With the help of Spirea X vocalist Judith Boyle, Beattie later formed
Adventures In Stereo and opted for a simpler, direct form of pop that
returns to Primal Scream's origins.
Initially the sound was anchored to loops of samples created by Simon Dine.
Airline and When We Go Back, the singles preceding, and later
included, on Adventures In Stereo (Creeping Bent, 1997), as well
as opener Underground Sound, are tiny gems in a style that rips off
the Beach Boys and Phil Spector productions for girl-groups.
The duo packs 18 songs in just about half an hour. Each song is perfect, as
far as plagiarism goes, but doesn't have time to fully develop.
More confidence and down-to-earth humility lends
Alternative Stereo Sounds (Creeping Bent, 1998)
a Stereolab feeling.
Silence Falls, Dream Surf Baby,
and the trailing singles Down In The Traffic and
A Brand New Day, are more immaculate photocopies of the Sixties,
albeit in a slightly offbeat style.
Monomania (Bobsled, 2000) indulges in more of the same, except that
vocal harmony has reached new peaks of baroque
(Behind The Trees, Running) and the duo has embraced the genre
of the slow ballad
(We Will Stand, Ghosts, When Love Comes In).
|
(Translation by/ Tradotto da Dido Filo)
Con l'aiuto di Judith Boyle, voce degli Spirea X, Beattie formò
poi gli Adventures In Stereo, optando per una più semplice,
diretta forma di pop.
Airline and When We Go Back, i singoli che precedono, e
che poi verranno inclusi in Adventures In Stereo (Creeping Bent,
1997), così come il brano di apertura Underground Sound,
sono piccole gemme in uno stile sottratto ai Beach Boys ed alle
produzioni di Phil Spector per i gruppi al femminile.
Il duo confeziona 18 canzoni in appena mezz'ora. Ogni brano risulta
perfetto, fin dove funziona il plagio, ma non arriva mai a svilupparsi
pienamente.
Una maggiore dimestichezza dona ad
Alternative Stereo Sounds (Creeping Bent, 1998)
un'aria più simile agliStereolab.
Silence Falls, Dream Surf Baby,
e i trascinanti singoli Down In The Traffic e
A Brand New Day, sono più immacolate fotocopie dei Sixties,
sebbene in stile leggermente futurista.
Monomania (Bobsled, 2000) indulge nel ripetersi, eccetto che
l'armonia vocale tocca nuove vette di barocco
(Behind The Trees, Running) e che il duo abbraccia il
genere delle ballate lente
(We Will Stand, Ghosts, When Love Comes In).
|