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The Experimental Pop Band was formed in Bristol (England) by
Davey Woodward, who had already led a mediocre pop outfit,
the Brilliant Corners, whose albums Growing Up Absurd (SS20, 1985),
with Meet Me On Thursday,
What's In A Word (SS20, 1986),
with Laugh I Could've Cried
and Somebody Up There Likes Me (McQueen, 1988)
were among the most tedious and predictable of ornate Brit-pop.
The new group debuted with the EPs
The Lounge (Swarf Finger, 1996) and
Experimental Pop Band (Swarf Finger, 1996).
The former features a half-hearted attempt at pop-soul (James Remains)
and an effervescent novelty
(Les Chanteurs Et Le Grand Orchestre), but little of notice.
The latter toys with trip-hop (Boutique In My Backyard) and
drum'n'bass (Oslo).
The Eps were collected on Woof (Swarf Finger, 1997).
Discgrotesque (Swarf Finger, 1998) jumps on the trip-hop bandwagon,
albeit bridging it with bubblegum and soul. Not a terribly original move.
Homesick (Swarf Finger, 1999) is equally unimaginative in its high-tech
interpretation of easy listening and lounge music.
The Tracksuit Trilogy (Swarf FInger, 2001) and
Tarmac And Flames (Cooking Vinyl, 2003)
are even less original revisitations of pop stereotypes.
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(Translated by Nicola Mecca)
La Experimental Pop Band è formata a Bristol (Inghilterra) da Davey Woodward, che aveva già guidato un mediocre gruppo pop, i Brilliant Corners, i cui album (SS20, 1985), con , What's In A Word (SS20, 1986), con Laugh I Could've Cried e Somebody Up There Likes Me (McQueen,
1988) offrivano agli ascoltatori un Brit-pop banale e tedioso.
Finger, 1996) ed
(Swarf Finger, 1996). Il primo raccoglie una prova pop-soul priva di entusiasmo
() ed una effervescente novità
(),
ma tutto sommato di scarsa rilevanza. Il secondo gioca con il trip-hop (Boutique In My Backyard) ed il
drum'n'bass (). Gli Ep sono raccolti su (Swarf Finger, 1997).
(Swarf Finger, 1998) segna una conversione al trip-hop, colorandolo di sfumature bubblegum e soul. Una mossa non tanto originale.
(Swarf Finger, 1999) è almeno altrettanto poco ispirato nella sua interpretazione high-tech di easy listening e lounge music.
(Swarf FInger, 2001) e (Cooking Vinyl, 2003) sono rivisitazioni anche meno originali di stereotipi pop.
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