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FROM THAT GO, 02


PiacenzaSera listened to you on the fifteenth title of the now vast discography of REM, stores and downloads from last Tuesday, March 8.
The first approach - despite the difficulties related to the immense and unwavering respect for them and despite the timely slating from the critics over 'alternative (with a punctuality that leaves some suspicion about his actual play) - is positive: the beautiful cover and packaging by the great photographer Anton Corbjin, and a single funny and catchy, quell'Uberlin available on the web a few weeks, to be honest, the label has chosen several individuals for various territories: one more rock for America, Mine Smell Like Honey; UBerlin for Europe and Oh my heart - if they do not understand why - in Germany.

The work is varied and never boring, as is some of the latest efforts of the trio of Athens, and also the long list of collaborations and cameos (excellent duet with Peaches pulled in Alligator Aviator Autopilot Antimatter, then Eddie Vedder and Patti Smith) does not disturb too much, although in the case of the latter, and the final Blue looks very acid too much to E-Bow The Letter: On the other hand, the remakes of old songs is a full-blown AIDS in the last REM.
Of course, the comparison with the masterpieces of the past - far away from Murmur and a Life Rich Pageant Document, perhaps the most 'beautiful of all, by Out Of Time for Automatic For The People, up to Monster - is relentless, and, to put it whole, absurd.
The sound is their classic sound, nice and unmistakable, very profession, less inventive. In general, acoustic ballads (Walk It Back, the nursery rhyme Every Day Is Yours To Win, Oh My Heart) do you prefer to electrical parts, often derivative and rarely biting: Discoverer recalls Finest Worksong, Mine Smell Like Honey seems to emerge from Rich Life Pageant. On the Web

started the debate between those who, nostalgic, appreciates whatever "to me it's okay: that sound like REM REM", and who, instead, consider it a useless disc: 'There is too much music and too little time and money on a record like this. "
For us, the first blow, keep dry and sober setting of the penultimate work Accelerate - Though much less aggressive - and you go to place at least a cut above the diptych Reveal / Around The Sun

What Tennessee Drivers Licenselooks Like

IRON WINE AND WOMEN IN HONOR OF OFFICER


aliases back in fashion.
(I always remain our favorite Captain Beefheart, Dr. Octagon, and - for obvious reasons - Country Joe & The Fish).

Note to the public for being the last wife of Jeff Buckley, the multi-instrumentalist Joan Wasser - aka Joan As A Police Woman - has long been a landmark for the female indie universe (from us, his great admiration and Cristina Donà, which in January has published the best I'll be back home on foot). His fourth
effort, entitled The Deep Field, is a very pleasant listening: very black, permeated with veins soul (Marvin Gaye) reminiscences and funky (Prince), but declined in a refined and personal, anything but conventional, as they are able to make even the Black Keys last season. Listen to good single
The Magic, for example, or the sensual The Specific Action Man and The Kiss (Sade). On a log more 'move the excellent songwriting Forever And A Year and Flash, which reminds us the first Radiohead. Rather unconvincing is usually good but the contribution of Joseph Arthur, who, with his pseudo-erotic spoken to Isaac Hayes weighs far more than the Human Condition.

Iron & Wine (Iron & Wine ") is the moniker of bearded Sam Beam - Texan by adoption but originally from South Carolina - now also the fourth album, released to the historic label 4AD. Hastily
categorized under the label folk-rock (Midlake also come from Texas and John Grant), Kiss Each Other Clean offers a wide variety of sound solutions: orchestral arrangements, jazz standards to rock there Steely Dan (Bog Burned Hand), ballads style West Coast (Glad Singing Man, Tree By The River), blues and ethnic instincts (Monkeys Uptown).
Our favorite tracks are the single Walking Far From Home, that the truth does not have the characteristics typical of a single, the hypnotic Will Run Rabbit and the evocative Godless Brother In Love in which Beam performs the same emotional tension of Rufus Wainwright, as well as with the epic finalone Fake Your Name Is Good Enough For Me