Elbow "Build A Rocket Boys" (Universal)
Guy Garvey is even more of a pithy, tangible phenomenon, a so, which one connects with the model rather British compatriot - earthy, Knickerbocker, oil jacket, plaid flannel perhaps, left the ax, the spade right, grim look everywhere. The fact that this man is in a position to give such a dreamy and tender poetry often chamber music context, the surprise lay people. And even the devoted fan, "The Seldom Seen Kid“ noch im Ohr, mag sich irritiert fragen, woher der Mann nach diesem grandiosen Vorgängeralbum die Chuzpe nimmt, mit „Build A Rocket Boys!“ gegen die Erwartungen der Branche zu arbeiten.
Denn nach dem vollen, pulsierenden und leidenschaftlichen Vorwerk hatte man wohl eher erwartet, Garvey und Kollegen würden dem Erfolgsrezept noch die eine oder andere Tonspur hinzufügen, alles noch komplexer verbasteln. Nichts dergleichen: „We tried to ignore the excitement of the big stages ... concentrated as always on making a record that would leave the listener somewhere other than [where] it found them“ lautet die Maxime und die acht Minuten zu Beginn sind die Vertonung dazu. Nörgelnde Gitarre, Gently yet, after half a quietschfiedeles synth motif, then orchestra, broad, large, spreading. Up with "Neat Little Rows" comes back to life briefly in the booth, but the scenery is dimmed severely reduced and merciless. And even after the powerful pounding outliers Garvey returns to the sounds back to back, almost as if he was afraid to break something fragile. It is therefore the board of the quieter, the contemplative sounds of monotonous beaten piano key, here a horn, as a string sequence, all subordinated to the still outstanding voice of the master himself
lost his way once a pure percussion in a song like in "High Ideal ", it is quickly whittled down to a Handclapping and the Roxette-reef, by the way a very amusing idea, can be only look short. "Lyrically," said Garvey, "this is a record about the ups and downs of being young through the eyes of someone who loved and hated it all at the same time" - it did drive in accordance with darling Adele would well have been too " 22 can call "- for such gadgets, he is probably a bit too old. Somehow it was later felt that he would like to call themselves in the past comfort when used for "Open Arms" assured: "We got open arms for broken hearts, like yours my boy, come home again“. Ein leises Album, dass man gern laut hören darf, erst dann nämlich fängt einen der wohl dosierte Sound ein, erst dann ist man – glücklicherweise – endgültig verloren.
http://www.elbow.co.uk/
Guy Garvey is even more of a pithy, tangible phenomenon, a so, which one connects with the model rather British compatriot - earthy, Knickerbocker, oil jacket, plaid flannel perhaps, left the ax, the spade right, grim look everywhere. The fact that this man is in a position to give such a dreamy and tender poetry often chamber music context, the surprise lay people. And even the devoted fan, "The Seldom Seen Kid“ noch im Ohr, mag sich irritiert fragen, woher der Mann nach diesem grandiosen Vorgängeralbum die Chuzpe nimmt, mit „Build A Rocket Boys!“ gegen die Erwartungen der Branche zu arbeiten.
Denn nach dem vollen, pulsierenden und leidenschaftlichen Vorwerk hatte man wohl eher erwartet, Garvey und Kollegen würden dem Erfolgsrezept noch die eine oder andere Tonspur hinzufügen, alles noch komplexer verbasteln. Nichts dergleichen: „We tried to ignore the excitement of the big stages ... concentrated as always on making a record that would leave the listener somewhere other than [where] it found them“ lautet die Maxime und die acht Minuten zu Beginn sind die Vertonung dazu. Nörgelnde Gitarre, Gently yet, after half a quietschfiedeles synth motif, then orchestra, broad, large, spreading. Up with "Neat Little Rows" comes back to life briefly in the booth, but the scenery is dimmed severely reduced and merciless. And even after the powerful pounding outliers Garvey returns to the sounds back to back, almost as if he was afraid to break something fragile. It is therefore the board of the quieter, the contemplative sounds of monotonous beaten piano key, here a horn, as a string sequence, all subordinated to the still outstanding voice of the master himself
lost his way once a pure percussion in a song like in "High Ideal ", it is quickly whittled down to a Handclapping and the Roxette-reef, by the way a very amusing idea, can be only look short. "Lyrically," said Garvey, "this is a record about the ups and downs of being young through the eyes of someone who loved and hated it all at the same time" - it did drive in accordance with darling Adele would well have been too " 22 can call "- for such gadgets, he is probably a bit too old. Somehow it was later felt that he would like to call themselves in the past comfort when used for "Open Arms" assured: "We got open arms for broken hearts, like yours my boy, come home again“. Ein leises Album, dass man gern laut hören darf, erst dann nämlich fängt einen der wohl dosierte Sound ein, erst dann ist man – glücklicherweise – endgültig verloren.
http://www.elbow.co.uk/
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