Drummer Jupp who apparently has just the one name lays down a slightly fractured, snare-heavy beat accompanied by a modicum of subtle programming and Pete Turner's dub-influenced bass. Lead vocalist Guy Garvey seems to have his voice on loan from Peter Gabriel, though he keeps his delivery hushed and rather low-key.
The entire band harmonizes impressively with him on the choruses, making for a dense texture, especially when combined with Craig Potter's organ lines. Garvey's Gabriel resemblance gradually melts away as the rest of the album unfolds, though he occasionally returns to it when he goes for the big held notes that punctuate the climaxes of songs like "Can't Stop" and the excellent closer "Scattered Black and Whites.
Garvey's refrain of "this can't go on" is one of the album's best melodic moments. As the song's mix dismantles itself at the conclusion, the main elements exit first, leaving behind a heavily delayed and tremoloed guitar part that you hardly even noticed was there during the song. Mark Potter dumps delay-drenched guitars all over a creeping programmed drumbeat on "Little Beast," which finds Garvey sitting a little further from the front of the mix, instead subsumed by the atmospheric music created by his bandmates.
It takes a bit too long to get to the next song, though, and the track isn't really interesting enough to warrant all of its four minutes. By the time "Powder Blue" finally does roll around, Asleep in the Back 's biggest flaw starts to come into focus. The song is actually pretty good taken on its own, with Garvey hitting a good falsetto on the refrain and the boys providing him with some fine backing vocals, but the entire album falls within a very narrow, and very slow tempo range.
The closest they come is "Bitten by the Tailfly," another strong track. It's not exactly fast, but its feel is considerably different from what surrounds it. Mark Potter's guitar kicks up actual dust for the first time on the album, and the faux-tribal beats and curiously tense verses lend the song a sort of neurotic pulse that draws you in. The dynamic shifts between the verses and Potter's deafening guitar interjections are almost enough to keep it interesting on their own, but thankfully, the whole song proves engaging.
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The music on this site is for evaluation purposes only and should be deleated from your computer after 24 hours. And if you like music here please write a comment. Suscribirse a Curefanjames Entradas Atom. Comentarios Atom. As if they had thrice clicked their red shoes, Asleep in the Back was garnering accolades months ahead of its release. Its provenance, as with so much of what is vaguely called New British Prog, is Mark Hollis's career backflip of Hollis's band Talk Talk released no records that year, but he spent it transforming them from pretty pop pin-ups who supported fellow new romantics Duran Duran into a meandering but beautiful beast.
Elbow stick to Hollis's template more rigidly than Radiohead, Coldplay or The Blue Nile, who have all - consciously, or by our friend osmosis - followed this particular route.
Like Hollis, singer and lyricist Guy Garvey has a cusp-of-quiet-desperation catch in his voice as he floats across Little Beast, a portrait of smalltown, small-time ennui and violence, and wearily lists his own failings in death- rattle fashion on the even more etiolated Can't Stop. Hollis, however, would never have allowed himself the almighty cathartic howl that Garvey hollers towards the end of Powder Blue.
But Garvey is not just yet another woe-is-me lyricist who never saw the shards of humour in Leonard Cohen. By any yardstick, whether observing others or unveiling enticing globules of himself, Garvey's is a fertile mind. For every moment of lyrical indulgence, there are many that are magical and he is a master of the arresting image, be it "the girl's a priest to me at least " of Little Beast, or what turns out to be the lovelorn notion that "I'll be the corpse in your bathtub" on Newborn.
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