The Evangelicals, a foursome from post-Flaming Lips Oklahoma, played
lo-fi psychedelic-pop on So Gone (Misra, 2006).
The album starts out promising with the dissonant bacchanal of
A Mouthful Of Skeletons and the first few seconds of
Another Day, a
frenzied freak-out a` la Red Crayola,
but the song soon reveals itself to be nothing but a
gentle folk-rock melody.
The album mostly specializes in
breezy psychedelic easy-listening (Hello Jenn I'm A Mess,
Here Comes Trouble).
They intrigue when they merge that style with a rougher southern-rocking style
a` la Allman Brothers in
What An Actress Does Best.
The music gets more and more traditional until it plunges into the acoustic
country dirge The Water Is Warm.
They adopted a "maximalist" aesthetic for the
lush and energetic tunes of
The Evening Descends (Dead Oceans, 2008).
Behind the parade of instruments the band still hides unclassifiable
song formats, from the twisted doo-wop of The Evening Descends
to the blurred bubblegum pop of Stoned Again,
from the stormy heavy-metal of Bellawood
to the nostalgic easy-listening of Bloodstream,
with a peak of insanity in the oneric pounding
Catchy refrains and cute arrangements are detonated in Party Crashin'
and How Do You Sleep, the loudest and messiest songs,
the former a singalong and the latter an operatic aria,
both vivisected with punk fury.
Paperback Suicide, the parable of a writer who kills himself just to
hear his own obituary, is an appropriate metaphor for the whole "maximalist"
genre that tends to (over)kill its songs just to hear other musicians
describe how maximalist they are.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami