. Sandman's music had reached a highly personal stage.

Sandbox (Kufala, 2004) is a box-set of unreleased material.

Twinemen (High N Dry, 2002) is the new project by saxophonist Dana Colley and drummer Billy Conway, led by vocalist Laurie Sargent. The sound is eerily reminiscent of Morphine's gloomy existentialism, although with a stronger country-music accent. The playing is as magical as ever. The album only lacks strong songs. Colley then formed AKACOD, fronted by vocalist Monique Ortiz, that released Happiness (2008).

Sandbox (Hi-N-Dry, 2005) is a terrible double-CD retrospective of Mark Sandman's work.

(Translation by/ Tradotto da Albatro)

Twinemen (High N Dry, 2002) è il nuovo progetto del sassofonista Dana Colley e il batterista Billy Conway, guidati dalla cantante Laurie Sargent. Il suono è incredibilmente somigliante al malinconico esistenzialismo dei Morphine, sebbene possegga un accento fortemente country. Il suono è magico come sempre. Nell'album mancano soltanto delle canzoni efficaci.

What is unique about this music database